COnTribuTOrs

Julia Alekseyeva teaches in the Department
of English and the Cinema and Media Studies
Program at the University of Pennsylvania.
Her research focuses on the interactions
between global media and radical leftist poli-
抽动症, especially in 1960s Japan, 法国, 和
the former Soviet Union. She is the author-
illustrator of the graphic memoir Soviet
Daughter: A Graphic Revolution (2017), 和
she publishes academic work in both written
and graphic essay formats.

Octavian Es¸anu teaches at the American
University of Beirut (AUB) and is the curator
of AUB’s Art Galleries. In the late 1990s he
was the founding director of the Soros Center
for Contemporary Art in Chis¸ina˘u, Moldova.
他是: Transition in Post-Soviet
Art: The Collective Actions Group before and after
1989 (2013); The Postsocialist Contemporary:
The Institutionalization of Artistic Practices in
Eastern Europe after 1989 (2021), and editor
的: Art, Awakening and Modernity in the Middle
East: The Arab Nude (2018); Contemporary Art
and Capitalist Modernization: A Transregional
Perspective (2020). Among his most recent
curatorial projects are: One Hundred Years
Closer to Communism (2017); Cut/Gash/
Slash—Adachi Masao—A Militant Theory
of Landscape (2019).

Fokus Grupa has been active as an artist col-
lective since 2012. In its work, the group tries
to establish a critical framework for reading
the artistic, 经济的, and political surround-
ings in which it operates. It borrows and
learns from design, 建筑学, curatorship,
and writing, while often expanding its working
team with collaborators from other fields.

Angela Harutyunyan is an art historian and
curator. She teaches in and currently chairs the
Department of Fine Arts and Art History at the

American University of Beirut. Her research
interests include theories of art historiography,
late Soviet and post-Soviet art, art and labor,
and critical theory. She is a founding mem-
ber of the Ashot Johannissyan Institute for
research in the humanities in Yerevan. 她
book The Political Aesthetics of the Armenian
Avant-Garde: The Journey of the “Painterly Real”
was published in 2017.

Jaleh Mansoor teaches art history at the
University of British Columbia (UBC).
Her current project, Universal Prostitution:
A Counter-History of Abstraction Crossing
Modernism, 1888–2008, is forthcoming
from Duke University Press. Mansoor’s
first monograph, Marshall Plan Modernism:
Italian Postwar Abstraction and the Beginnings
of Autonomia, was published in 2016, 和她
also co-edited an anthology of essays address-
ing Jacques Rancière’s articulations of politics
and aesthetics, entitled Communities of Sense:
Rethinking Aesthetics and Politics (2010).

瓦. J. 时间. Mitchell teaches literature, visual
艺术, and cinema at the University of Chicago,
and is Senior Editor of Critical Inquiry. 他是
the author of numerous books on images,
visual culture, and media, including Iconology
(1986), Landscape and Power (1994), Picture
理论 (1995), What Do Pictures Want? (2005),
Cloning Terror (2011), Seeing Through Race
(2012), Image Science (2012), and Mental
Traveler (2020). He is currently finishing a
new book, Seeing Through Madness.

Franz Prichard teaches in the Department
of East Asian Studies at Princeton University.
His work explores the literature, visual media,
and critical thought of contemporary Japan.
He is the author of Residual Futures: The Urban
Ecologies of Literary and Visual Media of 1960s
and 1970s Japan (2019).

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