David Campany is a writer, curator and artist. His many books include A Handful of Dust (2015) and Art and Photography (2003). He has written over two hundred essays for museums and monographic books, and contributes to Frieze, Aperture, Source and Tate magazine. Recent curatorial projects include The Still Point of the Turning World: Between Film and Photography, FoMu Antwerp, 2017; The Open Road: photography and the American road trip (various venues, USA, 2016-); A Handful Dust (Le Bal, Paris, 2015; Pratt Institute New York, 2016; the Whitechapel Gallery London, 2017; and The California Museum of Photography, 2018); Walker Evans: the magazine work (various venues – France, Poland, Belgium, Italy, Australia and New Zealand). David Campany has a PhD and teaches at the University of Westminster, London.
Susie Linfield’s book, The Cruel Radiance: Photography and Political Violence (University of Chicago, 2010), was a finalist for the National Book Critics Circle Award in Criticism and has been translated into Italian, Turkish, and Korean. Linfield was formerly deputy editor of the Village Voice, arts editor of the Washington Post, and book critic for the Los Angeles Times. A native of New York City, she currently lives in Brooklyn and is an associate professor of journalism at New York University, where she directed the Cultural Reporting and Criticism program for many years. Her new book, The Lions’ Den: How Eight Leading Writers from Hannah Arendt to Noam Chomsky Fought For and Against Israel, is scheduled for publication next year.
Anna-Kaisa Rastenberger, PhD, works as a Professor in Exhibition Studies and Spatiality at the Academy of Fine Arts, University of the Arts Helsinki. Formerly she worked as the Chief Curator at The Finnish Museum of Photography. Rastenberger is art historian specialized in contemporary and photographic art. She has extensive experience in exhibition projects, curating practices and the international exhibition scene of the contemporary arts. Her special interests are new forms of photography as contemporary art, exhibition as critical practice and feministic practices on the art field. Rastenberger is also an artistic co-director and co-founder of The Festival of Political Photography, which seeks to examine what the word ”political” means in contemporary extended photographic practices.
Lisa Tan (born in Syracuse, New York, USA) is an artist living in Stockholm, Sweden. Tan works mostly in video, photography and installation. She engages various literary, historical and personal references to explore the intricate relationship between language, image, and experience. A book on her recent series of videos is published by Archive Books, Berlin. Her works have been included in exhibitions at institutions such as Artist Space (New York), Kadist Art Foundation (Paris), Kunsthall Trondheim (Norway) and Museum of Contemporary Art Santa Barbara. Lisa Tan completed a practice-based PhD at the University of Gothenburg, Valand Academy in 2015. She received a MFA from the University of Southern California (USC), Los Angeles. During 2016–2018, Tan is guest professor in Fine Art at The Royal Institute of Art in Stockholm.
Henrik Andersson is an artist and a curator, and teaches photography at Konstfack University of Arts, Crafts and Design in Stockholm. His works have been included in exhibitions at Moderna Museet, Färgfabriken, Index, Marabouparken Konsthall and Tirana International Contemporary Art Biannual. Henrik Andersson has been working as curator at Röda Sten Konsthall in Gothenburg and is a member of the editorial committee of Paletten and OEI.
Rebecca Bengtsson is a PhD candidate at the Department of Media Studies at Stockholm University. Her research concerns the relationship between photographs, human rights and affect, focusing on photojournalistic representations of refugee migration in mainstream media.