Kevin Chua is Associate Professor of Eighteenth- and Nineteenth-Century European Art and Southeast Asian Art at Texas Tech University (Lubbock, Texas, USA). Having obtained his PhD in the History of Art from the University of California, Berkeley, he has held fellowships at the Center for Advanced Study in the Visual Arts (CASVA, Washington, DC) and the University of California Los Angeles (UCLA). Kevin Chua has published essays on Simryn Gill, Ho Tzu Nyen, Donna Ong, Charles Lim, Jeremy Sharma, the Migrant Ecologies Project, 1950s Nanyang painting, and the politics of animality in nineteenth-century Singapore. His research interests lie in modernity as a global condition, specifically European and Southeast Asian modernity.
Anselm Franke is a curator and writer based in Berlin. He is Head of Visual Art and Film at the Haus der Kulturen der Welt (HKW), where he co-curated Nervous Systems (2016), Ape Culture (2015), Forensis (2014), The Anthropocene Project (2013–14), and the exhibitions The Whole Earth and After Year Zero (both 2013), among others. In 2012, he curated the Taipei Biennial. Franke’s exhibition project Animism has been presented in Antwerp, Bern, Vienna, Berlin, New York, Shenzhen, Seoul, and Beirut in various collaborations from 2010 to 2014. Previously, Franke was curator at KW Institute for Contemporary Art, Berlin, and Director of Extra City Kunsthal, Antwerp. He completed his PhD at Goldsmiths, University of London.
Masato Fukushima is a professor of Social Anthropology and Social Studies of Science at the University of Tokyo. His academic interests range from comparative religion to laboratory studies, post-genomic life sciences, and the issue of experimentality in areas from science to politics to art. Recent works include “Constructing Failure in Big Biology,” Social Studies of Science (2016); “The Experimental Zone of Learning: Mapping the Dynamics of Everyday Experiment,” Mind, Culture and Activity (2017), first published online; and Factory of Truth: On Contemporary Science (forthcoming), Tokyo: Tokyo University Press (in Japanese).
Hongkoo Han teaches modern Korean history in the Department of Liberal Arts at Sungkonghoe University in Seoul, Korea. He is one of the most prominent activist scholars in South Korea today and a popular interpreter of South Korean history to a wide audience. Through numerous books, he has explored the violent and traumatic aspects of life under military dictatorship. He wrote a weekly column in the newspaper Hangyore for many years and has served on the board of several civic organizations as well on the committee investigating the abuses of the intelligence services during the dictatorship period.
HO Tzu Nyen
Ho Tzu Nyen is a Singapore-born filmmaker and visual artist whose practice spans video, writing, and theater. Interested in historical and philosophical texts, Ho Tzu Nyen explores subjects such as the structure and power of myths, often revealing stories as discursive tools used to shape the present. Recent solo exhibitions include those at the Guggenheim Museum Bilbao (2015), DAAD Gallery (2015), Mori Art Museum (2012), and Artspace Sydney (2011). His theatrical works have been presented at the Asian Arts Theatre, Gwangju (2015); Wiener Festwochen (2014); Theater der Welt (2010); the KunstenFestivaldesArts (2008, 2006) and his films have premiered at the Directors’ Fortnight at Cannes Film Festival (2009), and the 66th Venice International Film Festival (2009). Ho Tzu Nyen represented Singapore at the 24th Venice Biennale (2011).
James T. HONG
James T. Hong is a filmmaker and artist based in Taiwan. He has produced works about Heidegger, Spinoza, Japanese biological warfare, the Opium Wars, and racism. His latest documentary about disputed territory in East Asia screened at the 2016 Berlin International Film Festival and the Guggenheim Museum in New York. He is currently researching the concept of morality in East Asia and recently presented a new experimental work about Nietzsche and metempsychosis, Nietzsche Reincarnated as a Chinese Woman, at the 2016 Taipei Biennial.
Yuk Hui teaches at the institute of philosophy of Leuphana University Lüneburg, where he is also researcher of the DFG project Techno-ecologies of Participation. He is co-editor of 30 Years after Les Immatériaux: Art, Science and Theory (Meson Press, 2015), author of two monographs, On the Existence of Digital Objects (University of Minnesota Press, 2016) prefaced by Bernard Stiegler and The Question Concerning Technology in China: An Essay in Cosmotechnics (Urbanomic, 2016).
Hyunjin Kim is a curator, writer, and researcher based in Seoul. She was Director at Arko Art Center, Seoul (2014‒15), and a co-curator of the 7th Gwangju Biennale (2008). Her curatorial and interdisciplinary practices consider disparate points of the regional modernity in plural forms. She has curated numerous exhibitions and projects, including Tradition (Un)Realized (Arko Art Center, Seoul, 2014), Brilliant Collaborator (Ilmin Museum of Art, Seoul, 2013), Perspective Strikes Back (L’appartement 22, Rabat, 2010), Movement, Contingency and Community (Gallery27, Uiwang, 2007), and Plug-In#3-Undeclared Crowd (Van Abbemuseum, Eindhoven, 2006). Her published work includes contributions for the artists Seoyoung Chung, Jewyo Rhii, Haegue Yang, Nina Canell, Gao Shiqiang, Dolores Zinny, and Juan Maidagan. Kim currently teaches at the RAT School of Art in Seoul, and is an advisor for the Asia Art Archive, Hong Kong.
Yongwoo Lee is a media historian and cultural studies scholar based in New York and Seoul. He teaches media and cultural studies of modern Korea, film theory and popular culture in East Asia, intellectual history of wartime Japan and postwar Korea, Korean contemporary art and post/colonial historiography in the Department of East Asian Studies at New York University, New York City.
Park Chan-kyong is an artist and filmmaker based in Seoul. Both his fine art and filmic works primarily focus on the Cold War and the division of Korea. Since 2008, he has created photographs, video, and filmic works discussing Korea’s native religion and shamanism. Recently his work was shown in solo exhibitions at Tina Kim Gallery in New York City (2016) and InIVA in London (2015). Former exhibitions include Sindoan at Atelier Hermès (2012) in Seoul and REDCAT (2010) in Los Angeles. In 2014, Park served as Art Director for the 8th SeMA Biennale Mediacity, Seoul. His works have been exhibited at international venues, such as the Taipei Biennale (2016) in Taiwan, the National Museum of Modern and Contemporary Art (2016) in Gwacheon, Korea, the exhibition Animism (2013) in Seoul, and the Korean Film Festival (2012) in Washington, DC.
Lisbon-born Filipa Ramos is a writer and editor based in London, where she works as Editor-in-Chief of the online journal Art Agenda. She is a lecturer in the Experimental Film Masters program at Kingston University, and in the MRes Art: Moving Image at Central Saint Martins, both in London. Filipa Ramos is co-curator of Vdrome, a program of film screenings by visual artists and filmmakers. In the past, she was Associate Editor of Manifesta Journal and Curator of the Research Section of dOCUMENTA (13). She has recently edited Animals (Whitechapel Gallery/MIT Press, 2016).
David Teh is a writer, curator, and researcher at the National University of Singapore, specialized in Southeast Asian contemporary art. His curatorial projects have included Transmission, Jim Thompson Art Center, Bangkok (2014), Video Vortex #7, Yogyakarta (2011); Unreal Asia, 55. Internationale Kurzfilmtage, Oberhausen (2009), and The More Things Change, 5th Bangkok Experimental Film Festival (2008). Teh’s writings have appeared in journals Third Text, Afterall, Theory Culture & Society, and ARTMargins, and his book Thai Art: Currencies of the Contemporary was published by MIT Press in 2017. He is also a director of Future Perfect, a gallery and project platform in Singapore.
Etienne Turpin is a philosopher, research scientist at the Massachusetts Institute of Technology, and founding director of anexact office in Jakarta, Indonesia, and Berlin, Germany. With his partner Anna-Sophie Springer, he is co-editor of the intercalations: paginated exhibition series, published by K. Verlag and the Haus der Kulturen der Welt, and principal co-investigator of the exhibition-led inquiry Reassembling the Natural.