susan pui san lok is an artist, writer and academic based in London. Exhibiting and publishing nationally and internationally since the 1990s, her recent solo exhibitions include seven x seven, curated by Mother Tongue for Glasgow International Festival (2021); and A COVEN A GROVE A STAND, commissioned by Firstsite as part of New Geographies (2019). Commissions include REWIND/REPLAY for the exhibition Rewinding Internationalism at Netwerk Aalst, Van Abbemuseum and Villa Arson (2022–23); Centenary, commissioned by Create London for the Becontree Centenary programme (2022), broadcast on ResonanceFM and installed at esea contemporary (2023). Group exhibitions include Found Cities, Lost Objects (2023–24), curated by Lubaina Himid OBE, at Birmingham Museum & Art Gallery, Southampton City Art Gallery, Bristol, Royal West of England Gallery and Leeds Art Gallery; and Diaspora Pavilion at the 57th Venice Biennale (2017). Recent and forthcoming publications include REWIND/REPLAY: In conversation with Michael Karabinos in Karabinos et al eds. Open Archief (2024, NL) and the articles, Transforming Collections? and Vong Phaophanit's Neon Rice Field: Notes towards a microhistory, both in Tate Papers no.36 (Spring 2025).
As Professor of Contemporary Art at University of the Arts London (UAL) and Director of the UAL Decolonising Arts Institute, they led the major Arts and Humanities Research Council project, Transforming Collections: Reimagining Art, Nation and Heritage (2021–25) and 20/20 (2021–25, supported by Arts Council England and Freelands Foundation). Prior to UAL, she was Associate Professor in Fine Art at Middlesex University and Co-Investigator on the AHRC Black Artists & Modernism project, led by Professor Dame Sonia Boyce (2015–18, UAL in partnership with Middlesex).
Amal Khalaf is a curator and artist who serves as Director of Programmes at Cubitt (2019–present) and is also co-curating Sharjah Biennial 16 (February–June 2025), UAE and Ghost2568, Bangkok, Thailand (October–November 2025). Amal Khalaf served as the Civic Curator at the Serpentine Galleries (2009–2023) and is now Curator at Large and Advisor for Public Practice, where she shaped the Civic programme and commissioned over 50 long-term, collaborative projects, films, and moving image works. There and in other contexts, she has developed residencies, exhibitions and collaborative research projects at the intersection of arts and social justice. Projects include The Edgware Road Project and Centre for Possible Studies (2009-2013), Radio Ballads (2019–2022) and Sensing the Planet (2021). She curated the Bahrain Pavilion for the 58th Venice Biennale (2019) and co-directed the Global Art Forum at Art Dubai (2016). She is a trustee of Mophradat, Athens, and not/nowhere, London, and a founding member of the GCC art collective.
Sim Chi Yin is an artist from Singapore whose research-based practice uses artistic and archival interventions to contest and complicate historiographies and colonial narratives, and is based in Berlin. She works across photography, film, installation, book-making and performance. She was an artist fellow in the Whitney Museum’s Independent Study Program (2022–23) and holds a PhD in War Studies from King’s College London. Her video installation Requiem (2024) on Britain’s mass deportations from Malaya was exhibited at the 60th Venice Biennale. She has also exhibited at Haus der Kulturen der Welt, Berlin (2024); Gropius Bau, Berlin (2023); Barbican Centre, London (2023); Camera Austria, Graz (2024); Harvard Art Museums, Boston, USA (2021); Les Rencontres d’Arles, France (2021); Nobel Peace Museum, Oslo (2017); Datsuijo, Tokyo (2024); Arko Art Centre, Seoul (2016); Zilberman Gallery, Berlin (2021); and Hanart TZ Gallery, Hong Kong (2019). She has also participated in the Istanbul Biennale (2017, 2022) and the Guangzhou Image Triennial (2021). In August 2024, she premiered a theatre performance on her project One Day We'll Understand, on her family history and the anti-colonial war in what was British Malaya. The performance toured to the Asia-Pacific Triennial of Performing Arts in Melbourne in February 2025.
Chris Zhongtian Yuan is an artist based in London. Working with video, sound, performance, sculpture and installation, Yuan’s practice centres around the notion of ‘punk filmmaking,’ drawing improvisational techniques and DIY ethos from a wide range of music genres such as punk, jazz and noise. Yuan’s work recomposes vernacular sonic and spatial materials to queer archive, pop culture, and the use of technology in experimental animation. Coming from a materialist lineage and architecture background, their exhibitions often use site-responsive strategies to playfully blur the boundaries amongst critique, care and confabulation. Yuan is currently a PhD candidate at Kingston School of Art and lecturer at Reading School of Art.
Dr Charlotte de Mille is Associate Lecturer at The Courtauld Institute of Art, and curates The Courtauld Gallery’s music programme. She was Visiting Scholar at Lingnan University, Hong Kong (2018), and Mid-Career Fellow at the Paul Mellon Centre for British Art (2019-2020). She is co-director of the project Intersections of Music and Art in Europe (1950-2000), at the Fondazione Cini, Venice, and co-founder of Anthroposea with Arzukan Askin and Oliver Beardon. Her work has been called ‘an agenda for change: both for individuals, artistically and conceptually, and for the myriad collective ways that humans dwell on the planet.’ (Aaron S. Allen, Director, Environment and Sustainability Program University of North Carolina).
Som Supaparinya lives and works in Chiang Mai, Thailand, and studied Painting in Thailand and Media Arts in Germany. Her works encompass a wide variety of mediums such as installation, objects, still and moving images which have produced mainly with a documentarian and experimentarian approach. Her works focus on the impact of human activities on other humans and landscape through political, historical, and literary lenses. Her works are stories on noodles cultures, the change of the riverscapes, cityscapes, routes, electricity generation, wars, resistance sites and banned books.
Her recent and upcoming shows include: Collapsing Clouds Form Stars, a Mini Retrospective of Work by Som Supaparinya, Ver Gallery, Bangkok (2025); The Shattered Worlds: Micro Narratives from the Ho Chi Minh Trail to the Great Steppe, BACC, Bangkok (April-July 2025); The River They Don’t See, Kestner Gesellschaft (April-July, 2025); Melted Stars, DAAD Gallerie, Berlin (2026).
She is the winner of the Han Nefkens Foundation – SouthEastAsian Video Art Production Grant 2024, which commissioned her new work, follows by exhibitions at 6 locations at Sàn Art, Vietnam; the Jim Thompson Art Center, Thailand; Museion, Italy; Hiroshima City Museum of Contemporary Art, Japan; Kunsthal Charlottenborg, Denmark and Rockbund Art Museum, China.
Hu Wei is an artist working in Beijing. He works in a variety of media, including filmmaking, installation, printed images, performance and drawing. Hu’s interest often begins from ‘silenced’ and local microhistories or archives, using the cinematic frame as a means to process and reflect on the ways in which (trans)personal narratives of social, cultural and historical belonging structure our experiences. His work unfolds through research, translation, and imagination, combining moving images and essayistic aesthetics to explore the porous and speculative connections between art and reality, as well as the precarious relationship between affect and value judgments in different political and economic contexts.
His projects include: The Old People’s Restaurant and The Sea, Ox Warehouse, Macau (2024); Touching A Fabric of Holes, Macalline Art Center, Beijing (2023); Structural Stowaway, basis, Frankfurt, German (2023); Affairs, DRC NO.12 Art Space, Beijing (2022); In Solidarity with___ , OCAT x KADIST Emerging Media Artist Project, Shanghai (2022); The Long Way Around, ShanghART Gallery, Beijing (2021); Space Oddity, UCCA Dune, Beidaihe (2021); A Long Hello, UCCA, Beijing (2020); Study of Things, Times Museum, Guangzhou (2020); Proposal for Public Assembly/Encounter, Jimei Arles 2018, Xiamen (2018); Father: 'Tomorrow, don’t act smart with the boss, find out what he wants first.', Wyoming Project, Beijing (2018)
He is the winner of East Asian Contemporary Art 2019 Prize, the nominee of Han Nefkens Foundation – Loop Barcelona Video Art Production Grant 2024; 2022 OCAT x KADIST Emerging Media Artist Project, HUAYU Youth Award 2020 and Jimei·Arles Discovery Prize 2018.
Erin Y. Huang is Assistant Professor of Inter-Asia and Gender and Sexuality Studies in the Department of East Asian Studies at the University of Toronto. She is the author of Urban Horror: Neoliberal Post-Socialism and the Limits of Visibility, Duke University Press (2020), a work of affect theory, film studies, and post-Cold War China and Sinophone Asia. Her new book project, Ocean Worlds: Transpacific Worldmaking Across Sensorial Oceans, focuses on the materiality and aesthetic representations of technologically enhanced oceans, islands, and liquid environments across the Taiwan Strait and the South China Sea.
Payne Zhu (Shanghai, China) probes into different economic systems and works in between the rheology of finance, competing bodies and the flooding of images. Aspiring to become an exile from within, Zhu manages to create an alternative economics. Often taking unconventional moving images as a point of departure, Zhu’s works celebrate the unmatchable nature of the subject through the mismatch of different technological media.
Iris Long is a writer and independent curator whose research focuses on the megastructures of science and technology in China and the psycho-geography of techno-science. She was a 2022–2023 Berggruen Fellow and a Swissnex Fellow. On the radio waves, she goes with 'BY1TYW'.
She has curated and co-curated exhibitions exploring art, science, and technology, and her international presentations include The Magic Machine (University of Cambridge), Antikythera Salon, Space in Time (Warburg Institute/UCL Institute of Advanced Studies), and Art and Artificial Intelligence (Open Conference, ZKM).
In 2021, she co-initiated Port: Under the Cloud, a long-term research and curatorial project on the infrastructures of science and technology in China—her passion project.
Shuang Li (Wuyi Mountains, China) received her MA in Media Studies from New York University in 2014. Shuang Li currently lives and works in Berlin, Germany and Geneva, Switzerland. Situated in globalised communication systems and inspired by various localities and uneven information flows, Shuang Li’s work, which encompasses performance, interactive websites, sculpture and moving image installations, studies various mediums composing the contemporary digital landscape. Crucial to this practice is the interaction between the medium and its users as well as amongst the mediums themselves. These diverse forms of intimacy form a motif that runs through the artist’s practice, as she explores how various forms of technology bring us into contact, and how they form part of a neoliberal apparatus that regulates the body and desire. Yet her focus is not limited to the virtual; the material lives of those digital landscapes are also included, such as the infrastructure and logistics systems that support it, and more importantly, the cracks in between.