Anselm Franke has been Head of Visual Arts and Film at Haus der Kulturen der Welt (HKW) since 2013. There, he initiated and curated the exhibitions Love and Ethnology: The Colonial Dialectic of Sensitivity (after Hubert Fichte) (2019/20, with Diedrich Diederichsen), Neolithic Childhood. Art in a False Present, c. 1930 (2018, with Tom Holert), Parapolitics: Cultural Freedom and the Cold War (2017/18, with Nida Ghouse, Paz Guevara, Antonia Majaca), 2 or 3 Tigers (2017, with Hyunjin Kim), Nervous Systems (2016, Tactical Technology Collective, Stephanie Hankey, Marek Tuszynski), Ape Culture (2015, with Hila Peleg), Forensis (2014, with Forensic Architecture), The Whole Earth (with Diedrich Diederichsen) and After Year Zero (both 2013). He previously worked as a curator at KW Berlin and as director of the Extra City Kunsthal in Antwerp. In 2005 he and Stefanie Schulte Strathaus founded the Forum Expanded for the Berlin International Film Festival of which he has been co-curator since. He was the chief curator of the Taipei Biennial in 2012 and of the Shanghai Biennale in 2014. His exhibition project Animism was shown from 2009 until 2014 in collaboration with various partners in Antwerp, Berne, Vienna, Berlin, New York, Shenzhen, Seoul, and Beirut. Franke received his doctorate from Goldsmiths College, London.
A plethora of historical references dramatized by musical scores and allegorical lighting make up the pillars of Ho Tzu Nyen ‘s complex practice that primarily constitutes video and installation. Features in their own right, each work unravels unspoken layers of Southeast Asian histories whilst equally pointing to our own personal unknowns. Permeating Ho’s work is a pervasive sense of ambiguity, theatricality, and unease, augmented by a series of deliberate literary, art historical, and musical references.
Chia Wei Hsu‘s work emphasizes actionability underneath image creation when it comes to the practice of art while linking up the relationships of humans, materials, and places omitted in the narrative of the conventional history through establishing the incidents beyond the camera. Hsu graduated from Le Fresnoy-Studio national des arts contemporains, France.
Yuk Hui studied computer engineering at the University of Hong Kong and philosophy at Goldsmiths College in London where he wrote his doctoral thesis under the French philosopher Bernard Stiegler (1952-2020). He obtained his Habilitation in philosophy of technology from Leuphana University Lüneburg. Since 2010, he has been teaching in various institutes, including Goldsmiths College London, Leuphana University Lüneburg, Bauhaus University Weimar, Strelka Institute Moscow, Chinese Academy of Art Hangzhou, and City University of Hong Kong. Hui is a juror of the Berggruen Prize for Philosophy and Culture since 2020, and convenor of the Research Network for Philosophy and Technology since 2014. Hui published on philosophy and technology in periodicals such as Research in Phenomenology, Philosophy Today, and Metaphilosophy. He is co-editor of 30 Years after Les Immatériaux: Art, Science and Theory (2015), and author of On the Existence of Digital Objects (University of Minnesota Press, 2016), The Question Concerning Technology in China -An Essay in Cosmotechnics (Urbanomic, 2016), Recursivity and Contingency (R&LI, 2019) and forthcoming Art and Cosmotechnics (University of Minnesota Press/E-flux, 2021).
siren eun young jung is interested in how the seething desires of anonymous individuals encounter events in the world and become resistance, history, and politics. She believes that, by ceaselessly reexamining feminist-queer methodology, artistic praxis that is simultaneously aesthetic and political is possible. She studied the visual arts and feminist theory at Ewha Womens University (BFA, MFA, and DFA) in South Korea and the University of Leeds (MA).
Jane Jin Kaisen is a visual artist working with video installations, film, photographic installations, performance, and text. Kaisen is Professor at the School of Media Arts, the Royal Danish Academy of Fine Arts, and serves as a member of the Danish Arts Foundation Committee for Visual Arts Project Funding. She holds an MFA from the University of California, Los Angeles, an MA from the Royal Danish Academy of Fine Arts, and participated in the Whitney Museum Independent Study Program.
Ayoung Kim interested in the notions of crossings, transmissions, transnationals, transpositions, and reversibility, Kim seeks possible integrations, articulations, and collisions of things in-between time, space, structure, and syntax. In doing so, Kim adopts the devices of speculative storytelling, narrativity, and rhetoric to evoke unfamiliar forms of reading, listening, and thinking of the conditions of the world by focusing on unlikely encounters of ideas. The outcomes take the forms of video, voice, sonic fiction, image, diagram, and text, and are exposed as exhibitions, performances, theater projects, and publications. Recently, Ayoung Kim has been endeavoring to graft the fictional and the historical together through distorting reality.
Hyunjin Kim is curator of the exhibition, Frequencies of Tradition (Guangzhou Times Museum, 2020) and the regional program of KADIST (2018-2020). She was the curator for Korean Pavilion, 58th Venice Biennale (2019), and Director for Arko Art Center, Seoul (2014-2015). Her exhibition and curatorial projects include 2 or 3 Tigers, HKW (Berlin 2017, with Anselm Franke); Gridded Currents, Kukje Gallery (Seoul 2017); Tradition (Un)Realized, Arko Art Center (Seoul 2014, with David The and Young-gyu Jang); Plug-In#3-Undeclared Crowd, Van Abbemuseum (Eindhoven, 2006). Kim has commissioned and written for the artists such as Jane Jin Kaisen, siren eun young jung, Nina Canell, Hwayeon Nam, Jewyo Rhii, and Seoyoung Chung. She was one of the international advisories for Haus der Kulturen der Welt, Berlin (2014-2016) and a jury member for DAAD artist residency, Berlin (2017-2018).
Hwayeon Nam has worked on choreographic movements through archive materials, capturing the various phenomena surrounding social systems, time, and space. She is also interested in rethinking the structures of cultural reproduction related to human desires, delving into the stories contained in artifacts, the history of colonial annexations, and the advent of the natural sciences, especially astronomy, flora, and fauna. With a focus on performance and video, her work lies in the linguistic performativity of questioning contemporary values and temporal notions of the present.
Emily Wilcox is Associate Professor of Modern Chinese Studies in the Department of Asian Languages and Cultures at the University of Michigan. She is a leader in the study of Asian dance in the English-speaking academic sphere. Wilcox is the author of Revolutionary Bodies: Chinese Dance and the Socialist Legacy (University of California Press 2019), winner of the 2019 de la Torre Bueno Prize from the Dance Studies Association. She is co-editor of Corporeal Politics: Dancing East Asia (University of Michigan Press 2020), co-creator of the digital image collection Pioneers of Chinese Dance, and co-curator of the 2017 exhibition “Chinese Dance: National Movements in a Revolutionary Age, 1945-1965.” Wilcox has published more than twenty academic articles, in both English and Chinese, on Asian dance and performance.
Soo Ryon Yoon is an assistant professor in cultural studies at Lingnan University, Hong Kong. Trained as a performance studies scholar, she teaches and writes about contemporary performance, dance history, and racial politics in South Korea. She is currently working on her first monograph, Choreographing Affinities: Blackness, Koreanness, and Performing Race in Korea on the circulation of African diasporic performances in the Korean context and the sociocultural implications of its racial politics. Her writings have appeared in Theatre Journal, Inter-Asia Cultural Studies, GPS: Global Performance Studies, Performance Research, GenderIT.org, Theatre Survey, positions: asia critique, Seoul Journal for Korean Studies, the edited volume of Corporeal Politics: Dancing East Asia (Emily Wilcox and Katherine Mezur, eds. University of Michigan Press, 2020), and the catalogue for the Korean Pavilion at the 2019 Venice Biennale among others. Soo Ryon Yoon holds a PhD in Performance Studies from Northwestern University and was a CEAS postdoctoral associate at Yale University.