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Nora Al-Badri
A black and white portrait photo of a White dark-haired woman in a dark hoodie. She pulled the hood over her head and looks directly and intensely into the camera.
Foto/Photo: Karim Ben Khalifa

Nora Al-Badri is a multi-disciplinary and conceptual media artist with a German-Iraqi background. She graduated in Political Sciences at Goethe University in Frankfurt am Main and is currently the first artist-in-residence at the École Polytechnique Fédérale de Lausanne, EPFL (AT) and its Laboratory for Experimental Museology (eM+). Her practice focuses on the politics and the emancipatory potential of new technologies, such as machine intelligence or data sculpting, non-human agency, and transcendence. She has exhibited in the Victoria and Albert Museum’s Pavilion of Applied Arts at La Biennale di Venezia; 3rd Istanbul Design Biennial; ZKM | Center for Art and Media Karlsruhe; Science Gallery, Dublin; Berliner Herbstsalon at Maxim Gorki Theater, Berlin; Ars Electronica, Linz (AT); Abandon Normal Devices (AND), Manchester; The Influencers, Barcelona; among others.

Al-Badri regularly gives classes and lectures at universities and museums all over the world such as Techne Institute at University of Buffalo (US); MassArt – Massachusetts College of Art and Design, Boston (US); Universität der Künste Berlin; KTH Royal Institute of Technology, Stockholm; University of Halle (DE) and IRIBA Center for Multimedia Heritage, Kigali; Warburg Institute, University College London; Haus der elektronischen Künste Basel (HeK); as well as Central Saint Martins College of Art & Design, London. She is acting as jury member for the Chaos Communication Congress’ Arts & Culture Track, the Berlinale Peace Prize from Heinrich Böll Foundation (2019) and the Digital Academy Dortmund (2019).

Erick Beltrán
A black and white drawing of a crowd of people in ancient clothing turning their backs to the image.

Erick Beltrán’s work is a constant investigation into and reflection on the mechanisms of thought systems, particularly the power relations unfolding between editing processes and ways of knowledge production. From diagrams, information gathering, archives, and insertions into the media, it approaches the way in which images are defined, valued, ordered, classified, selected, reproduced, and distributed to create political, economic, and cultural discourses in contemporary society. Beltrán experiments with the link between public art and diverse graphic languages investigating the museum, library, and the archive as forms of visualizations. Beltrán has exhibited at El Eco Museum and Muac – University Museum of Contemporary Art, Mexico City; Liverpool Biennial; Galeria Labor, Mexico City; Halfhouse, Barcelona; Volt, Bergen (NO); La Tallera, Cuernavaca (MX); Cuenca Bienal; Kadist Foundation, Paris; Museo Rufino Tamayo, Mexico City; Sao Paulo Bienal; TBA21 Thyssen-Bornemisza Art Contemporary, Vienna; Taipei Bienal; MACBA Museum of Contemporary Art of Barcelona.

Maithu Bùi
A black and white portrait photo of a young, Việt-German woman with medium length hair in a black t-shirt looking sideways at the camera. She wears glasses with black frames.

Maithu Bùi is a việt-German philosopher, research activist and artist. After studying philosophy of language, logic and literature at LMU Munich, Maithu Bùi has been studying art at University of the Arts Berlin in the Lensbased Class since 2017. Their research and work focuses on Creative Technologies, Ethics of Technology, Memory Culture, War History, (Digital) Colonialism, Context Sensitivity, Truth and Belief Systems, Education Policy and Anti-discrimination. Their work Maithuật – MMRBX (2019-ongoing) is an AR/VR archive of personal memories and transgenerational traumas. Stories begin and end where ghosts can be encountered in a virtual việt-german diaspora. Their work Biolum Thunder Sweep is an anti-war project to eliminate mines and explosive remnants of war using bioengineering.

Maithu Bùi co-founded Curating through Conflict with Care (ccc) and works at the German Informatics Society in the Sustainable and Digital Education Department.

Tara Isabella Burton
A White woman with dark, curly hair and an under-cut on the left side of her head looks intensely into the camera with crystal blue eyes. She wears wine-red lipstick and large earrings studded with shimmering green stones.
Foto/Photo: Rose Callahan

Tara Isabella Burton is the author of the novel Social Creature (Doubleday, 2018) and the nonfiction book Strange Rites: New Religions for a Godless World (PublicAffairs, 2020). Her next novel, The World Cannot Give, will be published by Simon & Schuster in March 2022. She is currently working on, Self-Made, a history of self-creation from Leonardo Da Vinci to the Kardashians, to be published by PublicAffairs in 2023. She has also written for The New York Times, The Wall Street Journal, The Washington Post, and more. She is a recipient of the 2012 Shiva Naipaul Memorial Prize and a 2020 Robert Novak Fellowship.

Caroline Busta
White woman with a blond braid wearing black sunglasses, red lipstick, and black sweater with red kanji characters. She stands in front of an abstract illustrated background.

Caroline Busta is a Berlin-based writer working with questions of culture, technology, and globalism. She is the founder of NEW MODELS, a media platform and community addressing the emergent effects of networked technology on art, tech, politics, and pop-culture. From 2014 to 2017, she served as Editor-in-Chief of the Berlin-based critical art journal Texte zur Kunst. Prior to that, she was an Associate Editor at Artforum magazine in New York City.

Jennifer Chan

Jennifer Chan uses the Internet as a source to remix videos as social commentaries on sex, love, desire, equality, wealth, and various kinds of mediated ideals, which will not be met in real life. She has had solo presentations at Transmediale, Berlin; Images Festival, Toronto (CA); Nightingale, Chicago (US); and Future Gallery, Berlin. Chan has shown at Moving Image, London; Trinity Square Video, Toronto; Interstate Projects, New York City; ltd, Los Angeles; and Xpo Gallery, Paris. Her work has been featured on Rhizome, Furtherfield, Sleek, Dazed, and LEAP.

Chan was born in Ottawa (CA), grew up in Hong Kong, and now lives in Toronto. Chan holds an MFA in Art Video from Syracuse University (US) and an HBA in Communications, Culture, Information Technology.

Gillian Russell and Wendy Hui Kyong Chun
A woman of Color in a white shirt, black vest, pink belt, blue jeans, and glasses is giving a presentation. She looks out of the picture to the right.

Wendy Hui Kyong Chun, PhD, is Simon Fraser University’s Canada 150 Research Chair in New Media, Burnaby (CA) and leads its Digital Democracies Institute. She is the author of several works including Discriminating Data (forthcoming from MIT 2021) plus three other books from MIT: Updating to Remain the Same: Habitual New Media (2016), Programmed Visions: Software and Memory (2011), and Control and Freedom: Power and Paranoia in the Age of Fiber Optics (2006). She has been Professor and Chair of the Department of Modern Culture and Media at Brown University, Rhode Island (US), where she worked for almost two decades. She has held numerous visiting chairs and fellowships, from institutions such as Harvard, the Annenberg School at the University of Pennsylvania, the Institute for Advanced Study (Princeton), the Guggenheim, ACLS American Council of Learned Societies, and American Academy of Berlin. She is also Principal Investigator on several grants including one from the Canada-UK Artificial Intelligence Initiative.

Joshua Citarella
A photo-like painting showing a white man smoking, holding two small children in his arms, who hug him tightly. The man wears a black patch in front of his left eye, black and gray military clothing, and a digital wristwatch.

Joshua Citarella is an artist researching online political subcultures. He is the author of Politigram & the Post-left (2018) and 20 Interviews (2020), commissioned by Rhizome. He is the host of Memes as Politics on Montez Press Radio in New York. Recent solo exhibitions include Bas Fisher Invitational, Miami (FL); the Corcoran School of the Arts and Design at George Washington University (DC); and Higher Pictures, New York City. He earned his BFA from the School of Visual Arts, New York City in 2010. He is an adjunct professor at the Rhode Island School of Design and the School of Visual Arts, Providence (US); and has served as an outside advisor at Carnegie Mellon University, Pittsburgh (US) and Tufts University, Medford (US). He lives and works in New York City.

András Cséfalvay
Portrait of an alien, looking out of the picture frame with a firm gaze. The upper body dissolves into the black color of the background.

András Cséfalvay is a visual artist and filmmaker based in Bratislava. His work concerns ways of balancing and reframing the duality of Nature and Culture, while evaluating marginalized representations of the world and the relationship between natural sciences, politics, art, and religion. He is a founding member of Digital Arts research platform at the Bratislava Academy of Fine Arts.

Constant Dullaart
A massive wooden table on which there are two baskets with purple flowers. Four White people in summer clothes sit at the table drinking coffee. Three of the four faces are masked and made unrecognizable with an oval filter, while the fourth person can be seen in full: a White man with medium-long red hair and beard wearing a light blue T-shirt.

Constant Dullaart’s often conceptual work manifests itself both on- and offline. In his artistic practice, the Dutch artist reflects on the broad cultural and social effects of communication and image processing technologies while critically engaging the power structures of mega corporations that dramatically influence our worldview through the Internet. He examines the boundaries of manipulating Google, Facebook and Instagram and started his own tech companies Dulltech™ and https://common.garden 

Constant Dullaart is a former resident of the Rijksakademie in Amsterdam. His works were shown in Museum of Contemporary Art Chicago (US); Whitechapel Gallery, London; Schirn Kunsthalle Frankfurt (DE); Utah Museum of Contemporary Art, Salt Lake City (US); ZKM | Center for Art and Media Karlsruhe (DE); Victoria & Albert Museum, London; and MAAT – Museum of Art, Architecture and Technology, Lisbon; among others. Dullaart has curated several exhibitions and lectured at universities and academies throughout Europe, most recently at Werkplaats Typografie, Arnhem (NL). He lives and works in Berlin and Amsterdam.

Orit & Tal Halpern
A White woman with curly red hair, red lipstick, a silver nose ring, colorful blouse, dark jacket and big yellow-framed glasses, who is smiling to the camera, stands on the pier with a sea and cliff landscape in the background.

Orit Halpern, PhD, is an Associate Professor in Sociology and Anthropology at Concordia University, Montreal (CA). Her work bridges the histories of science, computing, and cybernetics with design. She is currently working on two projects: the first is a history of the relationship between artificial intelligence, race, neo-liberal thought, and democracy; the second project examines extreme infrastructures and the idea of experimentation at planetary scales in design, science, and engineering. She is also the director of the Speculative Life Research Cluster and D4: The Disrupting Design Research Group, both are laboratories bridging the arts, environmental sciences, media, and the social sciences.


Tal Halpern is an author, illustrator, animator, and long-term survivor of the Tech-Industry. He is currently based out of Cambridge, MA.

Adam Harvey
A black and white portrait of a White, male person that is almost fully covered with neon green and blue boxes. The rectangular boxes are each provided with a label containing the word FACE with different percentages.

Adam Harvey is a German-American applied artist and technical researcher based in Berlin focusing on computer vision, privacy, and surveillance. He is a graduate of the Interactive Telecommunications Program at New York University (2010) and is the creator of the VFRAME.io computer vision project, Exposing.ai research project, and CV Dazzle computer vision camouflage concept. Harvey’s research and artwork has been featured widely in publications including the New York Times, Wall Street Journal, Nature, New Yorker, Economist, and the Financial Times; and shown at internationally acclaimed institutions and events including the Victoria & Albert Museum, London; Seoul Mediacity Biennale; Istanbul Design Biennial; Frankfurter Kunstverein (DE); Zeppelin Museum, Friedrichshafen (DE); Utah Museum of Contemporary Art, Salt Lake City (US) and Kemper Museum of Contemporary Art, Kansas City (US). Recently, Harvey developed VFRAME, a computer vision project for human rights researchers working on OSINT investigations. VFRAME received an Award of Distinction from Ars Electronica in 2019, a nomination for the EU STARTS prize in 2018, and for the Beazley Design of The Year Award in 2019.

Inland feat. Nadim Samman
A White, dark-haired man in a white sweatshirt looking to the left edge of the picture. There is a sepia filter over the image, on which dust grains can be seen.
Foto/Photo: Yuvalle Levy

Inland (Ed Davenport) is a British producer, DJ, and founder of Counterchange Recordings based in Berlin. His busy output stands for purist and inherently progressive rhythmic work. Grounded in the romantic traditions of early techno, it is however driven by a constant search for new ground, textures, and studio-techniques. Known for his detailed and explorative techno releases on Counterchange, Infrastructure, and more, his debut LP on Ostgut Ton sub-label A-TON was released in September 2018. In recent years, Davenport has undertaken soundtrack collaborations with artists including Julian Charrière and Wermke / Leinkauf.

Nadim Samman, Ph.D., is Curator for the Digital Sphere at KW Institute for Contemporary Art. In his newly instated role, Samman will critically explore the expanded political and social landscape of digital systems through subversive and creative interventions.

Vladan Joler
A White man with gray-mottled hair in a light denim shirt, glasses, and short beard gives a lecture at a lectern. He stands behind a microphone with a laptop and in front of a large screen showing a scientific diagram.

Vladan Joler, Prof., is an academic, researcher, and artist whose work blends data investigations, counter-cartography, investigative journalism, writing, data visualization, critical design, and numerous other disciplines. He explores and visualizes different technical and social aspects of algorithmic transparency, digital labour exploitation, invisible infrastructures, and many other contemporary phenomena in the intersection between technology and society. He has curated and organized numerous events and gatherings of Internet activists, artists, and investigators, including SHARE events in Belgrade and Beirut. His artistic pre-history is rooted in media activism and game hacking. Joler’s work is included in the permanent collections of the Museum of Modern Art (MoMA), New York City; the Victoria & Albert Museum, London; the Design Museum, London, as well as in the permanent exhibition of the Ars Electronica Center, Linz (AT). His work has been exhibited in more than a hundred international exhibitions, including institutions and events such as: ZKM | Center for Art and Media Karlsruhe (DE); XXII Triennale di Milano (IT)‎; HKW Haus der Kulturen der Welt, Berlin; Vienna Biennale; Victoria & Albert Museum, London; Transmediale, Berlin; Ars Electronica, Linz; Biennale WRO, Breslau (PL); Design Society, Shenzhen (CN); Hyundai Motorstudio, Peking; MONA Museumpedagogy and Augemented Reality, Hobart (AU), various European cities; GlassRoom; La Gaite Lyrique, Paris; the Council of Europe, Strasbourg (FR); and the European Parliament, Brussels. Joler has received the 2019 Design of the Year Award by the Design Museum, London and the S+T+ARTS Prize ’19 Honorary Mention by the European Commission and Ars Electronica.

Bea Kittelmann
Illustration of a gray shaded figure walking on a green meadow with a yellow flower in its hand. The figure has tiny bright red pupils and wears two braided black cornrows. Four trees are in the background.

Bea Kittelmann is an interdisciplinary artist, currently focusing on graphic design and illustration. In their artistic practice, Kittelmann consequently puts fun first and is less interested in rules and limitations. Instead, it is much more about perceiving and acknowledging the existence of these rules, in order to ultimately be able to reject and break them. Kittelmann is currently studying Visual Communication at the Weißensee Kunsthochschule Berlin.

Katerina Krtilova
A White, smiling woman in a black spaghetti strap dress, black sandals, and a black shoulder bag stands in front of a pile of discarded Euro pallets lying on a hill overgrown with wildflowers and weeds.

Kateřina Krtilová, PhD, is a researcher at the Zurich University of the Arts, focusing on aesthetics and media theory. She also coordinates the PhD program “Epistemologies of Aesthetics Practices” (ZHdK, University of Zurich and ETH). She received her PhD in 2017 from Bauhaus-University, Weimar, with a dissertation on Vilém Flusser’s media philosophy and initiated and coordinated several international projects in media philosophy, among others the DFG funded research project ‘Positions and Perspectives of German and Czech Media Philosophy’. Recent publications include Praxis und Medialität, Internationales Jahrbuch für Medienphilosophie, Band 5 (2019), ed. together with Dieter Mersch; “Medienanthropologische Szenen. Die conditio humana” in Zeitalter der Medien (2019), ed. together with Christiane Voss and Lorenz Engell; “On the Practice of Theory. The Technological Turn of Media Theory and Aesthetic Practice of Media Philosophy” in Practical Aesthetics (2020); “Can We Think Computation in Images or Numbers? Critical Remarks on Vilém Flusser’s Philosophy of Digital Technologies”, in Flusser Studies 22 (2016).

Lukáš Likavčan
Shot of a flying bird-like creature with its wings stretched out wide open, literally dissolving in the black background. The head resembles that of a seagull, whereas the lower body is reminiscent of the anatomy of a chicken.

Lukáš Likavčan is a Slovak philosopher focused on technology, ecology, and visual cultures. He studied Philosophy and Environmental Studies at Masaryk University, Brno (CZ). As a researcher, he was based at Wirtschaftsuniversität Wien, The Hong Kong Polytechnic University, and BAK – basis voor actuele kunst, Utrecht (NL). Likavčan is a lecturer at Center for Audiovisual Studies FAMU, Prague; faculty member at Strelka Institute for Media, Architecture and Design, Moscow; and a member of Display – Association for Research and Collective Practice, Prague. He is an author of Introduction to Comparative Planetology (2019).

Jen Liu
A woman of Color with long black hair and bangs, dark red lipstick, and a black turtleneck looks directly into the camera. In the background, red, slightly transparent curtains can be seen on each side.
Foto/Photo: Adam Murphy

Jen Liu is a visual artist based in New York, working in video/animation, choreography, genetically engineered biomaterial, sculpture, and painting to explore national identities, gendered economies, neoliberal industrial labor, and then re-motivating of archival artifacts. She builds fictional worlds from multiple lines of research, fabricated narratives that speak to contested accounts of the past and present. She is a 2019 recipient of the Creative Capital Award, 2018 LACMA Art +Technology Lab grant, and 2017 Guggenheim Fellowship in Film/Video. She has presented work at The Whitney Museum, MoMA, and The New Museum in New York City; Smithsonian American Art Museum, Washington DC; Royal Academy and ICA in London; Kunsthaus Zurich; Kunsthalle Wien; the Aspen Museum of Art (US); Henry Art Gallery, Seattle (US); MUSAC, Leon (ES); UCCA Peking, Times Museum Guanzhou, (CN); and the 2014 Shanghai Biennale and 2019 Singapore Biennale.

Eva & Franco Mattes
Portrait of two White people (left: a woman with medium-length blond hair in a dark blue jumpsuit; right: a gray-haired man in a shirt printed with a digital pattern) looking into the camera. They cover their eye areas with narrow black rectangles.
Foto/Photo: Laurel Golio

Eva & Franco Mattes are an Italian artist duo based in New York City. They make work that responds to and dissects our contemporary networked condition, always approaching the ethics and politics of life online with a hint of dark humor. Group exhibitions include Sharjah Art Foundation (AE); SFMOMA, San Francisco; Athens Biennale; Mori Art Museum, Tokyo; Museum of Contemporary Art, Chicago; Biennale für aktuelle Fotografie, Mannheim (DE); Biennale of Sydney; Whitechapel Gallery, London; Minneapolis Institute of Arts (US); Sundance Film Festival, Salt Lake City; MoMA PS1 and Performa in New York City; National Art Museum of China, Beijing; The New Museum, New York City and Manifesta 4, Frankfurt (DE).

In 2001, they were among the youngest artists ever included in the La Biennale di Venezia. Survey exhibitions of their work have been held at Fondation PHI, Montreal (CA), and at Fotomuseum Winterthur, Zurich 2021. Past solo exhibition venues include Nassauischer Kunstverein Wiesbaden (DE); Team Gallery, Los Angeles; Essex Flowers and Postmasters Gallery, New York City; Carroll/Fletcher Gallery, London; and Site Gallery, Sheffield. Their works can be found in the collections of the SFMOMA, Whitney Museum of American Art, Fotomuseum Winterthur (CH), X Museum, and the Walker Art Center (US).

Lisa Messeri
A White woman in a green down jacket and a tin foil hat on her head sits in a machine room full of electronic connections next to a beige alien who also wears a tin foil hat.

Lisa Messeri, PhD, is an assistant professor of Sociocultural Anthropology at Yale University. She works with scientists and innovators to understand how their practices and imaginaries shape broader understandings of what it means to be in the world. In the book Placing Outer Space (2016), Messeri explores how planetary scientists and exoplanetary astronomers transform planets from scientific objects into places and worlds. Presently, she is writing a book that weaves together the fantasies and technologies that enliven the virtual reality community in Los Angeles. Messeri is more of a Scully than a Mulder.

Tom McCarthy
A black and white portrait photo of a White, dark-haired man in a dark striped jacket, black tie, and dark jeans. He has his right hand in his pockets.
Foto/Photo: Nicole Strasser

Tom McCarthy is a novelist and is known in the art world for the reports, manifestos, and media interventions he has made as general secretary of the International Necronautical Society, a semifictitious avant-garde network. His books include C and Satin Island, both of which were short-listed for the Booker Prize; Transmission and the Individual Remix: How Literature Works; and Men in Space. In 2013 McCarthy was awarded an inaugural Windham Campbell Literature Prize from Yale University. He contributes regularly to publications such as The New York Times, The London Review of Books, Harper’s and Artforum.

McCarthy has held Visiting Professorships at the Royal College of Art London; Columbia University, New York City; and Städelschule Frankfurt (DE). In 2019 he guest-curated the exhibition Empty House of the Stare at London’s Whitechapel Gallery, and in 2022 will guest-curate a major exhibition Holding Pattern in Kunstnernes Hus Oslo (NO), exploring themes and motifs of his work. He lives in Berlin, where in 2019 he was a Fellow of the DAAD Artists-in-Berlin programme.

Lauren Lee McCarthy
A Chinese-American woman with short dark hair in front of blurred falling letters projected, a line of light through her eyes.
Foto/Photo: Cam McLeod

Lauren Lee McCarthy is an artist examining social relationships in the midst of surveillance, automation, and algorithmic living. She is a 2020 Sundance New Frontier Story Lab Fellow, 2020 Eyebeam Rapid Response Fellow, 2019 Creative Capital Grantee, and has been a resident at Eyebeam, New York City; ZERO1, San Francisco; Frank-Ratchye STUDIO for Creative Inquiry, Carnegie Mellon University, Pittsburgh (US); Autodesk, Mill Valley (US); Interactive Telecommunications Program at New York University; and Ars Electronica, Linz (AT). Her work SOMEONE was awarded the Ars Electronica Golden Nica and the Japan Media Arts Social Impact Award, and her work LAUREN was awarded the IDFA DocLab Award for Immersive Non-Fiction. Lauren’s work has been exhibited internationally, at places such as the Barbican Centre, London; Fotomuseum Winterthur (CH); Haus der elektronischen Künste Basel (CH), ACM SIGGRAPH, in various locations; Onassis Cultural Center New York; IDFA DocLab, Amsterdam; Seoul Museum of Art; and the Japan Media Arts Festival. She is the creator of p5.js, an open-source programming language for learning creative expression through code online. She helps direct the Processing Foundation, a non-profit whose mission is to promote software literacy within the visual arts, and visual literacy within technology-related fields—and to make these fields accessible to diverse communities. Lauren is an Associate Professor at UCLA Design Media Arts, Los Angeles.

Ramak Molavi Vasse’i
An outgoing, smiling woman of color with long dark hair, a gold chain, and dark blue turtleneck sweater stands off to the side lecturing about something. She wears an orange fair ribbon around her neck and a microphone around her left ear.

Ramak Molavi Vasse’i is a digital rights lawyer and policy advisor. She is a visiting lecturer at the University of Potsdam and IE Law School in Madrid. Her research includes privacy and data protection, Artificial Intelligence, algorithmic systems and ethics, and the regulation of technology.

Her interdisciplinary work is dedicated to sustainable and public service-oriented technology.

Two young White women stand in front of a white and green tiled wall and look smiling into the camera. The woman standing on the left of the picture has dark, short hair and wears a white shirt with a symmetrical pattern. The woman standing on the right side has long, blond hair and is wearing large, round earrings and a black turtleneck sweater.

MOTIF is an independent think tank that operates at the intersection of technology and society. MOTIF conducts research and advises organizations and policymakers on equitable tech. Current focus topics are fair platform work, feminist artificial intelligence, and open digital infrastructures for civil society organizations.

New Models
Logo New Models

New Models (NM) is a media platform and community addressing the emergent effects of networked technology on art, tech, politics, and pop-culture. Established in Berlin in 2018, by Caroline Busta, Daniel Keller, and LILINTERNET, NM includes some 1000 members and exists worldwide via the New Models Discord server and https://newmodels.io.

Lisa Rave
Photo of White woman with medium length blond hair and blue blouse. She is sitting on a stool.
Foto/Photo: Benedicte Sehested

Lisa Rave is an artist, filmmaker and photographer. Her works often explore issues of postcolonialism and history’s repeating patterns in the complex interplay of culture, economy, and ecology. Rave studied Experimental Film at the Universität der Künste Berlin and Photography at Bard College, New York City. She was a fellow of The Current at TBA21 Thyssen Bornemisza Art Contemporary Academy, the Academy of Media Arts in Cologne, KHM (DE); as well as the Academy Schloss Solitude, Stuttgart (DE) in 2014. Her work has been shown by, among others, Kunstmuseum Basel (CH); Hessisches Landesmuseum Darmstadt (DE); Berlinische Galerie; BOZAR Brussels; Transmediale, Berlin; the Museum for Modern Art Dubrovnik (MOMAD); mumok, Vienna; the Toronto Biennale (CA); and Lofoten International Art Festival ,LIAF (NO); and the NTU Centre for Contemporary Art Singapore. Rave currently works at the Academy of Fine Arts Nuremberg (DE).

Rachel Rossin
Photo of a sitting White woman with blue dyed hair. She is sitting in a studio with many canvases.
Foto/Photo: ART21

Rachel Rossin is a painter and programmer whose multi-disciplinary practice has established her as a pioneer in the field of virtual reality. Her work blends painting, sculpture, new media, gaming, and video to create digital landscapes that focus on entropy, embodiment, as well as the ubiquity of technology and its effect on our psychology. Past solo exhibition venues include Zabludowicz Collection, London; 14a, Hamburg (DE); The Journal Gallery and Signal Gallery, New York City; Contemporary Art Centre, Riga and Zieher Smith & Horton, New York City. Rossin’s work was part of group exhibitions at the Frist Center for the Visual Arts, Nashville (US); K11 Art Museum, Shanghai (CN); Kiasma Museum, Helsinki; The New Museum, New York City. Rossin received a Fellowship in Virtual Reality Research and Development, from New Museum’s NEW INC in 2015.

Jugendgremium Schattenmuseum
Five young people have positioned themselves around a podium in front of an orange building: two smiling young women are on the left: one woman of color with long, curly black hair and a gray coat, and one White woman with partly pink hair and light-colored clothing; in the center, a White young man and a young man of color sit with serious looks and dark hair in dark clothing and athletic shoes; a third White smiling woman with short dark hair in dark clothing is on the right.

Jugendgremium Schattenmuseum is a collective of 14 young people who advise museums and cultural institutions on their inclusion of younger audiences as well as develop their own artistic interventions. The collective was formed in 2018 as part of a collaboration with the Jewish Museum Berlin. Since, its members have met regularly in the form of workshops to develop their own projects and collaborations. Together with sideviews e. V., the collective realizes exhibitions for and together with cultural institutions in Berlin. Their recent work is documented on the website schattenmuseum.de.

Konstanze Schütze
Selfie of a White smiling woman with dark hair. Her black sweatshirt shows a print of Mona Lisa while she is doing the dab gesture with her arms.

Konstanze Schütze, Dr. phil., is a curator, art educator, and assistant professor for ‘Art Media Education’ at the University of Cologne (DE). She conducts research in art education and art pedagogy on issues of image-based media theory, as well as transdisciplinary research settings and inter-institutional approaches to art education.
She is co-founder and curator of the queer-feminist post-digital arts platform and collective dgtl fmnsm at digitalfeminism.net. Her current projects and publications include, among others, Algorithmic Literacy Lab* and Critical Procedures, Workbook Arts Education, Doing Research (2021), After Humans (2021), Cultural and the Reader “Pizza is God” (2018).

Caroline Sinders
Portrait photo of a White woman with dark brown curly bob, red lipstick and septum nose piercing. Her upper body is slightly turned to the right, her gaze follows the same direction.

Caroline Sinders is a machine-learning-design researcher and artist. For the past few years, she have been examining the intersections of technology’s impact in society, interface design, artificial intelligence, abuse, and politics in digital, conversational spaces. Sinders is the founder of Convocation Design + Research, an agency focusing on the intersections of machine learning, user research, designing for public good, and solving difficult communication problems. As a designer and researcher, she has worked with Amnesty International, Intel, IBM Watson, the Wikimedia Foundation, and others. She has held fellowships with the Harvard Kennedy School; the Mozilla Foundation and Yerba Buena Center for the Arts, San Francisco; Eyebeam and the International Center of Photography, New York City; and Frank-Ratchye STUDIO for Creative Inquiry, Carnegie Mellon University, Pittsburgh (US). Sinders’ work has been supported by the Ford Foundation, Omidyar Network, the Open Technology Fund and the Knight Foundation and has been featured in the Tate Exchange, Tate Modern and Victoria & Albert Museum, London; MoMA PS1, New York City; LABoral Centro de Arte y Creación Industrial, Gijón (ES); Ars Electronica, Linz (AT); the Houston Center for Contemporary Craft (US); Slate; Quartz; Wired; among others. She holds an MA from the Interactive Telecommunications Program at New York University.

Dirk Sorge
A white man in a baseball cap sits bent over a table holding a lit match.

Dirk Sorge works as an artist and cultural mediator in Berlin and Saxony. He studied Fine Arts and Philosophy and deals with the topics of standardization, mechanization, and automatisms. His works include installations, performances, and computer programs. Often, he involves his audience directly and questions the concept of authorship. He has worked for various museums, including the Berlinische Galerie; the Bauhaus Archive, Berlin; and the Staatliches Museum für Archäologie, Chemnitz. Dirk Sorge is a founding member of Berlinklusion, a network that promotes the active participation of people with disabilities in art and culture.

Charles Stankievech
A White man in a diving suit holds a medium-sized apparatus in his hands. He wears a headlamp, which he uses to illuminate and look at the apparatus.

Charles Stankievech is a Canadian artist whose research has explored the notion of ‘fieldwork’ in the embedded landscape, the military industrial complex, and geopolitics. His work has been shown at institutions including the Louisiana Museum of Modern Art, Humlebæk; Palais de Tokyo, Paris; Haus der Kulturen der Welt, Berlin; National Gallery of Canada, Ottawa; TBA21 Thyssen-Bornemisza Art Contemporary, Vienna; MASS MoCA, Massachussetts; Musée d’art contemporain de Montréa, North Adams (US); Musée d’art contemporain de Montréal (CA); Canadian Centre for Architecture, Montreal; and the Venice (IT) and SITE Santa Fe Biennales (US), among others. He has lectured at dOCUMENTA (13) and the 8th Berlin Biennale and his writing has been published by Sternberg Press, e-flux, Verso, MIT and Princeton Architectural Press. Stankievech has participated in such residencies as The Banff Centre (CA); Fogo Island; Marfa Fieldwork (US); Atlantic Centre for the Arts, New Smyrna Beach (US); Museumsquartier Vienna; and the Canadian Military. In 2015, he won the OAAG award for best solo exhibition Monument as Ruin. He is an editor of Afterall Journal out of London, and founded the art and theory press K. in Berlin in 2011. In 2007, he was a founding faculty member of the Yukon School of Visual Arts, Dawson City (CA) (under joint governance by the indigenous sovereign nation of Tr’ondëk Hwëch’in). He is an Associate Professor in the Faculty of Architecture, Landscape and Design at the University of Toronto (CA).


The AURORA School for ARtists at the University of Applied Sciences Berlin (HTW) offers further education in the fields of augmented reality (AR) and digital media production to art and culture professionals. In regular practice-based programs, existing AR solutions from the creative and artistic field are presented and ideas for their further implementation are developed. In the AURORA production lab, some of the AR app designs can also be realized and programmed with the support of the AURORA team.

From 2018 to 2021, the AURORA School for ARtists receives funding from the European Regional Development Fund (ERDF) under the “Program for Strengthening Innovation Potential in Culture II” with the support of the Senate Department for Culture and Europe.