Denise Ferreira da Silva is an artist and Professor at UBC’s Social Justice Institute-GRSJ and Adjunct Professor at Monash University’s School of Art, Design and Architecture. She is the author of Toward a Global Idea of Race (University of Minnesota Press, 2007), A Dívida Impagavel (Oficina da Imaginaçāo Política and Living Commons, 2019), Unpayable Debt (Sternberg/MIT Press, 2022) and co-editor (with Paula Chakravartty) of Race, Empire, and the Crisis of the Subprime (Johns Hopkins University Press, 2013). Her artistic works include the films with Arjuna Neuman and the relational art practices Poethical Readings and Sensing Salon in collaboration with Valentina Desideri. She has exhibited and lectured at the Pompidou Center (Paris), Whitechapel Gallery (London), MASP (Sao Paulo), Guggenheim (New York) and MoMA (New York). She has written for publications from Liverpool Biennale, 2017; Sao Paulo Biennale, 2016, Venice Biennale, 2017, and Documenta 14 and published in journals such as Canadian Art, Frieze, Pass, Texte Zur Kunst and e-flux. She has held visiting professorships at major universities in Australia, Brazil, Britain, Denmark, Germany and the United States and is a member of the collective EhChO.org and an editor of Third Text.

Arjuna Neuman was born on an airplane, that’s why he has two passports. He is an artist, filmmaker and writer. With recent presentations at CCA Glasgow; Centre Pompidou, Paris; Manifesta 10, Marseille; Showroom Gallery, London; TPW Gallery, Toronto; Forum Expanded, Berlin Berlinale; Jameel Art Centre, Dubai; Berlin Biennial 10, Germany; Serpentine, London X Qalandia Biennial, Palestine; Gasworks, London; Bold Tendencies, London, UK; Or Gallery, Vancouver; Whitechapel Gallery, London; Istanbul Modern, Turkey; MAAT and Docslisboa, Portugal; Sharjah Biennial 13, UAE; Bergen Assembly, Norway; at NTU Centre for Contemporary Art, Singapore; the 56th Venice Biennale and SuperCommunity; Industry of Light, London; the Haus Der Kulturen der Welt; at Ashkal Alwan and the Beirut Art Centre, Lebanon; Le Gaite Lyric, Paris; the Canadian Centre for Architecture; and the Rat School of Art, Seoul amongst others. As a writer he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings and e-flux.

Holly Schmidt (Canadian, b. 1976) is an artist, curator and educator engaging in embodied research, collaboration and informal pedagogy. She creates site-specific public projects that lead to experiments with materials in her studio. As the core of her work, Schmidt explores the multiplicity of human relations with the natural world. During her residency with the Belkin’s Outdoor Art Program, Schmidt has utilized spaces between campus buildings through a process of collective knowledge production. These artistic and ecological interventions foster relationships with plants in a manner that is both distinct from the formal, university landscape design as well as from standard notions of gallery space. Schmidt has been involved in exhibitions, projects and residencies at the Belkin Outdoor Art Program; the Burrard Arts Foundation, Vancouver; AKA Gallery, Saskatoon; Charles H. Scott Gallery, Vancouver; the Santa Fe Art Institute; Burnaby Art Gallery; and Other Sights for Artists’ Projects, Vancouver.

Chrystal Sparrow is a xʷməθkʷəy̓əm (Musqueam) Coast Salish artist and female carver who was traditionally mentored by her late father Irving Sparrow. Sparrow is a traditional and contemporary Coast Salish artist who uses feminine designs to express her culture, history and personal experiences. Her public work can be seen at the YVR International Airport, Vancouver School Board, Starbucks Canada, BC Children’s Hospital and other new locations. She believes her art is a living Coast Salish art language that encompasses her identity and culture.

Jol Thoms is a Canadian-born, European-based artist, author and sound designer. Both his written and moving-image work engage posthumanism, feminist science studies, general ecology and the environmental implications of pervasive technical/sensing devices. In the fields of neutrino and dark matter physics he collaborates with renowned physics institutes around the world. These “laboratory-landscapes” are the focus of his practice led PhD at the University of Westminster. In 2017 Thoms was a fellow of Schloss Solitude and resident artist at the Bosch Campus for Research and Advanced Engineering. Thoms graduated with an Honours BA in Philosophy, Art History and Visual Studies from the University of Toronto (2009) and later studied under Simon Starling at the Städelschule in Frankfurt (2013). Between 2014 and 2016 he developed and taught an experimental creative-research program for architecture students at the University of Braunschweig with then interim director Tomás Saraceno. In 2016 Thoms won the MERU Art*Science Award for his film G24|0vßß, which was installed in the Blind Faith: Between the Cognitive and the Visceral in Contemporary Art group exhibition at Haus der Kunst, Munich. Thoms is a lecturer in the MA Art and Ecology program at Goldsmiths University, London.