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.

Nadia Lichtig is an artist currently living in the South of France. In her multilayered work, voice is transposed into various media including painting, print, sculpture, photography, performance, soundscape and song—each medium approached not as a field to be mastered, but as a source of possibilities to question our ability to decipher the present. Visual and aural aspects entangle in her performances. Lichtig studied linguistics at the LMU Munich in Germany and at the Ecole des Beaux-Arts de Paris, France with Jean-Luc Vilmouth, where she graduated with honours in 2001, before assisting Mike Kelley in Los Angeles the same year. She taught at the Shrishti School of Art and Technology, Bangalore, India as a visiting professor in 2006, at the Ecole des Beaux-Arts of Valence in 2007 and is professor of Fine Arts at the Ecole Supérieure des Beaux-arts of Montpellier (MOCO-ESBA), France since 2009. She has collaborated with musicians who are also visual artists, such as Bertrand Georges (Audible), Christian Bouyjou (Popopfalse), Nicolu (La Chatte), Nina Canal (Ut) and Michael Moorley (The dead C). Lichtig worked and works under several group names and pseudonyms (until 2009: EchoparK, Falseparklocation, Skrietch, Ghosttrap and Nanana).

Josèfa Ntjam was born in 1992 in Metz (FR), and currently lives and works in Paris. Ntjam is part of a generation of artists who grew up with the internet, communicating and sending images by electromagnetic wave. Working with video, text, installation, performance and photomontage, Ntjam creates a story with every piece that acts as a reflection of the world around her. Drawing connections to science fiction and the cosmos, Ntjam has said of her work, “I sat there some time ago with Sun Ra in his Spaceship experimenting with a series of alternative stories. An exoteric syncretism with which I travel as a vessel in perpetual motion.” Ntjam studied in Amiens and Dakar (Cheikh Anta Diop University) and graduated from l’Ecole Nationale Supérieure d’Art, Bourges (FR) and Ecole Nationale Supérieure d’Art, Paris-Cergy (FR). Her works and performance have been shown at numerous venues such as the 15th Biennial of Lyon, DOC! Paris, a la Zentral (CH), Palais de Tokyo, Beton Salon, La Cite internationale des arts, la Bienanale de Dakar (SN), Let Us Rflect Festival (FR), FRAC de Caen, and CAC Bretigny.

Anne Riley is a multidisciplinary artist living as an uninvited Slavey Dene/German guest from Fort Nelson First Nation on the unceded territories of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh and Sel̓íl̓witulh Nations. Her work explores different ways of being and becoming, touch and Indigeneity. Riley received her BFA from the University of Texas at Austin in 2012 and has exhibited across the United States and Canada. From 2018 to 2020, she worked on a public art project commissioned by the City of Vancouver with her collaborator, T’uy’t’tanat Cease Wyss. Riley and Wyss’s project, A Constellation of Remediation, consisted of Indigenous remediation gardens planted throughout the city. Riley and Wyss were longlisted for the 2021 Sobey Art Award. Since this project, Riley participated in the Drift: Art and Dark Matter residency and exhibition, creating works that consider the possibilities of making and being beyond the confines of Western institutions and extractive processes.

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.