Sven Spieker teaches in the Comparative Literature Program at the University of California, Santa Barbara. He specializes in modern and contemporary art and culture, with an emphasis on Russia and Eastern Europe, and a special interest in issues related to documentary and knowledge production. Spieker’s latest book publication is an edited volume devoted to the relationship between art and destruction (Destruction; MIT Press/Whitechapel Gallery, 2017). The monograph The Big Archive (2008) focused on the archive as a crucible of European modernism (The Big Archive, MIT Press; Korean translation 2014). Spieker is a founding editor of ARTMargins Print and ARTMargins Online.
Tomáš Glanc, born in Prague, is a professor at Zurich University. Topics of his research include modern slavic literature, Russian culture, samizdat and unofficial media, Russian and Czech modernism, Slavic ideology, and contemporary Russian art and literature. He has organized exhibitions of contemporary Russian art and several editions of the exhibition Poetry & Performance: The Eastern European Perspective (together with Sabine Hänsgen). He has also been a visiting professor at Humboldt University, Berlin; visiting professor at Basel University; senior fellow at Bremen University; director of the Czech Cultural Center in Moscow; and director of the Institute of Slavic and East European Studies, Charles University, Prague.
Christine I. Ho is associate professor of East Asian art history at the University of Massachusetts Amherst. Her research focuses on modern and contemporary art, socialist visual culture, and craft and design in China. The author of Drawing from Life: Socialist Painting and Socialist Realism in the People’s Republic of China (University of California, 2020), she has also published in The Art Bulletin and Archives of Asian Art.
Zsuzsa László is a researcher and curator at Artpool Art Research Center, Budapest. She is a member of tranzit/hu’s board and the editorial team of Art Margins Online. Projects and publications she (co-)curated, co-authored, and co-edited explore transnational exhibition histories, artist archives, progressive pedagogies, cultural transfers, and decentralized understanding of conceptualism and neo-avant-gardes in Cold War Eastern Europe, including What Will Be Already Exists: Temporalities of Cold War Archives in East-Central Europe and Beyond, 1971: Parallel Nonsynchronism, Creativity Exercises, Sitting Together, Cartography of Artist Solidarity, and Parallel Chronologies.
Ernesto Menendez-Conde is a Cuban scholar interested in studying aesthetic ideologies in contemporary art. He recently published the first two volumes of Traces on the margins. Abstract art and aesthetic ideologies in Cuba (he is currently working in the third tome of this book). Menendez-Conde also co-authored the upcoming volume The Protest poster. Graphic artists confront the Cuban regime. From 2011 to 2014, he was the co-founder and editor in chief of the quarterly e-magazine ArtExperience: NYC. He has published in magazines from The United States, Spain, and Cuba.
Polly Savage is Lecturer in the Art History of Africa at SOAS, University of London. Her research focuses on the intersections of art, curating and decolonisation in Africa, with particular focus on the cultural networks of international solidarity in Lusophone Africa. She holds a doctorate in Curating Contemporary Art from the Royal College of Art and previously worked at London’s October Gallery. Her edited volume Making Art in Africa 1960-2010 was published by Lund Humphries in 2014.
Vladimir Seput is a researcher and film curator who works with Isaac Julien Studio in London at the intersection of film, contemporary art, and art publishing. For the last ten years, he has published on film and moving-image art for various publications in Europe and translated and edited books on philosophy, critical theory, and contemporary art, including writings by Maurice Blanchot, Barbara Cassin, Serge Daney, and Ivan Illich. Seput was a researcher in film and video studies at University Paris 8 Vincennes-Saint-Denis and holds a master’s degree in film curation from Birkbeck, University of London.
Bojana Videkanić is an Associate Professor of contemporary art and visual culture in the Department of Fine Arts at the University of Waterloo. Her research focuses on the 20th-century socialist art in Yugoslavia and its contributions to the rise of global modernisms, socialist art, and anti-imperialist cultural work in the 20th century. Her book Nonaligned Modernism: Socialist Postcolonial Aesthetics in Yugoslavia, 1945-1985 came out in 2020 for McGill-Queens University Press.