Crystal Z Campbell, is a multidisciplinary artist, experimental filmmaker, and writer of Black, Filipinx, and Chinese descents. Campbell finds complexity in public secrets—fragments of information known by many but undertold or unspoken. Campbell’s works use underloved archival material to consider historical gaps in the narrative of the 1921 Tulsa Race Massacre, revisit questions of immortality and medical ethics with Henrietta Lacks’ “immortal” cell line, and salvage a 35mm film from a demolished Black activist theater in Brooklyn as a relic of gentrification. Select honors include a 2022 Creative Capital award, Guggenheim Fellowship in Fine Arts, Harvard Radcliffe Fellowship, Pollock-Krasner Award, Rijksakademie, and Whitney ISP. Exhibitions and screenings include Artists Space, MOMA, Drawing Center, SFMOMA, ICA-Philadelphia, REDCAT, SculptureCenter, and Berlinale Forum Expanded. Campbell was a featured filmmaker at the 67th Flaherty Film Seminar, and their film, REVOLVER, received the Silver Hugo at the Chicago International Film Festival. Campbell is currently a Visiting Associate Professor in Art and Media Study at the University at Buffalo and lives in New York and Oklahoma.

Sarah Stewart Johnson’s research is driven by the underlying goal of understanding the presence and preservation of biosignatures within planetary environments. Her lab is also involved in the implementation of planetary exploration, analyzing data from current spacecraft as well as devising new techniques for future missions. A former Rhodes Scholar and White House Fellow, she received her Ph.D. from MIT and has worked on NASA’s Spirit, Opportunity, and Curiosity Rovers. She is also a visiting scientist with the Planetary Environments Lab at NASA’s Goddard Space Flight Center. Her recent book, The Sirens of Mars, was a New York Times Editor’s Choice and selected as one of the New York Times 100 Notable Books of 2020.

Susan Meiselas is a documentary photographer based in New York. She is the author of Carnival Strippers (1976), Nicaragua (1981), Kurdistan: In the Shadow of History (1997), Pandora’s Box (2001), Encounters with the Dani (2003), Prince Street Girls (2016), A Room Of Their Own (2017), Tar Beach (2020), and Carnival Strippers Revisited (2022).

Meiselas is well known for her documentation of human rights issues in Latin America. Her photographs are included in North American and international collections. In 1992 she was made a MacArthur Fellow, received a Guggenheim Fellowship (2015), and most recently the Deutsche Börse Photography Foundation Prize (2019) and the first Women in Motion Award from Kering and the Rencontres d’Arles. Mediations, a survey exhibition of her work from the 1970s to the present was recently exhibited at the Fundació Antoni Tàpies, Jeu de Paume, San Francisco Museum of Modern Art, and the Instituto Moreira Salles in São Paulo, Kunst Haus Wien, C/O Berlin, Kunstmuseum Magdeburg, and FOMU in Antwerp.

She has been the President of the Magnum Foundation since 2007, with a mission to expand diversity and creativity in documentary photography.

Director and Professor of Historic Preservation at Columbia University’s Graduate School of Architecture, Planning, and Preservation, Jorge Otero-Pailos is an architect, artist, and theorist specializing in experimental forms of preservation. He is the founder and editor of the journal Future Anterior, co-editor of Experimental Preservation (2016) author of Architecture’s Historical Turn (2010) as well as a contributor to scholarly journals and books including the Oxford Encyclopedia of Aesthetics and Rem Koolhaas’ Preservation Is Overtaking Us (2014). Jorge Otero-Pailos is a member of the Academy of Arts and Sciences of Puerto Rico, and has received awards from major art, architecture, and preservation organizations, including the Kress Foundation, the Graham Foundation, the Fitch Foundation, the Canadian Center for Architecture, UNESCO, and the American Institute of Architects. He studied architecture at Cornell University and earned a doctorate in architecture at M.I.T. Jorge Otero-Pailos’s work as an artist has been commissioned by and exhibited at major heritage sites, museums, foundations, and biennials, including Artangel’s public art commission at the UK Parliament, the Venice Art Biennial, Victoria and Albert Museum, Louis Vuitton Galerie Museum, Thyssen-Bornemisza Art Contemporary, SFMoMA, Hong Kong’s Tai Kwun Centre for Heritage and Arts, Frieze London, and the Yerba Buena Center for the Arts. He is the recipient of a 2021-22 American Academy in Rome Residency in the visual arts.

Christiaan Triebert is a journalist with The New York Times’ Visual Investigations team, which combines traditional reporting with digital sleuthing and open source methods, and a Ferris Professor of Journalism at Princeton University. Prior to joining The Times, he was a senior investigator and lead trainer at the investigative group Bellingcat and gave workshops on open source investigation throughout Africa, Asia, Europe and Latin America. Triebert has shared two Pulitzer Prizes for investigations that revealed basic flaws in the U.S. military’s dismissal of civilian casualty claims, and that exposed Russian bombing of hospitals in Syria.

Dragan Espenschied is Preservation Director at Rhizome, stewarding ArtBase, a collection of more than 2200 works of digital art and net art. With a background in net activism, net art, and electronic music, Espenschied’s activities as a conservator are mostly focused on infrastructure and field-wide action concerning web archiving, emulation, and linked open data, rather than singular artworks.

Lawrence Abu Hamdan is a Private Ear, listening to, with and on behalf of people affected by corporate, state, and environmental violence. Abu Hamdan’s work has been presented in the form of forensic reports, lectures and live performances, films, publications, and exhibitions all over the world. He received his PhD in 2017 and has held fellowships and professorships at the University of Chicago, the New School, New York and most recently at the Johannes Gutenberg University Mainz where he developed his research. Abu Hamdan’s audio investigations have been used as evidence at the UK Asylum and Immigration Tribunal and been a key part of advocacy campaigns for organisations such as Amnesty International, Defence for Children International and Forensic Architecture. His projects that reflect on the political and cultural context of sound and listening have been presented at the 22nd Biennale of Sydney, the 58th Venice Biennale, the 11th Gwangju Biennale, the 13th and 14th Sharjah Biennial, Witte De With, Rotterdam, Tate Modern Tanks, Chisenhale Gallery, Hammer Museum L.A and the Portikus Frankfurt. These works are part of collections at Reina Sofia, MoMA, Guggenheim, Hamburger Bahnhof, Van AbbeMuseum, Centre Pompidou and Tate Modern.

Katja Heitmann investigates in her visual-choreographic work what moves humankind in the current era. Katja Heitmann’s choreographic work consists of extreme aesthetics, in sharp contrast to human fallibility. Her minimalistic and minutely designed imagery confronts viewers with a frantic flood of insights. This distinct, perceptible tension returns in all her work. As a choreographic sculptor, Katja is constantly searching for the core of her material. By means of radical concepts and well-considered forms of performance, she strips her artistic material of any noise. Only that what really matters is shown with astonishing sharpness. In every detail of her work lies the grand gesture. Katja Heitmann wants to move her audience. Through her work she constantly seeks interaction with society, with the city, with people. The universal character of her work makes it possible for anyone who wants to find their own entrance to the work. Katja Heitmann creates unique performance installations and theatrical exhibitions that appeal to an astonishingly varied audience and regularly brings them to tears. In 2016 Katja was awarded the Prize of the Dutch Dance Festival. In 2020 she was honoured with the prestigious Gieskes Strijbis Podium-award.

Stefan Helmreich is an anthropologist who studies how scientists in oceanography, biology, acoustics, and computer science define and theorize their objects of study, particularly as these objects — waves, life, sound, code — reach their conceptual limits. A Book of Waves (Duke University Press, 2023) details how scientists at sea and in the lab monitor and model ocean waves, seeking to capture in technical language these forces of nature at once periodic and irreversible, wild and pacific, ephemeral and eternal. The book includes reflections on waves in mythology, surf culture, feminist and queer theory, film, Indigenous Pacific activisms, Black Atlantic history, and cosmology. Helmreich’s previous ethnography, Alien Ocean: Anthropological Voyages in Microbial Seas (University of California Press, 2009), is a study of marine biologists working in realms usually out of sight and reach: the microscopic world, the deep sea, and oceans outside national sovereignty.

Susan Schuppli is a researcher and artist based in the UK whose work examines material evidence from war and conflict to environmental disasters and climate change. Current work is focused on learning from ice and the politics of cold. Creative projects have been exhibited throughout Europe, Asia, Canada, and the US. She has published widely within the context of media and politics and is author of the book, Material Witness published by MIT Press in 2020. Schuppli is Professor and Director of the Centre for Research Architecture, Goldsmiths University of London where she is also an affiliate artist-researcher and Board Chair of Forensic Architecture. Previously she was Senior Research Fellow and Project Co-ordinator of Forensic Architecture. Prior to working in the UK she was an Associate Professor in visual/media arts in Canada. Schuppli received her PhD from Goldsmiths and participated in the Whitney Independent Study Program after completing her MFA at the University of California San Diego. She is the recipient of the 2016 ICP Infinity Award.

Former Deputy Director and Lead Researcher of Forensic Architecture (FA), Christina joined the FA team in 2014 and held a variety of roles, from leading investigations and overseeing research and the development of new methodologies, to setting up office structures. She was trained as an architect, and has taught a Diploma unit (MArch) at the Architectural Association (2018-2020). She was also a member of the Technology Advisory Board for the International Criminal Court (2018). Currently, Christina is a Lecturer of Forensic Architecture at the Centre for Research Architecture, at Goldsmiths, University of London, as well as pursuing her PhD at Aarhus University where her research focuses on biopolitics and imaging of the human body. She has received the Novo Nordisk Foundation Mads Øvlisen PhD Scholarship for Practice-based Artistic Research and is also a fellow at Louisiana Museum of Modern Art, where she co-curated the Forensic Architecture exhibition Witnesses. She is a founding member and the chair of the board of Forensis.

Caro Verbeek is an embedded researcher of olfactory heritage at Vrije Universiteit Amsterdam, the Rijksmuseum and International Flavours & Fragrances. Trained as an art historian she specialises in sensory art and education in museums, art academies and universities. She has 10+ years of experience curating exhibitions and conserving collections (prints, drawings and scents). Verbeek creates olfactory tours and interventions for museums (Rijksmuseum, Van Abbemuseum, Bijbels Museum, Amsterdam Museum) and is determined to alter the way we think about and document ephemeral history and to create a language and sensory skills to do so. Her PhD project “In Search of Lost Scents - Reconstructing the Aromatic Heritage of the Avant-garde’ was widely discussed in (international) media during the exhibition "Aromatic Art (Re-)constructed” dd. 23.02.2017 - 23.05.2017 where people were able to smell the Battle of Waterloo, an 18th century canal house, medieval prayer nuts (all created by IFF), and Futurist and Surrealist olfactory works of art.