Authors #12



Filipa César is an artist and filmmaker interested in the fictional aspects of the documentary, the porous borders between cinema and its reception, and the politics and poetics inherent to the moving image and imaging technologies. Since 2011, she has been researching the origins of the cinema of the African Liberation Movement in Guinea Bissau as a collective laboratory of decolonising epistemologies. The resulting body of work comprises films, archival practices, seminars, screenings, publications and ongoing collaborations with artists, theorists and activists in particular with Diana McCarty and Sana Na N’Hada, with whom she initiated the Mediateca Onshore project.


Sandra Chatterjee: scholar and choreographer working with senses not usually foregrounded in dance, i.e. smell. Currently a researcher in Border-Dancing Across Time (FWF/P31958-G, University of Salzburg), and co-establishing CHAKKARs — moving interventions to facilitate intersectional anti-racist and decolonizing approaches in dance.


Franz Anton Cramer is dance scholar and author. His work focuses on archivalities in the performance-based arts and the history of dance in 20th century. He realised research and archival projects in Leipzig (Dance Archives), Paris (media library Centre national de la danse), Berlin (HZT and Tanzplan Deutschland / Dance Heritage), Salzburg (University) and since 2020 Hamburg (Centre for the Study of Manuscript Cultures). With Barbara Büscher, he is co-editor of MAP since 2009.


Annet Dekker is a curator and researcher ( Currently she is Assistant Professor Archival and Information Studies and Cultural Analysis at the University of Amsterdam and Visiting Professor and co-director of the Centre for the Study of the Networked Image at London South Bank University. She has published numerous essays and edited several volumes, among others, Curating Digital Art. From Presenting and Collecting Digital Art to Networked Co-Curating (Valiz 2021) and Lost and Living (in) Archives. Collectively Shaping New Memories (Valiz 2017). Her monograph, Collecting and Conserving Net Art (Routledge 2018) is a seminal work in the field of digital art conservation.


Berlin-based Singaporean artist Choy Ka Fai works across the boundaries between visual arts, dance and theatre. His work poses questions about the constitution of the body as a medium for its surroundings and as an archive of remembrance in the midst of digital streams that dissolve classical conceptions of physical corporeality. By creating choreographic works including organic, material and bodies of data, Choy investigates post-human approaches as an alternative way of conceiving the relationship between human bodies and worldly phenomena.


Gabriella Giannachi is Professor in Performance and New Media at the University of Exeter, UK. She has published a number of books including: Virtual Theatres (2004); The Politics of New Media Theatre (2007); Performing Mixed Reality, co-authored with Steve Benford (2011); Archaeologies of Presence, co-edited with Michael Shanks and Nick Kaye (2012); Archive Everything (2016 and, in Italian translation, 2021); Histories of Performance Documentation, co- edited with Jonah Westerman (2017); Moving Spaces: Enacting Dance, Performance and the Digital in the Museum, co-edited with Susanne Franco (2021) and Technologies of the Self-Portrait (2022).


Tobias Hering (*1971 in Siegen) is a freelance curator and researcher living in Berlin and Mecklenburg. The focus of his work is on thematic film programs for festivals and cultural institutions, often on socio-political and image-political issues. In recent years, working with archives and film collections has become increasingly important. In 2012, as part of his involvement in the Living Archive project initiated by Arsenal – Institute for Film and Video Art, Tobias Hering came into contact with Filipa César's research on the role of film work and "cine-kinships" in Guinea-Bissau's struggle for independence. For more than ten years, he accompanied the resulting transnational research project as author, researcher, co-curator of programs and symposia, and co-editor of several publications. Other curatorial projects in recent years include the program cycle Tell It to the Stones (2017) on the work of Daniéle Huillet and Jean-Marie Straub at the Akademie der Künste Berlin (together with Annett Busch) and the program series The gatekeepers exist to be overthrown (2021-22), a critical homage to the New York film curator Amos Vogel at the Arsenal cinema in Berlin. At the International Short Film Festival Oberhausen, Tobias Hering directs the archive-based program section re-selected.


Francis Hunger’s practice combines artistic research and media theory with the capabilities of narration through installations, radio plays and performances and internet-based art. Currently he is a researcher for the project Training The Archive at Hartware MedienKunstVerein, Dortmund, critically examining the use of AI, statistics and pattern recognition for art and curating. His Ph.D. at Bauhaus University Weimar develops a media archeological genealogy of database technology and practices.
Hunger’s artistic work is exhibited internationally. Numerous festival participations, talks, lectures, publications, screenings and academic lectures. He occasionally curates exhibitions, teaches at universities regularly and publishes daily on twitter. http://www.irmielin.org


Jana Horáková is an associate professor for New Media Art at the Department of Musicology of the Masaryk University, Faculty of Arts, Czech Republic. She specializes in a local new media art history, in robotic art, and in innovative methodologies of new media art research, preservation, and mediation. She presented her research in an Austria, Germany, Hungary, Russia, Finland, USA or Japan. She published in IEEE proceedings, MIT Press, Springer Germany, Springer Japan and other. She is an author of several papers, book chapters and books. She co-curated the virtual reconstruction of one of very first computer graphic exhibitions Computer Graphic (The Brno House of Arts, 1968/2017, 2018). Recently she led the interdisciplinary research project Media Art Live Archive focusing on application of machine learning to The Vasulkas’ video art (


Jasmin İhraç, in Köln aufgewachsen, lebt und arbeitet in Berlin. Parallel zu ihrem Soziologie-Diplom an der Freien Universität Berlin studierte sie am Hochschulübergreifenden Zentrum Tanz Berlin (HZT). 2021 hatten drei ihrer Stücke Premiere: Kleine große Sprünge im Rahmen von Tanzkomplizen, liú, in Koproduktion mit dem HAU Hebbel am Ufer und Schichten schichtengemeinsam mit Tümay Kılınçel (Zeche Zollverein).


Marika Kupková (*1973) works as a contemporary art curator and participates in the organization of the International Short Film Festival Brno 16. The focal point of her curating and dramaturgical activities is at Galerie TIC in Brno. She studied film history at the Faculty of Arts at Masaryk University and afterwards at the Faculty of Arts at Charles University. During her post-graduate studies, she focused on institutional history and cultural politics in Czech cinematography of the 1940s and 1950s. The results of her research were published, for example, as part of five-part collective project Kultura a totalita (Culture and Totalitarianism) at the Faculty of Arts, Charles University. She is also interested in film beyond its cinematographic frameworks and in experimental forms of audiovisual production. Since 2010, she has been a lecturer at the Theory of Interactive Media program at the Faculty of Arts, Masaryk University, where she teaches courses in film history, new media, and curating. From 2006 to 2014 she was a member of the civic association S.P.K.H., focused on art in public spaces, environmentalism, and urbanism.


Lucie Ortmann works as a dramaturge, most recently at Schauspielhaus Wien and at the cross-disciplinary festival Ruhrtriennale. She has been engaged at tanzhaus nrw in Düsseldorf since August 2022. Lucie Ortmann was a research assistant for the DFG-project „Records and Representations. Media and Constitutive Systems in Archiving Performance-based Arts“ at HMT Leipzig and HZT Berlin. Together with Mareike Hantschel, Katrin Ribbe and Demian Wohler, she has been developing the feminist re-enactment project „Aufstand aus der Küche“ since 2014.


Amanda Piña is a Chilean-Mexican Artist living in Vienna and Mexico City. Her artistic work is concerned with the decolonization of art, focusing on the political and social power of movement, temporarily dismantling ideological separations between contemporary and traditional, human and animal, nature and culture. Her work has been presented in institutions such as Tanzquartier Wien, Kunsthalle Wien and MUMOK Museum of Modern Art of Vienna, Fondation Cartier pour l’Art Contemporain Paris, Kunstenfestivaldesarts Brussels, De Single Antwerp, Royal Festival Hall London, Museo Universitario del Chopo, Mexico, NAVE and Festival Santiago a Mil, Chile.


Monika Szűcsová is a researcher and independent curator. The primary research of her recently defended dissertation was related to the field of presentation of digital art, more specifically, software art and net art. More recently, she has been concerned with research related to archiving, preservation, and documentation strategies for software-based art, contributing to the practical research project Digital Canon?! carried out by LIMA, Amsterdam. She is part of the online curatorial project The Black Box / Černá skříňka (, since 2020) and has contributed to the project executing the interactive database Vasulka Live Archive (, 2021). She teaches various courses related to new media art history, theory and presentation at the Faculty of Arts, Masaryk University in Brno. She is a visiting curator in ScreenSaverGallery (