Howie Chen is a New York–based curator involved in collaborative art production and research. Chen is a founder of Dispatch, a curatorial production office and project space founded in New York City, later transitioning to a peripatetic exhibition model. In 2010, Chen co-founded JEQU, a research project assessing how sociological and cultural economic approaches to art world debates can augment artistic critique. He holds a degree in economics from The Wharton School at the University of Pennsylvania and attended the Whitney Museum Independent Study Program as a Helena Rubinstein Curatorial Fellow. Chen currently teaches critical theory at the New York University Steinhardt School and Parsons The New School for Design. He is a lecturer and research affiliate at the Art, Culture and Technology program at MIT.
Doreen Mende lives in Berlin and works internationally as a curator, lecturer and editor. Her concept-driven projects involve often research with image archives in relation to economics, display practices, non-western internationalisms, non-aligned histories, solidarity and geopolitics. Recent institutional collaborations include University of California Santa Cruz; Generali Foundation, Vienna; Centro Andaluz de Arte Contemporáneo, Seville; Arab Image Foundation, Beirut; ETH, Zurich; Netsa Art Village, Addis Ababa; Qalandyia International, Ramallah; and Raven Row, London. She has taught at the Dutch Art Institute since 2010. Mende received her PhD from the Curatorial/Knowledge program at Goldsmiths, University of London.
Evan Calder Williams is a writer, artist, and theorist. He is the author of Combined and Uneven Apocalypse, Roman Letters, and, forthcoming next year from Verso, Against the Flood: The Italian Critique of Gender and Capital, a collection of translations and writings. He writes for Film Quarterly, Mute, the Criterion Collection, World Picture, La Furia Umana, and The New Inquiry, among others. Next month he will premiere his new film and performance with musician Taku Unami, The Glass Map, at the Festival de Nouveau Cinéma, Montreal.
Mark Fisher is the author of Capitalist Realism, 2009, and Ghosts of my Life: Writings on Depression, Hauntology and Lost Futures, 2014, both published by Zero books, where he is now a Commissioning Editor. His writing has appeared in a wide variety of publications, including Film Quarterly, The Wire, The Guardian and Frieze. He is Programme Leader of the MA in Aural and Visual Cultures at Goldsmiths, University of London and a lecturer at the University of East London. He was a founding member of the influential Cybernetic Culture Research Unit at the Philosophy Department of University of Warwick, Coventry in 1995.
Susanne Rennert works as a curator and writer based in Düsseldorf with a research-related focus on the 1950s, 1960s and 1970s. Her scholarly studies comprise monographic work with a deep interest for the overlooked as well as for the social, economic and political contexts of art. Among her most recent curatorial and co-curatorial projects were Living with Pop. A Reproduction of Capitalist Realism., Kunsthalle Düsseldorf / Artists Space, 2013/14 (with E. Evers, M. Holzhey, G. Jansen, R. Birkett and S. Kalmár); Nam June Paik, Museum Kunstpalast Düsseldorf / Tate Liverpool, 2010/11 (with Sook-Kyung Lee). In Spring 2013, Rennert copublished the first book on Jean-Pierre Wilhelm, an early promoter of Nam June Paik and pioneer of intermedia art scene with Verlag der Buchhandlung Walther König, Cologne. She recently contributed text to Dorothy Iannone, This Sweetness Outside of Time, Retrospective of Paintings, Objects, Books and Films, 1959-2014, Berlinische Galerie, Berlin, 2014.