The fol­low­ing del­e­gates have already con­firmed their participation:

Olja Andrynowska stud­ied Religious Studies at the Jagiellonian University and Holocaust and Genocide Studies at the Uppsala University; lived for a while in Tel Aviv, cur­rently becom­ing a pro­fes­sional, writ­ing vagabond.

Ariel Efraim Ashbel (b.1982) is a Tel Aviv and Berlin based performance/theater artist.
Since 2000, He’s been pre­sent­ing his work in many fes­ti­vals and venues around Israel, such as the Akko fes­ti­val, Tmuna the­ater (TLV), hazira per­for­mance art cen­ter (Jerusalem), the cen­ter of con­tem­po­rary art (TLV) and many more. He stud­ied the­ater at the School of Visual Theater in Jerusalem, and his BA in phi­los­o­phy and inter­dis­ci­pli­nary human­i­ties at Tel Aviv uni­ver­sity. Between the years 2008–2010 he was the asso­ciate artis­tic direc­tor of Tmuna’s Intimadance Festival. In the first half of 2011 he moved to Berlin fol­low­ing a schol­ar­ship from Goethe Institute and the International Theater Institution, for an intern­ship at HAU. Since then he’s split­ting his time between Tel Aviv and Berlin, adjust­ing to the European weather, DJ’ing and plan­ning new vicious work, that will con­tinue to take him where no Yemenite gay’s gone before.

Cicek Bacik is born in 1972 in Almus (Turkey). In the course of fam­ily reuni­fi­ca­tion, she immi­grated to Berlin in 1980. Between 1994 and 2003 she stud­ied con­tem­po­rary ger­man lit­er­a­ture and french philol­ogy at the Free University of Berlin and the Sorbonne III. During her stud­ies she worked as a social worker in Muslim fam­i­lies. After com­plet­ing her master’s degree, she began to work at Berlin Institute for Comparative Social Research (BIVS) as a researcher in the field of migra­tion research. There she worked on projects such as “Political par­tic­i­pa­tion of migrants in the city” and “Government pol­icy towards Muslim minori­ties in the European Union.” She was espe­cially respon­si­ble for the sci­en­tific and admin­is­tra­tive coor­di­na­tion of the project “Turkish tele­vi­sion in Germany”. Between 2007–2009 she worked as a research assis­tant in the project “Muslims in Europe” at the European University Viadrina / Frankfurt Oder in the Department of Cultural and Social Anthropology. From 2010 to 2011 she worked as research asso­ciate in the Department of Economic and Social Geography in the project “Global Prayers, redemp­tion and lib­er­a­tion in the city”, deal­ing with the means of sci­ence and art, new man­i­fes­ta­tions of reli­gion in urban areas. In February 2012 she sub­mit­ted her doc­toral the­sis on “Turkish tele­vi­sion in Germany between mar­ket, state and mess” at the Philipps University/Marburg (depart­ment of polit­i­cal sci­ence). Between 2006 and 2009 she got a doc­toral schol­ar­ship at the Hans-Böckler-Foundation. She cur­rently works as a project assis­tant in the 7th Berlin Biennial with a focus on migration-specific art­works. Since tree years she is a board mem­ber of the Turkish Union in Berlin Brandenburg (Türkischer Bund in Berlin Brandenburg– TBB) — since March 2011 she is the spokes­woman of TBB. In March 2012, she was elected to the board of the Turkish com­mu­nity in Germany (Türkische Gemeinde in Deutschland) and to the board of the SPD in Friedrichshain-Kreuzberg. Political focal points: cul­ture, media, urban devel­op­ment and immi­gra­tion policy.

Raji Bathish was born in the town of Nazareth 1970, is a writer, screen­play writer and cul­tural activist, all his writ­ings are in Arabic. Currently he is  the edi­tor of the queer blog in the Palestinian cul­ture mag­a­zine “”. Raji’s writ­ings and arti­cles are pub­lished in  the Arab world and Israel-Palestine. Has released seven books in Nazareth, Amman-Jordan and Beirut. The Book “a room in Tel-Aviv”, pub­lished by : Arab insti­tute for stud­ies and research –Beirut 2007 is his most known. He has also con­tributed in the book: Solution 196–213: United States of Palestine-Israel by Joshua Simon (Ed.) an anthol­ogy of texts propos­ing excep­tional solu­tions for the region. And also con­tributed in the anthol­ogy of Israeli rev­o­lu­tion poetry in sum­mer 2011.

Irad Ben Isaak is a writer and trans­la­tor, work­ing mostly with Yiddish, German and Hebrew texts. He grew up in Tel Aviv and stud­ied Sociology and Central European Studies at the Tel Aviv University. In 2007 Irad immi­grated to Berlin and fin­ished his Master stud­ies in “Sociology of Europe” (Masterstudiengang „Soziologie – Europäische Gesellschaften“) at the Free University of Berlin (Freie Universität Berlin). Since 2011 Irad is mar­ried to Mariusz Kałczewiak – a Jewish-Studies researcher from Warsaw.

Christina von Braun, Born in Rome, school and high school in West Germany and London. Studies of Political Science and Sociology at New York University, N.Y. and Bonn, West Germany. From 1968 onwards free­lance work as film maker and writer (1968–1969: New York, 1969–1981: Paris, France, 1981–1994: Bonn and Essen (Fellow at the Institute for Cultural Studies in Essen (1991–1993). Since 1994 Professor of Cultural History and Theory at Humboldt University in Berlin. Visiting pro­fes­sor at dif­fer­ent uni­ver­si­ties in USA, Israel and France. Fields of Research: Gender, Media, Religion and Modernity, Antisemitism. Author of more than fifty films (doc­u­men­taries, essays and fic­tion), twenty books and numer­ous essays on cul­tural his­tory, gen­der and reli­gion. From 1996–2005 head of the depart­ment of Gender Studies at Humboldt University, since 2012 coor­di­na­tor of the newly founded Zentrum Jüdische Studien Berlin Brandenburg (Centre for Jewish Studies). Extra uni­ver­sity func­tions: Vice pres­i­dent of the Goethe Institute. Recent Publications: Versuch über den Schwindel. Religion, Schrift, Bild, Geschlecht. Zürich/München 2001; Gibt es eine ‚jüdis­che’ und eine ‚christliche’ Sexualwissenschaft? Sexualität und Säkularisierung, Wien 2004; Glauben, Wissen und Geschlecht in den drei Religionen des Buches, Wien  2009; Der Preis des Geldes. Eine Kulturgeschichte, Berlin 2012. Co-author with Wolfgang Gerlach, Ludger Heid, Der Ewige Judenhaß, Christlicher Antijudaismus, Deutschnationale Judenfeindlichkeit, Rassistischer Antisemitismus Stuttgart/Bonn/Berlin l990/2000; with Bettina Mathes, Verschleierte Wirklichkeit. Die Frau, der Islam und der Westen, Berlin 2007.

Boris Buden is a writer and cul­tural critic in Berlin. He stud­ied phi­los­o­phy in Zagreb (Croatia) and received his PhD in cul­tural the­ory from the Humboldt University, Berlin. In the 1990s he was edi­tor in the mag­a­zine Arkzin, Zagreb. His essays and arti­cles cover top­ics related to phi­los­o­phy, pol­i­tics, and cul­tural and art crit­i­cism. Among his trans­la­tions into Croatian are some of the most impor­tant works of Sigmund Freud. He is co-editor of sev­eral books and author of Barikade, Zagreb 1996/1997, Kaptolski Kolodvor, Beograd 2001, Der Schacht von Babel, Berlin 2004, Über­set­zung: Das Versprechen eines Begriffs, (Translation: The Promise of a Concept), Vienna 2008. Zone des Über­gangs, Frankfurt/Main, 2009.

Katarzyna Czeczot is a lit­er­ary his­to­rian and critic at the Institute of Literary Research of the Polish Academy of Sciences. Her main field of research is Polish roman­ti­cism and gen­der studies.

Jakub Czupryński (b. 1980), guide, geneal­o­gist and researcher trac­ing Jewish roots in Poland, coor­di­na­tor of local projects aim­ing at the preser­va­tion of Jewish her­itage. Lives and plays foot­ball in Kraków.

Mikołaj Denderski, born 1987, Member of gen­eral pub­lic, MA in English Studies, comes from Poland.

Kinga Dunin is a soci­ol­o­gist, jour­nal­ist and lit­er­ary critic. Member of Political Critique, the most sig­nif­i­cant left-wing intel­lec­tual organ­i­sa­tion in Poland.

Agata Dutkowska, artist, demo­c­ra­tic edu­ca­tor, activist, city guide in Kraków. Contributed to the pub­li­ca­tion Cultural Representations of Jewishness at the Turn of the 21th Century and the book “Women of Kraków”(Jewish Women Trail). For many years involved with men­tor­ing grass­root projects in Eastern Europe. Awarded twice with a price for young artists for city space art projects: the “Allen Ginsberg Krakow Walk” (2010) and “Jewish Sport Club Makkabi back in the game” (with Lukas Roth) awarded with an addi­tional dis­tinc­tion by Jenny Holzer (Art Boom Festival 2011)-

Galit Eilat is a writer, cura­tor and the found­ing direc­tor of The Israeli Center for Digital Art in Holon. She is found­ing edi­tor of Maarav — an online arts and cul­ture mag­a­zine, as well as research cura­tor at the Van Abbemuseum in Eindhoven. Her projects tackle issues such as the polit­i­cal sit­u­a­tion in the Middle East, activism (response abil­ity) and polit­i­cal imagination.

Charles Esche is a cura­tor, writer, direc­tor of Van Abbemuseum, Eindhoven and co-director of Afterall Journal and Books based at Central St.Martins College of Art and Design, London. Since 2000, Esche has (co)-curated numer­ous inter­na­tional exhi­bi­tions includ­ing (selec­tion): An Idea for Living – Realism and Reality in Contemporary Slovenian Art, U3 – 6th Triennial of Contemporary Slovenian Art, Moderna galer­ija, Ljubljana (2010); Heartland, Van Abbemuseum, Eindhoven (2008–2009); Once is Nothing (co-organized with BAK, basis voor actuele kunst, Utrecht), Brussels Biennale 1, Brussels, 2008; Becoming Dutch, Van Abbemuseum, Eindhoven, 2007–2008; Forms of Resistance, Van Abbemuseum, Eindhoven, 2007.

Reem Fadda joined the Guggenheim in 2010 as Associate Curator, Middle Eastern Art, Abu Dhabi Project. From 2005 to 2007, Fadda was Director of the Palestinian Association for Contemporary Art (PACA) and worked as Academic Director for the International Academy of Art Palestine, which she helped found in 2006. She has been involved in many inter­na­tional exhi­bi­tions, includ­ing Liminal Spaces, a four-year artis­tic and polit­i­cal project con­sist­ing of con­fer­ences, tours, art res­i­den­cies, and exhi­bi­tions in Palestine, Israel, and Germany; Ramallah Syndrome, part of the Venice Biennale in 2009; and Tarjama/Translation, orga­nized by ArteEast, which fea­tured 30 artists from the Middle East and Central Asia at the Queens Museum of Art, New York, and the Herbert F. Johnson Museum of Art, Cornell University. In 2009, she curated the Riwaq Biennale, Ramallah, with Charles Esche. Fadda is on the gen­eral assem­bly of the International Academy of Art and Kamandjati Association, the selec­tion jury of the Young Arab Theatre Fund, and the steer­ing com­mit­tee of Decolonizing Architecture. She was granted a Fulbright schol­ar­ship to pur­sue her Ph.D. at the History of Art and Visual Studies Department at Cornell University.

Berit Fischer has been work­ing inter­na­tion­ally as an inde­pen­dent cura­tor since 1999. Previously based in New York and London (1997–2009), she cur­rently works from Berlin. Her research and fields of inter­est lie in socially pro­duced spaces, art as a pro­ducer of  knowl­edge and as a means to per­me­ate the sta­tus quo, in cre­at­ing fields of action, and open­ing spaces for crit­i­cal engage­ment. She has been giv­ing tuto­ri­als, lec­tures and work­shops inter­na­tion­ally, includ­ing at Casino Luxembourg Forum d’art Contemporain, (Luxemburg), Freie Universität Berlin, Nottingham Trent University (UK) and Soma in Mexico City. Since 2006 she has worked for Afterall (London); she is on the advi­sory board for B32 (Maastricht) and was a cofound­ing cura­tor of The Brewster Project ( New York, 2001). Curatorial projects include: Other Possible Worlds – Proposals on this Side of Utopia, NGBK (Berlin), Brooklyn Waterfront Outdoor Sculpture Exhibition (New York); Dumbo Arts Festival (New York); Intrude 366, Zendai MoMA (Shanghai); City Beats at BankART (Yokahama).

Igal Halfin was born in the Ukraine (for­mer Soviet Union) and moved with his par­ents to Israel in 1973. His father was a com­mu­nist but his sis­ter mar­ried a Zionist and his par­ents decided to immi­grate for oth­er­wise they wouldn’t have seen their daugh­ter ever again. He grew up in Kiriat Gat – an eth­ni­cally mixed devel­op­ment town in the south of Israel, did a full mil­i­tary ser­vice (1983–85) and then enrolled in Tel Aviv uni­ver­sity, study­ing his­tory and phi­los­o­phy. In 1989 Halfin enrolled in Columbia grad­u­ate pro­gram in Russian his­tory. Upon obtain­ing his PhD (1995) he returned to Israel and took a posi­tion in the his­tory depart­ment at Tel Aviv University, where he teaches till this day. His pro­fes­sional inter­est is Communist Terror, with spe­cial empha­sis on Stalinism. He focuses on ego doc­u­ments (inter­ro­ga­tions and vic­tims’ con­fes­sions apply­ing Foucauldian and Lacanian ana­lytic tools to those sources). Today he lives in the city of Ashkelon, 4 km north of the Gaza strip and enjoys rais­ing 3 chil­dren here despite inter­mit­tent Palestinian shelling.

Gil Hochberg, is an asso­ciate pro­fes­sor of Comparative Literature and the Director of the Graduate Program. Her work focuses on the inter­sec­tions among psy­cho­analy­sis, post­colo­nial the­ory, Literature and Cinema. She has pub­lished essays on a wide range of issues includ­ing: Hebrew Literature, Francophone North African lit­er­a­ture, Palestinian lit­er­a­ture, the mod­ern Levant, gen­der and nation­al­ism, cul­tural mem­ory and immi­gra­tion, film and mem­ory, Language Politics,  Mediterraneanism, and Minority Discourse. Her book  “In Spite of Partition: Jews, Arabs, and the Limits of Separatist Imagination” (Princeton University Press, 2007), exam­ines the com­plex rela­tion­ship between the sig­ni­fiers “Arab” and “Jew” in con­tem­po­rary Jewish and Arab lit­er­a­tures. Her cur­rent book project is a study of the Visual Politics of the Israeli-Palestinian enti­tled Visual Occupations: Violence, Visibility & Visuality at a Conflict Zone.

Nataša Ilić is a free-lance cura­tor, a mem­ber of a cura­to­r­ial col­lec­tive What, How & for Whom/WHW formed in 1999 and based in Zagreb, Croatia. WHW orga­nizes a range of pro­duc­tion, exhi­bi­tion and pub­lish­ing projects and directs Gallery Nova in Zagreb. Since 1999 WHW has been inten­sively devel­op­ing mod­els based on col­lec­tive way of work­ing, cre­ative use of pub­lic space and col­lab­o­ra­tion between part­ners of dif­fer­ent back­grounds. Primarily shaped by the for­mat of the exhi­bi­tion, WHW projects have been con­ceived as plat­forms for pro­gres­sive modes of cul­tural pro­duc­tion and reflec­tions of social real­ity. What, how and for whom, the three basic ques­tions of every eco­nomic orga­ni­za­tion, con­cern the plan­ning, con­cept and real­iza­tion of exhi­bi­tions as well as the pro­duc­tion and dis­tri­b­u­tion of art­works and the artist’s posi­tion in the labor mar­ket. These ques­tions formed the title of WHW’s first project ded­i­cated to the 152nd anniver­sary of the Communist Manifesto, in 2000 in Zagreb, and became the motto of WHW’s work and the title of the col­lec­tive. WHW’s more recent exhi­bi­tions are 11th Istanbul Biennial What Keeps Mankind Alive? (2009), Art Always Has its Consequences, for­mer build­ing of the Museum of Contemporary Art, Zagreb (2010), Ground Floor America, Den Frie Centre of Contemporary Art, Copenhagen (2010), One needs to live self-confidently… watch­ing, Croatian pavil­ion at the 54th Venice bien­nial, (2011), Details, Bergen Kunsthall, Bergen (2011), Second world, steirischer herbst, Graz, (2011). Currently WHW is curat­ing next edi­tion of Meeting Points, inter­na­tional mul­ti­dis­ci­pli­nary event that com­prises visual arts, film, the­ater, dance, music, and per­for­mance, tak­ing place in var­i­ous cities in Middle East, North Africa and Europe (2013). Ilić lives and works in Zagreb and Berlin.

Jaś Kapela is a writer, colum­nist and mem­ber of Krytyka Polityczna, author of two books of poems, two nov­els and a col­lec­tion of essays. His most recent book is “Jak ode­brał dzieci
Terlikowskiemu”, Wydawnictwo Krytyki Politycznej, 2011.

Christiane Ketteler, born on 9th February 1977, stud­ied Modern Literature and Philosophy at the Freie University Berlin, Masterthesis on Joseph Roths Wandering Jews.  Activists in sev­eral Berlin-based polit­i­cal groups, worked on Critical Theory, Critique of Religion and Antisemitism and the rela­tion­ship between pol­i­tics and art. Works as a German teacher, as a trans­la­tor and author in Berlin. PHD Student at Johns Hopkins University in Baltmore in Fall 2012

Cilly Kugelmann is a pro­gram direc­tor and vice direc­tor of the Jewish Museum Berlin since September 2002. She came to the museum as head of the edu­ca­tion depart­ment in May 2000. Before then she worked in Frankfurt am Main at the city’s Jewish Museum, direct­ing the edu­ca­tion pro­gram as well as pub­lic rela­tions, and act­ing as cura­tor (1986–2000). Born in Frankfurt am Main in 1947, Cilly Kugelmann left for Israel in 1966 where she first spent a year as an agri­cul­tural laborer on a kib­butz in Galilee. She went on to study art his­tory and gen­eral his­tory at the Hebrew University of Jerusalem. She returned to Germany in 1971 and began a degree in edu­ca­tional sci­ences, soci­ol­ogy, and psy­chol­ogy. Alongside her stud­ies and then sub­se­quent to them (1972–1999), she orga­nized con­fer­ences within the con­text of polit­i­cal edu­ca­tion on the sub­jects of Jewish his­tory and the con­flict in the Middle East. After her degree she lead courses on inte­gra­tion for immi­grants and asylum-seekers from Eastern European states for the National Education Federation (1978–1982), built a self-help com­pany for the chron­i­cally ill at the depart­ment for psy­chi­a­try and social psy­chi­a­try of the Elisabeth Foundation Hospital in Darmstadt (1982–1985), took on teach­ing posts from the edu­ca­tional sci­ences depart­ment of the Ruprecht-Karls University (1982–1984), where she col­lab­o­rated on an empir­i­cal inves­ti­ga­tion into Sinti and Roma’s expe­ri­ences of per­se­cu­tion dur­ing the National Socialist era (1984–1986). She has been part of the edi­to­r­ial team of the mag­a­zine “Babylon, Contributions to Contemporary Jewish Living” since 1980 and has been involved in the pub­li­ca­tion of sev­eral books on the post-war his­tory of Jews in Germany and on anti-Semitism.

Julie Land, (b. 1981) is an artist (focus­ing on video and instal­la­tion art) and soci­ol­o­gist liv­ing in Krakow, Poland and born in the United States. Much of her work, both as an artist and aca­d­e­mic focuses on sex­u­al­ity, reli­gion and con­flict.  She teaches courses on gen­der and social move­ments at the Jagiellonian University and is also involved in orga­niz­ing Krakow’s Queerowy Maj/Queer May fes­ti­val. As part of her work as an artist she often trav­els to East Jerusalem, where she con­ducts film and video work­shops with Palestinian youths.  This is as impor­tant for her work as for her under­stand­ing of the world. She is cur­rently com­plet­ing her MFA from the Academy of Fine Arts in Krakow and PhD in soci­ol­ogy from the Polish Academy of Sciences in Warsaw.

Annette Jael Lehmann, pro­fes­sor of Visual Culture, Modern and Contemporary Art at the Freie Universität  Berlin. Interests in no pre­cise order: Possibilities of an imag­i­nary renaissance/resistance; the phi­los­o­phy of Buber and Rosenzweig; my cur­rent lec­ture on the Theory and History of Perfomannce Art, Mapping of the Unknown; LGBT Rights, the seduc­tions of Design and/or Fine Dining … (

Erica Lehrer (Ph.D. University of Michigan, 2005, Cultural Anthropology) is Assistant Professor in the Departments of History and Anthropology-Sociology at Concordia University in Montreal, where she also holds the Canada Research Chair in Post-conflict Studies. She is author of Unquiet Places: Encounters with Jewish Heritage in Post-Communist Poland (Indiana U. Press 2013), and co-editor of Curating Difficult Knowledge: Violent Pasts in Public Places (Palgrave 2011). She is Director of CEREV, the Centre for Ethnographic Research & Exhibition in the after­math of Violence. Her cur­rent inter­ests include exper­i­men­tal ethnog­ra­phy, crit­i­cal cura­to­r­ial work, and pub­lic humanities.

Romm Lewkowicz is a London Based Cultural Anthropologist, Journalist and  migrant rights Activist. Lewkowicz holds a B.A in European History from Tel Aviv University, and an M.A in Cultural Anthropology from University College London. Long active in pro­mot­ing the rights of non-Jewish migrant work­ers in Israel, Lewkowicz had served as the Public Policy Manager of the Israeli “Hotline for Migrant work­ers”, and as the Asylum Application Coordinator at the “African Refugee Development Center”. Engaging aca­d­e­mic research, activism and art, Lewkowicz had curated the migra­tion film fes­ti­val in Tel Aviv cin­e­mateque 2005–2009, writ­ten for “Haaretz” and “Ha-ir” papers and served as judge for Tel Aviv’s inter­na­tional LGBT film fes­ti­val. His cur­rent research revolves around Eritrean exiles in London and Tel aviv, focus­ing on the inter­play between visa regimes and migrants’ polit­i­cal organization.

Nina Möntmann is a cura­tor and Professor of Art Theory and the History of Ideas at the Royal Institute of Art in Stockholm. Recent projects include the group show ‘If we can’t get it together. Artists rethink­ing the (mal)functions of com­mu­nity’ (The Power Plant, Toronto, 2008/09), and in 2009 ‘The Jerusalem Show: Jerusalem Syndrome’ (together with Jack Persekian). Until 2006 she worked as a cura­tor at the Nordic Institute for Contemporary Art (NIFCA) in Helsinki. As a cura­tor of the ‘New Patrons’, the ‘European Platform for an Art of the Civil Society’, she is cur­rently curat­ing a project with Harun Farocki in Hamburg. Nina par­tic­i­pated in the long-term Israeli/Palestinian art and research project ‘Liminal Spaces’, and in 2010 was a research fel­low at the Museo de Arte Reina Sofia in Madrid. She orga­nized a num­ber of sym­posia amongst oth­ers for Moderna Museet in Stockholm, the Power Plant in Toronto, the Vera List Center for Art and Politics at the New School in New York. Her essays have been pub­lished in numer­ous crit­i­cal read­ers and cat­a­logues. She is a cor­re­spon­dent for Artforum, and con­tributed to art jour­nals and mag­a­zines such as Le Monde Diplomatique, Parachute, Paletten, Metropolis M, Texte zur Kunst and De-Bug. Recent pub­li­ca­tions include the edited vol­umes New Communities (Toronto, Public Books/The Power Plant, 2009); Art and Its Institutions (London, Black Dog Publishing, 2006); Mapping a City (Stuttgart, Hatje Cantz, 2004) co-edited with Yilmaz Dziewior.

Gabriel S. Moses is an Israeli illus­tra­tor and author of graphic nov­els. 30 years old, grad­u­ated with hon­ors from the Midrash Beit-Berl Institute for Arts and Education but still has no dri­vers license. His work sur­rounds var­i­ous social and aes­thetic aspects regard­ing national, inter­na­tional, and local youth sub­cul­ture (in Israel amongst oth­ers). Currently liv­ing and work­ing from Berlin, he takes his time to set the foun­da­tions for a new Ultimate Teen-age Urban Guerilla Concept, while enjoy­ing the city’s lunar skewed effect on the earth’s grav­i­ta­tional pull.

Katrin Pahl is an Assistant Professor of German lit­er­a­ture and phi­los­o­phy at the Johns Hopkins University in Baltimore. She also co-directs the Women, Gender, and Sexuality Studies Program there. She has stud­ied in Bonn and Paris and has received her Ph.D. from the Department of Rhetoric at the University of California, Berkeley. In 2008, she was a fel­low in the Excellence Cluster “Languages of Emotion” at the Freie Universität Berlin. The arc of her research is sit­u­ated in affect and emo­tion stud­ies. Through the prism of sub­jec­tiv­ity, per­for­mance, and socia­bil­ity, Katrin explores what changes in logic might develop when one attends to emo­tion­al­ity. She received the Best Article in Feminist Scholarship Prize for “Transformative Translations: Cyrillizing and Queering.” Her book Tropes of Transport: Hegel and Emotion (2012) addresses emo­tions as trans­for­ma­tional and plu­ral­iz­ing forces, and intro­duces imper­sonal trans­ports, such as release, jug­gle, acknowl­edg­ing, trem­ble, and bro­ken. As one of her next projects, she will explore how his­tor­i­cal prac­tices and the­o­ries of socia­bil­ity might be rel­e­vant in the twenty-first cen­tury for think­ing kin­ship and affin­ity toward a parahu­man socia­bil­ity – includ­ing a socia­bil­ity of dif­fer­ent languages.

Oleksiy Radynski is a jour­nal­ist and film­maker based in Kyiv, Ukraine. He is an edi­tor of Ukrainian edi­tion of Political Critique mag­a­zine and an activist for Visual Culture Reseach Center. He is a par­tic­i­pant of Breaking the News project at 7. Berlin Biennale. His work focuses on the alter­na­tive edu­ca­tional prac­tices, cur­rent threats to free­dom of expres­sion and the ide­olo­gies of mon­tage. He is work­ing on a dis­ser­ta­tion project on Soviet avant-garde film­mak­ing. He is a colum­nist for the web­sites and

Michal Ron is a PhD stu­dent for Art History at the Freie Universität, Berlin. She is a co-founder and co-editor of HUHA Journal — a ref­eree elec­tronic jour­nal for art his­tory that is pub­lished by the University of Haifa, Israel. In her dis­ser­ta­tion she stud­ies the work of Marcel Broodthaers and ana­lyzes his artis­tic prac­tice of return­ing to his­tory in its mul­ti­lay­ered rela­tions to the con­cep­tion of art, his­tory and narrative.

Marc Siegel is an Assistant Professor in the Department of Theater, Film and Media Studies at the Goethe-University in Frankfurt. His research focuses on avant-garde film and queer stud­ies. He is cur­rently work­ing on three books. One is a the­ory of gos­sip in queer film cul­ture. The oth­ers intro­duce the work of two very dis­tinct artists: American under­ground drag super­star Mario Montez and German artist and film­maker Ludwig Schönherr. Siegel’s projects as a free­lance cura­tor include “Camp/Anti-Camp: A Queer Guide to Everyday Life” (with Susanne Sachsse, HAU/Berlin, 2012); “George Kuchar” (Berlin Biennial, 2010);  and “LIVE FILM! JACK SMITH! Five Flaming Days in a Rented World ” (with Susanne Sachsse and Stefanie Schulte Strathaus, 2009). He is on the advi­sory board of the Forum Expanded sec­tion of the Berlinale and one of the co-founders of the artists’ col­lec­tive CHEAP, whose per­for­mances, instal­la­tions and club events, have been pre­sented at venues such as HAU/Berlin, the Donau Festival/Krems, Theater an der Parkaue/Berlin, and the Steirischer Herbst/Graz.

Joshua Simon is a cura­tor and writer based in Tel Aviv-Jaffa. He is the newly appointed direc­tor and chief cura­tor of MOBY — Bat Yam Museum and the is co-founding edi­tor of Maayan Magazine and The New&Bad Art Magazine and he is the edi­tor of Maarvon (Western) – New Film Magazine, all based in Tel Aviv-Jaffa. He is a PhD can­di­date at the Curatorial/Knowledge pro­gram at the Visual Cultures Department, Goldsmiths College, University of London and a 2011–2013 Vera List Center for Art and Politics Fellow at the New School, New York City. Simon is the edi­tor of United States of Israel-Palestine, from the Solution series by Sternberg Press (2011) and co-editor of The Revolution Song-Book: Tents Poetry (2011). Recent cura­to­r­ial projects include: “The Unreadymade” (FormContent, London, 2010–2011) and “ReCoCo – Life Under Representational Regimes”, co-curated with Siri Peyer (2011, Zurich, Vienna; and 2012, Holon, Israel). His forth­com­ing book is titled Neomaterialism (Sternberg Press, 2012)

Walter Solon was born in Sao Paulo, Brazil, in 1992. He stud­ies Social Sciences (Political Science, Anthropology, Sociology) and Literature in the University of Sao Paulo. He is cur­rently an inter­change stu­dent in the University of Cologne. He recently trans­lated Émile Durkheim’s Rules of the Social Method for a new Brazilian edi­tion, and is cur­rently trans­lat­ing Rousseau’s Discourses and Jeffrey Herf’s book “The Jewish Enemy — Nazi Propaganda During World War II and the Holocaust”. He has pub­lished a short story col­lec­tion called “Seiva e Risco”. His poems are being pub­lished in a new anthol­ogy of Brazilian Poetry later this year.

Zoran Terzic stud­ied Fine Arts in New York and non-normative Aesthetics in Wuppertal, where he received his PhD (2006). His research areas include: cul­ture semi­otics and polit­i­cal phe­nom­e­nol­ogy, inter­play of aes­thet­ics and pol­i­tics, imagol­ogy of belief sys­tems, mem­ory pol­i­tics. Currently, he teaches polit­i­cal aes­thet­ics at Humboldt University. His mono­graph The Art of Nationalism (Kunst des Nationalismus, Kadmos, 2007) deals with the cul­tural semi­otics of war.

Magdalena Waligorska is a cul­tural his­to­rian and soci­ol­o­gist. She received her PhD in his­tory from the European University Institute in Florence. She spe­cial­izes in con­tem­po­rary Jewish cul­ture and Jewish her­itage revival in Europe. Her book on the klezmer revival in Poland and Germany is forth­com­ing. She has also co-edited Cultural Representations of Jewishness at the Turn of the 21th Century, and pub­lished in Ethnomusicology, Polish Sociological Review and Jewish Cultural Studies. She is cur­rently an Alexander von Humboldt Fellow at the Free University in Berlin.

Joanna Warsza, born in 1976, is a cura­tor on the cusp of the per­form­ing and visual arts. She grad­u­ated from the Warsaw Theater Academy and com­pleted a post­grad­u­ate course at the University of Paris 8 dance depart­ment. She is a founder of the inde­pen­dent plat­form Laura Palmer Foundation ( Joanna Warsza has worked mostly in the pub­lic realm, curat­ing projects that exam­ine social and polit­i­cal agen­das, such as the invis­i­bil­ity of the Vietnamese com­mu­nity in Warsaw, the phe­nom­e­non of Israeli Youth Delegations to Poland, or the legacy of post-Soviet archi­tec­ture in the Caucasus. Together with Krzysztof Wodiczko she runs a sem­i­nar on con­flict, trauma and art at the Warsaw Higher School for Social Psychology as well as on the per­for­ma­tiv­ity in con­tem­po­rary cul­ture. She has real­ized projects with Berlin the­ater Hebbel am Ufer, Warsaw Museum of Modern Art, the AICA Armenia, the GeoAir Tbilisi, the Centre Pompidou or Biennale de Belleville, both in Paris, among oth­ers. She is an edi­tor of Stadium-X – A Place That Never Was. Since the begin­ning of 2011 she has worked with Artur Żmi­jew­ski on the devel­op­ment and real­iza­tion of the con­cept of the 7th Berlin Biennale. Joanna Warsza lives and works in Berlin and Warsaw.

Dorothee Wenner is a free­lance film­maker, writer and cura­tor spe­cial­ized on cross-cultural and women issues. She has been a pro­gram­mer with the International Forum of New Cinema/Berlinale since 1990, she also curates Indian films for the Dubai International Film Festival. Her films include “Peace Mission” (2008) — a doc­u­men­tary about the Nigerian film indus­try, „Germany Inside-Out — 10 experts from 10 coun­tries and their view on German cul­ture“, 2002, “Happy-end in Switzerland”, 2001, “Ladies Special — the ‘womens’-only train of Bombay”, 1999, “The Polish of Potsdamer Platz”, 1998. Currently she com­pletes the doc­u­men­tary “Drama.Consult” — the  jour­ney of five Nigerian entre­pre­neurs on their way through Germany. She has been mem­ber of the jury of the African Academy Movie Awards, based in Lagos/Nigeria since incep­tion in 2005. In 2011, she headed a new train­ing pro­gram — the “World Cinema Fund Factories” for Berlinale — in coop­er­a­tion with DWA and part­ners in Burkina Faso and Burundi.

Koray Yılmaz-Günay was born and raised in Berlin where he lived ever since. Still in high school, he was active in edu­ca­tion pol­i­tics and later on in the queer and anti-racist move­ments. In 2011 he edited a book («Karriere eines kon­stru­ierten Gegensatzes: zehn Jahre ‹Muslime ver­sus Schwule›. Sexualpolitiken seit dem 11. September 2001» / Career of a Constructed Opposition: 10 Years of ‹Muslims vs. Gays›. Sexual Politics after 9/11.) He is the com­mis­sioner for migra­tion with the Rosa Luxemburg Foundation.

Yossi Yonah received his Ph.D. from the phi­los­o­phy depart­ment, University of Pennsylvania. He teaches polit­i­cal phi­los­o­phy and phi­los­o­phy of edu­ca­tion in the depart­ment of edu­ca­tion, Ben Gurion University of the Negev and is a senior research fel­low at the Van Leer Jerusalem Institute. He is a mem­ber of the Steering Committee of the Geneva Initiative and a mem­ber of The Board of Directors of the Adva Center (Information on Equality and Social Justice in Israel). He pub­lishes exten­sively on top­ics per­tain­ing to moral and polit­i­cal phi­los­o­phy and in phi­los­o­phy of edu­ca­tion. Professor Yonah pub­lished sev­eral books in these fields among them are: In Virtue of Difference: The Multicultural Project in Israel (2005, Hebrew); Citizenship, Education and Social Conflict Israeli Political Education in Global Perspective (co-editors Hanan A. Alexander and Halleli Pinson, Routledge 2010); Racism in Israel (co-editor, Yehouda Shenhav, Hebrew, 2008); Citizenship Gaps, Migreation, Fertility and Identity in Israel (co-Editor, Adriana Kemp, Hebrew, 2008); In the Whirlpool of Identities: A Critical Look at Religion and Secularity in Israel (co-editor, Yehuda Goodman, Hebrew, 2004). He has writ­ten also many essays per­tain­ing to mul­ti­cul­tur­al­ism and polit­i­cal phi­los­o­phy in the Israeli con­text, among which are: “Political Liberalism and Religious Zionism: Tentative alliance,” Culture and Religion, 2007, 8(3); “Republican Meritocracy, Identity Political and the Idea Reverse Reparation: Commentary,” Political Power and Social Theory, 2007, 18; “Israel as a Multicultural Society: Challenges and Obstacles,” Israel Affairs, 2001, 11(1); “Israel’s ‘Constitutional Revolution’: The Liberal/ Communitarian Debate and Legitimate Stability,” Philosophy and Social Criticism, 2001, 27(4); “Israel Political Stability: A mat­ter of Principle,” Israel Studies 2000, 5(2); “Fifty Years Later: The Scope and Limits of Liberal Democracy in Israel,” Constellations, An International Journal of Critical Democracy, 1999, 6(3); “Wadi Salib: A Place-non-Place,” Catalogue – Wadi Salib – Layers, 2011; “Loca-versalism: on Art and Multiculturalism,” Hamama: Society, Art, Periphery,  2012, 1: 111–148; Bokobza in Baram, Catalogue, “This Place”, 2012.  Currently, Professor Yonah is head­ing, together with Professor Avia Spivak, the Expert Teams – The Spivak-Yonah Team – advis­ing to the lead­ers of the social protest in Israel.

Michał Zadara, born in 1976 in Warsaw, is a Polish the­atre direc­tor, set designer and mul­ti­me­dia artist. He has worked pri­mar­ily in Warsaw and Krakow, but has also staged sev­eral plays abroad, in Germany, Israel, Austria and in USA. He stud­ied polit­i­cal sci­ence and the­atre at Swarthmore College in Pennsylvania and direct­ing at the State Theatre School in Krakow. Zadara has directed more than 30 plays and operas pieces at the­atres in Gdansk, Krakow, Bydgoszcz, Wrocław, Warsaw, Szczecin, Berlin, Tel Aviv, New York and Vienna. He is one of three direc­tors to have worked at both National Theatres and the National Opera of Poland. He was nom­i­nated for the Political Passport prize in 2006 and 2007, and was awarded this prize — the Polish equiv­a­lent of the Pulitzer Prize — in 2007. His 2007 pro­duc­tion of Witold Gombrowicz’s Operetta was pre­sented in the 2009 Philadelphia Live Arts Festival. Zadara has also made sev­eral under­ground films. He plays gui­tar in his “All Stars Dansing Band” and writes a polit­i­cal col­umn for the left­ist por­tal He is cur­rently work­ing on a pub­lic mon­u­ment com­mem­o­rat­ing the civil vic­tims of the Warsaw uprising.