Ale Bachlechner is a performance and video artist and part of city center studio, Cologne. Her works include the temporary dating agency “Twelve Roses” (2013) in Beirut, Libanon, the performance coaching institute “This
Is Not A Competition” (2016) and the online television series “Studio Hallo” (2018). She is a member of the Junges Kolleg of the North Rhine-Westphalian Academy of Sciences, Humanities and the Arts and is currently teaching at the Academy of Media Arts Cologne.        

Erika Balsom is a senior lecturer in Film Studies at King’s College London. Her most recent book, “After Uniqueness: A History of Film and Video Art
in Circulation,” was published by Columbia University Press in 2017. She is the author of “Exhibiting Cinema in Contemporary Art” (2013), the co-editor of “Documentary Across Disciplines” (2016), and a frequent contributor to Artforum and Sight and Sound. She holds a PhD in Modern Culture and Media from Brown University. 

Didi Cheeka is an off-Nollywood filmmaker and critic. He is co-founder and curator of Lagos Film Society as well as the founder of Lagos Film Review,
a publication dedicated to critical writing on artists and filmmakers from Africa. Cheeka is the initiator of “Reclaiming History, Unveiling Memory”, an archive-based project of Lagos Film Society to restore, digitize, and provide  curatorial context for rediscovered films from Nigeria’s Colonial Film Unit in collaboration with the Arsenal - Institute for Film and Video Art. 

Phil Collins is a visual artist and filmmaker. Since the late 1990s his diverse practice has been recognised for its engagement with social reality and lived experience. Collins’ works have been presented around the world and can be found in public collections such as the Tate Gallery in London, the Museum of Modern Art and the Metropolitan Museum of Art in New York. Since 2011 Collins is Professor of Video Art and Performance at the Academy of Media Arts in Cologne. 

Mónica Delgado was born in Lima, Perú, in 1977. She is a journalist and film critic, and also a co-founder and director of desistfilm, an online film journal. Delgado completed a Bachelor’s degree in Social Communication, and she holds a Master’s degree in Literature and Cultural Studies from Universidad Nacional Mayor de San Marcos. She regularly writes opinion columns about cinema for online journals and magazines. Delgado has participated as a jury member in several film festivals. 

Gina D’Orio is a Berlin musician, producer and singer. She is the main former vocalist from EC8OR, member of Cobra Killer and is involved in diverse theatre and film projects. 

Jürgen Ebert published his first text on Italo Westerns in Filmkritik in September 1969. Until the end of the magazine in 1984 he was a regular contributor and editor. In the 1980s he worked on films with Hellmuth Costard (WITZLEBEN, ECHTZEIT) as co-director, editor and script writer. He also taught film theory at FU Berlin. Ebert was the editor of the Filmkritik issue on Emile de Antonio, which is now published with a 33 year delay. 

Bettina Ellerkamp lives in Berlin since 1985. In 1990 she co-founded the artist group BOTSCHAFT e.V.. From 1991 to 2000, she was a member of the authors’ collective dog film. Since 1990, she has participated in international festivals with works at the interface between documentary narrative and visual art. Since 2011 she has been active as a founder and mentor at the Professional Media Master Class for the Werkleitz Gesellschaft. Since 2013 she has been active as a co-director of silent green in Berlin and she co-founded silent green Film Feld Forschung in 2016.

Suliman Mohamed Ibrahim Elnour is the chairman of the Sudanese Film Group and a founder of the Sudan Film Club. In 1978 he graduated with his diploma documentary film AFRICA, THE JUNGLE, DRUMS AND REVOLUTION (1979) about representations of Africa in Soviet society. His films deal with topics such as marginalized communities, ecological threat, climate change, or political crises. He worked at the Ministry for Culture film department and for the State Cinema Corporation, and since 1980 serves on the editorial board of the journal Cinema.

Tamer El Said was born in Cairo, Egypt in 1972. He studied Film at the Higher Institute of Cinema at the Academy of Arts in Cairo and Journalism at Cairo University. He has made documentaries and short films, and in 2007, he founded the independent production company Zero Production in Cairo. El Said is also a co-founder of Cimatheque – Alternative Film Centre in Egypt.
He lives in Cairo. His first feature length film IN THE LAST DAYS OF THE CITY premiered at Berlinale Forum in 2016 and was shown on numerous film festivals and exhibitions worldwide.

Corry Elyda is one of the founders of the Indonesian film website Cinema Poetica. She is currently in charge of managing the international edition of Cinema Poetica to introduce Indonesian cinema to a wider audience. Elyda also writes about Indonesian cinemas in the English language daily The Jakarta Post. Before getting involved in Cinema Poetica, she was introduced to cinema through Kinoki, a community that focused on cinema literacy. 

Heinz Emigholz, born in 1948, has worked as a freelance filmmaker, artist, writer, cinematographer, producer, and journalist since 1973. From 1993 to 2013, he held a professorship in experimental filmmaking at the Berlin University of the Arts, where he is a co-founder of the Institute for Time-Based Media and the university’s art and media course. Since 2012 he has been a member of the Academy of Arts in Berlin. 

Karola Gramann is a film curator and artistic director of Kinothek Asta Nielsen e.V. in Frankfurt/Main. From 1985 to 1989 she was the director of Internationale Kurzfilmtage Oberhausen. Her interests are early cinema and avant-garde and queer cinema. She has curated numerous film programs and restrospectives and is a co-editor of “Unmögliche Liebe. Asta Nielsen, ihr Kino” and “Nachtfalter. Asta Nielsen, ihre Filme” (2010).

Ulrich Gregor, born in 1934 in Hamburg, studied Publishing, Roman Languages and Film Studies in Hamburg, Paris and Berlin. He taught at the FU Berlin, the dffb and at the Akademie of the Arts Berlin. In 1963 he co-founded the “Friends of the German Film Archive” (now: Arsenal – Institute for Film and Video Art). He is the founder and was the head of the International Forum of New Cinema (1971–2000) and – together with Moritz de Hadeln – the director of the Berlin International Film Festival (1981–2000). 

Martin Grennberger is a writer and film programmer. Since 2012, he works as a film critic and co-editor of the Walden film magazine in Stockholm, Sweden, publishing two double-issues a year. As a programmer he has co-developed a variety of notable programs on Peter Nestler, Jean-Marie Straub & Danièle Huillet, Margaret Tait, Ute Aurand, Mary Helena Clark, (all with Stefan Ramstedt), and Paul Sharits (with Daniel A. Swarthnas). In February 2018 he was invited to present a selection of Swedish avant-garde films at Light Industry in New York."

Harun Farocki Institut: In 1976, the filmmaker and writer Harun Farocki (1944– 2014) envisioned an institution that “we can also organize“ as “an assembly of working people, not from an abstract understanding but from the contact points of their work.“ The Harun Farocki Institut (HaFI), founded in September 2015 as a non-profit organisation, seeks to realise Farocki’s proposal in the shape of a platform for researching his visual and discursive practice and supporting new projects that engage with the past, present and the future of image cultures. 

Vinzenz Hediger is professor of cinema studies at Goethe Universität Frankfurt, where he directs the Master Program “Film Culture: Archiving, Programming Presentation” and the Graduate Research Training Program “Configurations of film”. He is a principal investigator in the Cluster of Excellence “The Formation of Normative Orders” and a member of the Mainz Academy of Sciences and Literature. He is also the co-curator of “Tropical Underground. Revolutions of Anthropology of Cinema”. 

Birgit Hein is a German filmmaker, film researcher, performance artist, and lecturer. She is a pioneer of German underground and experimental lm- making and well-known for her structural films (since 1966), performances, documentary essay films, and publications in the eld of film studies. Her films are part of international collections, among them Musée d‘Art Moderne Paris (Centre Pompidou), Cinematheque Royale de Belgique, Museum Ludwig Köln and Sprengel Museum Hannover. 

Jörg Heitmann lives in Berlin since 1985. In 1990 he co-founded the artist group BOTSCHAFT e.V. From 1991 to 2000, he was a member of the authors’ collective dog film. Since 1990, he has participated in international festivals with works at the interface between documentary narrative and visual art. Since 2001, he has been active in project development with a focus on special-purpose facilities. From 2006 to 2016, he served as chairman of the advisory committee for Arsenal – Institut für Film und Videokunst e.V. Since 2012 he has been active as director of silent green in Berlin and he co-founded silent green Film Feld Forschung in 2016. 

Shai Heredia is a filmmaker and curator. In 2003, she founded Experimenta, the international festival for experimental cinema in India. She has curated experimental folm programs at film festivals and art venues worldwide. Her films, including I AM MICRO (2012), co-directed with Shumona Goel, have screened widely in Europe, North America & Asia. She is currently based in Bangalore, India, where she teaches at the Srishti Institute of Art, Design and Technology and runs Experimenta India. 

Christian Hiller, based in Berlin, is a curator and editor at ARCH+. He studied lm and media in Bochum, Barcelona and New York, where he wrote his master’s thesis on the New American Cinema. His exhibitions such as “bauhaus. lm”, “Human-Space-Machine” and “Between Spaces” were on show in Berlin, Dessau, Oslo, Santiago de Chile, Sao Paulo and Seoul. From 2014 to 2016 he worked as a co-curator at HKW, where he was part of the project “Wohnungsfrage” and curated a lecture series with Jonas Mekas. In 2016 he joined ARCH+ Magazine where he co-curates “Project Bauhaus” and “An Atlas of Commoning”.

Daniela Kinateder has been active in editing and consulting as well as instructing in the context of montage. She has been involved in projects with Marcel Odenbach, Phil Collins, Katharina Pethke, Lukas Marxt, Ulu Braun, and others. In 2015/16 she worked as a Visiting Professor for editing in ne arts at the Academy of Media Arts Cologne, where she previously was a member of the artistic and research staff. Her current activities include lectureships at art academies in Düsseldorf, Halle and Hamburg. 

Anne König is a publisher and author and lives in Leipzig. She is a co-founder of Spector Books. She has provided editorial guidance for Jonas Mekas’s books “Scrapbook of the Sixties”, “Conversations with Film-Makers” and “I Had No- where to Go”. In 2016 she co-curated an exhibition on the architecture of preschools at the Kunsthaus Dresden and the 7th f/stop Festival for Photography Leipzig. She was the artistic co-director of the Migrant Image Research Group and is co-curating the 8th f/stop Festival for Photography in Leipzig 2018. 

Anuj Malhotra is a designer, critic and curator from New Delhi, India. He publishes Umbra, a quarterly newspaper of screen culture and he is the co-founder of The Dhenuki Cinema Project, an outreach program that uses film to mobilize populations in villages and small towns. He has been involved with national and international institutions such as the Sundance Film Forward Program, Ghent International Film Festival, International Film Festival of India, Pravo Ljudski Film Festival, NETPAC and the Asian Heritage Foundation, among others. 

Jonas Mekas was born in Lithuania in 1922. He lives and works in New York City. In 1954, together with his brother, he started Film Culture magazine. In 1958 he began his legendary Movie Journal column in the Village Voice. He founded the Film-Makers’ Cooperative (1962), the Film-Makers’ Cinematheque (1964), and Anthology Film Archives (1970), one of the world’s largest and most important repositories of avant-garde cinema, and a screening venue. He is a published poet and author. As a filmmaker, he produced a large body of work which he presented at lm festivals around the world. Since 2000, Mekas has expanded his work into the area of film installations. 

Kamila Metwaly is a music journalist, electronic musician and an independent curator based between Cairo and Berlin. Since her move to Berlin in 2017, Metwaly joined SAVVY Contemporary and has been curating “Untraining the Ear: Listening Sessions” and developing various sound-based exhibition projects in the space. Most recently, she co-curated Bonaventure Ndikung’s section of the 2018 Dak’Art Biennale in Senegal: “The Dog Done Gone Deaf: Exploring The Sonic Cosmologies of Halim El-Dabh”. 

Kalani Michell is a postdoctoral fellow in the Graduiertenkolleg “Configurations of Film” at the Goethe University, Frankfurt. Her dissertation was titled “All in the Same Box: Unhinging Audiovisual Media in the 1960s and 1970s”. She has published widely on topics in art, film and media theory, including on the circulation of canonical paintings in the set design of porn productions and on the emergence of academic podcasts that reposition the boundaries of cultural, lm and media studies.

Thurston Moore started Sonic Youth in 1980. Since then he has been at the forefront of the alternative rock scene. With Sonic Youth, Moore turned on an entire generation to the value of experimentation in rock n’ roll. Thurston records and performs in a cavalcade of disciplines ranging from free improvisation to acoustic composition to black/white metal/noise disruption. Presently he performs and records solo, with various ensembles and in his own band, The Thurston Moore Group.

Matthias Müller, born 1961, has been making films, videos, installations, and photography since 1980. He has shown his works at festivals in Cannes, Venice, Berlin, Toronto, and Oberhausen, among others, as well as in group and solo exhibitions. Since 1999 he collaborates frequently with Christoph Girardet. Since 2003, he is Professor for Experimental Film at KHM (Kunsthochschule für Medien Köln). His works are part of international collections, among others Centre Pompidou, Paris and Tate Modern, London. 

Abhishek Nilamber is a concept developer and curator working with SAVVY Contemporary. Deriving as much from his experience as an alternative
film distributor in India, as from his role as a screenwriter, he is driven to conceptualize and develop contemporary infrastructures and ecosystems for new media. Select curatorial endeavors include: co-curator at Berlinale Forum Expanded 2017 (“The Last Day of Rabin – Amos Gitai”), “Untraining the Ear: Listening Sessions” and “United Screens”. 

Ara Osterweil is a painter, writer, and film scholar who has written extensively about Barbara Rubin. She is an Associate Professor of World Cinema and Cultural Studies at McGill University in Montreal, as well as a frequent contributor to Artforum. Her book “Flesh Cinema: The Corporeal Turn in American Avant- Garde Film,” was published by Manchester University Press in 2014.

Bert Rebhandl is a freelance writer, critic and translator in Berlin. He works for FAZ, Der Standard (Wien), tip Berlin and many others. He is co-editor of the quarterly CARGO Film Medien Kultur. 

Sophie Charlotte Rieger is a freelance journalist, speaker and feminist activist from Berlin, mostly writing for feminist outlets like Missy Magazine and an.schläge. In 2014 she founded the feminist lm blog filmlöwin to support the equality struggle of female filmmakers and strengthen the feminist discourse on lm in Germany. She is a regular member of festival juries and prize commissions, like the Grimme Prize in 2014 and 2015, and gives workshops on gender equality in lm and television.

Susanne Sachsse is an actress. 

José Sarmiento-Hinojosa is the director of desistfilm.com. He has been a film critic for over ten years, with texts and video essays published on international sites like Senses of Cinema and Fandor. He is currently a programmer and curator for MUTA – International Audiovisual Appropriation Festival in Lima, Peru and participates as a juror, lecturer and curator for local and international film festivals and programs. 

Heide Schlüpmannn studied philosophy during the 1960s in Frankfurt on Main. From 1991 to 2008 she was professor of film studies at Frankfurt University. She is the co-editor of the magazine “Frauen und Film” and co-founder and co-curator of Kinothek Asta Nielsen. Amongst her publications are: “Ein Detektiv des Kinos. Studien zu Siegfried Kracauers Filmtheorie” (1998), “The Uncanny Gaze. The Drama of Early German Cinema” (1990/2010) and “Ungeheure Einbildungskraft. Die dunkle Moralität des Kinos” (2007). 

Stefanie Schulte Strathaus is co-director of Arsenal – Institute for Film and Video Art, interim co-director of Berlinale Forum and founding director of the Forum Expanded program at Berlin International Film Festival. From 2011 to 2013, she led the project “Living Archive – Archive Work as a Contemporary Artistic and Curatorial Practice”, which took up permanent quarters as the “Living Archive” at silent green Kulturquartier in 2015. In 2016, she co-founded the silent green Film Feld Forschung gGmbH. 

Marc Siegel is currently Professor of Media Studies at the University of Hildesheim. He is the author of numerous essays in the fields of avant-garde film and queer studies. His book “A Gossip of Images” will be published by Duke University Press in 2019. He is a member of the advisory board of the Forum Expanded section of the Berlinale and a co-founder of the art collective CHEAP. 

Juan A. Suárez (University of Murcia, Spain) is the author of the books “Bike Boys, Drag Queens, and Superstars” (1996) and “Pop Modernism: Noise
and the Reinvention of the Everyday” (2007), among others. He co-edited (with David Walton) “Culture, Space, and Power: Blurred Lines” (2016) and “Contemporary Writing and the Politics of Space” (2017). Recent essays appeared in Grey Room, Screen, Criticism, and Cinema Journal and in the edited volumes “The Modernist World“ (2015) and “The Music and Sound of Experimental Film” (2017). 

Hiroko Tasaka is the curator of the Department of Moving Image at the Tokyo Photographic Art Museum. She was a director of Yebisu International Festival for Art & Alternative Visions 2018, which she has co-curated since 2009. She has curated “Spelling Dystopia” (2012–13), “Shiro Takatani Camera Lucida” (2013–14), “Apichatpong Weerasethakul: Ghosts in the Darkness” (2016–17) and “Japanese Expanded Cinema Revisited” (2017). 

Amy Taubin is a contributing editor for Artforum, Film Comment, and Sight and Sound magazines. She teaches at the School of Visual Arts in New York City. Her critical essays are included in many collections, including “Frank Films: The Film and Video Work of Robert Frank”. Her texts have appeared in the Village Voice, Soho Weekly News, Sight and Sound, the New York Times, and many other publications. She is the subject of two of Warhol’s SCREEN TESTS and her own film, IN THE BAG (1981) is in the collection of the Museum of Modern Art and Arsenal, Berlin. 

Mark Webber is an independent curator of avant-garde and artists’ film and video who has been responsible for screenings and events at institutions worldwide. He was a programmer for the BFI London Film Festival from 2000 to 2012. In 2014, he co-founded The Visible Press to publish books on artists’ film and writings by filmmakers. He is the editor of books on and with Owen  Land, Gregory J. Markopoulos, the London Film-Makers’ Cooperative, Peter Gidal and Thom Andersen. 

Yvonne Zimmermann is Professor of Media Studies at Philipps-University Marburg. She is the author of “Bergführer Lorenz: Karriere eines missglückten Films” (2005) and editor and co-author of a volume on “useful cinema” in Switzerland. She has published widely on industrial film, “useful cinema” and nontheatrical film culture. Part of her current research focuses on the intersections between the avant-garde and advertising and on the case of Hans Richter in particular.