With few concerns over being branded non-theatre or non-art, Ferrari’s work demonstrated how art and theatre could be performed as a committed action, an outcry in which war, economy and politics were already one big show.
Miguel Álvarez Peralta. Professor of Political Communication and the Global Media System at the University of Castilla la Mancha (UCLM), with a PhD in Mass Communication from the Complutense University of Madrid (UCM). Previously, he worked as a coordinator in the Scientific Culture Department at Spain’s National Distance Education University (UNED) and as a research fellow at Harvard University (USA) and the University of Bolonia (Italy). He is currently conducting research into the emergence of new narratives and political identities as a member of different R&D projects in Spain, for instance the Grupo CAPEP’s work on the Construction of Affairs in the Public Sphere.
Germán Cano. Head professor of Philosophy at the University of Alcalá de Henares, and a translator and analyst with an interest in social movements. He is also the author of Como un ángel frío (2000), Nietzsche y la crítica de la modernidad (2001); Hacer morir, dejar vivir. Biopolítica y capitalismo (2010) and Adoquines bajo la playa. Escenografías biopolíticas del 68 (2011), and is currently a contributor to “Cuarta Página” in Spain’s El País newspaper.
Ileana Diéguez. Research professor in the Humanities Department at the Universidad Autónoma Metropolitana (UAM)-Cuajimalpa, Mexico City, and coordinator of the programme Cartografías Críticas. Her work focuses on reflections connected to dismounting artistic processes, mourning and memory, and ‘necro-theatre’, and her most recent publications include Cuerpos sin duelo. Iconografías y teatralidades del dolor (2013) and Escenarios liminales. Teatralidades, performatividades, políticas (2014), among others.
Ruth Estévez. Curator, writer and set designer. She studied Fine Art at the
University of the Basque Country (UPV/EHU) and obtained an MA in Art History from the Universidad Nacional Autónoma de México (UNAM). Since 2012, she has been a director and head curator at RedCat/California Institute of the Arts (CalArts), a multidisciplinary space, centred on visual and performance arts, in the centre of Los Angeles (USA). Moreover, as an independent curator she has worked on projects at the Graham Foundation for Advanced Studies in Art and Architecture, in Chicago; the Los Angeles Public Art Biennial; Solo Projects at ARCO, Madrid, and the Palaix des Beaux Art Brussels.
Ana Longoni. Researcher, member of the Southern Conceptualisms Network, and incumbent director of Public Activities at the Museo Reina Sofía. With a PhD in the Arts from the University of Buenos Aires (UBA), she is a specialist in the crossroads between art and politics in Argentina and Latin America from the middle of the 20th century to the present day. Her publications include: Roberto Jacoby. El deseo nace del derrumbe (2011), Leandro Katz (2013) and Vanguardia y revolución (2014). Moreover, she curated Roberto Jacoby. Desire is Born from Collapse (Museo Reina Sofía, 2011) and Losing the Public Form. A Seismic Image of the 1980s in Latin America (Museo Reina Sofía, 2012/Museo de Arte de Lima (MALI), 2013 /Museo de la Universidad Nacional de Tres de Febrero (MUNTREF), 2014).
Lucía Méndez. With a degree in Information Science from the Complutense University of Madrid, she is an editor-in-chief and columnist for Spanish newspaper El Mundo, where she has worked since it was founded. She previously contributed to the newspapers El Norte de Castilla and Diario 16, and radio station cadena SER. Moreover, she is a contributor and analyst with cadena SER’s Hoy por Hoy, TVE’s (Spain’s public service television) Los desayunos de TVE, and a number of news programmes on Spanish TV channel La Sexta. She is the author of Duelo de titanes (2008) and Morder la bala. Relato íntimo del gobierno del PP (2012), and editor of Cristina Alberdi’s book El poder es cosa de hombres (2001).
Isabel de Naverán. Stage and theatre researcher. With a PhD in Fine Arts from the University of the Basque Country (UPV/EHU), she is a member of the Bulegoa z/b office for art and knowledge (Bilbao), part of ARTEA, and a lecturer on the MA in Performing Arts Practices and Visual Culture (UCLM and Museo Reina Sofía), and the MA in Research and Creation in Art (UPV/EHU). Furthermore, she has edited the books Hacer historia. Reflexiones desde la práctica de la danza (2010) and Lecturas sobre danza y coreografía (2013), among others, and, since 2016, has coordinated the dance series Elipsiak in AZ (Bilbao). She is also a dance instructor at the Museo Reina Sofía, in Madrid.
Marta Peirano. Deputy editor of Eldiario.es. Founder of CryptoParty Berlin and Elástico, multidisciplinary collectives with which she co-directed the project COPYFIGHt on free culture. The themes of her publications focus on digital art, surveillance, automata, and technological Futurism. Her most recent publication, El Pequeño libro rojo del activista en red (2015), with a preface by Edward Snowden, serves as an introduction to cryptography for journalists, reference material and the media.
José A. Sánchez. Researcher, teacher and the author of books and texts on contemporary artistic practice in the sphere of performance, cinema and literature. A professor in the Fine Arts Department of UCLM, he is the editor of the Virtual Archive of Performing Arts and director of the research group ARTEA. Furthermore, he has edited and contributed to publications such as Isadora Duncan. El arte de la danza y otros escritos (2003), Cuerpos sobre blanco (2003), Situaciones: un proyecto multidisciplinar en Cuenca (2003), Práctica artística y políticas culturales. Algunas propuestas desde la Universidad (2003), Artes de la escena y de la acción en España: 1978-2002 (2006), and No hay más poesía que la acción. Teatralidades expandidas y repertorios disidentes (2015).
Akira Takayama. Theatre director and founder, in 2002, of the project Unit Port B, a space for creating so-called site-specific performances. His work, shaped by this genre, is a theatre and performance hybrid, whereby interaction with the public is part of the mise en scène. His most recent works of note include The Complete Manual of Evacuation (2010), Referendum project (2011), Kein Licth II (2012) and Tokyo Heterotopia(2013).