Shaina Anand is one of the founding members of the CAMP collaborative studio in Bombay. It combines film, video, installation, publication, software, open-access archives, and public programming with broad interests in technology, film, and theory. CAMP likes to work on long-term, complex projects that nest in their contexts. Recent exhibitions include: Sharjah Biennial (2013), Kochi-Muziris Biennial (2012), dOCUMENTA 13 (2012), Gwangju Biennial (2012), New Museum Triennial (2012), etc. Their recent feature-length experimental documentary From Gulf to Gulf to Gulf was awarded the Jury mention at Festival International de Cinéma, Marseille and has been screened at BFI London Film Festival, DocLisboa, the Viennale, among others. From their home base in Chuim village, Bombay, CAMP are co-initiators of the online footage archive http://pad.ma, the new cinema archive http://indiancine.ma, the Wharfage project on the Indian Ocean, and a constellation of other projects, events, and symposia which they host.

Eric Baudelaire is a visual artist and filmmaker. His recent feature films Letters to Max (2014), The Ugly One (2013), and The Anabasis of May and Fusako Shigenobu, Masao Adachi, and 27 Years Without Images (2011) were selected at FID Marseille, Locarno, and Rotterdam film festivals. His research-based practice also comprises printmaking, photography, and publications that have been shown in installations along with his films in solo exhibitions at Bétonsalon, Paris; Kunsthall, Bergen, Norway; Beirut Art Center, Beirut, Lebanon; Gasworks, London; La Synagogue de Delme, Delme, France; and The Hammer Museum, Los Angeles. He has participated in the Taipei Biennial 2012, Berlin Documentary Forum 2, 2012, La Triennale 2012, Paris, and the Baltic Triennial of International Art 2012. His work is included in the collections of the MACBA in Barcelona, the Centre Pompidou in Paris, and the Whitney Museum of American Art in New York.

Duncan Campbell

 lives and works in Glasgow. He completed a BA at the University of Ulster, Belfast, in 1996 and an MFA at the Glasgow School of Art in 1998. His films are primarily concerned with themes related to the past and history. In particular, Campbell explores how social, political, and personal narratives are relayed and preserved over time. As such, he not only questions the degree to which documentary is fiction, but he also problematizes the accepted authority and integrity of cultural records. Archival elements are therefore interwoven with Campbell’s various personal understandings and interpretations, as imagery of his own construction is mashed-up with found, official documentation and original footage. Such is the spirit of Campbell’s work: his precisely crafted films convey engaging alternate stories and portraits.

Jill Godmilow has produced and directed award-winning political nonfiction films and narrative films for several decades, including Antonia: A Portrait of the Woman (1974);Waiting for the Moon (1987): Roy Cohn/Jack Smith (1995); What Farocki Taught (1997); and Lear ’87 Archive (Condensed) (2003). Her work has been recognized by the Guggenheim and Rockefeller Foundations, nominated for an Academy Award, and featured at the Whitney Biennial and the Sundance Film Festival. Antonia was recently added to the prestigious National Film Registry. All her films are archived in the collections of the Wisconsin Center for Film & Theater Research. An Emerita Professor, she has just retired from 20 years of teaching film production and critical courses in the Department of Film, Television & Theatre at the University of Notre Dame.

Johan Grimonprez's curatorial projects have been exhibited at museums worldwide, including the Hammer Museum, Los Angeles; the Pinakothek der Moderne, Munich; and the Museum of Modern Art, New York. His works are in the collections of the Centre Georges Pompidou, Paris; the 21st Century Museum of Contemporary Art, Kanazawa; and Tate Modern, London. His films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009). Traveling the main festival circuit from the Berlinale to Sundance, they garnered several Best Director awards: the 2005 ZKM International Media Award, a Spirit Award, and the 2009 Black Pearl Award at the Abu Dhabi Film Festival; they were also acquired by NBC Universal, ARTE, and FILM 4. In 2011 Hatje Cantz Verlag published a reader on his work titled Johan Grimonprez: It’s a Poor Sort of Memory that Only Works Backwards, with contributions by Jodi Dean, Thomas Elsaesser,Tom McCarthy, Hans Ulrich Obrist, and Slavoj Žižek. Grimonprez currently divides his time between Brussels and New York, where he participated in the Whitney Museum Independent Study Program and lectures at the School of Visual Arts. His current film project (with author Andrew Feinstein), Shadow World: Inside the Global Arms Trade, was awarded a production grant from the Sundance Institute. His distributors are Soda Pictures and Kino Lorber International, and his artwork is represented by the Sean Kelly Gallery, New York, and the Galerie Kamel Mennour, Paris.

Cao Guimarães, filmmaker and visual artist, was born in 1965 in Belo Horizonte, Brazil, where he lives and works. He studied philosophy at the Federal University of Minas Gerais and completed a Master of Arts in Photographic Studies at the University of Westminster in London. With intense production since the late 1980s, his work has been collected by prestigious institutions including Tate Modern (London), MoMA and the Guggenheim Museum (New York), SFMOMA (San Francisco), and Museo Thyssen-Bornemisza (Madrid). Participating in important exhibitions such as And Then It Became A City: Six Cities Under 60, Shenzhen & Hong Kong Bi-City Biennale of Urbanism/Architecture, Shenzhen, P.R. China; Ensaios de Geopoética, 8th Mercosul Biennale, Porto Alegre, Brazil; How to Live Together, 27th Sao Paulo Biennale, Sao Paulo, Brazil; and Iconografias Metropolitanas, 25th Sao Paulo Biennale, Sao Paulo, Brazil. The author of several feature films such as The Man of the Crowd (2013), Otto (2012), Ex It (2010), Drifter (2007), and others, he has been invited to display his works at renowned international film festivals such as Locarno International Film Festival (2004, 2006 and 2008), Sundance Film Festival (2007), Cannes Film Festival (2005), Rotterdam International Film Festival (2005 and 2007), Cinéma du Réel (2005), International Documentary Film Festival of Amsterdam – IDFA (2004), It’s All True (2001, 2004, 2005), São Paulo International Film Festival (2004, 2006), and the Rio International Film Festival (2001, 2004, 2005, 2006).

Jesse McLean is a media artist whose research is motivated by a deep curiosity about human behavior and relationships, and is concerned with both the power and the failure of the mediated experience to bring people together. She has presented her work at museums, galleries, and film festivals worldwide, including the International Film Festival Rotterdam, The Netherlands; Rome Film Festival, Venice Film Festival, both in Italy; Transmediale, Berlin; 25 FPS Festival, Zagreb, Croatia; European Media Arts Festival, Osnabrück, Germany; Impakt, Utrecht, The Netherlands; CPH:DOX, Copenhagen; Images Festival; Kassel Documentary Film and Video Festival, Kassel, Germany; Garage Center for Contemporary Culture, Moscow; BIOS, Athens, Greece; CCCB, Barcelona, Spain; Contemporary Art Museum, St. Louis; Interstate Projects, PPOW Gallery, both New York; Museum of Contemporary Art, Detroit; Gallery 400, Three Walls, Museum of Contemporary Photography, all Chicago. She was the recipient of a Jury Prize in the International Competition at the 2013 Videoex Festival, Zürich, Switzerland, received the Ghostly Award for Best Sound Design at the 2012 Ann Arbor Film Festival, and the Overkill Award at the 2011 Images Festival, and the Barbara Aronofsky Latham Award for Emerging Experimental Video Artist at the 2010 Ann Arbor Film Festival. She is an Assistant Professor in the Department of Cinematic Arts at the University of Iowa.

Karen Mirza and Brad Butler's multilayered practice consists of filmmaking, drawing, installation, photography, performance, publishing, and curating. Their work challenges terms such as participation, collaboration, the social turn, and the traditional roles of the artist as producer and the audience as recipient. Since 2007, Mirza and Butler have been developing a body of work entitled “The Museum of Non Participation.” The artists have repeatedly found themselves embedded in pivotal moments of change, protest, non-alignment, and debate. Experiencing such space of contestation both directly and through the network of art institutions, Mirza and Butler negotiate these influences in video, photography, text, and action. Recent exhibitions include The Museum of Non Participation: The New Deal at the Walker Art Centre (April–July 2013), Performa 13 (2013), and Derin Devlet (Deep State) at Galeri NON (Jan–Feb 2014). The Museum of Non Participation is nominated for the Artes Mundi Award 2014 for visual artists who engage with the human condition, social reality, and lived experience. In 2004, Mirza and Butler formed no.w.here, an artist-run organization that combines film production with critical dialogue about contemporary image making. It supports the production of artist works, runs workshops and critical discussions, and actively curates performances, screenings, residencies, publications, events, and exhibitions (www.no-w-here.org.uk). no.w.here’s role as a cooperative environment is directly related to the centering of Mirza and Butler’s own practice upon collaboration, dialogue, and the social.

Lois Patiño combined his Psychology studies in the Complutense University of Madrid with cinema studies at TAI School. He followed his cinema education at NYFA in New York and with the Master in Cinema Documentary at Pompeu Fabra University in Barcelona. He has developed courses of video creation in the UdK of Berlin, and in different ateliers with artists and filmmakers such as Joan Jonas, Donald Kuspit, Pedro Costa, Víctor Erice, José Luis Guerín, and Daniel Canogar.   

Shuddhabrata Sengupta 

is an artist and writer with the Raqs Media Collective. Since 1992, Raqs has traversed a varied terrain—from video to installation, to text image assemblages, to performance and encounters, and to online media objects. Raqs (Monica Narula, Jeebesh Bagchi, Shuddhabrata Sengupta) generates motives for its continuity and its pleasure by working within and against the grain of different forms and disciplines, observing mutations where they occur, and keeping a close watch on the way in which the world courses through its triangulated consciousness. Located at the intersections of contemporary art practice, historical enquiry, philosophical speculation, curation, research, and theory, Raqs lives and works in New Delhi, and from 2000 to 2012 were based at Sarai (www.sarai.net), an initiative they cofounded in 2000 at the Centre for the Study of Developing Societies, Delhi.

Hito Steyerl (born 1966, Munich) has produced a variety of works as a filmmaker and an author in the field of essayist documentary video. Her principal topics of interest are media and the global circulation of images. In 2004 she participated in Manifesta 5, The European Biennial of Contemporary Art. She also participated in documenta 12, Kassel 2007, Shanghai Biennial 2008, and Gwangju and Taipei biennials 2010, and was the subject of numerous solo exhibitions throughout Europe. In addition, Steyerl holds a PhD in Philosophy, is a professor for media art at the University of Arts Berlin, and has taught film and theory at (amongst other institutions) Goldsmiths College and Bard College, Center for Curatorial Studies.