Nora Wölfing is an art historian and sinologist. She works as a researcher, curator, and journalist, specializing in contemporary art. She is currently writing her dissertation at Freie Universität Berlin and is an affiliated researcher with the East Asian Futures research group at Ruhr University Bochum. Since 2021, she has been an active member of the Research Network for Modern and Contemporary Chinese Art. Her research focuses on narrative structures in contemporary media art, immersive exhibitions, and non-linear temporalities. In addition to presenting at academic conferences, Nora writes regularly for publications such as Yishu Journal for Contemporary Chinese Art, ArtAsiaPacific, and CURA Magazine. Alongside her academic and journalistic work, Nora curates exhibitions and moderates events.

Lukas Dubro is a journalist and literary scholar based in Paris. He earned his master’s degree in Applied Literary Studies from Freie Universität. In 2017, he launched the magazine Kapsel, and in 2012, the fanzine Cartouche, which focuses on Berlin pop culture. From 2015 to 2022, he was responsible for public relations at the Acud Macht Neu initiative and oversaw its literary series. Since early 2018, he has worked as a freelancer for the German Press Agency (DPA), and since late 2021 for the Redaktionsnetzwerk Deutschland. He has written for publications including taz and Spex.

Regina Kanyu Wang is a multi-award-winning author, researcher, and editor who divides her time between Shanghai and Oslo. She holds a Ph.D. in Cultural Studies, a Master of Fine Arts in Creative Writing, and a Bachelor’s degree in Business Administration. She writes science fiction, nonfiction, and academic essays in both Chinese and English. She has published two collections of short stories in Chinese, a novella in Italian, and an anthology in German. Her stories have appeared in various magazines and anthologies in over ten languages. She has also co-edited The Way Spring Arrives and Other Stories, New Voices in Chinese Science Fiction, and The Routledge Handbook of The Wandering Earth. She is a recipient of the Chinese Nebula Award and the SF Planet Award, and a finalist for the Hugo Award and the Locus Award.

Her research focuses on Chinese science fiction, artificial intelligence, the creative and innovation economy, gender studies, and environmental humanities

As a cultural critic and writer, Dawn Chan has been a regular contributor to The New York Times. She has also published in ArtReview, The Atlantic, The New Yorker, The New York Review of Books, The Paris Review, and Spike Art Magazine; her essays have been included in the anthologies Intersubjectivities vol. IV (Sternberg Press), Spectral Futures (Bloomsbury), and Science Fiction (MIT Press). Chan, formerly a visiting scholar at New York University’s Center for Experimental Humanities, is currently a lecturer at CCS Bard. She has been awarded the Warhol Arts Writers Grant and the Thoma Foundation Arts Writing Award.

Iris Long is an author and curator. In her work, she explores the intersections of art, science, and technology in China, with a focus on technoscience and its cultural and spatial implications. She leads the exhibition and research team at the JD Museum and has curated numerous exhibitions on art and technology, including projects for major institutions and biennials.

She is a Berggruen Fellow for the 2022–2023 term and a Fellow of the Royal Astronomical Society. Her research has been presented internationally at institutions such as the Warburg Institute and the ZKM Center for Art and Media.

In addition to her curatorial work, she teaches at Central Saint Martins and initiated China’s first artist-in-residence program focusing on astronomy and astrophysics at the Institute of Astronomy at Tsinghua University. She also founded Port: Under the Cloud, a long-term research project on China’s technological infrastructures.

Nora Wölfing is an art historian and sinologist. She works as a researcher, curator, and journalist, specializing in contemporary art. She is currently writing her dissertation at Freie Universität Berlin and is an affiliated researcher with the East Asian Futures research group at Ruhr University Bochum. Since 2021, she has been an active member of the Research Network for Modern and Contemporary Chinese Art. Her research focuses on narrative structures in contemporary media art, immersive exhibitions, and non-linear temporalities. In addition to presenting at academic conferences, Nora writes regularly for publications such as Yishu Journal for Contemporary Chinese Art, ArtAsiaPacific, and CURA Magazine. Alongside her academic and journalistic work, Nora curates exhibitions and moderates events.

Gary Zhexi Zhang’s work explores systemic connections between cosmology, technology, and economics. He works both independently and in collaboration with others, as well as within organizational frameworks. He recently edited an anthology of stories, essays, and interviews on the themes of finance and time: Catastrophe Time! (Strange Attractor Press, 2023). Dead Cat Bounce, the opera he created in collaboration with Waste Paper Opera, premiered at Somerset House in 2022 and went on tour in 2024. His projects explore the emergence and mediation of geopolitical imaginaries, particularly through forms of arbitrage across time, cultural, and technical systems.

Yedam Ann (born 1992 in Seoul, Republic of Korea) is a multidisciplinary artist who explores the tensions between infrastructure and human movement from the perspective of a digital diaspora. In her work, she examines how speculative architecture and systemic design give rise to structural anxieties and exclusion. By creating spaces that mimic functional logic while subtly subverting it, Ann exposes the absurdities of contemporary labor and social systems. Using language and distorted structures as her tools, she reimagines neutralized landscapes and transforms disorientation into a site of poetic exploration.

Jane Hwang (born 1986 in Urbana, USA) is a multimedia artist based in Berlin. Through her research-based practice, she brings the relics of others—which drift in the layers of non-experience—back into the present physical and sensory experience. In tune with the hum of the archive, Hwang explores the gaps and absences within narratives as a state of posthumous exile. Her work engages with oral tradition, rituals, and historical documentation, expressing their resonance through film, text, and audiovisual installations.