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In his artistic oeuvre, Ulf Aminde (born in 1969 in Stuttgart, he now lives and works in Berlin) concerns himself with social machines and perceptual fields. In dialog with people from the margins of society he has realized performances, plays and film pieces, always questioning his role as initiator and director. Aminde studied at the Berlin University of Arts. His works have been shown, among others, at the 4th Berlin Biennale, at the Volksbühne Berlin and most recently in Taiwan at MOCA Taipei, where he first collaborated with Shi-Wei Lu. 

Yael Bartana’s films, installations, and photographs explore the imagery of identity and the politics of memory. Her starting point is the national consciousness propagated by her native country Israel. In her Israeli projects, Bartana dealt with the impact of war, military rituals, and a sense of threat on everyday life. Between 2006 and 2011, the artist was working in Poland, creating the trilogy "And Europe Will Be Stunned," a project on the history of Polish-Jewish relations and its influence on contemporary Polish identity. Yael Bartana represented Poland at the 54th International Art Exhibition in Venice (2011).

deufert&plischke have been pursuing their goal of a new epic theatre since 2001. Their work as the artisttwin deufert&plischke is equally at home in museums and other spaces as in theatres. Recent projects developed with artist and theorist friends include the "Anarchivseries" (2008-11 in varying locations including Brussels, Hamburg and Vienna), Emergence Room (2010, in Vienna, Hasselt and Stuttgart amongst others) and "Entropisches Institut" (2012 in Berlin, Sofia, Mülheim and Hamburg). deufert&plischke have been lecturing at art academies in Germany and abroad for eleven years. They have been senior lecturers for a BA course entitled Dance, Context, Choreography at the Inter-University Centre for Dance Berlin (HZT) since 2010.

Maria Gaida studied prehistory as well as archaeology and anthropology of the Americas at the University of Hamburg. In 1989 she started working at the Ethnologisches Museum, Staatliche Museen zu Berlin, first as an intern, then as curator of the Mesoamerican Collection and since 1999 also as head of the Collection Department. Since 1996 she has been co-editor of the museum's publication Baessler-Archiv. Her research work centers on the pre-Columbian Maya and Aztec cultures.

Richard Haas studied anthropology of the Americas, prehistory and history at the Freie Universität Berlin. He has held a post at the Ethnologisches Museum, Staatliche Museen zu Berlin since 1987, initially as research assistant, and since 1989 as curator and department head, responsible for the collections on South American ethnology. Since 2002 he has held the post of deputy director. He has published numerous works on the topics of the collections and collection history of the Ethnologisches Museum and has curated diverse exhibitions.

Ant Hampton founded Rotozaza (1998-2008) and has created theatre and performance works for stage, landscape and public space. He is best known for his "Autoteatro" series: instruction-led and self-generating performances embodied and played-out by the audience themselves, with no other performer or artist present. 
Working at the interface of visual art, film and ethnography, Britt Hatzius creates diverse work across several types of media, examining different aspects of the moving image (technical / historical / conceptual / aesthetic) and exploring the potential ruptures and deviations within established forms of communication and knowledge acquisition. Hampton and Hatzius' distinct practices find their nexus in performance via a shared interest in recordable media, the uncanny and new forms of conjured presence. "As never before / as never again" is the  third collaboration of Ant Hampton and Britt Hatzius after "Cloakroom Deposits" (2002) and more recently "THIS IS NOT MY VOICE SPEAKING" (2011) which continues to tour internationally.

Dorothea von Hantelmann is documenta Professor at the Art Academy/University of Kassel. Her main fields of research are contemporary art and theory as well as the history and theory of exhibitions. She is currently working on a book that analyses historical changes in the social function of the art exhibition. Before taking the position in Kassel, Dorothea von Hantelmann taught art history at the Freie Universität Berlin and was a research fellow of the Berlin-based Collaborative Research Centre Aesthetic Experience and the Dissolution of Artistic Limits. She is the author of How to Do Things with Art, one of the seminal works on performativity within contemporary art.

Kapwani Kiwanga intentionally confuses truth and fiction in her work in order to unsettle hegemonic narratives and create spaces in which marginal and fantastical discourse can flourish. Kiwanga's fondness for oral traditions drives a continual exploration of the formal possibilities of orality in her performance, installation, sound, and video work. Kiwanga's work has been shown at Centre Pompidou (2006, 2013), Foundation Ricard (2013, 2014); Glasgow Centre of Contemporary Art, (2008) ; Paris Photo (2011), Bienal Internacional de Arte Contemporáneo, Almería, (2006); Art Catalyst (2013), Jeu de Paume (2014).

Florian Malzacher is an independent curator, dramaturge and writer, as well as artistic director of Impulse Theater Biennale in Cologne, Düsseldorf and Mülheim/Ruhr. Between 2006-12 he was the co-programmer of the interdisciplinary arts festival steirischer herbst in Graz (A). As a freelance dramaturge he has collaborated with artists like Rimini Protokoll (D), Lola Arias (ARG), Mariano Pensotti (ARG) & Nature Theater of Oklahoma (USA). He co-curated the 4th & 5th International Summer Academy at Mousonturm/Frankfurt (2002 & 04), the "Dictionary of War" (2006/07), the series "Performing Lectures" (2004-06) in Frankfurt/Main as well as the 160-hour performance- and lecture marathon "Truth is concrete" (Graz, 2012). His latest publications include books on Forced Entertainment and Rimini Protokoll as well as on Curating Performing Arts and on Artistic Activism ("Truth is concrete. A Handbook for Artistic Strategies in Real Politics," Sternberg Press 2014).

Siegmar Nahser has been custodian of the Korean and Japanese collection of the East and North Asia department of the Ethnologisches Museum, Staatliche Museen zu Berlin since 1997, and has been responsible for the entire department as curator since 2006. He studied aesthetics, art and Asian studies (Japanese studies) at the Humboldt Universität zu Berlin. The main focus of his work in recent years has been collaborative inventory research for the database, including provenance investigations of archive materials as well as new acquisitions of daily objects and religious artifacts for this collection.

Alexandra Pirici is a Bucharest-based artist. She has a background in choreography but works within a wide range of mediums, from choreography to visual art, music and film. Recent works include “An Immaterial Retrospective of the Venice Biennale” (together with Manuel Pelmus) exhibited in the Romanian Pavilion at the 55th edition of the Venice Biennale, public space and gallery space projects for the Museum of Contemporary Art in Leipzig, Bass Museum of Art – Miami, the Centre Pompidou, the Swiss Sculpture Exhibition and Manifesta10, among others.

Politique Culinaire is an open collective of artists, amateur chefs, writers, and researchers who investigate historical menus and their context, affirming the political dimension of the culinary. Its members are Franziska Pierwoss, Sandra Teitge, Max Benkendorff, and Albrecht Pischel. For this occasion, Politique Culinaire will be collaborating with the head chef of the Foreign Ministry of the Federal Republic of Germany, Matthias Krüger.

Shi-Wei Lu (lives and works in Taipei, Taiwan) is an artist, curator and activist. She studied theater and visual anthropology at Berlin’s Freie Universität. Her doctorate addressed the way Asian culture was misunderstood by Bertolt Brecht when he invented his alienation effect, borrowing in the process from the Chinese Peking Opera tradition. In her artistic efforts, she explores the potential for performative interventions in public space in order to invent body-based image generation. She is a member of the performance group 否定之否定 (“Negating Negation”), and has been organizing a free performance school outside Taipei for a few years; since 2007 she has been an active member of the NGO China Labour Watch. She won the Taiwanese Little Dragon award for her _I-trash project.