Barbara London is a New York-based curator, writer, and KADIST advisor, who founded the Video-media Exhibition and Collection Programs at the Museum of Modern Art in New York (MoMA). Her book Video Art/The First Fifty Years (Phaidon) was released in January 2020 and her podcast Barbara London Calling launched in August 2020. London was one of the first to integrate the Internet as part of curatorial practice, with Stir-fry (1994); Internyet (1998); and dot.jp. (1999). She organized one-person shows with such media mavericks as Laurie Anderson, Peter Campus, Teiji Furuhashi, Gary Hill, Joan Jonas, Shigeko Kubota, Nam June Paik (whose retrospective is currently on view at SFMOMA), Song Dong, Steina Vasulka, Bill Viola, and Zhang Peili. Her thematic exhibitions at MoMA included Soundings: A Contemporary Score (2013); Looking at Music (2009); Video Spaces (1995); Music Video: the Industry and Its Fringes (1985); and Video from Tokyo to Fukui and Kyoto (1979).

Marina Rosenfeld has exhibited her work internationally at the Park Avenue Armory, MoMA, the Bard Center for Curatorial Studies, Portikus Frankfurt, the Kitchen, and the Artist’s Institute, as well as numerous biennials and international surveys including documenta 14 (2017). In the contemporary music field, she has created works for Borealis, Wien Modern, Time:Spans, MaerzMusik, Pro Musica Nova, Donaueschingen, and Ultima festivals, among many others. Her turntablist collaborators have included Christian Marclay, George Lewis, Okkyung Lee, Ikue Mori, Annette Henry aka Warrior Queen, Ben Vida, DJ Olive, and Christof Kurzmann, among many others too numerous to list. As a composer for dance, Rosenfeld created live improved music for the Merce Cunningham Dance Company between 2004 and 2008, and composed original scores for choreographers Ralph Lemon (Scaffold Room, 2014-2015) and Maria Hassabi (PLASTIC, 2016, STAGED?, 2017, and STAGING, 2017-2018). In 2020 she began a collaboration with Experiments in Art and Technology at Bell Labs Nokia. Rosenfeld has been the co-chair of the MFA in Music/Sound at Bard College since 2007, and has been a visiting professor at Cooper Union, Harvard, Yale School of Art, and Brooklyn College.

Aura Satz has performed, exhibited and screened her work internationally including FACT, Liverpool; Site Gallery, Sheffield; Galleria Civica di Arte e Contemporanea di Trento; De La Warr Pavilion, Bexhill-on-Sea; the Zentrum Paul Klee, Bern; AV festival, Newcastle; and in London at Whitechapel Gallery, the Victoria & Albert Museum, Barbican Art Gallery, Institute of Contemporary Arts (ICA), Jerwood Space, Tate Britain, Beaconsfield Gallery and Artprojx Space. Her recent films are Little Doorways to Paths Not Yet Taken (2016) and Entangled Nightvisions (2018). Satz currently teaches at the Royal College of Art in London. A key figure among a talented generation of younger artists who engage with sound, Satz has received widespread critical acclaim across her nearly two decade-long practice.

Samson Young has had solo exhibitions at Goethe-Institute, Hong Kong (2013); Hiroshima City Museum of Contemporary Art (2015); and Kunsthalle Düsseldorf (2016). His Songs for Disaster Relief was presented at the Venice Biennale (2017). Select group exhibitions include Innovationist: The Spectacular Journey of New Media Art, Taipei Contemporary Art Museum (2013); The Wizard’s Chamber, Kunsthalle Winterthur, Switzerland (2013); A Journal of the Plague Year, Para Site, Hong Kong (2013); 48HR Incident, 4A Centre for Contemporary Asian Art, Sydney (2015); Retrograde, Logan Center Gallery, University of Chicago (2016); documenta 14 (2017); and One Hand Clapping, Solomon R. Guggenheim Museum, New York (2018). Young was a recipient of the Bloomberg Emerging Artist Award in 2007, and the BMW Art Journey award in 2015. He received his BA in music, philosophy, and gender studies at the University of Sydney before obtaining an MPhil from the University of Hong Kong in 2007 and a PhD in music composition from Princeton University, New Jersey, in 2013. He maintains an active practice in classical music composition.