Matteo Balduzzi is a curator in the field of public art and photography. For over fifteen years he has been collaborating with the Museum of Contemporary Photography in Milan-Cinisello Balsamo, Italy, where he is a curator and has been the artistic programme co-ordinator since 2018. The Museum is the only public museum in Italy dedicated to contemporary photography and seeks to promote its archival heritage through specific research projects, integrate the works of emerging artists within the museum’s collections, and develop new collaborative projects involving citizens (or public) and artists.
In recent years, Balduzzi has curated numerous exhibitions and projects, including West, by Francesco Jodice, presented in in Toulouse and Naples,  L’Italia e’ un Desiderioat Gallerie del Quirinale in Rome; Gabrielle Basilico: Le Mie Citta , at Triennale Milano.

Dr Sandra Križić Roban holds a PhD in art history and is a critic, curator, lecturer, PhD mentor, and writer, who focuses on contemporary art, history and theory of photography, post-war architecture, and the politics of public space and cultural memory. Križić Roban is a senior scientific advisor in tenure at the Institute of Art History (Zagreb), and Assistant Professor of Culture of Memory at the Academy of Fine Arts, Zagreb, and of Photography and Visual Culture at the Philosophical Faculty, Osijek. She is the Principal Investigator on the HRZZ project Ekspozicija – Themes and Aspects of Croatian Photography from the 19th Century until Today (2020–2024), and the head of the Office for Photography, a non-profit association dedicated to contemporary photography (Zagreb). She has been awarded a fellowship by the Goethe-Institute, AICA, Styrian Provincial Government, DAAD and Getty International Program. Križić Roban has authored a number of books, scientific articles, and book chapters on photography, especially on women’s practice, cultural migration and conceptual photography, trauma and alternative ways of memorisation, most recently in W.G. Sebald’s Artistic Legacies: Memory, Word and Image, Amsterdam University Press, 2023.

Together with Ana Šverko, she edited the volume Watching, Waiting: The Photographic Representation of Empty Places, Leuven University Press, 2023. She hosted a number of retrospective exhibitions, as well as extensive thematic exhibitions, both in Croatia and abroad, recently focusing on women’s photography and conceptual photography, among them: Floodlit Room: Women’s Photographic Practice in Croatia (Zagreb, 2023);Seeing Differently: Women and Photography in Croatia between 1950s and 1970s (Split, Zadar, 2021); ‘Soft’ Shooting?’ Women Photography in Croatia (Križevci, 2021, Zagreb, 2020).

Dr Alexander Supartono is an art historian and curator specialising in modern and contemporary art in Southeast Asia currently working at the School of Arts and Creative Industries, Edinburgh Napier University. He obtained a PhD in History of Photography from the University of St. Andrews, Scotland. Recent curatorial activities include Postcolonial Photo Studio 4 (Chobi Mela Festival, Dhaka, 2017) and  Flame of Solidarity, the presentation of Taring Padi collective at the documenta fifteen (Kassel, Germany, 2022). Latest publications include the co-edited book Dolorosa Sinaga: Body, Form, Matter (2020) and article “The Silent Waiting: Javanese Antiquity and 19^th Century Photography in the Dutch East Indies” (2022).

Dr Emily Pugh received her PhD from the CUNY Graduate Center in New York City, where she focused on both postwar architecture and digital humanities. Since 2014, Pugh has led the Digital Art History department at the Getty Research Institute, overseeing research activities of projects including Ed Ruscha Streets of Los Angeles and PhotoTech, a project focused on art-historical photo archives. Her expertise within digital art history centers on the digital media of art history and its related infrastructures, which encompasses the digitization of physical materials, 3D scanning, computer vision, as well as collections metadata and its related workflows and processes. Her work on architecture and digital art history has been published in the Journal of the Society of Architectural Historians, Space and Culture, the Journal of Digital Art History, and will appear in the 2022 edition of Debates in the Digital Humanities. She has received funding for her research from the Center for Architecture Theory Criticism History at the University of Queensland, the Center for Digital Humanities Research at Australian National University, and the Foundation for Landscape Studies.

Dr Tracy Stuber received her PhD in Visual and Cultural Studies from the University of Rochester. She is Digital Humanities Specialist at Harvard University. She was a Research Specialist for the Digital Art History department at the Getty Research Institute, where she focuses on the use of emerging technologies such as computer vision and machine learning to discover new research possibilities within photographic archives. Before coming to the Getty, she was a Kress Interpretive Fellow at the George Eastman Museum, and her research in photography and digital humanities has been supported by the Andrew W. Mellon Foundation and Humanities New York.

Matthew Gansallo is a curator, author, architect, designer, and museologist. He was a Senior Management Fellow (1998-2001) at Tate Britain, London and the first curator of Tate’s Net Art Exhibition (2000) and served as Education and Interpretation Consultant at Tate Britain and Tate Modern (2001-2003. He worked at the British Museum (2004-2010) and the Natural History Museum in London (2010-2015) as the founder and director of the highly successful Young Graduates YGMG Education Programme, working with 11 National Educational Museums and over 50 UK secondary schools and 20 universities in London and Europe. Gansallo also founded the History, Culture and Heritage Institute Nigeria (HCHIN) (2017-present). He is currently completing PhD studies at the University of Sunderland.