Lines of Flight, Terms and Conditions

Sydney Alderman is an artist, writer and performer from Chelmsford, studying at London Metropolitan University. Predominantly sculptural, she mostly works with found materials and ready-made objects, often being more concerned with audience interaction and space than any object itself. Her practice emerges from and is underpinned by her negotiations of the body, what it means to be human and living with chronic illness. Through this she explores duration, rest, adaptation, labour, vulnerability and repetition as both lived experience and artistic method. The work engages with systems and spaces of control, using modular forms, such as simple cubes, to question ideas about order and stability. The body not as the human we think of but as a dysregulated, fleeting and adaptive system. She is currently working toward a new project that will re-imagine and disrupt the streets of Venice as a Fellow of the British Council, La Biennale 2026.

Ektoras Arkomanis is an artist and writer. He uses film for its capacity to preserve and explore, but he is especially interested in what the medium omits, its inadequacy for describing things that are no longer there, and the narratives that are invented to fill these gaps. He is currently working on a series of films about the district of Eleonas in Athens; the latest one, work / memories of work, was released in 2024. Ektoras has published essays and articles on film, architecture, and art, and has edited a volume titled Migrations in New Cinema (Cours de Poétique, 2020). He recently co-created a collaborative installation titled Protea/Extraction (commissioned by the Anti-Apartheid Centre of Memory and Learning in London), which explored colonial histories of exploitation and commodification of natural resources in South Africa. Ektoras teaches history to architecture students at London Metropolitan University.

Edwina Attlee is a poet and a cultural historian. She teaches history to students of architecture at UCL and London Met. She is the author of Strayed Homes: Cultural Histories of the Domestic in Public (Bloomsbury, 2021) and a great shaking (Tenement, 2024). She is part of the Fair Organ.

Sophie Barshall is a writer and artist from London. She is the founding editor of The Toe Rag, a print magazine concerned with contemporary culture, particularly visual art, performance, politics, philosophy and literature.

Sam Belinfante is an artist living and working in London. Along with filmmaking and photographic work, his practice incorporates curating, sound and performance. Recent exhibitions include I See a Voice, The National Festival of Making (2023); This is a Voice at MAAS Sydney and Wellcome Collection, London (2016–17) and To the tintinnabulation that so musically wells, Radar at Loughborough’s Carillion (2018). Recent performances include On Falling Short, ICA, London and Museum Tinguely, Basel (2024–25), The Long, very long Journey with Laure Prouvost at Kunsthalle Wien, Vienna (2023) and Feedback at Palais De Tokyo, Paris (2017). In 2021 Belinfante presented On the Circulation of Blood, a major sculptural and performance commission for Creative Folkestone Triennial. In 2023 he was the inaugural Artist in Residence at Sir John Soane's Museum, London. For over fifteen years Belinfante has been teaching art at a variety of levels, including as Assistant Professor of Fine Art at University of Leeds (2021–22). He is the director of Centre for Audio Visual Experimentation (2016–) and a founding member of Musarc (2008–).

Mariam Bergloff is a sound artist and music researcher based in London. Her work explores sampling, dissonance, and granular composition as ways of thinking through memory and perception. She is the founding director and curator of Raleigh Chapel, where she develops a programme spanning sound, art, and faith.

Biblioteka is an independent library of artists’ publications based at the Architectural Association in London. It holds a collection of over 10,000 books covering the last 30 years of art publishing, many of its titles are rare and out of print. The library runs a regular programme of readings, screenings, exhibitions and music events. It engages critically with the notion of library as a spatial, architectural, social and cultural project.

Mela Boev trained in performing arts with Thomas Leahbart, Pino Costalunga, Antonio Fava, Chiara Guidi, and Claudia Castellucci. She studied decorative arts at the Academy of Fine Arts in Bologna and at ESDAC in Strasbourg. She has explored the idea of myth as a collective experience, a structural paradigm, a production approach, and, more recently, applied it to the writing of narratives for Comprehensible Input Language Learning and Augmented Language. She has collaborated with choral ensemble Musarc on projects that have informed the pedagogy and methodology of Field Studies since 2011, most recently on the production of The End of the World Service, Taranto, Italy, 2022. Since 2017, Mela has collaborated with the international dancing communities of DanceWell. There are three roots to my practice: Textiles, Stories, and Time. They are not intended to be strategies or devices, but rather imprints on a tortuous terrain where one can navigate imperfectly.’

Rachal Bradley is a London-based filmmaker, artist and writer working at the intersection of body, system and material. Her work traces how identity is shaped—through language, through structure, through what we wear. Her films and artworks have been presented across the UK and Europe, and her writing has appeared in Texte Zur Kunst. She is currently developing FOLD, a feature documentary exploring a northern woman’s lifelong devotion to Japanese avant-garde fashion as a form of self-invention. She has taught in art schools across the UK and Europe since 2016.

Adam Cheltsov is an architect and graphic designer. He studied graphic design at Central Saint Martins and then Architecture Parts 1–3 at London Metropolitan University. He works at Studio Charlotte Harris, an architectural practice based in London, and teaches on the Architecture, Interiors and Product Design Foundation course at the University of East London.

Ilenia Cipollari works with voice as a living archive – part song, part ritual, part disturbance. Drawing from Mediterranean polyphony, myth, and embodied practice, she makes performances that sit somewhere between concert, séance, and soft rebellion.

Anna Colin is an independent curator, educator, researcher and gardener. She is engaged with critical pedagogy, ecocentric social practice, institutional time and habitability, and social botany. Anna directs the MFA Curating and co-directs the Centre for Art Ecology at Goldsmiths, University of London. She was a co-founder and director, between 2013 and 2020, of Open School East, an independent art school and community space in London then Margate. Anna is the author of Alternative Pedagogical Spaces: From Utopia to Institutionalization (Villa Arson and Sternberg Press, 2025).

Grace Connolly Linden is poet and teacher. Her creative and critical work can be found in Prototype 5, the Journal of British and Irish Innovative Poetry and Datableed Zine. Her pamphlet Well was published by Veer2. She is the convenor and a member of the creative research collective The Fair Organ whose pamphlets include Folk Critique (forthcoming), Wind the Bobbin Up, Recent Poems and She Moved Through the Fair. 

Rey Conquer is a writer and editor. They are the author of Conversation Time (2025), a book of translation and essays. Their debut novel, How to Live Together, is coming out with Fitzcarraldo Editions in 2027. They are part of the Fair Organ, for which they co-edited the pamphlets Wind the Bobbin Up and Recent Poems by Hugh Foley among others.

Ania Dabrowska is an artist, curator and educator whose studio, curatorial and teaching practice is powered by spiritual, activist, and meditative intentionality. Her work draws from critical frameworks spanning photography and filmmaking, archives, the domain of myth and alchemy, feminism, psychoanalysis, and folklore. She is particularly focused on current discourses redefining our understanding of human and environmental agency, the ontology of objects, and on how articulations of female subjectivity, body, place, motherhood and migrant belonging can counter the ruins of capitalist and patriarchal orders. In her practice, Ania asks what can artists, academics and cultural institutions can effectively do to reclaim narratives of the self and empower agency in relation to political and climate change. How can an exploration of the ecologies and mythologies of the self intervene in cultural and social mythmaking, and in the protection of both planetary ecologies and our wellbeing? Ania teaches Photography Studio, Professional Practice, and Critical and Contextual Studies at London Metropolitan University's School of Art, Architecture and Design. She has taught art and photography in UK art schools since 2007.

Carolyn Delaney-Akande is a London-based artist who works with written and spoken word, sound and performance, currently studying at London Metropolitan University. Her practice engages with narrative and storytelling, using written word and voice to explore the intersection between identity, memory and nostalgia. A central focus of Carolyn’s work is the female ageing experience in Western cultures, and the question how toxic beauty standards and norms shape our perceptions of womens‘ bodies and identities in society.

Sandra Denicke-Polcher is an architect and National Teaching Fellow who brings over two decades of experience in Higher Education to her role as Assistant Dean (Education) in the School of Architecture at the RCA. As an advocate for inclusivity in architectural education, she champions interdisciplinarity and alternative pathways to engage with spatial practice and the profession. She has taught and published on the intersection of architectural education and practice, working with students on community live projects, involving participatory and community-led design processes to the benefit of students and community stakeholders in the UK and abroad. She has contributed to interdisciplinary research through initiatives like Crossing Cultures, which explores new pedagogical models through student residencies, fostering hands-on collaboration and blended learning. Sandra advocates for an ‘Architecture of Multiple Authorship’. Beyond academia, she is a founding partner of Public Works. Their urban regeneration project in Germany, Geesthacht an die Elbe!, was awarded first prize for exemplary building in the public realm (2003).

John Levack Drever is a sound artist, acoustician, and researcher. He is Creative Director of the soundscape and ambiance consultancy Otoloci and currently a Visiting Scholar at Cambridge Digital Humanities, where he co-directs LAURA (Leverhulme Trust Aural Diversity Doctoral Research Hub). He leads Working Group 1 of COST Action CA23145, Architectural and Urban Ambiances of European Cities, and is co-chair of the Inclusive Engineering Working Group for Noise Network Plus. For over two decades, as Professor of Acoustic Ecology and Sound Art, John led the MMus in Sonic Arts at Goldsmiths, University of London, where he co-founded the Unit for Sound Practice Research (SPR). In 2007, prompted by his experiences as a new parent, John began investigating the soundscapes of public toilets, where the widespread adoption of so-called “ecological” hand dryers had created hostile acoustic environments. This work led him to articulate auraldiversity: a paradigm shift from an otological model of “normal” hearing to a socio-cultural understanding of how auraltypical norms are imposed. This inclusive framework is now influencing discourse and practice across music, sound studies, acoustics, and urban design. Notably, his research methods encompass both traditional acoustics and innovative techniques, such as co-composition. His latest project on dis-immersion foregrounds lived, asymmetric, embodied listening and prosthetic mediation, critically challenging the assumptions underpinning immersive media.

Aliya Ebo is a painter and performer, and her current favourite phrase is ‘generous ambiguity’. Her work as a Fine Art student at London Metropolitan University explores rich symbolism and layered allegory, engaging with social frameworks and philosophy across film, painting, sound, and performance. Her practice is increasingly drawn toward ritual and transcendence, with recent experiments in sound and cello extending her interest in duration and encounter. Having studied performing arts in Kingston, she continues to engage with the dynamics of performance through experimental choral work with MUSARC. Her work centres on the sensuous, the abject, and forms of excess, where opulence becomes strange.

Aisha Farr is an artist and writer who makes paintings, weavings, and poems that interrelate. Some of her miniature paintings, and ongoing details of her project on the presence of the Parsi in the British archive, can be seen on aishafarr.com

Aranzazu Fernández Rangel is an architect whose practice centres around public realm design and placemaking. She holds an MA in Narrative Spaces from CSM and a PG Dip in Integrative Arts Psychotherapy from UEL. She is passionate about transforming environments, internal and external, through relationship building and participation.

Anastasia Glover is a British-Greek architect, tutor, soprano and linguist, and the founding director of Glover Architects. She is a Design Fellow at the University of Cambridge, co-running a third year Architecture studio. She is a founding member of Musarc, an avant-garde choir collective who perform all over Europe. She also speaks five languages and worked as a Japanese and Chinese interpreter for the BBC.

Tommaso Gorla is an Italian artist and researcher based in London since 2012. Trained in Fine Art in Italy, he obtained a PhD in Anthropology of Images in France. He is interested in image agency and affect, exploring how artefacts impact and govern thought processes and behaviours. His practice spans from drawing to editorial research, and has been exhibited internationally. He is a founder of the journal on space and place, Anima Loci and has worked as an editor for the Tokyo-based platform of research on contemporary drawing, Drawing Tube. Alongside his practice, Tommaso has taught at universities and institutions in the UK, the EU, and China.

Lucy Gunning’s practice involves installation and live events that juxtapose diverse material and spatial elements, engaged with the entanglement of a given site/context. Often working with moving image, sculptural or found objects, architectural intervention. There is an ongoing interest in performativity, temporality, space, matter and the intangible. Informed by literature, feminism, queer theory, and esoteric practice. She is represented by Matt’s Gallery, London, and teaches at Chelsea College of Arts.

Henrietta Hale is a movement and performance artist practicing across interdisciplinary fields, bridging somatic and kinaesthetic awarenesses to social sciences and history. She co-founded Dog Kennel Hill Project, (DKHP) in 2004, as a collective research laboratory. Their productions spanned theatre dance pieces, video works, site-specific productions in outdoor or unusual spaces, gallery exhibitions and installations. A recent example, Neurolive, 2023 was a collaboration with a team of neuroscientists interrogating Liveness as felt and imagined phenomena, as well as the use of various neuroscience technologies attempting to measure it. Heni is Lead Tutor and lecturer in embodied practices for an MA/MFA Creative Practice, a partnership between Independent Dance, Siobhan Davies Studios and Trinity Laban. Her current post-graduate research is with the archive of Tavistock Institute of Human Relations, and through the Centre for Dance Research, Coventry University. She explores how movement and embodied re-enactment can activate archives and reimagine past encounters with group relations, automation and industrial systems.

Jan Hendrickse is an artist, performer, researcher and educator, receiving commissions for concert performance, installation works and dance scores. He has appeared with a range of artists from electronic and freely improvised musics, such as Ornette Coleman, Mark Fell, Rian Treanor and David Toop, as well as featuring regularly as a soloist on traditional instruments for major film scores. He designs, makes and modifies instruments for performance and workshop processes. He trained as a western Classical flute player, but has researched and studied many other flute traditions. He now performs mostly with self-made and traditional instruments including Turkish Ney, Tanzanian Filimbi, Chinese Xiao and Dizi as well as Rajasthani Satara and Alghoza. Jan has taught Turkish Ney at the Yunus Emre institute in London as well as in private classes. Jan teaches socially-engaged practice and practice-based research at the Guildhall School of Music & Drama and has also led creative projects for in communities around the world including Gambia, Thailand, Germany and Gaza and the West Bank. His PhD research examined the epistemic models adopted in creative practice. He is experienced in facilitating conversations and interviews and has chaired discussions with the musicologist Georgina Born and artists Mark Fell, Michael Gordon and CC Hennix, amongst others.

Petra Johnson works collaboratively with artists and researchers on long-term projects. Between 2018 to 2020 she co-curated an artist residency programme in rural China with Jay Brown and He Jixing which inquired ‘What questions are better asked from here than elsewhere?’ Since her return to the UK, she has worked with the Centre for Dance Research, Coventry University, and has co-authored Dance & Silence (Bloomsbury) with Vipavinee Artpradid. She is currently a Fellow at Machinaloci Space, exploring movement, touch, and sound with Franziska Boehm and Carol Mancke.

Yiannis Katsaris is an artist and educator. His practice is rooted in documentary, using photography, creativity and visual arts. His work moves beyond personal narratives to explore the broader cultural context. His current research proposes a relational model of portraiture that moves beyond likeness as the primary marker of identity. Yiannis’sphotography has featured in solo and group exhibitions. He has also created video art installations and lighting design for theatre and opera productions in venues across the UK and Europe. Yiannis often works on commercial, editorial and creative commissions. He is also the video editor at Panos Pictures, a photo agency specializing in global social issues. Yiannis is currently a Senior Lecturer in Photography at the School of Art, Architecture and Design, London Metropolitan University.

Barbara Kaucky is an Austrian architect who studied in Vienna and Berlin before moving to London, where she co-founded Root And Erect with Susanne Tutsch in 2003. Barbara serves on multiple design review panels and for several years chaired the RIBA Small Practice Group. She is passionately invested in regenerative, living systems design and trains with Regenesis Group, a forerunner in the field of regenerative development. Outside her professional life Barbara volunteers with Core Landscape, a mental health and gardening charity.

Adam Khan is an architect, activist and singer based in London, exploring the weaving of these together in practices of collective intimacy, presence and empowerment. These have been projected at a large and public scale with a commitment to social housing and urban co-design, and on a more intimate scale as places of emotional nurture for people experiencing trauma and vulnerability. An intersectional position on resource economy, social equity and healing underpins a deep interest in the as-found, extending to urban repair, radical retrofit and joyful improvisation.  

Torange Khonsari is Reader in Architecture and Design at London Metropolitan University and Co-Director of the Centre for Applied Research in Empowering Society (CARES), where she leads interdisciplinary research addressing civic transformation and socio-ecological urban futures. Her work positions architecture within wider debates on democratic governance, investigating how commons-based frameworks can reshape relationships between citizens, institutions and the built environment. Combining practice-based inquiry with participatory action research, she develops experimental design methodologies that translate grassroots knowledge into spatial, institutional and policy innovation. Alongside her academic role, she is Founding Director of Public Works, a practice widely recognised for advancing participatory urbanism and civic design. Khonsari has held senior advisory roles with organisations including the Design Council, Greater London Authority and the Design Museum, and previously worked with UN-Habitat. Her forthcoming monograph Commons and Public Partnership: Legitimising a Commons Political Sphere (Bloomsbury, 2026) consolidates two decades of interdisciplinary research into new models of civic infrastructure and urban governance.

Klara Kofen is an artist, dramaturg, writer, and researcher whose work is concerned with histories – speculative, counterfactual, real and imagined – and the ways technological interfaces shape our relationship to time and affect. As the artistic director of Waste Paper Opera since 2015, she creates sound-based multimedia performances that challenge traditional boundaries between live art, music, and technology. The collective defines opera as a form of multimodal performance spanning light, sound, speech, voice, gesture, film, sensing and sculpture – combining objects, space, and infrastructure. She also performs with Phorne, a band with Cameron Graham exploring sensory percussion, voice, and technologically mediated environments. Her research is rooted in a background in early modern history, particularly the history of science, the French Revolution, legal and metabolic histories, and the historiography of rupture. She has written and presented on subjects including trade secrets and artificial intelligence, the origins of meteorology, mystical sects in the seventeenth century, baroque gesture, scientific diagrams, and models of common ownership in performance. Her practice weaves historical inquiry with motion capture, speech, film, installation, and digital media, often working across synchronous and asynchronous timeframes. Recent works include fake & extinct (Centrale Fies, 2025), which stages dialogues between stones and legal philosophers to explore non-synchronous sovereignty and water infrastructures; Admiror, or Revolutionary Sentiments (Guggenheim Museum, NYC, 2024), a collaboration with Bahar Noorizadeh on the sentimental logic of capitalism; and Dead Cat Bounce (2024 UK tour), an oratorio about finance and catastrophe created with Gary Zhexi Zhang. In opera, Kofen collaborates as a dramaturg and writer with ensembles including Ensemble Molière and Opera Settecento. Her writing has appeared in Catastrophe Time! (MIT Press/Strange Attractor, 2023) and through Onomatopee. She is currently a creative fellow at the Institute of Advanced Studies at UCL London, and was previously a fellow on the Guildhall School of Music & Drama’s Opera Making course. She studied history at the University of Glasgow and the University of Oxford. Klara was born into a Greek/Polish family and grew up in a commune in Düsseldorf. She works at the Bookartbookshop in London and occasionally investigates international trade shows.

Joseph Kohlmaier is an artist, designer and teacher. He is currently Associate Teaching Professor in history and theory at the School of Art, Architecture and Design, London Metropolitan University. He is the founder and creative director of several collectives, organisations and educational projects including experimental choral ensemble Musarc (2009–present), Field Studies (2010–17, 2025–present), graphic design studio Polimekanos (with Stefan Kraus, 2000–2020), and independent imprint Cours de Poétique. It is through these frameworks that Joseph’s practice evolves and where it has had the greatest impact by creating spaces for people to experiment with new ideas. As a curator and producer, Joseph has commissioned and worked with emerging and established artists, and collaborated with leading arts organisations in the UK and Europe on projects that have transformed the landscape of education, contemporary music, and performance. Joseph’s work is multifaceted, situated at the intersection of different disciplines and activities that oscillate between solitary practice and collective performance. It is animated by the question of how we learn, how thought is related to symbolic form, the agony and potential of collective acts, the general ecology of the chorus, and marginalised ways of thinking such as the role of embodiment and felt sense in the production of knowledge.

Indigo Leveson-Gower is an architectural designer and artist working in public realm and landscape with a focus on participatory design processes. Her interests lie in collaborative creative thinking and making practices, having recently co-run a two-week workshop in Finland that explored collective drawing and thinking through natural-dye making and site-specific installations. Other interests and previous work include founding an art and events collective that held non-profit art, music and poetry events, aimed at creating an accessible space to make and display art.

Loré Lixenberg is a performer/soundartist whose work moves fluidly across contemporary music, experimental opera, physical theatre and live art. Originally trained as a mezzo-soprano and composer, she has built an unusually wide-ranging practice that also embraces sound art, radio, film, coding and direction, always led by the demands of the idea. She has premiered countless works written for her voice at major international festivals including Donaueschingen, Darmstadt, Witten, Wien Modern and Ultima, collaborating with ensembles such as Klangforum Wien, Ensemble Intercontemporain and Ensemble Recherche. Her own projects investigate the voice in relation to politics, technology and economics, notably Prêt à Chanter, The Singterviews, Singlr and Voxxcoin. In 2017, she founded The Voice Party, a hybrid of political party and opera, and stood in the UK general elections of 2019 and 2024. In 2026 she premieres new works by Jennifer Walshe and Philip Venables at Fondation Cartier, Paris, and appears at Wigmore Hall later this year.

Phillipa Longson is an architecture and design educator and researcher, working with themes around place-attachment, participatory design, everyday place-making, and practices of queering. She is currently an artist in residence with The Fieldwork Project in South London, developing a community studio space with marginalised groups that explores the potential for collective design and making practices to foster sense of place and agency.

Neil Luck is a musician based in the UK. Neil’s work often explores the pathos and interaction between live human performance and multimedia, and attempts to frame the act of music making as something curious, or weird, or useful, or spectacular in and of itself. Neil’s work takes a range of forms from music-theatre, to concert works, radio, public projects and recordings. Neil is the founder and director of the music-theatre ensemble ARCO, and a co-founder of artist cooperative squib-box. He performs with artist Jennifer Walshe in the duo WACK. Independently, he has also worked with and written for people and ensembles in the UK and abroad, and presented work at music venues, festivals, and galleries internationally including Tate Britain, Tate Modern,  Venice Biennale, ICA, Whitechapel Gallery, MATA Festival (NYC), BBC Proms, Palais de Tokyo (Paris), in Vilnius and Aarhus Capital of Culture festivals, and Tokyo Experimental Festival. His music has been released on several labels including Entr'acte, Nonclassical, Accidental Records, and squib-box. Neil has been recent resident at Akademie Schloss Solitude (Stuttgart, Germany), Mahler Lewitt studios (Spoleto, Italy), and at Kinosaki Arts Centre (Japan).

Carol Mancke is an artist and architect who, after many years practicing and teaching architecture, broadened into individual and collaborative art practices. Carol brings time, objects, images, movement, humor, hospitality and conversation into play to prompt alternative ways of participating in everyday life. Her artwork has featured in shows in Britain, Australia, the US and Japan, and her PhD research (‘Thinking in Public: The Affordance of Hopeless Spaces’, RCA 2021) explored collaborative thinking as a public artistic practice that might build agency in the public sphere. In 2018 Carol founded machinaloci space, a place for playful research into alternative ways of being, thinking, and doing together which she ran in Berkeley California until 2022 and now in London since 2025. She has been singing with Musarc since 2022 and helping with the administration of the choir since 2024.

Paul Martin Art School: Painting, Reliefs, Sculpture, Environment & Performances with fellow students including electronic tape. Sculpture: Tape Pieces (with fan) Film: River Film, Mist on Mountains etc. Competitions: Botanic Gardens Station, Glasgow; Bellevor Tor, Dartmoor; River Crossings, London. Book: Spirals through Eye. Exhibition: Along the Roman Wall – LYC Museum, Banks (photographs). Sound: Crossness Pumping Station. Field Studies 2012 and following with Davide Tidoni, Aki Onda and Akio Suzuki, Joseph Kohlmaier and others. Musarc Choir since 2013. Unbuilt roads. 

Jane McAllister is an academic, illustrator, and architect educated at the Architectural Association School of Architecture and Cooper Union in New York. She is currently the co-BA Architecture Course Leader at AAD, where she also leads practice-based teaching through live community projects in the UK and internationally, collaborating with universities and NGOs. Her work often explores participatory design and cross-cultural exchange. She previously co-ran a design atelier focused on “crossing cultures,” investigating how migration shapes settlement, identity, well-being, and systems of self-governance. Her practice-based PhD examines City Farms as resilient, self-governed urban entities, presented as a graphic novel. McAllister’s publications include research on Belmonte Calabro and collaborative sustainable development, as well as writing on City Farms as models for growth and resilience. Her work has appeared in Environmental Science & Sustainable Development, ORO Editions, and ARQ, contributing to discourse on rurality, suburbia, and community-led urban futures.

Saori Miraku is a pianist-composer, improviser, and performer based in London. Her music is an invitation to transcend, to reach beyond the everyday world and into a place of stories, memories, imagination, dreams and transformation. Blending elements of neoclassical composition and ambient piano textures, her music opens into immersive sonic landscapes of sound, space, and atmosphere, evoking a sense of the infinite. She collaborates with musicians and artists from different fields, where music unfolds intuitively in the moment. Her work also extends into film, where she composes and performs live scores for screen. Alongside her solo work, she performs in duo, trio, and larger ensembles, and is active within improvisational music scenes. She also appears in short films, music videos and photographic projects. Saori released her piano solo album Many Times on Earth in December 2023, composed and performed by her, and has collaborated on recordings with other artists. New solo works and collaborations are currently in the making.

Kuba Modrzejewski’s choral practice now approaches its 20th anniversary. He performed in venues as diverse as Royal Festival Hall, Alpine ruins, Tonhalle Zürich, and Milton Keynes shopping mall. In 2018 he devised an experimental performance for Musarc, bringing questions of national pride and competitive collaboration into the group’s Odrathek festival. By day Kuba is a software engineer making public transport easier to use.

Calum Montgomery lives and works between the UK and Sweden. He studied engineering and architecture and works across building, design, and education. Recent building work includes the restoration of a sixteenth-century farmhouse for a performance artist in France and recent design work includes furniture for an exhibition at Moderna Museet in Stockholm (with Jägnefält Milton AB). Last summer, together with Indigo Leveson-Gower, he designed a student workshop in Finland. He is currently studying his Masters in Architecture at London Metropolitan University.

Matilda Moors is an artist and academic based in London who works in sculpture, print, writing and installation. Her practice and research focus on; the material quality of flatness, depictions of the cartoon body and the relationship between cuteness, violence and abjection. In her work she deploys languages associated with youth culture to create pieces with a skewed-cartoonesque-cuteness that probe contradictions in contemporary pop culture. Moors is currently making a series of sculptures that struggle with their own volume for an upcoming show at The Sweet Shop (Lewes). As well as continuing to write about the idea of hyenic polyphony informed by her time at Praksis Oslo and collaboratively developed at the Antivoid Alliance residency in Newhaven. She was a founding member of School of the Damned, and studied at the Royal Academy Schools. Previous shows include Blusher Transition Gallery (Leicester), The Horror Show Somerset House (London), Serpent and Shadow The Royal Academy (London), Auto Aim Geidai (Tokyo) and The Amber Room Matt’s Gallery (London).

Alice Motta works across screen and stage as an actor, movement director, and is an intimacy coordinator. She trained at LISPA / Art-Haus Berlin, specialising in Jacques Lecoq’s pedagogy with a focus on embodiment. Her solo work Sacred Bath was shortlisted for “Most Surprising Movement Performance” at the South East Awards and has toured internationally. Alice has performed and choreographed music videos including The Antagonist – Observe (2023) and Purple Rose (2026), and appeared in TV series and short films. As an intimacy coordinator, she has worked on productions currently in post-production. Her poetry has been award-winning and widely published.

Robert Mull is Adjunct Professor of Architecture at the University of Limerick, a Visiting Professor at Umeå University, Sweden, and a Director at Publica, London. Robert was previously Director of Architecture and Dean of The Cass Faculty of Art, Architecture and Design, and Head of Architecture and Design at Brighton University. Robert now leads the Global Free Unit, a transnational educational structure with academic, research, NGO and institutional partners focusing on live projects within areas of displacement and war, and institutions including prisons, schools and communities. Robert is currently working with partners in Ukraine in support of the Kharkiv School of Architecture, in Cairo in support of displaced Gazan students and academics, and building for Syrian families returning to the city of Homs.

Annja Neumann is a theatre-maker, curator and digital media artist who creates site-specific and immersive mixed-reality performances that both embed systems change and enable participants to experience the dynamics they face in the systems they inhabit, especially as AI-mediated technologies are increasingly being given social roles. This practice, crossing the fields of arts and organisation, socio-technological systems design and systems psychodynamics, shapes Annja’s work as Principal Artist-Researcher and Organisational Consultant at the Tavistock Institute of Human Relations’s Futures Lab in London. At the heart of Annja’s work is FAUST SHOP, developed as Isaac Newton Trust Research Fellow in Digital Humanities at the University of Cambridge and as part of her performance-based research project Re-staging Public Spaces. It asks questions about agency and what Faustian pacts we make with digital technologies in our daily digital lives. Annja’s – including Dr Tulp and the Theatre of Zoom, Waiting Room and The Great Wurstel – has been commissioned for national and international audiences with the latest productions running at the Cambridge Festival (2022-24), the British Computer Society in London (2025) and as part of the Tavistock’s Consulting and Change programme in China (2026).

Trevor Norris is a humanities scholar whose intellectual practice moves across literature, political economy, performance theory, ecology, and the philosophy of technology. His work is less defined by a single discipline than by a method of relational enquiry: tracing how aesthetic forms, institutional structures, and ethical sensibilities evolve together across historical time. Drawing on traditions as diverse as Renaissance drama, decolonial thought, ecological systems theory, and contemporary debates about artificial intelligence, he treats culture as a diagnostic instrument for understanding civilisational transformation. His style of enquiry is synthetic and exploratory, privileging pattern recognition across domains rather than narrow specialisation. Trevor is particularly interested in how institutions metabolise violence, how aesthetic forms operate as civic technologies, and how new forms of dialogue might revive traditions of philosophical correspondence. Across essays, lectures, and collaborative conversations, he pursues a form of intellectual work that joins moral seriousness with speculative imagination in order to think clearly about an age of ecological, epistemic, and institutional upheaval.

Shamoon Patwari is a Senior Lecturer at London Metropolitan University and urban practitioner with ARCSR (Architecture of Rapid Change and Scarce Resources). His work focuses on learning through making and has developed through long-term involvement in community-based projects and research in contexts of urban change. He has been involved in a range of live projects that bring together students, practitioners and NGOs, supporting processes of design, building and collective engagement. His work often operates at the intersection of education and practice, exploring how knowledge is shared, adapted and developed through working with others. He has co-edited publications including Learning from Delhi (2010) and The Architecture of Three Freetown Neighbourhoods (2013). He is interested in how small-scale architectural interventions and collaborative processes can open up alternative ways of learning and making in the city.

Michael Poole is: breaking and mending, rocking on a chair, framing things, measuring potholes with his ex-girlfriend’s tape measure, flossing (almost) daily, oversimplifying the complex, trying to kick the habit, overcomplicating the simple, usually quite softly spoken, often found sitting on the fence, smiling with all his teeth, learning how to become part of the street. He prefers straight lines drawn without a ruler, goes round the roundabout twice and is finalising a delicate arrangement with an awkward tree.

Claudia Sarnthein is a German/Austrian artist, living in London and Berlin. She studied Art History at the Universität Wien in Vienna and Design at the Hochschule HAW/College of Art & Design in Hamburg. She worked as a costume/textile designer in Hamburg and Paris for several years, before graduating in Fine Art from the Royal College of Art, London. She works predominately with multi-textured installations that combine painting, drawing, embroidery and ceramics. She draws on her central European heritage – its arts and crafts, folklore, rituals, mysticism, pagan and monotheistic traditions, always in relation to the handmade, the interior or sacred space. Alongside her practice she has published a wide array of artists’ books. She has exhibited internationally with solo and group shows at institutions including Künstlerhaus Bethanien, Berlin; Imperial College, London; Württembergischer Kunstverein, Stuttgart; Frappant e.V. Galerie, Hamburg; Drawing Room HU, Budapest; Kunstsalon, Berlin; Warbling, London; Tate Modern Bookshop, London and Jerwood Space, London. She has taught at and collaborated with wide-ranging art institutions and universities across the UK and Germany, most recently the Ashmolean Museum, Oxford. She is a Senior Tutor at the Ruskin School of Art, University of Oxford.

Jacek Ludwig Scarso is Reader in Art and Performance at London Metropolitan University, where he is Deputy Director of CREATURE (Research Centre in Creative Arts, Cultures and Engagement), leads the MA Public Art & Performative Practices and is University Teaching Fellow. He is Senior Curator at Fondazione Marta Czok (Rome/Venice), developing international partnerships exploring new strategies in art and social engagement. Jacek is a regular speaker on public art, performance and contemporary museum practices, recently hosting the Inaugural Symposium for London Sculpture Week, in partnership with The Line, Frieze Sculpture, Fourth Plinth and Sculpture in the City. He serves on the Excecutive Board of City Space Architecture, is Member of the Steering Committee of Public Space Academy, Member of the British Art Network, Research Associate for Museo Spazio Pubblico in Bologna and Trustee of The Line, London’s first dedicated public art walk. His artistic and curatorial research projects have been presented worldwide, including Tate Modern, Pratt Institute in New York, Museo MACRO in Rome, ACCA (Australian Centre for Contemporary Art) and RMIT University in Melbourne, and the British Council in Hong Kong.

Imogen Stidworthy’s sculptural installations and films are shaped by different forms of voicing, through sound, body, and spatial and temporal relationships. She spends time and stages situations with people whose language is shaped by powerful experiences, neurological conditions, such as aphasia, or cultural practices, such as shamanism. Her work grapples with the impossibility of glimpsing language from the outside; ‘What happens to sense-making in encounters with unfamiliar or unrecognisable forms of voicing? What different forms of communication emerge in spaces between languages? In recent years I’ve been engaging with these questions through the lens of autism, and non-verbal being.’ She completed her PhD ‘Voicing on the Borders of Language’ at Lund University (SE) in September 2020. In 2018 she was awarded the Special Prize for the inaugural David and Annely Juda Award and has won and been shortlisted for many awards and prizes.

Axel Stockburger is an artist who works as Associate Professor for Art and Cultural Studies at the Academy of Fine Arts, Vienna. He studied Visual Media Arts with Peter Weibel at the University of Applied Arts, Vienna and Art History as well as Philosophy at the University of Vienna. In his PhD from the University of the Arts, London, he researched the spatiality of digital games in the context of contemporary art. In his art and research, Stockburger focused on a wide range of different phenomena, tracing the paradigm shift in how culture is produced and consumed that emerged with digital technologies. He produced artworks engaging with global forms of fan culture and cosplay, as well as digital play and games. In his theoretical work he began to focus more specifically on questions of canonization and the critique of the canon, in contemporary art. His videos and installations have been exhibited internationally. He is a member of the research group Technopolitics and, since 2020, a member of the board of the artist association Secession, Vienna.

Bo Tang is Director of Architecture of Rapid Change and Scarce Resources (ARCSR) and Reader at London Metropolitan University, where her work brings together teaching, research and live civic practice. Her work focuses on participatory and practice-based urban methodologies, exploring collaborative city-making in contexts shaped by marginalisation, displacement and uneven development. Her projects explore how learning and making unfold through ongoing engagement with communities, often beyond institutional frameworks. Working in the UK and internationally, she has developed long-term collaborations that foreground participation, resourcefulness and collective knowledge. She is co-editor of Learning from Delhi (2010) and The Architecture of Three Freetown Neighbourhoods (2013), and co-author of Loose Fit City (2018). Her current work focuses on extended studio models, festival-based practices and cultural activity as a form of infrastructure. Through ARCSR, she continues to investigate how architectural education can operate as a living, evolving practice embedded in place.

The Fair Organ is an independent research collective, responding to 'folk' culture in solo and collaborative works across text, performance and visual art. The emphasis is on process and on mutual exchange between scholarly and creative ways of working, including oral history, social history, translation, ceramics, typography, printmaking, poetry and fiction.

Olivia Tusinski received a BA in Sociology from Lafayette College, Pennsylvania, and an MSc in City Design and Social Science from the London School of Economics. She has spent significant periods of time in post industrial Pennsylvania, Mali, Germany and London as a student of life, working in architecture practice as an urban strategist and writer, and later as a regeneration and partnership specialist. More recently, life has found Olivia renovating an abandoned church in Western Massachusetts, close to where she grew up, into a hybrid and experimental home and community space. Understanding how people create, express and share culture in place is ultimately her interest.

Marketa Uhlirova is an art historian, curator and co-founder of the Fashion in Film Festival, where she has been director since 2006. With an interest in the intersection of fashion, art and moving image, she has curated film programmes for venues such as Tate Modern, Barbican, and the Museum of the Moving Image in New York. In 2017 she and Rollo Smallcombe co-created the film experience The Inferno Unseen, a reimagined version of Henri-Georges Clouzot’s unfinished 1964 film.

Hlib Velyhorskyi is an artist whose practice navigates community building, education and architecture. He is the founder and director of Biblioteka — a library of artists’ publications.  Together with Arnaud Desjardin he has co-curated 2025 Art and The Book season at the Warburg Institute and started Biblioteka Art Book Fair. In the recent years he has lectured at the RCA, Bartlett, Chelsea School of Art and participated at international conferences including Books Are Bridges at PrintRoom Rotterdam and CAC Librarians at Contemporary Art Centre Vilnius. He has curated readings and events at the ICA London and South Parade gallery. Hlib co-runs Chequers gallery, where his personal curatorial project Whatever Anderson is based.

Joanna Ward is a composer, performer, and writer from Newcastle upon Tyne, based in London. Her music practice revolves around experimental score-making methodologies, improvisation, and repetition. She is currently doing a PhD in composition, researching labour, idleness, and ethics, and how these concepts manifest in composition practice. As vocalist, she mostly performs contemporary, experimental, and improvised musics, including with Musarc. Alongside her practice as a composer and performer, Joanna works part-time as a charity fundraiser.

Sarah Kate Wilson is an artist based in London. Her expanded painting practice spans, painting, performance, tapestry, drawing, printmaking and costume. She has exhibited work at; BALTIC 39, (UK), Bauhaus Museum, (Dessau, DE), The Cervantes Institute, (New Delhi, IN), Newlyn Gallery, (UK), The Armory Centre, (California, US) and most recently within the 2026 Biennale Internazionale Donna, (IT). Working collaboratively with Musarc, one of the UK’s foremost experimental choirs, her work has been performed at; Palais de Tokyo, (Paris, FR), Royal Academy of Arts, (London, UK) and The Museum of London. Sarah Kate received her MFA in Painting, from the Slade School of Fine Art, London (2008-2010), and Practice Based PhD (AHRC) from University of Leeds (2017). Ssarah is a Senior Lecturer of Painting at Camberwell, UAL, having previously taught at University of Leeds, Bath Spa University, University of Brighton, TOMA, Into The Wild and in 2023 led a workshop at Whitechapel Gallery, (London) in relation to, ‘Action, Gesture, Paint: Women Artists and Global Abstraction 1940-70’. Alongside her studio practice, she regularly presents her research internationally; CAA 2019 (Chicago, US), AAH 2019 (UK) and delivered the Keynote for ‘Painting in the Expanded Field’, 2024, MTU, (IRE). She is a chapter author for The Routledge Companion to Contemporary Painting, (forthcoming 2026), whilst her text ‘Painting’s Liveness’, 2024, published by the Journal for Contemporary Painting, led to a public in-conversation with Catherine Wood (Interim Director, Tate Modern). In May 2026 Sarah will co-convene the symposium ‘Painted Garments; Conversations Between Painting, Fashion and Textiles’, UAL, London.

Hannah Zafiropoulos is a researcher, designer and curator. As a Design Principal at TPXimpact her work focuses on participatory and place-based research and design for public policy and services. Before moving into design, Hannah worked as a curator for over 10 years, designing and delivering research-led learning and community programmes in the UK and internationally. She holds an MA in Curating Contemporary Art from the RCA and a BA in History of Art from the Courtauld Institute of Art.