Federico Campagna is an Italian philosopher and writer based in London. His latest books are Prophetic Culture (2021) and Technic and Magic (2018). He is Critical Fellow at the Royalty Academy Schools in London, Associate Fellow at the Warburg Institute in London, and a director at the radical publisher Verso Books. He is the host of the podcast Overmorrow’s Library for the Centre of Contemporary Arts in Geneva. He is currently working on a new book on the history of world-building imagination in the Mediterranean.

colectivo amasijo, created in 2019 in Mexico City, is comprised of women of different professions, different ages and from different parts of Mexico. The collective rises from the will to care, conserve, and celebrate. Creating the conditions to actively reflect on the origin and diversity of food, de-hierarchizing knowledge and focusing on the “doings” (haceres) as a way of learning. They listen to the narratives of women close to the land and cook collectively as a way to share, learn, and relate. Through food, the interdependence of language, culture, and territory becomes visible.

Since three years Philipp and Suzanne work together as more-than-human collective and trans-local food studio. Tracing the roots and routes of different foods across histories, geographies and cultures, they develop site-specific services, formats and frameworks to reimagine what and how we eat. Departing from their interest in sweetgrasses, the immersive family of grains and cereals foundational to all human settlement, they tell edible stories that activate all senses and seek to inspire caring relationships between people and land. 

Currently, Philipp and Suzanne are reviving ancient techniques for food preservation and storage through the development of a permanent public art work for Dogo Residenz für Neue Kunst and Toggenburg Tourism (CH) to be opened in fall 2025. In addition, they are researching orchard culture and forgotten fruit trees for Nova Gorica and Gorizia, European Capital of Culture 2025 (SI) in collaboration with Robida Collective (IT). Besides, Philipp and Suzanne offer consulting services to those in need and develop workshops and educational programs for organisations in various areas, such as Design Campus Dresden (DE), Plantahof School of Agriculture (CH) or Tourismus Region Klagenfurt (AT). 

Eduardo Castillo-Vinuesa is an anti-disciplinary architect, curator, researcher, and educator operating at the intersection of academia and the cultural sector. His work utilizes a cross-disciplinary approach, integrating architecture, institutional design, filmmaking, and alternative curatorial practices to explore the critical spatial forces shaping our time. He often creates institutional and para-institutional platforms to develop research-driven projects that couldn’t be realized otherwise under more normative forms of research or practice.
An ongoing project is Foodscapes, a long-term research initiative focusing on the systemic, ecological, and political implications of our planetary food systems and the architectures and territories underpinning their existence.

Abena Offeh-Gyimah (Toronto, Canada / Bolgatanga, Ghana) is a writer and researcher whose work helps to protect and maintain indigenous Ghanaian and West African seeds, foods, and plants. She is the founder and managing director of The Beela Project, she works with farmers in the Upper East Region of Ghana to preserve their indigenous seeds through seed exchanges, seed fairs, community seed banking, women’s nutritional garden, and agroecology. She is the founder of Adda Blooms, a food and beverage company specializing in indigenous African foods. Abena also hosts Taste of Bolga, a program exploring traditional food processes, cooking methods, and local food systems in Ghana. As a PhD candidate at the University of Guelph, she researches traditional knowledge and farmer seed systems in Ghana. She has worked in food, farming, and community systems for over a decade, including roles at Black Creek Community Farm and Jane Finch Community Research Partnership.

The Center for Genomic Gastronomy is an artist-led think tank launched in 2010 by Cathrine Kramer (NO) and Zack Denfeld (US) that examines the biotechnologies and biodiversity of human food systems. They have completed research and exhibited in Asia, Europe and North America, collaborating with scientists, chefs, hackers and farmers. Their mission is to map food controversies, prototype alternative culinary futures, and imagine a more just, biodiverse & beautiful food system.

The Center’s work has been published in WIRED, We Make Money Not Art, Science, Nature and Gastronomica and exhibited at the World Health Organization, Kew Gardens, Science Gallery Dublin and others.

Dr. Patricia Ononiwu Kaishian is the Curator of Mycology at the New York State Museum, as well as faculty with the Bard Prison Initiative. Her research focuses on fungal taxonomy, diversity, evolution, symbiosis, and ecology, particularly of the less studied fungal groups, such as the insect-associated Laboulbeniales. She is a co-founder of the International Congress of Armenian Mycologists, which seeks to jointly protect Armenian sovereignty and biodiversity. Patricia also studies philosophy of science, queer ecology, and queer theory, exploring how mycology and other scientific disciplines are situated in and informed by our sociopolitical landscape. Her work, The science underground: mycology as a queer discipline, bridged the relationship between queerness and mycology. Her forthcoming book, Forest Euphoria: The Abounding Queerness of Nature, will be published by Spiegel & Grau.

Noa Jansma is a multidisciplinary artist who investigates commonly accepted cultural beliefs by challenging their validity or purpose through seemingly naive questions. Her work focuses on the relationship between humans and their (ecological) environment, using food as both a subject and a medium. The questions she raises often intersect philosophy, the material-spiritual duality, and politics, resulting in diverse outcomes such as culinary performances, video installations, and educational programs.

Michael Marder is IKERBASQUE Research Professor in the Department of Philosophy at the University of the Basque Country (UPV-EHU), Vitoria-Gasteiz, Spain. His writings span the fields of ecological theory, phenomenology, and political thought. He is the author of numerous scientific articles and monographs, including Plant-Thinking (2013); The Philosopher’s Plant (2014); Dust (2016), Energy Dreams (2017), Heidegger (2018), Political Categories (2019), Pyropolitics (2015, 2020); Dump Philosophy (2020); Hegel's Energy (2021); Green Mass (2021), Philosophy for Passengers (2022), The Phoenix Complex (2023), Time Is a Plant (2023), and, with Edward S. Casey, The Place of Plants (2023).

masharu is an earth eater and an earth lover, a founder of the Museum of Edible Earth (http://www.museumofedible.earth/). masharu's projects combine scientific research with a personal approach and cultural practices. In 2011 they obtained a PhD in Mathematics and graduated with honours from the Photo Academy Amsterdam. In 2013-2014 they participated in the art-in-residency programme at Rijksakademie van Beeldende Kunst in Amsterdam. In 2018 masharu was an artist fellow at the Netherlands Institute for Advanced Study in the Humanities and Social Sciences (NIAS-KNAW). masharu's artistic as well as scientific work has been exhibited, screened and published in more than 30 countries, in such venues and events as Word Soil Museum in Wageningen, Ars Electronica Center in Linz, Modern Art Museum in Yerevan, African Artists’ Foundation in Lagos, Spanish Cultural Centre in Guatemala City, World Design Event in Eindhoven, ReadyTex Gallery in Paramaribo, 4th Jakarta Contemporary Ceramics Biennale in Jakarta, European Ceramic Workcentre in Oisterwijk, Sustainica in Dusseldorf and Museo Maritimo in Bilbao. masharu received several awards, such as Award of Distinction at Prix Ars Electronica (Austria) and YouFab Global Creative Awards (Japan). The work of masharu is supported by the Mondriaan Fund.

Nonhuman Nonsense is a research-driven art and design collective working in the realm of social dreaming and world-making. Their projects engage with the nonhuman: animals, objects, ecology, technology, and the spectres between and beyond categories. They use nonsense as an antidote to “common sense” – embracing paradoxical stories to explore the ethical and metaphysical layers of our relationship with the (nonhuman) world. The collective creates contradictory scenarios & propositions in which they appropriate ideas from fields such as science, computing, law and mythology. Nonhuman Nonsense enjoys curiosity, cherishes compassion, and recognises that separating the human from the nonhuman is nonsense.

Sophie Strand is a writer based in the Hudson Valley who focuses on the intersection of spirituality, storytelling, and ecology. She is the author of The Flowering Wand: Rewilding the Sacred Masculine and The Madonna Secret. Her memoir The Body is a Doorway: A Journey Beyond Healing, Hope, and the Human is forthcoming from Running Press Spring 2025.

Based between Madrid and Sydney, GRANDEZA STUDIO

(Amaia Sanchez-Velasco, Jorge Valiente Oriol and Gonzalo Valiente Oriol) is a collective of architects and artists founded in Madrid in 2011. Their work studies late-capitalist spaces and narratives to identify – through critical analysis – and challenge – through political imagination – the mechanisms that veil and normalize structural forms of violence.

GRANDEZA STUDIO´s work hybridizes methodologies that entangle with research, critical spatial practice, writing, performance, design, filmmaking and pedagogy.

Parama Roy is a Professor of English at the University of California, Davis. Her research focuses on issues related to postcolonial theory and literatures; Victorian studies; appetite, consumption and taste/food studies; and animal studies. She is the author of three books, including, Alimentary Tracts: Appetites, Aversions and the Postcolonial (Duke, 2010), States of Trauma: Gender and Violence in South Asia (Zubaan, 2009), and Indian Traffic: Identities in Question in Colonial and Postcolonial India (University of California, 1998).

Asunción Molinos Gordo is a research-based artist strongly influenced by disciplines such as anthropology, sociology and cultural studies. In her practice she questions the categories that define “innovation” in mainstream discourses today, working to generate a less urban-centric way of understanding progress.

The main focus of her work is contemporary peasantry. Her understating of the figure of the small or medium farmer is not merely as food producer but as cultural agent, responsible for both perpetuating traditional knowledge and for generating new expertise. She employs installation, photography, video, sound and other media to examine the rural realm driven by a strong desire to understand the value and complexity of its cultural production, as well as the burdens that keep it invisible and marginalized.

She has produced work reflecting on land usage, nomad architecture, farmers’ strikes, bureaucracy on territory, transformation of rural labour, biotechnology and global food trade.

Molinos Gordo won the Sharjah Biennial Prize 2015 with her project WAM (World Agriculture Museum) and represented Spain Official Section at the 13th Havana Biennial 2019. Her work has been exhibited at venues including V&A Museum (London), Delfina Foundation (London), ARNOLFINI (Bristol), Jameel Arts Center (Dubai), The Townhouse Gallery (Cairo), Darat Al Funun (Amman), Tranzit (Prague), ART BASEL Miami Beach (US), Cappadox Festival (Uchisar-Turkey), The Finnish Museum of Photography (Helsinki), Museo Carrillo Gil (Mexico), MAZ Museo de Arte de Zapopan (Mexico), MUSAC (León, Spain), CA2M (Madrid, Spain), CAB de Burgos (Spain), Matadero (Madrid, Spain) and La Casa Encendida (Madrid, Spain), among others.

She obtained her B.F.A. from the Universidad Complutense de Madrid, where she also pursued her Master in Contemporary Art Theory and Practice. She is currently studying Anthropology and Ethnography at UNED (Spain).

Molinos Gordo is represented by Travesia Cuatro gallery in Spain and Mexico.

Darren Le Baron is a world renowned educator in Ethnomycology and Psychedelic studies. Based in the UK and the Caribbean he is also a grassroots community activist and influencer. With a background in Creative Arts, Organic Horticulture and Permaculture, he is the creator of the Shroomshop, a Mushroom Cultivation initiative that engages local communities, schools and business enterprises alike.

Rowan Deer is a writer and editor based in Berlin. Her academic monograph, Radical Animism: Reading for the End of the World, is published by Bloomsbury and her writing can also be found in Orion Magazine, The New Statesman, and The Canary.

Salma Serry is a doctoral researcher and cultural worker specialized in the history of food in West Asia and Egypt. She is also the curator of Sufra Archive , a digital archive project and social media platform dedicated to West Asian and North African food history and culture. She is working on a PhD in History in the University of Toronto with a specialization in Food Studies at the Culinaria Research Center. Her projects revolve broadly around reconfigurations of power on the scales of imperial structure as well as everyday life, through food politics, mobility networks, and technology in the region. Her PhD project was recently awarded the distinguished SSHRC Doctoral Award from the Social Sciences and Humanities Research Council in Canada, while her art projects have received the Research on the Arts grant from the Arab Fund for Arts and Culture (AFAC) and the Arab Council for Social Sciences (ACSS). Her research and public programming projects have been exhibited at Art Jameel (Dubai), Hayy Jameel (Jeddah), the Arab Council for Social Sciences (Beirut), the Islamic Biennial (Jeddah), and Cairo Design Week.

De Sering was created in 2019 with the mission that it is critical in the current social landscape, for activism, and for the political left as a whole to rebuild communities. De Sering was founded on the belief that strong communities are essential for activism—and for the political left as a whole. We live in a time of unprecedented isolation and loneliness, and we don’t see this as a coincidence.

As social connections weaken, so does the strength of activist and leftist movements. Rebuilding community isn’t just important—it’s critical for change. Since 2019, De Sering has been a community-driven space where food, culture, and activism intersect, offering 300 donation-based meals daily to ensure food remains accessible to all.

At the heart of De Sering is the Community Kitchen, fostering connection through affordable, plant-based meals. In the evenings, we host events, workshops, and cultural programming, creating a lively, inclusive atmosphere.

Sean Roy Parker is a visual artist, environmental educator and fermenting enthusiast living in East Midlands, UK. Until recently, Roy was living and working from The Field, an artist-run housing project set in a former Steiner School in Derbyshire, where he was finding harmony in self-organised community and researching food as cultural infrastructure for artistic production. For five years he has worked under Fermental Health, an open-ended self-initiated practice about food sovereignty and emotional well-being in late capitalism. He gives workshops on home fermentation, runs an allotment project with primary school children and makes exhibitions about digesting complex relationships with (beyond)humans.

Photo by: Will Hearle / Omved Gardens

Dr Kaajal Modi (she/they) is a multidisciplinary artist and researcher in anthropocene heritage, working through creative practices to explore how making in collaboration with diverse communities (human, microbial and ecological) opens up novel speculations on how we create mutually-resilient climate futures. Their practice is rooted in co-creation, and incorporates fermenting, cooking, image making, live art, sound and creative interactions to enact lively and situated encounters between people, organisms and ecosystems in ways that invite critical reflection and action.

Rain Wu is a Taiwanese artist and architect based in London. Her work is conceptually-driven and materialises in different forms and scales from drawings, sculptures, food performances, essay films to installations.
She works with the temporality of perishable materials to instigate discussions around our manifold relationships with nature. Following the geographic, political, cosmological and microbial traces of living materials, her work investigates the interconnection between the consumption of food,
digestion of cultures, charting of lands and recalling the myths.
She graduated from the Royal College of Art and The Bartlett School of Architecture, UCL. Her artwork has been exhibited in Sharjah Biennial, Taipei Biennial, The Palestinian Museum, London Design Biennale, Istanbul Design Biennial, Lisbon Architecture Triennale, The Shape of the Circle in the Dream of the Fish; she was one of the Designers in Residence at the Design Museum
(London) in 2016, an artist in residence at Jan van Eyck Academie (NL) 2018-9, and she is currently a lecturer at University of the Arts London and Goldsmiths University.

Photo by: Su Yu Hsin