Philipp Bergmann is a director, artist and researcher working at the intersections of sound, theatre, performance, visual art, opera, and visual anthropology. His projects are influenced by queer and feminist theory and aim to create platforms for non-virtual encounters within an interdisciplinary context. Bergmann often works in creative and conceptual collaboration with Thea Reifler. He holds an MA in Applied Theatre Science from the Justus Liebig University Gießen. He has presented works at the Hamburger Bahnhof Museum für Gegenwart (Berlin), the Museum of Modern Art (Frankfurt), the 3HD-Festival (Berlin), NOWY Teatr (Warsaw), the Zürcher Theater-Spektakel (Zurich), Hellerau European Centre of the Arts (Dresden), SPIELART-Festival (Munich), Opera Darmstadt, the Performing Arts Festival (Berlin), Sophiensæle (Berlin), and Museum Giersch (Frankfurt). In 2013 his video work Breaking News won the B3 Newcomer Award at the B3 Biennale (Frankfurt). In 2014 he was part of the Institute for Sonic Research founded by Professor Heiner Blum (Offenbach), and since 2019 has contributed to the Berlin-based magazine Positionen.

Wolfgang Brückle studied art history and German philology at the Universities of Marburg, Dijon, and Hamburg, where he completed his exams and, in 2001, received his PhD with a study on art employed in the representation of power in fourteenth-century France. He was an assistant curator at the Staatsgalerie Stuttgart and an assistant professor and senior research fellow at the universities of Stuttgart, Bern, Essex, and Zurich. He has conducted research on medieval art, art theory, museum history, contemporary art and media history, with a special focus on issues of authenticity in art- and photography-related topics. He has been a senior lecturer at the Lucerne University of Applied Sciences and Arts since 2013. Brückle has co-curated several exhibitions and regularly teaches at the universities of Zurich and Fribourg, and other academic institutions. Alongside Flüchtiges Sammeln, he is the head of two other SNSF research projects at the Lucerne School of Art and Design (Post-photography: Apparatus, Images, Practices in Art and Everyday Culture and Curating Photography in the Networked Image Economy).

Clemens Fellmann is a visual artist, performer and researcher who lives and works in Basel and Leipzig. He studied painting and media art in Geneva and Leipzig and is a trained dancer and performer. His artistic work ranges between drawing, sculpture, installation, text and performance. His interests are shaped by formal concepts, (non-)systems and patterns that create unforeseen narratives and personal stories. He is interested in various types of notation and scripts for movement, questioning and challenging their possibilities and limits. His work has been shown in Switzerland, Germany and Austria (Centre Pasquart Biel, Dampfzentrale Bern, HGB Galerie Leipzig, and Festung Hohensalzburg, among others). He performs for various artists in delegated performances (Michaela Schweiger, Suse Weber, and Massimo Gerardi, among others). He is currently enrolled in the master’s degree programme in Art Teaching at the Lucerne School of Art and Design.

Tancredi Gusman is a research associate at the Lucerne University of Applied Sciences and Arts. From 2017 to 2019 he was a Marie Skłodowska-Curie Research Fellow at the Institute of Theatre Studies, Freie Universität Berlin, and led the EU Horizon 2020-funded project Between Evidence and Representation: History of Performance Art Documentation from 1970 to 1977. In 2016 he worked as a postdoctoral researcher at the University of Milan for the EU Project Senses. The Sensory Theatre. New Transnational Strategies for Theater Audience Building. His research centres on the history of theatre and performance practices, addressing in particular performance art and documentation, theatre and criticism, and art and theatre theories. He translated the Italian edition (2014) of Erika Fischer-Lichte’s The Transformative Power of Performance and published the monograph entitled The Harp and the Sling: Kerr, Ihering, and the German Theatre Criticism from the End of the Nineteenth Century to National Socialism (2016). He has also worked as an assistant director, director, and dramaturg for theatres and productions in Switzerland, Germany, and France.

Linda Luv is a performance artist who lives and works in Zurich, Lucerne and Frankfurt. Her works position themselves between artistic and transdisciplinary practices. By using different methods, such as performance and installation as well as participatory projects, she examines topics like luxury, waste and abundance. Recently, her performances have been presented in the art space Benzeholz, Switzerland and at La Kunsthalle, Mulhouse in France. In summer 2018 she completed her MA in Fine Arts at the HSLU Lucerne. She is the founder of the institute Myht, which is dedicated to the science of transgression. Since January 2019 she has been working on her PhD, in which she delves into the moment of transgression.

Rachel Mader is an art researcher. Since 2012 she has directed the competence centre Art in Public Spheres at the Lucerne University of Applied Sciences and Art. She is responsible both for a number of practice-based research projects on topics like self-organised art spaces and participatory art and city planning, as well as for basic research in the area of artistic research (with a focus on the performative research paradigm) and on issues such as art and politics. From 2009 to 2014 she was head of the research project Organising Contemporary Arts. From 2002 to 2009 she was research assistant at the Institute for Contemporary Arts Research (IFCAR) at the Zurich University of the Arts and at the Universities of Bern and Zurich. She completed her PhD in 2006 with a dissertation entitled Beruf Künstlerin. Strategien, Konstruktion und Kategorien am Beispiel Paris 1870-1900 [Women as Professional Artists: Strategies, Construction and Categories using the Example of Paris from 1870 to 1900] (Berlin, 2009). She publishes and teaches on ambivalence in the arts, artistic self-organisation and cultural politics, artistic research, the institutional landscape of the arts, collective authorship, the self-conception of art schools, and participatory and social practices in the arts. Rachel Mader is co-president of SARN (Swiss Artistic Research Network), an expert in the Commission of Art in the Public Sphere, Bern (KiöR, since 2014), and a board member of the foundation GegenwART at the Museum of Fine Arts in Bern.

Siri Peyer is an art theorist and curator and lives in Zurich. During several years of curatorial practice, she has repeatedly developed formats for exhibiting performance art. These include: the performance From 5 to 10 with Navid Tschopp on the occasion of the action Art Entertainment & Desire at the Keck-Kiosk (Basel, 2011); the walk Please join us! with the artist Adrien Tirtiaux (Brussels, 2010); the performance Songs for the Banished by the artist duo Egger/Schlatter (Zurich, 2009); collaboration on the festival and exhibition Dada & Fluxus at the Cabaret Voltaire (Zurich, 2009); the art project Ausräumung by Annina Frehner (Zurich, 2008); and the performance evening The Opening. Insights Into the Flexibility of the Opening (Zurich, 2008). Peyer completed an artistic education at the (then) University of Art and Design in Zurich from 2000-2004 in the field of photography and graduated in 2008 with a Master of Advanced Studies in Curating from the Zurich University of the Arts. From 2008 to 2011 she was an assistant at the Institute for Cultural Studies in the Arts at the Zurich University of the Arts, where she was also jointly responsible for the exhibition space White Space. She was a staff member of the online magazine On Curating ( and was a research assistant at the Shedhalle Zurich from 2008 to 2009, at the Kunstmuseum Thun from 2011 to 2012 and at the Chair of Art and Architecture at the ETH Zurich from 2012 to 2014. From 2014 to 2015 she completed the specialized master’s degree in Research on the Arts at the University of Bern. Since 2015 Peyer has been a research assistant at the Lucerne University of Applied Sciences and Arts. She is currently working on her doctorate in cultural theory at the HafenCity University Hamburg.

Sandra Sykora studied law at the Ruprechts-Karls-University in Heidelberg and graduated with the Second State Examination (Baden-Baden). From 1998 to 2004 she worked in the central legal departments of two DAX companies in Frankfurt and Walldorf. After moving to Switzerland, she graduated from Zurich University with an MA in art history and modern history in 2010. She held various teaching assignments in the field of art law at the University of Zurich, Institute of Art History and has been a lecturer in art law at the Faculty of Law of the University of Basel since 2014. For many years she was a freelancer for two Swiss auction houses. Today, she works as an attorney-at-law and focuses on art law, advising museums, art dealers, insurance companies, and estates. She is counsellor-at-law for the Association of Swiss Museums (VMS), the International Council of Museums ICOM Switzerland, and the Association of Swiss Art Museums (VSK). Currently she is preparing her PhD thesis, working title: Oeuvreschutz durch Urheberrecht? [Protecting the Artistic OEuvre. Issues in Copyright Law].