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• The web of perception: reinterpreting Duchamp’s ‘Mile of String’ in First Papers of Surrealism
  by Hiromi Horiuchi Department of Philosophical, Historical, and Interdisciplinary Studies, University of Essex, Colchester, UKHiromi Horiuchi graduated with an MA in Curating in the Department of Philosophical, Historical, and Interdisciplinary Studies at the University of Essex, UK. She is a former director of a contemporary art gallery at AMMON TOKYO, Tokyo. Some of the exhibitions she organised are: Mirta Cerioli, Sarah-Joy Ford, Caroline Glover, Helen Maguire, Liberty Antonia Sadler, Anna Sampson, E L West ‘Lavender Menace: The Language of Queer Feminism’ at Art Exchange (2024, Co-curated). The following exhibitions were all held at AMMON TOKYO: Kenji Fujii ‘Colour/Emptiness’ (2023); Etsuko Aihara, Honoka Okuyama, Akane Sumi, Natsumi Tomita ‘Douce Lumière’(2022, Curated); Mugi Nakajima ‘OPEN STUDIO & EXHIBITION/multi LD’(2022); Haruko Nagata ‘A Flower –La Fleur–’ (2021).
• Contemporary art in Sri Lanka – past, present and possible futures? A dialogue with art writer and curator Pramodha Weerasekera
  by Kunal Ray Literary & Cultural Studies, FLAME University, Pune, IndiaKunal Ray is a culture critic and academic based in India. He teaches literary and cultural studies at FLAME University, Pune. His writings on various facets of art and culture regularly appear in a range of Indian publications. His books include Goa: Subodh Kerkar’s Canvas (2025), Resistance in Indian Documentary Film (2024), Shabd aur Sangeet – Unravelling Song-Text in India (2018) amongst others.
• Pornographic work as social reproduction: the Marxist feminism of Cosey Fanni Tutti’s Magazine Actions
  by Benison Kilby School of Communication and Arts, University of Queensland, Brisbane, AustraliaBenison Kilby is a PhD candidate at the University of Queensland. Her research is focused on issues of labour, feminism and social reproduction in contemporary art. She recently curated the first exhibition in Australia by the Swedish artist and filmmaker Petra Bauer: WE CALL YOU! Sisters! Mothers! Workers!, showing at the University of Queensland Art Museum from 22 July to 6 December 2025. In 2019, she curated the exhibition Bodies of Work at Bus Projects in Melbourne, which brought together 11 Australian and international artists and collectives exploring ‘women’s work’ inside and outside of the home.
• AI & arts: people-centred practice
  by Robert E. D’Souza Sunil Manghani University of Southampton, UKRobert E. D'Souza is a Professor of Critical Practice at Winchester School of Art at the University of Southampton (UK). He is a co-director of Electronic Life Research Studio and co-editor of Journal of Visual Art Practice. His books include India's Biennale Effect (2016), Barcelona Masala: Narratives and Interactions in Cultural Space (2013) and Outside India: Dialogues and Documents of Art and Social Change (2012). His work has been exhibited widely, including Bergen Kunsthall 3,14 and OsloBIENNALEN in Norway (2019), India Habitat Centre in India (2019), Tate Exchange at Tate Modern in the UK (2018) and Kochi-Muziris Biennale in India (2014).Sunil Manghani is Professor of Theory, Practice and Critique at the University of Southampton and a Research Fellow of The Alan Turing Institute, where he is one of the organisers of Turing's AI & Arts group. He is the managing editor of Theory, Culture & Society, and Co-Editor of the Journal of Visual Art Practice. His books include Image Studies, Zero Degree Seeing, India's Biennale Effect and Farewell to Visual Studies. He curated Barthes/Burgin at the John Hansard Gallery, and Building an Art Biennale and Itinerant Objects at Tate Exchange, Tate Modern.
• Sensing emergence: four decades of anticipatory research from electronic arts to interpretive AI
  by Drew Hemment Sunil Manghani a Edinburgh College of Art, University of Edinburgh, Edinburgh, UK and The Alan Turing Institute, London, UKb Winchester School of Art, University of Southampton, Southampton, UKDrew Hemment (he/him) is Professor of Data Arts and Society at the University of Edinburgh and Theme Lead in Interpretive Technologies for Sustainability at The Alan Turing Institute. His research advances methods for sensing and shaping technological emergence through artistic and collective inquiry, an approach now informing the design of AI systems that navigate cultural complexity. He leads Doing AI Differently, an international initiative reimagining AI development through humanities perspectives to address urgent societal and planetary challenges, and directs the Artificial Intelligence Humanities Sandpits for UK Research and Innovation (UKRI). Over a four-decade career, Hemment has played a leading role in shaping emerging fields including digital culture, open data, the Internet of Things, and interpretive AI. He founded FutureEverything (1995), named by The Guardian as one of the world's top ten ideas festivals, and the GROW Observatory (2016), the first continental-scale citizens' observatory. His work has received 14 international awards, including the STARTS Prize (Honorary Mention), Lever Prize (Winner), and Prix Ars Electronica (Honorary Mention).Sunil Manghani is Professor of Theory, Practice and Critique at University of Southampton and a Research Fellow of The Alan Turing Institute, where he is one of the organisers of the Turing's AI & Arts group. He is managing editor of Theory, Culture & Society, and Co-Editor of Journal of Visual Art Practice. His books include Image Studies; Zero Degree Seeing; India's Biennale Effect; and Farewell to Visual Studies. He curated Barthes/Burgin at the John Hansard Gallery, and Building an Art Biennale and Itinerant Objects at Tate Exchange, Tate Modern.
• Such is Shanghai: a century of Surrealism in China’s cosmopolitan metropolis
  by Lauren Walden Birmingham City University, Birmingham, UKLauren Walden is a Resarch Fellow in Contemporary Chinese Art at Birmingham City University, UK. She has recently published a monograph entitled Surrealism in the People's Republic of China: From Mao to Now. Her PhD investigated global surrealist photography through the prism of cosmopolitan political theory, utilising primary and secondary source materials in French, Spanish and Chinese.