The work of Antoinette de Jong and Robert Knoth is characterised by an autonomous, modern approach with a focus on long-term documentaries that attempt to uncover the complexity of various socioeconomic or political topics and their impact on the lives of “ordinary” individuals. In the resulting work, Knoth and de Jong seek ways to merge the hyperrealism of documentary with the abstract qualities of art and literature. For two decades, De Jong and Knoth have covered numerous conflicts through background stories and reportages for various international media. Their projects have been exhibited worldwide; they have published a number of books and received awards from World Press Photo and the Deutscher Fotobuchpreis.

Iris Sikking is an independent curator, educated as a film editor and a photo historian. As a curator and author, she positions herself in the overlapping fields of photography and video art with a focus on a cinematic approach and creating narrative structures. For 10 years now she has conceived exhibitions in the Netherlands and abroad, including, for Nederlands Fotomuseum in Rotterdam, Baby: Picturing the Ideal Human, 1840–Now (2008); Dana Lixenberg’s project The Last Days of Shishmaref (2008); Geert van Kesteren’s exhibition Baghdad Calling (2008); and thematic group exhibit ANGRY: Young and Radical (2011). She additionally served as producer and curator for Poppy: Trails of Afghan Heroin (2012–2016), a four-channel installation by Robert Knoth and Antoinette de Jong which was presented worldwide; as curator of Yann Mingard’s Deposit (2015) for Fotomuseum Antwerp; and as guest curator of a group show for Krakow Photomonth 2016 entitled A New Display: Visual Storytelling at a Crossroads. In addition to her curatorial projects, she carries out portfolio reviews, serves on multiple competition juries, and was recently appointed to the advisory committees of the Mondriaan Fund and Stroom Den Haag. She is also a tutor at the Academy of Art and Design St. Joost (Breda, NL).

Krzysztof Pijarski is an artist working mainly with photography, and Assistant Professor at Łódź Film School. Interested in all forms of visual thinking, narration and montage. Participant of PLAT(T)FORM 2012 at the Fotomuseum Winterthur. Editor Object Lessons: Zofia Rydet’s Sociological Record (2017) and The Archive as Project (2011), author of Archeologia modernizmu. Michael Fried, fotografia i nowoczesne doświadczenie sztuki (“An Archaeology of Modernism: Michael Fried, Photography, and the Modern Experience of Art”, 2017). Editor at View. Theories and Practices of Visual Culture.

Iris Sikking is an independent curator, educated as a film editor and a photo historian. As a curator and author, she positions herself in the overlapping fields of photography and video art with a focus on a cinematic approach and creating narrative structures. For 10 years now she has conceived exhibitions in the Netherlands and abroad, including, for Nederlands Fotomuseum in Rotterdam, Baby: Picturing the Ideal Human, 1840–Now (2008); Dana Lixenberg’s project The Last Days of Shishmaref (2008); Geert van Kesteren’s exhibition Baghdad Calling (2008); and thematic group exhibit ANGRY: Young and Radical (2011). She additionally served as producer and curator for Poppy: Trails of Afghan Heroin (2012–2016), a four-channel installation by Robert Knoth and Antoinette de Jong which was presented worldwide; as curator of Yann Mingard’s Deposit (2015) for Fotomuseum Antwerp; and as guest curator of a group show for Krakow Photomonth 2016 entitled A New Display: Visual Storytelling at a Crossroads. In addition to her curatorial projects, she carries out portfolio reviews, serves on multiple competition juries, and was recently appointed to the advisory committees of the Mondriaan Fund and Stroom Den Haag. She is also a tutor at the Academy of Art and Design St. Joost (Breda, NL).

Dominik Skokowski is a Director of Partnerships at the Kosciuszko Institute. He is involved in research and public commentary focused on the problems of cybersecurity and privacy emerging from the clash of modern digital technologies and current public policies. He was an editor in chief of the Kosciuszko Insitute publications on cybersecurity and energy. He also belongs to the European Cybersecurity Forum–CYBERSEC organising team.

Alicja Peszkowska is a communications specialist and a socio-cultural animator. She has been engaged with the topic of openness in the context of culture, society, and technology for the past 7 years. She helped organise 3 editions of the Personal Democracy Forum CEE Conference as well as worked on the process of opening data and encouraging people to use it in the Western Balkans, Ukraine, and Poland (TransparenCEE). She spoke about community building and openness at many international events including Open Knowledge Festival in Helsinki and Berlin, and Creative Commons Summit in Toronto. She currently works with Outriders, a journalism start-up and the National Gallery of Denmark as their SMK Open Project consultant and blogger.

Iris Sikking is an independent curator, educated as a film editor and a photo historian. As a curator and author, she positions herself in the overlapping fields of photography and video art with a focus on a cinematic approach and creating narrative structures. For 10 years now she has conceived exhibitions in the Netherlands and abroad, including, for Nederlands Fotomuseum in Rotterdam, Baby: Picturing the Ideal Human, 1840–Now (2008); Dana Lixenberg’s project The Last Days of Shishmaref (2008); Geert van Kesteren’s exhibition Baghdad Calling (2008); and thematic group exhibit ANGRY: Young and Radical (2011). She additionally served as producer and curator for Poppy: Trails of Afghan Heroin (2012–2016), a four-channel installation by Robert Knoth and Antoinette de Jong which was presented worldwide; as curator of Yann Mingard’s Deposit (2015) for Fotomuseum Antwerp; and as guest curator of a group show for Krakow Photomonth 2016 entitled A New Display: Visual Storytelling at a Crossroads. In addition to her curatorial projects, she carries out portfolio reviews, serves on multiple competition juries, and was recently appointed to the advisory committees of the Mondriaan Fund and Stroom Den Haag. She is also a tutor at the Academy of Art and Design St. Joost (Breda, NL).

Inga Hajdarowiczis a sociologist and activist. She finished sustainable urban governance and peace at the University for Peace in Costa Rica and sociology at the Jagiellonian University. In recent years, she has been involved in urban movements, looking for effective tools to include citizens in decision-making processes, such as participatory budgeting. She seeks inspiration for her work and ideas for change mainly in Latin America where she conducted her study about women’s empowerment through participatory democracy and where she shot documentary La Comuna 9: Reclaiming a City. The current migration crisis encouraged her to turn towards her previous interests related to human rights and military conflicts. She joined local initiative Welcome in Krakow that aims to prepare ground for refugees who may come to Poland also by educating residents of Kraków about diversity and volunteering on the Balkan Route and in the Middle East. She is currently working on her PhD on participatory grassroots initiatives of Syrian refugee women.

Łukasz Zaremba– visual researcher and translator. He teaches at the Institute of Polish Culture, University of Warsaw. His theoretical interests include theory of visual culture and methodology of visual research. He has published in numerous academic journals including Konteksty, Kultura Współczesna, Dialog, Kultura Popularna i dwutygodnik.com. Co-translator of Jonathan Crary’s Suspensions of Perception and translator of W.J.T. Mitchell’s What Do Pictures Want? and Nicholas Mirzoeff’s How to See the World. Co-editor of academic reader Antropologia kultury wizualnej (Anthropology of Visual Culture).