Fernando Luis Martínez Nespral (Buenos Aires, Argentina, 1966) is an architect graduated at the Universidad de Buenos Aires; he has a PhD in History from Universidad Torcuato Di Tella. He is a Professor of Architectural History and Researcher at the American Art and Aesthetic Studies Institute, both from the School of Architecture, Design and Urbanism, Universidad de Buenos Aires. Currently he is a member of several international associations, such as CAA, SAH and GAHTC (Global Architectural History Teaching Collaborative). Fernando is focused on Islamic Architecture and its connections with the Iberian American World from the Middle Ages up to date.
I am the Visual Resources Librarian for Islamic Art and Architecture with the Harvard Fine Arts Library. I am also a scholar of medieval Arabic popular literature. My dissertation (completed 2018) is entitled, “Wives, Witches, and Warriors: Women in Medieval Arabic Epic.”
Keelan Overton is a historian of art and architecture specializing in the eastern Islamic world from Greater Iran to South Asia. She received her PhD from the University of California, Los Angeles (2011) and her MA from Williams College (2004). She approaches visual culture broadly—urbanism, architecture and the environment, surface revetment, portable objects, arts of the book, the craft industries, documentary photography and film—and ideally from an interdisciplinary lens. Since summer 2015, Overton has been an Independent Scholar based in Santa Barbara, California, where she divides her time between research, writing, teaching, and travel. She has taught at Occidental College, UCLA, UCSB, and Pomona College, and her recent travels as a researcher and tour lecturer have taken her to the Deccan (southern India), Iran, Morocco, Scotland, Armenia, and Georgia. In 2019-20, she was a Visiting Scholar in the Interdisciplinary Humanities Center at the University of California, Santa Barbara, and in the summers of 2016 and 2018, she held research residencies at the University of St Andrews. Overton previously served as the Curator of Islamic Art at the Doris Duke Foundation for Islamic Art (Shangri La) in Honolulu (2011-12) and as an Associate Curator in the Art of the Middle East department at the Los Angeles County Museum of Art (2014-15). Her exposure to the Shangri La collection in 2003 inspired a longstanding interest in the reviving, collecting, and recasting of Iran’s cultural heritage. This research has been published in the journal West 86th (Bard/Chicago), the edited volume Arthur Upham Pope and a New Survey of Persian Art (Brill), and the exhibition catalog Doris Duke’s Shangri La (Rizzoli). Overton’s recent edited volume Iran and the Deccan: Persianate Art, Culture, and Talent in Circulation, 1400-1700 (Indiana University Press, June 2020) features 14 essays by an interdisciplinary cast of 18 scholars specializing in history, art and architectural history, literatures and languages, and book arts and conservation. Iran and the Deccan emerged out of Overton’s 2011 UCLA dissertation on book arts, painting, and collecting at the Bijapur court of Ibrahim ‘Adil Shah II (r. 1580-1627). Her dissertation research has been published as a series of journal articles (Muqarnas) and essays in edited volumes, including The Visual World of Muslim India (ed. Parodi, I.B. Tauris), Indo-Muslim Cultures in Transition (eds. Patel & Leonard, Brill), and The Empires of the Near East (ed. Khafipour, Columbia). Most recently, chapter 10 of Iran and the Deccan is the culmination of her multi-year study, with book conservator Kristine Rose-Beers, of a Timurid-Safavid Qur’an manuscript once preserved in Ibrahim II’s Bijapur library and today in the University of St Andrews. Overton’s current book project—Iran Unglazed: A Local-Global History of Persian Tilework—explores Persian tilework as a potent shapeshifting commodity between the field, museum, photograph, market, and imagination. She has been named a 2020-21 Getty Scholar (theme “The Fragment”) and hopes to be in residence at the Getty Research Institute in Los Angeles at some point in 2021 (timing tbd, per covid-19). Her Getty project is titled “Persian Architecture Fragmented: The Biographies, Trails, and Economies of Iran’s Tiled Surfaces, c. 1820–2020.” A component of this research has recently been published as a journal article: “The Emamzadeh Yahya at Varamin: A Present History of a Living Shrine, 2018–20” (with Kimia Maleki). Current teaching (spring 2021): Pomona College, Department of Art History, ARHI 120, Introduction to Islamic Art and Architecture
Shuishan Yu’s research focuses on Chinese architecture, modern architecture and its theoretical discourse, literati arts, and Buddhist architecture in East Asia. His book Chang’an Avenue and the Modernization of Chinese Architecture was published in English by the University of Washington Press (2012) and in Chinese by the Sanlian Shudian Press (2016). He has also published articles, book chapters, and exhibition catalogs and presented conference papers on the city and architecture of Beijing, Tibetan Buddhist architecture, Chinese literati art, Chinese garden, and modern architectural historiography. Yu’s research projects are mostly case studies aiming for the demystification of a specific historical site, issue, or phenomenon, and highlight the significance, nature, and problem of cross-cultural translation of architectural forms, practices, and theories. Before joining Northeastern University, Yu has worked as an architect in the Ministry of Construction Architectural Design Institute in Beijing and taught in the Department of Art and Art History at the Oakland University in Michigan. Yu is also a distinguished qin musician and the current chair of the North America Mei’an Guqin Society. He has been invited for performance and lecture on qin music both in the US and internationally. His groundbreaking book Yu Shuishan Guqin Etudes was published by the Zhonghua Book Company in 2019. Yu has been teaching Architecture and Global Cultures, Pre-Modern Chinese Architecture, and the Modernization of Chinese Architecture at Northeastern. He has taught Western Architectural History in Beijing, Chinese Architecture in the School of Architecture at the University of Washington, and Chinese Architecture, Buddhist Art, Chinese Art, Japanese Art, Asian Art Survey, and Applied Guqin Performance at Oakland. Yu’s current research projects include case studies of historic streets in China and the role they played in the modernization of Chinese cities, architecture and urbanism of Beijing, literati gardens of the Ming-Qing dynasties, and the fingering motif concept of guqin performance and its application in the study, analysis, and composition of guqin music. He is a key member and contributor to the GAHTC (Global Architectural History Teaching Collaboration), an organization of architectural historians aiming for the integration of global history of architecture and the development of new pedagogical strategy in teaching architectural history. He has created the course Modules of “East Asian Architecture from A Global Perspective: Cultural Transactions and the Development of Traditions” (12 lectures, in collaboration with other scholars) and “Asian Architecture on the Cultural Borders” (5 lecture, single author), which are published on the GAHTC website. 于水山 美国东北大学艺术、传媒与设计学院建筑史教授 Email: email@example.com https://camd.northeastern.edu/faculty/shuishan-yu/ 于水山教授的学术研究涉及中国建筑史、现代主义及其理论维度、中国文人艺术和东亚佛教建筑。于教授的专著《长安街与中国建筑的现代化》英文版于2012年由华盛顿大学出版社出版，中文版于2016年由三联书店出版。其通过学术期刊、汇编、百科全书、主题展览单行本、学术会议等渠道发表的学术论文，涵盖了北京的城市与建筑、藏传佛教建筑、中国文人艺术、中国园林、现代建筑史学史等领域。于教授的研究通过以具体问题为出发点的对建筑个案的深入探讨，揭示历史遗迹和建成环境背后的文化与社会内涵，凸显不同文明之间建筑形式、建筑类型、建筑实践和建筑理论的传播、借鉴和转译，进而触发建筑中关于现象与本质的思考。 于教授在上世纪末毕业于清华大学，获建筑学学士、建筑史硕士；本世纪初毕业于华盛顿大学，获艺术史博士。在执教于美国东北大学之前，曾先后任职于北京的建设部设计院和密西根的奥克兰大学艺术与艺术史系。于教授同时也是一位古琴音乐家，是北美梅庵琴社的现任社长，以琴人的身份受邀在美国和世界各地演奏、讲学。他于2019年在中华书局出版的《于水山古琴练习曲集》被誉为“为中国最为古典的乐器做出了极富创新性的研究”。 于教授在美国东北大学主讲的课程包括“建筑与全球文化”、“中国建筑史”、“中国建筑的现代化”、“世界史视野下的建筑与城市”、“东亚建筑”等；在北京讲授过“西方建筑史”；在华盛顿大学讲授过“中国建筑史”；在密西根奥克兰大学主讲“亚洲艺术”、“中国艺术”、“佛教艺术”、“日本艺术”、“中国建筑史”、“古琴演奏”等课程。 于教授正在从事的研究课题包括历史街道及其在中国城市现代化进程中演变、北京的建筑与城市变迁、文人园林与明清时期的艺术活动、指法母题的概念与古琴音乐的演奏、分析与创作。于教授是美国学术组织GAHTC (Global Architectural History Teaching Collaboration 全球建筑史教学联合会) 的主要成员和撰稿人，这一组织致力于突破国界的桎梏、以全球一体的视野研究和讲述建筑历史，并由此发展出新的建筑史教育的思想和方法。迄今为止，于教授为该组织的网站贡献了两部课程模块：“全球视野下的东亚建筑：文化交流与传统的进程”（共12讲，与他人合作）和“文化边界上的亚洲建筑”（共5讲，单一作者）。
Marika Dalley Snider, PhD, AIA is a storyteller who celebrates the small, the forgotten, and the under-appreciated architecture and its associated people through film, research, and historic preservation. Marika teaches with both analog and digital media in architecture at Utah Valley University and is a practicing architect with a specialty in Historic Preservation. Previously, she was a project architect doing museum-quality restorations on (Ohio) state-owned historic sites. Projects include well-known sites like the houses of President Harding and Harriet Beecher Stowe, Hopewell and Fort Ancient indigenous sites, as well as historically-sensitive maintenance projects on lesser known sites. Marika’s traditional research examines architecture and urban space in the Middle East. Additionally, Marika is an a amateur documentary filmmaker whose films have been screened internationally.
Nancy Um is professor of art history at Binghamton University. She received her MA and PhD in art history from UCLA. Her research explores the Islamic world from the perspective of the coast, with a focus on material, visual, and built culture on the Arabian Peninsula and around the rims of the Red Sea and Indian Ocean. Her first book The Merchant Houses of Mocha: Trade and Architecture in an Indian Ocean Port (University of Washington Press, 2009) relies upon a cross-section of visual, architectural, and textual sources to present the early modern coastal city of Mocha as a space that was nested within wider world networks, structured to communicate with far-flung ports and cities across a vast matrix of exchange. Her second book, Shipped but not Sold: Material Culture and the Social Order of Trade during Yemen’s Age of Coffee (University of Hawai’i Press, 2017), explores the material practices and informal social protocols that undergirded the overseas trade in 18th C Yemen. Her articles have appeared in the Journal of the Society of Architectural Historians, African Arts, Northeast African Studies, Journal of Early Modern History, Genre: Forms of Discourse and Culture, Art History, and Getty Research Journal. She has received research fellowships from the Fulbright program, the National Endowment for the Humanities, the Getty Foundation, and the American Institute for Yemeni Studies.
My research engages in the history of art, architecture, and visual culture of South Asia from the late eighteenth century to the present. I am particularly interested in the tensions and struggles that emerge within visual culture at moments that present themselves as transitional (but usually do not constitute a true “break”)—the early British presence on the subcontinent, the anti-colonial movement of the early twentieth century, the decades after India’s independence in 1947, and the economic and political machinations of the long 1980s. I’ve written on urban space, architecture, cemeteries, amateur lithographs, popular painting, photography, modernist painting and sculpture, film, television, and museum display. Throughout my work I am attentive to the interplay between space and the activities it shapes and enables, as well as the temporality of movement, performance, and duration as embodied by textiles, photographs, paintings, and people. At the core of each of these engagements lies an attentive commitment to visual culture in its materiality, its instability, its active role for history, and its reconstitution in different epistemes under changing political demands.
Dr. Vose’s main areas for research and teaching are the religious traditions of South Asia, primarily in Jainism and secondarily in Hinduism, Buddhism, Sikhism, and Islam. He examines the history of interactions within and between these traditions to understand the meaning and contexts of community identity formation, religious authority, and the relationships between religious communities and the state in the medieval and early modern periods. Dr. Vose is interested in devotional practices as public religious expressions, especially pilgrimage and temple ritual; and the place of “tantra” and alchemy in medieval Indian society. Dr. Vose also works on the development of vernacular literary traditions, especially in Old Gujarati, and the interaction of Sanskrit, Prakrit and vernacular languages and literatures. Finally, his work examines architecture, sculpture and manuscript painting practices, especially in western India. More broadly, he is interested in historiography in the study of religion, literary theory and religious reading practices, modern and premodern religious identity politics, religious and ethno-nationalism, conflict and non-violence in South Asia. His early training was primarily anthropological, and he brings a focus on the lived reality of religious life to his study of the medieval and early modern Indian past.
Mohammad Reza Azadehfar’s research and publications in music focus on Iranian music, rhythm, and music interdisciplinary studies. He has received five grants for researches in University of London, University of Arts, and INSF. He is an academic member of Faculty of Music at University of Arts Tehran and ex-dean of Music Faculty.
Andrea Pagnes and Verena Stenke have been working together since 2006 as VestAndPage and gained internationally recognition in the fields of performance art, film, writing, publishing and with international community cultural projects. They have been creating live performances, performance visuals, performance-based films and poetic writings since over a decade, exploring performance art as phenomena through their collaborative creative practice, as well as through theoretical artistic research and curatorial projects. Their works have been presented in museums, galleries, theatres and a variety of sites worldwide. Their writings have been extensively published and translated for international readers.VestAndPage’s art practice is contextual and situation-responsive, conceived psycho-geographically in response to natural surroundings, social contexts, historical sites and architectures. They inquire performance art not just as a medium to express their concerns and ideals, but as an urgency to explore the physical, mental and spiritual bodies, and to interface with the ephemeral matters of art and existence. In a poetics of relations they examine notions of temporalities, memory strata, communication and fragility of the individual and the collective within social and environmental spheres, applying the themes of trust in change, endurance, union, pain sublimation and risk-taking with a poetic bodily approach to art practice and a focus on universal human experiences. Their artistic collaboration has roots in contemporary visual and conceptual art, classical, oriental and social theatre, philosophy, anthropology, anthropoetics and political science, as well as in the study of rites, myths and religions, particularly Islamic Sufism, Mediaeval alchemy as well as the ancient Greek and Christian iconology to analyse the significance of a subject’s matter within the cultures that produce it. Working with material from a personal and genetic library accessed through insightful thinking and spiritual practices, their works are accessible by a wide audience, allowing viewers to address realistic contents through fresh iconography in an otherworldly surrounding. Their durational performances are distinguished by actions and sensorial details that undermine the conventional and put the elements of logic into question. These performances have durations of 24 hours or 5 days and nights consecutively, or can be month-long, as it was for the performance walk in their latest feature-length film Plantain. Their performance cycles and films are developed consecutively and in situ. The process of making unfolds as if in absence of temporality, as if the concept of time itself had collapsed to create a setting in which the present is repeated or the past is recalled. These works face philosophical, social and political issues from multiple perspectives, for example the belief and unbelief. While encompassing a range of subtly different concepts, they primarily express VestAndPage’s Weltanschauung while adding or revealing poetic elements as a rebellion against the exercise of power and discrimination among human beings.