Seeing in the Dark

Wesley Goatley’s work critically interrogates the myths and manipulations of the AI and technology industry and its relations to society, geopolitics and the climate crisis, and how art practice can intervene. This research intersects with practice through his experimental works with low-carbon computation, anti-captialist AI practice, localhosting and other socio-technical practices of thoughtful computation. 

His installations, performances and films have been shown at international venues including: Eyebeam in New York; Berghain in Berlin; the Nam June Paik Art Center in Seoul; and the Victoria and Albert Museum in London. 

He holds a doctorate in creative and critical practice from University of Sussex and is Programme Director of Interaction Design and Visual Communication at University of the Arts London, where he is co-founder of the Critical Climate Computing research group. 

Anne Barlow is Director of Tate St Ives where she oversees its programme of exhibitions, displays, residencies, commissions, education and research, and has curated exhibitions with artists including Małgorzata Mirga-Tas, Outi Pieski, Thao Nguyen Phan, Petrit Halilaj, and Huguette Caland.  Barlow was formerly Director of Art in General, New York, and held curatorial roles at the New Museum, New York and Glasgow Museums, Scotland.  She has published and lectured widely and was Curator of 5th Bucharest Biennale, Co-Curator of the Latvian Pavilion at the 55th Venice Biennale, and Curator of the Samdani Art Award at the 2023 Dhaka Art Summit, Bangladesh. Barlow has acted on numerous selection panels and juries including the kim? Residency Award, Riga; Exposure 8, Beirut Art Center, Lebanon; MAC International 2018, Belfast; and the British Pavilion, 58th Venice Biennale.

Ayesha Hameed (London, Helsinki) makes videos, sound works, textiles, and performances. She is also a creative writer, critical essayist and poet. She has appeared on the BBC on several occasions as an artist and thinker. Hameed’s work explores the legacies of indentureship and slavery through the figures of the Atlantic and Indian Oceans. Her speculative approach examines the mnemonic power of the media she uses and intermixes: their capacity to transform the body into a body that remembers. The motifs of water, borders, and displacement, recurrent in her work, offer a reflection on migration stories and materialities, and, more broadly, on the relations between human beings and what they imagine as nature. 
 
Recent commissions include solo exhibitions at Bonniers Konsthall (2022) Kunstinstituut Melly (2022), Indigo Waves at Zeitz MOCCA (2022), as well as contributions to the Liverpool Biennale (2021), Gothenburg Biennales (2019 and 2021), Momenta Biennale (2021), Lubumbashi Biennale (2019) and Dakar Biennale (2018). She is co-editor of Futures and Fictions (Repeater 2017) and co-author of Visual Cultures as Time Travel (Sternberg/MIT 2021).She currently teaches on the MFA in Art at Goldsmiths University of London, is a Kone Foundation Research Fellow, was Artist in Residence at the Camden Arts Centre and is Professor of Artistic Research at Uniarts Helsinki. 

Nora N. Khan is an independent critic, essayist, curator, and educator based in Los Angeles, where she is currently Arts Council Professor at UCLA in Design Media Arts. Her writing on philosophy of AI and emerging technologies is referenced heavily across fields. Formally, this work attempts to theorize the limits of algorithmic knowledge and locate computation’s influence on critical language. Her books are AI Art and the Stakes for Art Criticism (2025), Seeing, Naming, Knowing (2019) and Fear Indexing the X-Files (2017), with Steven Warwick. She is a member of the Curatorial Ensemble of the 2026 edition of Counterpublic, one of the nation’s largest public civic exhibitions, focused next on ‘Near Futures’.  She was the Co-Curator with Andrea Bellini of the Biennale de L’Image en Mouvement 2024, A Cosmic Movie Camera, hosted by Centre d'Art Contemporain Genève, and also curated Manual Override at The Shed (2020).

Nicholas Mirzoeff has been writing and teaching about visual culture for twenty-five years. Among his many publications are White Sight: Visual Politics and Practices of Whiteness (2023) and To See in the Dark: Palestine and Visual Activism since October 7th (2025). He teaches and resides in New York City with his partner Kathleen and their dog, Oliver. 

Hammad Nasar is a curator, writer and strategist. He was Senior Research Fellow at the Paul Mellon Centre and Principal Research Fellow at UAL’s Decolonising Arts Institute. Earlier, he was: Executive Director of the Stuart Hall Foundation, London; Head of Research & Programmes at Asia Art Archive, Hong Kong; and co-founder of Green Cardamom, London.

Known for collaborative, exhibition-led inquiry, Nasar has curated or co-curated numerous international exhibitions, including Beyond the Page: South Asian Miniature Painting and Britain, 1600 to Now and Making New Worlds: Li Yuan-chia & Friends (both 2023–24); British Art Show 9 (2021–22); Turner Prize (2021); Rock, Paper, Scissors: Positions in Play – the UAE’s national pavilion at the 57th Venice Biennale (2017); and Lines of Control: Partition as a Productive Space (2005–14).

He is a Board Member of the Henry Moore Foundation and Mophradat; a strategic advisor to Asymmetry Art Foundation and the Delfina Foundation; a member of the Acquisition Committee for the Arts Council Collection; and a Working Council Member of Asia Forum. He was awarded an MBE for services to the arts in 2023.

Emilija Škarnulytė is a Lithuanian-born artist and filmmaker. Working between documentary and speculative fiction, her video works take viewers through decommissioned nuclear power plants, deep-sea data storage units, forgotten underwater cities, and uncanny natural phenomena. Škarnulytė is the recipient of the 2023 Ars Fennica Award and the 2019 Future Generation Art Prize. The artist has most recently presented work at the Gwangju Biennale, Helsinki Biennale, Vilnius Biennale, and the Henie Onstad Triennale. Recent solo exhibitions include Canal Projects, Kunsthaus Göttingen, and Ferme-Asile. Škarnulytė is a co-founder and co-director of the Polar Film Lab, a collective for analogue film practice located in Tromsø, Norway, and is a member of the artist duo New Mineral Collective.