Dr. André Krebber is an interdisciplinarily trained lecturer in social and cultural history and animal studies scholar at the University of Kassel, Germany. In his work, he explores the relationship between scientific and artistic knowledge productions and their specific qualities in comprehending animals. He has strong expertise in epistemological questions in relation to the animal as object of knowledge from historical as well as philosophical perspectives. He received his PhD in Cultural Studies from the University of Canterbury, New Zealand after graduating with a Diplom in Environmental Sciences from the University of Lüneburg, Germany. His work has appeared in Antennae: The Journal of Nature in Visual Culture and Food Ethics, and he currently co-edits the volume Animal Biography: Re-framing Animal Lives for Palgrave. His current projects explore natural beauty as a non-instrumental category of studying nature in nineteenth century philosophic, aesthetic and scientific discourses and the aesthetic mediation of the environmental crisis in science fiction movies of the 1970s and today.
» André Kreber at the University of Kassel
Maike Riedinger is currently a doctoral student in social and cultural history focusing on the history of the Human-Animal Relationship at the University of Kassel, Germany. Her thesis focuses on the field of animal psychology in Germany around 1900, a field which led to the study of the animal mind as currently practiced in cognitive ethology. It aims to investigate the animal as the Other by comparing different approaches to the animal mind and the construction of animals in scientific research. She graduated in sociology and psychoanalysis at Goethe University, Germany, studying mainly the social construction of deviance as presented in labeling theory and psychoanalytic theories derived from Freudian Psychoanalysis.
Anne Hölck is scenographer at theatres in Germany, France and Switzerland since 2002, she lives in Berlin. Besides her theatre work she curates and realizes exhibition projects, workshops and lectures in the field of human-animal studies with an emphasis on spatial and artistic research. She is co-editor of the anthology “Tiere Bilder Ökonomien. Aktuelle Forschungsfragen der Human-Animal Studies.” by Chimaira AK (transcript Verlag: Bielefeld 2013) and her critical essays on zoo architecture were published in the German magazins TIERethik 2014, Tierstudien 2015 and by DOM publishers 2017. Among others he has curated the exhibitions »we, animals « / Meinblau Berlin 2014-15, „ANIMAL LOVERS“/nGbK Berlin 2016, „Fur Agency/BEARLY LEGAL“ 2017 and „SWINGER“ 2018 at Bärenzwinger Berlin.
» Webpage, » We Animals
Dr. Yvette Watt is a practising artist, an Animal Studies scholar, and curator. Dr Watt curated the exhibition Reconstructing the Animal as part of the 2011 Ten Days on the Island arts festival, which included artists from Iceland/UK, USA, New Zealand and Australia. Other curatorial roles include co-curating Animals, People: A Shared Environment at Queensland College of the Arts and POP galleries, Brisbane, co-curated with Ross Woodrow and Jo Diball (2011) and Animaladies at Interlude Gallery, Sydney, curated with Madeleine Boyd and Melissa Boyde (2016). Her most recent large-scale project as an artist was the acclaimed Duck Lake Project. Dr Watt has written widely on the representation of animals in art, as well as conducting research in the field of Animal Studies more generally. Dr Watt is a Lecturer in Fine Art at the University of Tasmania.
Toby Juliff is an artist and writer based in Tasmania. As graduate of the University of Leeds (UK) he was previously lecturer at Leeds Art University (2006-12: UK) and The University of Melbourne (2012-17). He is currently lecturing and researching at the University of Tasmania. He has published widely on the subjects of hauntology, contemporary sculpture, participation, and pedagogy. Recent publications include a book chapter on affect and participation in cultural heritage (Emotion, Affective Practices, and the Past in the Present, Routledge) and a long journal article on British-Australian sculpture in the 1960s (ANZJA).