Mari­na Otero Verzi­er is an archi­tect based in Rot­ter­dam. She is Direc­tor of Research at Het Nieuwe­In­sti­tu­ut (HNI), the Dutch insti­tute for Archi­tec­ture, Design and Dig­i­tal Cul­ture. At HNI she leads ini­tia­tives such as “Auto­mat­ed Land­scapes”, focus­ing on the emerg­ing archi­tec­tures of auto­mat­ed labour, and “BURN-OUT. Exhaus­tion on a plan­e­tary scale”, insti­gat­ing forms of coex­is­tence, sen­si­bil­i­ty and care for mul­ti­species, col­lec­tive bod­ies. Recent­ly, she curat­ed the exhi­bi­tions “Spir­its in the Mate­r­i­al World” by Heman Chong (2019), “Steve Ban­non: A Pro­pa­gan­da Ret­ro­spec­tive by Jonas Staal” (2018), and co-curat­ed “Mal­ware: Symp­toms of Viral Infec­tion” (2019), “I See That I See What You Don’t See” at La Tri­en­nale Di Milano (2019). Pre­vi­ous­ly, she was the cura­tor of “Work, Body, Leisure,” the Dutch Pavil­ion at the 16th Venice Archi­tec­ture Bien­nale (2018), Chief Cura­tor of the 2016 Oslo Archi­tec­ture Tri­en­nale togeth­er with the After Belong­ing Agency, and the direc­tor of Glob­al Net­work Pro­gram­ming at Stu­dio-X- Colum­bia Uni­ver­si­ty GSAPP (New York). Otero is a co-edi­tor of Unmanned: Archi­tec­ture and Secu­ri­ty Series (2016), After Belong­ing: The Objects, Spaces, and Ter­ri­to­ries of the Ways We Stay In Tran­sit (2016), Archi­tec­ture of Appro­pri­a­tion (2019), More-than-Human (forth­com­ing, 2020), and edi­tor of Work, Body, Leisure (2018). She teach­es archi­tec­ture at RCA in Lon­don. From Sep­tem­ber 2020, Otero will be the Head of the Social Design Mas­ters at Design Acad­e­my Eind­hoven.

Nasan Tur exam­ines through a diverse prac­tice that ranges from sculp­ture, draw­ing, video, and pho­tog­ra­phy to per­for­mance and instal­la­tion, social con­di­tions, prob­ing the rela­tion­ship between pro­duc­tion, val­ue, modes of com­mu­ni­ca­tion, and their rela­tion to pow­er. With his instal­la­tions, the artist invites the view­er to think anew. Tur com­pels atten­tion with per­for­mances that can include som­er­saults, songs, and scream­ing. He per­forms in the streets, pub­lic squares, and air­ports out of the blue

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