Biographies

anna andrejew (she/her) is a Hague-based artist-researcher with a background in humanitarian aid. Transitioning to art in 2019, and drawing on her exile heritage and work with displaced communities, she employs a ‘peripheral gaze’ to highlight more-than-human agency. Using cameraless photography, mapping, writing, and participatory workshops, she envisions post-extractive futures.
Her work, featured in exhibitions like Landscapes and Boundaries and As Above, So Below, explores landscapes as contested spaces shaped by memory, ecology, and extraction. Her 2023–2024 Be Like Water project, funded by NWO, examined wastewater in agriculture, culminating in exhibitions and workshops on regenerative practices. andrejew’s practice interrogates extractivism, working with organic materials to explore cycles of renewal and resistance, reimagining landscapes as co-performers in ecological and political narratives.

Ursula Biemann is an artist, author, and video essayist based in Zurich.



Isabel Carvalho (Porto, 1977) is a visual artist, editor, and writer. Her artistic practice is characterized by a strong experimental component, grounded in research, mainly in the fields of visual arts, philosophy, aesthetics, and literature, in which she obtained a PhD in 2021 from the University of Porto, also holding a degree in Painting from the same university. Her work unfolds in the intimate connection between drawing, sculpture, installation, performance, and the use of her voice in the recitation of poems — a set of diverse expressions that reflect her interest in the radical exploration of the imaginary. In her projects, she recurrently addresses issues related to the materiality underlying language, extendable to non-verbal expressive forms, aiming to raise awareness and contribute to the preservation of diversified and, consequently, inclusive ecosystems of sociability, populated by both humans and non-humans. Her activist approach, combined with artistic creation and programming, led her to co-found the Earthsea Association (www.associacaoearthsea.org), dedicated to discussions around ecology and technology, within which she has conducted ecological awareness campaigns aimed at a young audience.

Chihiro Guezebroek is a decolonial climate justice artist and activist and co-founder of Stichting Aralez



Go-Eun Im is a filmmaker and visual artist who works with various media, such as analogue/digital film, photography, and found objects. In her work, she creates transitional memories with porous relationships between moving images and literature. More recently, she has focused on how to find a correlated language for bewilderment in the midst of ecological crises. Her work has been shown at International Short Film Festival Oberhausen, European Media Art Festival in Osnabrück, the Kunstraum Dusseldorf, South African National Gallery in Cape Town, Museum Casino Luxembourg, the National Museum of Modern and Contemporary Art in Seoul, and Ob/Scene Festival in Seoul and so on.

Irene Charlotte Jahn is a visual artist, educator and explorer interested in all things bodily and sensory. Karolina Rupp works in visual and performance art focusing on more-than-human agency through the (human) body. Both artists have roots in Austria and are based in The Hague.

MaYa





Maria Mies (1931–2023) was a renowned German feminist scholar, activist, and author, celebrated for her contributions to ecofeminism and critical social theory. With a focus on the intersections of patriarchy, capitalism, and environmental exploitation, Mies co-authored the seminal work Ecofeminism with Vandana Shiva, advocating for a holistic approach to social and ecological justice. Her research emphasized the exploitation of women and nature under globalized economies, urging systemic change. A professor of sociology in Cologne, Mies combined academic rigor with grassroots activism, inspiring movements worldwide. Her legacy endures through her influential writings and commitment to feminist and ecological liberation.

Ruth Nyambura is a Kenyan feminist and organizer whose research interests are primarily on the agrarian political economy and ecology of Africa, as well as other parts of the Global South. Nyambura has written extensively on various aspects of the current agrarian transformations in Africa with her overall work focusing on the ideological underpinnings of the ‘New Green Revolution in Africa’ and its ties to philanthro-capitalist organizations such as the Gates’ Foundation and the Alliance for a Green Revolution in Africa (AGRA). Ruth’s research also analyzes the rapidly changing policy and legislative frameworks across the continent related to biosafety and Trade Related Aspects of Intellectual Property Rights (TRIPS) regime which are not only criminalizing the rights of small-holder/-peasant farmers to use their traditional/indigenous seeds but are also opening up the space for foreign agri-business companies on the continent at the expense of food sovereignty and climate justice. Nyambura is the founder and co-convenes the African Ecofeminist Collective – an autonomous anti-capitalist group started in 2013 by African feminist organizers, academics, researchers, and grassroots activists, all working on the intersections of gender, economy and ecological justice on the continent of Africa. Ruth holds an LL.M in Comparative Law, Economics and Finance from the University of Turin (UNITO), Italy and has been a judge on the International Tribunal on the Rights of Nature.

Philsan Omar Osman (she/her) is a writer, activist, community builder, and PhD candidate at the Open University in the Netherlands. She co-authored Voor Wie Willen We Zorgen: Ecofeminisme als Inspiratiebron (EPO 2021), later translated into English as Dare to Care: Ecofeminism as a Source of Inspiration (Green European Foundation 2022). Her work centers on intersectionality and decolonial ecologies, examining how marginalized communities in the Low Countries contribute to innovative and inclusive sustainability Transitions.

Verónica Perales Blanco (Madrid, 1974). The constant reference in her work to the themes of (non-human) animal individuality, environmental damage and climate change make her a representative of ecofeminist art. Her artistic work is characterised by approaches that combine traditional techniques and emerging technologies, pointing to transmedia formats.
Lecturer in the Department of Fine Arts at the University of Murcia where she teaches: Drawing and Form (Fine Arts) and Narratives and Transmedia Projects, (Master in Mobile Communication and Digital Content), Locative Storytelling (Bilingual Degree, Bachelor in Communication and Media Studies). European PhD (2005) with a thesis exploring the relationship between the body and technology from an artistic perspective.

Katerina Sidorova (NL/RU, she/her) is a visual artist and researcher based in The Hague. She explores mortality, necropolitics, grief, and biopower through installation, performance, and text. Katerina looks at the absurdities of human construct through its complex relationship with death, non-human entities, and mechanisms of reasoning. Her work explores societal hierarchies, mythologies, staging, and performativity as political strategy. Through her research, she examines how mortality resonates across all levels of lived experience, from intimate personal narratives to broader power dynamics between the state and its population. Sidorova holds BFAs from KABK and Yaroslavl State Pedagogical University, an MFA from Glasgow School of Art, and a PhD in Philosophy (YSPU). Recent solo shows include Bottleneck (West, The Hague) and As a Pile of Ash (16 Nicholson Street, Glasgow). Publications include How to Stop Being Human (2016) and CONTAINERS (2023).

Yvette Teeuwen. Born in Delft, the Netherlands, studied Art therapy in Amersfoort (1993-1997) and at the Royal Academy of Art (KABK) in The Hague, the Netherlands, (1997-2001 ). Followed many different Art Performance workshops, for instance from Marilyn Arsem, Johannes Deimling & Marita Bullmann. Active since 2001 with Situationworks, live performances & video performances in local and international galeries, festivals and musea, such as Muestra Dislocada Video performance Festival (India, Mexico, Chili), Fringefestival (Philadelphia, US), Photo museum (The Hague, the Netherlands ) and many more.

Natasha Tontey is a Minahasan artist based in between Jakarta and Yogyakarta, Indonesia. Her artistic practice predominantly explores the fictional accounts of the history and myths surrounding ‘manufactured fear.’ In her practice, she observes any possibilities of other futures that are projected not from the perspective of major and established institutions, but a subtle and personal struggle of the outcasted entities and beings. Her recent exhibitions include solo show at Auto Italia, London, UK (2022). And selected group shows and screening at 34th Singapore International Film Festival, 57th Karlovy Vary International Film Fesival (2023), Singapore Biennale (2022); De Stroom Den Haag (2022); GHOST;2565, Bangkok, Thailand (2022); Protozone8 Queer Trust, Zürich, Switzerland (2022); Arko Art Council, Seoul, Korea (2022), Leeum Museum of Art, Seoul, Korea (2022); Hamburger Bahnhof, Museum für Gegenwart, Berlin (2021); transmediale, Berlin (2021); Performance Space 2021, Sydney; Other Futures, Amsterdam (2021); Singapore International Film Festival (2021), Kyoto Experiment 2021; Asian Film Archive, Singapore (2021). In 2020, she received the HASH Award from the ZKM, Center for Art and Media Karlsruhe and Akademie Schloss-Solitude. She was a fellow for Human Machine of the Junge Akademie at Akademie der Künste Berlin 2021-2023.

Womin. Eliana N’zualo is a feminist organiser and storyteller based in Mozambique but creating impact all over the continent. Her skills and talents have allowed her to work for advocacy campaigns, Non-Profit Organisations, and communication agencies. She is the co-founder of the Mozambican collective Feminist Brunch and part of the Southern African LBQ Network. Her writing has been published in Mozambique, Brazil, and South Africa. Eliana is moved by her deep commitment to African Feminist principles and practices.

Womin. Margaret Mapondera has supported feminist movements across Southern Africa and around the world for over 7 years, facilitating creative ways to document human experience as well as struggles for justice. Before coming to WoMin, she worked at Just Associates (JASS), a global feminist movement building organisation committed to amplifying the voice and visibility of women human rights defenders and their movements worldwide. Maggie graduated from Yale with a BA in Comparative Literature, focusing on African literatures & African Studies.

Müge Yılmaz. Born in Istanbul, Müge Yılmaz lives and works in Amsterdam. Her research presents speculations influenced by feminist science fiction and proposes potential future narratives through installation, performance and photography. Recent exhibitions include The Milk of Dreams, 59th Venice Biennial, 2022, The Seventh Continent, 16th Istanbul Biennial, 2019; Why Not Ask Again? 11th Shanghai Biennial, 2016; Tenminste Houdbaar Tot, Museum Arnhem, 2022; Posterity Hill (solo) at Wilfried Lentz, 2022 and Future Goddesses of Anatolia, GoMulan Gallery, 2025. She has been a resident at Rijksakademie van Beeldende Kunsten, is a co-founder of 4Siblings collective and is the admin of @feministcifi.