Alice Creischer & Andreas Siekmann are artists and live in Berlin. They curated the exhibitions The Potosí Principle (with Max Jorge Hinderer) and Potosí Principle – Archive (2021) on extractivism, not only in Bolivia, at Haus der Kulturen der Welt / HKW respectively in 2010-11 and 2021.

Ana Alenso is a Venezuelan artist based in Berlin, Germany. Working with sculpture, photography, installation, sound and video, her work builds an allegorical cosmos that reflects on the economic, social and ecological risks and conflicts associated with the mechanisms of natural resource extraction. Alenso studied Media Art & Design at the Bauhaus University Weimar, Art in Context at the Berlin University of the Arts and Painting at the Armando Reveron University of the Arts in Caracas. She has been awarded numerous grants and scholarships, among others by Stiftung Kunstfonds, DAAD and Berlin Senatsverwaltung für Kultur und Europa and the Berlin Art Prize. She participated in residency programs at Goethe Institut in Chile, Villa Sträuli in Switzerland, Urbane Künste Ruhr und KunstVerein Ruhr in Germany. Recent exhibitions and collaborations include: Oil, Beauty and Horror in the Petrol Age at Kunstmuseum Wolfsburg (Germany); the conference Experience of Oil at Stavanger Museum (Norway); The Garden Bridge at Brücke Museum as well as The Metabolic Rift / Atonal, El Museo de la democracia in nGbK and Terrestrial assemblage, in collaboration with Floating University, in Berlin (Germany).
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Angela Thomas, born in 1965, trained from 1981 to 1983 as an electronics technician for vacuum electronic products at the at the Nalepastraße and Treptow sites of the television electronics factory VEB Werk für Fernsehelektronik (WF), in East-Berlin. After completing her training, she worked in various areas at the WF, most recently in the color picture tube finishing department. In 1993, the factory was taken over by Samsung SDI. In 2005, all employees were made redundant and the production facilities closed down. Today, Angela Thomas volunteers at the industrial salon Oberschöneweide and the sewing workshop Kinderkram in Adlershof, Berlin.

Aurora Castillo explores through sculpture, painting, drawing and installations, possible contacts, interweavings and forces that investigate the generation of forms through a feminist poetic. Her works with steel, aluminum and paintings on translucent fabrics create fictional organisms and objects activating questions about relationships, associations, and pleasures through abstraction. She is interested in softness and permeability as a lucid quality in art as opposed to the colonialist notion of strength and resistance. She studied at the Instituto Vocacional de Arte Manuel J. de Labardén (IVA) and at the Fine Arts School Rogelio Yrurtia in Buenos Aires, Argentina. Recent exhibitions include Nebhundular (Moria Galería, Buenos Aires, 2021), Gauzy. KM1 public interventions (Buenos Aires Museum of Modern Art, 2021), A sketch of organized openness (Munar Arte, Buenos Aires, 2019). She has participated in group exhibitions in Galeria Nora Fisch, Munar Arte, Moria Galería, PROA 21, Cultural Center of Belgrade and Lebensohn Foundation, among other spaces. She lives and works in Buenos Aires.
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Can Kurucu (1986/Turkey) lives and works in Berlin. He studied fine arts at Marmara University in Istanbul, later at Bauhaus University Weimar and most recently fine arts at Berlin University of the Arts with Hito Steyerl. The focus of his artistic practice lies in the exploration of the processes and meanings of digital image production. His works mostly take the form of film, video and audio works and installations, in which he also puts his documentary approach to the test. He is part of the Research Institute for Technical Aesthetics (RITA), which focuses on political research in a discussion format. Can works with many other political activist collectives such as Protest-Opera Lauratibor, Theater X and Neue Nachbarschaft Moabit, whose activities he documents. Recently, he has been researching the sources, causes and effects of the uprising of right-wing conservative groups to understand its relationship to the media and to history. His work has been shown at the Museum für Fotografie, the Babylon Kino in Berlin, the Bauhaus University in Weimar and the Künstlerhaus Dortmund, as well as in Istanbul, Madrid and Ljubljana.
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Constanze Fischbeck works as a stage designer and filmmaker in the context of theatre and visual arts. The starting point of Fischbeck's work is space, the present and the social context of specific places. In her filmic works, she combines spatial analysis with staged discourse and performative as well as documentary elements. In her designs for the theatre, projections and moving images interact with transformative spatial structures. Constance's works are often created collaboratively and in dialogue with artists and experts. Her work is presented internationally at festivals, art institutes and theatres. She has been a professor of scenography at the HfG Karlsruhe since 2019.

Cristóbal Bonelli is a psychologist, psychotherapist and anthropologist currently based at the department of Anthropology of the University of Amsterdam. He is the principal investigator of the ERC project ‘Worlds of Lithium’, in which he and his team study the socio-ecological disruptions emerging around decarbonisation strategies in Chile, China and Norway. He conducts long-term ethnographic research in southern and north­ern Chile, where he collaborates with the Center for Intercultural and Indigenous Research (CIIR).
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Elisa T. Bertuzzo is an ethnographer and urban studies scholar based in Berlin.

Eva Hertzsch & Adam Page are artists and live in Berlin.

Prof. Dr Helmuth Albrecht has been Director of the Institute for Industrial Archaeology, History of Science and Technology (IWTG) at the TU Bergakademie Freiberg since 1997. He researches and publishes on historical innovation research, industrial culture and industrial world heritage. He led the project group which prepared the scientific report for the UNESCO World Heritage application of the Montanregion Erzgebirge/Krušnohoří, contributing to its success in 2019.
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knowbotiq (Yvonne Wilhelm, Christian Huebler) have been experimenting with forms and medialities of knowledge, political representations and epistemic disobedience. In recent projects they are investigating and enacting inhuman geographies with the focus on algorithmic governmentalities, libidinous and affective economies and postcolonial violence. In various formats (performative settings, critical fabulations, inventions, encounters) knowbotiq explore molecular, psychotropic and derivative aesthetics. knowbotiq hold a professorship at the University of the Arts Zurich.
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Leni Roller, born in Stuttgart in 1994, studied Empirical Cultural Studies and Media Studies at the Eberhard Karls University of Tübingen. She completed her Master's degree in European Media Studies at the University and University of Applied Sciences Potsdam with the film Lithium Stories. The everyday use of lithium and its mostly hidden existence motivated her to follow the supply chain to a place of extraction. The aim was to find counter-narratives with local encounters in and around Bolivia's Salar de Uyuni and to visualize different lines of connection. Leni Roller studied and worked in numerous countries such as France (Martinique and Strasbourg), Bolivia (Santa Cruz de la Sierra) and Spain (Barcelona). Since August 2021, she has been working in the Communications and Marketing Department at the Hans Otto Theater Potsdam.
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Maryam Katan (1989, Tehran) is an artist working with animation, film and audio-visual installations. Her practice characteristically displaces and repositions meanings outside of their original discourses, searching for alternative cognitive models. Recently, she is exploring the potential of motion intervention and reanimating as an act of resistance. Early and other of her quests concern virtual identity, media immersion, alternative screenings, the interaction between video and performance, as well as art in indeterminate spaces. She also actively engages in research on questions of experimentalism in, and alternative spaces for, animation, among others in her capacity as editor of the experimental animation section of "Cinema - animation", a quarterly of DEFA (Documentary & Experimental Film Center of Iran), or as a board member of “Animation; Experiment”, which realizes collective projects within the project space New Media Society (Tehran). She holds a master degree in animation from Tarbiat Modares University, Iran, and studied audio-visual in KASK & Conservatorium, hoGent, Belgium. She currently lives and works in Berlin.
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Oscar Choque ist Referent für entwicklungspolitische Themen. Aufgewachsen in einem Bergbaudorf in Bolivien, erlebte er die Folgen des Bergbaus aus erster Hand. Nach der Krise in der bolivianischen Bergbauindustrie studierte er in Russland und schloss seine akademische Laufbahn in Deutschland (Master of Science in Waldressourcenmanagement) ab. Nachdem er als Referent und Moderator im Bereich Globales Lernen und Bildung für nachhaltige Entwicklung in verschiedenen Bildungseinrichtungen tätig war, arbeitet er seit 2017 als Eine-Welt-Fachpromotor für Ressourcengerechtigkeit im Freistaat Sachsen. Er ist Mitglied der bolivianischen NGO Ayni für Ressourcengerechtigkeit e.V., mit Hauptsitz in Leipzig und Dresden. Oscar Choque bezieht seine persönlichen Erfahrungen und seinen breiten akademischen und praktischen Hintergrund in seine Vermittlungsarbeit mit ein, die sich auf die Sozioökonomie des konventionellen Bergbaus, und in jüngster Zeit, auf die Konflikte um die Lithiumgewinnung aus Salzseesolen in der Salzwüste Uyuni (Bolivien) beziehen.
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The work of latinamerican sound artist and anthropologist Pablo Torres traces inquiries on sociocultural phenomena through acoustic means, with which he aims to diversify the ways of understanding entanglements of diverse natures inspired by new materialist perspectives. He finds great interest in sensorial and affective experience as channels towards speculative apertures and the regeneration of cosmopolitical collective imaginaries.

Sonja Hornung was born in 1987 in Naarm/Melbourne. Since 2012, she lives and works in Berlin. Her artistic practice often takes as its starting-point urban and suburban crises spurred on by private property formats, gentrification, and financialisation, investigating how these affect the relationship between bodies and spaces. She also occasionally organises exhibition projects and events – most recently the exhibition project gegen\archive: wer bleibt wo at Prater Galerie, Berlin, the event series ZickZack with Kollektiv x-embassy as well as the installation THE ESG SHOW at sign, CIAT -Contemporary Institute for Art & Thought, Berlin.
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Susan Newman is Professor and Head of Economics at Open University, Milton Keynes. She has previously held positions at the University of West of England, the International Institute for Social Studies Erasmus University of Rotterdam, and The University of the Witwatersrand. She completed her PhD titled, "Futures markets and coffee prices" at the School of Oriental and African Studies in 2009. Her research interests include the political economy of industrial development, the relationship between finance and production, and the social relations of production and exchange in agro-food commodity chains. Susan is committed to the promotion of political economy, interdisicplinarity and pluralism in economics education. She is a member of Reteaching Economics, the International Initiative for Promoting Political Economy (IIPPE), and Responsible Global Value Chains. She is a senior research associate of the University of Johannesburg and affiliate of the Centre on Labour and Global Production (CLGP), Queen Mary University of London. Susan currently serves on the editorial board for the Review of Radical Political Economics, having won the journal's best paper award in 2010 for her first academic publication on "Financialisation and the Changing Social Relations along Coffee Commodity Chains".

Thomas Turnbull is a geographer and historian.