Martin Dusinberre teaches at the University of Zurich. His research focuses on the history of Japan’s engagement with the Pacific world from the mid-19th to mid-20th centuries. In the last decade he has published on the history of transpacific migration, shipping, sugar plantation labour and Japanese conceptions of the ‘Pacific age’. He is currently completing his second monograph, on the constitution of ‘the’ archive in an age of global history. He has co-edited special issues of The Journal of Global History (2016), Historische Anthropologie (2019) and the Historical Journal (2021), and since 2020 he has been on the Editorial Board of Past & Present.
James Jack is an American Asian artist based in Japan who engages layered histories of place to achieve positive change through community-led initiatives. His works have been exhibited at Honolulu Museum of Art, Setouchi International Art Festival, Busan Biennale Sea Art Festival, Tokyo Metropolitan Museum of Art, Centre for Contemporary Art Singapore, and writings by him appear in publications by Shima, Art & Society Research Center Tokyo, The Contemporary Museum of Hawai‘i, Blum & Poe Gallery and Satoshi Koyama Gallery. He was a Crown Prince Akihito Scholar, artist fellow at Social Art Lab in Fukuoka, Georgette Chen Fellow and completed a doctorate at Tokyo University of the Arts.
Work produced with DOCUMENT: A short history of losing access to the Sea / Rhizomatic Thinking / Repairing Nets of Knowledge
Hilmi Johandi works primarily with painting and has seen developing an expanded field of the medium to dwell with drawing, video, digital imaging and installation. He revises images from film, archival footage and photographs into a fragmented montage that hints at the social effects of rapid development. Beyond the reflection of nostalgia in Hilmi's work is a subtle portrayal of a society that encourages the viewer to critically rethink existing historical narratives, within the context of Singapore and Southeast Asia.
Trained in History and Asian studies, Anthony Medrano teaches ocean-related modules in the Environmental Studies program at Yale-NUS College. In line with his teaching and advising, his research interests center around the history and legacy of human interactions with marine environments in South and Southeast Asia. He has a particular affection for fish—and the study of fish—as archive, story, image, art, science, technology, and culture. Prior to joining Yale-NUS College, he was a Ziff Environmental Fellow at Harvard University. He is completing his first book manuscript titled The Edible Ocean: Science, Industry, and the Rise of Urban Southeast Asia, which is under contract with Yale University Press.
Collier Nogues writes at the intersection of digital and documentary poetics, with an emphasis on making connections across decolonization and demilitarization movements in the U.S. and in the Pacific. Her poetry collections are the hybrid print/interactive The Ground I Stand On Is Not My Ground (Drunken Boat, 2015) and On the Other Side, Blue (Four Way, 2011). Her work has been supported by fellowships from the MacDowell Colony, the Ucross Foundation, Vermont Studio Center, and Lingnan University, and her writing has appeared in Jacket2, ASAP/J, The Volta, At Length, Jubilat, Pleiades, Massachusetts Review, the Academy of American Poets’ Poem-A-Day Project, and elsewhere. Collier holds a PhD from the University of Hong Kong and an MFA from the University of California, Irvine. She teaches creative writing at the University of Hong Kong and edits poetry for Juked.
Siddharta Perez is a curator. Their practice is parented by independent communities in Manila and the regions surrounding the Philippines, chiselled by museum employment and softened by peers who, like them, contend with oblique prompts on public histories and think about the rehabilitation of personal legacies. Sidd is currently affiliated with the National University of Singapore Museum where she facilitates the circulation, education and other curatorial expressions of contemporary projects and the Museum's Southeast Asia Collection.
Aki Sasamoto works in sculpture, performance, video, and more. In her installation/performance works, Aki moves and talks inside the careful arrangements of sculpturally altered objects, activating bizarre emotions behind daily life. Her works appear in gallery spaces, theater spaces, and odd sites. Her works were shown at SculptureCenter, the Kitchen, Chocolate Factory Theater, Whitney Biennial 2010, MOMA-PS1, New York; National Museum of Art-Osaka, Yokohama Triennale 2008, Japan; Gwangju Biennial 2012, South Korea; Shanghai Biennale 2016, China; Kochi-Muziris Biennale 2016, India.
Naoko Shimazu is Professor of Humanities (History) and Associate Dean of Faculty at Yale-NUS College, and Professor at the Asia Research Institute, National University of Singapore. Her major publications include Imagining Japan in Post-war East Asia (co-editor, Routledge, 2013), Japanese Society at War: Death, Memory and the Russo-Japanese War (Cambridge University Press, 2009), Nationalisms in Japan (editor, Routledge, 2006), Japan, Race and Equality: Racial Equality Proposal of 1919 (Routledge, 1998). She is currently working on the cultural history of diplomacy, focusing on the Bandung Conference of 1955, as well as exploring methodological issues.
Lawrence Lacambra Ypil is a poet and essayist whose work explores the intersection of text and image, and the role of material culture in the construction of cultural identity.In 2020, he was a finalist for the Lambda Literary Awards and on the longlist for The Believer Book Awards for The Experiment of the Tropics. His first book, The Highest Hiding Place received the Madrigal-Gonzalez best first book award. Lawrence has received MFAs from Washington University in St. Louis and from the Nonfiction Writing Program of the University of Iowa. He teaches creative writing at Yale-NUS College.