Lise Autogena is an artist and Professor of Cross-disciplinary Art at Sheffield Hallam University. Her practice-led research involves large scale performances, site-specific works, and multimedia installations, usually developed in collaboration across specialist fields. These projects have used custom built technologies and visualisations of global realtime data to explore how the economic, geographic, technological and societal systems we are creating, impact on our human experience and sense of self in the world. Her current research into Nuclear Time: Micro-global perspectives on the arctic with Joshua Portway investigates the Greenland Inuit perspectives on the Arctic region as it plays an increasingly strategic geo-political role on the world stage. Their work focuses on the complex Danish-Greenlandic relationship and the small Inuit population’s attempt to gain economic and political independence, aided by the possibility of huge untapped resources of uranium.

Bernadette Buckley is a scholar in art and politics, interested in the complex relationships between art, war and terrorism within theoretical, artistic and curatorial practices. Her research includes an investigation into the relationship between ‘curating’ and ‘creating’ and the ontology of curating from the perspective of the ‘event’.  Buckley brings a critical reflection to the Nuclear Culture Research group to consider how our artistic and curatorial practices sit within a wider discourse of art and politics, particularly the tensions around positivism and impact. Dr Buckley is the course leader of the MA Art & Politics, in the Dept of Politics, Goldsmiths.

Ele Carpenter is a curator, writer and researcher in politicised art and social networks of making. She is curator of the the Nuclear Culture Project which undertakes field research, commissioning new work and curating exhibitions, film screenings and roundtable discussions. Ele is convenor of the Nuclear Culture Research Group at Goldsmiths where she is a Reader in Curating. She is curator of the Perpetual Uncertainty exhibition, Bildmuseet, Sweden 2016-17, touring to Z33 in Belgium, and Malmo Konstmuseum; and editor of the Nuclear Culture Source Book published by Black Dog Publishing in partnership with Bildmuseet and Arts Catalyst (2016). Ele is a member of the board of N.I.S. Nuclear Information Service, and Visiting Research Fellow at the Institute for the Arts,  University of Cumbria.

Alison Craighead & Jon Thomson work as a collaborative artistic practice using technology as a means to reformulate the changing socio-political structures of the Information Age. In their works, time is treated with a sculptor’s mentality, as a pliable quantity that can be moulded and remodeled. Their Temporary Index  art project is a series of live decay-rate counters, markers of time as well as place. The work investigates how data can be presented publicly through a series of numeric counters which countdown the probabilistic decay of radioactive materials in seconds. The result is an array of counters for simultaneous exhibition, animated objects of contemplation; representations of time that far outstrip the human life cycle, providing a glimpse into the vast time scales that define the universe. Alison Craighead is Lecturer in Art Practice, Goldsmiths and Reader in Contemporary Art & Visual Culture at the Univerisity of Westminster. Jon Thomson is Reader in Fine Art at the Slade, UCL.

Nick Crowe and Ian Rawlinson are based in Berlin and Manchester and have worked collaboratively since 1994.  Their artwork is primarily concerned with the languages of power, with its grammar and with its rhetoric. Their projects address questions around faith, politics, national identity and the environment and their video and sculptural works create an encounter with the viewer that focuses on the complexity of objects and actions in relation to their social contexts. Their film ‘Courageous’ is inspired by the artists’ tour of the decommissioned nuclear submarine, HMS Courageous. This subtly poetic film explores the submarine as an object within its own terms, moving beyond the powerful but familiar narratives of functionality and social context. Instead the film captures the unknown ‘self ‘ of the submarine, a space of being that is difficult to grasp.​ Nick Crowe is Senior Lecturer in Fine Art Practice, Dept of Art, Goldsmiths. Ian Rawlinson is Senior Lecturer and Leader of the MFA in Fine Art, Manchester School of Art.

Gair Dunlop is an artist and Senior Lecturer at DJCAD at the University of Dundee. His recent work Yellowcake: Atomic Modern (2017) is a three screen HD synchronised digital projection that charts the rise and fall of the UK nuclear fission research programme, seen through its sites, archives, memories and remains. Gair has spent 3 years gaining unique access to a range of research sites, archives and restricted facilities. As well as physical remains, the film explores the psychic realms of the nuclear- whether as postwar dream of a post-empire future, apocalyptic terror as entertainment, or zone beyond our understandings of time. Previous films investigating military and nuclear culture in the UK include: Atom Town: Life after technology (2011), Simulator/Realtime (2008), Dispersals (2007), Vulcan (2004).

Dave Griffiths is an artist and Senior Lecturer in Interactive Arts at MMU, Manchester. He is a PhD candidate at MIRIAD, exploring chronotopes of extinction events, using the material potential of archival microfilm. His research based artwork Deep Field [UnclearZine] documents field research in Mol and Dessel in Belgium, two neighbouring rural communites co-existing with nuclear workers and radioactive waste repositories. The microfiche assembles and miniaturises photographs, out-sourced poetry and illustrations, and interviews with state scientists and a citizens monitoring group. For the benefit of far-future readers, he attempts to translate the contemporary repository as a folkloric site of conflict and unknowing. By using an analogue media durable for only 500 years, Griffiths highlights problems around the survival and reception of complex nuclear-security knowledge in the face of material, linguistic and political ruination.

Warren Harper is a curator, writer and researcher based in Essex. His work has reflected on the recent and historical cultural shifts of the region from its architecture, industry and how communities engage with or are impacted by these changes. He is PhD research student at Goldsmiths Art Department where his practice-based curatorial research project will investigate the relationship between the nuclear landscape of the Blackwater Estuary, home to the Bradwell Nuclear Power Station and its communities and technologies. In 2016 he participated in a residency programme with Arts Catalyst and S-AIR in Hokkaido, Japan, to research nuclear power and alternative energies. There he initiated, alongside James Ravinet, research-led project Institute for the Recognition of Peripheral Interests (IROPI).

Jessica Holtaway is a PhD candidate in the Department of Visual Cultures at Goldsmiths College, University of London. Her research explores themes of globalization, energy politics, politicized art practices, institutional practices and political theory, with a core focus on the writings of philosopher Jean-Luc Nancy.  She has published a paper on institutional ethics in the peer-reviewed journal Museological Review and has co-edited and contributed to a volume of essays artWORK:  Art, Labour and Activism, which will be published later this year by Rowman and Littlefield International.  She will shortly submit her PhD thesis: Recomposing the image of ‘the globe’: micropolitical art interventions in the 21st Century.  Jessica is a co-founder of PLANK research collective (Politically-Led Art and Networked Knowledge) and part of Art Action UK, a London based arts group that provide a residency for Japanese artists responding to the 2011 disaster in Fukushima.

Bridget Kennedy is an Art practice-led PhD candidate at Goldsmiths University of London, focussing on industrial heritage and the legacy of the nuclear power industry. Her interest in nuclear culture began in 2014 through Power in The Land, a visual arts project, during which she investigated the cultural significance of the closure of Wylfa nuclear power station on Anglesey, North Wales. Creating artworks for Power in The Land opened up new areas of interest such as deep time (Jay Gould, 1988), geophilosophy (Deleuze and Guattari, 1980), and a re-examination of the Anthropocene (Parikka 2015, Grusin, 2017). The geographical focus of her research has now shifted to Sellafield, Cumbria. Here she is looking for ways to create a new imaginary of nuclear futures via a performative installation practice.

Livia Monnet is Professor of Comparative Literature, Film and Asian Studies at the University of Montreal. She has published widely on women’s fiction, film and media art, Japanese modern and contemporary art, animation and literature, feminist and queer theory, and ecocriticism and environmental humanities. Her current research focuses on the probing, reimagining and contesting of the legacies of the nuclear military and civilian industries in post-Cold War (and in particular in post-Fukushima) cinemas, literatures and popular culture in Asia, the Americas, Australia and Oceania. Two international conferences at the University of Montreal (2015,2017), a workshop and a curated screening program of the works of Kazakhstani artist Almagul Menlibayeva (2018), several peer-reviewed articles and book chapters, and an edited collection, Toxic Immanence: Nuclear Legacies and Futures (McGill-Queens University Press, forthcoming), have resulted from this research. Monnet also has a contracted book manuscript on the experience of and resistance to the global nuclear order in contemporary transnational media culture, literature, and performance. Another work in progress examines aesthetics and politics in contemporary eco-art.

David Mabb is an artist with a longstanding interest in the legacy of William Morris’ work. Remarkably, the Nuclear Culture Project has uncovered the fact that the Ministry of Defence commissioned Morris furnishing fabrics for its nuclear submarines for over 30 years. David Mabb is currently investigating the link between Morris and the nuclear, which in many ways seems antithetical to the broader understanding of Morris’ designs and politics, drawing on the work of historian E.P. Thompson (1955/76) and his work for the Campaign for Nuclear Disarmament in the 1970s and 80s. The research has led to a new series  A Provisional Memorial for Nuclear Disarmament, where signs and texts are painted onto projection screens where the white screen fabric is replaced with William Morris fabric. David Mabb is Reader in Art and Programme Leader, MFA Fine Art (Studio Practice), Goldsmiths.

Dr Jahnavi Phalkey is a the inaugral Director of the Science Gallery, Bengaluru, India. Jahnavi is a filmmaker and historian of science, formerly based at King’s College London. She is the author of Atomic State: Big Science in Twentieth Century India (2013) and director of Cyclotron, a documentary film about the world’s oldest functioning particle accelerator. Jahnavi wrote an essay called “The Atomic Gift” for The Nuclear Cultures Source Book (2016).

Grit Ruhland is an artist and researcher exploring the impact of (post-Soviet) Uranium mining on the landscape in East Germany. The imperceptibility of the subject is especially interesting to her as well as long-term communication about low-level radioactive legacies; and the complexity of the post-mining-landscape as living spaces consisting of cultural, social and aesthetic dimensions. She has a background in Spatial- and Sound Art. For her practice-based PhD at Bauhaus University Weimar in Germany she moved into the former house of her grandparents in the research area. Here she is performing landscape observations, conducting interviews with various stakeholders, joining a local environmental activist group, meeting international (post-)mining experts and making  field-recordings. Her research accompanies the ongoing process of rehabilitation,  showing the huge scale of post-mining landscapes in general, but especially when radioactive elements are involved.

Susan Schuppli is an artist and writer. Her research practice examines media artefacts that emerge of sites of contemporary conflict and state violence to ask questions about the ways in which media are enabling or limiting the possibility of transformative politics. Her exploration of nuclear materiality includes writing and filmmaking investigating the ways in which radiation is made visible through photographic and material processes from the accident at Chernobyl to the more recent Fukushima disaster. Susan Schuppli is Senior Lecturer and Deputy Director of the Centre for Research Architecture, Goldsmiths.

Nicola Triscott is a cultural producer and writer, specialising in the intersections between art, science, technology and society. She is the founder and Director of The Arts Catalyst, one of the UK’s most distinctive arts organisations commissioning artists that engage with science, and leading critical discourse in the field. The Arts Catalyst programme includes investigations into nuclear culture such as the Atomic exhibition, James Acord, Young, Mark Arial Waller (1998), Nuclear: Art & Radioactivity, Kyprous Kyprianou, Simon Hollington & Chris Oakley  (2008); more recently working with Ele Carpenter on the Nuclear Culture Symposium (2013), Panning for Atomic Gold Symposium (2014), Actinium exhibition, forum and field research in Japan (2014).  Triscott lectures and publishes internationally, including books on art and technology in the Arctic, art and space, and ecological art. She blogs at on the critical inter-relationships between the arts, humanities and our technoscientific society.

Andy Weir is an artist and writer. He has been interested in nuclear temporality since making artwork on geological repository sites, Deep Time Contagion, in 2012. Since then, he has developed research around problems and potentials of using art to ‘interface’ long-term radiological futures, focusing on concepts, affects and politics of ‘deep time’ in relation to geotrauma, futurologies, subjectification and the time of contemporary art. Recent texts from this research include ‘Thick Dia-chronic Crash. Incision Into Delay’, in Realism Materialism Art, ‘Cosmic Alreadymades’ in Journal of Curatorial Studies, and ‘Instituting Art at The Outermost’ in Project Anywhere. He is Senior Lecturer in Fine Art at Art University Bournemouth, PhD Research Student and MFA Graduate at Goldsmiths,

Robert Williams is Professor of Fine Art at the University of Cumbria Institute of the Arts. Robert has regularaly collaborated with artist Mark Dion since 1998.  Their project  An Ordinall of Alchimy (2010) was commissioned by Cabinet Magazine and collaborated with Fellows from the Mildred’s Lane Project (MLP) in Pennsylvania; and The Academy of Things (2015) Dresden, Germany.  In 2013 Robert worked with Bryan McGovern Wilson (USA) to produce an archival exhibition and publication of their performative research into the relationship between Cumbria’s nuclear industry, landscape, archaeology and folklore. The project includes a series of drawings, photographs and archives that explore complex and speculative relationships between objects, humans, materials, landscape and beliefs overtime. The work brings together artefacts that form a time line of nuclear folklore, from the region’s pre-nuclear history and megalithic monuments to speculative nuclear futures. Thomas Sebeok’s proposal for an ‘Atomic Priesthood’ is performed on the Cumbrian Hills, evoking the need for powerful ritual to pass knowledge onto future generations.

Guests include: Matthew Flintham, Kingston University; Neal White, Westminster University;  Dr Liam Sprod, philosopher; Claudia Lastra, Programme Manager, Arts Catalyst; Ils Huygens, Curator, Z33 Belgium.