Emanuele Coccia is a philosopher and has been a lecturer at the École des Hautes Études en Sciences Sociales (EHESS) in Paris since 2011. After studying in Florence, where he completed his PhD in 2005, he was invited to the post of research professor at the universities of Tokyo (2009), Buenos Aires (2010), Düsseldorf (2013-2014), Columbia (2015-2016) and Harvard (2022).

Coccia wrote the books A Vida Sensível (2010) and A Vida das Plantas — Uma Metafísica da Mistura seguido de ‘Ser o mundo’ (Documenta, 2019). In 2019, he worked for the exhibition ‘Nous les Arbres’ at the Cartier Foundation for Contemporary Art in Paris. He has directed animated videos such as Quercus (2019, with Formafantasma), Heaven in Matter (2021, with Faye Formisano) and The Portal of Mysteries (2022, with Dotdotdot). Emanuele Coccia is currently co-authoring a book on the relationship between fashion and philosophy, alongside Gucci creative director Alessandro Michele.

Filipa de Castro Guerreiro (Viana do Castelo, 1976) is an architect, assistant professor and researcher at the University of Porto’s Architecture Faculty.

She founded Atelier da Bouça with Tiago Correia, who is also an architect. Her projects include the extension at the EPRAMI school in Paredes de Coura (Young Architect Award, Brick Façade Architecture CVG 04/05), the Centre for Environmental Education and Interpretation of the Protected Landscape of Corno de Bico (finalist for the 2008 FAD Awards and nominated for the 2009 Mies van der Rohe Award) and 2 houses in Bouça das Cardosas (nominated for the 2015 Mies van der Rohe Award).

Her doctoral thesis was recently published by Dafne Editora under the title Colónias Agrícolas. She participated in the Institute for Housing and Urban Rehabilitation (IHRU) research project ‘Housing: 100 years of Public Policies in Portugal, 1918 | 2018’, was the Portuguese coordinator of the international study ‘Emerging Cities’, and is a member of the PORTofCALL project ‘Encounters between Africa, Asia and Europe: Cultural Heritage and Ports of Call in the Indian Ocean during the Primo-Modern Age’.

She currently teaches Project I as part of the integrated Master’s Degree in Architecture and the Project Thesis for the Doctorate in Architecture at the University of Porto’s Architecture Faculty (FAUP).

She is a member of the FAUP Executive Board and was also a member of the board for the Northern Regional Section of the Portuguese Association of Architects between 2005 and 2010, during which time she co-commissioned numerous conference and exhibition programmes. 

Of Montenegrin descent, Vladimir Djurovic was born in Lebanon in 1967 and pursued his studies abroad. He received his Undergraduate Degree in Horticulture from Reading University in England and his Masters Degree in Landscape Architecture from the School of Environmental Design at the University of Georgia in the U.S. After working in the U.S. for several years, he returned to Lebanon to establish his landscape architectural practice in 1995. Since its inception, Vladimir Djurovic Landscape Architecture has been committed to the creation of landscapes that draw out the uniqueness of environments with a simplicity of gesture that gives nature the stage. For over 25 years, they have been working closely with select clients and architects, slowly developing a notable body of work throughout the world. More recently, they have focused their mission towards projects that address the pressing environmental and social issues facing us today. Projects that partner up with nature and pave the way for a much-needed change in the way we relate to it. Djurovic has lectured extensively in several venues and has been granted numerous international awards.

Paula Côrte-Real is the coordinator of the Gulbenkian Garden Educative Program, a program addressed to all ages and all kinds of publics, specially focused on landscape culture and on the Gulbenkian Building and Garden - the first Modern Movement National Monument in Portugal.

As landscape architect, Paula is also responsible for the maintenance of the Gulbenkian Garden and runs a studio of Landscape Architecture, coordinating several landscape and land managing projects, environmental and landscape studies.

Alejandro Alonso Díaz is a curator and writer whose practice examines the metabolic encounters between natural, social, and poetic structures of knowledge. His work aims to unfold as an ongoing intimate epistemology entangled in notions of ecology, love and resilience, often based on an inquiry about potential forms of existence and radical alterity.

He has curated and contributed to projects at FUTURA, Prague; Serpentine Galleries, London; Fundación Botín, Santander, CAAC, Vilnius and documenta fifteen, among others. His writing has been featured in publications including Frieze Magazine, Mousse, Terremoto, and various other international publications as well as in exhibition catalogues and monographs. He is currently co-editing (with INLAND) the book Microbiopolitics of Milk (Sternberg Press, 2022).

Díaz is the director of fluent, an organisation dedicated to contemporary art that produces and shows cycles of exhibitions, texts and public programs.

With a master’s degree in Art History from Université Paris 1 Panthéon-Sorbonne and a post-graduate degree in Curatorial Studies from FBAUL, she also undertook additional training in Photograph Conservation and the Preservation of Photographic Collections, as well as in Preventive Conservation – Museum Environment.

Between 1988 and 1989, she carried out archaeological excavations at the Roman Theatre in Lisbon, under the guidance of Professor Dias Diogo. From 1995 to 1999, she worked at the Calouste Gulbenkian Foundation (CGF) Art Archive (Portuguese Photography Collections) as part of the research team, being responsible for studying, inventorying and curating the photographic collections.

Between 2000 and 2010, she worked at the CGF’s Fine Arts Department, where she coordinated the Fine Arts and Exhibitions Division (grants and subsidies), curated and coordinated exhibitions, and coordinated research projects, editorial projects and digital publishing projects. She has organised and participated in international panels (international artistic residencies).

In 2010, she joined the team at the CGF’s Modern Art Centre, as exhibition curator and Collection lead (sculpture and installation), also working in the distribution area, in the field of visual arts (expert opinions, panels and international curator visiting programme). As curator responsible for the sculpture and installation pieces in the Calouste Gulbenkian Museum’s Modern Collection, she has participated in numerous exhibitions of the collection’s works. In this capacity, she has researched and revived a series of historical installations by artists such as Ana Vieira, Alberto Carneiro and António Ole. Since 2006, she has curated exhibitions of contemporary artists such as Leonor Antunes and Gabriela Albergaria, Ricardo Jacinto, Vítor Pomar, André Guedes, A Kills B, Tamás Kaszás, Emily Wardill, Ana Jotta and Ricardo Valentim, Yto Barrada, Irineu Destourelles and Manon de Boer (the latter with Susana Gomes da Silva), among others. She was the curator of a survey drawing exhibition of Jorge Martins and of the first retrospective dedicated to the artists José Escada and Túlia Saldanha (the latter with Liliana Coutinho) and was co-curator of the retrospective dedicated to António Ole (with Isabel Carlos).

She has been Programme Coordinator at the Calouste Gulbenkian Museum since March 2016.

Her texts have appeared in catalogues and magazines such as Contemporânea and OEI (# 80-81, 2018), the latter dedicated to Ernesto de Sousa and Portuguese avant-gardes. More recently, she participated in the round table discussion 'Collaboration in the Arts in Portugal', part of the conference 'Fields of Collaboration in Contemporary Artistic Practices' (ICNOVA, IHA, IFILNOVA and Culturgest, 2019). In collaboration with African feminist associations Djass, Femafro, Inmune and Padema, and with Marta Lança and Filipa Vicente, she programmed and organised the international meeting 'Where I (we) Stand' to discuss the decolonisation not only of history, bodies and narratives, but also the structure of the museum itself as a place of representation and a producer of knowledge (CM-MCG, 2019).

She taught on the Curatorial Studies Seminar at the College of Arts of the University of Coimbra (20142017) and participated as an external evaluator at the MFA of Malmö Art Academy (2018).