Actually, the Dead Are Not Dead. Una forma de ser | Introduction

BioMaría García Ruiz (b. 1981, Valdepeñas) is a visual artist and independent researcher whose work investigates the physical and symbolic production of territory through hybrid narratives of image, writing, and action. She holds a degree in Architecture and a Master’s in Research in Art and Design, and is currently pursuing a PhD in Philosophy at Universitat Autònoma de Barcelona, focusing on the architectures of moving bodies. A resident artist at Hangar (2022-2024), she has curated exhibitions such as The City in Dispute (2023) and Machines for Living (2017-2018). Her works have been showcased in notable venues, including Secession in Vienna and the Kunstverein in Stuttgart.

BioPedro G. Romero (b. 1964, Aracena, Huelva) is a multifaceted researcher, curator, and artist whose work has explored the intersections of flamenco, art history, and cultural studies since 1985. He is known for projects like Archivo F. X. and Máquina P.H., which contribute to the Independent Platform for Modern and Contemporary Flamenco Studies. His significant exhibitions include forma-de-vida for the Bergen Assembly and Máquinas de Vivir. Romero’s multidisciplinary practice addresses themes of identity, history, and urban space, making him a vital figure in contemporary cultural discourse.

BioIris Dressler, born in 1966 in Neuss, Germany, studied art history, philosophy, and literature at Marburg and Bochum. In 1996, she co-founded the Hartware MedienKunstverein in Dortmund, directing it until 2004. Concurrently, she served as a curator for media art at the Museum am Ostwall from 2002 to 2004. Since 2005, she has co-directed the Württembergischer Kunstverein Stuttgart with Hans D. Christ, focusing on collaborative and transcultural curatorial practices. Dressler’s notable exhibitions include Subversive Practices (2009) and 50 Years after 50 Years of the Bauhaus (2018). She also regularly teaches at the Staatliche Akademie der Bildenden Künste in Stuttgart.

BioHans D. Christ, co-director of the Württembergischer Kunstverein Stuttgart since 2005, has made significant contributions to curatorial practice, focusing on collaborative, transcultural, and transdisciplinary approaches. In 1996, he co-founded the Hartware Medienkunstverein in Dortmund, where he curated major exhibitions with global impact. His projects include solo exhibitions of Stan Douglas, Ines Doujak, and Alexander Kluge, as well as notable group shows like Die Bestie ist der Souverän (2015). Christ’s work explores political, historical, and conceptual dimensions of contemporary art, with a strong international presence.