After a successful career acting in film and television, Jeremy began making films in 1995 and in 1999 founded the non-profit organisation Peace One Day to document his efforts to establish the first ever annual day of global ceasefire and non-violence with a fixed date. In September 2001, as a result of Jeremy’s efforts, a General Assembly resolution was unanimously adopted by UN member states, establishing 21 September as an annual day of global ceasefire and non-violence on the UN International Day of Peace – Peace Day. In 2016 it is estimated that 2.2 billion people were exposed to the Peace Day message and 940 million were fully aware of the day, resulting in around 16 million behaving more peacefully (McKinsey & Co).
Moritz Neumüller, Ph.D. (b. Linz, Austria, 1972) is a curator, educator and writer in the field of Photography and New Media. He has worked in research and management positions for international institutions such as the Museum of Modern Art in New York, La Fábrica in Madrid, and PhotoIreland in Dublin. He currently directs the Photography Department of IED Madrid and is chief curator of the Photobookweek Aarhus, Denmark. Recent curatorial projects include the exhibition Photobook Phenomenonat CCCB Barcelona and the Routledge Companion to Photography and Visual Culture, published by Taylor & Francis in 2018. Since 2010, he run the Curator Ship, a platform that provides useful information for visual artists. In 2009 Neumüller founded ArteConTacto with the mission to make museums open to all audiences. ArteConTacto was recently invited to join the EU-funded project ARCHES, which runs until 2019.
David Buckland is a lens-based artist, film-maker, writer and curator who has exhibited and been published extensively. In 2001 Buckland created and now directs the international Cape Farewell project, which continues to build an international cultural response to the climate change challenge. Seven times he has led High Arctic expeditions and produced climate/cultural festivals globally.
Martin Newth (born Manchester, 1973) is an artist and Programme Director of Fine Art at Chelsea College of Arts. He studied at Newcastle University and the Slade School of Art. Recent solo exhibitions including Martin Newth: Rezension – Skulptur, Objekt, Apparat at MEWO Kunsthalle, Germany and Re-view at Photofusion, London.
Sabina Achim is the Communication Manager of the Erasmus Student Network, the biggest student organisation in Europe. Whilst enjoying her time in events planning, she developed as a professional in the creative sector. Together with discovering new cultures and what drives people, she is passionate about snail mail, urban art and details in photography.
Arianna Rinaldo is a freelance professional working with photography in a wide range. Since 2012 she has been the Artistic Director of Cortona On The Move, the international photography festival in Tuscany, Italy. She is also the Curator of Photography for PhEST, a new festival for contemporary photography and art focused on the Mediterranean. In 2014 she was appointed Guest Artistic Director for DOCfield, the documentary photography festival in Barcelona.
Based in Barcelona since 2012, Arianna continues to develop photography projects at an international level, teaches workshops, explores photo festivals, and is intrigued by amazing stories told through photography.
Hannah Entwisle Chapuisat is the director of the arts organization La Fruitière, co-founder of DISPLACEMENT: Uncertain Journeys, and a doctoral candidate at the University of the Arts London. A lawyer by training, she also works with the United Nations and NGOs on issues related to humanitarian affairs and displaced people.
Liz Wells’s many publications include Land Matters, Landscape Photography, and Culture and Identity (2011). Curated exhibitions include: Futureland Now – John Kippin and Chris Wainwright (Newcastle, 2012 –2013). She is Series Editor for Photography, Place, Environment, Bloomsbury Academic, and Professor in Photographic Culture, University of Plymouth, UK.
Paul Wombell is an independent curator and writer on photography living in London. He has been the Director of Impressions Gallery (1986–94) and Director of The Photographers’ Gallery (1994–2005). He has curated exhibitions for many venues across Europe. He was the Guest Curator of the 2013 Le Mois de la Photo à Montréal under the theme Drone: The Automated Image. From 2011 - 2014 he was the Artistic Director of the photographic mission on the French landscape, France(s) Territoire Liquide. He has edited nine books on photography and regularly writes for magazines and artists’ publications.
Edwin Zwakman’s projects employ staged photography and architectural objects in public space. They are set to challenge reality, exploring the psychology that lies beneath the rational grids of man-made infrastructure. Zwakman has shown in both Venice and Taipei Biennales, Van Abbe Museum, Stedelijk Museum, Ludwig Forum, Aperture, Neues Museum Nurnberg, OCAT Shanghai.
Angus is an international award-winning photographer who started his career in the advertising/commercial sector of photography, working for numerous clients, ad/design agencies and editorial publications. He is currently Programme Leader for the BA in Photography at Plymouth University and has exhibited internationally and won many high profile awards including: Bar Tur Photobook Award, National Portrait Gallery's Photography Award, Arles Photography Festival, Royal Academy of Arts, International Photography Awards (USA) and Center Santa Fe Awards (USA). Since 2009, Angus's practice has been research led, with his current primary area of interest based on photography's relationship to Death - both historically and culturally - and how death is now portrayed contemporarily through the photographic medium.
For the past seventeen years Anne has lived on board a converted barge moored on the River Thames. This fluvial existence has led to a series of voyages to follow in the wake of women who have sailed utilising drawing and the photographic image as a means of documenting the transience of their presence in gendered maritime histories.