Radio Schizoanalytique Panel Participants

Rachel O’Reilly
is an independent writer, artist and researcher. She has held film, video and new media curatorial roles with the Gallery of Modern Art, Australia (inc. the 5th Asia Pacific Triennial), Multi-Media Art Asia Pacific, and the Pacific Rim New Media Summit. From 2013-14 she was a resident poet/critic at the Jan van Eyck Academie, and currently leads the seminar ‘On the Limits of the Writerly’ (How to Do things with Theory program) at the Dutch Art Institute. Some current work includes ‘The Gas Imaginary’, an artistic research project (in poetry, collaborative drawing and installation) tracking the difference of unconventional extraction from modernist mine concepts and identi-factories (David Roberts Art Foundation, 2015, Institute of Modern Art, 2016), ‘The Juxtapolitics of Neutrality’, a lecture performance with Jelena Vesic exploring the linguistic work of non-aligned movement politics in times of neoliberal governance, and a book with Danny Butt on artistic autonomy in settler colonial space.


Margarita Tsomou
works as an author, dramaturge, cultural worker and curator in Berlin. She is a PhD-candidate researching on the Representation of the Many, in the context of the Greek Indignados movement Syntagma Square Occupation in 2011 in Athens. She is publisher of the pop-feminist magazine Missy-Magazine and writes for German newspapers and radio (f.ex., Die Zeit, taz, WDR, SWR). Her artistic work has been shown at theatres such as Volksbühne, Hebbel am Ufer, Kampnagel Hamburg and Goethe-Institut Athens. Her focuses are feminism, political art as well as the debt crisis in Greece. Her last work was a conference on representations of the Greek crisis in Germany at Kampnagel Sommerfestival 2015.


Bodil Furu
(Oslo, Norway) is an artist working with documentary filmmaking where abiding humanistic questions meet current concerns of globalisation and the mediation of reality. She has been studying the copper mining industry in the Democratic Republic of Congo (DRC) since 2012. Her film Code Minier (2013) was shown at the Lubumbashi biennial in 2013. In 2015 she initiated the Ateliers d’Echanges d’Expériences Documentaires, a documentary film network in Lubumbashi. She is currently working on a second film portraying the players in the Katanga copper mining industry, following a local chief, a businessman, and a development worker. The film offers contrasting views on how the copper industry influences the villages and the country as a whole, going deep into the region’s copper history to give an understanding of the huge conflicts the mining industry represents today.

Furu’s work has been presented at the Blue Star Contemporary in San Antonio, USA, the Künstlerhaus Bethanien, Berlin (2015); 19th Biennale of Sydney (2014); Beaconsfield Contemporary Art, London, UK (2012); and Kunsthall Oslo (2012), among many others places. She has worked as an associated professor at the art academy in Oslo and Tromsø, Norway.


Michelle-Marie Letelier
was born in 1977 in Rancagua, Chile. She currently lives and works in Berlin.

Inspired by juxtaposed historical contexts, Letelier’s drawings, installations, videos and sculptures deal with physical transformations of minerals and the landscapes where their exploitation and speculation take place.

She spent her early life in Chuquicamata—the biggest open-pit copper mine in the world—located in the middle of the Atacama Desert in Chile. When the town was to be buried due to environmental contamination and rising fuel costs, Letelier returned to document this process; a pivotal moment that ushered in her practice.

Her exhibitions include Caliche Winds (solo show) at El Museo de Los Sures, New York (2014); Magic Block at Stiftelsen 3,14, Bergen, Norway and Museo de la Solidaridad Salvador Allende, Santiago (2014); Puro Chile: Paisaje y Territorio, Palacio La Moneda Cultural Center, Santiago (2014); X Video and Media Arts Biennial at the Museum of Contemporary Art, Santiago (2012); In/Out China, East Asia Contemprary Art Space, Shanghai (2008).

Her videos have been exhibited in several screenings and festivals across the world.
Her work was shown as part of the Mercosur Biennial in 2005. She was selected to participate in the Goldrausch Program (Berlin) in 2010. In 2012 she was awarded a first edition of ORA Prize in Italy.

During 2014, Letelier participated in a residency at the International Studio & Curatorial Program (ISCP) in New York. In 2015 she was invited to be part of the program Plataforma Editable in Atacama (Chile), unfolding a series of presentations, discussions and field trips that have nurtured her ongoing projects.


Ilona Hartlief
works as a Communications Officer at SOMO and is one of the authors of the ‘Fool’s Gold’ report. She focused on the controversies and human rights abuses surrounding Eldorado Gold’s mining operations in Greece. Thereby, she also played a significant part in communicating the results and developing a strategy for maximizing the impact.

To read the report:
‘Fool’s Gold: How Canadian firm Eldorado Gold destroys the Greek environment
and dodges tax through Dutch mailbox companies’:





Filipa Cesar
is an artist and filmmaker interested in the porous boundaries  between the moving image and its public reception, the fictional aspects of the documentary praxis and the economies, politics and poetics inherent to the production of moving images. Between 2008-10, great part of César’s experimental films have focussed on Portugal’s geo-political past, questioning mechanisms of history production and proposing spaces for performing subjective knowledge. Since 2011, César has been researching the origins of cinema in Guinea-Bissau, its imaginaries and potencies, developing that research into the collective project Luta ca caba inda (the struggle is not over yet). She was a participant of the research projects Living Archive (2011-13) and Visionary Archive (2013-15) both organised by the Arsenal Institute, Berlin. Selected Film Festivals include Kurzfilmtage Oberhausen, 2013; Curtas Vila do Conde, 2012-2015; Forum Expanded – Berlinale, 2013; IFFR, Rotterdam, 2010, 2013 and 2015; Indie Lisboa, 2010; DocLisboa, 2011. Selected exhibitions and screenings include: 8th Istanbul Biennial, 2003; Serralves Museum, Porto, 2005; Tate Modern, London, 2007; SFMOMA, 2009; 29th São Paulo Biennial, 2010; Manifesta 8, Cartagena, 2010, Haus der Kulturen der Welt, Berlin, 2011-2015; Jeu de Paume, Paris, 2012; Kunstwerke, Berlin, 2013; Festival Meeting Points 7, 2013-14; NBK, Berlin, 2014; Hordaland Art Center, Bergen, 2014; SAAVY Contemporary, Berlin 2014-15, Futura, Prague 2015; Khiasma, Paris 2011, 2013 and 2015; Tensta konsthall, 2015.


Elisabeth von Samsonow
is a Vienna based artist and professor of philosophy and historical anthropology of art at the Academy of Fine Arts in Vienna. Her teaching and research specializes on philosophy and the history of religion in relation to a theory of collective memory, on past and present relationships between art and religion, on the theory and history of the image of women and female identification, and on sacral androgyny and modern “ego disintegration”. Her artistic work focuses on the systematic and symbolic place of sculpture in the canon of art and with the ecstatic properties of organic matter.

Her recent work consists of installations, videos and performances arranged around her sculptures, including „Xylo Twittering“ (Berlin 2013), „The Nervous System of the Earth“ (Vienna 2014), Living Currency (Thessaloniki 2014) and „Horse’s Glory“ (Vienna 2015). Her publications include the forthcoming collective volumes „Epidemic Subjects – Radical Ontologies (Diaphanes Press Zurich-Berlin and Chicago University Press, 2016) and a book on Egon Schiele (Enzyklopädie des Wiener Wissens, Bibliothek der Provinz Press 2016). Her book „Anti Electra. Totemis and Schizogamy“ has been translated into french (Metis Presses Geneva 2015) and into english (Univocal Press Minnesota 2016).


 Andrea Muehlebach
is a Professor of Anthropology at the University of Toronto, currently conducting research on water struggles in Europe.


Thomas Thierschmann
is a trained forester and environmental engineer who has worked as a city planner on local and national levels. He has been involved in environmental politics for a long time, and in particular with the fight against the privatization of Berlin’s public water utility. He is speaking on behalf of the citizen’s initiative the Berlin Water Table, which was founded in 2006 and spearheaded a successful popular referendum demanding the disclosure of secret contracts related to the privatization of Berlin’s water infrastructure in the 1990’s.