The six agents are exceptional artists and musicians, who have had a collaboration history with the leader and the key researcher of the project. They will contribute to the research with their artistic and textual input.

Ilan Volkov (based in Tel-Aviv) studied at London’s Royal Academy of Concert music, he occupied positions as Principal Conductor of the London Philharmonic Youth Orchestra and Assistant Conductor of the Boston Symphony. Volkov was appointed Principal Conductor of the BBC Scottish Symphony Orchestra in 2003, becoming Principal Guest Conductor in 2009. He took up his current appointment as Concert music Director and Principal Conductor of the Iceland Symphony Orchestra in 2011. Volkov works regularly with a wide range of ensembles, including the City of Birmingham Symphony Orchestra, BBC Symphony Orchestra, Israel Philharmonic, Orchestre de Paris, Orchestre National de Lyon, WDR Symphony Orchestra Cologne, SWR Symphony Orchestra Baden-Baden and Freiburg, and Ensemble Modern. In 2012 he initiated, curated and directed Tectonics in Reykjavík.

Isa Rosenberger (based in Vienna) graduated from the University of Applied Arts Vienna and completed postgraduate studies at the Jan van Eyck Academy in Maastricht. Since 1999 she has held several teaching positions, including at the Academy of Fine Arts Vienna and at the Vienna University of Technology. Her recent exhibitions include 2019 …The Vast Land From Which She Comes, Kunsthalle Exnergasse, (solo); Espiral, Galerie im Traklhaus auf der Festung Hohensalzburg (solo); 2018: Café Vienne. …full of spirits so free, Galerie Charim Events, Vienna (solo); CrossSections Triology, Kunsthalle Exnergasse, Vienna; Generali Foundation: 30 Years. In Dialog with 1918 1938 1968, Museum der Moderne Salzburg; Zones of Contacts – Architecture of Graz and Zagreb, Museum of Contemporary Art Zagreb; Into the City, Museum Moderner Kunst Kärnten (MMKK), Klagenfurt; 2017: Specular Windows. Reflections on the Self and the Wider World, 21er Haus, Vienna; Up into the Unknown, Kunsthaus Graz.

Timo Tuhkanen (based in Helsinki) studied Oriental Concert music School of Jerusalem: Tabla and Indian Classical Concert music under Nurit Ofer (2002). He received his Bachelor of Arts (Horns) and Master of Music degrees at Brunel University of West London and his PhD in Music Theory and Composition from the School of Music, University of Leeds. Tuhkanen’s works intersect between contemporary art and music. His work have been featured in Manifesta12 5x5x5 program, Italy; Kunsthalle Exnergasse WUK, Vienna, Austria; Museo delle Trame Mediterranee, Gibellina, Italy; luftArt in Neue Music Berlin; Sound Museum, St. Petersburg, Russia; Nordham Recorder Festival, Germany; 3éme Biennale di l’Art Contemporain Casablanca, Morocco; XX Mänttä Art Festival, Mänttä, Finland; European Mediterranean Art Association, Nicosia, Cyprus; Emma Museum of Modern Art, Espoo, Finland; FILE Festival, São Paulo, Brazil; Moscow Philharmonica, Moscow, Russia; Kallion New Music Days, Helsinki, Finland; Alvar Aalto -museum, Jyväskylä, Finland; Dimitria Festival, Thessaloniki, Greece; Canterbury Jazz Festival, UK; and the Royal Festival Hall, recorded live on BBC3 Hear and Now, London, UK.

Bronwyn Lace (based in Vienna) completed her BAFA at the University of Witwatersrand, Johannesburg in 2004. She is a visual artist, whose focus is on the collaborative relationships between art and other fields, including physics, history, museology, philosophy and literature. Site specificity, responsiveness and performativity are central to her practice.  In 2016 Lace joined William Kentridge in the founding and animating of the Centre for the Less Good Idea in Johannesburg, today Lace is the Centre’s steering force and its international liaison arm. In 2020 Lace co-founded The ZoNE, a Vienna-based collective that inquires and curates across the arts and sciences and beyond. Lace’s exhibitions include 2022 : 2Fold, a two person exhibition curated by Basak Senova in Kyrenia, Cyprus; 2022: What Kafka Forebode, a performance installation for Secession Vienna, Austria, 2021: Still LIfe, a solo exhibition in collaboration with musician Anne Vanschothorst and poet Anjie Krog;  2019: CrossSections and Climbing Through The Tide, a group exhibition curated by Basak Senova travelling from Tunis, Tunisia to Stockholm, Sweden to Helsinki, Finland; 2018 : MIRROR | MIRROR, a solo exhibition at Everard Read, Johannesburg, South Africa; 2017: Bred in the Bone, a solo exhibition at Circa, Cape Town, South Africa; Dead Gardens, a group show curated by Olimpia Bera, Cluj Napoca, Romania; 2016: KulturKontakt, a group exhibition as part of the Austrian Federal Chancellery 2016 residency, Vienna, Austria; Bronze, Steel and Stone, group exhibition at Everard Read, London, UK; 2015: Response, a two person exhibition, Johannesburg, South Africa; Response, an exhibition presentation delivered at the National Smithsonian Museum of African Art, Washington, USA; 2014: Teeming, solo exhibition at SpekePhotographic, Johannesburg, South Africa; 2013: Resuscitate, solo exhibition at Nirox Project Space, Johannesburg, South Africa; 2012: A Tendency Towards Complexity, solo exhibition at CIRCA on Jellico, Johannesburg, RSA.

Hristina Ivanoska (based in Skopje, Vienna, and Berlin) focuses on finding ways of individual action against the established roles and norms, defined by the conventional social and political systems. Her manner of work includes research, perception and interactive action. Ivanoska had exhibitions at Slovak National Gallery, Bratislava; Neue Gesellschaft für Bildende Kunst, Berlin; Museum of Contemporary Art, Skopje; <rotor> Association for Contemporary Art, Graz; Konsthall C, Stockholm; Magazin4 – Bregenzer Kunstverein, Bregenzer; Museum of Contemporary Art, Belgrade; Spaces Gallery, Cleveland, Ohio; State Museum of Contemporary Art, Thessalonica and other venues. Ivanoska has been an artist-in-residence at IASPIS, Stockholm (2008); ArtsLink Residency Program, New York (2004); The Corporation of Yaddo, Saratoga Springs, New York (2001); and Stiftung Künstlerhaus Boswil, Switzerland (1998).Her work Naming the Bridge: Rosa Plaveva and Nakie Bajram was included in the collaborative archival project Transland: Video Art from Central and Eastern Europe 1989-2000, realized by the InterSpace Association (Sofia), Transmediale (Berlin) and the Agency for Contemporary Art Exchange and the Ludwig Museum – Museum of Contemporary Art (Budapest). Since 2002 Ivanoska is founder and program adviser of artists-run-space “press to exit project space”.

Yane Calovski (based in Skopje and Berlin) examines the processes of interconnecting existing, inconclusive modernist narratives and how these, as evocations, can stimulate a new critical imagination. The nonlinearity of collective memory informs his practice. Visually, he articulates his work both abstractly and figuratively. His methodology includes writing, drawing, building, and video-documenting, leading to installations that concern a site’s spatial and contextual specificity, the material, and the conceptual elasticity of the form. Ultimately, his works reassemble archives, questioning how history is practiced, produced, presented, and consumed.Calovski graduated from the Pennsylvania Academy of the Fine Arts (1996) and Bennington College (1997). He participated in the studio programs in CCA Kitakyushu, Japan (1999–2000) and Jan van Eyck Academie, Netherlands (2002–04). In 2004, he co-founded the Press to Exit Project Space, a platform dedicated to artistic research and curatorial practices, with Hristina Ivanoska. Calovski has had solo exhibitions at Galerie Blanche – association La Première Rue, Briey (2022), Kunsthalle Kohta, Helsinki (2020); Museum of Contemporary Art, Skopje (2011); Tate Britain, London (2010); European Kunsthalle, Cologne (2009), and the BAC-Baltic Art Center, Visby (2004), among others. Calovski has participated in numerous group shows, including exhibitions at the MAXXI (2021), Guangdong Museum of Art (2017), PERA Museum, Istanbul (2016), Malmö Konstmuseum (2015), Künstlerhaus Bethanien, Berlin (2015), Kunsthalle Bregenz (2013), Kunsthallen Brands (2006), Arcadia University Art Gallery (2004), CAC Vilnius (2003), Drawing Center, New York (1998), as well as the 39th EVA International Biennial (2020), Helsinki Photography Biennial (2014), Qalandiya International VII: FRACTURES (2014), 2nd Biennial D-0 ARK Underground, Konjic (2012), Manifesta 7, Bolzano (2008), and Manifesta 3, Ljubljana (2000). His site-specific installations have featured as part of Archives and Reality at Kunsthalle im Lipsiusbau, Drezden (2019), All Mounds Can Be Seen From My Window at Bunkier Sztuki, Krakow (2016), and Haushalten, at the Stiftung Bauhaus, Dessau (2015).

Yane Calovski represented Macedonia at the 56th Venice Biennale with Hristina Ivanoska (2015). They exhibited collaboratively at the Art Encounters Foundation (2022), Tobacna001-MGML, Ljubljana (2019), Museum of Contemporary Art Skopje (2018), and Museum of Contemporary Art Zagreb (2017), and Kunsthalle Baden-Baden (2014), among others. They received the Foundation for Arts Initiatives Grant (2021) and the Pollock-Krasner Foundation Grant (2018).