VALERIA FACCHIN is a curator and researcher. With a focus on visual studies, biology and AI, her work explores the relationship between bodies, technologies and future ecosystems. Valeria’s research questions are: “How can the concept of disembodiment, the neutralisation of genders, be countered and reimagined as productive within the virtual realm?” 
While considered as assemblages of computational processes, Valeria compares virtual environments as permeable membranes between worlds. By acting as a layered extension of the physical realm, they could be compared to mini-ecosystems – functional arenas, such as the mesocosms, enclosed and essentially self-sufficient experimental controlled environments. Valeria’s body of work tries to acknowledge their ecomimetic and mesocosmic properties as a way to erode the divisions between the real and the virtual: in other words, through virtual environments, we experience a multitude of universes, n-possibilities. This could be explained through the quantum theory of the multiverse which implies that alongside our world lie a possibly infinite number of other worlds, and to which ours has some connection. Valeria believes that, by bringing the nonhuman world into equal prominence with the human, the synthetic worlds of virtuality should be considered not merely as an extension of reality, but as an independent, yet interconnected ecosystem. She holds an MA in History of Art from Ca' Foscari University and an MA in Curatorial Museum Studies from Courtauld Institute of Art. She is currently working as Assistant Curator at Fiorucci Art Trust, London. Before that, she held curatorial positions, among others, at Somerset House, Science Museum and La Biennale. Valeria regularly speaks at panels and conferences about the impact of technology in contemporary art practice and she has served as a founding young trustee of Science Gallery Venice. 

DELANIE JOY LINDEN is a doctoral student at MIT researching eighteenth- and nineteenth-century art and science. She is curious about how, in the Enlightenment, art became a science through its increasing adoption of laboratory-like and medical techniques. Within these processes, Linden questions art's complicity in the creation, justification, and perpetuation of colonization and race. She holds a BA from the University of Michigan, where she doubled majored in neuroscience and history of art, and an MA from SMU, where she studied the history of early modern French art. 

INDRANI SAHA Indrani Saha is a PhD candidate in the History, Theory, and Criticism of Art and Architecture program at MIT. She studies modern art of the United States with a particular interest in histories of abstraction as they intersect with theories of mind, histories of spirituality, and reception theory. In her research, she asks: How do art objects serve as dis/orientation devices? What are the political, artistic, spiritual, and subjective stakes when disorientation induces becoming?  Saha explores these questions in further detail in a wild dissertation-in-progress about women curators/modern art promoters engaged in an effort to operationalize radically abstract modern art to spiritualize and (dis)orient the American public in the early twentieth-century.  Saha holds a BA in Cognitive Aesthetics from Duke where she was a Mellon-Mays Undergraduate Fellow. Her distinction thesis examined how perceptual disruption and disorientation alter social interaction in Carlos Cruz-Diez’s Chromosaturation. She has worked with the Nasher Museum as a curatorial intern and student curator. 

W21 is an open-source data feminist project that has received contributions from all around the world. If you are interested in knowing more, running a workshop, or simply getting in touch, please contact us
 

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