has worked on and with petroleum since 2008, starting with research on the North Sea offshore oil industry in Aberdeen for his art project Invisible Oil. He followed this with research on the tar sands of Northern Alberta (2015-2016), engaging in fieldwork on the ecological, social and political impacts of tar sand extraction. He participated in the University of Alberta’s “After Oil School” in 2015 and the 2016 Banff Centre “On Energy” thematic residency organized by the Petrocultures network. Logar’s exhibition Tar Sands: Approaching an Anthropocentric Site, held at PAVED Arts in Saskatoon, Saskatchewan, in 2016, addressed the complex socio-political issues characterizing oil-mining developments in Northern Alberta.
is an art historian, critic and curator specializing in contemporary Eastern European art. She holds a master’s degree from the University of Vienna and works as a project coordinator for Tranzit, a network of autonomous contemporary art initiatives in Eastern Europe.
worked with Ernst Logar on the Invisible Oil project as part of an ongoing thematic strand on the energy sector that she curated at Aberdeen’s contemporary arts centre, Peacock Visual Arts. Other projects include Owen Logan’s Over a Barrel, Ursula Biemann’s The Black Sea Files and UrbanNovember’s Oil & the City.
is studying European Economics and Business Management at the FH BFI Vienna,
with a passion for mathematics, statistics and political economics. She previously studied Petroleum Engineering at Montanuniversität Leoben.
Chair of Reservoir Engineering, Department Petroleum Engineering, Montanuniversität Leoben
Professor Ott has been Visiting Reader at Imperial College London’s Department of Earth Science & Engineering and at RWTH Aaechen University since 2011. He has academic and industry experience, having worked for Shell and at the University of Cologne and Freie Universität Berlin. His work addresses the challenges of sustainable energy, with his primary research interest being the geological aspects of clean energy technology.
Sheena Wilson is Associate Professor of English and Cultural Studies at the University of Alberta, she has published widely in the areas of energy and environmental studies, critical theory and cultural studies.
Professor of Contemporary Art History and Theory, University of Guelph, Canada
Amanda Boetzkes has written extensively on 1960s and 1970s Earth Art and the emergence of a “plastic aesthetic” in contemporary art. Her latest publication is Plastic Capitalism: Contemporary Art and the Drive to Waste (Cambridge, MA: The MIT Press, 2019).
Assistant Professor of Culture and Media, Eugene Lang College, The New School, New York
Heather Davisresearches anthropocene art, philosophy and petrocapitalism and writes extensively on the intersection of art, politics, and ecology. She is the co-editor of Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies (London: Open Humanities Press, 2015). Her current book project traces the ethology of plastic and its links to petrocapitalism.
Postdoc at the Cluster of Excellence UniSysCat at the TU-Berlin, as well as at the Max Planck Institute for the History of Science (MPIWG), Berlin
Benjamin Steininger is a cultural and media theorist, historian of science and technology, and curator. His main research fields are the history and theory of fossil resources and the chemical industry of modernity and of the Anthropocene. In 2016 he founded together with Alexander Klose the research collective ‟Beauty of Oil”. In 2020 their book ‟Erdöl. Ein Altas der Petromoderne” was published, and in 2021 the exhibition ‟Oil. Beauty and Horror in the Petrol Age” will open at Kunstmuseum Wolfsburg (more at: www.beauty-of-oil.org).