Boris Schinzel is a Berlin-based lawyer specializing in corporate, transaction, and innovation law. As Senior Associate at YPOG, he advised startups, venture capital structures, and technology-driven organizations at the intersection of law, finance, and contemporary economic transformation. He studied at Bucerius Law School and completed an LL.M. program in Law and Economics through the Erasmus Mundus programme (EMLE).

Boris Schinzel supports the project Parasite Job Center with his legal and structural expertise, contributing knowledge on institutional frameworks, labor structures, and organizational strategies within contemporary economic systems.

Chiara Garbellotto is a social anthropologist and cultural worker. In her academic research, she has explored different practices and logics of public engagement with science and technology in museums. Relevant areas of her work included the anthropology of experts and the emergence of publics, with a focus on material-semiotic boundaries across exhibition work, scientific communication, education and curation of participatory programs. Moving ethnographically within organisations and professional worlds, she looks for the interferences and the multiplying effect they produce in what is taken as one coherent reality. She is especially intrigued by the weird and the awkward. As part of the Parasite Job Center, she offers the artists a space for reflection and theorisation work, mediating between the intimate experience of becoming parasite and the larger scale of the infrastructural settings in which the parasiting relations will unfold. Eventually, she will attempt to trace the different tactics, risks of exposure/reintegration and the subversive effects across the host systems.

Harriet Rabe is a systemic counselor with a focus on EFT (emotion-focused therapy) and ACT (acceptance and commitment therapy). She is also a multimedia artist and writer and has recently submitted her PhD in artistic research. Her work explores the intersections of emotional landscapes, systemic perspectives, narrative textures, and subjective experience, engaging a range of expressive media (objects, drawings, performance). As a counselor, she works with individuals and couples, supporting them, for instance, in navigating psychosocial stressors, life transitions, and neurodiversity.

Pascal guides people and organisations through change. As a hobby musician, he plays with the tension between upholding patterns and disrupting them — a practice that feeds directly into his professional facilitation work. He uses irritation and interference as core moves: precise acts that crack structures and provoke change. His vision is to co-build a world in which work contributes to the wellbeing of people and planet.

As a Manager for Organization & Culture at a boutique consultancy, he designs development programmes and coaches leadership teams through cultural and structural change. Rooted in systems theory and a passion for creative intervention, he believes change rarely comes from the outside. His thinking is shaped by an interdisciplinary formation across cultural, communication, and economic sciences and digital sociology, studied at Zeppelin University, HU Berlin, Edinburgh, and HSG St. Gallen.

Anna Watkins Fisher is Senior Lecturer of Digital Media and Culture at King’s College London. She is the author The Play in the System (Duke University Press, 2020) and Safety Orange (University of Minnesota Press, 2021); co-author with Precarity Lab of Technoprecarious (Goldsmiths/MIT Press 2020); and co-editor with Wendy Hui Kyong Chun of New Media, Old Media: A History and Theory Reader (2nd edition, 2015). She is currently completing a new book called Yes Machine, which explores how the ability to say "no" (refuse, opt out, or turn off) is being designed out of our everyday devices and infrastructures, as ceaseless engagement and energy use become the unquestioned default.

Guerrilla Architects is a transdisciplinary collective of female artists based in Berlin. Founded in 2012 during a squat in London, we consciously navigate the tensions between critical urban research, artistic intervention, and activist action. We work with temporary appropriations, subversive strategies, and legal grey areas, which we use as effective levers for spatial justice.

Heimo Lattner is a visual artist based in Berlin, as well as an author of documentary radio plays and a publicist. He studied at the Academy of Fine Arts Vienna and participated in the Whitney Independent Study Program New York, where he lived from 1995 to 2002. His practice is situated within the discourses of institutional critique and critical urbanism, with a particular emphasis on radio/podcasting, and publishing as expanded modalities of artistic production in the public sphere. Lattner’s current research examines the political and legal frameworks underpinning Tesla’s industrial development in Grünheide/Brandenburg. He most recently worked as a research associate at the German Bundestag on this subject.

Peng! is the antagonist of corporate PR agencies. We expose unethical practices hidden behind glossy advertising. We challenge corporate identities, political propaganda, and mainstream mindsets through subversive direct action and civil disobedience. We explore creative forms of bold protest and encourage civil society and established NGOs to expand beyond conventional campaigning tools.

We are Peng! No one will be safe.

Post Brothers is a critical enterprise that includes Matthew Post, an enthusiast, word processor, educator, and (co)dependent curator engaged in artist-oriented projects and critical fabulations. From 2016-2019, Post Brothers was the curator at Kunstverein München, Munich, Germany, and from 2021-2023, they were an Associate Professor at the Royal Danish Academy of Fine Arts, Copenhagen, Denmark. They have curated numerous exhibitions and projects across the world and regularly publish essays in artist publications, exhibition catalogues, and art and cultural journals. Some recent curated exhibitions of note include: Breaking the Joints, a group exhibition concerning the relationship between animation and the body at Sapieha Palace, Vilnius (2025); Drain the Öresund, a regional group exhibition at Malmö Konsthall (2025); In the beginning was the deed!, an exhibition inspired by local histories of insurrectionary anarchism at the Galeria Arsenał in Białystok, Poland (2021); and Mercury, a visual essay curated in collaboration with the artist Simon Dybbroe Møller for the Tallinn Photomonth 2019 Biennial. They also participate in exhibitions with text-based and performative contributions, and lecture in art and educational contexts across Europe. They live in Kolonia Koplany, a small village near Białystok, Poland.

Vincent Rumahloine is an interdisciplinary artist, researcher, and socially engaged practitioner based in Bandung, Indonesia. His work operates at the intersection of contemporary art and community activism, focusing on themes of displacement, uprooted identities, and the recovery of erased histories. Having transitioned from the NGO sector, he brings a professional background in grassroots advocacy and health-focused engagement to a rigorous artistic practice.His methodology is defined by an approach of "hacking society", seeking out loopholes within existing systems to create space for marginalised narratives. Since 2018, he has served as the Founder and Director of Rakarsa Foundation, a platform that exemplifies this approach by facilitating collaborative creative projects and social initiatives. By navigating institutional gaps, he utilises a research-heavy process to challenge historical erasures and surface the "intelligence of displacement.” This practice manifests through a diverse range of mediums, including large-scale installations, audio-reactive glitch art, public performances, and participatory workshops. As the founder and lead organiser of  Bubuara Foundation, he also acts as a vital bridge between local knowledge systems and global contemporary art. Through this foundation, he works to empower the Jelekong community, preserving its unique painting traditions, called “Jelekongism,” while strategically navigating cultural systems to ensure their longevity. Whether orchestrating participatory sonic walks or developing experimental documentary projects, his work remains committed to the power of collective memory and systemic resilience.