Temperley has a PhD in Arts (UNA) and she is an Specialist in Critic and Divulgation of the Arts (UNA/National University of the Arts), as well as in Analysis of Choreographic Production (UNLP/National University of La Plata), and Licentiate in Social Communication (UBA/National University of Buenos Aires). Since 2007 is a Professor in Semiotics and Theory of Communication, as well as in Semiotics of the Arts at the Arts Criticism Area (UNA).

For the last decade, she is dedicated to study the relationship between dance and technology and their problematics around contemporary art languages. She has published articles about this topic in Argentinean and international media. Temperley is author of the book Screendance, Complexity And Periphery. Towards a Platform for Analysis of Dance in Interaction with Technology, 2017, RGC, Buenos Aires) and and Co-compiler of the book Terpsícore en Ceros y Unos. Ensayos de Videodanza (Terpsichore in zeros and ones. Videodance Essays, 2010, Guadalquivir, Buenos Aires).

Master Degree in Arts Criticism and Diffusion (National University of the Arts -UNA-, Argentina), professor of “History of Movement Arts'' (PREU-UNA), specialized critic in dance and a researcher at the Research Institute of Arts Criticism (IIEAC-UNA). Her field of study is the research on dance, mainly the discursive analysis of journalistic criticism of contemporary dance in Buenos Aires and, in a wider scope, studies the possible relations between language and movement. She organizes workshops of dancewriting in several institutions.

The outcomes of her researches were delivered in various conferences and congresses and she has published articles in a number of specialized media in Argentina.

She is a dancer and a teacher of contemporary dance, provided choreographic and directing assistance for dancing and theatrical works and, at present, takes part in multimedia artistic projects that promote the interaction of body and writing.

María José Rubin is a teacher-researcher at Universidad Nacional de las Artes (National University Of The Arts, in a research project directed by Oscar Traversa), as well as at UBA (University of Buenos Aires). Critic and journalist specialized in dance for Revol and Ñ magazines.

Member of Grupo de los Sábados (Saturday’s Group), research and writing project coordinated by Claudia Groesman. Editor of Videodanza, Complejidad y Periferia. Hacia una plataforma de análisis de la danza en interacción con la tecnología (Complexity And Periphery. Towards a Platform for Analysis of Dance in Interaction with Technology, 2017, RGC, Buenos Aires) by Susana Temperley. Curatorial and grant writer at VideoDanzaBA International Festival.

Born in Buenos Aires in 1960. Departing from a strong background in contemporary dance, Szperling dove into video-dance (screendance), genre at which she is a pioneer in Argentina and Latin America.

Several shorts of her have been awarded, such as "Temblor" (Best Editing by the National Secretariat of Culture) and "Chámame" (Prizes at La mujer y el cine and La noche del corto contests in Argentina; and Best Short in "dance screen" at IMZ/Cinedans, Amsterdam).

She is Founder Director of the International Festival VideoDanzaBA, since 1995. www.VideoDanzaBA.com.

REFLEJO NARCISA (2015, 67’), her first long documentary film, was awarded an Honorary Mention of the Jury at FEM CINE Chile. Premiered at MALBA (Museum of Latin American Art in Buenos Aires), it was screened at international festivals in Cuba, Uruguay, Paraguay, Peru, as well as many cities in Argentina.

Silvina teaches video-dance at the Master’s program in Alternative Cinema at EICTV (International School for Film and TV, San Antonio de los Baños, Cuba), as well as in numerous artistic and educational institutions in Argentina, America and Europe. She is a Professor in Dance Criticism at UNA (Universidad Nacional de las Artes, Argentina).

Szperling was a critic at newspapers Página/12 (Argentina) and La Opinión (LA, USA), as well as in magazines such as Balletin Dance, Funámbulos (Argentina) and Dance Magazine EEUU).

Francesca Carol Rolla (Venice, 1986) is a performance art curator, writer, and PhD candidate in Visual Arts at the Doctoral School of Humanities of the University of Strasbourg (FR) with the thesis "Letters to a Radical Performance Curator". Aligning the curatorial practice with a performative mode of research, and with the aims to set foundations for radical interaction and new terms of exchange, she explores new contemporary approaches to artistic creation and reflection, there where the meaning and value for a responsible and independent co-authorship involves both artists and curators in co-creative processes. She has trained, worked and collaborated with artists such as Bill Viola, Alejandro Jodorowski, Marilyn Arsem, Preach R Sun, VestAndPage, Marcel•lí Antúnez Roca, Antonio Manuel, Guillermo Gomez-Peña and ORLAN, among others.

Since 2014, she is an associate curator of the Venice International Performance Art Week, and coordinator of its Educational Learning Program realized in collaboration with Live Arts Cultures and other international partner organizations. Since 2017, she is an honorary member of La Pocha Nostra.

Since 2019, Francesca Carol Rolla is on the board of LOÏE. Magazine as Director of the "Performance Archive" section, with a strong interest of exploring the journey between curating research and performance writing.| collectivesignatures.com |