Johanna Schindler, born in 1986, is a cultural scholar and a project coordinator of the long-term research project Technosphere (2015-19) at Haus der Kulturen der Welt, Berlin. Previously, she was a curatorial assistant at Kunstmuseum Liechtenstein and a research fellow at Zeppelin University, Germany, from which she also holds a PhD. She has studied in Halle, Paris, and Friedrichshafen, and her research interests include epistemic practices, cultural production, and arts organizations.

»Schindlers ethnography of artistic research infrastructures offers a welcome critical distance from the commonplace celebrations of the potentials of artistic research, pointing to a promising discussion on the politics of its infrastructures.«

Johanna Schindler, born in 1986, is a cultural scholar and a project coordinator of the long-term research project Technosphere (2015-19) at Haus der Kulturen der Welt, Berlin. Previously, she was a curatorial assistant at Kunstmuseum Liechtenstein and a research fellow at Zeppelin University, Germany, from which she also holds a PhD. She has studied in Halle, Paris, and Friedrichshafen, and her research interests include epistemic practices, cultural production, and arts organizations.

»Schindlers ethnography of artistic research infrastructures offers a welcome critical distance from the commonplace celebrations of the potentials of artistic research, pointing to a promising discussion on the politics of its infrastructures.«

Johanna Schindler, born in 1986, is a cultural scholar and a project coordinator of the long-term research project Technosphere (2015-19) at Haus der Kulturen der Welt, Berlin. Previously, she was a curatorial assistant at Kunstmuseum Liechtenstein and a research fellow at Zeppelin University, Germany, from which she also holds a PhD. She has studied in Halle, Paris, and Friedrichshafen, and her research interests include epistemic practices, cultural production, and arts organizations.

»Schindlers ethnography of artistic research infrastructures offers a welcome critical distance from the commonplace celebrations of the potentials of artistic research, pointing to a promising discussion on the politics of its infrastructures.«