Location: Montreal, Canada
Practice : found object, chance, humor, cuts ups, urban environment, materials, suburbia, resourcefulness,
Bio: Born in Toronto, Ontario Canada, Lives in Montreal, Quebec. Studied at Simon Fraser in Vancouver BC and Concordia University. Did Graduate studies at Nova Scotia College of Art and Design in Halifax. Currently teaches multidisciplinary and site specific studies at Concordia University. Statement: I make work that reflects my interest in the urban environment, language and communication and the power of the habitual on our dreams and realities. I use an interdisciplinary approach to articulate ideas to create large installations and sculptural objects, single channel video, video installation and book works. I think of some of my sculptures and installations as gigantic understatements, ruminations on the spectacle of the unspectacular. Having moved across Canada numerous times, I am apt to take inspiration from my particular environment. I am excited by the prospect of gleaning inspirations and influence from where I may be and using the materials available to me corresponding with the local. My most recent shows have been installations that directly response to a particular community. In the installation Palindrome (2000) materials found during the July 1st moving weekend in Montreal were used to create a huge coliseum like structure out of discarded furniture inside a space while wooden pallets were reassigned as furniture and left in situ. In another performative installation, benefit for the doubt (2002, Halifax), visitors where invited to donate objects or materials into a 6’x6’ cube that I worked inside of. I would make composite sculptural objects of the materials, in the spirit of folk art. Havenwood Pointe Green Terrace Inc.(2003) at Truck Gallery in Calgary utilized scrap materials from the building sites of the rapidly growing suburbs surrounding the city core. Small houses were mass-produced with these materials assembly line style. They were then returned to the place where the materials were found.
Location: Seattle, Washington, USA
Genres: Architecture, video, installation, light
Languages: Italian, English
She received her diploma in Fine Arts from the First State School of Fine Arts in Rome and earned two master’s degrees in Architecture: one from the University of La Sapienza in Rome and the other from the University of Washington in Seattle. It is the intersection between these two creative expressions – art and architecture – through which her work moves.”Through manipulation of light, digital media and physical space, I design and build ephemeral, controlled environments that people enter rather than observe from a distance. Light is energy: waves and particles of infinitesimal dimensions that are made visible by boundaries. Architecture is movement: a powerful and meaningful symbol that redefines space and invents new functions. Physical space in its states of transformation solicits emotional feelings and brings back memories. Light, being a remote projection from a time of which we have no memory, challenges these feelings.” Alessandrini’s work has been supported through grants, resources, and ideas from: 911 Media Arts Center, the Bellevue Art Museum, the Office of Arts and Cultural Affairs (formerly Seattle Arts Commission), the Cultural Development Authority of King County (formerly King County Arts Commission), the Tacoma Arts Commission and others. She is the recipient of the Pollock-Krasner Foundation Grant (2002), the Betty Bowen Award (2000), the Artists Trust Fellowship (2000), the NIAUSI Fellowship (1996) and a New Media Artist in Residence at Jack Straw Production (2004).
Location: Pasadena, California, USA
Genres: Interactive art, Interdisciplinary art, Art + Science
Practice: medical science, neurobiology, cognitive psychology, anthropology, surveillance
Bio: I make installations made of light, based on a longstanding interest in networks: neural, electronic and social. My current project, “On Memory,” is at the Mattress Factory in Pittsburgh, PA through 2007, and my recent series of installations, Neural Architecture, was exhibited at the Frist Center for the Visual Arts in Nashville, TN (2005-6,) at the Armory Center for the Arts, Pasadena, CA (2005,) at Otis College for Art and Design in Los Angeles (2004), Laguna Art Museum in Laguna Beach, CA (2004), Consolidated Works in Seattle, WA (2004) and the Los Angeles Municipal Art Gallery (2003.) I have exhibited throughout the United States and in Belgium and the U.K. I have received fellowships from the City of Los Angeles, the Pasadena Arts Commission, the Durfee Foundation, and the New Jersey State Council on the Arts, and I have been artist-in-residence at Headlands Center for the Arts in Northern California, at Hallwalls in Buffalo, NY, at the Bemis Center in Omaha, NE and at the Roswell Museum and Art Center.
Location: Denmark, Italy
Practice: social media, web 2.0, disruptive business, networking, hacktivism, art
Languages: Italian, English, German
Bio: Tatiana Bazzichelli is a communication sociologist, researching on network culture, hacktivism and net art. She is Ph.D. Scholar at the Department of Information and Media Studies, Aarhus University (DK) and Visiting Scholar at the Stanford Humanities Lab, Stanford University (California, 2009). In 2001, she founded the networking project AHA:Activism-Hacking-Artivism (www.ecn.org/aha), which won the Honorary Mention for the Digital Communities category at the Ars Electronica Festival (Linz, 2007). In 2002, she initiated the aha.list, “the most popular in Italian art and hacktivism” according to Neural magazine. She wrote the book Networking. The Net as Artwork published in English by the Digital Aesthetics Research Center, Aarhus, 2008 (www.networkingart.eu/english.html). From 2003 to 2008 she was a journalist and curator based in Berlin, Germany and she organized several exhibitions and conventions on media art and hacktivism, such as Sousveillance (Aarhus, 2009), HACK.Fem. EAST (www.hackfemeast.org, Berlin, 2008), HackMIT! (Berlin, 2007), CUM2CUT (www.cum,2cut.net, Berlin, 2006-2008), Hack.it.art (Berlin 2005), Art on the Net in Italy (Berlin 2005), MediaDemocracy and Telestreet (Munich, 2004), AHA (Rome, 2002), Hacker Art Lab (Perugia, 2000). Since 2008, she lives in Aarhus, Denmark.
Location: Sharjah, United Arab Emirates
Languages: Bosnian, English
Practice: photography, video, installation, performance
Bio: Isak Berbić is an artist, writer and lecturer born in Bosnia and Herzegovina, at that time called Yugoslavia. In 1992 as Yugoslavia dissolved and Bosnia was under attack, he and his family became refugees, moving from Croatia, through the Czech Republic to a refugee camp in Denmark, and lastly to the United States. Isak first learned about art from his mother, father and brother. He studied Photography, Film and Electronic Media at the University of Illinois at Chicago. In Chicago, he practiced art, worked in theater, and was art director of a political monthly journal. In 2007 he moved to the Middle East; United Arab Emirates, where he currently teaches media at the College of Fine Arts and Design, University of Sharjah. He is a continuing contributor to numerous projects and publications on contemporary art. His research deals with histories, politics, tragedy, memory, humor, exile, and the limits of representation. Isak Berbic has exhibited internat ionally including: Thirst 2010, Bait Al Serkal, Sharjah Art Museum, United Arab Emirates; Dojima River Biennale 2009, Osaka, Japan; Singapore Biennale 2008; Jatiwangi Art Festival 2008, Indonesia; The First International Photography Biennial, Teheran, Iran 2007; Odavde/Otuda, From, Here/From There, Hunt Gallery, Webster University, St. Louis, USA 2007; Normalization, in honor of Nikola Tesla, Galerija Nova, WHW Zagreb, Croatia 2004. He participated in the International Symposium on Electronic Art, ISEA 2008 Singapore, the Chicago Festival of Bosnian-Herzegovinian Film 2006, Take a Deep Breath: an interdisciplinary symposium, Tate Modern, London, UK 2007.
Practice: Issues of “territory”, post-wall contexts, post-colonial contexts; conceptual and socio political boundaries. Spatial practice – interventions, interpolations, reconfigurations of space. Engagement with new and time-based media; rhizomatic connectivity; conceptual and visual superimpositions. The way new technologies shift the parameters of contemporary art practice; how the digital interface informs the cultural production of our age. Post-production.
Bio: Interdisciplinary visual artist. Born Malta. Creates work situated in global contexts and addressing issues of territory through various media including: digital and combined media, video/sound, installation, photography, print, bookarts, research and drawing. Shows work internationally. Selection of country representations: “Breakthrough” and “Nieuwe EU Landen”, The Hague, 2004; “Femme d’Europe” Saint Tropez, France, 2006; “Crossings” Amiens, France, 2007; “Virtual Residency”, Faux Mouvement – Centre d’Art Contemporain, Metz, France, 2007; Projected Visions (Video Art) Travelling show, Apollonia European Art Exchanges, Strasbourg, France, 2008; “Dans la Nuit, des Imagees” Grand Palais Paris, France, 2008. Collections include: Tate Gallery London; Victoria & Albert Museum, London; Royal College, London; MCA (Malta Contemporary Art) Malta.
Martin John Callanan
Practice: online, networked, data, citizenship, global, knowledge, information
Bio: Martin John Callanan is an artist and researcher exploring notions of citizenship within the globally connected world. Concerns include information, data, and knowledge. Martin John Callanan is an artist whose work spans numerous mediums and engages both emerging and commonplace technology. His work has included translating active communication data into music; freezing in time the earth’s water system; writing thousands of letters; capturing newspapers from around the world as they are published; taming wind onto the internet and broadcasting his precise physical location live for over two years. Martin’s work is always decidedly deadpan and served with a dash of ennui. Some of his more well-known pieces include Letters 2004-2006 published by Book Works, the ambient audio installation Sonification of You, the meta-news aggregator I Wanted to See All the News From Today and Text Trends, which abstracts the casual manner in which we receive, scan and process information and language on a daily basis. Martin’s work has been exhibited, published and screened at venues throughout Europe, Russia, North America, South America, Asia and Australia. Participating with, among others, Es Baluard Modern and Contemporary Art Museum, Moscow International Film Festival, Ars Electronic Centre, ISEA 2010, FutureEverything, Museum of Contemporary Art of Vojvodina, Riga Centre for New Media Culture, UCL Environment Institute, Science Museum (London), Tate Britain, Folly Festival of Digital Culture, Book Works, The Institute for Modern and Contemporary Culture, File Prix Lux, and in several editions of the FILE Electronic Language International Festival in Brasil. Martin is currently: – Teaching Fellow in Fine Art Media (Digital Media & Print) at the Slade School of Fine Art, University College London and a member of Slade Centre for Electronic Media in Fine Art (SCEMFA) and Word Image research group. – Editor, Leonardo Electronic Almanac – Publisher, Merkske.
Location: New York, New York
Practice: Art Theory, Art Critique, Video, New Media, New Genres, Performance, Interdisciplinary Art
Languages: English, Portuguese, Spanish
Bio: “I started as an artist, but expanded my understanding and practice of art through writing, curating, and teaching. As a curator, my latest accomplishments include several exhibitions in Eastern Europe and in the US focusing on the dialogue between video, new media, and performance. My curatorial projects include exhibitions and panel discussions at Smack Mellon, Dumbo Arts Center, Westport Arts Center, Momenta Art, White Box, and the Chelsea Museum. In the spring of 2012, I will be curating the 3rd Mediations Biennale in Poland, to be followed by an international selection from the biennial at the Gyeonggi Museum of Art in South Korea in 2013. As an art critic, I have published hundreds of articles, reviews, and essays to several important art magazines and journals, including Flash Art, Sculpture, Art Nexus, Art in America, Journal of Art and Society, Springerin, Umelek, and others. I have also lectured and moderated various panel discussions and symposia, including at the Center for Metamedia (Czech Republic), Begane Grond in Utrecht (Netherlands), Arsenal Gallery (Poland), the Westport Arts Center (CT), White Box (NY), the Chelsea Museum (NY), Humanities Institute at UCD (CA), etc. My scholarly work focuses on the intersection between art theory, cultural studies, new genres, interdisciplinary art, performance, or any practice that attempts to blur boundaries. I am not opposed to working with artists who focused on a specific medium, but my approach to thinking art is always multidisciplinary; I see art as a hybrid of object, image, idea, and language. I have been teaching since 2002 at universities and programs in California and New York; amongst them are San Francisco State University, Humboldt State, UCD, Pratt Institute, and since 2008, at the Institute for Doctoral Studies in the Visual Arts.”
Location: Birmingham, UK
Website: http://www.ellyclarke.com http://www.clarkegallery.de
Languages: English, German
Genres: Photography, drawing, video, audio, conversation, meeting people, seeking out alternative funding strategies, display, distribution, disseminatation.
Bio: Elly Clarke works as an artist and a curator, but sees the two things as completely interlinked. She is interested in the impact of mobility (of people, information and things) upon sense of self, both when alone and as part of a community. Participation & collaboration play a key role. From The Broadway House Photo Project, (connecting her community through the distribution of cameras and an exhibition) to Moscow to Beijing (trying to bridge the cultural and linguistic gap that stood between Elly and her fellow passengers), and from The George Richmond Portrait Project, (tracing portraits by her great great great grandfather George Richmond RA (1809-1896) to private homes), to her curatorial work via Clarke Gallery, Elly is interested in setting up situations that both inspire and unearth narratives that might not otherwise be told. She is also interested in the relationship between digital and analogue photography and the impact this shift of image creation and distribution has upon our sense of history, archiving and memory as well as upon language. Clarke has a BA in History of Art from Leeds, studied curating at the Royal College of Art before then turning to making art herself. In between, she also worked for a dot com start up and for Franklin Furnace as an intern. All these things influence what she does today.
Location: Milan, Italy
Genres: Photography, Painting
Languages: Italian – English – Spanish
Practice: Contemporary Art Practices and theories; Middle Eastern Art Practices; Modern and Contemporary Art in Mediterranean Areas
Bio: She is currently professor of Contemporary Art at the Accademia Albertina di Torino, Italy
Location: Winnepeg, Canada
Practice: installation, video, sculpture, photography, performance, intervention.
Bio: Based in Winnipeg, Canada, Leah Decter is an inter-media artist whose work integrates installation, video and other digital media, textiles, performance and dialogic/engaged practices. Across this range of media she employs integrative practice–led research methodologies, and productive strategies that include diverse approaches to collaboration and engagement. Decter’s work is rooted in the spaces where material conditions and lived experience intersect with social and political issues. Her ongoing investigations focus on relationships between place, identity and dis/location drawing on and critically examining both personal and historical narratives. Current projects consider trace and agency in contested urban public space through intensive social-spatial investigations, and enact interventions into reductive national narratives though intensive theoretical, digital, material and dialogic explorations. Decter has exhibited widely in Canada, and internationally in the US, UK, Australia and Europe. Video screenings include the Images Festival in Toronto, the International Film Festival Rotterdam, and Malta Contemporary Art in Marsa Malta. Her work has been supported through numerous awards and is held in the collection of the Winnipeg Art Gallery as well as private collections in Canada, US and UK. Decter’s engaged practices have included large-scale collaborative public art and intervention projects in Vancouver, Toronto and Winnipeg. She holds an MFA in New Media from Transart Institute.
Location: Berlin, Germany
Languages: English, French
Genres: Sculpture, drawing, painting, photo with a socio-political conceptual undercurrent
Bio: Born in Port-au-prince Haiti, Jean-Ulrick Désert received his degrees at Cooper Union and Columbia University (New York). He has lived in Paris and currently works in Berlin. Désert has lectured and been invited as critic at Princeton, Yale, Columbia, Humboldt University and l’école supérieur des beaux arts. Désert’s visual-art spans many mediums and methods. Emerging from a tradition of conceptual-work engaged with social/cultural practices, his artworks vary in forms such as billboards, actions, paintings, site-specific sculptures, video and objects. Known for his “Negerhosen2000” and his provocative “Burqa Project”, Désert often combines cultural iconographies and historical metaphor to disrupt, alter and shift pre-supposed meaning. He has said his practice may be characterized as visualizing “conspicuous invisibility”. Désert has exhibited widely at such venues as The Brooklyn Museum, Cité Internationale des Arts, The NGBK in galleries and public venues in Munich, Amsterdam, Rotterdam, Ghent, Brussels. He is the recipient of awards, public commissions, private philanthropy, including LMCC, Villa Waldberta/Muenchen-kulturreferat and Cité des Arts (France). Désert represented Haiti and Germany in the 2009 Havana Biennial
Location: Toronto, Ontario
Practice: media, photography, philosophy/aesthetics/politics
Bio: Elle Flanders is a filmmaker and artist based in Toronto. She was raised in Montreal and Jerusalem and holds both an MA in Critical Theory and an MFA from Rutgers University. Her work has been screened and exhibited at the Berlin International Film Festival, the MOMA and festivals worldwide. Her most recent work includes: What Isn’t There, a 15-year ongoing photo installation project that documents Palestinian villages that no longer exist; Road Movie, an in-progress 12-screen installation on the Apartheid Roads of Palestine; Bird on a Wire; A Five City Symphony, a dual screen projection and live music performance; and the award-winning feature documentary Zero Degrees of Separation. Flanders is a PhD candidate at York University where she also teaches. Elle Flanders is a filmmaker and artist based in Toronto. She was raised in Montreal and Jerusalem and holds both an MA in Critical Theory and an MFA from Rutgers University. Her work has been screene d and exhibited at the Berlin International Film Festival, the MOMA and festivals worldwide. Her most recent work includes: What Isn’t There, a 15-year ongoing photo installation project that documents Palestinian villages that no longer exist; Road Movie, an in-progress 12-screen installation on the Apartheid Roads of Palestine; Bird on a Wire; A Five City Symphony, a dual screen projection and live music performance; and the award-winning feature documentary Zero Degrees of Separation. Flanders is a PhD candidate at York University where she also teaches.
Laura F. Gibellini
Location: New York, USA
Languages: Spanish, English, Italian
Practice: Drawing, collage, photo, video, installation.
“The focus of my ongoing academic research and writing as well as my art practice is concerned with issues surrounding the concept of place (namely, how human beings relate to places, how they inhabit their environment, how they identify or become alienated from a place and how they conceptualize the relationship between their local space and the world as a whole).”
Bio: Laura F. Gibellini is a visual artist and critical theorist. She holds a PhD in contemporary art theory for Complutense University of Madrid. She teaches at the School of Visual Arts in New York. Recent exhibitions and projects include Variations on a Landscape, asm28, Madrid; Salon, ISCP, New York; YANS & RETO, Anthology Film Archives, New York; 341 West 24th Street, New York, AC [Institute], NY; Region 0, King Juan Carlos I of Spain Center at NYU, NY; PhotoEspaña, Madrid, and the book Constructing a Place, published by Complutense University of Madrid.
Languages: English, German
Practice: Installation, Light, Video
Bio: Monika Goetz studied Communications Design at the University of Applied Sciences Wuerzburg and Fine Arts at the Art Academy of Kassel, Germany. She has received grants from the City of Kassel and the Cultural Council of Germany. In 1999 a grant from the DAAD brought Goetz to NYC where she has participated in the Artists in the Marketplace Program at the Bronx Museum of Arts and received grants from the John D. and Catherine T. MacArthur Foundation, the Greenwall Foundation and the Pollock-Krasner Foundation. She has been an artist-in-residence at the Art Omi International Art Center, the LMCC workspace program and the MacDowell Colony. Her work has been exhibited internationally, including venues such as P.S.1/MoMA, the Sculpture Center NY, the Queen Museum of Art and the Gwangju Biennal, South Korea. Goetzâ€™s work explores consciousness and the boundaries of human perception. Whether by creating new environments or by intervening with already existing spaces, her work questions and challenges the perceptions of the viewer, in particular oneâ€™s sense of space and the act of seeing. Currently she lives and works in Berlin.
Location: Kent, UK
Languages: German, English, French
Bio: Peter Hofer graduated from the MA Sculpture course at the RCA in 2003. He is currently working as a Lecturer in Sculpture at UCA Canterbury. His work and research interests focus on the use of sound as a plastic and sculptural medium, site and situation specific sound installations and kinetic sculpture. He has participated in group- and solo- exhibitions in the UK, France, Poland and Germany.
Practice: kinetic sculpture, sound sculpture, public art and new artistis strategies
Location: Utrecht, the Netherlands [possibly also Berlin, Sao Paulo]
Practice: Interactive art, Performance, Sound/Music, software, media art, radio, internet
Website: www.umatic.nl + www.soundscape-fm.net berlin.soundscape-fm.net + acoustic.space.re-lab.net/lab
Practice: Free + Open Source software, field recording, environmental sounds, digital signal processing, audiovisual sythesis, microsound, participatory art, web-based projects, databases, abstract video, improvisational electronic performance, Pure Data, Linux, copyleft, radio waves, networked art, hacking, process, errors, accidents… basically I’d like to advise students who are just as interested in how to get there as in where “there” is, who work across audiovisual genres and who want to really push the medium they work in to new levels, whatever that medium may be. Artists interested in exploring the free software/copyleft communities are encouraged to get in touch as well.
Bio: Holzer [USA 1972] is a sound and radio artist with a background in free radio, net.radio and streaming media technologies. He was involved with some of the first net.radio experiments in Hungary (Pararadio) and Czech Republic (Radio Jeleni). He has also worked with RIXC/Re-lab, a net.radio group in Latvia who gradually shifted their focus towards broader issues of ‘acoustic spaces’ and networked audio communications. In August 2001, Derek helped organize the Acoustic Space Lab, which brought together an international team of 30 sound artists, community radio activists, and scientists to experiment with a 32 meter antenna, recording sounds and data from planets, communication satellites and the surrounding environment. Recently, his work has focused on capturing and transforming small, unnoticed sounds from various natural and urban locations, on the electromagnetic resonances in our everyday environment, as well as the use of free software such as Linux and Pure-Data. He has been giving workshops on Free + Open Source multimedia tools for two and a half years, in various locations in Europe, North and South America.
Location: New York City, NY
Genres: Painting, Drawing
Bio: Jayne Holsinger is a painter living and working in New York City. Working primarily in oils on wood panel her paintings have been exhibited in the United States and Europe, including the Bronx Museum of the Arts in New York, the Aljira Center for Contemporary Art in Newark, the Shedhalle in Zurich, the Topkapi Palace in Istanbul and Margaret Thatcher Projects in New York (solo show, 2007). Among awards, she has received a Pollock-Krasner Foundation Grant and was an Artist In the Marketplace Program Fellow at the Bronx Museum of the Arts. She currently teaches graduates drawing at Montclair State University, New Jersey. She received 2008 NYFA Fellowship.
Location: NYC, New Mexico
Genres: Interdisciplinary art, Painting, Drawing
Practice: In my current work I am interested in bridging the gaps between painting, photography and assemblage; thus, opening a fluid and deepening dialogue between media to illuminate a current situation in painting. Using collage, assemblage and recollection, my work emphasizes the ecology of the ‘found’, in which miscellaneous objects are transformed and seen again. The work takes shape through the self-referential processes of repetition, magnification, composition, printing, indexing and photography. I come to the canvas to extend ways of questioning and re-seeing painting.
Bio: My academic career spans thirty years and includes teaching positions at San Francisco State, UC Berkeley, U New Mexico and most recently Sarah Lawrence where I headed the Drawing Department. Particularly, while teaching at Sarah Lawrence, I was focused on an interdisciplinary approach which opened many doors to enable students to objectify their imaginative lives and speak to the world of today. Because of my combined teaching experience as well as professional exhibiting experience in the NY art world, I feel enthusiastic about the teaching experience in mentoring students and would bring enthusiasm and interest to the process.
Location: Los Angeles
Languages: English, Spanish
Bio: I am an interdisciplinary media artist. Working primarily in video, with a practice that includes performance, writing, and photography, my work inhabits a space between fiction and document, and stems from an extensive background in live performance. Integrating improvisation with tightly scripted texts and scores, the work addresses issues such as agency, power, and the uses and failings of language. My kinetic relationship to the performative and to humor inform a hybrid media practice infused with pop vernacular, documentary tropes and experimental film/video praxis. With extensive training in theater, performance, and dance, my practice and my approach to pedagogy stem from core relationships with the body. An MFA in writing and 10 years of video production experience have deepened the interdisciplinary nature of the way I work, think, and teach. Currently I am preparing for a solo exhibition at the Museum of Contemporary Art, Artizona State University. I recently worked in a collaborative team with artist Harry Dodge and my work has shown in numerous venues nationally and internationally including The Whitney Biennial (08); The California Biennial (10) at the Orange County Museum of Art; MoMA/NY; MOCA/LA; The Getty Center/LA, the Hammer Museum/LA; the Sundance Film Festival; the Center for Art and Media/Karlsrühe; PS1 Museum of Contemporary Art/NY; Contemporary Center for Art/Vilnius, Lithuania; MIT, Cambridge; ICA, Philadelphia; Kunstalle, Bonn, GDR; The Brooklyn Museum, NY; The Hayward Gallery, London; Susanne Vielmetter Los Angeles and Elizabeth Dee Gallery/NY, among many others.
Location: Munich, Germany
Genres: Film, Video
Languages: German, English
Practice: Documentary and Ethnographic Films, Cultural Anthropology, Representations of Death in the Feature Film
Bio: Wilma Kiener graduated from the Munich Film School, and received her PhD in Cultural Anthropology from the University of Munich, with her book: The Art of Storytelling. The Narrative Mode in Documentary and Ethnographic Films. (1999). Since 2002 she is a lecturer for Cultural Anthropology at the University of Munich, and for film and video at the University of Applied Sciences and Technology in Salzburg, Austria. In 2002 she held workshops for the Goethe- Institut in Kabul and Beirut. After receiving a scolarship from the equal-opportunities-programm at the Munich University, she now is a Post-Doctoral-Fellow at the Graduiertenkolleg Postcolonial Studies in Munich. Her documentaries include (selection): “A Dream of Kabul” (1996), “Three Lives – Friderike, Lotte and Stefan Zweig” (1993), “IXOK WOMAN” (1990), “Codename Schlier” (1985); leading role and screenplay collaboration “The Backward Roll” (1982). Post-Doctoral Project (Habilitation): “Representations of Death in the Feature Film. A Cultural-Comparative Study”.
Location: Austin, Texas
Practice: Experimental film, video art, women directors, body art, early cinema, film and feminist theory, global activism, interventionist practice
Bio: Informed by conceptual art, film theory and feminism, Caroline Koebel’s films and videos provoke new modes of aesthetic and critical engagement with early cinema, commodity culture, maternity, and other subjects. Flicker On Off applies the idiom of experimental film and artist’s video to big-budget movies in order to speak about world affairs, including global warming, the assassination of Benazir Bhutto, and the Haditha Massacre, in what could be described as an alternate essay format. Recent presentations of her work include Edinburgh International Film Festival (Scotland), 5th ATTITUDE Festival (Macedonia), dança em foco (Brazil), Oblò Film Festival (Switzerland), MadCat (USA), Ladyfest Toronto (Canada), European Media Art Festival (Germany), Optica International Festival of Video Art (Spain), Pantheon International Xperimental Film Festival (Cyprus), Abstracta: International Exhibition of Abstract Cinema (Italy), and Camagüey Festival of Video Art (Cuba). Koebel’s work has been supported by, among others, the New York State Council on the Arts, the New York Foundation for the Arts, the Experimental Television Center, Hallwalls Contemporary Arts Center, Squeaky Wheel, Media Alliance, and the Centre for Contemporary Art at Ujazdowski Castle. Drawing breath from pioneers such as Germaine Dulac and Maya Deren, Koebel situates writing and curating firmly within her creative practice. In addition to co-authoring the acclaimed stencil graffiti book Schablone Berlin, she has published catalog essays on Carolee Schneemann and Barbara Hammer, and curated programs as a board member of the Film-Makers’ Cooperative. She holds a BA in Film Studies from University of California, Berkeley and an MFA in Visual Arts from University of California, San Diego. She is a recent transplant from Brooklyn to Austin, Texas, where she lives with publisher and poet Kyle Schlesinger and their son Alasdair.
Pil & Galia Kollektiv
Bio:2008 – present Lecturers, University of Kent, Canterbury and 2006 – present Visiting Lecturers, Goldsmiths College, London. 2008 – Arts Council England grant, 2008 – Goldsmiths College Research Award, 2007 – London Artists Film and Video Award, 2007 – Take Over Residency, Pump House Gallery, London.
Interests: We are London based artists, writers and curators working in collaboration. Our work addresses the legacy of modernism and explores avant garde discourses of the twentieth century and the way they operate in the context of a changing landscape of creative work and instrumentalised leisure. We are interested in the relationship between art and politics and the role irony plays in its current articulation. We often use choreographed movement and ritual as both an aesthetic and a thematic dimension, juxtaposing consumer rites and religious ceremonies. Reading dada, Constructivism, and the Bauhaus backwards through punk and new wave, we find new uses for the failed utopias of the past. As well as making art, we write about it for several publications. We also write about music and teach at University of Kent, Goldsmiths College and elsewhere. We do not have a band.
Practice: performance, music, logic, pornography, irony, darkness
Languages: English, Polish
Wojciech Kosma creates speculative and successful performances. His work could have been seen recently in the New Museum in New York, 533 Gallery in Los Angeles, KW Berlin, Overgaden in Copenhagen, Boutique Monaco in Seoul, Museum of Modern Art in Warsaw, IMT Gallery in London as well as in China and Argentina. He is currently a Music Composition PhD Student at the Goldsmiths University in London.
Location: Los Angeles
Practice: Fiction writer, art critic, film and video background
Chris Kraus is the author of four novels, two collections of art essays, and co-author of a book on Los Angeles art. She writes regularly for Artforum and has published articles in Art in America, Art/Text, the Nation, Bookforum, Texte Zur Kunst, Index, and other magazines. She co-edited David Wojnarowicz: A Definitive History of the Lower East Side (Semiotexte, 2006). Retrospectives of her early film work have been exhibited in Berlin, Brussels, and Miami. She recently curated an exhibition of work by George Porcari and Jorge Pardo at Momenta Gallery in Brooklyn. Kraus received the CAA’ s Frank Jewett Mather Award in Art Criticism in 2007. A co-editor of Semiotexte since 1990, her forthcoming novel is Summer of Hate. Kraus has taught at the European Graduate School (EGS), UC San Diego, UC Irvine, Art Center College of Design and San Francisco Art Institute.
Practice: New Media, Digital, Video, Animation, Mapping, Web.
Bio: Derek Larson is an artist exhibiting in the US and internationally, he received his MFA from the Yale School of Art and his BFA from Herron at Indiana University. He has recently lectured at the Finnish Museum of Photography in Helsinki and was awarded the 2009 Premio Terna Prize in Italy. He is currently the director of New Media at Georgia Southern University. http://newmedia-gs.com/
Location: Berlin, Germany
Bio: Dermis P. León is an independent art critic and curator based in between Berlin and Madrid. Her practices and research explores the relationships between Latin-American, European and Middle East artists, concerning aesthetics of fragility and process, issues of identity, gender, cultural crossing mobility, and immigration. She graduated in Art History at Havana University (1991), and holds a MA in curatorial study from The Center for Curatorial Studies, Bard College, N.Y (2001). Currently, she has been accepted in the PHD Program of the Department of Humanities (Carlos III University Madrid). She has lectured internationally and constantly published, since 1991: articles, essays and art critics in specialized art magazines and newspaper in Germany, Cuba, Costa Rica, Chile, USA and Spain. She worked (selected) at the Museum of Contemporary Art and Design of San Jose, Costa Rica (1994-1998), professional practice in the Audio Visual Department of the N ational Museum Art Center Reina Sofia (1996), associated director of Daniel Azoulay Gallery (2002), founder and professor of the New School of Visuals Arts in the Austral University of Chile (2004-2006), founder of AtlanticaTransart (2004-2006) Santiago of Chile. She has an extensive experience in the organization of management projects amount collectives and personals work in museums, galleries, art centers and many art projects in all the countries where she has lived. She is founder of The Curatorial Bureau.
Carole Frances Lung AKA Frau Fiber
Location: Huntington Beach, California
Bio: textile worker, artist, and activist. BFA 2005 North Dakota State University, MFA 2007 School of the Art Institute Chicago, Fiber and Material Studies Dept., Solo exhibitions 2009 Hired Out, James A. Michener Art Museum, Doyelstown, PA, Simple Slow = Shade Cloth, Joshua Tree Music Festival, Joshua Tree, CA, Sewing Rebellion Regional Chapters: Ames, Iowa, Lancaster PA, New Orleans LA, Los Angeles, CA, Chicago IL, Brooklyn NY.
Location: Brooklyn, NY
Practice/Genre: Painting, drawing, writing
Bio: “I am a painter, teacher, critic and curator. I have lived and painted in New York since receiving my BFA from Indiana University in 1982; for many years I supported my studio work with a job in the book trade. My activities as a teacher, critic and curator began in the last decade. I am committed to the belief that, like other professionals, artists should take a major part in the public conversations that affect our field. To do so, facility with the written word is essential. In the graduate Fine Arts program at the School of Visual Arts, I teach a Writing Workshop in which I espouse the qualities of clarity, economy, muscle and grace. I have also taught studio- and seminar-based classes at SVA since 2006, emphasizing critical thinking and analytical skills. I began writing art criticism around 2004, having noted that few critics deal with works of art as I see them—as the outcome of a series of decisions. My curatorial projects build on the essential critical function of simultaneously making associations and drawing distinctions. In 2012 I shifted the focus of my published writing to reviews of art books for Art in America’s Web site (artinamericamagazine.com) and for artcritical.com, where I am Contributing Editor. Wishing to structure my research and desiring a more rigorous critique of my studio work, I recently enrolled in the low-residency MFA in Visual Art program at Vermont College of Fine Arts. I expect to complete the work required for that degree in January 2014.”
Location: Berlin, Germany, New York City, USA
Languages: English, Chinese
Interest: language, voice
Bio:Chris Mann has been deconstructed, interpreted and set by Tom Buckner, John Cage, David Dunn,
Gary Hill, Johnny Klimek, Annea Lockwood, Machine for Making Sense, Larry Polansky, Robert Rauschenberg, …
Recent projects include The Plato Songs using realtime spectral analysis and parsing of the voice into
sixteen channels, and ‘Quadraphonic Cocktail’ for the three radio networks of the ABC.
Language is the mechanism whereby you understand what I’m thinking better than I do (where ‘I’ is
defined by those changes for which I is required).
Elena Marcevska New
Location: Northampton, UK
Website: http://northampton.academia.edu/ElenaMarcevska + http://vimeo.com/user2082151
Bio: 2008 – present University of Northampton, PhD, Centre for Practice-led Research in the Arts, “Screen as Site of Performance- Body coded in motion”, 2003 – 2005 School of The Art Institute of Chicago-Chicago, USA
MFA, Performance and New Media Studies. Her research focus is on the interactive processes between art, scientific and digital systems including interactive media, virtual reality and alternative sensors and the transferability of scientific visualization. Her special focus is how to extend digital systems into the realms of motion, touch and the kinesthetic.
Location: New York, USA
Bio: New York Photographer Karen Marshall documents social issues. Since the 1970’s, she has worked on still narratives about the cultural landscape of the United States. In 1985 she began a series of long-term projects that focus on the social and psychological lives of her subjects within the American landscape. Marshall’s work often reflects a story that extends over many years. She is the recipient of artist fellowships and sponsorships through the New York Foundation for the Arts, as well as grants and support from private foundations. Her work has been widely exhibited and is part of several collections. Her photographs have been published in the United States and abroad. A freelance photographer, Marshall is an active mentor and portfolio consultant. Marshall is on the faculty of The International Center of Photography and teaches at New York University and The Maine Media Workshops, among others. She holds a BA in Photography from Hampshire College, A Certificate in Photojournalism and Documentary Photography from The International Center of Photography and an MFA in New Media from Transart Institute.
Location: New York
Interest: Art as Social Action using paper, book and printmaking in public international forum.
Bio: Drew Matott received his MFA in Book & Paper Arts from Columbia College-Chicago and his BFA in Printmaking from the Buffalo State College. He co-founded the Green Door Studio, People’s Republic of Paper, the Combat Paper Project, BluSeed Paper Mill, Free Your Mind Press, and Peace Paper. Drew divides his time between teaching at colleges, doing art residencies, and facilitating Peace Paper. He has taught Photography and Contemporary Printmaking at North Country Community College, and Papermaking courses at the Community College of Vermont and Massachusetts College of Art. Last year he completed an artist residency at BluSeed Studios in Saranac Lake, NY, followed by a seven-month international tour, where he taught at the Seagull Foundation for the Arts in Calcutta, India, completed an artist residency with SKAM in Hamburg, Germany, lectured at Camberwell College in London, England and toured book and paper studios throughout Europe.
Interest: In my process-oriented approach to painting, I care for the physical qualities of material and surfaces. I often start with a failed painting, scraping, sanding and glazing to create a ground which is the foundation for the subsequent layers. I use different kinds of paint application to create a range of mark making; flat matte washes, scribbly lines, crisp silhouettes, stencils, sgraffito. I’m interested in the visual pleasure of discovering forms that harmonize but do not align. When laying down colours and shapes I am drawn to contrast between hard and soft forms, or between gestural and mechanical marks, destabilising expectations of style and form. I use colour to evoke different atmospheres; playful, poetic, murky, intimate, ancient. Colour can be an overall mood tone or a surprise element as when small segments of brilliant colour are dropped into fields of neutral tones. Through a series of micro aesthetic decisions I alter and edit elements in and out of the painting, seeking a balance that is both light and weighty. This physical and psychoanalytic act of re-ordering gives value to the buried layers of the painting as well as the surface. In some paintings I am destroying an image, in others I am discovering or uncovering it. This is a layered and intuitive process in which each painting hides and reveals in differing measure, inviting the viewer to linger longer in the enclosed world.
Bio: 2009 Masters in Fine Art Theory and Practice, Byam Shaw@ Central St Martins, London 2008 Postgraduate Diploma in Fine Art, Byam Shaw @Central St Martins, London 1989 Accademia di Belle Art di Firenze, Italy, Diploma di Pittura, 30 e lode,- BA Degree with distinction in traditional painting techniques including restoration, egg tempera and fresco. 1985 BA High Honors in Art and Art History, Smith College, Massachusetts, USA teaching experience 2010- Artist Mentor for MFA in Visual Arts Program at The Art Institute of Boston, USA 2010- Artist Mentor in painting for MA Fine Art course at Byam Shaw, London 2010 Artist in residence Rivers of the World education program, Mayor of London and Arts Council England. 2005-11 Workshop Leader in Visual Art for art teachers in the International Baccalaureate IBEAM in Europe, Africa and the Middle East 2005-11 Visual Art External Examiner for IBO throughout Europe 2005-11 Visual Art Essay Examiner and Moderator for IBO 2003-5 Assistant Teacher Printmaking workshop at Il Bisonte School of Graphics, Florence, Italy 2003-2007 Head of Art International School of Florence, Villa la Gattaia, Italy. responsibilities include: teaching painting, drawing, and contextual studies, training new teachers, curriculum design and cross curricular and interdisciplinary coordination.
Genres: media, photography, video, installation, Critical thinking and interdisciplinary, multicultural approaches to conceptual representation
Bio: Daniel Mirer is a New York-based artist and photographer, was born in Brooklyn. He received his Bachelor of Fine Art from Pratt Institute and his Masters of Fine Art in Photography from the California Institute of the Arts. Mirer has participated in prestigious emerging artist programs including: the Whitney Museum of American Art, Independent Study Program and the Bronx Museum of the Arts, Artists in the Marketplace and the Regional Central American & Caribbean Contemporary Art Forum in Honduras. He also received the New York Foundation for the Arts Fellowship for photography in 2002. Mirer has taught photography at institutions both in the United States and in Europe including Brooklyn College, Fashion Institute of Technology in New York, Ohio State University and Ramapo College. Mirer was also a visiting lecturer at the Tampere Polytechnic School of Art & Media in Tampere, Finland. Daniel Mirer is currently teaching at Webster University, Leiden, Netherlands His two current body of work, ArchitorSpace & In The Finest Tradition series, examines architecture and its interior spaces. The ArchitorSpace photographs are examples of the uneasiness one experiences in enclosed public environments. These environments are transitional spaces, junctures between rooms and corridors; indeterminate places designed without a determined use, spaces that exist as zones of non-activity, thus leaving one open to the scrutiny of others. Tunnels, hallways and corridors are areas that are particularly banal and evoke a feeling of familiarity. These sites within the images architecturally reveal no history, identity or specific functionality, yet have become so common in post-industrial society. In the series Titled “In The Finest Tradition”, the photographs applies the structural principles of his architectural images to portraiture. The subjects become extensions of the architectural space itself, lending a specific geometry and discourse of soci al spaces. The images reconstruct male archetypes and masculine role-play, displaying the pageantry of the uniform. The photographs are reconstituting identities through the uniform. I am fascinated by the gap between what we are, and what we think identity should be. Critical essays that cite Mirer’s work and publications that have published his artwork include: “Visualizing the City” by Alan R. Marcus & Dietrich Neumann 2010; A portfolio of ten images reproduced in Fotograf magazine of photography and visual culture from the Czech Republic, February / March 2008; “Six Notes on Vanishing” Wexner Center for the Arts, by Hal Foster 2006; “Ft Ground, The Completist” WordPress 2006. “Viajeros: North American Artist/Photographers Working in Cuba” (Lehigh University) by Ricardo Viera, 2004; Six images were reproduced in the December 2003 issue of Influence Magazine, “The City Without Qualities: Photography, Cinema, and Post-Apocalyptic Ruin” by Walead Beshty; “Rethinking Disney: Private Control, Public Dimensions” By Mike Budd, Max H. Kirsch, 2002. Select images appeared from the photographic series “ArchitorSpace” were published in the 2001 Art Journal, titled “Wishing Rooms”. Fifteen images from ArchitorSpace t itled “ArchitorSpace, Via Cuba”, were published in the winter issue of Art Journal accompanied by Mirer’s essay recounting his experience documenting the disappearing architectural sites of old Havana. “Why Asia?” Contemporary Asian and Asian American Art by Alice Yang, 1998. Daniel Mirer’s work was also included in exhibition catalogs from the Brooklyn Museum of Art, Curated by Chariotta Kotik 2004, and Pittsburgh Center for the Arts, 2001. Photographs from ArchitorSpace were included in the exhibition “Stepping back, moving forward, human interaction in an interactive age” at the Pittsburgh Center for the Arts, curated by William Stover from the Museum of Fine Arts, Boston. In 2004, Mirer had a solo exhibition of work from the series at the Priska Juschka Fine Art Gallery titled “No Where but Here” and his work was also included in “Working in Brooklyn” at the Brooklyn Museum of Art. In 2005, these images are included in a three-year traveling exhibition and book project at the Lehigh University Art Galleries, Zoellner Arts Center titled “Viajeros: North American Artist/Photographers Working in Cuba” curated by Ricardo Viera. The project continued as part of an exhibition titled “Vanishing Point” exhibition at the Wexner Center for the Arts in Columbus, Ohio, curated and catalog essay by Claudine Ise.
Location: Cambridge, MA
Practice: Sound/Music, art in general
Languages: English, some German
Bio: 1996 MFA, University of Illinois at Chicago, IL, Solo Exhibitions & Projects: 2006-9 Instance the Determination, public project, University of Chicago, IL, 2007 Grammatik, Meyer Riegger Galerie, Karlsruhe, D, 2006 Break camp, Peter Freeman, New York, Cloud, the, 3, DAAD Galerie, Berlin, Käuzchensteig, Galerie Nelson, Paris, F, 2005 PIAC (Piattaforma internazionale arte contemporanea), Ragusa, I, Laws of clash, 247, Donald Young Gallery, Chicago, 2004 Sudden and creeping violence, Dallas Museum of Art: Concentrations 45, TX, Miscellaneous papers, Meyer Riegger Galerie, Karlsruhe, D, Hewn third, Peter Freeman, New York
Location: New York
Bio: Linda Mary Montano is a seminal figure in contemporary feminist performance art and her work since the mid 1960s has been critical in the development of video by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. Montano’s influence is wide ranging – she has been featured at museums including The New Museum in New York, MOCA San Francisco and the ICA in London.
Practice: Performance/video/writing My book “Art in Everyday Life” outlines my performance practice which includes endurances, healing focuses and humor. I believe that life begets art and art is life. One heals the other.
Location: Berlin, Germany
Languages: English, Spanish, Italian
Genres: Curatorial Practices, Art Education,
Bio: Perla Montelongo is an artist and curator, Co-Founder and Director of the Node Center for Curatorial Studies, Berlin. Montelongo’s work –as artist and curator- has been exhibited widely across México, Italy, Germany, Spain, Czech Republic, Russia, Bolivia and Portugal; in museums such as Museo de Arte Carrillo Gil (MX), Contemporary Art Museum in Moscow (RU), Contemporary Art Museum of Oaxaca – MACO (MX). Montelongo has been a researcher and professor at Media Centre d’Art i Disseny MECAD (ES), Universidad Autónoma de Ciudad Juárez UACJ (MX) and funder of the online Art education platform “Visions of Art” dedicated to the professionalization of emerging artists in Iberoamerica.
Location: Greensboro, USA
Languages: English, Korean
Genre: Sonic Arts, Video, Media Arts
Bio: Sang Um Nam is a Korean-American media artist, who holds a M.F.A. in Electronic Integrated Arts from New York State College of Ceramics at Alfred University, a B.S. in Molecular Biology and a B.A. in Interdisciplinary Computing and the Arts from University of California, San Diego. Nam is a visual and sonic artist whose work metaphorically explores how technologies are used in various art disciplines and how people perceive these art “products” in various dynamics. His sensibility to sound/image and his deep understanding of digital technology have allowed him to take advantage of working both traditionally and not traditionally. His work has been exhibited worldwide, including US, UK, Bulgaria, and South Korea. Nam currently teaches interactive media at Graduate School of Interactive Media, Elon University, and got recognized as 2010 National Teaching Scholar for his innovative teaching method on media technologies.
Location: Brooklyn, USA
Languages: English, Hebrew
Interest: Sound Art, Max/MSP, Psychoacoustics, Audio, Interactive, sound, installations
Bio: Dafna Naphtali is a electronic-musician/performer/singer/composer from an eclectic musical background (jazz, classical, rock and near-eastern music). Since the mid-90’s she composes/performs experimental, interactive electro-acoustic music using her custom Max/MSP programming for live sound processing of her voice and other instruments, and also interprets the work of Cage, Stockhausen and contemporary composers. With her large variety of projects with well regarded musicians in the US, Europe and India, she has received awards from NYFA, NYSCA, Franklin Furnace, American Composers Forum, Foundation for Contemporary Arts and American Music Center, and recorded several CDs, including “What is it Like to be a Bat?” a digital punk trio with Kitty Brazelton (on Tzadik). Dafna teaches at New York University and Brooklyn College, Harvestworks and privately.
Location: New York
Interest: photography and ethnography, photography and history, exhibitions
Bio: Alison Nordström is Curator of Photographs at George Eastman House, the oldest and largest museum of photography in the United States. She was the Founding Director and Senior Curator of the Southeast Museum of Photography in Daytona Beach, Florida from 1991 to 2001, and previously held positions involving photography at the Brattleboro (Vermont) Museum & Art Center and the Peabody Museum of Ethnography, Harvard. She has curated over 100 exhibitions of photography including the popular biennial series Fresh Work, and major surveys of landscape, portraiture, travel photographs and journalism. She has worked extensively with historical photographs related to the construction of race and place and is the author of numerous books, catalogue essays, and chapters, articles and reviews in academic publications. In 2006, she curated the exhibition Paris: Photographs by Eugene Atget and Christopher Rauschenberg for George Eastman House and the International Center for photography in New York City and the traveling exhibition Why Look at Animals?, a historical survey coupled with contemporary installations. Nordström holds a BA in English Literature, an MLS with museum emphasis, and a PhD in Cultural and Visual Studies.
Location: Winnipeg, Canada
Languages: English, French
Practice: video, audio, performance, contemporary dance, drawing /painting
Bio: Freya Björg Olafson is an interdisciplinary artist who works with video, audio, painting and performance. Her creations have been presented/exhibited nationally as well as internationally at festivals and galleries such as SECCA ~ The SouthEastern Center for Contemporary Art (North Carolina), Plug In Institute for Contemporary Art (Winnipeg), InterAccess Electronic Media Arts Center (Toronto), Dance: made in canada biennial (Toronto), Winnipeg Art Gallery, MONA ~ Museum of New Art (Detroit), Núna (now) Festival (Winnipeg, Toronto, Iceland), Groundswell New Music Series (Winnipeg), Tangente (Montreal), Kling&Bang Galleri (Reykjavik,Iceland), and Springboard Danse Montréal. As performer and creator, Freya blends 6 years classical training in the Professional Program of the Royal Winnipeg Ballet with the contemporary facility achieved through her completion of the Bachelor of Arts Honors degree in dance from Winnipeg’s School of Contemporary Dancers in affiliation with the University of Winnipeg. She combines her finesse in movement with the directness of her performance art, video and theory studies from the University of Manitoba School of Art and her subsequent completion of a Master of Fine Arts Degree in New Media from the Transart Institute / Donau Universitat in Krems, Austria. During her studies Freya was the recipient of awards/scholarships for her abilities from The Royal Winnipeg Ballet, Friends of The Transart Institute, Canada Iceland Foundation, University of Winnipeg Woman’s Auxiliary, The Imperial Order of Daughter’s of the Empire, and Springboard Danse Montreal. Freya was nominated in 2008 by Winnipeg’s School of Contemporary Dancers and in 2009 by Choreographer Stephanie Ballard for The Winnipeg Arts Council Artist Award “On The Rise”. In 2010, Freya was nominated as Dance Ambassador for the Winnipeg Cultural Capital of Canada Project. As well her latest work AVATAR received the Buddies in Bad Times Vanguard Award for Risk and Innovation at the Summerworks Theater Festival in Toronto. As an independent performer Freya has worked with Winnipeg’s Contemporary Dancers, Trip Dance Company, Adhere & Deny Theatre Company, Gearshifiting Performance Works and Stephanie Ballard. Outside of creating her own work and performing in the work of others Freya is actively involved in the community in curating. She is a member of the curatorial committee for the nuna (now) Festival and has traveled to Calgary, Iceland and Slovenia to facilitate work for the festival. In 2008 she curated a performance of 1401 IBM – A User’s Manual a collaboration between dance artist Erna Omarsdottir and composer/musician Johann Johannsson. In 2009 she worked with Kegan McFadden director of Platform Center for Photographic and Digital Arts in Winnipeg to facilitate the presentation of International performance art collective Icelandic Love Corporation (Iceland) meets The Discriminating Gentlemen’s Club (Montreal).
Location: Berlin, Germany
Genre: techno-politics networks forensics “dis-integrated systems” “network insecurity” “edge detection” exploits intervention “critical engineering” ruptures edges seamfulness “free software” “closed worlds”
Languages: English, Spanish
Bio: Julian Oliver is a New Zealander, artist and Critical Engineer based in Berlin. His projects and the occasional paper have been presented at many museums, international electronic-art events and conferences, including the Tate Modern, Transmediale, Ars Electronica, FILE and the Japan Media Arts Festival. Julian’s work has received several awards, most notably the Golden Nica at Ars Electronica. Julian has given numerous workshops and master classes in software art, augmented reality, creative hacking, data forensics, computer networking, object-oriented programming for artists, virtual architecture, artistic game-development, information visualisation, UNIX/Linux and open source development practices worldwide.
Location: Gent, Belgium
Languages: Dutch, German, French, English
EDUCATION 1993 – 1994 Koninklijke Academie voor Schone Kunsten Antwerp 1st year Bachelor in Fashion 1994 -1998 Koninklijke Academie voor Schone Kunsten Ghent Master of Fashion and costume design PERFORMANCES 1999 Elastic Stress 13 January 1999 CJK – Ghent & 03 October 1999 Speelhoven – Aarschot 2003 Mis-arte act 1 (Performance with avocado stones) September 2003 Ghent Surprise-performance Bob Log III Boob scotch (x 3) 29 May 2003 , Botanique Brussels 2004 Elastic Meat 11 June 2004 Ghent Voelperformance Feel Estate performance festival 15 September & 17 September 2004 Gallery Jan Colle – Ghent 2005 Mis-arte act 2 Cc de Steiger – Menen April 2005 Support 1 Stadspark Leuven (B) August 2005 2006 Intimate Date March ‘Her position in transition’ Vienna (Austria) Elastic stress, mis-arte act 1, mis-arte act 2, voelperformance Mis-arte act 1 Staalkaart – Acec –Ghent 25 June 2006 Re-birth, re-naissance Mise en scène by SO Performers: Leopold en Baudouin Oosterlynck Kortenberg November 2006 2007 Mis-arte act 3 5 April www.croxhapox.com Ghent Mis-arte act 2 8 September De Werft – Geel 2008 Walls are monsters! 05/01/08 In-Between, Gynaika, Antwerp 2009 Remote Control 30/06/09 Ghent, in collaboration with Rob Visser trailer : http://www.youtube.com/watch?v=hl15tBcQisk 2011 performance art workshop Mini – intervention for Larf! Youth Theater, Ghent.
Location: New York
Location: New York
Practice: Fusing Traditional (Ancient) & New Media:-Drawing/Painting/Animation/Digital Video
Bio: Born in Scotland. Studied at Glasgow School of Art, Scotland, and Danube University/Transart Institute (MFA), Austria. Exhibits in Europe and the United States, most recently a solo show at the Park Gallery in Falkirk, Scotland and the group show ‘Spaces In Between’, at ConcentArt, Berlin. Work has also appeared in ‘Conversations in Paint’ at the Painting Center in New York and he participated in ‘Conversations’ Lecture Series at the American Museum of Folk Art in New York. Work in many private collections. Clients include David Geffen Co., Sony Music, Scottish Television, MCA/Universal Group. Teaches at Pratt Institute, lives and works in New York.
Bio: Carrie Paterson has been conducting an experimental, spatial practice in visual art since 1993. Her work is conceptual, often interdisciplinary, and comprises multi-sensory artworks, installation, performance, text, and drawing. She has spent years experimenting with uncommon materials, innovating forms, tinkering with machines, and making what can best be described as “pataphysical” models (as in Alfred Jarry’s “science of imaginary solutions”). The majority of her recent works combine speculative and social histories with the fertile nexus between the disciplines of art, science, and engineering. The work is also informed by Paterson’s study of architecture, organic chemistry, cultural criticism, and literature. She is an inventor by accident, and her scientific glassworks that double as functional bottles relate to US Patent (pending) No.12/963,560, which she shares with co-inventor Bob Maiden.
Paterson’s published writings include reviews, essays, interviews, and hypertext fiction. She was Guest Editor for the art magazine Artillery: Killer Text on Art’s art / science issue in May 2009 and is now Reviews Editor for the magazine. She has contributed essays and reviews to a variety of arts and culture publications including Flash Art International, X-TRA, Artweek, NY Arts Magazine, and Artillery. Paterson has taught in the visual art department at Cal State Fullerton since 2003, primarily in the graduate studies program as the MFA/MA thesis instructor. She has also conducted undergraduate courses on the narrative architecture of video games, comics, and graphic novels. She lives in Los Angeles.
Location: New York
Genres: Cyberart, Interactive art, Interdisciplinary art
Languages: English, German
Practice: new media art aesthetics and history (net art, software art, interactive installation, VR, hypertext); data visualization, database aesthetics; curating, presenting, preserving new media;
Bio: Christiane Paul is the Adjunct Curator of New Media Arts at the Whitney Museum of American Art and the director of Intelligent Agent, a service organization dedicated to digital art. She has written extensively on new media arts and her book Digital Art (part of the World of Art Series by Thames & Hudson, UK) was published in July 2003. She teaches as an adjunct in the MFA computer arts department at the School of Visual Arts in New York and the Digital+Media Department of the Rhode Island School of Design and has lectured internationally on art and technology. At the Whitney Museum, she curated the show “Data Dynamics” (2001); the net art selection for the 2002 Whitney Biennial; the online exhibition “CODeDOC” (2002) for artport, the Whitney Museum’s online portal to Internet art for which she is responsible; as well as “Follow Through” by Scott Paterson and Jennifer Crowe (2005). Other curatorial work includes “Second Natures” (Eli & Edythe Broad Art Center, UCLA, LA, 2006); the blackbox at ARCO art fair, Madrid (2006); “The Passage of Mirage” (Chelsea Art Museum, New York, 2004); “Evident Traces” (Ciberarts Festival Bilbao, 2004); “eVolution — the art of living systems” (Art Interactive, Boston, 2004); “CODeDOC II” (Ars Electronica, 2003); the New York Digital Salon’s 10th anniversary exhibition (NYC, 2003); “Mapping Transitions” at the University of Boulder, Colorado (2002); “Re-Media” (Fotofest, Houston, Texas, 2002); and a net art selection for “Evo1” (Gallery L, Moscow, October 2001).
Location: Berlin, Germany
Languages: English, Turkish
Genres: visual arts, performance, urban planning, architecture, urban sociology, public art, community art
Bio: Ece Pazarbaşı lives in Berlin and Istanbul. She is the co-founder and the co-director of CUMA /// Contemporary Utopia Management (Istanbul) and working as a curator at TANAS – Space for Contemporary Turkish Art (Berlin)., Pazarbaşı has been working up to this day as a director, curator and manager of culture and contemporary arts projects. Since 2009, she has been curating Audio Tours and public space projects in the urban and rural domains under the umbrella of CUMA. Recently, she has co-curated two exhibitions with René Block for Tanas: “Turkish Art New and Superb” (2012) and “Zwölf im Zwölften” (2011). In 2009 and 2010 she worked as a strategic planner, consultant and visual arts program specialist for Turkey at the Strategic Planning and Development Department of the Abu Dhabi Authority for Culture and Heritage, in the United Arab Emirates. Between 2002 and 2009, she took on the role of executive assistant to the director of the Platf orm Garanti Contemporary Art Center, where she was assigned to several different freelance projects. Some of her recent professional responsibilities include her role as assistant curator of the Turkish Pavilion at the 52nd Venice Biennial (2007); creator and director of the educational festival programme “Meeting Point” (since 2007); and project manager of the exhibition “Orhan Pamuk: Museum of Innocence” to be held during the Frankfurt Book Fair at the Kunsthalle Schirn (2007-2008).
Location: New York City
Bio: Jaime Permuth is a Guatemalan photographer living and working in New York City. In 1991 he graduated from the Hebrew University of Jerusalem with a double major in Psychology and English Literature. In 1994 he received a Master of Fine Arts degree in Photography from the School of Visual Arts in New York. His photographs have been shown at several venues in New York City, including The Museum of Modern Art, The Queens Museum of Art, The Bronx Museum of the Arts, The Museum of the City of New York, The Jewish Museum, Yeshiva University Museum, El Museo del Barrio, and The Brooklyn Museum of Art. He has also exhibited internationally at the Museo Nacional de Arte Moderno in Guatemala, Casa del Lago in Mexico City, and the Israeli Parliament. Among others, his work is included in the collections of the Polaroid Corporation, The Brooklyn Museum of Art, the Museum of the City of New York, Yeshiva University Museum, State University of New York New Paltz, and Centro de Investigaciones Regionales Mesoamericano (CIRMA) in Guatemala. He has received commissions from El Museo del Barrio, The Queens Museum of Art, The Jewish Museum, and Queens Theater in the Park. As an Artist/Educator he is a faculty member in The School of Visual Arts’ Masters of Teaching Arts Education Program and has designed workshops and taught classes for the National Center for Creative Aging, el Museo del Barrio, International Center of Photography, State University of New York New Paltz, Kean University, San Francisco Camerawork, University of Texas Permian Basin and the Maine Photographic Workshops.
Location: Skopje, Macedonia
Bio: Zoran Poposki is a transdisciplinary artist and theorist based in Hong Kong and Skopje, with more than 50 exhibitions internationally. In his videos, performances, and digital paintings, Poposki explores issues of liminality, identity, and public space. Artist residencies include: School of Visual Arts (New York), Wooloo (Berlin), Dia: Beacon (NY), Pacific Northwest College of Art (Portland, OR), etc. He is a recipient of CEC Artslink Fellowship, and author of a book on the intersection of new media art and activism. Poposki holds a Master of Fine Arts in New Media from Transart Institute/Donau University Krems in Austria and is completing a PhD in Philosophy and Gender Studies. He currently teaches at the Gradute Department in Architecture and Design at the University American College Skopje.
Location: Sydney, Australia
Genres: networked art, online communities, emerging media, curation,
Bio: Melinda Rackham has engaged with sculptural distributed, emergent and responsive media artforms as a pioneering networked artist, critic, curator, consultant and cultural producer for over twenty-five years. Her extensive knowledge of the field is drawn from participation in many of the first net art and current major international media art exhibitions and festivals either as an exhibiting artist, a Jury member or conference presenter. Dr Rackham’s perspectives on emerging art practices appear in diverse academic and arts industry publications online and in print. Melinda was the first Curator of Networked Media at the Australian Centre for Moving Image (ACMI), and in 2002 she established -empyre-, one of the world’s leading online critical media art theory forums. As Director of Australian Network for Art and Technology (ANAT) from 2005 till 2009 Melinda forged significant industry partnerships and elevated public engagement with research and practice in art, science and new technologies. Currently Adjunct Professor at RMIT University, Dr Rackham’s focus is creating, curating and writing on emerging art and cultures manifest in networked, urban screen, virtual, responsive, biological, wearable and distributed practices and environments.
Bio: Ray’s work investigates the effects of ill-perceived relations and mis-diagnosed conditions between a subject and its environment through installations that often incorporate sound and architectural components. In Désire, the work began to turn away from the disjuncture of the subject from its surroundings toward issues of a more active subjectivity and agency. Encouraged by a personal dissatisfaction with a lack of community and meaningful democratic voice, her recent studio work and teaching seminars have been focused on individual agency, collective community, and possibilities for social change through art and other modes of production.
Practice: Curatorial, Visual/Media Arts
Bio: Lauren Reid (AU) is a coordinator at Node Center for Curatorial Studies in Berlin and also works as an independent curator. Previously, Lauren was Gallery Coordinator at Grantpirrie Gallery, Sydney one of Australiaâ€™s pre-eminent commercial spaces (2009-2011). She holds a Bachelor of Arts/Arts (Visual) at the Australian National University, with Honours (Media Arts) at Sydney College of the Arts. Her most recently curated exhibitions have been Out of the black, (REH Kunst, Berlin 2012) and Material Conversion (Grimmuseum, Berlin 2011). Upcoming projects include an exhibition at JoÃ£o Cocteau (Berlin, September 2012) and an ongoing curatorial collaboration with Lorenzo Sandoval (ES).
Practice: Interdisciplinary art, Photography, Curating / Exhibition Practice. Issues around the presentation of art work. The strategies used in its public presentation, the articulation of intention, content and the critical reception of art work.
Bio: Cate Rimmer is Associate Curator at the Charles H. Scott Gallery in Vancouver where she has curated numerous group and solo exhibitions. She was the founding Director/Curator of Artspeak Gallery (Vancouver), Director of Truck Gallery (Calgary) and Curator in Residence at the Saidye Bronfman Centre for the Arts (Montreal). Rimmer has an MLitt from the University of St Andrews, Scotland in Museum and Gallery Studies and has taught classes and workshops on exhibition practice. She has published a number of reviews, articles and catalogue texts and is co-editor of the on-line journal artfiles.ca.
Location: Washington DC, USA
Genres: Curatorial interests: temporary public art; photography; video; film; artists’ publications; sound; body art
Bio: Donald Russell is Executive Director of Provisions Learning Project/Provisions Library, a research and development center for arts and social change in Washington DC and at George Mason University in Fairfax, VA. With thirty-six years experience directing arts, non-profit, philanthropic and publishing ventures, he brings special expertise in the intersection of arts and social change. He has organized over one hundred exhibitions nationally as well as public art commissions, conferences and educational projects. His work spans photography, new media arts, civic engagement, conflict resolution, immigration, and the environment among other topics. He served as Executive Director and Director of Exhibitions for Washington Project for the Arts and taught Museum Studies at Visual Studies Workshop and is President of Art Resources International, a consulting firm focused on freedom of expression.
Location: Berlin, Germany
Bio: Nadim Samman is an independent curator and art historian based in London. He read Philosophy at University College London before completing a doctorate in art history at the Courtauld Institute of Art. He has written for publications including Third Text, The Art Newspaper, Art Review (Online), Contemporary, Asian Affairs, Art India, Erotic Review, Naked Punch and WestEast. He has also been an invited speaker at MoMA Warsaw, the 2009 Beijing Biennale, Christies and SoAs. His curatorial projects in London, Moscow, Berlin and Zurich have included presentations of leading Russian modern and contemporary artists, emerging international talent and, recently, a critically acclaimed large-scale photography exhibition at Somerset House (London) featuring 130 major works by masters including Henri Cartier-Bresson, Helmut Newton and others under the patronage of Prince William. In 2012 Nadim curated the 4th Marrakech Biennale with Carson Chan. He is a member of t he International Association of Art Critics (AICA)
Location: Cardiff, UK
Specialist Subject Areas: Drawing practice and theory; Philosophy
Jac is a visual artist, writer, and researcher in art practice and philosophy. She has taught drawing workshops in the Metropolitan Museum, in Costa Rica, where she was Director of Drawing at Veritas University, in Cyprus, where she was Associate Professor in Drawing at Frederick University, and in Portugal, where she lectured in drawing at IADE, Lisbon. She is currently Lecturer in Drawing at Cardiff School of Art and design. Jac holds an MPhil in Philosophy from Glasgow University and a PhD in Fine Art Drawing Practice from Loughborough University. The product and result of an eclectic mix of emotion and intellect, Jac’s work is primarily figurative but does not depend on emblematic or allegoric representation. The intangible figure emerges from within tangible form through a creative process that is both constructive and deconstructive in praxis, and the intimate relation between theory and practice is a crucial factor. Recent publications include her second book, Narrating the catastrophe: an artist’s dialogue with Deleuze and Ricoeur, 2011.
Languages: Portuguese, English, French, Spanish
Bio: Luísa Santos (b. 1980) lives and works in Lisbon. Graduated in Communication Design at the Faculty of Fine Arts in Lisbon and Master in Curating Contemporary Art at the Royal College of Art, in London, with Calouste Gulbenkian Foundation Arts Scholarship. Since 2006, she curates exhibitions in London, Linz, Lisbon and Oporto. Guest curator at the OK-Centrum in Linz for the Linz European Capital of Culture 2009 and resident curator at the Frankfurter Kunstverein in 2009. Since 2009, she teaches at IADE and, since 2010 at Ar.Co, both in Lisbon. PhD candidate at the Viadrina and the Humboldt Universities, in Berlin, she is currently researching how multidisciplinary projects can produce effective social change.
Location: New York
Genres: Installation, photography, screenprinting, performance, video.
Dread Scott makes revolutionary art to propel history forward. He first received national attention in 1989 when his art became the center of controversy over its use of the American flag. President Bush (the first) declared his artwork “disgraceful” and the entire US Senate denounced it as they passed legislation to “protect the flag.” His work has been exhibited at the Whitney Museum of American Art, PS1/MoMA, the Brooklyn Museum, and at the DeBeyerd Center for Contemporary Art in the Netherlands. He has been awarded a Creative Capital Foundation grant, a Mid-AtlanticNEA Regional Fellowship in Photography and New York Foundation for the Arts Fellowships in Sculpture as well as in Performance Art/Multidisciplinary Art. His work is in the collection of the Whitney Museum, The New Museum of Contemporary Art and the Arkon Art Museum. He works in a range of media including installation, photography, screen printing, video and performance.
Location: Brooklyn, Boston, USA
Genres: Interdisciplinary Art, Architecture, Photography, Sculpture.
Languages: Spanish and English.
Interest: I am an Argentine artist and I live and work in New York since 1999. Living in Manhattan has been a catalyst for my work. Being away from my home country has forced me to think differently about the meaning of home and the way in which we interact with our immediate surroundings. My impression of displacement and claustrophobia produced by the lack of space after moving to Manhattan thrust me to used the wall as a starting point to create a new body of work. Since the beginning of my career I have been attracted to installation art as a “multi-layered” practice that embodies the porosity of contemporary art and explore the blurry boundaries between art, design and architecture. I understand an installation as a dense web in which the artist weaves together the object, context, site and viewer.
Bio: I graduated as a Graphic Designer from the University of Buenos Aires in 1985 and got my masters degree in Art from New York University in 2001. I studied at the Studio Arts Centers International in Florence, Italy from1989 to 1990 where I learnt how to use of different materials. I received the “Ann K. Meredith” Fellowship, granted by the Studio Arts Centers International of the Cleveland Institute of Art to work in Pietrasanta, Italy in 1989, Pollock Krassner Foundation grant in 2003, New York Foundation for the Arts fellowship in 2003. I have beencollaborating with my work in
different architectural projects and designed and line of products for Sheridan Designs in Houston, and I have recently won the First prize at 100% tiles in London. I have had many solo show: Kobo Chika Gallery, Tokyo 2005; Museum of Modern Art in Buenos Aires, Argentina 2003; Plus Ultra Gallery-New York 2002; Centro Cultural Borges in Buenos Aires, Argentina -1998; Argentine Consulate in New York, 1996. I have also participated in several groups shows, among them: “SUBLIME” at Galeria Animal. Santigo, Chile 2003 “Feminizing forms? Analia Segal, Ethel Shipton”, curated by Kate Greene at Finesilver gallery- San Antonio ,Texas 2003; Finding Meaning in the Moving Image at Gal Galou gallery-New York, 2003 and at ON gallery-Poland ,2003;”Regarding Gloria” curated by Lauren Ross and Catherine Morris at White Columns- New York, 2002; AIM 22- Artists in the Marketplace at the Bronx Museum of the Arts-New York, 2002.
Edward A. Shanken
Location: Amsterdam, The Netherlands
Bio: Edward A. Shanken writes and teaches about the entwinement of art, science, and technology with a focus on interdisciplinary practices involving new media. He is Universitair Docent in New Media, University of Amsterdam, and a member of the Media Art History faculty at the Donau University in Krems, Austria. He was formerly Executive Director of the Information Science + Information Studies program at Duke University and Professor of Art History and Media Theory at Savannah College of Art and Design. Recent and forthcoming publications include essays on art and technology in the 1960s, information aesthetics, interactivity and agency, and the cultural implications of cybernetics, robotics, and biotechnology. He edited Telematic Embrace: visionary Theories of Art, Technology and Consciousness (University of California Press, 2003). His second book, Art and Electronic Media was published by Phaidon Press in 2009.
Kirsten Rae Simonsen
Kirsten Rae Simonsen is an interdisciplinary artist whose work and research explore notions of nostalgia, desire, private versus public property, luxury culture, urban and suburban planning, and tourism and display. She received her MFA from the University of Chicago after studying traditional painting and drawing in Bali, Indonesia. She has shown her work nationally and internationally and is known for drawing on the wall installations. Most recently, she created a site-specific installation for the a Zendai Museum of Modern Art sponsored project in Shanghai, China. Research interests include colonial and post-colonial narratives, tourism and the search for the authentic (especially in Asia), and the new consumer culture and growing middle class in China. Currently she is producing a body of work for a solo show entitled “Country Living for Everyone” that explores the building of suburban middle class Tudor Revival and French Norman cottages by Califor nia immigrants in Hawai’i in the 1920s. Kirsten has taught drawing, painting, design, and film studies in Chicago, London, Amsterdam, Florence and Honolulu. She was a visiting professor at Florida State University and currently teaches at the University of Hawai’i and Hawai’i Pacific University.
Location: St. Paul, Minnesota
Genres: Photography, Bookmaking, Film, Video, Sound, Sculpture
Bio: Alec Soth (b. 1969) is a photographer born and based in Minneapolis, Minnesota. He is the recipient of several major fellowships from the Bush, McKnight and Jerome Foundations and was awarded the 2003 Santa Fe Prize for Photography. His work is represented in major public and private collections, including the San Francisco Museum of Modern Art, the Museum of Fine Arts Houston and the Walker Art Center in Minneapolis. Soth’s photographs have been featured in numerous solo and group exhibitions, including the 2004 Whitney and São Paulo Biennials. His first monograph, Sleeping by the Mississippi, was published by Steidl in 2004 to critical acclaim. Since then Soth has published NIAGARA (2006), Fashion Magazine (2007), Dog Days, Bogotá (2007) and The Last Days of W (2008). Soth is represented by Gagosian Gallery in New York, Weinstein Gallery in Minneapolis, and is a member of Magnum Photos.
Genres: Interdisciplinary art, Performance, Sound/Music
Interest: Time Based Art – Performance Art, Interdisciplinary Art
Bio: Born in Belfast, N. Ireland, Stitt is considered one of Europe’s foremost performance and interdisciplinary artists. He has worked as a time based artist since 1976 creating hundreds of unique performances at major galleries, festivals, alternative venues and sites specific throughout the world. His artistic output includes performance art, live work, relational activity, installations, digital print, videography, photography, painting and drawing. After living in London for nearly 20 years he relocated to Cardiff in 1999 to become head of the Time Based Art course at Cardiff School of Art. The course focuses on contemporary interdisciplinary practices - performance art, video, installation, sonic, interactive arts and web casting. In 2004 he became a professor of the University of Wales. In 2000 he opened trace: Installation Artspace in Cardiff initiating a robust program of international time based work. www.tracegallery.org. In 2001 he curated the biggest performance art event in London for over a decade: Span2 featured a 4 week program of 21 international artists from all over the world.
Location: New York City
Interest: Curatorial practice is cross-disciplinary and dialogic, committed to public pedagogy, critical urbanism, and political and social justice.
Bio: Radhika Subramaniam is the Director/Chief Curator of the Sheila C. Johnson Design Center and assistant professor of art and design history and theory at Parsons The New School for Design. Her research interests lie in South Asian urban modernity and cultures of catastrophe and her curatorial practice is cross-disciplinary and dialogic, committed to public pedagogy, critical urbanism, and political and social justice. While the director of cultural programs at the Lower Manhattan Cultural Council (LMCC), she commissioned several public art projects in downtown Manhattan and oversaw a program of art and ideas. Her projects include Art in Odd Places: Sign (co-curated with Erin Donnelly, October 2009), Abecedarium for Our Times (Apexart, 2008), Rods and Cones: Seeing from the Back of One’s Head (guest-curated for the South Asian Women’s Creative Collective, 2008), and Cities, Art and Recovery (LMCC, 2005–2006), a major two-year international initiative focused on art and culture in the aftermath of catastrophe. She was also the founding and executive editor of Connect: art.politics.theory.practice, an interdisciplinary art journal published by Arts International. She has a PhD in Performance Studies and a master’s degree in Anthropology.
Location: Vancouver, B.C. Canada
Genres: Graphic Design, Interdisciplinary art, Photography
Interest: Post-studio, post-conceptual. post-pop
Genres: media, performance, art in public space, participatory, microhistory, network, social media, cartography, digital storytelling
Languages: English, Spanish German
Bio: Michelle Teran is a Canadian-born artist whose practice explores media, performance and the urban environment. Her work critically engages media, connectivity and perception in the city. Her performances and installations repurpose the language of surveillance, cartography and social networks to construct unique scenarios that call conventional power and social relations into question. She is the winner of the Transmediale Award, the Turku2011 Digital Media & Art Grand Prix Award, Prix Ars Electronica honorary mention (2005, 2010) and the Vida 8.0 Art & Artificial Life International Competition. Since 2005, she lives and works in Berlin. She has exhibited and lectured internationally. Museum Folkwang (Essen), HAU2 (Berlin), The 4th Seoul International Media Art Biennale, Triad Gallery (Seoul), SONAR Festival, CCCB/MACBA (Barcelona), ARCO International Art Fair (Madrid), Bolit Centre for Contemporary Art (Girona), Ars Electronica (Linz), Transmediale Festival (Berlin), Haus der Kulturen der Welt (Berlin), Mois Multi Festival (Quebec City), ISEA 2002/2006/2011 (Nagoya, San Jose, Istanbul), CK (Skopia), Kosovo Art Gallery (Pristina), V2 (Rotterdam), Impakt Festival (Utrecht), Mediations Biennale (Poznan), Museo Nacional de Bellas Artes (Santiago), Centro Parraga (Murcia), Vooruit Centrum (Gent), Today Art Museum (Bejing) as some examples. She has conducted workshops and seminars at the Kunsthochschule fur Medien Köln, Bauhaus Universität, Kunsthøgskolen i Bergen, Piet Zwart Institute and Willem de Kooning Academie. Currently she is a research fellow within the Norwegian Artistic Research Fellowship Programme at the Bergen National Academy of the Arts, 2010-2013.
Location: New York
Genres: Public art, installation, sculpture
Anita Thacher is a New York-based artist known for her work in a variety of mediums–film, video, public art, multimedia, light, architectural and sculptural installation, as well as painting, photography and prints. Her art explores issues of perception both spatial and personal. Memory, childhood and domestic themes are fundamental elements in the work.
She is the recipient of numerous grants and awards among them are The National Endowment for the Arts (four grants), The New York State Council on the Arts (five grants), The Ford Foundation, The American Film Institute, The Pollock-Krasner Foundation, The New York Women in Film and Television Preservation Fund. Public collections include The Metropolitan Museum of Art, J. Paul Getty Museum. Los Angeles, The Museum of Modern Art, Arsenal, Internationales Forum des Jungen Films among others. Her films are distributed by the Museum of Modern Art, New York, The Arsenal, Berlin and Light Cone, Paris among others. Her prints are available through The Metropolitan Museum of Art store and VanDeb Editions. Her paintings are available through Butler’s Fine Art, East Hampton. National and international exhibitions include The Hirshhorn Museum and Sculpture Garden, The New York Film Festival, P.S.1, The Museum of Modern Art, The Metropolitan Museum of Art, Jeu de Paume, Paris and The Whitney Museum of American Art among others. Ms. Thacher is a MacDowell Colony Fellow, former member of its Board and a Civitella Ranieri Fellow.
Location: London, UK
Genres: Writer, Curator, Critic
Languages: English, Italian, French
Website: www.growgnome.com, cfitewassilak.wordpress.com
Bio: Chris is an independent curator, freelance writer and art critic. Working with artists across a
wide range of media, he has organised exhibitions within national institutions, artist-run
spaces and temporary sites. He is a regular contributor to Frieze, Art Monthly, ArtPapers,
and ArtReview; his writing has also appeared in Circa, FlashArt International,
Artforum.com, and Art and Australia. He has lectured extensively and is a regular
lecturer at the University of East London. Chris was the co-founder and editor of ‘This Way
Up’, a free, collaborative comic and curatorial project in Dublin (2004-2006) and is a
member of AICA UK.
Location: New York
Genres: Architecture, Video, Cyber Art, Graphic Design, Installation Art, Interactive Art, Interdisciplinary Art, Photography
Interests: the architectural environment
Bio: Annette Weintraub’s work explores the architectural environment. Recent work includes: Life Support (2003), a web based project exploring hospital architecture and the subjective experience of space through a hybrid of 2D and 3D representation;The Mirror That Changes (2001), a web-based sound and moving image piece exploring issues of water sustainability, commissioned by The Ruschlikon Centre for Global Dialogue; and Mirage (2001), a narrative work exploring the intersection of photography and tourism, commissioned by CEPA for the exhibition Paradise in Search of A Future. The Mirror That Changes was shown at the Museo Nacional de Bellas Artes 2002 International Art Biennial-Buenos Aires, in Argentina, Leonardo’s Virtuatl Africa Project, “/ ///—Reload—/// ,” an online project of the Istanbul Contemporary Art Museum and FILE2002, Festival Internacional de Linguagem Eletronica, Sao Paulo, Brasil. Mirage was shown at CEPA, and at the Atlanta Contemporary Art Center. Other projects include Crossroads (2000), a narrative work for the Web presented by Turbulence, and Sampling Broadway (1999), a QTVR Web project commissioned by Turbulence with a grant from the Jerome Foundation. Sampling Broadway was shown in the Whitney Museum’s 2000 Biennial, the first Biennial to include Internet art. Crossroads has been shown in the 5th Biennial of Media and Architecture in Graz, Austria, at ICP/International Center of Photography, and at International Film Festival Rotterdam’s Cinema Online, SIGGRAPH2000 and in Bypaths at Moving Image Gallery in New York. Crossroads was the subject of the July 6, 2000 Arts[at]Large column in the New York Times online. Sampling Broadway was presented as part of WNET/Thirteen’s Reel New York.Web (1999); at Il Bienal Mercosul Cyberport in Porto Alegre, Brazil; and in [techne]W3LAB. Other works for the Web (Pedestrian and Realms) were shown at The Cooper Union and The Ricco/Maresca Gallery. Pedestrian was included in Beyond Interface, an online exhibition curated for the 1998 conference on Museums and the Web. Annette Weintraub’s still images have been shown in numerous national and international exhibitions including Technoseduction at The Cooper Union, Metamorphoses: Photography in the Electronic Age, curated by Aperture Magazine at the Fashion Institute of Technology and in Image Electronic at the Euphrat Museum in Cupertinco. Her work is represented in the public collections of: FMC, Prudential Insurance, The Wichita Museum, AT&T, and Peat Marwick. It has been cited in: Art in America, Newsweek magazine, The New Yorker, New York Magazine, The Boston Globe and Leonardo. Annette Weintraub received her BFA from The Cooper Union and her MFA from the University of Pennsylvania. She is Professor of Art at The City College of New York, and Director of the Robinson Center for Graphic Arts and Communication Design.
Bio: Dawn Woolley trained as a fine art printmaker at Manchester Metropolitan University. She received a first class undergraduate degree in 2001 and has since developed a photography-based practice that encompasses digital video, installation and performance as well as photo-based installations. In 2008 she completed an MA in Photography at the Royal College of Art and was awarded a prize for excellence by Land Securities and Art Source. In the spring of 2008 she undertook a three month studio residency at Cite des Arts in Paris. Recent exhibitions have included; “Portmaneau” at Halle 14 in Leipzig, Germany (2011), “My World: Visions of 21st Century Feminism” in the European Women’s Lobby, Brussels (2010), “Start Your Collection” at The London Art Fair (2009), “Fotomonth” in Krakow, Poland (2007) and solo exhibitions in Ffotogallery, Cardiff (2011), South Square Gallery, Bradford (2009), The Lighthouse Art Centre in Wolverhampton (2006) and Warsaw Project Space in Manchester (2003). Her artwork is held in a number of private collections in the UK and in the Museum of Photographic Arts in Kiyosato, Japan. Dawn Woolley currently lives and works in Cardiff, UK and is a photography lecturer at Bridgend College. She is co-director of the curatorial project Another Product, which she founded with James Moore in 2003.