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aernout mik Aernout Mik’s video installations present recognizable scenarios and places — workers in a furniture warehouse, people in a courtroom or restaurant, or students in a schoolyard — that descend into crisis. While they at first resemble highly-produced cinematic or news footage, Mik offers no distinct characters or narrative. People’s relationship with one another and whatever chaos surround them is unclear, and when looped, the films seem endless, not allowing their stories to have beginnings or ends. In staging these scenarios, Mik conflates the kinds of images in popular media where things go right — people partaking in work or leisure — with those where things go wrong — visions of war or economic recession. By creating a space where the two intersect, his videos, which are often shown as life-sized installations, the artist encourages viewers to place themselves within the scene, and take the narrative to its conclusion.


Afrah Shafiq Afrah Shafiq is a documentary filmmaker and artist based between Goa and Bangalore. She has also worked as a film editor, illustrator, designer, animator, line producer, teacher, curator and manager in various worlds ranging from visual art to television. Bringing together these numerous experiences, her art practice moves across platforms and mediums seeking a way to retain the tactile within the digital and the poetry within technology. Her interactive multimedia story Sultana’s Reality won an award for “Art in Mobile Applications” at the Computer Space festival, Bulgaria. It was also included in a package curated by IRL Studio, an incubator of emerging digital media arts in Texas. Her animated comic Searching for Network as a part of Deep Dives Sexing the Interwebs won the South Asian Laadli Media Award for Gender Sensitivity in the “Best web series" /"Special edition” category. She has been awarded an Archival and Museum fellowship by the India Foundation for the Arts and has been a curatorial fellow with the Katha Centre for Film Studies. Her work has been shown at I am Sutradhar - a group show at The Guild Art Gallery, Alibaug; Digital Graffiti Festival at Alys Beach, Florida; Open Studios as part of Mumbai Gallery Weekend at What About Art? Mumbai; Be. Fantastic a Tech-Arts festival in Bangalore; Spams: The Internet Restaurant at The Museum of Human Achievement; The Fusebox Festival and Marfa Open in Texas; Homeostasis Lab at the Wrong Biennale and Gender Bender a group-show hosted by Sandbox Collective and the Goethe Institut Bangalore. Afrah has also worked for institutions such as Majlis Centre for rights discourse and interdisciplinary arts, Parodevi Pictures, What About Art, Thyssen-Bornemisza Art Contemporary, Dharamshala International Film Festival, Boiler Room Berlin, MTV Finland, National TV Sweden, and Arts Council England.


Ajay Desai Born in 1955 in Lucknow, India, Ajay Desai studied painting from M.S. University Baroda before completing his MA from Royal College of Art. He lives and works in New Delhi.

AKRAM_ZAATARI-by Marco Milan-small

Akram Zaatari (b. 1966 in Sidon, Lebanon) is a filmmaker, photographer, archival artist and curator. He has played a critical role in developing the intellectual, and institutional infrastructure of Beirut's contemporary art scene. As a co-founder of the Arab Image Foundation, a groundbreaking, artist-driven organization devoted to the research and study of photography in the Arab world, he has made invaluable contributions to the wider discourse on archival practice. As one of the young artists who emerged from the short-lived era of experimentation in Lebanon's television industry, Akram Zaatari has produced more than fifty films, videos, a dozen books, and countless installations of photographic material. All these works share an interest in histories related to excavation, political resistance, civil war and the play of letters that have been lost, found, buried, discovered, or otherwise delayed in reaching their destinations. He lives and works in Beirut, Lebanon. Akram Zaatari has been exploring issues pertinent to post-war Lebanon. He investigates the way television mediates territorial conflicts and wars, and is particularly interested in logic of religious and national resistance movements, and the circulation and production of images in the context of today's geographic division in the Middle East.  Akram Zaatari had been selected to represent Lebanon at the 2013 Venice Biennale by Sam Bardaouil and Till Fellrath, curators for the Lebanese Pavilion. His work has been widely exhibited worldwide in Biennales and venues such as the Centre Pompidou.


Anjali Monteiro and K.P. Jayasankar are Professors at the School of Media and Cultural Studies (www., Tata Institute of Social Sciences, Mumbai. They are involved in media production, teaching and research. They have played a key role in setting up the School of Media and Cultural Studies, TISS and the MA programme in Media and Cultural Studies. Their documentary films, which have been screened across the world, have won 32 national and international awards Their most recent awards are the Best film award at the International Folk Film Festival, Kathmandu and the Basil Wright Prize for So Heddan So Hoddan  (Like Here Like There) at the 13th RAI International Festival of Ethnographic Film 2013.  Retrospectives of their work include Vibgyor Film Festival, Kerala, 2006; Bangalore Film Society, 2010; Madurai International Film Festival, 2012, Parramasala Sydney, 2013, Thrissur International Film Festival 2018 and India International Centre 2018. An adaptation of their film Saacha (The Loom) was a part of the art exhibition ‘Project Space: Word. Sound. Power.’ at the Tate Modern, London, in 2013; and at Khoj, New Delhi in 2014. They have served as jury and as festival consultants and directors to several film festivals in India. They have mentored many student and fellowship documentary film projects as commissioning editors. They have a recent book entitled A Fly in the Curry, on independent Indian documentary, (Sage, 2016) which won a Special Mention in the National Film Awards, 2016. They are recipients of several fellowships, including the Howard Thomas Memorial Fellowship in Media Studies, the Fulbright visiting lecturer fellowship, and the Erasmus Mundus scholarship, among others. They have been visiting faculty at several leading media and design institutions and lectured at universities in the USA, Australia, Europe, and in Asian countries. They are active in campaigns for freedom of expression.


Anoli Perrera Anoli Perera (b.1962, Colombo) took a degree in Political Science, Economics and Sociology at the University of Colombo, Sri Lanka followed by a Postgraduate Diploma in International Affairs. She then lived in the USA between 1988 and 1992 where she followed the 'Continuing Art Education Programmes’ at Santa Barbara City College, California and the Visual Art School of Princeton, New Jersey. Her work reflects certain social and political issues relevant to her context. Her work has revolved around the subjects of domesticity, body, memory, history, post coloniality and urbanity. Her recent works deliberate on the erasure of personal and public memory and the anxiety of forgetting. She currently works as a painter, sculptor and installation artist, based in Sri Lanka and New Delhi. Anoli Perera is a co-founder and a director of the Theertha International Artists Collective, a contemporary arts initiative in Colombo, Sri Lanka. Her works have been exhibited in the Colombo Art Biennale in 2014, 2012 and 2009; Artful Resistance at Museum der Weltkulturen, Frankfurt, Germany, (2010) and Museum of Anthropology Vienna, Austria (2009); Separating Myth from Reality (Art Festival), Siddhartha Gallery, Katmandu, Nepal (2009) amongst others. She received the Bunka Award in 1999, and the Young Artist of the Year, Young Contemporaries Exhibition, National Art Gallery, Colombo, Sri Lanka in 1992.


Arunkumar HG

Arunkumar HG (b. 1968, Karnataka) was brought up within a farming family in the Western Ghats. He studied at the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda, and went on to work in the toy industry in the metropolitan cities of Delhi and Gurugram. Caught between contradictory landscapes, the artist attempts to address this tension through his practice. He maps the complex relationship between ecological issues and the wasteful urban industrial mode of thinking and living. In 2014, he set up the 'Centre for Knowledge and Environment' in his hometown under the organisation SARA (Sustainable Alternatives for Rural Accord), to share and learn from local and global sustainable life practices.

Arunkumar's solo shows include: In-site, Aicon Gallery New York (2018); Seed of Reckoning Mumbai Art Room, Mumbai (2012); Tract, Nature Morte, New Delhi (2010); Feed, Nature Morte, New Delhi, Sakshi Gallery, Mumbai (2006).

He has also participated in numerous group exhibitions in India and abroad, most importantly: 'Embrace Our Rivers' Goethe-Institute / Max Mueller Bhavan, Chennai (2018); Sculpture by The Sea, Sculpture Biennial Aarhus Denmark (2015); The Eye and The Mind: New Interventions in Contemporary Indian Art, Festival of India, China (2015), sponsored by the National Gallery of Modern Art; Beyond Limits, San Diego Art Institute, San Diego (2014); Aesthetic Bind Citizen Artist: Forms of Address, Chemould, Mumbai (2013); Crossing Space, Kunsthalle Faust, Hannover, Germany (2013); Art and Activism in India Since 1989, The SAHMAT Collective, Smart Museum of Art, The University of Chicago (2013); Zones of Contact, Kiran Nadar Museum of Art, Noida, India (2013); Cosmopolitan Stranger, Open University of Diversity, Hasselt, Belgium (2012).


Anju Dodiya Anju Dodiya (b. 1964, Mumbai) graduated from the JJ School of Art in 1986, refining her talent with watercolors while still a student there. On her practice, she remarks: "I often find myself on the edge between the inner and the outer world. Fingers clutching a pencil, toes gripping the precipice, I cling on. I find the abyssal theatre within desperate minds riveting. My images seek to tie a knot between the suffered moment and the creative release. The process goes back and forth between distress and calm, with the occasional apocalyptic gong." Dodiya's work is represented in several private and public collections in India and abroad, including the National Gallery of Modern Art, New Delhi, Mumbai; Jehangir Nicholson Art Foundation, Mumbai; Kiran Nadar Museum of Art, New Delhi; Devi Art Foundation, Gurgaon; Burger Collection, Hong Kong; RPG Enterprises, Mumbai; TAPI Collection of Shilpa and Praful Shah, India; the Art Institute of Chicago. Anju Dodiya (Born 1964, Mumbai) has had 18 solo shows in India and abroad, which include the site-specific installation, ‘Throne of Frost’ at the Lukshmi Villas Palace, Baroda, 2007; ‘Room for Erasures’, Chemould Prescott Road, Mumbai, 2012; ‘Imagined Immortals’, Vadehra Art Gallery, New Delhi, 2014; ‘How to be Brave (in Pictures)’, Galerie Daniel Templon, Paris, 2016 and 'The Air is a Mill of Hooks', Bikaner House, New Delhi, 2018.

Annu Matthew
Annu Palakunnathu Matthew's photo-based artwork re-looks at cultural histories, identity, and memory. Matthew’s work builds on the viewer’s uncertainty between the reality of photography and it’s digital manipulation, to get the viewer to reexamine and consider parallel identities and histories. As a transnational artist, Matthew’s roots in India, UK and the USA influence her work.
Matthew's recent exhibitions include solo shows at the Royal Ontario Museum, Nuit Blanche Toronto, and sepiaEYE, New York. Matthew has also exhibited her work at the RISD Museum, MFA Boston, MFA Houston, San Jose Museum of Art, Portland Museum of Art (OR), Bhau Daji Lad Museum (Mumbai,) Asia Society (NYC & TX,) Victoria & Albert Museum (London), Bikaner House (New Delhi,) Fotofest Biennial (TX,) Guangzhou Photo Biennial (China,) as well as the Smithsonian Institution. Annu Palakunnathu Matthew is Professor of Art at the University of Rhode Island and the Director of the URI Center for the Humanities. Matthew is represented by sepiaEYE, NYC and Tasveer, India.

araya Araya Rasdjarmrearnsook (b. 1957 in Trad, Thailand) works predominantly with film and video. Her work references traditions of village storytelling, creating continuities between the present and the past, the everyday world and the world of spirits and legends. Her videos have a meditative, ritualistic quality, and, like many of humanity’s important rituals, they are often centered on the idea of communication between different realms: between the living and the dead, the insane and “normal” people, humans and animals, the worlds of art and “real life.” She currently lives and works in Chiang Mai, Thailand. Her recent solo exhibitions include Jaonua: The Nothingness and Sanook Dee Museum, Tyler Rollins Fine Art, New York, USA (2017), an artist is trying to return to ‘being a writer’, 100Tonson Gallery, Bangkok, Thailand (2017) 2016; Selfhood’s Garden, Gimpel Fils, London, UK (2016); Araya Rasdjarmrearnsook, Sculpture Center, New York (2015); Niranam, Tyler Rollins Fine Arts, New York (2015); Niranam/The Nameless, Kyoto Art Center, Kyoto (2015). She has participated in numerous group exhibitions, recent ones including Decoration never dies, anyway, Teien Museum,Tokyo (2018), Das Letste Bild, Stadtgalerie Saarbrücken, Germany (2018); Sunshower, Contemporary Art from Southeast Asia 1980s To Now, Tokyo, Japan (2017); PyeongChang Biennale, Korea (2017); Singapore Biennale (2016), Singapore Art Museum (2016); SEA+Triennale, National Gallery of Indonesia, Jakarta, Indonesia (2016).


Aryakrishnan Aryakrishnan is an artist and curator based in Cochin. He completed his MA in Visual Arts from the School of Culture and Creative Expressions, Ambedkar University Delhi in 2014. He worked as a young curator during the first two editions of Students’ Biennale (2014 & 2016). Akkachishastram, a recent solo show of his artworks was exhibited at Clark House, Mumbai (2017). His works were also part of the Sahmat (Safdar Hashmi Memorial Trust) exhibition “Beyond Dispute: Landscapes of Dissent” (2017). Under the banner of jugglehead, he co-curated with three other artists (Aruna Rao, Karthik KG, Shivangi Singh) and participated as an artist for the shows ‘stutter in your eloquence’ at BC Gallery (2014) and Stutter in your eloquence (2) at Ambedkar University Delhi (2015). His collaborative proposal on Dara Shikoh Library was exhibited as part of ‘Reimagining the Question of Cultural Infrastructure’ at INSERT2014, IGNCA, New Delhi (2014). Along with a fellow curator Clive Snook, he has curated ‘Flora, Fauna and spirit,’ an exhibition of indigenous art and craft practices from India at Gallery 360, Thiruvananthapuram (2012). He is also given public talks on his art projects at different forums in Jawahar Lal Nehru University, Delhi and Khoj International Artists Association, Delhi.


Bapi Bapi Das lives and works in Kolkata, India, the city of his birth. He specialises in small-scale, detailed embroidery works, which are often reflections of Kolkata's urban landscape, shaped by his own life experiences. Das has practiced art alongside driving an auto-rickshaw for much of his adult life. Das has been part of Kolkata's Academy of Fine Art's annual exhibition in 2016 and 2017. He was also part of a group show by Whitefield Art Collective in Bengaluru in 2016. He first exhibited his work in 2014 at Harrington Street Arts Center, Kolkata, in a show entitled Lost in Transition: The Forgotten Art of Letter-Writing.


Barthelemy Toguo

Barthélémy Toguo was born in 1967 in Cameroon and lives between Paris and Bandjoun. He trained at the École Nationale Supérieure des Beaux-Arts in Abidjan, Ivory Coast; the École Supérieure d'Art in Grenoble, France; and the Kunstakademie, Düsseldorf, Germany. He founded Bandjoun Station, a centre for artistic exchange between local and international artists featuring residencies, an exhibition space, a library and plantations in Bandjoun, Cameroon, in 2007.

Solo shows have taken place at institutions including the Parish Art Museum, New York; Uppsala Art Museum, Sweden; Musée d'art contemporain de Sainte Etiennne, France; La Verrière by Hermès, Brussels, Belgium; Fundaçao Gulbenkian, Lisbon; and Palais de Tokyo, Paris. Notable group shows includethe 7th Echigo-Tsumari Art Triennale, Japan (2018); Homo Planta at Fondation Blachère (2018); The Red Hour, the 13th Dakar Biennale (2018); Art/ Afrique, le nouvel atelier at Fondation Louis Vuitton (2017); All The World's Futures at the Venice Biennale (2015); Body Language at the Studio Museum in Harlem, New York (2013); La Triennale: Intense Proximity, Palais de Tokyo, Paris (2012); the 11th Havana Biennial (2012); A terrible beauty is born, 11th Biennale de Lyon, France; the 18th Sydney Biennale (2011); and Laughing in a Foreign Language, Hayward Gallery, London (2008).

In 2011, Toguo was made a Knight of the Order of Arts and Literature in France. He was shortlisted for the Prix Marcel Duchamp in 2016.


Bracha L. Ettinger Bracha L. Ettinger (b. 1948, Tel Aviv, Israel) is a prominent artist-painter and influential artist-theorist, philosopher and psychoanalyst, whose pioneering work has emerged in the late 1980s and the 1990s and caused major transformations in the fields of contemporary European painting as well as in critical studies, art theory and feminism. Based in Paris and Tel Aviv, her art, both abstract and symbolic, is a research of color as light and of archival traces which engage with historical and personal memory in relation to war, trauma, human encounter-events, witnessing and the feminine, rearticulating beauty with compassion-beyond-empathy as abstraction, and the passage from aesthetics to ethics in art. Professor at the EGS (Switzerland), Bracha is one of the world’s leading theorists in the realm of the sexual difference and French feminism, who developed a series of concepts for rethinking the Unconscious and art, including the matrixial time, borderspace, borderlinking, borderspacing, co-poiesis, the matrixial gaze, wit(h)nessing, metramorphosis and the Subreal, which led to a new understanding of both the feminine body-psyche and the human subject. Bracha's solo-shows include: "Pieta - Eurydice - Meduas", UB Anderson Gallery, Buffalo, (2018); Silesian Museum (Muzeum Śląskie), Katowice (2017); "Eurydice - Medusa" in the 14th Istanbul Biennial (2015). Museum of the City of St. Petersburg (2013). Musee des Beaux-Arts d'Angers (2011). Alma Matrix (dual) at Fundació Antoni Tàpies, Barcelona (2010). Freud Museum, London (2009). Finnish Academy of Fine Arts, Helsinki (2009). Kiasma, Helsinki (2006). Drawing Center, New York (2001). Her recent group exhibitions include Colori, GAM, Turin (2017); The Image of War. Bonnier Konsthall, Stockholm, (2017); Ontmoetingen. MAS/KMSKA, Antwerpen; The Haunted House - The Human Condition, Ekaterina Institute, Moscow. Ettinger is author of numerous articles and few books including Regard et Espace-de-bord matrixiels, 1999; The Matrixial Borderspace (essays from 1994-1999), 2006. A reader of her essays in two volumes is currently edited by G. Pollock.


Brook Andrew Brook Andrew is an interdisciplinary artist who examines dominant narratives, often relating to colonialism and modernist histories. Through museum and archival interventions, he aims to offer alternate versions of forgotten histories; illustrating different means for interpreting history in the world today. Apart from drawing inspiration from vernacular objects and the archive he travels internationally to work with communities and various private and public collections to tease out new interpretations. Most recently Brook presented What’s Left Behind, a new commission for SUPERPOSITION: Art of Equilibrium and Engagement at the 21st Biennale of Sydney. In 2017 he created an intervention into the collection of the Musée d'ethnographie de Genève, Switzerland; presented Ahy-kon-uh-klas-tik, an interrogation of the Van Abbemuseum archives in The Netherlands; undertook a Smithsonian Artist Research Fellowship, with the Smithsonian Institute, USA; and The Right to Offend is Sacred opened at the National Gallery of Victoria, a 25-year reflection on his practice. Across 2016–18 Brook completed an international comparative three-year Federal Government Australian Research Council project titled Representation, Remembrance and the Memorial which responded to the repeated high-level calls for a national memorial to Aboriginal loss and the frontier wars: Brook has recently been appointed as Artistic Director of the 22nd Biennale of Sydney for 2020. Brook Andrew is represented by Tolarno Galleries Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels. Image Credit: Trent Walter


b v suresh B V Suresh (b. 1960 in Bangalore, India) studied painting at Ken School of Art in Bangalore (1978) and completed his diploma and post-diploma at the Faculty of Fine Arts, Maharaja Sayaji Rao University, Baroda, in 1985. He later went on to do an MA in painting at the Royal College of Art, London, on an Inlaks Scholarship where he studied under Peter De Francia and Ken Kiff (1987). As an art teacher and a practicing artist, he is continuously negotiating the visual fields of the contemporary – that includes everything, from art practice to our immediate surroundings. His works combine videos, installations, paintings and digital prints through which he explores distinct themes and employs certain narrative strategies in the process. In his recent works, Suresh gestures towards spaces where the private and the public seem to fold into each other while staging diverse violence. His recent solo exhibitions include Khamoshi ki Dastaan / Chronicles of Silence in Vadehra Art Gallery, New Delhi and Sumukha Gallery, Bangalore in 2016. Earlier solo exhibitions have been held at Vadehra Art Gallery (2006), Gallery Chemould, Mumbai (1998) among others. His artistic life extends beyond studio practice into teaching, theatre design and children’s book illustration. BV Suresh taught between 1992 and 2017 at the Painting Department, Faculty of Fine Arts, M.S. University of Baroda and is presently faculty at the Fine Arts Department, S.N. School of Arts and Communication, University of Hyderabad. He has also been visiting faculty at Ambedkar University Delhi and CAVA, Mysore.


Celia and Yunior Celia-Yunior is duo conformed for the artists Celia Irina González Álvarez, Havana, 1985 and Yunior Aguiar Perdomo, Havana, 1984 STUDIES: 2014-2016 Master in Visual Anthropology, FLACSO, Quito, Ecuador. 2004-2009 Bachelor of Art, University of Art (ISA), Havana, Cuba. 2000-2004 Fine Arts Academy “San Alejandro”, Havana, Cuba. SOLO EXHIBITIONS: “Seis ojos y tres lenguas”, Arte Actual, Quito, 2015. “Sala Discontinua”, Development Centre of the Visual Arts, Havana, 2014. “Homemade Translation”, Amatorska, London, 2013. “Administration in time of melted plastic”, n.o.w here, London, 2013. SELECTED EXHIBITIONS: “Delikado Peligroso”, Matadero, Madrid, 2017. “Cuba mi amor”, Les Moulins, Continua Gallery, Paris, 2017. “No White, No Black (No and)”. Cifo Art Space, Miami, 2017. “Art x Cuba. Contemporary Perspectives since 1989”, The Ludwig Forum for International Art, Aachen, Germany, 2017. “Colección de Archivos”, Cuban National Museum of Art, Havana, 2017. “ON/OFF”, Video Show, Victor Hugo House, Havana, 2017. “Cuba. Tatuare la storia”. PAC, Milano, Italy. New Talent Biennale, Cologne, Germany, 2016. “Entre la individualidad y el contexto”, Cuban Pavilion, Venice Biennale, 2015. “Rendez-Vous”, Lyon Biennale, France, 2015.


ChandanGomes_Portrait Chandan Gomes has studied Philosophy at St. Stephen’s College, Delhi (2009). Themes of beauty, imitation and abandonment interest him as an artist. Chandan is the recipient of the India Habitat Centre Fellowship for Photography in 2011, Oslo University Scholarship to participate in Chobi Mela in 2012, Neel Dongre Award in Photography in 2013, the Foto Visura Spotlight Grant in 2014 and the INK Fellowship in 2016. He was nominated for the Prix Pictet Award in 2015 and the Sovereign Asia Art Prize in 2018. His first solo exhibition 'Promise of Beauty' was held at PHOTOINK in 2015. His artist book, 'This World of Dew', published by PHOTOINK, was released in 2015 and went on to garner critical acclaim. ‘This World of Dew’ has been shown at the Benaki Museum, Athens, Parc Des Ateliers, Arles and Zeytinburnu International Photography Festival, Istanbul, amongst other places. His photo essay ‘There are things I call home’ was on view at Asia Society Center, Texas as part of FotoFest 2018 Biennale, Houston. He exhibited his latest body of work at Les Recontres d’Arles in July, 2018 as part of the prestigious New Discovery Award; the exhibition was supported by PHOTOINK. He currently teaches at the Sri Aurobindo Centre for Arts & Communications, Delhi. http//


Ganesh KMB portrait

Chitra Ganesh (b. 1975, New York, USA) holds a BA from Brown University in Comparative Literature and Art Semiotics, a Masters in Fine Arts from Columbia University and attended the Skowhegan School for Painting and Sculpture. Her drawing based practice brings to light narrative representations of femininity, sexuality, and power typically absent from canons of literature and art. Her installations, comics, animations, and mixed media works on paper often take historical and mythic texts as inspiration and points of departure to complicate received ideas of iconic female forms. Ganesh’s studies in literature, semiotics, and social theory have been critical to a steady engagement with narrative and deconstruction that animates her work. She lives and works in Brooklyn, NY.

Her work as been has been widely exhibited in the United States and internationally at venues including the Walker Art Center, Minneapolis, MN; the Asia Society, New York, NY; Queens Museum of Art, NY; the Baltimore Museum of Art, MD; Philadelphia Museum of Art, PA; Berkeley Art Museum, CA, San Jose Museum, CA; ZKM Center for Art and Media, Karlsruhe, Germany; Fondazione Sandretto re Rebaudengo, Turin, Italy; the Saatchi Museum, London, United Kingdom; Museum of Contemporary Art, Shanghai, China; Gwangju Contemporary Arts Centre, Gwangju, Korea; National Museum for the Arts, Taiwan; Kunstverein, Göttingen, Germany; Kunstalle Exnergrasse, Vienna; the Prince of Wales Museum, Mumbai; Instituto Valenciano de Arte Moderno, Spain; and most recently the Bhau Daji Lad Museum, Mumbai. She has had solo presentations at PS 1/MOMA, Brooklyn Museum, Goteborgs Konsthalle, Andy Warhol Museum, and Rubin Museum. Image Credit: Svati Shah


Chittaprosad A self-taught artist, poet, storyteller, and an active member of the Communist Party of India, Chittaprosad drew inspiration for his art from village sculptors, artisans as well as puppeteers. In 1943-44, he experienced the Bengal famine first-hand, resulting in his brutally honest depiction of human suffering in stark drawings and sketches made in pen and ink. These drawings and reports were published in People’s War and culminated in Hungry Bengal, an eyewitness report comprising of written text and profuse sketches in stark black-and-white, copies of which were seized and destroyed by the British. © DAG,


Cyrus Kabiru Cyrus Kabiru was born in 1984 in Nairobi, Kenya, where he currently lives and works. Kabiru has received notable awards and has presented numerous international talks, which include: Re-Visioning Africa Through the Creative Lens with Cyrus Kabiru, at the Smithsonian National Museum of African Art (Washington, USA: 2018); Quartz’s Africa Innovators (Nairobi, Kenya:2016) and TED’s The Young, The Gifted, The Undiscovered (Los Angeles, USA: 2013). That same year, Kabiru exhibited at the Lagos Photo Festival (Lagos, Nigeria: 2013). His work also formed part of Afrofuture: Adventure with Makers, Thinkers and Dreamers (Milan Design Week, Italy: 2013), as well as The Shadows Took Shape (The Studio Museum in Harlem, New York, USA: 2013). Selected group exhibitions include: Making Africa – A Continent of Contemporary Design, curated by Amelie Klein with Okwui Enwezor, a travelling exhibition at the Blanton Museum of Art(Austin, USA: 2018) and Albuquerque Museum (New Mexico, USA:2018), The Guggenheim Museum (Bilbao, Spain: 2016) and the Centre de Cultura Contemporània de Barcelona (Barcelona, Spain:2016), and the Vitra Design Museum (Weil am Rhein, Germany: 2015); AFRICAN VOICES: Confronting Frontiers of Reality, National Gallery of Zimbabwe (Harare, Zimbabwe: 2017); Brutal Beauty: Violence and Contemporary Design, Marta Herford Museum for Art, Architecture, Design (Herford, Germany: 2016); Lumières d’Afriques, Thâtre National de Chaillot with the AAD Fund (Paris, France: 2015);AFRICA – Architecture & Identity at the Louisiana Museum (Humlebæk, Denmark: 2015); and The Shadows Took Shape, at The Studio Museum (New York City, USA: 2013).

Dennis Muraguri, Headshot, May 2018
Dennis Muraguri (b. 1980, Naivasha, Kenya) is a Nairobi-based multidisciplinary artist whose practice spans the mediums of printmaking, sculpture, video and installation in varying combinations. Muraguri has been gaining recognition for his imagery of matatus – privately owned vans and mini-buses that are the main mode of public transportation in Kenya - and the culture that has developed around them in his work. Muraguri's woodcut prints reference both Nairobi’s urban culture and international popular culture using of graffiti, music and politics depicted on these real-life matatus. He lives and works in Nairobi, Kenya.
Muraguri received a Diploma in Painting and Art History from the Buruburu Institute of Fine Art (2015), and has been a resident artist at the Kuona Artists’ Collective (formerly the Kuona Trust Art Centre) since 2005. He has exhibited extensively in Nairobi, including a solo exhibition at Circle Art Gallery, 2016, Jua Kali, 2014, a collaborative installation with Tahir Karmali and Tonney Mugo which went on to be included in Making Africa: A Continent of Contemporary Design at the Vitra Design Museum. He has participated in international art fairs such as 1:54 Contemporary Art Fair, London, 2016, and the Jo’burg Art Fair, 2016. Muraguri was also one of the participating artists in the 2014 edition of the KLA Public Art Festival, in Kampala, Uganda and will be the artist in residence at Espaço Luanda Arte, in Luanda, Angola in 2019.

Domenec Domènec is a visual artist based in Mataró (Barcelona). Taking as his point of departure conceptual processes of reflection, Domènec has built up a sculptural and photographic body of work, along with installations and interventions in public space, which takes the architectural project as one of the most productive and complex imaginary constructions of the modern tradition. He has taken part in several projects In Situ and international projects of Public Art in different places like Ireland, Mexico, Belgium, France, Italy, USA, Brazil, Argentine, Finland, Slovenia, Japan, Israel and Palestine. He is a coeditor of the art magazine Roulotte, a Member of the Board of Directors of Can Xalant. Centre for Creation and Contemporary Thought in Mataró (2005-2012), and Curator, with Dani Montlleó, of “Modernitat Amagada” Project (Casa Capell, Mataró 2013) His recent solo exhibitions include BKF. Cynegetics and Modernity. ADN Platform, Sant Cugat (2018); Domènec. Not Here, Not Anywhere. MACBA Museu d’Art Contemporani de Barcelona. Barcelona (2018); The Stadium,the Pavilion and the Palace. Mies van der Rohe Pavilion, Barcelona (2018). Recent group exhibitions, amongst others include Memorias del agua. Pasos. Centro de Recursos Medio Ambientales de Cristina Enea, Donostia (2018); How to Live with Memory. Artistic Attitudes towards Architecture and Francoism. MUSAC Museo de Arte Contemporáneo de Castilla y León, León (2018);, Body & Games. Escola Massana, Barcelona (2018).


EB Itso E.B. Itso was born in Denmark, and lives and works in Malmo and Copenhagen. His practice often deals with neglected or overlooked spaces in and around the city, and the relationship between the densely populated parts of society and rural areas. He has a special interest in people living off the common grid – people and locations in the periphery and the roads less traveled. By investigating the intersection of primitivism and contemporary culture, E.B. Itso highlights the underworld that exists in any city and country, thus giving the people and places in the corners of society a rare voice. In his works there is a human engagement that transgress registration, a fascination with the mundane and overlooked, and a care for the strange and hidden. In his work there is an implicit social critique - he questions the dominant perception of what formulates a good life and a sustainable society. Besides urban constructions, E.B. Itso also works within the field of film, photography and public messages, combining these expressions with explorative journeys, far or near.


Edible Archives


All of us retain the experiences of the foods we’ve eaten, and they become a part of our being—an edible archive we carry around in our bodies, memories and minds. One of the most integral elements of traditional Indian food culture has been vanishing rapidly since the 1960s, as the thousands of varieties of indigenous rice are inexorably being replaced by new, hybrid varieties. The Edible Archives team has been travelling to source these rice varieties in all their diversity: of taste, texture and colour; of starchiness and nutritive value; of traditional knowledge and techniques; of cultural and religious importance; a diversity, in short, of possible ways of life. By documenting these, we hope to capture in some ways that what is fleeting, so all is not lost.

The project is curated by Anumitra Ghosh Dastidar and Prima Kurien. It is anchored by women chefs, who bring reflection, politics and pleasure back into food. 

Each meal we cook becomes an entry into the individual edible archives of the people eating it, as they experience the journey of the rice, and the splendid versatility of the ingredients accompanying it. Thus, we transfer/transform our edible archives into a collective sensory catalogue that belongs to all the people involved in growing, sourcing, cooking and eating the meal. Blog: | Instagram: @ediblearchives | Facebook:theediblearchives


VALIE EXPORT VALIE EXPORT is Prof. Dr., a performance artist and filmmaker. She was born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film.


Goshka Macuga Goshka Macuga (b. 1967 in Warsaw, Poland). She studied at Central Saint Martins School of Art, and at Goldsmiths, London. Her practice typically applies in-depth historical and archival research to an interest in the evolving relationships among artists, institutions, politics, and communities. Her works investigate how art can be used to voice current concerns, rouse public debate, and inspire social change. Within her images and installations, she unearths associations between different actors (people, objects, and sites) that, in many cases, problematize the ways in which different organizations engage their publics and are shaped by socioeconomic and cultural developments in society. Throughout her career, Macuga’s work has embraced diverse mediums including sculpture, installation, architecture, and design. The content and format for her projects are often determined by the specific institutional contexts in which her work is shown. She lives and works in London, UK. Recent exhibitions include Intellectual Co-Operation, Neues Museum, Nüremberg, Germany (2018); What Is Enlightenment: 200 Years of the University of Warsaw Library Print Collection, The Museum of Modern Art, Warsaw, Poland (2018); Machines à Penser, Fondazione Prada, Venice (2018); Hello World. Revising a Collection, Hamburger Bahnhof– Museum für Gegenwart, Berlin, Germany (2018) and Like Life: Sculpture, Colour and the Body (1300-Now), The Met Breuer, New York, USA (2018). Recent Artist Publications include Goshka Macuga: Before the Beginning and After the End, Fondazione Prada, Milan (2016); Goshka Macuga: Exhibit, A, Museum of Contemporary Art Chicago (2012), and The Nature of the Beast, Whitechapel Gallery, London (2010). In 2008 she was among the four nominees for the British Turner Prize.


Guerrilla Girls The Guerrilla Girls are feminist activist artists. Their anonymity keeps the focus on the issues, and away from who they might be. They wear gorilla masks in public and use facts, humor and outrageous visuals to expose gender and ethnic bias as well as corruption in politics, art, film, and pop culture. They believe in an intersectional feminism that fights discrimination and supports human rights for all people and all genders. They undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. They have done over 100 street projects, posters and stickers all over the world, including New York, Los Angeles, Minneapolis, Mexico City, Istanbul, London, Bilbao, Rotterdam, and Hong Kong, to name just a few. They also do projects and exhibitions at museums, attacking them for their bad behavior and discriminatory practices right on their own walls, including our 2015 stealth projection about income inequality and the super-rich hijacking art on the façade of the Whitney Museum in New York. Their retrospectives in Bilbao; Madrid; Sao Paolo; and their US traveling exhibition Guerrilla Girls: Not Ready To Make Nice; have attracted thousands. Recently, they have done new street and museum projects at Tate Modern and Whitechapel Gallery, London; Paris; Cologne; Bologna; New York; Philadelphia; and more! They could be anyone. They are everywhere.

Andeel is an Egyptian cartoonist, journalist, screenwriter, experimental artist, actor, and sometime DJ. He works in journalism, cinema, and on the internet since 2005. Hassan Khan is an artist, musician and writer, and has been working since the mid 1990s.

Heri Dono

Heri Dono (b. 1960 in Jakarta, Indonesia) is a leading Yogyakarta-based contemporary artist, and the first Indonesian to break into the global art scene during the early 1990s. He is a member of the generation of Indonesian artists that began their careers in the 1980s. Since his early career, he has traveled around the world to exhibit and respond to workshop invitations from various countries.

Dono is well known in the international contemporary arts community for his installation works, many of which were inspired by his experiments with wayang, the complex shadow puppet theater of Java. Wayang performances are comprised of a number of artistic and non-artistic elements: visual arts, singing, music, storytelling, social criticism, humor and for the mythological promotion of a philosophy of life. These components are merged into the artwork’s narrative to give a generic interpretation to which elements of multimedia are added. Coupled with the setting of a wayang performance event, this provides a space for social interactions among the audience. These creative artworks express Dono’s interest in revitalizing arts that are deeply rooted in Indonesian traditions.

Dono is the only contemporary Indonesian artist who has been invited to the Venice Biennial curated exhibition (2003). His awards include the Dutch Prince Claus Award for Culture and Development (1998), the UNESCO Prize (2000), and the Anugerah Adhikarya Rupa (Visual Arts Award) from the Indonesian government (2014). He has participated in more than 300 exhibitions and 33 international biennales including Bangkok Art Biennale (2018), the 50th Venice Biennale in the Arsenale's Zone of Urgency (2003), Guangzhou Triennial (2011); Gwangju Biennale (2006 and 1995); Sharjah Biennial (2005); Taipei Biennial (2004); Venice Biennale (2003); Asia Pacific Triennial (2002 and 1993); Yokohama Triennial (2001); Havana Biennial (2000); Shanghai Biennale (2000); Sydney Biennale (1996); São Paolo Biennial (2004 and 1996).


Ines Doujak and John Barker live in London and Vienna, and work together through a common interest in the political dimension of cultural exchanges. Since 2010 they have collaborated on exhibitions like 2018 ́50 Jahre nach ‘50 Jahre Bauhaus’ 1968 ́, Württembergischer Kunstverein Stuttgart; ́A BEAST, A GOD, AND A LINE ́, Dhaka Art Summit ’18, Bangladesh; Para Site, Hong Kong; TS1 Yangon Myanmar; Museum of Modern Art, Warsaw, Poland 2017 ́The Conundrum of Imagination ́, Leopoldmuseum, Wiener Festwochen; ́Stealing from the West ́, Academy of the Arts of the World Cologne 2016 ́Not Dressed for Conquering ́, Württembergischer Kunstverein, Stuttgart; ́Transcultural Flux ́, Stiftelsen 3, Bergen and Akershus Kunst- senter, Lillestrom; ́The Next Big Thing is Not a Thing ́, Bureau Europa, Maastricht; Peace-Treaty, San Sebastian; Sans peau / No Skin, SBC Gallery of Contemporary Art, Montreal, QC 2015 ́The Beast and the Sovereign ́, MACBA, Barcelona; ́Ape Culture ́, HKW, Berlin; ”Social Glitch ́, Kunstraum Niederoesterre- ich, Vienna; ”Creating Common Good“, Kunsthaus Wien; ”All Men become Sisters”, Muzeum Sztuki, Lodz; ”Notes on Crisis, Currency and Consumption“, Galerie Raum mit Licht, Vienna; ”The Value of Food“, Saint John the Divine, New York; ”to expose, to show, to demonstrate, to inform, to offer“, MUMOK, Vienna; ”The School of Kyiv“, Kyiv Biennal 2014 ́Universes in Universe ́, Biennial São Paulo; “Fields“, National Art Muse- um, Riga; “Into the City“, Wiener Festwochen, Vienna 2013 ”October Salon”, The Cultural Centre of Bel- grade, Belgrade; ́Not Dressed for Conquering ́, Royal College of Art, London 2012 ”Unauthorized“, Inter Arts Center, Malmoe; ”Acts of Voicing”, Württembergischer Kunstverein, Stuttgart; “The IndianInvestigator-Ma- chine visiting the TBA“ at ́Ephemeropterae ́, Thyssen-Bornemisza Contemporary Vienna; ”Art and Fashion”, Museum of Modern Art, Vienna; ́Garden of Learning ́, Busan Biennale, Korea 2011 “Principio Potosí / Das Potosi-Prinzip“, Museo Nacional Centro de Arte Reina Sofía, Madrid; Haus der Kulturen der Welt, Berlin; Museo Nacional de Etnografia y Folklore, La Paz.


Jitish Kallat

Jitish Kallat's (b. 1974, Mumbai, India) works over the last two-decades reveal his continued engagement with the ideas of time, sustenance, recursion and historical recall often interlacing the dense cosmopolis and the distant cosmos. His oeuvre traverses varying focal lengths and time-scales. From close details of the skin of a fruit or the brimming shirt-pocket of a passerby, it might expand to register dense people-scapes, or voyage into inter-galactic vistas. While some works meditate on the transient present others invoke the past through citations of momentous historical utterances. Frequently shifting orders of magnitude, Kallat’s works can be said to move interchangeably between meditations on the self, the city-street, the nation and the cosmic horizon, viewing the ephemeral within the context of the perpetual, the everyday in juxtaposition with the historical, the microscopic alongside the telescopic. He lives and works in Mumbai, India.

Jitish Kallat has exhibited widely at museums and institutions including Tate Modern (London), Martin Gorpius Bau (Berlin), Gallery of Modern Art (Brisbane), Kunst Museum (Bern), Serpentine Gallery (London), Mori Art Museum (Tokyo), Palais de Beaux-Arts (Brussels), Hangar Bicocca (Milan), Busan Museum of Modern Art, Astrup Fearnley Museum of Modern Art (Oslo), ZKM Museum (Karlsruhe), Henie Onstad Kunstsenter (Oslo), Arken Museum of Moderne Kunst (Copenhagen), Institut Valencia d’Art Modern (Spain), Mori Art Museum (Tokyo), Art Gallery of Ontario (Toronto), Jean Tinguley Museum (Basel) and the Gemeente Museum (The Hague) amongst many others. Kallat’s work has been part of the Havana Biennale, Gwangju Biennale, Asia Pacific Triennale, Fukuoka Asian Art Triennale, Asian Art Biennale, Curitiba Biennale, Guangzhou Triennale and the Kiev Biennale amongst others.

His solo exhibitions at museums include institutions such as the Art Institute of Chicago, Bhau Daji Lad Museum (Mumbai), the Ian Potter Museum of Art (Melbourne), CSMVS Museum (Mumbai), the San Jose Museum of Art, Art Gallery of New South Wales (Sydney) and the Philadelphia Museum of Art. In 2017 the National Gallery of Modern Art (New Delhi) presented a mid-career survey of his work titled Here After Here 1992-2017 curated by Catherine David.

Jitish Kallat was the curator and artistic director of Kochi-Muziris Biennale 2014.


Julie Gough Dr Julie Gough is an artist, writer and curator based in Hobart. Her research and art practice involves uncovering and re-presenting often conflicting and subsumed histories, many referring to her family's experiences as Tasmanian Aboriginal people. Gough’s mother’s family are Trawlwoolway, Tasmanian Aboriginal people, originally from Tebrikunna in far north east Tasmania, and her paternal heritage is Scottish and Irish. She is currently working as a curator, Indigenous cultures at the Tasmanian Museum and Art Gallery. Gough, since 1994, has exhibited in more than 130 exhibitions including: Defying Empire, National Gallery of Australia, 2017; THE NATIONAL, MCA, 2017; With Secrecy and Despatch, Campbelltown Arts Centre, 2016; undisclosed, National Gallery of Australia, 2012; Clemenger Award, National Gallery of Victoria, 2010; Biennial of Sydney, 2006; Liverpool Biennial, UK, 2001; Perspecta, AGNSW, 1995. Gough holds a PhD from the University of Tasmania (2001), a Masters degree (Visual Arts) University of London, Goldsmiths College (1998), and Bachelor degrees in Visual Arts, Prehistory and English Literature. Her artwork is held in most Australian state and national gallery collections, and she is represented by Bett Gallery, Hobart. Image Credit: Lucy Parakhina


Jun Nguyen-Hatsushiba_portraitBW

Jun Nguyen-Hatsushiba (b. 1968 in Tokyo, Japan) was born to a Japanese mother and a Vietnamese father. He spent his childhood in Japan before moving to the USA to get an education, he now works and lives in Ho Chi Minh City, Vietnam and Houston, USA. His work "Memorial Project" started in 2001 and addressing issues such as boat people and social minorities made his name in the international contemporary art scene. Nguyen-Hatsushiba has exhibited in numerous international triennials and biennials including Venice, Istanbul, Sydney and Yokohama.

His on-going project “Breathing is Free:12,756.3” is an attempt to physically experience world refugee crisis by running the diameter of the earth, 12,756.3 km.

In his recent work from 2013,“The Master and the Slave: Inujima Monogatari” was filmed at Inujima island in Okayama, and the film “Memorial Project Waterfield: The Story of the Stars” was based on a performance piece first shown at the 2006 Gwangju Biennale.

In 2014 his residency and solo show “Don’t we all want to be in tune?” at MAC VAL, Paris, addressed notions of citizenship and the relationships between migrational flux and musical expression. In a new development in the artist's practice, the work evoked the struggles faced by contemporary migrants though the mutual influences of drawing and sound, and also featured interactive elements of audience participation.

Nguyen-Hatsushiba’s solo exhibitions have been organized in musuems around the world, including Kunstmuseum Luzern (Switzerland), Manchester Art Gallery (UK), Malmo Konsthall (Sweden), MACRO, Museo d'Arte Contemporanea Roma (Italy).



Juul Kraijer (b. 1970, The Netherlands) graduated from the Rotterdam Academy of Fine Arts in 1994. Her authentic, consistent oeuvre consists mainly of drawings but also includes sculptures and video-works. In recent years she has embraced photography as an important medium.

Institutions which have hosted solo exhibitions of the artist's work include Huis Marseille Museum for Photography, Amsterdam (2017); Drents Museum, Assen (2015); Kunsthalle Giessen, Germany (2014); Cobra Museum of Modern Art, Amstelveen (2009 and 2004); Gemeentemuseum, The Hague (2006) and Stedelijk Museum, Amsterdam (2001)

Her work has been awarded four Dutch art prizes and has been included in major international exhibitions such as The Third Moscow Biennale of Contemporary Art (2009) and ARS 06 at the Museum of Contemporary Art Kiasma, Helsinki (2006).


K P Krishnakumar (1958 - 1989) was the nephew of the Malayalam poet Edasseri. In 1981, he passed the diploma in sculpture from the College of Fine Arts, Trivandrum. Thereafter he went to Santiniketan for a post-diploma, and in July 1984 was admitted as a scholarship holder at the Kanoria Centre for Arts in Ahmedabad. Leaving the Centre shortly, he attended the young sculptors camp at Kasauli. Since then he had been living and working in Baroda. Amidst a vibrant sculptural front in the 1980s, he had participated in the Seven Young Sculptors exhibition organized by Kasauli Art Centre and curated by Vivan Sundaram. Krishnakumar soon after co-founded The Radical Painters’ and Sculptors’ Association (1987–89). © Museum of Contemporary Art, Antwerp


Kausik Mukhopadhyay Kausik Mukhopadhyay’s kinetic and static installations are made by repurposing old electronic items. The artworks are at once whimsical and disturbing. He has devoted much of the last twenty years to teaching. Mukhopadhyay has been shown at The Tate Modern, London. © Chatterjee & Lal


kibuuka mukisa oscar Kibuuka Mukisa Oscar is a self-taught photographer, bboy and social worker living and working in Kampala. Coming from a creative family background, he discovered his passion for photography at the age of 18, which soon turned into a profession. With a strong influence of hip-hop culture and social motivational causes, Kibuuka evolved the motto “give a smile to the world” which endeavors to portray in his work. He is working on a long-term project documenting the youth and hip-hop culture with the main focus on the bboying/breaking/breakdance elements across Africa. Kibuuka has participated in solo and group exhibitions in Africa and Europe, as well as in the 4th Addis Foto Fest 2016, Ethiopia, and the Kampala Art Biennale, 2016. He has received awards at the Uganda Press Photo Awards in 2013, 2014 and 2016, and at the Addis Foto Fest 2016. Kibuuka’s work has been published and reviewed in local and international media, including The Washington Post, Start Journal, The Daily Good magazine, MO magazines, The East African, taz (die tageszeitung), African Music Festival Network. Kibuuka is a member of the photo agency Plus Two Five.


Leandro Feal Leandro Feal (b. Havana, 1986) is a Cuban contemporary artist who is interested in all dimensions of photography. He studied at the National Academy of Fine Arts, San Alejandro and the Higher Institute of Art (ongoing). His works aim to construct the cultural imaginaries of a Cuba with the air of renewal and exchange in the anachronistic context of Socialism. With this objective, he practices the photographic essay and uses all possible means (fashion, publicity, cinema, events, galleries, publications) to expand it. His work was disseminated on Instagram and various magazines as well as in spaces such as the National Museum of Fine Arts (MNBA), Center for the Development of Visual Arts (CDAV), Servando Gallery, El Apartamanto (La Havana Cuba); Pérez Art Museum Miami (PAMM), Miami, United States; Ludwig Forum für Internationale Kunst, Aachen, Germany; Atlantic Center of Modern Art (CAAM), Las Palmas de Gran Canaria, Spain; Artium, Centro- Basque Museum of Contemporary Art, Vitoria-Gasteiz, Spain.


Lubna Chowdhury Lubna Chowdhary was born in Tanzania to Pakistani parents and came to England in 1970. She works primarily with ceramics to create sculptural objects and site-specific installations for public and private spaces. In her work she assimilates ideas and aesthetics from Eastern and Western worlds, forging relationships between disparate entities, patterns and visual references and examining the relationship between them. She studied for a BA Hons at Manchester Metropolitan University and an MA at the Royal College of Art. In 1990 she received the Paolozzi Travel Award to travel to India and was shortlisted for the Jerwood Ceramics prize in 2001. She has completed residencies at Camden Arts Centre 1994 and at the V&A museum 2017. She lives and works in London.


madhvi parekh Madhvi Parekh was born and raised in Sanjaya, a village near Ahmedabad, Gujarat, in 1942. With no formal education, her art evolved from childhood memories, popular folk stories and legends of her village. Art formed a part of her consciousness through the forms of painting that were part of her family’s everyday rituals, such as the traditional floor designs of rangoli. Inspired by her artist-husband Manu Parekh and artists such as Paul Klee and Miro, Madhvi began painting in 1964. Her paintings are unplanned, unfolding like a story where she adapts each work to the scale it demands, developing from a point into vast narratives. She lives and works in New Delhi.


marlene dumas Marlene Dumas (b. Capetown, 1953) is an internationally renowned painter and recognised for her contribution to the development of painting and for the manner in which she visually critiques racial, sexual and social issues through her work. She has succeeded in lending pictorial form to the fragility of existence, to feelings of fear and anxiety but also of commitment love and hope. The relationship between text and image is an important aspect to her work. Her work has been shown in retrospectives in Japan, South Africa and the US. Her last retrospective bears the title ‘The Image as Burden’ and started in Amsterdam in 2014 and travelled on to London and Basel. In 2014, a renewed and updated edition of her publication Sweet Nothings: Notes and Texts was published.


Martha Rosler Over the past half century, Martha Rosler has exposed how consumer-driven images— in television commercials, magazine advertisements, and billboards— may serve to distract us from the global atrocities whose coverage often exists in adjacent news footage, columns, or websites. Rosler interrogates this conflation of imagery by combining both kinds of image into dystopian scenes of seduction and disturbance. Her videos, photographs, and installations press us to question how forms of media are affecting us, and whether photojournalism can prompt political activism when we are concurrently pulled into visions of consumerist comfort. Rosler was a formative figure in the feminist art movement of the 1970s, and her work often visualizes how the female body has been employed as an alluring, captive subject of the camera’s potent gaze. Image Credits: Josep Fonti / PIN-UP


Marzia Farhana is a visual artist based in Dhaka, Bangladesh. She studied at the Faculty of Fine Arts, University of Dhaka and completed her MA in Fine Art from Central St Martins, University of the Arts London, where she was awarded a prize for Innovation (2014). She has developed an individual idiom in different media including painting, installation, assemblage and video installation. Her works have been featured at a number of group exhibitions including 15th Berger Young Painter Arts Competition Exhibition, Dhaka (2010); Young Dhaka, Zainul Gallery, Faculty of Fine Arts, University of Dhaka, Dhaka (2011); Only God Can Judge Me (OGCJM), Dhaka (2012). She is one of the participant artist in the exhibition ‘Missing One’ curated by Nada Raza, Tate Modern), Dhaka Art Summit 2016 and Oslo, Norway (2017). Moreover, her work exhibited in a group show ‘You Cannot Cross the Sea Marely Staring at the Waves’ at Krinzinger Projekte, Vienna in September (2016), curated by the artistic director of Samdani Art Foundation, Diana Campbell Betancourt. Last year, she participated in Khoj International Workshop in Goa, India (2017) and in Kathmandu Triennale, 2017, Upheavals, Bangladesh Now, as seen by eight artists, Nepal. Recently she was shortlisted and exhibited in Samdani Art Award, Dhaka Art Summit, 2018.


Mireille Kassar Mireille Kassar was born in Lebanon in 1963. She graduated from Ecole Nationale Supérieure Des Beaux Arts de Paris and Université Panthéon Sorbonne, - Paris and Beirut based. Mireille Kassar is represented by Agial Art Gallery in Lebanon. Kassar has exhibited internationally since 1996 (Fondation Joan-Miró, Barcelona). Her work is present in several prestigious private collections and museums, such as, Centre Georges Pompidou, British Museum. Her practice is based on research and raising of a poetic dimension. Painting remains in her practice as the epicenter engaging body and time in their analog promise. Gravitating around several centers the common roots of all the work is freedom. Artist Mireille Kassar is Executive Delegate, and Art Director at Amar Foundation for Arab Music Archiving and Research. She is an Art Professor at Ecole Spéciale D’Architecture in Paris, France.


Mochu Mochu is a video artist and film-maker. Combining text, video, and animation, his works often focus on specific instances in art history that overlap with technoscientific imaginaries in popular culture and philosophy. The most recent project looks at hippie subcultures in India in light of the legacies of cybernetic theory and psychedelic art, prior to which he researched the practice of the Indian Modernist painter K.Ramanujam with a grant from India Foundation for the Arts. Mochu was a fellow at the Home Workspace Program at Ashkal Alwan Beirut in 2016 and his work has been exhibited at Sharjah Biennial 13, Transmediale BWPWAP Berlin, Kiran Nadar Museum of Art Delhi and Beirut Art Center. He is currently based in Delhi.


Monica Mayer Mónica Mayer (Mexico City, 1954), studied visual arts at the Escuela Nacional de Artes Plásticas in Mexico City and in 1980 obtained a masters degree in sociology of art at Goddard College while participating at the Feminist Studio Workshop in Los Angeles, California. Her work has been exhibited in over 100 group exhibitions in Mexico, the U.S. and Europe and has had solo exhibitions among others at: Casa del Lago (1977), en el Museo Carrillo Gil (1987), Lourdes Chumacero gallery (1990), Pino Suárez subway station (1990), Auditorio subway station (1993), The National Gallery in Kingston, Jamaica (1996), Centro Cultural Candido Mendes in Rio de Janeiro, Brazil (1997), El Colegio de Arquitectos in Pichinche, Ecuador (1997), the artists run gallery Pinto mi Raya (1989, 1992), the Trotsky Museum (1999), the Centro Cultural San Angel (1999) in México D.F., La Masmédula Galería (1999), Jardín de las Esculturas, Xalapa, Ver (1993). © Brooklyn Museum Image Credit: Victor Lerma



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Mrinalini Mukherjee studied BFA in Painting and Post Diploma in Mural Design both at M.S. University, Baroda. She received the British Council Scholarship for Sculpture, and went to the West Surrey College of Art and Design, UK in 1978. Mrinalini’s work dealt with the tactility of sculpture as a medium and she played with a variety of materials in establishing a deep connection with the different qualities of materials such as ceramics, jute, natural fibres, bronze. Her sculptures would refer to the organic, to the fluid even as it manifested itself with dimensions and structure. Mrinalini Mukherjee is best known for her woven and majestic forms, which cross over, between sculpture and textiles. The mysterious folds and the intricate curves and drapes manifest a strong note of sexuality evoking the sensuous and tactile quality. Her latest works come as a continuation of her endeavor of past few years where the bronzes carry references to vegetable forms that are now mineralized. Then the fluidity of her earlier fibre works gets petrified leaving behind an emotional and melancholic effect with the carved, textured skin that signal the psychological pain and the uncertainties of life. These bronzes recapitulate the undulations of form and capture the human element through the scarred flesh akin to loss or damage done by burning or deterioration. © Vadehra Gallery


Nathan Coley Nathan Coley is a Glasgow-based artist whose work examines the nature of belief in our society through a range of media. His gallery-based work and interventions in public space seek to enquire into our relationship with sacred and secular architecture, signage and protest, exploring systems of faith and how these are represented and demonstrated. Coley’s work is in collections in the UK and abroad and he has received a number of major commissions for institutions and events worldwide. He was shortlisted for the Turner Prize in 2007.


Nilima Sheikh Nilima Sheikh has inspired several generations over her 50 year career as a Baroda based painter. Sheikh has a solid position in the history of Indian Modernity, and was a student of KG Subramanian. Rooted in Eastern painting traditions such as miniature painting, oral tradition found in vernacular folk songs, as well as her own life experience, Sheikh continues to create bodies of work that evoke mystical imaginary landscapes that address feminine experiences. Sheikh has a gift for storytelling. Inspired by reading Rabindranath Tagore, the artist became interested at an early age in the connection between stories and images, an age-old connection from murals to ancient manuscripts. Beyond appropriating traditional techniques in her work, Sheikh works with figure and narration in her practice, which has also beautifully translated into theatre sets such as the 1993 Vivadi theatre production of Umrao, and also children’s books. © Chemould-Prescott Road Gallery


Oorali Oorali is a music and art collective working largely in Kerala. "We are an art commune driven by the Oorali spirit existing since 2010 and have performed around India and around the world. Our strengths inspire us and our shortcomings bond us. Each performance assimilates stories from the locality we are in and connect us more with the audience. Oorali always engages the audience with music, conversations, visuals and by sharing properties to play with. The stories of human persistence, the ordeals that we face to survive and the stories of our times are retold, be it a marriage, a party, a college event or a protest. Every performance is an opportunity for Oorali to remind each other, all of us, that we are a commune of humans, beyond whatever we imagine."


The Otolith Group was founded in 2002 and consists of Anjalika Sagar and Kodwo Eshun who live and work in London. During their long-standing collaboration The Group have drawn from a wide range of resources and materials. They explore the moving image, the archive, the sonic and the aural within the gallery context. The work is research-based and in particular has focused on the essay film as a form that seeks to look at conditions, events and histories in their most expanded form. The Group have exhibited, installed and screened their works nationally and internationally, they are commissioned to develop and exhibit their art works, their research, installations, and publications by a wide range of museums, public and private galleries, biennials, foundations and other bodies. This work acts as a resource that is documented on this website and supports The Otolith Group’s public platform in its function in the UK under the name of The Otolith Collective. The Otolith Group was nominated for a Turner Prize in 2010.













pangrok sulap Pangrok Sulap is an art collective of artists, musicians and social activists with the purpose of empowering rural communities through art. Pangrok Sulap is persistent on the DIY concept hence the slogan 'Jangan Beli, Bikin Sendiri' (Don't Buy, Do-it-yourself). "Pangrok" is the local pronunciation of "punk rock" and “Sulap” is the name of a hut or a resting place usually used by farmers in sabah. A strong element in Pangrok Sulap’s process is community participation, which apart from making the actual woodcut print, is the performance element where the collective plays original and contemporary folk music while participants are invited to dance in circles on the finished woodcut, using the crowd’s weight to transfer ink onto the finished print, which is then revealed on the spot. Since Pangrok Sulap’s inception in 2010, the collective has conducted workshops for communities and schools across Malaysia.
Prabhakar Pachpute In his interventions, Prabhakar Pachpute draws what could be defined as an “epic of labour” and, at the same time, a poetic and imaginative analysis of the transformation of the economy in India and how it is affecting society. Using Maharashtra as a starting point, his work links a complexity of historical transformations that have taken place between the characters of the rural farmer, miner, cotton mill-worker, and landless laborer. Land itself is under transformation, metamorphosing between different states of use and abandonment.
Priya Ravish Mehra Priya Ravish Mehra was a Delhi-based textile artist and weaver, researcher and designer. She graduated in Fine Arts (with a specialization in textiles) from Visva-Bharati University, Santiniketan, and later studied tapestry at West Dean College, Sussex and an advanced tapestry course at the Royal College of Arts, London under the aegis of a Commonwealth Fellowship and Charles Wallace Trust (India) Scholarship. She also received an Asian Cultural Council Grant to study the maintenance and preservation of Indian textiles, especially Kashmir shawls, in public and private collections in the US. Priya’s textile and mixed-media work has been featured as solo exhibitions in British Council, Delhi (1993); Commonwealth Institute, London (1994); Jahangir Art Gallery, Mumbai (1997); Experimental Art Gallery, India Habitat Centre, Delhi (2015); Instituto de Artes Plasticas, Mexico (2016); Gallery Threshold, Delhi (2017) and ‘India International Center, Delhi (2018). She has also participated in group shows: Taumata Art Gallery, Auckland (1993); Rabindra Bhavan, Delhi (1997); British Council, Delhi (1999); 10th International Triennial of Tapestries, Lodz (2001); Rabindra Bhavan, Delhi (2005); ILF Samanvay, India Habitat Centre, Delhi (2016); ‘Evidence Room’, KHOJ, Delhi (2017); C-13, FICA, Delhi (2017); ‘Monsoon Chapter 12’, Art-Centrix, Delhi (2017); ‘Detritus’, Serendipity Art Festival, Goa (2017); and Aicon Gallery, New York (2018).
Probir Gupta Probir Gupta's practice started through projects aimed at sensitising school and University going young adults. These were principally case studies and field exercises on important social issues such as Child Labour, Adoption, Violence on Women amongst others. Various exposures of his formative years in Kolkata, scavenging in Mayapuri, (Delhi’s scrap yard) and flea markets is an addictive ongoing personal research. He lives and works in New Delhi. "Nothing therefore is categorized as realistic or improvised ; integrated photographic documentations, assembled fragments, structures or painted surfaces. They embody a construct of metaphorical memories oozing out of personalised archives." Gupta has been part of several exhibitions worldwide, including Busan Biennale, S. Korea (2016), Desert Scrap, Nature Morte Berlin (2010), Alexia Goethe Gallery, London (2008).
radenko milak Radenko Milak (born 1980) analyses the role of contemporary image production in the formation of our historical and cultural memory. The Bosnian artist’s painting work centres on questions relating to how visual elements are fixed and stored – both in personal memories and as presented in the media of film and photography. Paintings, drawings, watercolours and – as of recently – animations are the preferred means of expression employed by Radenko Milak. He finds his material in print media and on the internet. In his watercolours and oil paintings, he transforms templates from films, reports or press images into small, intimate artistic scenarios. These, in turn, can trigger memories of facts and stories in the minds of the beholder but at the same time can also be seen as autonomous narratives.
Rana Hamadeh Rana Hamadeh is a visual and performance artist from Lebanon based in The Netherlands. Drawing on a curatorial approach within her artistic practice, she develops longstanding discursive projects that think through the infrastructures of justice, militarism, histories of sanitation and theatre. Her work stems from an extended investigation into specific concepts and terms, treating the field of theory as fiction. In 2011, she initiated her ongoing project, Alien Encounters, which has since been operating as an incubator for a growing series of propositions that aim at complicating the notion of ‘alienness’. Previous solo exhibitions include The Institute of Modern Art (Brisbane, 2016); The Showroom (London, 2016); Nottingham Contemporary (2015); Western Front (Vancouver, 2015); Gallery TPW (Tonoto, 2015) and Kiosk (Ghent, 2014). Group exhibitions include a.o. The Moscow Biennial (2015), The New Museum (New York., 2014); e-flux (New York., 2014), The 8th Liverpool Biennial (2014), Wattis Institute (2014), The Lisson Gallery (2013), Beirut (2013), Witte de With (2013) and the Van Abbemuseum (2008/2011). She graduated with an MFA from the Dutch Art Institute in 2009.  
Rania Stephan Born in Beirut - Lebanon, Rania Stephan graduated in Cinema Studies from Latrobe University Melbourne- Australia and Paris VIII University- France. Her career in film has been long and diverse. She has worked as first assistant with renowned filmmakers, as well as camera person and editor with researchers in Social Sciences and Documentarists (Procession of The Captives, Waiting for Abu Zeid, Catherine or The Body of the Passion, Panoptic). She has directed short and medium length videos and creative documentaries. Anchored in the turbulent reality of her country, her documentaries give a personal perspective to political events. She intertwines raw images with a poetic edge, where chance encounters are captured with compassion and humour. The work on archival material has been an underlying enquiry in her artistic work. Her most recent work investigates forgotten images and sounds that haunt the present. By juxtaposing them with new ones, she explores a diversity of meanings, triggering renewed narratives and emotions. Her artistic work explores how still and moving images collide and collude, multiply and subtract. Approaching images like an editor – part detective, part cinephile, she traces absence and remembrance, that are originary to those images. Her first feature film: The Three Disappearances of Soad Hosni (Artist’s Prize: Sharjah Biennale 10, 2011) received international acclaim and won many prizes.
Rehana Zaman Rehana Zaman is an artist and filmmaker based in London. She works with moving image and performance to examine how social dynamics are produced and performed. Her work speaks to the entanglement of personal experience and social life where intimacy is framed against the hostility of state legislation, surveillance and control. Works often reproduce cinematic conventions and genres, incorporate 3-D animation and engage collaborative processes with researchers, activist groups, members of the public or members of Zaman’s family. A driving question is how social political concerns, in addition to providing content, can structure how an artwork is produced. To this extent, Zaman has sought to apply methods influenced by radical pedagogy, such as the writings of Paulo Freire, and psychosocial dynamics rooted in Black feminist thought. Zaman is a member of the Women of Colour Index Reading group and is frequently invited to devise and deliver workshops, talks and events for community groups and arts organisations. Recent solo exhibitions include Serpentine Projects, London, UK (2018); CCA, Glasgow, UK (2018); and Material Art Fair IV, Mexico City, Mexico (2017). In 2017 Zaman was awarded the prestigious Paul Hamlyn Award for Artists. She was the recipient of a British Council research grant with Museo de Art Carrillo Gil, Mexico City (2015) and a Gasworks International Fellowship to Beirut (2013). Recent screenings and exhibitions include Oberhausen Film Festival (DE), The 18th Seoul International NewMedia Festival (SKR), ICA London (UK) and Aspect/ Ratio, Chicago (US).
Rina Banerjee was born in Calcutta, India in 1963. She grew up in London, England, and eventually moved to New York, NY. She received her Bachelor of Science degree in Polymer Engineering at Case Western University in 1993 and took a job as a polymer research chemist upon graduation. After several years, she left the science profession to receive her Masters in Fine Arts from Yale University in 1995. Banerjee’s work has been exhibited internationally, including but not limited to New York, NY; Paris, France; London, England; Tokyo, Japan; Los Angeles, CA; New Delhi, India; Milan, Italy; Singapore; and notably a solo exhibition at the Smithsonian in Washington, DC in 2013. The artist’s works are also included in many private and public collections such as the Whitney Museum of American Art, New York, NY; San Francisco Museum of Modern Art, San Francisco, CA; Centre George Pompidou, Paris, France; Pennsylvania Academy of Fine Arts, Philadelphia, PA; Queens Museum, Queens, NY; and the Brooklyn Museum, Brooklyn, NY. Rina Banerjee currently lives and works in New York City.
As a native of occupied East Jerusalem, Rula Halawani began her artistic career by registering the difficulties of living under a protracted political conflict. Halawani’s early works capture the many aspects of this reality, from the tedious moments of attempting to perform daily tasks under the restrictions of military occupation to the cyclical onset of violent siege that transforms Palestinian neighbourhoods, towns, and cities into overnight war zones. After several years of photographing the stark imagery that defines the everyday lives of Palestinians, Halawani increasingly focused on the spatial implications of the occupation by documenting its built environments and structures: the meticulous system of architecture that serves as one of its central mechanisms. Recently, she has turned her lens towards the traces of lives and history that can still be found in often overlooked details, whether in the material culture of Palestinian society or the transformed landscapes of her childhood. Born in 1964, Rula Halawani holds a Bachelor of Art degree in Advanced Photography from the University of Saskatchewan in Canada (1989); and a Master of Art degree in Photographic Studies from the University of Westminster, London (2001). Halawani is based in Jerusalem, where, in addition to her artistic practice, she was the founding director and an associate professor of the Photography program at Birzeit University. Halawani’s exhibitions include the Canadian War Museum, Ottawa (2017); Mediterranean Women Forum, Jerez del la Frontera, Cádiz (2017); The Hagop Kevorkian Center, New York (2016), National Museum of Women in the Arts, Washington DC (2016); Ayyam Gallery, Beirut (2016); Ayyam Gallery, 12 Alserkal Avenue, Dubai (2016); Selma Feriani Gallery, London (2013, 2010), amongst others. Halawani’s photographs are housed in the international collections of the Centre Georges Pompidou, Paris; Nadour Collection, Germany; Victoria & Albert Museum, London; The British Museum; London, The Khalid Shoman Foundation, Amman; and the Museum of Fine Arts, Houston, among others.
Santha KV  


Santha KV is a self-taught textile artist who lives and works in Calicut, Kerala. She is a textile teacher and co-founder of TASARA International weaving center. Her works have been exhibited in Germany, Sweden, The Netherlands, and Switzerland, and are held in public and private collections across the world.

Santu Mofokeng
Santu Mofokeng was born in Johannesburg in 1956. His deviation from conventional subject matter includes photographic enquiries into spirituality, an interest that has continued throughout his photographic career and produced the extraordinary, evocative series Chasing Shadows. His explorations of landscape invested with spiritual significance form part of a wider enquiry into space and belonging, the political meaning of landscape. His work, in which he ‘reclaims landscape’, investigates the meaning of landscape in relation to ownership, power and memory. In his recent photographs of urban landscapes, Santu Mofokeng again goes beyond political and social commentary into meditations on ‘existential madness - the absurdities of living’. Noting that ‘billboards have been the medium of communication between the rulers and the denizens of townships since the beginning of the township’, in his images their solicitations cruelly highlight the impoverishment of the citizenry they importune. Mofokeng has been the recipient of numerous awards. In 1991 he won the Ernest Cole Scholarship, to study at the International Centre for Photography in New York. The first Mother Jones Award for Africa in 1992. In 1998 he was the recipient of the Künstlerhaus Worpswede Fellowship and three years later of the DAAD Fellowship, both in Germany. In 2009 he was nominated as a Prince Claus Fund Laureate for Visual Arts. Santu Mofokeng’s first international retrospective opened in May 2011 at the Jeu de Paume Paris and subsequently travelled to Kunsthalle Bern in the latter part of 2011 and Bergen Kunsthall and the Wits Art Museum in Johannesburg in 2012. In may 2013 he participated in the 55th International Art Exhibition – La Biennalle di Venezia on the German Pavilion. In February 2016 it was announced that Mofokeng was the winner of the first International Photography prize established by the Fondazione Fotografia Modena.
© Steve Tanchel, image courtesy Lunetta Bartz, MAKER, Johannesburg
PR Satheesh Born in Kerala, P.R.Satheesh studied at the Government College of Fine Arts, Trivandrum. He is a painter. Satheesh has received the research grant from the National Lalit Kala Akademi and the National Scholarship for Young Artists from the Ministry of Human Resources, Government of India. The artist lives in Kerala with his family and helps them in the running of the farm.
Shambhavi Shambhavi (born 1966) is a painter, printmaker, and installation artist currently based in New Delhi, India. Her artistic practice includes a wide variety of processes and media, but her work is largely non-figurative and focuses on the relationship between man and nature, as well as the social and metaphysical condition of the agricultural worker. She attended the College of Fine Arts and Crafts, Patna in the 1980s. She moved to New Delhi in 1990, earning a Master’s in Fine Arts from Delhi College of Art and she has continued to live and work in the capital for the majority of her Three-decade career, despite frequent travel. Her work has been exhibited as solo shows as well as selected group shows in India, Singapore, Austria (Vienna & Salzburg), South Africa (Durban & Cape Town), Australia (Melbourne & Brisbane), New York, and The Netherlands, where she was associated with the Foundation of Indian Artists, Amsterdam from 1991-2000. Her work was recently added to the collection of the Museum of Modern Art (MoMA), in New York.
Shilpa Gupta Shilpa Gupta (b. 1976, India) lives and works in Mumbai. Shilpa Gupta's work engages with the defining power of social and psychological borders on public life. Her work makes visible the aporias and incommensurabilities in the emerging national public sphere in India, which include gender and class barriers, religious differences, the continued power of repressive state apparatuses, and the seductions of social homogeneity and deceptive ideas of public consensus enabled by emerging mediascapes. Her recent body of work looks at the border as being part of a larger construct, the borderlands where clandestine practices carrying narratives of informal and subversive mobilities persist in the face on increasing state surveillance. She has had solo shows at the Museum voor Moderne Kunst in Arnhem, Contemporary Arts Center in Cincinnati, OK Center for Contemporary Art in Linz, Kiosk in Ghent and Arnolfini in Bristol, Lalitkala in New Delhi, Galleria Continua in San Gimignano, Chemould Prescott Road in Mumbai, Gallerie Yvon Lambert in Paris and at ‘My East is Your West’, organized by Gujral Foundation in Venice in 2015. Gupta has participated in ‘Younger Than Jesus Triennale’ at New Museum, Berlin Biennale, Lyon Biennale Gwangju Biennale, Yokohama Triennale, Liverpool Biennale, and biennales at Moscow, Auckland, Seoul, Havana and Sydney. Her work has been shown in Tate Modern, Centre Pompidou, Solomon R. Guggenheim Museum, Devi Art Foundation, Daimler Chrysler Contemporary, San Francisco Museum of Modern Art, Mori Museum amongst others. In 2018, she showed 'We change each other', an outdoor light installation in her neighbourhood in Mumbai and will have a solo show at Voorlinden Museum, Wassenaar and at Yaarat in Baku and at Parasol Unit in London. Image Credit: Shrutti Garg
Shirin Neshat Shirin Neshat is an Iranian-born artist and filmmaker living in New York. Her work, predominantly in film, video and photography, centres on the varying contrasts between cultures that she inhabits, and the bridges between them.
Shubigi Rao Artist and writer Shubigi Rao makes layered installations of books, etchings, drawings, pseudo-scientific machines, metaphysical puzzles and video. Her interests include archaeology, neuroscience, libraries, archival systems, histories and lies, literature and violence, ecologies and natural history. She is currently visiting libraries and archives globally for ‘Pulp: A Short Biography of the Banished Book’, a decade-long film, book, and art project about the history of book destruction. She lectures part time in art theory and dissertation writing at LASALLE College of the Arts, Singapore, where she obtained her MFA and BFA.

Sister Library Aqui Thami


Aqui Thami is an artist, activist, and academic a member of the Himalayan Janajati Thangmi community who got an Indian passport by being born in Darjeeling. She uses art as a form of medicine to heal wounds caused by colonization and is interested in having conversations and creating spaces for reflection on marginalisation and resilience. A PhD candidate of the Tata Institute of Social Sciences, Aqui now lives and works in Mumbai. Her multi-disciplinary practice is inspired by the culture of DIY through which she has collaborated with young girls, women, and children in Dharavi. She is a founding member of Dharavi Art Room, a safe space to explore, exchange and express ideas through art. She is also one half of the collective Bombay Underground, that celebrates the power of the community by means of experimenting with various public art practices, including zine making and performance art. Sister Library is curated by Aqui, and has traveled across India.

Song Dong Beijing-based Song Dong (b. 1966, Beijing, China) has emerged from a strong Chinese avant-garde performing arts community and developed into a significant contemporary art figure in the progression of Chinese conceptual art. Song graduated from the fine arts department of Capital Normal University in Beijing in 1989. His work, which is often in collaboration with his wife and fellow Chinese artist, Yin Xiuzhen, ranges from performance and video to photography and sculpture. Song explores notions of impermanence and the transience of human endeavor. © Pace Gallery
Sonia Khurana Sonia Khurana is a visual artist based in New Delhi. She works primarily with moving image and performance, her practice includes drawing, text, sound, music, voice, architecture, and installation. Sonia Khurana’s practice deals with interiority and embodiment; and the self in relation to the world. Working with a discourse of power that is deliberately tangential, she attempts to draw critically on references to cultural and gendered identity, and the psycho-social domain. Through deliberately poetic intimations, she tries to persistently explore and re-define the space of the political. Her early training as a painter in the late eighties, at Delhi College of Art, gradually made way for lens-based and performance related practice by the late nineties. In 1997, Sonia Khurana studied at the Royal College of Art, London, for a second Master's degree, assisted by the Inlaks Foundation Grant. Her works are in various leading private collections as well as public collections including Centre Pompidou, Paris, Moon Chow collection, Hong Kong, Dacra Art Center, Florida, Daimler Chrysler collection, Berlin, Lekha and Anupam Poddar collection, Delhi, Spencer Museum of Art, Kansas, Kiran Nadar Museum of Art, India. © Khoj International Artists' Association


Concept Note by Veer Munshi, Curator

During our sojourn on this earth, as we journey through life, we often feel we have come to a blind-end having lost our directions. When you are caught between two conflicting ideologies. Yet there is a place where the right questions can be asked.A Sufi shrine is perhaps where one can hold on to one's sense of self. This middle space has been marginalized over time in Kashmir valley, and one endeavor’s to explore the value and impact of any acts or art activity in conflict zones, particularly in Kashmir which was once a seat of Sufism. Most Kashmiri artists have been in and out of the valley since 1990's. While some belonging to minority Hindu community fled as part of mass exodus and the others, mostly Muslim, stayed back and both suffered in these shrinking cultural spaces, some were born much before the conflict and some within it. Hence the experiences and expressions of the artists are as varied as multiple mediums and practices. However what underlies in all their creative expressions are the crisis regarding the question of identity, migration and displacement. The work comprises a large structure borrowing elements from the local Kashmiri architecture As such the installation also nods towards the secular or Sufi traditions of organized sociality and the everyday acts of resistance/ resilience exhibited by these prone bodies by virtue of their democratization of and laying claim to the sacred in a manner both extremely personal. Give life and return love to the place, embrace it and become strong. It is only through this that we can become a fully evolved human being and blossom in ways that would be more beautiful and fruitful then one could have ever imagined.

Sue Williamson Sue Williamson is one of the pioneering generation of South African artists who began to challenge the apartheid government through their work in the 1970s and 80s. She was born in Lichfield, England, in 1941, and immigrated with her family to South Africa in 1948. Williamson trained as a printmaker at the Art Students League of New York in the 60s. After five years in New York, she returned to South Africa in 1969, and started to make work which addressed social change. Notable from the 80s was A Few South Africans, a series of etched and silkscreened portraits of women heroines of the struggle. Postcards of these portraits were widely distributed, and became recognized as one of the icons of the period. The artist also works in installation, photography and video, and since the coming of democracy to South Africa in 1994, she has continued to focus on such issues as the Truth and Reconciliation Commission, slavery, and immigration in works such as Truth Games, (1999) Messages from the Moat (1997), and Better Lives (2003) . At the same time, she has undertaken art projects around the world, as in her Other Voices, Other Cities series, engaging with themes related to memory and identity formation, and how the citizens of the world’s cities relate to their home. In 2016, she returned to a consideration of the long-term effects of the Truth and Reconciliation Commission, with her dual screen video, It’s a pleasure to meet you, a dual screen dialogue between two young people whose fathers were killed by the apartheid police. The subject: Is it possible to forgive one’s father’s killer? Williamson is represented in many public collections around the world, including the Tate Modern and the Victoria and Albert Museum, London, the Museum of Modern Art in New York, and the Pompidou Centre in Paris.
Sunil + Charan Charan Singh (b. New Delhi) lives and works in New Delhi and London. Singh’s research and practice is informed by HIV/AIDS work and community activism in India. His work revisits his 'pre-English language' life, and is looking at languages, landscapes, legitimacies, at the same time it explores the importance of storytelling and translation. Currently, he is a PhD candidate at the Royal College of Art, London. He was an artist resident at the FIAR, New York, July 2017. His most recent published work is “Delhi: Communities of Belonging”, The New Press 2016; with Sunil Gupta His latest exhibition is at the Contemporary Art Museum Houston, “Dissent and Desire” (catalogue), January—April 2018, and previously exhibited at SepiaEye, New York 2017. He earned a Magnum/Photo London award in 2016 for his portrait series “Kothis, Hijras, Giriyas and Others”, that was also shown in “I am a Camera” at FotoFest Houston and The Photographer’s Gallery, London 2015. This series is featured in the Photoworks Annual, UK 2017. His work is in several private collections. Sunil Gupta (b. New Delhi) is a photographer, artist, educator and curator currently enrolled in a doctoral programme at the University of Westminster. Educated at the Royal College of Art he has been involved with independent photography as a critical practice for many years focusing on race, migration and queer issues. His latest show (with Charan Singh), “Delhi: Communities of Belonging" is at Sepia Eye, New York 2017 and his last book, of the same name was published by The New Press, New York 2016. His work has been seen in many important group shows including "Paris, Bombay, Delhi..." at the Pompidou Centre, Paris 2011 and at the Tate, Liverpool 2014. He is Visiting Professor at UCA, Farnham, and Visiting Tutor at the Royal College of Art, London. He is Lead Curator for the Houston Fotofest 2018. His work is many private and public collections including; George Eastman House (Rochester, USA), Tokyo Metropolitan Museum of Photography, Royal Ontario Museum, Tate Britain, Harvard University and the Museum of Modern Art.
Sunil Janah Sunil Janah (1918 - 2012) documented India’s ethnic and religious diversity, as well as important events in the country’s modern history, both before and immediately after it achieved independence in 1947. In an era when photographers faced many technical disadvantages, he started with a Kodak Box Brownie and did not use a Nikon until the 1980s. His photographs of the famine, published in People’s War, the journal of the Communist Party of India, revealed horrors that had been barely reported in the mainstream press, which was censored by the British authorities. Janah later became known for his candid photographs of Mohandas K. Gandhi, the writer and philosopher Jiddu Krishnamurti and other prominent Indian figures. Sunil Janah grew up in Calcutta, now known as Kolkata, and became interested in photography as a boy; he had no formal training, but learned by working with established photographers in their darkrooms. He became involved in left-wing politics while studying at St. Xavier’s College and Presidency College in Calcutta. P. C. Joshi, the general secretary of the Communist Party of India, persuaded him to abandon his studies and travel with him and the artist Chittoprasad Bhattacharya to document the Bengal famine.
tabita rezaire Tabita Rezaire (b.1989, Paris) is infinity incarnated in this lifetime as a French - of Guyanese and Danish descent - artist and agent of healing. She uses arts and sciences as healing technologies to serve the shift towards heart consciousness. Tabita's work is cross dimentional and aim at reaching and aligning with the soul. Navigating architectures of power - material, mental and spiritual as well as online and offline - her work tackles the pervasive matrix of coloniality and the protocol of energetic misalignments and their affects on the songs of our body-mind-spirits. Tabita’s practices are rooted in the time-spaces where technology and spirituality intersect. Through screen interfaces, her digital healing activism offers substitute readings to dominant narratives decentering occidental authority, while her energy streams remind us to (re)connect and nurture our soul. Tabita is in based Cayenne, French Guyana, with part of her heart in Johannesburg, South Africa. She has a Bachelor in Economics (Paris) and a Master in Artist Moving Image from Central Saint Martins College (London). Tabita is a founding member of the artist group NTU, half of the duo Malaxa, and mother of the energy house SENEB. She has shown her work and performed internationally – New Museum NY, Performa 17, V&A London, National Gallery of Denmark, Berlin Biennale 09, Tate Modern London, Museum of Modern Art Paris, MoCADA NY, The Broad LA among others.
Tania Bruguera (b. 1968, Havana) lives and works in Havana, Cuba and New York, USA. She received a BFA from Escuela de Arte San Alejandro, Havana, an MFA in painting from the Instituto Superior de Arte, Havana, in 1992, and a second MFA in performance from the School of the Art Institute of Chicago in 2001. Bruguera orchestrates performances that question the possibility of political representation, attempting to dissipate lines that separate art and life. Her practice includes researching the ways in which art can be applied to everyday political life; understanding the ability of social affect to transform into political effectiveness. Bruguera is one of the leading political and performance artists of her generation.
Tania Candiani Tania Candiani (born 1974 in Mexico City) is an artist whose work encompasses a variety of media in an exploration of notions of translation. With an extensive experience in Mexico and internationally, Candianis work has been developed in various media and practices that maintain an interest in the complex intersection between language systems phonic, graphic, linguistic, symbolic and technological. In her work there is a nostalgia for the obsolete that seeks to make explicit the discursive contents of artifacts, textual materials, craftsmanship and labor. Thus, through the exploration and research of elements such as sound, words, diagrams or machines, the artist recreates unique translations that enhance the possibilities of language, generating different combinations of meaning and expression. In recent years, she has made interdisciplinary collaborations to combine various contributions in the fields of knowledge and research, consolidating in this way intersections between art, design, architecture, sound and science. Candiani emphasizes her interest in aiming to the poetic encounter between these areas. In this way, her work has consisted on developing large-scale projects where she explores the possibilities of technology, different investigations related to time and sound, as well as mechanisms connected to narration. In her works we can appreciate the materialization of the artist reflections about the technical and scientific subjects as well as our relationship with technology and the history behind them for the production of knowledge. Among her exhibitions stand out: Ascensión Cautiva, Museo del Chopo, Mexico City (2018); Language as Sound, Laznia Centre for Contemporary Arts, Gdansk, Poland (2018); Mundos Alternos: Art and Science Fiction of the Americas, University of California, Riverside, Pacific Standard Time, United States (2017); No Such Thing As Gravity, National Museum of Fine Arts, Taiwan (2017); Codes, Sounds, Signs, National Centre for Contemporary Art, Nizhni Nogorov, Russia (2016); Cromática, Museo de Arte de Sinaloa, Mexico (2017), Ex Convento del Carmen, Mexico (2016) and Museo de Arte Contemporáneo de Oaxaca, Mexico (2015); 4th Triennial Poli/gráfica de San Juan, América Latina y el Caribe, Museo de Ponce, Puerto Rico (2015), amongst others.

Tejal Shah

Tejal Shah (b.1979, Bhilai, India) works across diverse media such as video, photography, performance, sound, installation, drawing and educational workshops. Shah is deeply interested in the intersection of queer theory and non-dualist philosophy and to that end, is currently undertaking a MA in Nalanda Buddhist Philosophy. “When all identity categories cease and we understand that everything exists interdependently, how can this lead to an affective shift away from violence and towards love and cooperation? This question is at the core of my work as an artist.”

Shah initiated the artist home residency program, Balcao in Goa 2013-14, participated in the 1st Anthropocene Campus at the Haus of World Cultures, Berlin, 2014 and the Queer Ecologies workshop and residency at Rost AIR, Norway in 2015. Their works have shown widely in museums, galleries, and film festivals around the world. Recent institutional solo exhibitions include – As it is, Mimosa House, London, 2018; Unbecoming, Kunsthaus Hamburg, curated by Chus Martinez, 2017; Some Kind of Nature, Kunsthaus Rhenania, Cologne, 2015 and at the Gujral Foundation, New Delhi, 2014. Major presentations in recent group shows have been held at the Kunstmuseum Wolfsburg, 2018; Office for Contemporary Art, Oslo, 2016-17; Kadist Art Foundation, San Francisco, 2016; Devi Art Foundation, New Delhi, 2016; Whitechapel Gallery, London, 2014; dOCUMENTA 13, Kassel, 2012; Centre Pompidou, Paris, 2011 and Tate Modern, London, 2006, among others.

Temsuyanger Longkumer Temsuyanger Longkumer is a London-based multimedia artist. Longkumer received his MA Printmaking from Royal College of Art, London in 2003. Previous to this he received his MA (Graphic Arts) at The Maharaja Sayajirao University of Baroda, India and BA (Graphic Arts) from Guwahati University, India. Working in diverse techniques and traditions, including printmaking, sculpture, painting and time-based art, Longkumer’s work explores subjects ranging from the methodical flux of contemporary culture and politics, to ideas conceived serendipitously off seemingly random issues. He has a particular interest in socio cultural traditions in ethnic societies, and the relationship between communities in the microbial world and our own. The fluidity of Longkumer’s themes across multiple materials highlights an enjoyment in exploration and his approach of ‘making the moment’. Selected exhibitions include: Horniman museum 2018, Solo exhibition ‘QUINTETTE’ at Standpoint gallery, London 2018, ‘GODS SUMMIT’ India International Centre, New Delhi, 2017, ‘The Masters|Monoprint’ Bankside Gallery, London 2017, ‘The Masters’ Bankside Gallery, London, 2016, ‘Royal Academy Summer Show’ London, 2014.
Thomas Hirschhorn Thomas Hirschhorn was born in 1957 in Bern (Switzerland). He studied at the Kunstgewerbeschule Zürich from 1978 to 1983 and moved to Paris in 1983, where he has been living since. His work is shown in numerous museums, galleries and exhibitions. With each exhibition in museums, galleries and alternative spaces, or with his works in public space, Thomas Hirschhorn asserts his commitment toward a non-exclusive public.
Vanessa Baird Vanessa Baird (b. 1963, Oslo), studied at the National Academy of Arts, Oslo. Baird is known for her work with watercolours and pastels, ranging from large scale murals and wallpapers to more intimate series. Influenced by dark, haunting and fable-like range of references, her work includes imagery from personal domestic realities as well as cityscapes and architectural elements. Whether surreal or narrative, her intense and detailed drawings are often perceived as a controversial commentary on current political and social affairs. In 2013, her work, Lyset forsvinner - bare vilukker øynene (The light fades - if only we close our eyes) was removed, after associations were made with the Oslo bombings. In November 2017, Baird’s solo exhibition You are something else, at Kunstnernes Hus, Oslo, was hailed by critics and curators as one of the most important in newer Norwegian art history. Her other solo exhibitions are at The National Museum of Art, Oslo; Göteborg Konstmuseum, Gotehnburg; Sørlandets Kunstmuseum, Kristiansand; Stenersenmuseet, Oslo and Lillehammer Kunstmuseum, Lillehammer, among others. Baird’s work is represented at the cultural project space and think-tank “Sentralen” in Oslo (2016) and the new governmental quarters in Oslo (2010-2013). Recent solo exhibitions include those at KODE Art Museum, Bergen; Kunstnernes Hus, Oslo; Lorck Schive Art Award, Trondheim; and OSL contemporary, Oslo. Baird has published three books: Red Herring, Prednisolon, Ciclosporin (2016), Brothers Grimm’s, Ulven og Reven (The Wolf and The Fox), (2013), and You can’t keep a good rabbit down, (2009), and collaborated with Karl Ove Knausgård for illustrating his novel, Omhøsten (Autumn). With her colleague Mette Hellenes, she runs the independent press Brunt hull (Brown hole). Baird is a winner of Norway’s prestigious Lorck Schive Art Award (2015).
veda thozhur In Veda Thozhur Kolleri’s practice, there is an urge to collect traces while exploring her surrounding environment on foot -to develop very specific associations based on the experience of travelling through it. During her MFA programme at Shiv Nadar University, in Dadri (Uttar Pradesh), she began to work with organic remains in various states of degradation and decay - parts of trees that were shed, soil, dried leaves, cut grass, dead plants, animal bones, quills and hives. While these became the medium with which she worked, she was interested in them through the length of their life. Soil and dried leaves were rearranged to make large-scale drawings or patterns on the ground that wind or rain might settle into, attempting an imitation of wind and rain - knowing full well that she is neither. Veda Thozhur Kolleri was born in Chennai and has lived between Chennai, Bangalore, Vadodara and Greater Noida. After completing her Bachelor’s in Anthropology and Psychology at St. Xavier’s College, Mumbai, she continued her undergraduate study in Art and Design at Srishti Institute of Art, Design and Technology, Bangalore. She then moved to New Delhi where she worked on digitally archiving the manuscripts, photographs, sketchbooks and letters of B.C Sanyal, painter and founding member of the Delhi Shilpi Chakra. She has just completed her MFA at Shiv Nadar University. She presented at the Khoj Peers Share Programme in June 2018, and has been selected for the Home Workspace Programme (2018-2019) at Ashkal Alwan in Beirut and will be funded by the Inlaks Shivdasani Foundation for the same.
Vicky Roy Originally from West Bengal, Vicky Roy ran away from his home and started working as a rag picker at the New Delhi Railway Station, before he was rehabilitated by an NGO, Salaam Baalak Trust, Delhi. He studied photography at Triveni Kala Sangam and then apprenticed under Anay Mann. In 2007, he held his first solo exhibition titled, “Street Dream” at India Habitat Centre (New Delhi, India) supported by the British High Commission. In 2008 he was selected by the US-based Maybach Foundation to photo document the reconstruction of the World Trade Center in New York. As part of the program, he undertook a course in documentary photography at the International Center for Photography, New York. His first monograph ‘Home Street Home’ published by the Nazar Foundation (New Delhi, India) released at the second edition of the Delhi Photo Festival (Sept - Oct 2013) and he was awarded the MIT Media Fellowship in 2014. He was a part of the Forbes Asia 30 under 30 list in 2016. His recent solo show “This Scarred Land: New Mountainscape” was exhibited at Vadehra Art Gallery, New Delhi, India.
Vinu VV Vinu VV (b. 1974, Kochi) studied at the R.L.V. College of Fine Arts, Thrippunithura, with a focus on the art of making sculptures. Born into a Dalit community which lives at the fringes of social and communal acceptance, Vinu was influenced by artisanal and ritualistic art practices specific to his community. In his teenage years, he realised the hardships faced by his community and other social and political realities which led him to a serious discourse in art. Vinu practices art as an assertion of himself and as an attempt to engage in fruitful dialogue with the world around him. Most of Vinu’s works are structured around contemporary Dalit interpretations and re-readings of the social reconstruction that took place in the state of Kerala, at the end of 19th and in early 20th century. For him, a writer who undertook an inspiring Dalit re-reading of history through fictional narrative was, C. Ayyappan. For instance, one of Ayyappan’s short stories ends with the question, “What would be the reason our lives have broken apart like a clay pot dropped over the rock?” For Vinu, this sentence exemplified the intensity through which the writer addressed the oppressive structure of the caste system. Such questions had deep resonance in his artistic practice, and helped him identify this as a path that he should follow. Vinu attempts to depict the micro-nuances in the socio-cultural structure to which he belongs. He personally disbelieves in larger narratives that mute the existence of micro realities. His artistic preference is to attempt for possible democratic discourses and to explore aesthetics dissimilar to celebrated art language and practice. His effort is to dialogue with newly emerging subject discourses as a prolonging process striving to allocate the subaltern space and life. From 1998, he has been part of several group art exhibitions throughout the country, and in 2014 he had his first solo show at the Buddha Art Gallery, Fort Kochi. In 2016, Vinu’s work found global recognition when it was exhibited at the 11th edition of the Shanghai Biennale.
Vipin Dhanurdharan
Vivian Caccuri Vivian Caccuri uses sound as the vehicle to cross experiments in sensory perception with issues related to history and social conditioning. Through objects, installations, and performances, her pieces create situations that disorient everyday experience and, by extension, disrupt meanings and narratives seemingly as ingrained as the cognitive structure itself. Vivian has developed projects in many cities in Brazil and abroad, including the Amazon, Accra, Detroit, Helsinki, Vienna, Veneza, Kiev, Valparaíso and more.


Durgabai Vyam and Subhash Vyam are Pardhan Gond artists who studied under the legendary artist Jangarh Singh Shyam. The artist-couple lives in Bhopal, Madhya Pradesh. Durgabai has won acclaim for her paintings and for illustrations for several books. Subhash is an accomplished sculptor and has worked with many media. Together, they illustrated Bhimayana (Navayana Press), India's most popular graphic novel that recounts the life and experiences of Dr. B R Ambedkar.

Waalid Raad Walid Raad is an artist and Professor of Art in The Cooper Union (New York, USA). Raad’s works include The Atlas Group, a fifteen-year project between 1989 and 2004 about the contemporary history of Lebanon, and the ongoing projects Scratching on Things I Could Disavow and Sweet Talk: Commissions (Beirut). His books include The Truth Will Be Known When The Last Witness Is Dead, My Neck Is Thinner Than A Hair, Let’s Be Honest, The Weather Helped, and Scratching on Things I Could Disavow. Raad’s works have been shown in The Institute of Contemporary Art/Boston, Museum of Modern Art (New York), Fondazione Volume! (Rome), Museo MADRE (Napoli), Carré d’Art, Musée d’art contemporain (Nîmes), Louvre (Paris), Documenta 11 and 13 (Kassel, Germany), Kunsthalle Zurich (Switzerland), Whitechapel Gallery (London), Festival d’Automne (Paris), Kunsten Festival des Arts (Brussel), The Venice Biennale (Venice), The Hamburger Bahnhof (Berlin), Homeworks (Beirut) and numerous other museums and venues in Europe, the Middle East, and Americas. His work is also in collections at Kunsthalle Hamburg, Gallery of the Contemporary (Hamburg), FNAC, Center National des Arts Plastiques (Paris), TATE Modern (London), Centre Georges Pompidou (Paris), among others.
William Kentridge William Kentridge was born in Johannesburg, South Africa, in 1955. He attended the University of the Witwatersrand, Johannesburg (1973–76), Johannesburg Art Foundation (1976–78), and studied mime and theater at L’École Internationale de Théâtre Jacques Lecoq, Paris (1981–82). Having witnessed first-hand one of the twentieth century’s most contentious struggles—the dissolution of apartheid—Kentridge brings the ambiguity and subtlety of personal experience to public subjects that are most often framed in narrowly defined terms.


Using film, drawing, sculpture, animation, and performance, he transmutes sobering political events into powerful poetic allegories. In a now-signature technique, Kentridge photographs his charcoal drawings and paper collages over time, recording scenes as they evolve. Working without a script or storyboard, he plots out each animated film, preserving every addition and erasure. Aware of myriad ways in which we construct the world by looking, Kentridge uses stereoscopic viewers and creates optical illusions with anamorphic projection, to extend his drawings-in-time into three dimensions. Kentridge has had major exhibitions at San Francisco Museum of Modern Art (2009); Philadelphia Museum of Art (2008); Moderna Museet, Stockholm, (2007); and the Metropolitan Museum of Art, New York (2004); among others.

© PBS, Art21

YOUNG-HAE CHANG HEAVY INDUSTRIES PRESENTS YOUNG-HAE CHANG HEAVY INDUSTRIES is and Young-hae Chang (Korea) and Marc Voge (USA). Based in Seoul, they have written their signature animated texts set to their own music in 26 languages and shown many of them at some of the major art institutions in the world, including Tate, London, Centre Pompidou, Paris, Whitney Museum and New Museum, New York. They have been in the Venice and São Paulo Biennials, among others, won the Webby Award for Best Art Website, received a Foundation for Contemporary Arts grant, and been Rockefeller Foundation Bellagio Center Creative Arts Fellows. M+, in Hong Kong, has acquired an ensemble of all of their past and future work, YHCHANG.COM/AP2: THE COMPLETE WORKS.
Zanele Muholi Zanele Muholi was born in Umlazi, Durban, in 1972, and lives in Cape Town. She studied photography at the Market Photo Workshop in Newtown, Johannesburg. In 2009 she was the Ida Ely Rubin Artist-in-Residence at the Massachusetts Institute of Technology (MIT). Also in 2009 she received a Fanny Ann Eddy accolade from IRN-Africa for her outstanding contributions to the study of sexuality in Africa, and won Casa Africa and Fondation Blachère awards at Les Rencontres de Bamako biennial of African photography. Recent group exhibitions include Appropriated Landscapes at the Walther Collection, Neu-Ulm/Burlafingen, Germany (11 June - May 2012), and Figures and Fictions: Contemporary South African Photography at the V&A Museum, London (12 April - 17 July 2011).