Abhishek Hazra

Based in Bangalore, Abhishek Hazra’s works traverse a diverse, yet closely interconnected mesh of interests. He uses video and performance that often integrate textual fragments drawn from real and fictional scenarios. Histories of science and an ironic fascination with theoretical approaches are just some of the interests that inform his practice. Increasingly interested in performance while still being quite ambivalent about privileging ‘liveness’, his recent series of lecture performances explore questions around affect, precarity and provincial cosmopolitanism. Abhishek has exhibited and performed widely in various institutions and contexts that include Experiment Marathon, Reykjavik Art Museum, Kunstmuseum Bern, Bose Pacia, New York, MAXXI Museum, Rome, GallerySKE, Bangalore, KHOJ, New Delhi, Kiran Nadar Museum and OCAD, Toronto. He has been a Charles Wallace scholar and an artist-in-residence in various residences including Gasworks, London, Art Omi, New York and SymbioticA, Centre of Excellence in Biological Arts, Perth. Abhishek has also been the recipient of multiple awards including the 2011 Sanskriti Award for Visual Art.


Abir Karmakar

Born in Siliguri in 1977, Abir Karmakar is a painter and installation artist currently living and working in Baroda. He received a Bachelor of Fine Arts in Painting from the Rabindra Bharati University, Calcutta in 2001, and a Masters in Painting from the Faculty of Fine Arts, Maharaja Sayajirao University, Baroda in 2003. Studying the traditions of oil painting and its varying forms of spatial construction, Karmakur’s photorealistic canvas and trompe-l’œil-esque paintings dramatise the space between perception and interpretation. Karmakar was awarded The Harmony Award in 2007 and the prestigious Gold Medal for Painting from the Faculty of Fine Arts, Maharaja Sayajirao University in 2003. Select solo exhibitions include: Within the Walls, Gallery Espace, New Delhi, 2008; In the Old Fashioned Way, Aicon Gallery, London,2007; Interiors, Galerie Heike Curtze, Berlin, 2006; and, from my photo album, The Museum Gallery, Mumbai, 2005. Select group exhibitions include: Have I Ever Opposed You? New Art from India and Pakistan, Faye Fleming & Partner, Geneva, 2010; A New Vanguard: Trends in Contemporary Indian Art, Saffron Art and The Guild Art Gallery, New York, 2009; New Fables: Contemporary Voices, Gandhara Art Gallery, Calcutta, 2009; and, Shifting Shapes – Unstable Signs, Yale University School of Art, New Haven, Connecticut, 2009.



AES+F was originally formed as AES in 1987 by conceptual architects Tatiana Arzamasova and Lev Evzovich with multidisciplinary designer Evgeny Svyatsky. Exhibiting abroad from 1989, the group expanded its personnel and name with the addition of the photographer Vladimir Fridkes in 1995. AES+F’s recent work has developed at the intersection of photography, video and digital technologies, although it is nurtured by a persistent interest in more traditional media — sculpture especially, but also painting, drawing and architecture. Deploying a sophisticated, poetic dialogue among these media, and plumbing the depths of art history and other cultural canons, AES+F’s grand visual narratives explore the values, vices and conflicts of contemporary culture in the global sphere. For more than two decades, works by AES+F have featured in solo exhibitions, signature festivals and biennials of contemporary art around the world, includi ng the Neuer Berliner Kunstverein; ZKM, Karlsruhe; the Moderna Museet, Stockholm; Tate Britain, London; the Vanhaerents Art Collection, Brussels; MACRO Future, Rome; the Museo Thyssen-Bornemisza, Madrid; the State Russian Museum, St Petersburg; and, the Museum of Fine Arts, La Chaux-de-Fonds.


Through a rigorous cultural and historical approach, Achraf Touloub’s drawings and sculpture explore the dynamic between technology and tradition, commonly seen as in contradiction to each other. The artist perceives the relationship between the two as converging through the use of symbolism. His artistic language reconciles the paradox between the increasingly dematerialised technology of contemporary society and metaphysical modes of representation of the past. Touloub graduated from École des Beaux-Arts, Paris. His works are in the collections of the Centre Pompidou, Paris; Deutsche Bank Collection, Frankfurt am Main; and, The Sander Collection, Darmstadt. Recent exhibitions include: CONT’D, Gallery Plan-B, Berlin, 2016; standard condition, Galerie Albert Baronian, 2015; and, Buffering Natives, Galerie Isa, Mumbai, 2015.


Ahmet Öğüt
Ahmet Öğüt is a Turkish artist living and working in Istanbul, Amsterdam and Berlin. His works address complex social issues, including immigration, demographic problems, and the impact of economics on everyday life, with a humour that highlights, rather than masks, the gravity of what they depict. His recent work that featured in the 13th Biennale de Lyon, La vie moderne (2015), took as its subject the invention of cinema by the Lumière brothers in Lyon, and the local textile industry. Interested in the historical treatment of the worker and the society of the spectacle, the film tells a story of technological advance at the sake of companies and their employees left in poverty. Öğüt has had solo exhibitions at Van Abbemuseum, Eindhoven; Chisenhale Gallery, London; The Blackwood Gallery at the University of Toronto; Checkpoint Helsinki; and, Delfina Foundation, London. He has participated in the 19th Biennale of Sydney, 2014; the 8th Shenzhen Sculpture Biennale, 2014; Performa 13, 2013; and has exhibited all over the world, including at Neuer Berliner Kunstverein, Berlin; Palais de Tokyo, Paris; and, the Austrian Museum of Applied Arts / Contemporary Art, Vienna. Öğüt is a founding member of the Silent University, an autonomous knowledge exchange platform led by refugees, asylum seekers and migrants.



Aki Sasamoto is a New York-based, Japanese artist who works with a plethora of media and form, including installation, performance, sculpture, video, sound and dance. She explores the nuances and peculiarities of everyday life by embracing gestures that are simultaneously subtle and powerful. Her installations are careful arrangements of sculpturally altered found objects, and the decisive gestures in her improvisational performances create feedback, responding to sound, objects, and moving bodies within the space. Sasamoto constructs performative narratives through mundane actions that riff off the installation’s sculptural and architectural components. Seemingly personal at first, these stories open out to encompass multiple degrees of view, access, relation, and reflection. Sasamoto’s works have been shown both in performing art and visual art venues in New York and abroad. She has collaborated with artists across visual arts, music, and dance practices, playing multiple roles from dancer, sculptor or director. Sasamoto co-founded Culture Push, a non-profit arts organisation, in which diverse professionals meet through artist-led projects and cross-disciplinary symposia.


Photography, video, sculpture and installation come together in Australian artist Alex Seton’s practice to investigate the complex relationship between form and substance. He is best known for his marble carvings that apply a refined craftsmanship to unexpected forms. Blankets, hoodies, inflatables and national flags are rendered in stone, invoking a somatic paradox. By infusing the rich heritage of classical statuary with contemporary concerns, Seton gives a kind of historical weight and significance to the issues we face today. In his most recent bodies of work, life jackets and poolside toys become potent reminders of Australia’s troubling policies pertaining to asylum seekers; inflatable crowns celebrate the ease of contemporary life, too readily taken for granted. Seton has exhibited extensively across Australia and internationally including the National Gallery of Australia, Canberra; the Australian War Memorial, Canberra; Linden Centre for Contemporary Art, Melbourne; Sullivan+Strumpf, Sydney; and, Artbank, Sydney.


Aleksandra Ska lives and works in Poznań, Poland, where she is the head of the Sculpture and Spatial Art Forms Studio at the College of Art, Szczecin. Through her artistic practice Ska undermines socially and culturally established models of sexual identification, emotional expression, interpersonal relations and expected life roles. She investigates social and cultural patterns of thinking and doing, the repression and perversion of touch in art and everyday life, as well as creating fictionalised threats of global catastrophe. Ska has exhibited broadly all over the world including solo and group exhibitions at the Office d’art Contemporain, Brussels; Center for Contemporary Art Ujazdowski Castle, Warsaw; National Art Museum of China, Beijing; Muzeum Sztuki, Łódź; Zachęta National Gallery of Art, Warszawa; and the National Museum in Poznań .


Aleš Šteger
Aleš Šteger is a celebrated Slovenian poet, essayist, novelist and translator belonging to a defined generation of writers who commenced publishing immediately after the fall of Yugoslavia. His celebrated first collection of poetry, Šahovnice ur (1995) sold out in three weeks after publication, and heralded that new generation of Slovenian artists and writers. Šteger’s books have been translated into 16 languages and his poems appeared in internationally renowned magazines and newspapers such as The New Yorker, Die Zeit, Neue Zürcher Zeitung, TLS and many others. Štegers is a recipient of the Chevalier dans l’ordre des Arts et des Lettres from the French Government, and a member of the Akademie der Künste in Berlin. Among other prizes and honours, the English translation of his own collection of poems, Knjiga reči ( Thee Book of Things, 2010 ) won the Best Translation Book Award for the University of Rochester, New York, and the American Association of Teachers of Slavic and East European Languages Award. Since 2012 he has worked on a performative public writing project called Written on Site.


Alicja Kwade is a Polish, Berlin-based artist with a diverse practice in sculpture, installation, photography and film. Through her work, Kwade occupies herself with the structural properties of everyday objects, from manipulating the mechanical workings of a clock, to creating liquid pools of mirrored glass, she uses common materials of little to no value such as glass, wood and copper and transforms them via elaborate, alchemical operations. Through these physical shifts Kwade attempts to examine (if not resolve) issues of inherently subjective concepts such as space and time, and alter our perception of the world. She received a Bachelor of Fine Art in Sculpture from the Universität der Künste, Berlin in 2005 and has exhibited all over the world in both group and solo exhibitions including at the Whitechapel Gallery, London (upcoming); de Appel arts centre, Amsterdam; TRAFO Centre for Contemporary Art, Szczecin, Poland; Haus am Waldsee, Berlin; and Hamburger Bahnhof, Museum für Gegenwart, Berlin.



Anand (P Sachidanandan) was born in 1936 in Irinjalakuda in Trichur district of Kerala. He is an eminent Malayalam fiction writer and essayist, whose fiction reads like philosophical theses. His works, which do not conform to typical fictional forms, consistently attempt to explore fundamental issues of power, justice and the human condition. A major recurring theme in most of Anand’s works is the way power and its various abusive manifestations inflict torturous pain and suffering on common people, displaying a Kafkaesque streak. A radical humanist, inspired by the ideas of M N Roy in his early years, Anand is ill at ease with all varieties of absolutist tendencies. He has received many awards including the Sahitya Akademi Award and Vayalar Award. The Library of Congress, New Delhi has in its collection many works by (and about) Anand.


Anamika Haksar is a theatre director and film maker based in New Delhi and Mumbai. Her training in theatre studies, first at the National School of Drama, New Delhi and then at the State Institute of Theatre Arts, Moscow in the Soviet post-Brezhnev era, has helped define her practice, in which the creative process begins with an inquiry into the ‘self’ as a vehicle to explore the rich cultural histories and regional identities of India. Over the past two decades, Haksar’s work has transformed theatre in India with her socially and politically centred plays that speak of the injustices and inequalities of the subcontinent. Haksar has found a unique language and expression through a theatrical framework that articulates the relation between form and spirit. Through her work, she emphasises the importance of living oral history, traditions and culture in society, as a way of keeping theatre relevant and ‘alive’. Haksar produced her last play in 2008 and is now working on a film based on the untold dreams and stories of migrants living in Old Delhi.


Avinash Veeraraghavan’s work, which includes graphic books, prints, digital photomontage, multi-channel video installation and most recently, large-scale embroideries, draws upon images of popular culture and street life. Through the use of embroidery in particular, he acknowledges a history and traditional craft practice fading from contemporary society. Constructing intricate, multi-layered images, Veeraraghavan’s works are an enduring exploration of human emotion, and using an ‘aesthetic of excess’ his work contemplate the relationship between constructed realities and truth. The artist seeks to immerse his viewers in an ‘existential crisis’ by re-writing everyday narratives — his work oscillating between reality and fiction, analysis and poetry.


Born in the North Kerala village of Bara in Kasaragod in 1967, Bara Bhaskaran is a contemporary visual artist and a chronicler of subaltern histories based in Kochi. His career as a visual journalist and illustrator for some of India’s prominent newspapers and magazines spans close to three decades. In the 1980s he began illustrating for Desabhimani, the Communist Party of India (Marxist) newspaper, as well as a wide range of magazines including Samkramanam and Alkoottam. In 1989 he moved to New Delhi working for The Times of India, Economic Times, India Today and Indian Literature . After returning to Kerala in 1995 he produced some of his most successful publications including Ente Keralam Rekhakal (My Kerala Chronicles) a visual travelogue; Mother Forest: The Unfinished Story of C K Janu, a biography of tribal leader C K Janu; and Adukkala, a series of illustrated writings on kitchens and the cuisine of Kerala. He has participated in several national and international exhibitions including Everything curated by Bose Krishnamachari, at The Westerhuis, Amsterdam in 2008.



Bharat Sikka worked as a photographer in India before moving to New York to study at the Parsons School of Design, where he earned a Bachelor of Fine Art in photography. Establishing a fine art approach to the field of photography, Sikka documents contemporary visions of India. His portfolio consists of environmental portraits of Indian people, urban landscapes of India and portraits of his family. Since his first exhibition Indian Men at Artists Space, New York, his work has featured in numerous national and international exhibitions, including one at the National Museum, New Delhi in 2008. Sikka has contributed to magazines and publications such as The New York Times, W, The New Yorker, i-D., Vogue, Vogue Homme International, Details and Time Magazine. Sikka now lives and works between Europe and India.



Bob Gramsma is a Swiss/Dutch sculptor and installation artist who lives and works in Zurich. Consistent throughout Gramsma’s career has been an engagement with space and how the body mediates itself through space, time, imagination and thinking, all at once. Since the beginning of the 1990s the artist has been concerned with creating spaces and their inextricable connections to people. His sculptural and installation works raise the question of how space is conceived and how this has an effect on our consciousness. For over 20 years Gramsma has exhibited extensively, including at the Kunst (Zeug) Haus, Rapperswil; Kunstmuseum Sankt Gallen, St.Gallen; Helmhaus, Zurich; Kunsthaus CentrePasquArt Centre d’art, Biel; FRAC Bourgogne, Dijon; Kunstverein Ulm; Kunstverein Ruhr, Essen; Contemporary Art Center, Vilnius; MoMA PS1, New York; Swiss Institute, New York; Vögele Kultur Zentrum, Pfäffikon; Kunstmuseum, Bern; and the Musée d’art contemporain de Lyon. Gramsma has presented major projects as part of Art Public Chur 2016 in Chur; Lokaltermin Schwamendingen, Art in public space in Zurich;  Môtiers 2015 — Art en plein air in Môtiers; the Turtmann Triennale of 2013 in Wallis; and the 2011 Bex & Arts Triennale de sculpture contemporaine en plain air, Bex.


C Bhagyanath’s work often traces journeys through the artist’s everyday life, constantly referencing himself within larger societal structures. Born in Thalassery, Kerala in 1968, Bhagyanath received his Bachelor of Fine Arts (Painting) from the College of Fine Arts, Trivandrum in 1992 before moving to Hyderabad. First studying at the Sarojini Naidu School of Performing Arts, Bhagyanath received a Master of Fine Arts and Communication at the University of Hyderabad in 2006. As a migrant from a rural to an urban space, the focus of Bhagyanath’s work is very often the vastly changing urban environment. New habitations and cityscapes demolished the old, creating a new space between the earth and the sky. Bhagyanath witnesses and interprets the urban paradoxes of contemporary life and is concerned with the impact of social and political events upon the personal. Bhagyanath has exhibited across India including at the Kashi Art Gallery, Kochi; Project 88, Mumbai; The Viewing Room, Mumbai; Mon Art Gallery, Kolkata; Gallery Sumukha, Chennai and Bangalore; Bose Pacia, Kolkata; and, Travancore Palace, New Delhi. He now lives and works in Kerala.


Born in Innsbruck, Austria in 1936, Carl Pruscha studied architecture at the Academy of Fine Arts, Vienna and then postgraduate studies in Urban Design at Harvard University, Massachusetts. Pruscha has had a long and illustrious career in the fields of architecture, urban design and planning, including a period working with the United Nations. He has held positions such as Professor of Planning and Architectural Research, and then Professor Emeritus both at the Academy of Fine Arts, Vienna; Rector of the Collegium of the Academy, Vienna; and, Visiting Scholar at the Getty Institute in Los Angeles. During his period as a Rector and Professor he founded a small architectural studio in Vienna that has produced key projects, several of which were realised for the One World Foundation in Sri Lanka, including the construction of large school buildings following the destruction caused by the 2004 tsunami. This construction was presented as the Austrian contribution to the Architecture Biennale in Venice 2010.

Conceptual artist Eva Schlegel lives and works in Vienna. Born in the Tirol in 1960, she studied at the Academy of Applied Arts, Vienna with Oswald Oberhuber. Her multifaceted practice encompasses photography, paintings, installations, and public projects, and focused on themes of materiality and the ephemeral and how the interaction of the two influences the audience’s perception of space. Schlegel’s many solo and group exhibitions have been hosted throughout Eur ope from Florence to Berlin, New York to Glasgow, Copenhagen to Vienna. Her work has been exhibited in group exhibitions around the world, including the Museum of Contemporary Art in Chicago, the Museum der Moderne in Salzburg, Austrian museum of applied arts, Vienna and the Leopold Museum in Vienna. Transforming office buildings, universities, and public spaces, her numerous public art projects can be found in Copenhagen, Basel, Vienna, Munich, and London. In 2011, Schlegel was Commissioner for the Austrian Pavilion at the 54th Venice Biennale, where she was previously represented as an artist in 1995.


Camille Norment
Camille Norment’s work utilizes sound, installation, light sculptures, drawing, performance and video. These media are united by a preoccupation with the relationship of form and space with the body of the viewer to create an aesthetic and conceptual experience. Norment uses the study of cultural psychoacoustics to frame her work and defines the term as the examination of socio-cultural phenomena through sound and music. Her investigations do not reflect the boundaries of a singular cultural agenda or perspective, but rather the latent, enduring dialogues, intersections, and contradictions of cultures.

Camille performs with her ensemble, the Camille Norment Trio, consisting of electric guitar, Norwegian hardingfele, and the rare glass armonica. Norment participated in the Nordic pavilion, Venice Biennial, 2015 and has her work in several permanent collections, most recently in the Henie Onstad Art Centre. Her music has been broadcast several times in features including NPR in the USA, Norway’s NRK radio, and the BBC.


Carl Pruscha was born in Innsbruck, Austria in 1936. He studied architecture at the Academy of Fine Arts, Vienna and then postgraduate studies in Urban Design at Harvard University, Massachusetts. Pruscha has had a long and illustrious career in the fields of architecture, urban design and planning, including a period working with the United Nations. He has held positions such as Professor of Planning and Architectural Research, and then Professor Emeritus both at the Academy of Fine Arts, Vienna; Rector of the Collegium of the Academy, Vienna; and, Visiting Scholar at the Getty Institute in Los Angeles. During his period as a Rector and Professor he founded a small architectural studio in Vienna that has produced key projects, several of which were realised for the One World Foundation in Sri Lanka, including large school building constructed following the destruction caused by the 2004 tsunami. This construction was presented as the Austrian contribution to the Architecture Biennale in Venice 2010.



Caroline Duchatelet lives and works in Paris and Marseille, France. Her work explores the relationship of light with landscape. She first worked as a sculptor, creating site specific installations and light compositions before starting filming light itself. She captures the dawn, those moments when darkness unfolds into light and the physical world around us emerges. Duchatelet records these in-between, enigmatic moments that act as a precursor to an image. In an image-centric time, the ambiguity and fluidity of form and appearance prompts contemplation over the instant recognition and decoding of images. The repeated filming of daybreak over an extended period of time takes on a ritualistic and meditative practice as the artist sets up her camera and frames a place, recording and re-enacting a slow process of silent transformations. Caroline Duchatelet attended the Cergy Fine Arts School and the Institut des Hautes Études en Arts Plastiques in Paris. She has exhibited mainly in France and Europe and was awarded a fellowship at the Villa Medici in Rome, Italy, in 2009.


Charles Avery was born in Oban and grew up on the island of Mull off the west coast of Scotland. His childhood spent on the some-what isolated island with a population of just under 3,000 people appears to have influenced his artistic project titled The Islanders. Since 2005, Avery has depicted an intricately conceived and ever-evolving body of drawings, paintings, sculpture and text through which he narrates the story of a fictional island. Avery’s project evolves further as he situates his imagined town within the city of Kochi, the existing architecture and social fabric of which acts as a stage for the enacting of Avery ’ s fictional narrative.

Avery’s most recent solo exhibitions were held at: GEM, Den Haag ( 2015); FRAC Ile-de-France Le Plateau Paris, Kunstverein Hanover, EX3 Florence (2010); Parasol Unit London, National Gallery of Modern Art Edinburgh, Museum Boijmans Van Beuningen Rotterdam (2008). He represented Scotland at the 52nd Venice Biennale (2007), and has participated in numerous group exhibitions.



Born in Paris in 1956, Chittrovanu Mazumdar is an Indian artist of Bengali-Indian and French descent. He graduated from the Calcutta Government College of Art & Craft in 1981 and since his first solo exhibition in 1985 has established himself as one of India ’ s leading contemporary artist. First working as a painter through the 1980s and ’90s, Mazumdar transitioned to installation work in the mid to late ’90s. While critics and writers have found it difficult to classify his practice, Mazumdar considers himself an expressionist painter working with bold brushstrokes, layered and abstract imagery and elements of collage.

Selected solo exhibitions include: And what is left unsaid…, Museum of Contemporary Art of Rome, 2014; Ancient Earth, Apparao Galleries, Chennai, 2010; Undated: Night skin, 1×1 Gallery, Dubai, 2009; Various, Royal Academy of Arts, London, 2006; New Paradigms II , Gallery Threshold, New Delhi, 2004; Towards Abstraction, Gallery Threshold, New Delhi, 2005; Bodhi Art, New Delhi, 2005; and Chittrovanu Mazumdar, Bose Pacia Modern, New York, 1997. Mazumdar often collaborated with Seagull Publications to design illustrative books, and with Kolkata-based theatre groups to design performance spaces. The artist currently resides in Kolkata.


Chris Mann is an Australian ‘compositional linguist’ and spoken word artist living and working in New York. Born in 1949, his German-Jewish parents were pioneers in the fields of ethnomusicology and oral literature and these childhood influences, combined with undergraduate studies in Chinese and linguistics at the University of Melbourne have strongly influenced his compositional style. Later interests in the philosophy of language and systems theory also reveal themselves in his music and performance. His work provides a convincing nexus between composition, language and conceptually driven art, demonstrating the potential for synthesis through collaborative form.
Mann has been the recipient of commissions from American composers Kenneth Gaburro (a piece on the history of grammar for Lingua Press, 1979) and John Cage (Eight Whiskus, 1983), as well as from many radio stations, dance companies, and festivals. He has worked as composer-in-residence with primary schools and towns, has been the Australian Broadcasting Corporation Staff Union artist-in-residence, and a consulting artist for the Victorian Government since 1980. Solo performances include those at Paris Autumn, Ars Electronica, Berliner Festspiele, as well as performances with Tom Buckner, John Cage, David Dunn, Gary Hill, Johnny Klimek, Annea Lockwood, Larry Polansky, Robert Rauschenberg. Mann is published by Lovely Music, Tall Poppies, EMF, OO Discs, Frogpeak, Station Hill and collective effort press.


Born in 1978 in Tianjin, China, Dai Xiang graduated from the Oriental Art Department of Nankai University in 2001, and in 2004 studied at the Photography and Digital Studio of the Central Academy of Fine Arts, Beijing. Dai’s artistic creations involve paintings and photography. He borrows from the visual and conceptual frameworks of China’s history of painting to collage large scale photographic images that depict politically charged contemporary subjects. Within his works, Dai portrays the plethora of contemporary society in China, from the Chengguan (urban management of law enforcers), local vendors, real estate developers, government officials to snap-happy tourists, while satirically reimagining historical moments. Recent group exhibitions include The First Odense Photo Biennale, Brandts Art Gallery, Odense, 2016; Vulnerability, EU Embassy, Beijing, 2016; Bizarreland, Augustiner Art Center, Sonderborg, 2016; and, Parabiosis, Chongqing Yangtze River Museum of Contemporary Art, Chongqing, 2016. Dai currently lives and works in Tianjin and Beijing.


dana-awartaniDana Awartani’s intricate, meticulously patterned art is steeped in the study of mathematics and geometry. In philosophical tandem with traditional Islamic arts, Awartani finds a universal language of beauty and harmony within the geometric structure of natural and man-made forms. Through her work, Awartani emphasises the dominance of the art form over the artist. Staying true to traditional craft, process and the rigour of technique, she uses paints made from natural pigments and incorporates illumination that is traditionally used in Arabic calligraphy and Koranic scripture. Awartani draws upon her rich artistic heritage working with a Saudi charity, which preserves and revives dying textile traditions that she has incorporated into her art. Dana Awartani studied art at Central Saint Martins College of Art and Design and subsequently at the Prince’s School of Traditional Arts in London. She currently lives and works in Jeddah.


Daniele Galliano’s impressive paintings in blurry photographic realism depict crowds, figures and landscapes. He is preoccupied with the minutiae of daily existence, capturing ordinary people at work, leisure, in public spaces and during their intimate hours. The artist’s gaze also rests on individuals who populate the crowd as he establishes a relationship between an internal world and the external one. The disturbing visual sensation sometimes felt by the viewer, oscillating between myopia and dream, is reinforced by raw representation of subjects like pornography, or the anxiety of urban life. Daniele Galliano is a self taught artist who has been exhibiting his work since 1996. He has participated in several solo and group shows across Europe and has been a part of the Ninth Havana Biennale and the 53rd Venice Biennale. His works are included in major public and private collections such as the Galleria Civica d’arte Moderna and Contemporanea in Turin, the Galleria Nazionale d’Arte Moderna in Rome and the MART of Trento and Rovereto.


Lazaro’s work centers around dilemmas of identity as he explores a cultural duality. The artist’s work reflects complexities about where he belongs, as he constantly tries to articulate his ideas of ‘home’. Lazaro uses ancient artistic traditions and techniques to present contemporary subjects; his commitment to these traditions extends to the tools and materials of his work. The artist is deeply involved with the process of making his materials like the pigments that are handmade using semi-precious mineral stones, vegetables, insects, and earth deposits such as yellow ochre.

Desmond Lazaro has exhibited solo shows internationally at Ben Brown Fine Arts, London (2012), Beck & Eggeling International Fine Art, Dusseldorf (2010) and at Chemould Prescott Road, Mumbai (2016, 2008). He has also participated in several group exhibitions most recently at Der Baum Ist Ein Baum Ist Ein Baum (The tree is a tree is a tree), Beck & Eggling, Dusseldorf (2015), Gates of the Lord: The Tradition of Krishna Paintings, Curated by Madhuvanti Ghosh, The Art Institute of Chicago, Chicago, USA. (2015) and Aesthetic Bind: Floating World, Curated by Geeta Kapur, Chemould Prescott Road, Mumbai (2014).



Dia Mehta Bhupal was born in Mumbai and now lives and works in Hyderabad, India. A photographer, Bhupal meticulously collects images from magazines and pop culture ephemera as the building blocks for her life-size installations or sets of spaces such as bookstores, supermarkets or airport bathrooms, which she then photographs. The created sets take on an otherworldly painterly effect, giving an aura to their otherwise mundane subjects.

Bhopal ’ s debut solo exhibition was MIND THE GAP in early 2016 at GALLERYSKE, New Delhi. She has exhibited in exhibitions including the Yinchuan Biennale , Chin a, 2016; Guangzhou International Art Fair, Gallery BMB, Mumbai, 2010; Her Work is Never Done , curated by Bose Krishnamachari, Galley BMB, Mumbai, 2010; SPANDAN 4 , Articullate Art Gallery, Mumbai, 2009; Dubai Art Fair, Project 88, 2009; SPANDAN 3 , Articulate Art Gallery, Mumbai, 2008; The Miniature Format Show , Sanstache Art Gallery, Mumbai, 2008; and, Spy , The Museum Gallery, Mumbai, 2007. She received her education at Parsons School of Design, New York from 2003 until 2006, and Central and Saint Martins College of Art an d Design, London between 2002 and 2003.


Endri Dani was born in 1987 in Shkodra, Albania. He lives and works as an artist and graphic designer in Tirana, Albania. Initially training as a painter, this foundation permeates his now predominantly photographic, video and installation practice, which tend to incorporate found objects, artefacts of ordinary life, elements of Albania’s history, and souvenirs of his travels. His recent work has been largely research-oriented, focusing on the predicaments of Albanian life and its underlying paradoxes, particularly as they manifest themselves in material and consumer culture. He is inspired by subjects that have touched him personally, or stories arising from his daily encounters, and attempts to create experientially-derived insights into these subjects, creating a space that slides between reality and fiction. Recent group exhibitions include: Albanie 1207 km est, MuCem, Marseille, 2016; Museum on/off, Centre Pompidou, Paris, 2016; Contemporary Art in Albania and Kosovo, Ludwig Museum, Budapest, 2016; This is not a palm tree, Neurotitan Gallery, Berlin 2016; Bienal Fin Del Mondo, Part 3, Argentina, Part 2, Chile, and Part 1, Uraguai, 2015; and, Coexistence: for a new Adriatic Koine, Fondazione Pino Pascali, Polignano a Mare, 2015. He is also a co -founder of MIZA gallery, an artist-run-gallery in Tirana dedicated to the work of emerging Albanian artists.


E P Unny was born in Palakkad, Kerala. A political cartoonist, he began his career with The Hindu in 1977 and went on to serve for The Sunday Mail and The Economic Times. Before becoming a cartoonist he studied science at the University of Kerala. His first cartoon was published in Shankar’s Weekly in 1973 and since then has been a prolific artist for newspapers and Malayalam literary journals. He has written and drawn many graphic novels including the Kerala travel book Spices and Souls – A doodler’s journey through Kerala. He is now chief political cartoonist at The Indian Express.


Erik van Lieshout’s work is a provocative and engaging observation at the issues that shape contemporary socio-political dialogue – ethnic diversity, marginalised identities and the outsider versus the establishment. Van Lieshout looks at these issues from a radically personal point of view, putting himself into the environment at hand. He is an acute observer of modern-day consumerism and his artwork often captures the glaring contradictions that lie at the heart of it. Van Lieshout’s works are showcased as multi-media installations and include drawing, painting and video. Van Lieshout’s work has been internationally shown, featuring in solo and group exhibitions at Wiels/Contemporary Art Centre, Brussels (opening September 2016); Museum of Modern Art, New York (2016); the Thessaloniki Biennale, Thessaloniki (2015); Manifesta 10, Hermitage, St Petersburg (2014); Moscow Biennale, Moscow (2013); 55th Venice Biennale, Venice (2013) ; Colombo Art Biennale, Colombo (2012); Art Unlimited, Basel (2011); Hammer Museum, Los Angeles (2007) and The Museum Boijmans van Beuningen, Rotterdam (2006).


Éva Magyarósi is a Hungarian artist primarily known for her video work who also has a diverse practice writing short stories, creating public sculptures, animations, photographs, and drawings. Magyarósi often utilises different techniques, as in her glass series, which are amalgams of photography, drawing, and painting. In accordance with the ut pictura poesis principle (‘as is painting so is poetry’) her art is not only a mixture of visual art and narration, but also a manifestation of poetic visualisation and visual poetry. Her works typically tell us about the mysteries of the female soul, the body and its emotions, displaying polyphonic stories of strange dreams and lived experiences. Her works of art can be interpreted as visual diaries, in which the fictive and the personal past are blended, thus contributing to the literary works of different philosophical theories on time and memory. Magyarósi graduated from Moholy-Nagy University of Art and Design, Theoretical Studies, Department of Animation in 2005.


Conceptual artist Eva Schlegel lives and works in Vienna. Born in the Tirol in 1960, she studied at the Academy of Applied Arts, Vienna, with Oswald Oberhuber. Her multifaceted practice encompasses photography, paintings, installations, and public projects, and are focused on themes of materiality and the ephemeral, and how the interaction of the two influences the audience’s perception of space. Schlegel has exhibited her work in several solo and group exhibitions throughout Europe from Florence to Berlin, New York to Glasgow, Copenhagen to Vienna. Her work has been exhibited in group exhibitions around the world, including the Museum of Contemporary Art in Chicago, the Museum der Moderne in Salzburg, Austrian museum of applied arts, Vienna and the Leopold Museum in Vienna. Transforming office buildings, universities, and public spaces, her numerous public art projects can be found in Copenhagen, Basel, Vienna, Munich, and London. In 2011, Schlegel was the Commissioner for the Austrian Pavilion at the 54th Venice Biennale, where she was previously represented as an artist in 1995.


François Mazabraud was born in Limoges, and is a French installation artist living and working in Aubervilliers. His work encompasses a broad spectrum of performances and sculpture relying on information he gleans from roaming and gathering details from the environments where he produces his work. Mazabraud’s work has been exhibited at the 55th Salon de Montrouge, 2010; Centre Pompidou-Metz, 2011; ArtSonje Center Seoul, 2012; De Roussan Gallery Paris, 2014; La Friche Belle de Ma i, Marseille, 2015; and the 12th Biennale of Dakar , 2016. He was resident at the Cité Internationale des Arts Paris, 2010-2011; Art Space Factory, Seoul, 2012; Villa Belleville, Paris, 2013; Astérides La Friche Belle de Mai, Marseille; and, the Pino Pascali Foundation, 2014-2015. He is currently the Laureate of the International Residency Programme of the French Institute, 2016.


The work of G R Iranna depicts pain as an abstract force that is translated visually in bruised textures and razor sharp cutting edges. His painting has always been far removed from an overriding, postmodern logic. Instead, Iranna uses the idealistic, representative and modernist language of Indian contemporary art.

Iranna has received national and international recognition throughout his career. His awards include those at the All India Exhibition in Mysore and the College of Visual Art, New Delhi in 1992-92, the Bansi Parmimu Memorial Committee, New Delhi and the Delhi College of Art in 1993. In the same year, he won the MF Husain and Ram Kumar selection award at `In Search of Talent` by Vadhera Art Gallery, New Delhi. He has also been honoured in 1997 with a National Award from the Lalit Kala Academy and the AIFACS Award, at the show `50 years of Art in Independent India` in New Delhi.


Gabriel Lester
Gabriel Lester was born in Amsterdam in 1972, where he currently lives and works. He works across several disciplines including cinema, music, performance, installation, sculpture and architecture. Atmospheric and perceptual, many of Lester’s works revolve around the nature of the media of our time, transforming space and time through meticulously altering media and forms. Profoundly inspired by cinema from an early age, How to Act (1999-2004) one of Lester’s best known and widely exhibited pieces expands the territory of cinema by bringing it into a discourse of space and time. Continuing such efforts, All Right (2006) a commission for the 2006 Busan Biennale, re -defines filmmaking in the era of new technology and its culture. Many of Lester’s works are architecturally experimental; one notable case being Melancholia in Arcadia (2011), an installation that presents a frozen cinematic moment in an architectural space. Lester has exhibited at many major museums and biennales such as Boijmans van Beuningen, Rotterdam; Gemeentemuseum, Den Haag; Centre Pompidou, Paris; Biennale of Sydney ; Wexner Center for the Arts, Columbus, Ohio; Performa 09 , New York; Artists Space, New York; Moderna Museet, Stockholm; Liverpool Biennial , Liverpool; Stedelijk Museum, Amsterdam; Busan Biennale, Busan; Baltic Triennal , PS1, New York; Witte de With, Rotterdam; Rijksakademi e, Amsterdam; and, the World Expo , Hannover.


Since the early 1970s Gary Hill has worked with a broad range of media – including sculpture, sound, video, installation, performance and particularly language. His longtime work with intermedia continues to explore an array of issues ranging from the physicality of language, synesthesia and perceptual conundrums to ontological space and viewer interactivity. Commonly referred to as a “video artist” he is perhaps much more a “language artist” working within and around the milieu of electronic media. Hill’s work has been the subject of retrospectives and one-person shows, at MIS – Museu da Imageme do Som, São Paulo, Brazil; Fondation Cartier pour l’art contemporain and Centre Pompidou in Paris; Whitney Museum of American Art, New York; San Francisco Museum of Modern Art; Guggenheim Museum SoHo, New York; Museum für Gegenwartskunst, Base l; Museu d ’ Art Contemporani, Barcelona; Kunstmuseum Wolfsburg; and The Museum of Modern Art, New York, among others. Most recently he directed Beethoven’s Fidelio at the Lyon Opera House and at the Edinburgh festival.



Gauri Gill is a photographer who lives and works in New Delhi. Gill’s complex practice has focused on several key themes including the marginalised communities of rural Rajasthan, human displacement and the Indian immigrant experience in America, and the manifestations of class, community, social mobility and behaviour throughout India. Collaboration is an integral part of Gill’s practice, and her most recent series, Fields of Sight with renowned Warli folk artist Rajesh Vangad combines the language of contemporary photography with ancient Warli drawing. As well as studying in India, Gill has received a BFA in Photography at the Parsons School of Design, New York; and, an MFA in Photography at Stanford University, California. Her photographs have been exhibited at several leading international institutions including Whitechapel Gallery, London; Art Gallery of Ontario, Toronto; and Philadelphia Museum of Art, Philadelphia. Her work has been collected by many prominent North American and Indian collections, and in 2011 Gill was awarded the Grange Prize, Canada’s foremost award for photography.



Artist, composer and performer Hanna Tuulikki uses the voice to build worlds out of sound, immersive ethereal spaces that unearth primary relationships with the environment. In a process of revealing ‘ the land encoded in the song, the lore embedded in the land, she weaves connections between oral tradition, ecology, language, and archaeology. Tuulikki’s place-responsive performances combine innovative vocal composition and choreography, with costume and sculptural objects. Her live work is extended by film, installation, drawing, text, and visual-scores. Her largest project to date, Away with the Birds (2010-2015) investigates the mimesis of birds in Scottish Gaelic song, featuring a composition for female vocal ensemble and performed on the Hebridean Isle of Canna, for the 2014 Glasgow Cultural Programme. Other recent exhibitions and performances include SING SIGN: a close duet, Edinburgh Ar t Festival (2015); Women of the Hill, ATLAS Arts (2015); Spheres of Influence II, Reid Gallery, Glasgow School of Art (2014).


Himmat Shah was born in Lothal, Gujarat in 1933. He moved to Bhavnagar as a young boy and studied at Gharshala, a school affiliated to Dakshinamurti, the intellectual and cultural centre of the nationalist renaissance in Gujarat. Himmat was first drawn to art in Gharshala, before continuing his studies at the J J School of Art, Mumbai, and then the Faculty of Fine Arts at M S University, Baroda. In 2016, the Kiran Nadar Museum of Art held Hammer on the Square: a Retrospective (1957-2015), showcasing Shah’s famous terracotta sculptures, bronzes, and drawings, along with lesser-known murals, burnt paper collages and silver paintings. Shah’s solo exhibitions include Drawings and Sculptures, Jehangir Nicholson Art Gallery, Mumbai, 2007; Sculpture, Art Heritage, New Delhi, 2002. Group exhibitions include: Yellow Deity: Contemporary Indian Art, Ludwig Museum, Budapest, 1997; Rediscovering the Roots, Museo de la Nacion, Lima, 1997; Ninth Triennale – Seven Artists from the Collection, National Gallery of Modern Art, New Delhi, 1997; Festival of Indian Art , Moscow, 1996; and, the Biennale de Paris, 1967 and 1970. The artist lives and works in Jaipur.


Javier Pérez was born in Bilbao in 1968. His works are characterised by a certain syncretism, both in the method and materials used. Sculpture, photography, drawing, video and performance are used independently as well as together to create installations where interaction and exploration are essential. With his work, Pérez reveals his inquiries an d reflections on mankind, using a language full of intense metaphor and imbued with a strong symbolism. His work has been exhibited in several galleries and museums, among them: Centre Pompidou, Paris; Museo Guggenheim Bilbao; Pala is de Tokyo, Paris; Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofí a, Madrid; Chapelle du Centre de La Vieille Charité, Marseille; Kunsthalle Wien; Musée d ’ Art Moderne de la Ville de Paris; ARTIUM, Centro – Museo Vasco de Arte Contemporáneo, Vitoria; Carré d ’ Art – Musée d ’ art contemporain, Nimes; Musée d ’ Art Moderne et Contemporain de Strasbourg; and, Musée des Beaux – Arts de Rouen. Javier Pérez lives and works in Barcelona, Spain.


István Csákány was born in 1978 in Sepsiszentgyörgy, Romania. He lives and works in Budapest where he studied at the Hungarian Academy of Fine Arts. Csákány creates sculptural installations from simple building materials of wood and concrete and is concerned with ideas of memory and monumentalism, particularly the role artists can play in the creation of collective memory. His work has been shown at Kasárne Kulturpark, Košice; the Ludwig Museum, Budapest; the Prague Biennale; the Basque Museum Centre of Contemporary Art, Vitoria-Gasteiz; and, the Museum of Contemporary Art, Belgrade. In 2010, he won the Association Internacionale des Critiques d’ArtsPrize for his work Bernsteinzimmer, a finely crafted life-size reconstruction of a private atelier carved completely in wood. His works are in the collections of the Ludwig Museum, Budapest; the Bonnefantenmuseum, Maastricht; the Institute for Contemporary Art, Dunaújváros; and, Musée d’Art Moderne Grand-Duc Jean Museum, Luxembourg.


Jonathan Owen ’ s work involves the systematic transformation of readymade objects and images, using materially reductive processes. He is interested in making by removing, and the controlled collapse of existing objects as a method of production and reactivation. Owen’s “drawings” begin as photographs found in books. He gently removes parts of the original picture which creates a new narrative within the image, whilst leaving a ghostly trace of what was there before. His sculptures work in a similar way. Small found wooden figures, and more recently marble statues and reliefs, are intricately carved to create a disjointed and reduced version of the original form, presenting an unsolvable yet innately intriguing puzzle.

Recent exhibitions include: The Scottish Endarkenment , Dovecot, Edinburgh, 2016; Head to Head , Scottish National Portrait Gallery, Edinburgh, 2015; GENERATION: 25 Years of Contemporary Art in Scotland , Scottish National Gallery, Edinburgh, 2014; Urban / Suburban , City Art Centre, Edinburgh, 2014; Reclaimed: The Second Life of Sculpture, Glasgow International, The Briggait, Glasgow, 2013; and, personal, political, mysterious , The FLAG Art Foundation, New York, USA. Owen was born in Liverpool in 1973 and graduated from Edinburgh College of Art MFA in 2000. He currently lives and works in Edinburgh.


Kabir Mohanty, filmmaker and video artist based in Mumbai, is known for his ambitious film works that also explore the possibilities of installation. It is through this emphasised spatial and temporal ‘conscience’ of the installation that Mohanty’s films and videos acquire intensified meaning. Encouraging alternative visual and auditory experiences, his approach moves beyond the framework to develop an innovative vision for video. His ambitious video project Song for an Ancient Land (2003 – 12) is a four-hour durational experience that stresses both the haptic and the physicality of video. His works play with ideas of distance and proximity, interiority and exteriority, and singularity and communality. Mohanty has participated in many group and solo exhibitions all over the world including Being Singular Plural, Solomon R Guggenheim Museum, 2012; Being Singular Plural: Moving Images from India, KunstHall by Deutsche Bank, Berlin, 2010; The Kernel is a Fact, Galleryske, Bangalore, 2010; and, Video and sound works 2004-2009 Part- I, Chatterjee & Lal Gallery, 2009.


Kalakshetra Manipur is a Manipur-based research theatre group that experiments with ancestral tradition to create contemporary cultural expressions. It was established on 19 July 1969 by Heisnam Kanhailal with the main objective, ‘to study, revive and project the culture of Manipur through the art of theatre and to set highest standards of performance to match not only the best in India but the world theatre scene.’ Kalakshetra believed in the notion of the collective ‘workshop’ as a vital space for research rather than a conventional production company structure. The artists and practitioners of the group endeavour to learn afresh their native lore travelling throughout Manipur to strengthen their creative and cultural knowledge. This research manifests itself in performances that evoke ‘works-in-progress’ rather than resolved or ‘finished’ productions. Over the last forty years, Kalakshetra has produced over twenty plays including Tamnalai (The Haunting Spirit , 1972); Kabuui-Keioiba (Half Man Half Tiger, 1973); Pebeti (1975); Laigi Machasinga ( With the Children of God, 1978); Memoirs of Africa (1986); Migi Sharang (The Human Cage, 1991); Karna (1997); Draupadi (2000); Dakghar of Tagore (2006); and, Uchek Langmeidong ( Langmeidong, the Bird, 2008).


Katarina Zdjelar is an artist based in Rotterdam and Belgrade. Her practice consists of creating film works, sound pieces, book projects — creating different platforms for speculation, knowledge building and exchange. Zdjelar’s films of staged musical performances frequently allegorise broad social or political realities. These works that feature people from a broad spectrum of society including refugees are concerned with the failure to perform the requisite demands of social or aesthetic conventions. Zdjelar’s work has been shown internationally, and consists of over 20 solo and 100 group exhibitions at venues such as: Muzeum Sztuki in Łódź ; Bielefelder Kunstverein, Bielefeld; Artium, Basque Museum-Centre of Contemporary Art, Vitoria-Gasteiz; the Serbian Pavillion at the 53rd Venice Biennial in 2009; Barcelona Museum of Contemporary Art; National Museum of Contemporary Art, Bucharest; De Appel Contemporary Art Centre, Amsterdam; the 5th Marrakech Biennale of 2014; The Power Plant Contemporary Art Gallery, Toronto ; Witte de With Centre for Contemporary Art, Rotterdam; Hardware MedienKunstVerein, Dortmund; Museum of Contemporary Art, Belgrade; Total Museum of Contemporary Art, Seul; and, the Stedelijk, Amsterdam.


Katrina Neiburga is a video and installation artist who is interested in sociology, investigating preconceptions about the nature of things, emotion and the preservation of living memory. Her work is often deeply personal, collecting material in her immediate environment to creating an intimate iconography. Neiburga holds a Masters of Art in Visual Communication from the Art Academy of Latvia, and has studied at the Royal Institute of Art in Stockholm. She has exhibited extensively in group and solo projects since 2000, and has participated in the Sydney, Moscow and Venice biennales. In 2008, she was short-listed for the Ars Fennica Award and received the Purvitis Prize, which is the highest Latvian award in fine arts. She has also worked on set designs for the Latvian National Opera, Stanislavsky Theatre, Perm Opera, Opera de Bastille and elsewhere.

Andris Eglitis has studied fine arts at the Art Academy of Latvia, I E Repin St. Petersburg Institute of Art, as well as the Hoger Instituut Voor Schone Kunsten, Gent, Belgium. Although predominantly working as a painter, he has also completed sculptural projects, as well as innovative architectural installations usually built as narrative prototypes for his figurative paintings. Most of Eglitis’ works reveal his interest in duality of the materiality and non-materiality of art as parallel with the duality of human endeavour: how people engage in all sorts of practical, material affairs and at the same time live a spiritual life. He has participated in many exhibitions since 2000 and has had numerous solo and group exhibitions in Latvia, Belgium, Germany, Poland, Austria, France among other countries.

Katrina Neiburga and Andris Eglitis first collaborated together on their work ARMPIT (2015) created for the Latvian pavilion at the 56th Venice Biennale in 2015.

Khaled Sabsabi’s process involves working across art mediums, geographical borders and cultures to create immersive and engaging art experiences. He see’s art as an effective tool to communicate with people, through a familiar language. Sabsabi makes work that questions; rationales and complexities of nationhood, identity and change. His practice speaks to audiences in ways that enlighten our understanding of universal dynamics which is more complex and ultimately more unknowable than our own selves.
Khaled was awarded the Helen Lempriere Travelling Art Scholarship in 2010, 60th Blake Prize in 2011, MCG Basil Sellers fellowship in 2014, the Fishers Ghost Prize in 2014 and the Western Sydney ARTS NSW Fellowship 2015. He is represented by Milani Gallery, Brisbane and has 14 works in private, national and international collections. He has also participated in the 3rd Kochi Biennale, 1st Yinchuan Biennale, 5th Marrakech Biennale, 18th Biennale of Sydney, 9th Shanghai Biennale and Sharjah Biennial 11.


K R Sunil was born in the town of Kodungallur in Kerala. Since early childhood, he has been fascinated by the ancient lore of Muziris and its mighty presence in the history of Kerala. Working with painting, sculpture and photography, Sunil is interested in capturing the details and junctures of everyday life. He attempts to understand and experience the moments and lives of those he encounters on his travels and journeys, particularly in relation to place and history. As a student at the Fine Arts College in Thrissur, Kerala, he won the 1997 Lalitkala Akademi Award and after his graduation has participated in several exhibitions across India. In 2016, Sunil was awarded the Habitat Photosphere Award from The India Habitat Centre for a collection of photographs of ponds and bodies of water found in and around Kodungalloor.


Lantian Xie
Lantian Xie, born in 1988 in Dubai, makes images about belonging and cosmopolitanism. He is particularly interested in general trading, hotel lobbies, cafeteria menus, and quotidian magic. Xie holds an MFA from the School of the Art Institute of Chicago and is editor-at-large at Dubai-based publishing practice THE STATE.



Born in 1954 in Rochester, New York, Leighton Pierce is the former Chair of the Film & Video Department and former Acting Dean of Art and Design at the Pratt Institute, New York, and current Dean of the School of Film/Video at CalArts. He is one of America ’ s major avant-garde filmmakers and for over 30 years has explored memory and perception in a series of stunningly shot, impressionistic short films and videos that exploit cinematic space and time, and expand the interplay between sound and image. His work has been exhibited in major art museums and film festivals including the Whitney Biennial and the San Francisco, New York and Rotterdam Film Festivals. He has been the subject of retrospectives at Lincoln Center, New York; the Pompidou Center, Paris; the Art Institute of Chicago; and, the Lisboa Biennale of Contemporary Art, among others. Pierce has received fellowships from the Rockefeller Foundation, the Guggenheim Foundation, the National Endowment for the Arts and The Camargo Foundation.


Lisa Reihana graduated with a Bachelor in Fine Arts from Elam School of Fine Arts, University of Auckland, New Zealand, in 1987, and completed a Masters of Design from the School of Visual Art and Design, Unitec, Auckland in 2014. Of Ngāpuhi and Ngāti Hine Ngāi Tū descent, Reihana ‘s multi-disciplinary practice explores how identity and history are represented, and how these intersect with concepts of place and community. Reihana ’ s work has featured in significant international exhibitions including those at the Museum van Loon, Amsterdam; the Samstag Museum, Adelaide; the Campbell town Arts Centre, Western Australia; the Havana Biennale , 2009; the Brooklyn Museum; the Liverpool Biennale , 2004; the Asia Society Museum, New York; the Noumea Biennale , 2002; the 12th Biennale of Sydney , 2000; and, the Asia Pacific Triennial of Contemporary Art , Brisbane, 2003 and 1996. Reihana was made an Arts Laureate by the New Zealand Arts Foundation in 2014. She was shortlisted for the Signature Art Prize at the Singapore Art Museum for in Pursuit of Venus (2014), as well as the Double Take Anne Landa Award, Art Gallery of New South Wales in 2009 and the Walters Prize at the Auckland Art Gallery Toi o Tāmaki in 2008, both for Digital Marae. Reihana lives and works in Auckland.


Liu Wei was born in 1972, and lives and works in Beijing, China. He explores 21st century socio-political concepts such as the contradictions of contemporary society and the transformation of developing cities and the urban landscape. In many of his sculptural and installation works, he uses found materials that are re-contextualised to draw new meanings out of the materials from which they are made. He frequently uses geometric and architectural forms in his work as a reference to his urban surroundings.

Wei’s exhibition history includes solo projects at the PLATEAU, Samsung Museum of Art, Seoul; Ullens Center for Contemporary Art, Beijing; Museum Boijmans Van Beuningen, Rotterdam, Netherlands; and, Minsheng Art Museum, Shanghai. He has participated in several international biennials and notable group exhibitions including What About Art? Contemporary Art from China, Qatar Museum, Doha, 2016; Bentu, Chinese Artists at a time of Turbulence and Transformation, Fondation Louis Vuitton, Paris, 2016; La vie Moderne, La Biennale de Lyon, 2015; Re:emerge: Towards a New Cultural Cartography, Sharjah Biennial 11, 2013; 4th Guangzhou Triennial, China, 2012; Rehearsal, Shanghai Biennale, 2010; and, the 51st Venice Biennale, 2005.


Latifa Echakhch was born in 1974 in El Khnansa, Morocco, grew up in France and now lives in Fully, Switzerland. Echakhch’s installation and sculptural works are characterised by simple and bold gestures and materials. She interrogates themes and issues ranging from individual and cultural identity, to personal and collective histories, and sociopolitical contexts such as current international migration and humanitarian conditions. Echakhch has presented solo exhibitions at the Protocinema, Istanbul; Portikus, Frankfurt am Main; Kunsthaus, Zurich; Museum Haus Esters, Kunstmuseen, Krefeld; Museu d’Art Contemporani de Barcelona; and Tate Modern, London. Her work has been featured in thematic exhibitions internationally, such as EMERGE SELECTIONS 2016, Museum of Contemporary Art Chicago, 2016; Nel mezzo del mezzo, Palazzo Riso, Palermo; DECORUM, Museé d’Art Moderne, Paris; It is what it is. Or is it?, Contemporary Arts Museum, Houston, 2012; ILLUMInations, Venice Biennale, Venice, 2011; 21st Century: Art in the First Decade, Queensland Art Gallery, Gallery of Modern Art, Brisbane, 2010; Flow, Studio Museum Harlem, New York, 2008; and, Global Feminisms, Brooklyn Museum, New York and Davis Museum and Cultural Center, Wellesley, Massachusetts, 2007.


Lundahl & Seitl om teknik som dialog
Christer Lundahl and Martina Seitl formed Lundahl & Seitl in 2003, a trans-disciplinary artistic collaboration which includes curatorial projects, large-scale installations, workshops and seminars, often in collaboration with writers, architects, dancers, choreographers and actors, musicians and scientists. Attempting to break down perceived barriers between ‘doing and viewing’, Lundahl & Seitl works investigate history, time, space and human perception. They use immaterial media such as instruction, touch, movement and voice, orchestrated or choreographed with three-dimensional sound technology to create immense environments of sensory deprivation and stimulation. Their work has been presented internationally in museums, galleries, art fairs, science conferences, theatres, and dance contexts, in festivals and in site-specific public spaces. In 2009 the duo were recipients of the Stockholm Art Prize for their work, Symphony of a Missing Room (2011) exhibited at the National Museum of Sweden and commissioned by Weld. They were awarded the Birgit Cullberg Stipend in 2010 as well as both the Montblanc Young Directors Award and Edstrandska Stipend for Contemporary Art in 2011.



Mansi Bhatt’s is a photographer and performance artist from Mumbai. Using prosthetics and theatrical makeup, Bhatt creates strange and grotesque characters, partly from reality, partly fictitious, that mimic burned-out celebrities, pop-culture super heroes, as well as critique Indian art world insiders. In costume, Bhatt performs what are usually an extraordinarily elaborate series of public performances or tableaus, creating scenes and vignettes for larger narratives, which are documented with photography. Bhatt is interested in questions of territory and belonging, and the negotiation of boundaries through travel and movement of people. For Bulldozer Yatra of 2012, Bhatt journeyed on a bulldozer from Borivali to Azad Maidan in Mumbai, digging a hole in the earth where she threw herself and then invited the audience to throw the excavated soil back onto her, leaving her body bruised and bleeding. Bhatt has exhibited and taken part in various residencies across India and the United States, including Mattress Factory, Pittsburgh and The Watermill Centre, New York.


Martin Walde won international recognition through his participation in Catherine David’s 1997 documenta X and has since succeeded in creating innovative projects that involve exhibition viewers in the installation process. His works riff on the concept of sculpture and viewing sculpture as a performance in space — that sculpture can also be regarded as behaviour in space. His works are no longer fixed in a gallery, but are instead mobile, multifunctional, and free of context as well as naturally interactive. Thus, on very different levels — aesthetic, material, and intellectual — Walde succeeds in shedding light on various issues associated with the production of art. By making room for coincidence and the viewer’s own will, the artist allows them to playfully participate in his energetic work processes. Walde has exhibited extensively including at: Galerie Krinzinger, Wien; Galeria Distrito Cu4tro, Madrid; Kunstha us Baselland, Basel; Salzburger Kunstverein, Salzburg; Fuchu Art Museum, Tokyo; and, Lomard Freid Gallery, New York.


Mikhail Karikis is a Greek/British artist who lives in London. He studied architecture in London at the Bartlett School (UCL), and completed his Masters of Art and Doctor of Philosophy at the Slade School of Art, London. His work embraces a variety of media to create immersive audio-visual installations and performances which emerge from his long-standing investigation of the voice as a sculptural material and a socio-political agent. He often collaborates with communities whose lives challenge the mainstream, highlighting alternative modes of human existence and action.

Recently Karikis was selected for the new edition of the prestigious touring British Art Show 8, 2015- 2017. His works have exhibited widely in museums and international biennials including 5th Thessaloniki Biennale, 2015; 19th Biennale of Sydney, 2014; Mediacity Seoul/SeMA Biennale, Seoul, 2014; 2nd Aichi Triennale, Nagoya, 2013; Manifesta 9, Ghenk, 2012; Danish Pavilion 54th Venice Biennale, 2011. His sound works have been published world-wide by Bjork, DJ Spooky and on Sub Rosa Records.


Miller Puckette is an American mathematician and Associate Director of the Center for Research in Computing and the Arts as well as a professor of music at the University of California, San Diego, where he has been since 1994. Puckette is famous within the world of music for developing Max/Msp and Pure Data. Max is a graphical development environment programming language for music and multimedia synthesis, whic h he developed while working at IRCAM (the Institute for Research and Coordination in Acoustics/Music, Paris) in the late 1980s. Pure Data (Pd), is a real-time performing platform for audio, video and graphical programming language for the creation of interactive computer music and multimedia works, written in the 1990s with input from many others in the computer music and free software communities.


Naiza Khan captures the day to day experience of living and working in Karachi, where everyday life is affected by natural disaster, urban migration, displacement and political struggle. Through her work the artist explores ideas of movement and boundaries, the breaching of borders, as well as the perceptual and textural building of terrain. Khan ’ s practice includes paintings, sculpture, wall drawings and video. Khan trained at the Ruskin School of Art, University of Oxford. Her work has been exhibited widely, including the Shanghai Biennale, (2012); Hanging Fire: Contemporary Art from Pakistan, Asia Society, New York, (2009); her solo, museum exhibition Karachi Elegies at the Broad Museum, Michigan (2013). Khan is a founding member and former Coordinator of the Vasl Artists’ Collective and a recipient of the Prince Claus Award, 2013. She is currently Senior Advisor at the Visual Studies Department, Karachi University, and works between London and Karachi.


Nicola Durvasula was born on the island of Jersey in the British Isles and received a Diplome National Supérieur D’expression Plastique from the Ecole des Beaux Arts du Havre, France, and an M in Fine Art from the Kent Institute of Art and Design. She has lived and worked in many places across the world, including a long period in India where she was a lecturer in Fine Arts at Sarojini Naidu School, University of Hyderabad and closely involved with the local arts community. Her fine drawings, paintings and sculptures incorporate a number of influences including Japanese calligraphy and Indian miniature sculpture as well as the traditions of musical performance, including the graphic notations of experimental composers such as John Cage. Durvasula has exhibited extensively in India including in Hyderabad, Bangalore, Mumbai and New Delhi and was included in survey exhibitions of Indian art outside the country and is considered an important part of the contemporary art community in India.

John Tilbury is a British pianist known for playing both improvisation and repertoire music, and a member of the free improvisation group AMM, which he joined in 1979. With fellow AMM members Keith Rowe and Eddie Prévost, Tilbury went onto record more than twenty albums exploring music beyond the boundaries of conventional jazz, as part of a larger movement that helped spawn European free jazz and free improvisation. Tilbury is an unrivalled interpreter of 20th Century composers such as Morton Feldman, John Cage, Christian Wolff and Howard Skempton, as well as adaptations of the radio plays of Samuel Beckett. His book Cornelius Cardew – A life unfinished (2008) is considered the definitive text on experimental composer Cardew, with whom Tilbury had a long and close association.


Graphic artist, designer, activist and social documentarian, Orijit Sen studied at the National Institute of Design Ahmedabad, where he was exposed to the world of graphic novels, in particular books by Art Spiegelman and Robert Crumb. His first publication, River of Stories (1994), is considered the first graphic novel in India. The book tells the story of the environmental, social and political issues surrounding the construction of the controversial Narmada dam. Sen’s interest also lies in engaging with local communities and documenting their oral histories.
Orijit Sen co-founded the Pao Collective of graphic novelists and was award ed the 2nd Comic Con India Awards in 2012 for PAO: The Anthology Of Comics 1. The artists ’ practice extends beyond the boundaries of a book to include large-scale murals, textile design and multimedia projects. His diverse works have been exhibited extensively, most recently at the Victoria and Albert Museum.


Ouyang Jianghe is one of the most important of contemporary Chinese language poets. Jianghe is part of the ‘third generation’ of Chinese poets who began writing prominently towards the end of the 1980s and define their practice through an investigation into formal literary concerns. His poetry is based on patient reflection versus impulsive emotion and is concerned with dissecting the layers of meaning of everyday life, rather than grand narratives of history or culture. Defying the structure of conventional grammar and style, Jianghe devotes himself to language and aesthetics, resulting in an imagery that is abstract.

Jianghe is also a critic of art, music and literature; and is the president of the literary magazine Jintin . He has published more than 150 poems and 30 essays in Chinese literary magazines. His poems have been translated into several languages and published in various publications, including the Times Literary Supplement. Double Shadows, his first collection of poems in English (translated by Austin Woerner) was published in 2012. He lives and works in Beijing.


Praneet Soi divides his time between Amsterdam and Kolkata, and this oscillatory movement impacts his practice, as over time Soi identifies patterns that emerge from an investigation of his extended social and economic landscape. He has been documenting small-scale factories and one-room workshops in Kumartuli, North Kolkata since 2008. Through the inherent politics of labour and economic transition that manifests itself in the series of works titled Notes on Labor, Soi delves into a pluralistic representation of this complex, historic and yet relevant site through a series of slide- shows, miniature paintings and video. Soi’s works reside in collections in Europe and India, including the permanent collection of the Van Abbe Museum in Eindhoven, Netherlands and the Kiran Nadar Museum of Art, New Delhi, India. Selected exhibitions include Srinagar at The Van Abbe Museum (2016); 13th Istanbul Biennale (2013), Manifesta 9 (2012); The Indian Pavillion, 54th La Biennale di Venezia and 7th Gwangju Biennale (2008). In 2014 Soi was granted a Smithsonian artist research fellowship, at the Freer and Sackler Galleries at the Smithsonian Museum in Washington D C.



Born in 1970 in Mumbai, Padmini Chettur began training in the traditional Indian dance of Bharatanatyam. Between the years 1991 and 2001 she worked with choreographer Chandralekha, performing in the productions Lilavati, Prana, Angika, Sri, Bhinna Pravaha, Yantra, Mahakaal and Sharira. Commencing her own artistic practice as a choreographer and researcher in 1994, Chettur’s work departs from the classical repertoire of gestures, postures and mythical tales, to shape an alternative, no less strict, but condensed and abstract style of performance. Looking to detach herself from her classical formative years, she resists the temptation to seduce the audience, choosing instead, to convince. At the core of Chettur’s work is resistance. It unveils a taut vision that takes the contemporary dance of India, from what it is and how it should look, to radical dimensions. She lives and works in Chennai.



A mural painter and cartoonist from Kerala, P K Sadanandan is known for his elaborate works that adorn many public and private spaces across the world. He is also dedicated to reviving and restoring mural painting practices in all its forms. He has evolved a style that combines local teachings and practices of Kerala with those from across India, particularly drawing inspiration from the ancient Ajanta and Ellora cave paintings of Maharashtra. The predominant blue in his murals is a notable deviation from the traditional Kerala mural style, where red is the principal colour. His images feature icons and narratives inspired by mythology, encased within the natural elements and organic world.

Sadanandan completed a five-year Diploma in Mural Painting from the Institute of Mural Painting at Guruvayoor, Kerala, and followed it up with a Masters of Fine Arts from Karnataka State Open University, Mysore. From 1993 until 1998, Sadanandan was the head painter, creating 3,400 square feet of murals during the renovation at Sree Padmanabha Temple In Trivandrum, Kerala.This is one of many mural restoration projects Sadanandan has spearheaded. Since 1989, he has participated in several solo and group exhibitions worldwide and regularly creates illustrations and cartoons for books and magazines.


Pawel Althamer was born in 1967 in Warsaw, where he lives and works. He is a sculptor, installation and video artist who attended the Academy of Fine Arts, Warsaw, from 1988 – 93, studying alongside his frequent collaborator Artur Zmijewski. Often collaborating with other artists, he has worked with the Nowolipie Group, an organisation in Warsaw for adults with mental or physical disabilities, to whom Althamer has been teaching ceramics since the early 1990s. He was part of the so -called Kowalski Studio at the Warsaw Academy of Fine Arts, along with many of today’s leading generation of Polish artists, including Żmijewski and Katarzyna Kozyra. His work has been the subject of solo exhibitions at the Westfälischer Kunstverein, Münster, 2003; Foksal Gallery Foundation, Warsaw, 2004; Zacheta National Gallery of Art, Warsaw, 2005; Centre Pompidou, Paris, 2006; Fondazione Nic ola Trussard, 2007; and, Secession, Vienna, 2009, among others. His work has been exhibited in a number of major international group shows including the 56th International la Biennale di Venezia , 2013; 8th Gwangju Biennial, 2010; Skulptur Projekte Münster , 2007; 4th Berlin Biennial, 2006; and, the 9th Istanbul Biennial, 2005.


Trained as a composer and visual artist, Pedro Gómez-Egaña’s practice expands across performance, sculpture, video, installation, and sound. Central to his artistic approach is the performative aspect of sculpture, which he presents in the form of animated objects or as seemingly haunted environments. Gómez-Egaña creates carefully staged scenarios and built spaces where objects and machines are transformed through audience participation. His works refer to historical and cultural intersections between technology and temporality, while presenting the powerful and uncanny character of structures and machines.

Gómez-Egaña has trained at Goldsmiths College and the Bergen Academy of Art and Design. He completed his doctoral studies at the Norwegian Fellowship Programme in 2012. His sculptures, installations and performance-based works have been presented at Performa 13, New York, (2013); Kunsthalle Mulhouse, France, (2013); Brussels Biennial, (2008) CCMOCA Buenos Aires, (2009); Mana Contemporary, New Jersey, (2015); Bergen Triennial, Norway, (2013); Marrakech Biennial, (2009) and Colomboscope, Sri Lanka (2015). The artist lives and works in Norway and Denmark.


PRABHAVATHY-MEPPAYIL-1-1Born in Bangalore in 1965, Prabhavathi Meppayil’s art practice draws on traditional craft and artisanal practices. The daughter of a goldsmith, her work is process-oriented and seeks the essence of materials and tools as well as simple forms, colours and shapes. Lines are a leitmotiv in Meppayil’s work and corresponding with minimalist principles, she expresses the necessity of a work that comes back to the pureness and a fundamental quality of the material and the space that encompasses it. Her pieces combine artisan practice and modernist concerns. She leaves markings and lines as imprints upon walls and white surfaces with a range of tools — the tiny indents depending on the artist’s particular inflection. These notches of lines and intermissions repeat and reoccur at close intervals on an immaculate gesso panel that follow the shape of the support. Recent exhibitions include The Encyclopaedic Palace, 55th Venice Biennale, curated by Massimiliano Gioni, Venice in 2013, nine seventeen at both the American Academy, Rome and Pace, London, 2014.


A multi-media artist living and working in Glasgow, Scotland, Rachel Maclean uses film and photography to create sickly, candy-coloured worlds filled with ghoulish characters. Played by Maclean herself, these characters come from nightmarish fantasies inspired by fairy tales, horror films and TV talent shows, offering a critique of our contemporary selfie-saturated culture. Maclean explores the commercialisation (and sexualisation) of childhood, and a corresponding infantilism in adult behaviour as her work slips in and out of historical references of imagined futures. Maclean recently exhibited in the touring British Art Show 8, of 2015; OK, You’ve Had Your Fun, Casino Luxembourg, 2015; Please, Sir … , Rowing, London, 2014; The Weepers, Comar, Mull, 2014; and, Happy & Glorious, CCA, Glasgow, 2014. Maclean was nominated for the Film London Jarman Award in 2013 and won Glasgow Film Festivals Margaret Tait Award in 2013, and will be representing Scotland at the Venice Biennale 2017.


Rajeev Thakker is a practicing architect, artist and urban curator living and working in Mumbai. He obtained his BArch from Syracuse University in 1994 and his MSAAD from Columbia Universities GSAPP in 1998. He has worked for firms such as S.O.M. and the Arnell Group in NYC. Since 2000, he has been actively teaching design & theory at several institutions including KRVIA, NMIMS, Raffles Institute and ISDI/Parsons Mumbai and guest critic & lecturer at Parsons School of Design, Rensallaer Polytecnic Institute in Rochester, N.Y. , the A.B.A.C. School of Architecture in Bangkok, and Columbia Universities GSAPP in NYC.

In 2003, he started his own practice, a-RT, which takes a keen interest in engaging the city & its various conditions through cartographic, architectural & other creative processes. Over the past 12 years, a-RT has designed and realised several projects in the Hospitality, Retail, Commercial, Residential and Art space segments. He currently curates Studio X Mumbai, which focuses on creating a collaborative platform for engaging in research, exhibitions, debates & various other programs regarding the future of cities. His artworks have been part of a group show at the Museum Gallery in Mumbai in 2010. His design and theory works have been published in leading Architecture magazines such as IAB and DOMUS India as well academic journals doing research on issues involving architecture and urban development



Raúl Zurita is a Chilean poet who was born in Santiago in 1950 and has published more than 20 books of poetry. Zurita finished his studies in civil engineering and was arrested in 1973, the day of Pinochet ’ s military coup. In 1979, the year he published Purgatorio, Zurita, along with write rs and artists Fernando Balcells, Diamela Eltit, Lotty Rosenfeld and Juan Castillo, founded CADA (Colectivo de Acciones de Arte), an art action group that created provocative public art performances against Pinochet’s military dictatorship in Chile. Besides the numerous books he has authored, Zurita is also known for the skywritten ‘poetry-action’ in 1982, where five aeroplanes wrote his poem ‘La Vida Nueva’ (‘The New Life’) over New York City. In 1992, Zurita inscribed in the sands of the Atacama desert across three kilometres the words ‘ni pena ni miedo’ (‘neither pain nor fear’).

Zurita has been awarded the Pablo Neruda Prize in 1998, the Chilean National Literature Prize in 2000, a Guggenheim Fellowshop in 1984, and the Casa de las Américas Prize for Poetry in 2006, among others.


Ravi Agarwal is an artist, environmental activist, writer and curator based in New Delhi. Agarwal’s early training as an engineer laid the foundations of his early work in the documentary oeuvre, which encompassed themes of nature, labour, and the street. Using photography, video, as well as public art interventions, his interests have evolved to span questions around ecology and society, and urban space. His work has been shown internationally, including at Documenta XI and the Sharjah Biennial, 2013, and his work has been written about in publications such as the recent Art Ecology Now (Thames and Hudson, 2014) and the upcoming Decolonizing Nature, Contemporary Art and Politics of Ecology, (Sternberg Press, 2016). Agarwal is the founder of the Indian environmental NGO Toxics Link which has pioneered research on waste and chemicals management, and campaigns on conserving natural environment in New Delhi. He serves on several high-level government policy and standards committees and writes extensively on sustainability issues in journals and books. In 2008 he was awarded the United Nations Special Recognition Award for Chemical Safety.



Born in 1980 in New Delhi, Remen Chopra completed her Bachelor and Masters of Visual Arts from the College of Art, New Delhi in 2001. She also studied Art History and Language at the Universita’ per Stranieri, Siena and continued her visual art studies at the School of Visual Arts, New York. Chopra’s mixed media practice moves between the real and the make -believe. Influenced by the history of cinema and art, the artist creates images that are dramatisations of her own experiences. Chopra draws the attention of the viewer toward the slippery falseness of drama by creating seductive and layered worlds that reveal their own artificiality. Her work has been shown and collected internationally. Selected recent exhibitions include Walking On The Planet, Casa Massacio, Centro per l’arte Contemporanea Luigi Pecci di Prato; Dhaka Art Summit, 2014; 56th Venice Biennale , 2015; ICASTICA International Women’s Art Biennale, India Pavillion, Arezzo, 2013; Under the Banyan Tree, Essl Museum, Vienna, 2010; and, Everything, Westerhuis, Amsterdam, 2008.


Salman Toor was born in Lahore in 1983 and now lives and works in Brooklyn. He received a Masters of Fine Art (Painting) at the Pratt institute in Brooklyn in 2009. His work ranges in style from meticulously executed figurative paintings to abstracted expressionism, and employs design elements and visual language from both Eastern and Western pop culture and art history. Often delineating Toor ’ s work is his use and reference to Sufi poetry using this text to create space that sit between fantasy and memory, between his contemporary life in New York and that of his remembered Pakistan. Toor has had several solo exhibition s in the United States and Pakistan. Recent solo exhibitions include: Salman Toor: Drawings from ‘The Electrician’, Honey Ramka, New York, 2015; Close Quarters , Canvas Gallery, Karachi, 2014; The Happy Servant, Aicon Gallery, New York, 2013; and, I ♥ Kitsch, Rohtas II Gallery, Lahore, 2011. He has been featured both as an artist and a writer in publications such as Art Asia Pacific, Wall Street International , The Express Tribune, and The Friday Times.

Hasan Mujtaba is an exiled Pakistani writer based in New York City. Described as having the heart of a poet and the eye of a journalist, Mujtaba is a trilingual poet and lyricist. His collection of Urdu and Punjabi poetry titled Koel Shear Ki Katha ( Tale of Cuckoo City ) was published in 2015 is a moving volume by a poet in a foreign land, capturing the despair and melancholy of displacement and nostalgia for a homeland. Although a student of the history of poetry written in exile, h is is a particularly contemporary extradition that points to the shape-shifting nature of longing and belonging, that have potential to become fruitful in their release from original communities. Mujtaba has translated several works including Glimpse of Be loved: One Hundred Poems of Shah Abdul Latif Bhitai in English, of the 18th century Sindhi Sufi poet.


Samooha is an informal collective of individuals interested in urban cultures in their material and performative aspects and bringing together different forms of expertise – as builders, architects, performers, citizens and social analysts. The collective focuses on the artistic potential of three practices vital to the cultures fostered within informal communities in Indian cities – self-reliance, self-making and self-building. Over time, Samooha’s research has focused on the vital place of building and construction activity within informal settlements such as Sathenagar where precarious topography and volatile economic and social conditions converge to necessitate continuous reconstruction and revitalization of structures and streets, the creation of marketplaces and spaces for cultural activities. These activities themselves generate livelihoods and thus form an important component of informal economies, which are rooted in the business of living rather than extraction and profit.



Sergio Chejfec is a renowned Spanish writer from Argentina who lives in the US and teaches at New York University. Chejfec has published around fifteen books, which include novels, essays and short stories. Many of his novels have been translated into several languages. Among other distinctions, he has received a fellowship from the Civitella Ranieri Foundation in 2007 and from the John Simon Guggenheim Foundation in 2000; in 2014 he received the 2nd National Literature Award (Argentina) for Modo linterna.

Books: Teoría del ascensor, Jekyll and Jill, Zaragoza, 2016, forthcoming; El visitante, Excursiones, Buenos Aires, 2016, forthcoming; Últimas noticias de la escritura, 2015; Modo linterna, 2013; La experiencia dramática, 2012; Sobre Giannuzzi, 2010; Mis dos mundos, 2008; Baroni: un viaje, 2007; El punto vacilante, 2005; Los incompletos, 2004; Gallos y huesos, 2003; Tres poe mas y una merced, 2002; Boca de lobo, 2000; Los planetas, 1999; El llamado de la especie, 1997; Cinco, 1996; El aire, 1992; Moral, 1990; Lenta biografía, 1990.


Sharmistha Mohanty is the author of three works of fiction, Book One (1995), New Life (2005), and Five Movements in Praise (2013). Her writing pushes the boundaries of fictional prose, moving towards prose poetry and is deeply influenced by the varied pasts of India, especially those most remote. Her experimental literature grasps these pasts with the contemporary, adopting various compositional elements and frameworks to move these moments of time towards or away from each other with a great velocity. Mohanty is the founding editor of the online literature journal Almost Island, which publishes experimental prose and poetry from around the world as well as local texts published in Indian languages. She is the initiator of the Almost Island Dialogues series, an annual international writers ’ meet held in New Delhi, and is currently on the International Faculty for the Creative Writing Masters of Fine Art at the City University of Hong Kong.


Shumona Goel and Shai Heredia are two Indian film makers and collaborators who created I Am Micro (2012), an experimental essayistic film miniature that pays tribute to the medium of film while reflecting on the gradual disappearance of Indian independent cinema, and An Old Dog’s Diary (2015) a portrait of Indian avant-garde painter Francis Newton Souza, revealing the cultural conditions for his work and its eventual institutionalisation.
Shumona Goel received a Bachelor of Arts in Film from the Bard College, New York in 1997, and received an Masters of Art in Asian Cinema from the School of Oriental and African Studies, University of London in 1999. Her films have been screened at numerous film festivals and since 2008 she has explored expanded forms of cinema, especially enjoying working with low-tech, outdated formats such as VHS cassettes and slide projections.
Shai Heredia is a filmmaker and curator of film art. In 2003 she founded Experimenta, an international festival for experimental cinema in India, which has rapidly developed into a significant international forum for artists’ film and video. Heredia has also curated experimental film programmes for various international film festivals. She holds a Masters of Art in Documentary Film from Goldsmiths College, London. She has worked as a Programme Executive at the India Foundation for the Arts, Bangalore and currently teaches at the Srishti School of Art, Design & Technology, Bengaluru.


Sirous Namazi was born in 1970 in Kerman, Iran. He lives and works in Stockholm. In 2007 he represented Sweden (with Jacob Dahlgren) at the 52nd Venice Biennial in the Nordic Pavilion. He has had solo exhibitions at Fundació Joan Miró (Espai 13), Barcelona (2010), Lunds Konsthall (2009) and Moderna Museet, Stockholm (2003). In 2014 he was awared the Gannevik Art Prize and previously the Edstrandska Award in 2012, the Ljunggrenska Konstnärspriset in 2003 and the Carnegie Art Award (Best Emerging Young Artist) in 2006. The Carnegie Art Award exhibition toured extensively internationally. Recently he participated in group exhibitions at Museum für Gegenwartskunst, Siegen (2014), Göteborgs Konstmuseum (2011), Musée d’Art Moderne de Saint-Étienne Metropole (2009), MART Trentoe Rovereto (2008) and Den Frie Centre of Contemporary Art, Kopenhagen (2007) among others.


Sophie Dejode and Bertrand Lacombe have been exhibiting and working in collaboration with each other since 2003. Their large, site-specific installations a re playful, ironic and provocative; as the duo find their inspiration in cinema, science fiction, video games and popular culture. Their ongoing project, Floating Land, encompasses all of their recent drawing, sculpture, installation and film. The project was conceived with the intention of creating a sovereign space within the art world, allowing the artists to imagine alternative ways of working and living.

‘Dejode et Lacombe’ have exhibited extensively in France since 2002. Recent exhibitions include Centrifuge at Les Abattoirs, Toulouse (2016); Et In Libertalia Ego. Vol. II, Museum of Old and New Art (MONA), Tasmania (2015) and Et In Libertalia Ego, La Maison Rouge/Fondation Antoine de Galbert, Paris (2015).


Subrat Kumar Behera is a lithographer and watercolour artist from Odisha who currently lives and works in Vadodara. His delicately detailed imagery presents a world of magical realism inhabited by surreal characters and gods from invented mythological fables. He completed his Bachelor of Fine Arts in Printmaking from B K College of Art and Crafts, Utkal University of Culture, Bhubaneswar Odisha, in 2008 and later a Postgraduate Diploma in Printmaking from the Faculty of Fine Arts, M S University, Baroda in 2013. He has been the recipient of many awards including The Gujarat State Lalit Kala Student Award in 2012 and 2013, and The National Young Artistes Scholarship from the Indian Ministry of Culture in 2010. Berea collaborated with renown photographer and writer Waswo X Waswo in 2014 to present Sleeping Through the Museum as part of Collateral Projects for the Kochi-Muziris Biennale. Recent group exhibitions include: Morphology of Archive, Museum of Goa, 2016; 57th National Exhibition of Art, Lalit Kala Akademi, New Delhi, 2016; The Bird Project, Open Studio, Baroda, 2016; Reviving the Retinal, Gallery OED, Kochi, 2015; Back to College Graphics, VadFest, Vadodara, 2015.



Sunil Padwal’s diverse practice, which includes painting, drawing, sculpture and installation, gathers from the past and present to interweave personal narratives with the reality of the present. Working like a memory palimpsest, Padwal often creates his work on the surface of found ephemera, old paper, or unusual facets, oscillating between abstraction and clarity, creating multiple layers of unspoken impressions.

Padwal completed his Bachelor of Fine Art from the Sir J.J. School of Art, Mumbai. His solo exhibitions include Shifting Frames, Go Gallery, Amsterdam, 2015; Confluxes, The Arts House—The Old Parliament, Singapore, 2014; Soliloquies: notes from the drawing book, Veranda 8 at Space 1857, Chicago, 2012; Soliloquies: notes from the drawing book, Gallery BMB, Mumbai, 2011; Myopia, Jehangir Art Gallery, Mumbai, 2008; Numb, Vadehra Art Gallery, New Delhi, 2007; and, Test of Humanity, Agora Gallery, New York, 2005. Padwal lives and works in Mumbai, India.


T Shanaathanan is an artist and University of Jaffna lecturer practicing in his home community of Jaffna, Sri Lanka — a city that has been ravaged by more than 20 years of conflict between the Sri Lankan government and Tamil Tiger rebels. In 2004 he facilitated an art exhibition there, A History of Histories, bringing together Sri Lankan artists from the north and south for the first time in 50 years, offering a kind of catharsis for community members trying to deal with the trauma of ongoing war.

Shanaathanan’s work has over the years been presented internationally and while working with various mediums the artists subject matter consistently deals with the subjects of home, displacement, memory and loss. Over the years Shanaathanan has become the most prominent contemporary artist working in the north of the island.


T V Santhosh’s work focuses on global issues like war, terrorism and its representation and manipulation by politicians and the media. Through his paintings, sculptures and installations, Santhosh offers a critique of mainstream media culture, specifically its dehumanizing representation of the suffering of war. Some of his paintings are based on images taken from television media which he renders in colours and style representative of the colour photo negative . Santhosh’s art speaks of a deep concern over injustice and cruelty prevalent the world over, as he creates visuals that depict the very real and palpable human condition of suffering as well angst over a possible doom caused by human errors. T V Santhosh studied sculpture at Santiniketan and M S University, Baroda, India. Among numerous exhibitions, the artist’s work has been shown at The Great Game, Iran National Pavilion, Venice Biennale – 2015 , Making History, Colombo Art Biennale – 2014 , Havana Biennale-2012, 4th Moscow Biennale of Contemporary Art Rewriting Worlds, curated by Peter Weibel-2011, Crossroads: India Escalate , Prague Biennale 5-2011, Empire Strikes Back, at Saatchi Gallery, London-2010, Vancouver Biennale- 2010, Dark Materials , at Royal Academy of Arts, London-2009.


Born in Nagoya, Japan, where he lives and works, Takayuki Yamamoto studied at Aichi University of Education and received an MFA from Chelsea College of Art and Design, London, in 2002. Takayuki is the recipient of several awards and residencies including the Asian Cultural Council Fellowship Grants in 2013, Tokyo Wonder Site Residency and the 15th Ishida Foundation Encouraging Prize in 2009. Since 2001, Yamamoto has dealt with “education” . A former elementary school teacher, he creates art that expresses a world view that is not bound by adults’ rules by drawing out honest reactions, creativity, and, at times, the particular cruelty of children through his children’s workshops.

Takayuki Yamamoto has shown his work in exhibitions around the world including the Sharjah International Biennale 6 in 2003, ARTZUID, Amsterdam in 2011, Asian Art Museum, San Francisco and the 5th Biennial of Media Art, RMIT Gallery, Melbourne in 2012, NUS Museum, Singapore in 2013, Mori Art Museum, Tokyo in 2014, and Bus Project, Melbourne, in 2015.


Tom Burckhardt’s work deals with the wavering line between representation and abstract seen through the prism of contemporary painting. Addressing this borderland with a non-theoretical and humorous approach, he examines the nature of beliefs, sincerity and failure in practice and perception of making art and its relationship to the wider world. Both his parents being artists, Burckhardt incorporates a generational sense of this history in his work. Burckhardt was born in New York City and has spent his entire life living there. He graduated with a BFA in painting from SUNY Purchase in 1986 and attended the Skowhegan School of Painting and Sculpture that same year. He has been exhibiting since 1992 at various New York City galleries such as Tibor De Nagy Gallery, and Caren Golden Fine Art, and the Gregory Lind Gallery in San Francisco CA. He has shown his 2005 cardboard installation FULL STOP at such institutions as the Aldrich Museum, the McNay Museum, Diverseworks, the Knoxville Museum of Art, the Weatherspoon Museum, and the Hudson River Museum.


Tony Joseph

Tony Joseph is the Principal Architect of Stapati architecture and design firm established by him in 1989 after completing postgraduate design studies in the Charles Moore program at the University of Texas, Austin. With seminal award-winning projects like the K umarakom Lake Resort and the Vythiri resort in Wayanad, both Joseph and Stapati have become renowned for multi-disciplinary projects that emphasise an engagement with their individual regional contexts, to create a design that is firmly rooted in traditional narrative while sensitively interpreting el ements of the contemporary. Stapati has won numerous awards and recognition, and has regularly been selected as one of the TOP 50 Most Influential design firms in South Asia by Architectural Digest. Joseph is also the Founding Chairman of Avani Institute of Design, a centre of excellence in architecture and design education and practice located in Calicut that promotes a holistic approach to design education.


Painter and poet Valerie Mejer Caso’s work explores containment and fragility, layering loss and possibility over a once-familiar landscape. She is the author of the poetry collections Rain of the Future (2013), translated by CD Wright, Forrest Gander, and Alexandra Zelman; dela ola, el ata jo (2009); Geografí as de Niebla (2008); Esta Novela Azul (2004), which was translated by Michelle Gil-Montero as This Blue Novel (2013); and Ante el Ojo de Cíclope (1999). Her book De Elefante a Elefante (1997) won the Spanish Government ’ s Gerardo Diego 1966 International Award. Her etchings appear in Raúl Zurita’s Los Boteros de la Noche (2010), and her paintings appear in Forrest Gander’s Ligaduras/Ligatures (2012) and in Antonio Prete’s Menhir (2007) and L’imperfection de la Lune (2007). Mejer is also recipient of two CONACULTA grants as well as a grant from Sistema Estatal de Creadores for her translations of Australian poet Les Murray’s work. She lives and works in Mexico City.


Voldemars Johansons is a sound artist based in Liep ā ja, Latvia. His experimental projects synthesise art, science and technology, exploring diverse phenomena and representing phenomenological experience through environments assembled from the visual, acoustic and spatial structures. Johanson’s work riffs and responds to the environment it is situated in and addresses the organic combination of acoustic information and spatial forms in creation of sonic environments and sculptures, examining the joint morphology of acoustic, visual and spatial domains. He is interested in dissolving the borders between perception of the visible, the invisible and the audible to reflect about the unproven and unrecognised. In 2007 Johansons received a Bachelor of Fine Art from the Royal Conservatoire, Institute of Sonology, The Hague. Since then, his work has been presented at events and diverse venues internationally including the BOZAR, Brussels, 2015; STEIM, Amsterdam, 2013; Ars Electronica Center, Linz, 2012; and the Venice Biennial of Architecture, 2002. Since 2009 he has been working as researcher at the Art Research Laboratory, University, Latvia where he is also a teacher.


Born in Changhua, Taiwan in 1956, and spending most of his time in Keelung, Wu Tien-chang is renowned for his oil paintings and digital photography which comment on the socio-political aspect of life. Wu’s work reveals the contradictions of the photographic medium, with its apparent reality, yet often contrived and fictitious nature. Since 2000, he began incorporating digital retouching and image-collage techniques in his staged photography—painting backdrops, scripting, lighting, photography, making props, and directing models by himself in order to integrate the various conflicting elements into something unique and captivating. He currently lives and works in Taipei, Taiwan and has featured in major exhibitions internationally, including the Soho Photo Gallery, New York (2010); the Hong Kong Art Centre, Hong Kong (2010); Eslite Gallery, Taipei, Taiwan (2010); Art Beijing, Beijing, China (2009); the National Art Museum of China, Beijing, China (2009); the Taipei Cultural Center, New York (2008) and MOMA Contemporary, Fukuoka, Japan (1997).


A performance and visual artist who works in a variety of mediums, Wura-Natasha Ogunji is best known for her videos, in which she uses her own body to explore movement and mark-making across water, land and air. Her current performance series entitled ‘Mo gbo mo branch/I heard and I branched myself into the party’ explores the presence of women in public space in Lagos, Nigeria. Ogunji has received a number of awards, including a John Simon Guggenheim Memorial Foundation Fellowship (2012) and grants from the Idea Fund, Houston (2010), and the Pollock-Krasner Foundation (2005). She has performed at Centre for Contemporary Art (Lagos), The Menil Collection (Houston) and the Pulitzer Foundation for the Arts (St. Louis). Ogunji received a BA in Anthropology from Stanford University, Palo Alto, CA, in 1992 and a MFA in Photography from San Jose State University, CA, in 1998. She lives in Austin and Lagos.


Yael Efrati is an installation artist who lives and works in Tel Aviv, Israel. Efrati’s practice straddles the fields of photography and sculpture through what she calls ‘documentary sculpture’, that begins with a photograph that is then cropped and rebuilt with found material. Her works, which come to depict an abstract hybrid of the found object and that which is represented in the photograph, focus on the impact of light on both photography and sculpture, and how it signifies the passing of time and speaks to the physical and metaphysical mutability of memory. Efrati received both a Bachelor and Masters of Fine Art at the Bezalel Academy of Art and Design, Jerusalem. Her work has been featured in many exhibitions at the Tel Aviv Art Museum; Haifa Museum Of Contemporary Art; NURTUREart, New York; The Glasgow School Of Art; and Gallery FRIESE, Hamburg; and, KC Grad, Belgrade.


Yang Hongwei (b. 1968) is known for repeatedly pushing the boundaries and tackling new challenges in his chosen medium of woodcut and wood engraving. His oeuvre in both woodblock printing and wood engraving never ceases to surprise the viewer. Technically they can be uncanny and breathtaking. The impressive energy and variety of mark-making obscures the portrayed subject matter or the barrier between the negative space and the positive space, and hence becomes the most effective expression of the artist.

Early examples of Yang’s innovation can be seen in the masterful execution of colour wood engraving in the works created for his master’s degree, such as Solar Eclipse (2007 to 2008). In 2009, with large scale works such as Tian Yi Sheng Shui (Heaven Giving Birth to Water), Yang played with the general perception that printed paper is the final product of a woodcut, offering instead the actual cut wood block as a finished piece. In 2012, he explored sculpture in his “Shang” series, where he carved on traditionally styled Chinese chairs.


Yardena Elhanan Kurulkar was born in 1971 and is an alumni of Sir J J School of Art, Mumbai. After completing her Masters in Ceramics at the University of Wales Institute in Cardiff, UK, Yardena received the Charles Wallace Scholarship to continue her art practice in the UK. She then lived in Toronto, Canada where she was an Artist in Residence at the ‘Living Arts Centre’.

After exploring living in the UK and Canada, she now lives in her hometown Mumbai in India. Her work has been exhibited at the Gold Coast Gallery, Australia, The Queen Gallery Toronto, the Pen-Club Gallery, Budapest, the National Gallery of Modern Art in New Delhi, The Sheridan Russell Gallery in London and Chemould Prescott Gallery in Mumbai. Her first solo show ‘Transience’ was held at Gallery BMB in 2011. In 2012, ‘Transience’ was long listed for the prestigious Skoda Prize in India. In the same year, she was shortlisted for the ‘Art India Breakthrough Artist Award’. She is also recently the winner of the Power Show, organized by the Kuandu Museum of Fine Arts, Taipei, Taiwan. In February this year, she won the Blake Prize, Sydney, Australia and became the first international artist to win the award.


Yuko Mohri was born in Kanagawa, and now lives and works in Tokyo. Yuko Mohri produces kinetic installations that attempt to convey intangible or invisible energies such as magnetism, gravity, light, and temperature, by creating assemblages of found and reconfigured everyday items, machine parts, or old tools. Mohri is interested in random errors and bugs occurring unexpectedly in day-to-day lives that give us a glimpse of those significant phenomena that exist faintly, usually outside our minds eye. Placing each object carefully, Mohri considers the distinct features of an exhibition space, such as gravity, humidity, brightness and darkness, and breeze, arranging her items to find the hidden unique energy of a space, usually ignored. She was selected as a grantee of Asian Cultural Council 2014. Her recent major exhibitions include the THE BEGINNINGS (or Open- Ended), Minatomachi Potluck Building, Nagoya, 2016; Roppongi Crossing, Mori Art Museum, 2016; Yokohama Triennale, Yokohama, 2014; Sapporo International Art Festival, Seikaitei and Chi-Ka-Ho, 2014, Unseen Existence, Hong Kong Arts Centre, 2014; and, Orochi, Gallery waiting room, Tokyo, 2013.



Zuleikha Chaudhari is a theatre director and lighting designer based in Delhi and Mumbai. Her works shift between theatre and installation as investigations into landscapes that are neither real nor imagined and at the centre engages with the role of the viewer in the performative experience. Chaudhari is interested the framework of law as performance, the role of performance in law, and the performativity of legal truth-production. In her recent work Rehearsing the Witness: The Bhawal Case, Chaudhuri researched The Bhawal Court Case of 1930-46, an infamous case about proof of identity, an apparent impostor, and the inheritance of a large estate. Using enormous archival materials of the case, Chaudhuri problematises the notions of evidence, archive and identity to create both a performance and an exhibition.
Chaudhari’s works have been shown in performance festivals, galleries and exhibitions in United States, Germany, France, Belgium, Vienna, South Africa, South Korea, China, Japan, The Netherlands, Pakistan and India. She was awarded the Sangeeta Natak Academy’s Yuva Puruskar in 2007 and the Charles Wallace India Trust Award in 2001.