Alex Romania makes multidisciplinary work at the crux of expansive task and deteriorating form, investigating bodies of cultural debris amidst the invisible everyday and toxic ingestions, consuming, purging, and breaking apart. Romania’s work delves into spaces of the unimaginable, staring into the unknown to consider a crude and splendid humanity, embracing the unruly to liberate the governed body. Based in NYC, Romania has presented work and taught nationally and internationally.
Trond Ansten Ansten is a visual artist and biologist based in Tromsø, Norway. He received his education from the Academy of Fine Arts in Karlsruhe (Germany), and previously studied biology and expedition guiding. With experience from public management and a strong passion for hunting, fishing and harvesting, his focus is the relation between man and nature. Ansten works with film, installation, fermentation and performance art. The expression is sculptural and performative, balancing between mysticism and science in relational art.
María Eugenia Chellet is a mexican multidisciplinary artist. She received her bachelor in information science from the Universidad Iberoamericana and a masters in visual arts from the Academy of San Carlos in Mexico City. She studied photography with the City Literary Institute in London. She taught at the Faculty of Political and Social Sciences UNAM from 1975 to 2009. Her plastic work addresses the self-portrait as a form of self-knowledge and takes images of universal art and the mass media. She specializes in female archetypes, prototypes and stereotypes that she applies both in her comic and photo-novel research and in the development of her artistic career that includes photography, performance, object art, installation, video art, video-performance, collage and electrography.
She has made solo exhibitions at the Trabant Gallery, Vienna, Austria (1988); in the National School of Plastic Arts (postgraduate) UNAM (1989); Carrillo Gil Art Museum (1996); Mexican Plastic Salon (1999); her retrospective anthological exhibition Bonita hasta la muerte in Ex Teresa Arte Actual- INBA (2012) and Inhabited Bodies in Museum of the City of Mexico (2015). In 2016 she organized Silver Spiders Performance Laboratory for Transcendence, Action Art and Gender with the collaboration of seven international artists older than 60 years in Rosekill, Kingston. New York. She recently participated in the Exhibition Radical Women in Latin America, 1960-1985 at Pinacoteca de Sao Paulo.
Praba Pilar is a diasporic Colombian artist disrupting the overwhelmingly passive participation in the 'Cult of the Techno-Logic.’ Shaped by resistance to the colonial project throughout the Americas, Pilar focuses her solo practice on projects challenging complex state/corporate systems of control, domination and death. She also collaborates extensively in expanding kinship with other artists, musicians, scientists, microbiomes and pupating larvae. Over the last two decades Pilar has presented performances, digital and electronic installations, participatory workshops, videos, and experimental public talks. Her projects have traveled widely to museums, galleries, universities, performance festivals, conferences, public streets, bars, and radio airwaves around the world. She has a PhD in Performance Studies and as Co-Director of the Hindsight Institute is currently working on temporary utopias in the Extractocene.
Lorena LO Peña is an interdisciplinary performance artist and independent cultural manager. Founding member and co-director of the cultural association and contemporary art space-project elgalpon.espacio, where she also works as a teacher and creative producer. She studied Communication Arts with mention in Performing Arts at the Pontifical Catholic University of Peru. She`s M.A. in 'Contemporary Performance Making' of the University of Brunel in the United Kingdom (2011) and M.A. 'Creative Producing for Live Performance' at the University of London, Birkbeck College, United Kingdom (2013). She has more than 15 years of professional experience as an artist and cultural producer. Her work as a Performance Artist is transdisciplinar and travels through the liminalities of performance art, body art, installation art, multimedia and digital art. Since her graduation in 2007 she has participated and presented her work in several international art events/residencies/festivals in Peru, Argentina, Cuba, Denmark, Brazil, Chile, Colombia, Mexico, United Kingdom and Germany.
Kim Doan Quoc is a French-born artist based in Budapest, Hungary and New York City, USA. Her works ranges from photography, video installations and projection mapping, to writting and performance. Through contemplation of individuals regardless of their gender as sacred beings of our everyday space in her photography work and the poetic trangressions involved in her performances, her body of works explores the boundaries of intimacy and sexuality. Her work as a visual and performance artist has been exhibited internationally in Budapest, Brussel, Paris, Berlin and NYC. This year, she collaborated with Diego Verastegui for the performance “Do you see me?” for SLANT performance series, curated by Lori Baldwin and Luiza Moraes in Trafo, Budapest and her fist solo exhibition CLUB D’AMOUR took place in Paris, curated by LAS VEGAS curators at Carbon 17. Kim is also an active Visual Jockey and has performed internationally in the electronic music scene in clubs as Grelle Forelle (Vienna, Austria), Terem (Budapest, Hungary), Dalston Superstore (London, UK) and Output (Brooklyn, NY, USA).
Swan Panda is a collaborative electrical storm of live coded madness. An exploratory project by Julian Stadon and Jorge Ramirez, this morphing hybrid transmutates at each port it travels through, converging local and remote weather data telematically, to explore how we interface with our atmosphere and what effect this has on how we respond to The Anthropocene (http://julianstadon.net, r4m4z4.com)
Jorge Ramirez, through process-oriented artworks, sound, sculpture, actions and curatorial projects, explores emergent phenomena as a window to the uncanny. His work relies on computational logic to investigate perception, augmentation, human experience, consciousness and materiality. He has been guest artist and lecturer at Polytech Science Museum in Moscow; Royal Institution of Australia; Tsinghua University in Beijing; Institute fuer Musik und Medien, Koln; Universtitat der Kunste, Berlin; ZHDK Interaction Design department, Zurich; and CENART, México. His work has been exhibited in México, China, Japan, Australia, Russia and throughout Europe. Jorge's work has been featured in national and international media outlets such as Wired, Archdaily, Vice, Global Times (CH), Resident Advisor (JP), Afisha (RUS), Código DF, Expansión, La Jornada, Milenio, among others.
Adam Zaretsky is a Wet-Lab Art Practitioner mixing Ecology, Biotechnology, Non-human Relations, Body Performance and Gastronomy. Zaretsky stages lively, hands-on bioart production labs based on topics such as: foreign species invasion (pure/impure), radical food science (edible/inedible), jazz bioinformatics (code/flesh), tissue culture (undead/semi-alive), transgenic design issues (traits/desires), interactive ethology (person/machine/non-human) and physiology (performance/stress). A former researcher at the MIT department of biology, for the past decade Zaretsky has been teaching an experimental bioart class called VivoArts at: San Francisco State University (SFSU), SymbioticA (UWA), Rensselaer Polytechnic Institute (RPI), University of Leiden’s The Arts and Genomic Centre (TAGC) and with the Waag Society. He has also taught DIY-IGM (Do-It-Yourself Inherited Genetic Modification of the Human Genome) at New York University (NYU) and Carnegie Melon University (CMU). He also runs a public life arts school: VASTAL (The Vivoarts School for Transgenic Aesthetics Ltd.) His art practice focuses on an array of legal, ethical, social and libidinal implications of biotechnological materials and methods with a focus on transgenic humans.
Jacco Borggreve is a Netherlands-based new media and performance artist who has used implants, data-exhibtionism and autonomous agents as tools to examine flattened ontological landscapes and power structures. In his new performance titled ‘Until the Light Takes Us’ Borggreve will aim to create a digital representation of the artist using biomedical sensors, microphones and AI in order to meditate on emerging questions regarding post biological life, digital bodies and data-organisms.
Oya Damla is a multimedia artist based in Bushwick. Her work explores the body in relation to thought formation, the experiential components of sound making, and the process of art /identity making as a first generation american. Founder of The Ear, a DIY community arts and performance venue, geared towards creating a neutral space for female and non-binary artists, primarily focused on showcasing women working in sound, performance & interdisciplinary arts.
Kira deCoudres is a remix media artist and theorist specializing in topics of body-mind decay, mutation, and mutilation. deCoudres graduated from Hampshire College as a Five College Digital Humanities Fellow studying Science, Technology, and Media Studies. She has presented theoretical work at the Society for Literature, Science, and the Arts (SLSA), the Electronic Visualization of the Arts (EVA London), exhibited media work at the International Symposium for Electronic Arts (ISEA) and the Global Community Bio Summit at MIT. She has been an artist-in-residence at Cultivamos Cultura, worked at Wave Farm Radio, and performed at Rosekill Performance Art Space.
Cecilia Vilca Ocharan is an artist working at the intersection of art, science and new media. Founding member and project manager of PatriaLab, division of MyAP (Electron Microscopy Laboratory) dedicated to develop digital heritage projects. Digital Arts Master’s Degree, Universitat Pompeu Fabra, Barcelona, Spain. GIS and Atlas Design, Full scholarship, University of Twente, The Netherlands. Her artistic work is made with technology in concept and realization and explores its relations with gender, society and nature. Her main goal and poetic are to encourage reflection through revelation using technology. Her projects range from those that are built with public participation and interactivity, to those that combine scientific methods such as electron microscopy and cartography. She has exhibited her work, organized exhibitions and gave lectures in Peru, Mexico, Bolivia, Argentina, Spain, Cuba, Chile, Norway, Colombia, Brazil and South Africa. Between 2014 and 2017, she an artist in residence in five Art Residency Programs in Mexico, Bolivia and Brazil and recently, in 2018, she was selected for ISEA2018 Festival (Durban, South Africa) and 2018 Global Community Bio Summit, MIT Media Lab (Boston, USA).
Julian Stadon is a mixed reality artist, curator and researcher who recently submitted his PhD thesis at Curtin University of Technology. Stadon’s transdisciplinary research has included time with Interface Cultures Linz, The Sylgrut Centre, Salford University, HITLabNZ, The Australian Centre for Virtual Art; The Fogscreen Centre, The Banff New Media Institute, CIA Studios, Collaborative Research in Art Science and Humanity (CRASH), Ulster University, Technical University Graz (TUG) and Technical University Munich (TUM).
Marita Isobel Solberg is a musician and visual artist, working with sound, performance and installation art. In addition to her master's degree from Oslo National Academy of the Arts (2007), she has been singing and exploring different musical genres ever since childhood. Solberg is originally from Manndalen in Troms. She has a base in Tromsø, Norway, but lives a nomadic life on the Norwegian and international art scene. Over the years, she has hosted guest performances and residencies in places like The Watermill Center in New York, Art / Life Institute in NY, The Performance Studio in London, the Arctic Hideaway in Fleinvær and Pushkinskaya in St. Petersburg. With her strong connection with the northern Norwegian part of the country, she has been in charge of the fictional Sámi Art Museum in the award-winning museum performance at Nordnorsk Kunstmuseum in 2017. In recent years, she has been very active as performance artist and has participated in a number of projects and cooperation.
Alejandro Chellet is a multidisciplinary artist and social practitioner on cultural and permacultural networks. Born in Mexico City from a family of artists. Currently he works along with the audience, public space, architecture and performance. On his art he addresses the misplaced core principles of coexistence, the loss of connection with Nature cycles, and the political and environmental context of urban societies. In 2013 he presented an urban intervention addressing: love, altruism and community during the 8th Encuentro of the Hemispheric Institute in Sao Paulo. In 2014 he performed in NYC at Grace Exhibition Space offering a feast with dumpster food and collected donations that he burnt. Since then he has also been involved in building Rosekill, an artist residency in Rosendale, NY. In 2015 he awarded the Adidas-Border grant in Mexico City and exhibited at Museo Universitario del Chopo a collaborative mobile urban intervention: Actualiza Arte made with DIY bamboo bikes and trailers, a geodesic dome and solar powered sound system. In 2016, he scavenged food waste in the streets of Brooklyn and performed Buried by Broccoli at the Art/Life Institute in Kingston, NY. In 2016 he was in residency in Catalunya at L’Olivar Foundation where he developed The House of Fire a pavilion paying homage to the greater spirit of Fire. In 2018 he was part of EMERGENYC program from the Hemispheric Institute of Performance and Politics of NYU guided by George Emilio Sanchez focused on the theater of the oppressed techniques. Also participated at Body Politics program directed by Jill Sigman at Gibney Dance Studio focused in somatics and social change.