Ella Elidas Banda / Ozhopé Collective
Founded in 2017, Ozhopé Collective is a group comprising two artists (Ella Elidas Banda and Massa Lemu), two photo/videographers (Tavwana Chirwa and Augustine Magolowondo), and a writer (Emmanuel Ngwira). Ozhopé’s main concern is to collaboratively produce art that inspires conversations and invites people to critical thinking around social, economic, and political issues of everyday life. The group’s name derives from the word “wosopé”, a Yao term which translates as “all of them”. The word was uttered by an enthusiastic boy in reference to the artists who were busy with their work. It was subsequently adapted to “ozhopé” whose root speaks to the collective ethos that propels the group’s collaborative practice. Ozhopé has shown on Lake Malawi, in the streets of Lilongwe city, at University of Malawi, at the Art Collective Bureau in Cape Town, the Boda Boda Panafrican Video Art Festival, City Salts in Basel, and at the Guggenheim Museum in New York City.
Nicolle Bussien is an artist based in Bern and Zurich. Her artistic practice is influenced by her involvement in the field of anti-racism, particularly in the (post-)migration society context of Switzerland. Nicolle's collaborative and multidisciplinary projects are questioning the hegemonic power structures of society and their representation. Her work has been included in exhibitions internationally, for example at ZKM (Karlsruhe), The Kitchen (New York City), unframed Festival (Berlin), etc. and in various spaces in Switzerland, e.g. Kunsthaus Centre Pasquart (Biel), Kunstmuseum Solothurn and Kunstraum Aarau.
Ghalas Charara & Camilla Paolino
Ghalas Charara & Camilla Paolino are respectively coming from Beirut and Milan. Ghalas and Camilla met in Geneva in 2016 within the framework of the CCC Research-based Master Program at HEAD-Genève. They engaged in several projects rooted in the alternative art and cultural scene of Geneva (TOPIC, one gee in fog, Théâtre de l'Usine, CANALE MILVA, etc.), interweaving a network of practices (artistic, curatorial, performative) and initiating a set of collaborations and shared reflections. Among others, they have organized reading groups on feminist epistemologies and the subversive potential of poetry and fiction, as well as listening sessions revolving around diverse audio archive materials. Moreover, they developed a range of voice and sound practices (from augmented audio-book recording, to co-producing sound pieces for exhibition contexts, to curating sound exhibitions on radiophonic platforms), alongside the practice of co-researching and co-writing, performed together on a regular basis. All these projects and collaborations have been fueled by a shared interest in womxn's spoken words and dialogical practices (above all those echoing, resounding, and surviving within/through archive recordings), as well as in related practices involving writing, such as transcription and translation.
Mela Dávila Freire
Mela Dávila Freire's interests focus on publishing as an artistic genre, and also on the conceptual and physical intersection between contemporary art and archives. Her practice includes researching and writing about artists' publishing, lecturing, curating, and also developing organizational models for the management of documentary collections (library and archive) aimed at facilitating public access, visibility and connectivity with art collections. She has collaborated, among others, with the documenta Archive (Kassel, Germany), the Museum of German History (Berlin, Germany), Lafuente Archive (Santander, Spain), Universidad de las Artes (Guayaquil, Ecuador), the Academy of Art and Design FHNW - Institute of Experimental Design / Critical Media Lab (Basel, Switzerland) and The Cuenca Biennale (Cuenca, Ecuador). She has also been Head of Publications and then Head of the Study Center at MACBA, Barcelona, and also Head of Public Activities at Museo Reina Sofía, Madrid.
Allison Grimaldi Donahue
Allison Grimaldi Donahue (born in Middletown, Conn. USA) is a poet, writer, translator, educator, and performer. She's author of Body to Mineral (Publication Studio Vancouver 2016) and On Endings (Delere Press 2019). Her work has appeared in Another Gaze, Prairie Schooner, Los Angeles Review of Books, Brooklyn Rail, BOMB, FlashArt, Nero and other magazines. She gave performances at Gavin Brown in Rome and Hyper Maremma in 2019. She regularly leads text/translation/narrative workshops inside and outside of academic institutions. She has been writer in residence at the New York Center for Book Arts and at the Bread Loaf Conference, as well as an artist in residence at Vermont Studio Center, Mass MoCA, and MAMbo, Bologna. Her translation of Autoritratto by Carla Lonzi will be published in 2021 by Divided Publishing. She is based in Bologna, Italy.
Lena Ditte Nissen
Lena Ditte Nissen is a German/Danish artist and filmmaker, whose work takes the form of performances shown in both institutions and public space, installations, and experimental films with a focus on the intersection with documentary filmmaking. In 2019/20 Lena was a fellow at the international Art & Theory program at Künstlerhaus Büchsenhausen, where she started to work on her research project on the entanglements of her family with the national socialist regime in Germany, in which she focuses on female perpetrators. With this project, she was selected for the Berlinale Talents program 2021 and is currently a participant of DOK ART, a development program for first feature documentaries.
Kadija de Paula
Kadija de Paula is a Brazilian/Canadian artist and writer who combines food, text and performance to create situations and happenings that question the value of labor, resources and social practices. Often in collaboration with others, she makes social experiments, domestic works, and other kinds of actions that challenge the limits of life and art. Her works have been presented at Kunsthaus Dresden, the Museum der bildenden Künste Leipzig, Huset for Kunst og Design Holstebro, Bamboo Curtain Studios Taipei, Food Culture Days Vevey, Q21 MuseumsQuartier Vienna, 32 São Paulo Biennial, amongst others. Laureate of l'institut Français at Cité Internationale des Arts Paris, Kadija was also an artist in residency at KulturKontakt Austria, Ujazdowski Castle Centre for Contemporary Art Warsaw, Arbeitsgemeinschaft Zürcher Bildhauer, and Capacete Rio de janeiro. She currently lives and works in São Paulo.
Sara Rivera is a cultural worker and activist from the Philippines. Her works are informed by her informal and formal experience as an archivist; exploring memory and the ways in which we organize it. Her practice traverses concepts of gender, data, and capital. She has worked with various publications, galleries, and artist-run initiatives in Manila and beyond. Currently, she is a member of SAKA (Sama-samang Artista para as Kilusang Agraryo) an artist Alliance for Genuine Land Reform and Rural Development.
Marnie Slater (born in Aotearoa, New Zealand) is a visual artist who lives in Brussels. Marnie’s work engages with multiple formats, including sculpture, collaboration, editing, performance, painting and installation. She is part of the All the Cunning Stunts, co-curator of Buenos Tiempos, Int. and a team member of Mothers & Daughters – A Lesbian* and Trans* Bar*. Marnie was a core tutor on the Master of Voice program at the Sandberg Institute, Amsterdam, and is currently teaching on the AdMa program at St Lucas School of Art, Antwerp, where she is also undertaking a research project on process tools for queer and feminist art making.
Majdal Nateel is an artist from Gaza, Palestine. She received her Bachelor of Art degree in Fine Art from Al-Aqsa University (2009). After that she started her artistic research and has participated in projects in many different places. The main inspiration for her early art works was her own life experience and she tried to translate the reflections of the individual cases on society. After 2014, her artistic research process began to focus on searching for the value of humanity under political challenges. Between 2017-2019, she started a project called “Lane”, where she created an imaginary corridor that helps to overcome the feelings of being stuck in-between the boarders, unable to travel. In the last project “Studding The Voids of Amputation” (2020-2021), she linked the physical and geographic amputation and produced a body of works on this theme.
Olivia Abächerli is researching the political potential of “intimate fiction”, practicing proto-archaeological fieldwork, and examining where the utopic tilts into the dystopic, or the other way around. Proceeding from drawing as a tool of invention, projects develop into more complex narratives, a practice of layering film and animation, abstract organisational forms or support structures. Used media are often simultaneously analog and digital, e.g. coding, metal, plasticine, internet radio, wood and plants. In 2018, she was awarded the Unterwaldner Preis für bildende Kunst. Abächerli has exhibited in project spaces in Athens (GRC) and Arnhem (NL) and in various spaces in Switzerland, e.g. Museum Langmatt (Baden), Kunsthalle Luzern, Nidwaldner Museum, Kunsthaus Langenthal or Shedhalle Zug.
Felipe Castelblanco is a multidisciplinary Colombian/American artist working at the intersection of socially engaged and Media art. His work explores participation, institutional forms and new frontiers of public space, enabling coexistent encounters between unlikely audiences. His work has been exhibited at museums, galleries and festivals in Europe, Asia, North and South America, including the Quebec Biennial (Canada, 2019) and the Queens International (New York, 2016). Felipe Castelblanco holds an MFA from Carnegie Mellon University (USA) and is currently a PhD Candidate at the ECAM Graduate School at the HGK in Basel and the University of the Arts Linz. He has been the recipient of several international awards, including the Starr Fellowship at the Royal Academy of Arts in London (UK, 2015) and the Robert Rauschenberg Foundation Residency (USA, 2018). In 2014 he served as a Cultural Emissary for the U.S. State Department to the Philippines.
João Enxuto and Erica Love
João Enxuto and Erica Love are artists and writers collaborating on projects about how new technologies reshape work, institutions, and economies connected to Contemporary Art. Together they were fellows at the Whitney Museum Independent Study Program for 2012-2013. They have presented work at the Centre Pompidou, Whitney Museum of Art, the New Museum, Anthology Film Archives, Walker Art Center, and other international venues. Enxuto and Love's writing has appeared in Art in America, Mousse Magazine, Walker Artist Op-Eds, Wired Magazine, X-TRA Contemporary Art Quarterly, and elsewhere. They were awarded a Creative Capital Andy Warhol Foundation Arts Writers Grant in 2017 and they are currently working on a film project about the future of creative labor in the cities where they currently live and work.
Dorothee Kreutzfeldt lives and works in Johannesburg. Her artistic practice and research have been pre-occupied with spatial realities and imaginations, particularly in the post-Apartheid context of South Africa. This has included researching the impact of bomb attacks in Cape Town in 1999 (‘Fresh’ Residency, 2001), to the ways in which histories are written into the contested and often violent urban fabric of Johannesburg. She completed her MA FA with distinction (2004), which involved collaborations with sign-writers on a series of paintings for ‘mothballed’ buildings in Johannesburg, including the former Trades Hall which was the site of a miners ‘revolt’ in 1922. She was involved in building the artist’s collective Joubert Park Project at the Drill Hall in 2004, which aimed to build artist collaborations and networks that addressed the site and its role as a military base and courtroom during the 1956 Treason Trial in the city centre. In 2014 Dorothee Kreutzfeldt co-published the book Not No Place: Johannesburg Fragments of Spaces and Times with Bettina Malcomess, which evolved out of five years of research. In all these different projects and initiatives, Dorothee Kreutzfeldt returns to the details, re-inventions and stresses of spaces, to questions of who built them, how they are adapted and become unreadable structures or fictional memory. Dorothee Kreutzfeldt lectures in the Fine Arts Department at the WITS University (since 2011). She is represented by Blank Projects, a gallery based in Cape Town. Her latest collaboration, City Without A Sun, consisted of a series of paintings with artist Blake Daniels.
Fadwa Naamna is a curator and researcher based in Amsterdam. She was a Curatorial Research Fellow at De Appel (2017/18), her research focusing on the 'give and take' economy of the contemporary art system, the influence of funding modalities and the policies on designing cultural and artistic production. Previously, she was an assistant curator at Beit Hagefen Arab Jewish Cultural Center in Haifa (2014–2016). Fadwa Naamna graduated within the Art and Geography departments at the University of Haifa and is an alumna of De Appel Curatorial Program (2016/17) in Amsterdam.
Tracy Jeanne Rosenthal
Tracy Jeanne Rosenthal writes essays about art, satire about Los Angeles, and opinions about housing justice, which you can find in Art in America, FENCE, and the L.A. Times. She is the editor of Art Los Angeles, a biannual newsprint publication on the words in its title. She co-founded the L.A. Tenants Union and authors the widely-shared Two-Evils Voting Guides for local and national elections. She's currently working on a novella about a mall you can live in, and a book of essays called Little World Machine.
Airi Triisberg is an independent curator, writer and educator based in Tallinn. She is interested in the overlapping fields between political activism and contemporary art practices, issues related to gender and sexualities, illness/health and dis/abilities, self-organisation and collective care practices, struggles against precarious working conditions in the art field and beyond. Her practice as a politicised art worker is often located at the intersection of political education, self-organisation and knowledge production. One of her ongoing research interests is focused on historical and contemporary moments when the experiences of living with illness or disability have been politicized in order to express social critique. In 2015 she curated Get Well Soon!, an exhibition presenting artistic re-articulations of social imaginaries rooted in the radical movements of the 1970s. Another strand in her practice has been focused on precarious labour and art workers organising. In 2010-2012 she was an active member in the art workers movement in Tallinn. In 2015 she co-published the book Art Workers – Material Conditions and Labour Struggles in Contemporary Art Practice together with Minna Henriksson and Erik Krikortz. Currently she is engaged in anti-racist organising.
Aarti Sunder is interested in ideas that create the subject: technology, economy, and experience; how we relate to and how these ideas make us. She recently shared her ideas around artist congregation and need for renewed solidarities at the Bangkok Biennale this year and at Tate's Imagined Biennales conference. She was a fellow at Ashkal Alwan's Home Workspace Program in 2016/17 and at Art Dubai in 2017/18. She is the recipient of several fellowships including SARAI City as Studio fellowship for Contemporary Art, Inlaks Shivdasani Foundation-ISCP Residency Scholarship and the Dutch ArtEZ two-year education scholarship. She will be a resident artist at Alserkal in 2019 and will also be studying the technology-human interface at MIT over the coming years.