Alice Creischer & Andreas Siekmann

Alice Creischer & Andreas Siekmann

A key figure of German political art movements in the 1990s, Alice Creischer centers on the process of inquiry to illuminate particular political histories of given contexts. Adopting prop-like devices and meticulously crafted and sewn objects, Creischer choreographs spaces that deconstruct given historical relations. Extending beyond artistic production, Creischer has also been prolific in her critical writings and curatorial projects.

In his works, Andreas Siekmann discusses the process of economisation and privatisation of public urban space. His drawings, models, videos, exhibition projects and works in public space criticise and ironically represent the dominating power relations and propose alternative and counter-approaches.

Creischer and Siekmann work both collaboratively and individually. They curated the exhibition project Violence is at the Margin of All Things at the Generali Foundation in Vienna (2002), and Ex-Argentina — Steps for the Flight from Labour to Doing (2004) at Museum Ludwig in Cologne. They participated at Documenta 12 in Kassel with the opera Auf einmal und gleichzeitig. Eine Machbarkeitsstudie zur Negation von Arbeit. In 2010 they curated, with Max Jorge Hinderer, The Potosí Principle which addressed the circulation of art and wealth during Spanish colonial rule, the relationship between trade structures and ways of thinking in Latin America and Europe and their social effects on both continents.

Anna Boghuigian

Anna Boghuigian
Anna Boghiguian (born in 1946) is an artist and writer, trained in visual art, music, economics and political science. Using drawing and painting, her work is influenced by the multidisciplinary experiments that investigate mutual relations between image and sound.
 
In the late 1960s she composed musical pieces based on the sounds of the city and translated them into paintings. The artist is a constant traveller, and the speed of different cities is an important aspect of her work. Boghiguian studied art and music at the Concordia University in Montreal and political science and economics at the American University in Cairo.
 
Anna Boghiguian creates a new commission for Iniva's 2013 exhibition Tagore's Universal Allegories. The work is a multi media installation called A Play to Play, and is inspired by Tagore's play The Post Office.

Binna Choi

Binna Choi

Binna Choi is director of CasCo since May 2008. Building upon CasCo’s history of artistic research and experimentation, Choi took upon (art) institutional practice as a practice for a micro-society where artistic work and imagination prompt alternative aesthetic, social, and political processes. Under her directorship, modes of working and public sharing as much as the organizational structure have been expanded through the development of long-term research paths and collaborative relations with local communities and international partners in various countries within and outside of Europe. The Grand Domestic Revolution (ongoing since late 2009) is an exemplary project that led CasCo to join CLUSTER, a network of European art institutions operating internationally with locally embedded practices, and also to be Associate Partner for Arts Collaboratory, a programme for support and knowledge sharing among organizations in the non-Western context. Choi has been part of the faculty of the Dutch Art Institute / Masters of Fine Arts Program in Arnhem and is a founding member of Electric Palm Tree, a curatorial affinity group for intersectional approaches to the politics of culture.

Christian Kravagna

Christian Kravagna

Christian Kravagna is an art historian, critic, and curator; he is Professor of Postcolonial Studies at the Academy of Fine Arts in Vienna; editor of the books Privileg Blick. Kritik der visuellen Kultur, Berlin 1997; Agenda. Perspektiven kritischer Kunst, Vienna/Bozen 2000; The Museum as Arena: Artists on Institutional Critique, Cologne 2001 and Routes: Imaging travel and migration, Frankfurt 2007. He is curator (with Hedwig Saxenhuber) at Kunstraum Lakeside in Klagenfurt. In 2008 he curated the exhibition Planetary Consciousness at Kunstraum der Leuphana Universität Lüneburg. In 2010 he was curator of Living Across: Spaces of Migration at the Academy of Fine Arts in Vienna.

Christian Nyampeta

Christian Nyampeta is an artist living and working in London. Nyampeta's practice takes the form of migratory and performative events including writing and public lectures, convened through his research provisionally titled of “How To Live Together(?)”, undertaken within an Mphil/PhD context at the Visual Cultures Department of Goldsmiths University of London. Adopting a research-driven and collaborative approach, this practice attempts to occasion the assemblies of psycho-biological relevances that might otherwise not find consideration. Recent projects include a free form radio station in London Islington, the participation at the 5th Visual Cultures Public Forum at Goldsmiths and contributions to the living research The Grand Domestic Revolution GOES ON

David Medalla & Adam Nankervis

David Medalla & Adam Nankervis
David Medalla is a pioneer of land art, kinetic art, participatory art and live art. At the age of 12 he attended as a special student at Colombia University in New York. He studied ancient greek drama with Moses Hadas, modern drama with Eric Bentley, modern literature with Lionel Trilling, modern philosophy with John Randall and attended the poetry workshop of Leonie Adams.
 
He returned to Manila in the late fifties, where he met the earliest patrons of his art. In 60s Paris, the French philosopher Gaston Bachelard introduced his performance at the Academy of Raymond Duncan, (brother of Isidora); later, Louis Aragon would introduce another performance and finally, Marcel Duchamp honoured him with a 'medallic' object.
 
He was included in Harald Szeemann's Weiss auf Weiss (1966) and Live in Your Head: When Attitudes Become Form (1969) and in the DOCUMENTA 5 exhibition in 1972 in Kassel. In London, Medalla edited the journal SIGNALS, (1964-1966), initiated in 1967 the Exploding Galaxy, consisting of several international multi-media artists, and from 1974-1977 was the chairman of Artists for Democracy.
 
In New York, in 1994, he founded the Mondrian Fan Club with Adam Nankervis as vice-president.
 
Adam Nankervis is an artist and curator who has infused social, conceptual and experimental practice in his lived in nomadic museum, museum MAN, and his ongoing project 'another vacant space.'. His immersion into the experimentation of social sculptural forms and aesthetic collisions are a trademark of his art.
 
His ongoing project 'another vacant space.', has re-manifested in Berlin Wedding 2011, since being founded in an abandoned shoe shop on Mercer Street NYC in 1992. The project focuses on the re-emergence of the hidden in subject, content and theory, the ephemeral, exploring the art of creative destruction and reconstruction inviting contemporary artists and the historical.
 
His curatorial practice is infused within his own projects, Blurprint of The Senses, Liverpool Biennale, 2006, A Spires Embers, Arsenal Kiev 2009,' iIsolation', Izolyatsia Donetsk, Ukraine 2010, including, with Leo Kuelbs & Rachel Rits-Vollochs – A Wake, Dumbo Arts Center, NYC November 2012. 

 

Grant Watson

Grant Watson coordinates Iniva's research programme and publications, and is also involved with exhibitions.
 
Untill April 2010 he was Projects Curator at MuHKA, Antwerp, where he was involved in curating exhibitions and artist projects at the museum including the Santhal Family positions around an Indian sculpture and Cornelius Cardew>, as well as organising the lecture series Keywords. He was previously the Curator of Visual Arts at Project in Dublin between 2000 and 2005 where his programme focused on commissioning solo projects from contemporary Irish and international artists as well as occasional group exhibitions such as Communism in 2005 and Enthusiasm for Frieze Projects in 2006. Grant Watson was "Visiting Curator" for Documenta 12 where he researched the participation of contemporary Indian artists in the exhibition. He studied Curating and Visual Cultures at Goldsmiths College London.

Issa Samb

Issa Samb
Issa Samb was born in 1945 in Senegal and lives in Dakar.
 
In 1974 he founded, together with a group of artists, writers, film-makers, performance artists and musicians, the Laboratoire Agit’Art, whose aim was to transform the nature of artistic practice from a formalist, object-bound sensibility to practices based on experimentation and agitation, process rather than product, ephemerality rather than permanence. With a focus on the contingent character of actions, the Laboratoire was informed by a critique of institutional power. Samb also co-founded the Gallery TENQ – Village des Arts in Dakar. He is the author of numerous plays, poems and essays. A retrospective of his work was held at the National Art Gallery, Dakar in 2010. His work has been included in exhibitions such as dOCUMENTA (13), Kassel, Germany (2012), the Biennale de l’Art Africain Contemporain, Dak’Art, Dakar (2008) and ‘Seven Stories of Modern Art in Africa’, Whitechapel Gallery, London, UK (1995).

Koyo Kouoh

Koyo Kouoh

Koyo Kouoh is a Cameroonian-born curator and cultural producer educated in banking administration, cultural management, and curatorial practice in Switzerland, France, and the United States. She is the founding director of RAW MATERIAL COMPANY, a mobile site for art practice and critical exchange. She was the coordinator of cultural programs at the Gorée Institute in Senegal from 1998 to 2002; collaborated with the Dakar Biennale from 2000 to 2004; and cocurated Les Rencontres Africaines de la Photographie in Bamako in 2001 and 2003.

Leela Gandhi

Leela Gandhi is Professor of English at the University of Chicago. She received her DPhil and MPhil from the University of Oxford, and has previously taught at the University of Delhi and La Trobe University. She has held visiting professorships in Australia, Denmark, India, Italy and Iran. Her publications include Postcolonial Theory: A Critical Introduction (1998), the co-authored, England Through Colonial Eyes in Twentieth Century Fiction (2001), Measures of Home: Selected Poems (2000), Affective Communities: Anticolonial Thought, Fin de Siècle Radicalism, and the Politics of Friendship (2006). Her new book The Common Cause: Postcolonial Ethics and the Practice of Democracy, 1900-1955, about the confluence of democracy and ethics at the scene of early twentieth-century anti-colonialism and anti-fascism, is forthcoming from the University of Chicago Press in the spring of 2014. 
 
At Chicago Leela Gandhi is senior faculty fellow on the Committee of Southern Asian Cultures and Societies and the Chicago Centre for Contemporary Theory. Her graduate courses deal with radical ethics, postcolonial theory, philosophy and literature. For undergraduates she teaches courses on Anglophone literature, anticolonial thought, and transnational literary and critical theory. Leela Gandhi is a founding co-editor of the journal Postcolonial Studies and editorial board member of Postcolonial Text. She is a Senior Fellow of the School of Criticism and Theory at Cornell University.
 

Lisa Rosendahl

Lisa Rosendahl

Lisa Rosendahl was Director of Iaspis, the Swedish Arts Grants Committee’s international programme for visual art, architecture, design and craft, 2011-13. Since 2014 she is Curator at Public Art Agency Sweden, commissioning temporary projects for public space. Previous positions include Director of Baltic Art Center (Visby, 2008-10) Acting Director of ELECTRA Productions (London, 2008) Associate Curator at Röda Sten Konsthall (Gothenburg, 2006-8) and Director of Exhibitions at Lisson Gallery (London, 2003-6) She has contributed texts to numerous artist’s monographs and exhibition catalogues and is the co-editor of the anthology Work, work, work – a reader on art & labour, published by Iaspis and Sternberg Press in 2012. She was awarded the 2007 CKM Curatorial Research Grant for the project Terms of Use, focusing on art and informational economy. Since 2007, she co-curates the ongoing project Offer & Exchange exploring the relationship between art and the law. In 2010, she was one of the curators of the Moderna Exhibition at Moderna Museet in Stockholm.  She was a co-curator of the exhibition SUPERFLEX retrospective – a value enhancing machine at Kunsthal Charlottenborg, Copenhagen in 2013. 

Michelle Dizon

Michelle Dizon
Artist, filmmaker, and writer, Michelle Dizon was born and raised in Los Angeles as part of the Philippine diaspora. Her video installations, films, and writing focus on subjectivity as it intersects with the histories of colonialism and its legacies in immigration, diaspora, and globalization. 
 
She has exhibited and lectured internationally at venues such as the Center for Feminist Studies in Zagreb, Croatia; Jeu de Paume in Paris, France; Caixaforum in Barcelona, Spain; Casa Asia in Madrid, Spain; Copenhagen International Documentary Film Festival in Copenhagen, Denmark; Metropolitan Museum of Art in Manila, Philippines; Vargas Museum in Manila, Philippines; Para/Site Art Space in Hong Kong, China; Galleryloop in Seoul, Korea; Tate Modern in London, England; Human Rights Center in Berkeley, United States; CUE Art Foundation in New York, United States; Vox Populi in Philadelphia, United States; and Redcat Gallery in Los Angeles, United States. The recipient of numerous awards, she has received fellowships from the Human Rights Center, the Los Angeles Department of Cultural Affairs, the University of California Initiative for Research in the Arts, and the Fulbright Association.
 
Dizon is Co-Chair of the Visual Art Program at the Vermont College of Fine Arts and Visiting Faculty in the Photography and Media Program at the California Institute of the Arts. She earned an MFA in Art with emphasis in Interdisciplinary Studio from the University of California, Los Angeles and a Ph.D. in Rhetoric with designated emphases in Film and Women, Gender, and Sexuality from the University of California, Berkeley. 

Park Chan-kyong

Park Chan-kyong
Park Chan-kyong (b. 1965) is an artist and a filmmaker based in Seoul. His subjects have extended from the Cold War to traditional Korean religious culture, from ‘media -oriented memory’ to ‘regional utopian imaginations.’ He is currently working as an artistic director of ‘MediaCity Seoul 2014’(International Media Art Biennale).
 
He has produced media based works such as Sets(2000), Power Passage(2004), Flying(2005), Sindoan(2008), Radiance(2010), Anyang Paradise City(2011), Night Fishing(2011, co-directed with Park Chan-wook) and Manshin(2013).His works have been exhibited in international venues, such as Gwangju Biennale in Korea, De Appel in Amsterdam, RedCat Gallery in Los Angeles, Kunstverein in Frankfurt and many others. He has won various prizes including Hermès Korea Misulsang(2004), Golden Bear Prize for short films of the Berlin International Film Festival(2011) and Best Korean Film of the Jeonju Internation Film Festival(2011).
 

Petra Bauer

Petra Bauer
Petra Bauer works as an artist and filmaker. She is concerned with the question of film as a political practice, and sees film as a space where social and political negotiations can take place. Right now she is interested in whether film can also be a place from where one can listen.
 
Petra Bauer graduated from Malmö Art Academy in 2003. Between 2007 and 2010 she did Cinema studies at the Stockholm University. Currently she is doing her Phd at the University College of Arts, Crafts and Design, Stockholm. She lives and works in Stockholm.Her work has been exhibited widely, including festivals and exhibitions at institutions such as Van Abbe Museum Amsterdam, Bard College Annandale-on-Hudson New York, Kadist Art Foundation, Paris, Frankfurter Kunstverein, CAC Vilnius, Kunsthalle Nurnberg, Stadtgalerie Kiel, Casino Luxemburg and Tallinn Art Hall. 
 
Her most recent work Coreography for the Giants (a publication and a video installation in collaboration with Marius Dybwad Brandrud) looks at the a world heritage procession known as the Mechelen Ommegang (or Cavalcade), which only takes place every twenty-five years. Premiered at the 6th Biennial of Moving Image, Mechelen, Belgium the work has been shown successively at the Göteborg International Bienniale for Contemporary Art and the Ljubljana Biennial of Graphic Arts. Her video installation Sisters!, a collaboration with the Southall Black Sisters, the radical, pioneering London-based feminist organisation, has been nominated for the New Vision Award at CPH:DOX festival, Copenhagen in 2011. 
 

The Otolith Group

The Otolith Group is an award winning artist led collective founded by Anjalika Sagar and Kodwo Eshun in 2002. The Group's work explores the legacies and potentials of liberation struggles, tricontinentalism, speculative futures and science-fictions.   
 
Solo exhibitions include Medium Earth, RedCat, Los Angeles (2013); AuViCo 2109-2110, Mumbai (2012); Westfailure, Project 88, Mumbai (2012); I See Infinite Distance Between Any Point and Another, Fabrica, Brighton (2012); Thoughtform MACBA, (2011) and MAXXI, Rome (2011). 
 
Group exhibitions include The Whole Earth: California and the Disappearance of the Outside, Haus der Kulturen der Welt, Berlin, (2013); ECM: A Cultural Archaeology, Haus der Kunst, Munich (2012); Death of Life and Fiction: Taipei Biennial, Taipei (2012); dOCUMENTA (13), Kassel (2012); 11th Biennale de Lyon: A Terrible Beauty is Born (2011) and 29th Bienal de Sao Paul (2010). 
 
In 2010, The Otolith Group was nominated for The Turner Prize.
 
The Otolith Group live and work in London, UK and in other parts of the world.
 

Johanna Gustavsson and Lisa Nyberg/Radical Pedagogy

Johanna Gustavsson and Lisa Nyberg/Radical Pedagogy

Radical Pedagogy is a collaboration between artists Johanna Gustavsson and Lisa Nyberg.

We collaborate. We explore and define different aspects and possibilities of radical pedagogy, through an artistic practise. We want to strengthen and make visible the role of pedagogy in society, and explore practical pedagogical models, methods, what knowledge is and how we relate to each other in the exchange of knowledge. Pedagogy is as practical as it is ideological. Pedagogy is in many places, inside and out. Not just in institutions. We make pedagogy in political movements, in personal relations, in our art, in the class room, when we build a society, together. That is our common work.

Together we arrange workshops, courses and lectures on subjects such as, power, intersectionality, feminist perspectives, utopia, radical pedagogy, artistic collaborations and self organizing. We have worked together since 2006, primarily in the art project Malmö Free University for Women – MFK  (2006-2011). Within MFK we arranged hundreds of activities through reading groups, workshops, lectures, physical exercises, manifestations, film screenings, exhibitions etc. We also did courses at Art Academies in the Nordic countries and workshops around the world. In May 2011 we released the book Do the Right Thing – a manual from MFK.

Ultra-red

Activist art has come to signify a particular emphasis on appropriated aesthetic forms whose political content does the work of both cultural analysis and cultural action. The art collaboration Ultra-red propose a political-aesthetic project that reverses this model. If we understand organizing as the formal practices that build relationships out of which people compose an analysis and strategic actions, how might art contribute to and challenge those very processes? How might those processes already constitute aesthetic forms?
 
In the worlds of sound art and modern electronic music, Ultra-red pursue a fragile but dynamic exchange between art and political organizing. Founded in 1994 by two AIDS activists, Ultra-red have over the years expanded to include artists, researchers and organisers from different social movements including the struggles of migration, anti-racism, participatory community development, and the politics of HIV/AIDS.
 
Collectively, the group have produced radio broadcasts, performances, recordings, installations, texts and public space actions (ps/o). Exploring acoustic space as enunciative of social relations, Ultra-red take up the acoustic mapping of contested spaces and histories utilising sound-based research (termed Militant Sound Investigations) that directly engage the organizing and analyses of political struggles.
 
Ultra-red's ten associates in North America and Europe work within a variety of ambiences conducting Militant Sound Investigations of the spaces of needle exchange (Soundtrax, 1992 - 1996), public sex (Second Nature, 1995 - 1998), public housing (Structural Adjustments, 1997 - 2003), resistance to global capital (Value System, 1998 - 2003), labor (Social Factory, 1997 - 2002), education (School of Echoes, 2001 - Present), anti-racism and migration struggles (Surveying The Future, 2001 - Present), and HIV/AIDS (SILENT|LISTEN, 2005 - Present). The group also runs the fair-use online record label, Public Record.. 

Wendelien Van Oldenborgh

Wendelien Van Oldenborgh

Wendelien van Oldenborgh develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation. She often uses the format of a public film shoot, collaborating with participants in different scenarios, to co-produce a script and orientate the work towards its final outcome. With these works – which look at the structures that form and hinder us – she has shown widely, participating in various large biennials and in smaller dedicated shows. Recent presentation include Cinema Bete & Deise  (2012/2013) in 'Dear Art' by What How and for Whom, London; La Javanaise (2012) in Berlinale Forum Expanded 2013 and in 'Holandaise', RAW Material, Dakar (SN); Supposing I love you. And you also love me (2011) in 'Speech Matters', Danish Pavilion, Venice Biennial 2011.