Programs > Residencies > Artists-in-Residence

ABDUL SHARIF BARUWA is a visual artist born in London, 1975 who lives and works in Vienna. Baruwa’s practice involves material observation and experimentation as well as documented thought through gestures, often deriving from every day operations. Recent exhibitions include: scream, scream (2019), Gallery 5020, Vienna, curated by Mariel Rodriguez and Catalina Ravessoud, hosted by the School of Performative Screenings at Galerie 5020; On the New (2019), Belvedere 21, Vienna; Wintershow (2019), CCA Andratx, Mallorca; Wiping it out lovely (2018), New Jörg, Vienna; Forum Migration (2018), Ferdinandeum, Innsbruck; Art and therapy, textile structures (2017), School of Performative Screenings, Vienna; To be, to be too, vitrine project (2016), Arredondo/Arozarena, Mexico City; J’arrive (2016), SUPER, Vienna; True Story (2015), Proyectos Monclova, Mexico City, curated by Michel Blancsube; Dienstag Abend (2015), Baba Vasa’s Cellar, Shabla, Bulgaria and Here we are, at least we can recall it (2015), Memphis Memphis, Linz, Austria with Josh Müller.

NIKO ABRAMIDIS & NE was born in 1987, he lives and works in Munich and Berlin. In his practice, Abramidis creates worlds and levels, dealing with topics of utopia, power structures, and international urban development. He studied architecture at the Technical University of Munich and art at the Academy of Fine Arts in Munich. Abramidis is one of three 2019 Ars Viva winners. Recent solo exhibitions include: Myst Econ (2018), KAI10 Arthena Foundation, Dusseldorf; Crisp & consulting (2016), C-Gallery, London; Master & Scale (2015), Debütantenausstellung AdBK, Munich; 3000 Years Agenda (2015), Diplomausstellung AdBK, Munich. In 2015, Ambramidis founded and curated artist-run space and collective easy!upstream.

ABBAS AKHAVAN’S practice ranges from site-specific ephemeral installations to drawing, video, sculpture and performance. The direction of his research has been deeply influenced by the specificity of the sites where he works: the architectures that house them, the economies that surround them, and the people that frequent them. The domestic sphere, as a forked space between hospitality and hostility, has been an ongoing area of research in his practice. More recent works have shifted focus, wandering onto spaces and species just outside the home – the garden, the backyard, and other domesticated landscapes. Recent solo exhibitions include Cast for a folly (2019), CCA Wattis Institute, San Francisco; Folly (2018), Vie D’ange, Montreal; Variations on a garden (2017), Museum Villa Stuck, Munich. Akhavan is the recipient of Kunstpreis Berlin (2012), The Abraaj Group Art Prize (2014), and the Sobey Art Award (2015).

ELENI BAGAKI is a visual artist based in Athens, Greece. Bagaki graduated with a Master’s in Fine Art from Central Saint Martins, London. In her practice, she reflects on desire and contemporary relationships through personal experience and observation. Drawing inspiration from feminist/queer traditions in the field of cinema, literature and visual arts, her works emerge as stories, poems, films, songs, sculptures, or something else, and are usually presented in an exhibition context. She has been an artist-in-residence at Kantor Foundation, Krakow (2017), Pivô, SaoPaulo (2018), and currently at Iaspis, Stockholm (2018–2019). She received a NEON grant (2018) for artistic production and the OUTSET grant for her exhibition A book, a film, and a Soundtrack (2017), Radio Athènes, Athens. Recent solo exhibitions include: Economy Class (2016-2017), Signal, Malmö, Sweden; and Now You See Me, Oh Now You Don’t (2015-2016), New Studio, London. Selected group exhibitons include: Milennial Feminisms (2017), L’Inconnue, Montreal; The Equilibrists (2016), organized by the DESTE foundation and NEW MUSEUM, Benaki Museum, Athens; and Lustlands (2013), Family Business, New York.

LYNDON BARROIS JR. (b. 1983, New Orleans) is an artist and educator based in Maastricht, Netherlands. He uses magazines and vernacular imagery as primary subjects of inquiry, translating the process of printing and design layout into a variety of formal and material experiences. Barrois received his MFA from Washington University in St. Louis as a Chancellor’s graduate Fellow (2013), and his BFA in painting from the Maryland Institute College of Art in Baltimore (2006). He has been a teaching artist at Stony Island Arts Bank in Chicago and has served as an adjunct faculty member in drawing and design at Washington University in St. Louis, and Webster University. He is the former Museum Educator at Contemporary Art Museum St. Louis and is currently an artist-in-residence at the Jan van Eyck Academie.

CANA BILIR-MEIER lives and works in Munich and Vienna. She studied visual art and art education at the Academy of Fine Arts in Vienna and at Sabancı University in Istanbul. She works as a filmmaker, artist, and often on arts and culture education projects. Her filmic, performative, and text-based works move at the interfaces between archival work, text production, historical research, and contemporary media reflexivity or archaeology. Her works have recently been presented at PAM (2018), Public Art Munich Festival; documenta14 (2017), Kassel, Germany; Tensta Konsthall (2017), Classroom, Stockholm; How To Live Together(2017), Kunsthalle Wien, Vienna; the Kasseler Dokumentar film-und Videofest (2015), Kassel, Germany; and Diagonale – Festival for Austrian Films (2016), Graz, Austria. In 2018, Cana Bilir-Meier was awarded the ars viva Prize for leading visual artists in Germany.

(born 1974) lives and works in London. His practice transcends disciplines to deconstruct systems of image, language, site and narrative. Using the editing process as a method to explore both meaning and form, his practice often involves collaboration and knowledge exchange, mapping across geographic borders and communities. After being trained at Central St Martin’s and the Royal College of Art Dawood undertook a PhD at Leeds Metropolitan University. Dawood is a Research Fellow in Experimental Media at the University of Westminster. Recent solo exhibitions include: Leviathan (2018), Mostyn, Wales and A Tale of a Tub, the Netherlands; Leviathan (2017), Fondazione Querini Stampalia, Venice; Kalimpong (2016), Timothy Taylor, London; Why Depend on Space and Time (2016), Galerist, Istanbul; It was a time that was a time (2015), Pioneer Works, Brooklyn; Fig.2 (2014), ICA studio and Parasol Unit, London, Leeds Art Gallery and OCAT Xi’an, China; Piercing Brightness (2012), Modern Art Oxford. Group exhibitions include: the Gwangju Biennial (2018); Kiran Nadar Museum of Art, Delhi (2018); Rubin Museum of Art, New York (2018); The Drawing Room, London (2017); Mori Art Museum, Tokyo (2016); Taipei Biennial (2014), Marrakech Biennial (2014), MACBA Barcelona (2014).

BRENDA DRANEY (Canadian, b. 1976) is Cree from Sawridge First Nation, Treaty 8, with a strong connection to Slave Lake. Draney’s work is acquired by institutional and private collectors, including the National Gallery of Canada, the Embassy of Canada Art Gallery, the Art Gallery of Alberta, and the Sobey Collection. She holds a BA in English and a BFA in Painting from the University of Alberta, as well as an MA from the Emily Carr University of Art and Design. She won both the 2009 RBC Painting Competition and 2014’s Eldon and Anne Foote Visual Arts Prize in Edmonton and was short-listed for the 2016 Sobey Art Award. Her practice is based on her experiences and relationships formed. Draney’s work provides just enough information for viewers to place their own narrative, encouraging an empathic approach to spatial voids.

ANGELA GRAUERHOLZ (1952) is a German-born Canadian photographer, graphic designer and educator living in Montreal. She studied graphic design at Kunstschule Alsterdamm, as well as literature  at the University of Hamburg and holds a Master’s degree in Fine Arts (photography) from Concordia University. She became a full-time professor in the School of Design at Université du Québec à Montréal (1988-2017), where she taught typography, photography and book design. She later became the director of the Centre of Design at UQAM (2008-12), where she curated a number of exhibitions addressing the intersections of art and design. Grauerholz is the recipient of many awards including Quebec’s Prix Paul-Émile-Borduas in 2006; Canada Council’s Governor General Award in Visual and Media Arts in 2014; Scotiabank Photography Award in 2015 and in 2018 she was awarded an Honorable Doctorate from the Emily Carr University of Art and Design. Her photography and photo-based art works have been exhibited extensively at major art events like the Sydney Biennale (1990), Australia; Documenta IX (1992), Kassel, Germany; Carnegie International (1995), Pittsburgh, USA; and La Biennale de Montréal (2002). Exhibitions include Faces, Places, Traces: New Acquisitions to the Photographs Collection (2004), National Gallery of Canada, Ottawa; Reading Room for the Working Artist (2003-04), Olga Korper Gallery, Toronto; and The Inexhaustable Image (2010), Museum of Contemporary Photography, Toronto.

CHARLENE HAHNE is a visual artist based in Weimar, primarily working in the field of painting. Concentrating on the medium itself, large and middle-sized formats suggest painting from a distance, which dissociates into individual picture-object-elements when coming closer. Contrasting some panel painting, she mainly works on non-clamped canvas and fabrics of different material. She received a diploma in fine arts from the Bauhaus-University Weimar and is currently a recipient of the Thuringian Postgraduate Grant 2018/2019. Recent exhibitions include über Landschaft (2016), Eigenheim Gallery, Weimar; Once Upon A Time (2016), Jarmuschek + Partner, Berlin; and Streifzüge (2016), Waidspeicher Gallery, Erfurt, Germany.

THIBAUT HENZ, born 1988 in Liège, Belgium, studied Visual Communication and Architecture at Bauhaus University in Weimar. His work has been exhibited at institutions including Kunsthalle Wien, Kulturfabrik Apolda, and Kunsthaus Erfurt. He has published in Der Greif, Bauhaus Journal 2017-2018, and in the catalogue Grand Ouvert – Bauhaus Photography at its finest.

NORA N. KHAN’S research focuses on experimental art and music practices that make arguments through software. She specializes in simulation design, AI and intelligent systems, machine vision, automated language and poetry, and narrative design for interfaces across time, cultures and political contexts. In examining the cultural, aesthetic and psychological dimensions of technological tools and systems, she tries to map their grounding ideology. Khan is a long-time editor at Rhizome and is currently editing Prototype, a forthcoming book from Google’s Artist and Machine Intelligence group. Khan’s art and technology criticism has been published in 4Columns, Rhizome, Art in America, Flash Art, Mousse, California Sunday, Spike Art, The Village Voice, Glass Bead and many other places. She has contributed commissioned essays for exhibitions at Serpentine Galleries, Chisenhale Gallery, the Venice Biennale, and Kunstverein in Hamburg and in a number of artist’s books, including Sondra Perry’s Typhoon Coming On (Koenig), Katja Novitskova’s Dawn Mission (Mousse) and If Only You Could See What I See with Your Eyes* (Sternberg), and Ian Cheng’s Emissaries Guide to Worlding (Koenig). She is a member of the Digital + Media faculty at Rhode Island School of Design (RISD).

GABRIELE LANGENDORF born 1961 in Rheinfelden, Baden, Lagendorf studied painting at the School of Design in Basel Switzerland and at the State College of Fine Arts in Frankfurt. In Langendorf’s mostly figurative paintings, the central motifs are interior and exterior spaces and things from everyday life. Through her obsessive gaze, she transforms ordinary objects into something experienceable, changing not only the object, but effecting the viewer as well. In 2006, Langendorf became a professor of painting and drawing at the Hochschule der Bildenden Künste Saar (HBKsaar) and has been a rector of HBKsaar since 2013. A few of her solo exhibitions include From Socks and Soap (2016), Saarlandische Berlin Gallery, Germany; Atmosphereic Disturbances (2010), Stadtische Neunkirchen Gallery; Germany and Interiors (2002), Gallery Ursula Walbröl Dusseldorf. Some of her group shows include With Charred I Wanted Keep Your Shadow (2018-19), Kunstverein Hechingen, Künstlerbund Baden-Württemberg – AKKU Project Space, Stuttgart, Kunstverein Ellwangen; Korea.China.Japan.Germany international Art Exhibition (2016), Seowipo Art Center, Jeju-Korea; and Games of Modification (2015), Museum St. Wendel, Mia Münster House, Saarland Gallery, Palais am Festungsgraben, Berlin. Some of her selected prizes include the Work Scholarship of the Kunstfonds e. V. Bonn (1994); Travel Scholarship of the Hwssische Kulturstiftung (1995) and Scholarship of the Akademie Schloss Solitude Stuttgart (1999).

KETO LOGUA a Georgian artist based in Berlin. Logua’s practice addresses processes of ecology, nature, and science while also reflecting on the conditions under which new insights and knowledge are produced. Her current projects engage with the practices of observation, imagination and projection. Recent exhibitions include: emic etic (2017), Between Bridges, Berlin; Compound (2017), KW Institute for Contemporary Art, Berlin; ars viva 2019 (2018), Kai10 Arthena Foundation, Düsseldorf; and I Do Speak Landscape (2018), Braunsfelder Family Collection, Cologne. In 2018, Keto Logua was awarded the ars viva prize, an internationally acclaimed prize for leading emerging artists living in Germany. The second iteration of the Ars Viva prize show will open on July 5, 2019 in Bern, Switzerland.

JON RAFMAN born 1981 in Montreal, studied philosophy and literature at McGill University and received an MFA from the School of the Art Institute of Chicago. His work explores the impact of technology on contemporary consciousness, incorporating the rich vocabulary of virtual worlds to create poetic narratives that critically engage with the present. His recent solo exhibitions include: Dream Journal ’16 – ’17 (2017), Sprüth Magers, Berlin; I Have Ten Thousand Compound Eyes and Each is Named Suffering (2016), Stedelijk Museum, Amsterdam; Westfälischer Kunstverein, Munster (2016); Musée d’Art Contemporain de Montréal (2015); and the Zabludowicz Collection, London, UK (2015).

PÓ RODIL (b. 1994) is a Caribbean transdisciplinary performance artist from Ponce, Puerto Rico. His artistic practice aims to problematize and research queer life and to question views of otherness in regard to the body, identity and mental health. He borrows from many disciplines such as theatre, performance and drag performance to build auto-ethnographic works. Rodil has participated in multiple collaborative works such as Asuntos Efímeros (2015-2016), a monthly performance art venue in San Juan Puerto Rico. He is a part of experimental theatre company, La Bicicleta (2016-current) and is a founding member of De Show Puerto Rico (2015), a queer drag venue in Rio Piedras, Puerto Rico. As an independent artist, he has works such as Verde sucio (2016), and Comí (2018). Rodil is a recipient of the La Espectacular art residency with his performance collective No Entiendo Nada (2016) as well as the the Puerto Rico Arts Incubator sponsored by the Northwestern University of Chicago and the Mellon Foundation (2018-2020).

MONIKA SOSNOWSKA was born in 1972 in Ryki, Poland and witnessed the change of Poland’s political system from Communism to Democracy, and the heavy impact this had upon society and her environment. Her sculptural language emerges from a process of experimentation with, and the appropriation of construction materials such as steel beams, concrete, reinforcing rods and pipes. These elements – the solid and rigid foundations of buildings – are manipulated and warped, taking on an independence in which their former functionality is implied yet defunct. In 2003, she achieved international renown with her work The Corridor, an intervention that formed part of the Arsenal exhibition of the 50th Venice Biennale. Four years later, Sosnowska represented Poland at the 52nd Venice Biennale with the monumental installation ‘1:1’. The almost organic construction of steel beams she created was intended to exhibit the Polish Pavilion itself. Using parts of the building’s infrastructure, Sosnowska occupied the entire space with a second architectural structure on the inside. 1:1 not only reflects the architecture of many of the Venetian pavilions, but at the same time, brings to the fore the global discourse on functionality, in a marked departure from modernism’s preoccupation with style.

Born in Chicago, Illinois, REA TAJIRI is a filmmaker and visual artist. She earned both her BFA and MFA from the California Institute of the Arts in post-studio art. Poetic, subtly layered and politically engaged, her work advances the exploration of forgotten histories, multi-generational memory, landscape and the Japanese American experience. As an advocate of emerging artists and directors, Rea co-founded The Workshop, an incubator for Asian American film directors in New York City. Currently, she is an Associate Professor in the Film Media Arts Department at Temple University. A few of her screenings and exhibitions include Afterlife: What Remains (2018), Alice Gallery, Seattle; WATARIDORI: birds of passage (2018), Asian Arts Initiative, Philidelphia; Ann Arbor Film Festival (2018), Michigan; Asian American International Film Festival (2017), New York City, New York; CAAM Fest (2014), Pacific Film Archives and Sundance Kabuki Theater, California and Whitney Biennial, (1989, 1991, 1993) Whitney Museum, New York. Some of her honors and awards include Ringleader, True/False Film Festival (2019); Juror, Blackstar Film Festival, Documentary Shorts, (2018); Juror, Ann Arbor Film Festival, (2018); Pew Project Grant (2018); Center for Asian American Media Documentary Award (2016, 2018), Pew Fellowship (2015), VP Arts Grant (2014, 2018), Banff Center for the Arts residency (2018), and the MacDowell Colony residency (2004).

ARTUR ŻMIJEWSKI (b. 1966, Warsaw) is a Polish artist, filmmaker and photographer. Between 1990 and 1995 Żmijewski studied in the Sculpture Department of the Academy of Fine Arts in Warsaw, receiving his diploma under the tutelage of Professor Grzegorz Kowalksi. In 2006 he represented Poland at the 51st Venice Biennale. He has shown work at Documenta 12 (2007); Manifesta 4 (2002); Wattis Institute for Contemporary Art, San Francisco; National Gallery of Art Zacheta, Warsaw; Kunstwerke, Berlin and CAC, Vilnius, among others. Prizes include first prize at KunstFilmBiennale 2005 Cologne, for the film Repetition and The Ordway Prize in 2010, administered by the New Museum and Creative Link for the Arts, New York. He was the curator of the 7th Berlin Biennale for Contemporary Art (2011-2012).

THOMAS BAYRLE (1937, Berlin) is a Frankfurt-based artist whose works spans mediums and movements including Pop, Op, and Conceptual art. His humorous and satirical multimedia works are characterized by “super-forms,” large images composed of repetitive smaller cell-like patterns. His work is influenced by his experience of growing up in post-Nazi Germany, where he trained and worked as an industrial weaver. Other major influences include the Frankfurt School of political and aesthetic theory and his collaborations on corporate identities with international corporations. Bayrle has had countless solo exhibitions, including at the Museum Ludwig, Cologne; Museum of Contemporary Art, Barcelona; Madre Museum, Naples; WIELS, Brussels; Museum of Modern Art and Portikus, Frankfurt. Recent major group exhibitions include: The Great Mother (2015), Fondazione Nicola Trussardi, Milan; The World Goes Pop (2015-16), Tate Modern, London; Heaven (2009), 2nd Athens Biennial; Making Worlds (2009), 53rd Venice Biennale; 2008 Sydney Biennial; as well as dOCUMENTA 3 (1964), 6 (1977), and 13 (2012). In 2012, he was awarded the Arnold Bode Prize and was also commissioned by Frieze London to create installations for the fair’s public spaces.

ANNA-SOPHIE BERGER (1989, Vienna) was awarded the ars viva Prize for Visual Arts, Germany, in 2017 and the first Kapsch Contemporary Art Prize in Austria in 2016. In 2018 her work is on view at S.M.A.K, Ghent, and the Contemporary Art Center in Vilinus, Lithuania. Recent solo exhibitions include mumok, Vienna; Galerie Emanuel Layr, Rome; Studio for Propositional Cinema, Düsseldorf; and the Kunsthaus Bregenz. Berger’s work was on view in 2017 at the Kunstverein in Munich, the Austrian Cultural Forum in New York, the 4th Ural Industrial Biennial in Russia, and the Salzburger Kunstverein.

ZACHARY CAHILL is a Chicago-based interdisciplinary artist. Since 2010 he has been working on his long-term project the USSA, a series of exhibitions, writings, and performances. He has had solo shows at Regina Rex, New York; KW Institute for Contemporary Art, Berlin; Illinois-Wesleyan University, Bloomington; and in Chicago at the Smart Museum of Art, the Chicago Cultural Center, Threewalls, and the Museum of Contemporary Art Chicago. His work has been included in group exhibitions including the 8th Berlin Biennale for Contemporary Art (2014); The Works (2015), Contemporary Art Brussels; and Broken Flag (2016), Iceberg Projects, Chicago, among others. A widely-published author, Cahill’s writing has appeared in Afterall, Artforum, Critical Inquiry, The Exhibitionist, Frieze, and Mousse. In 2017 ArtReview profiled Zachary Cahill for its 2017 special issue The Future Greats and he is included in The Artists Who Will Change the World, by Omar Kholeif, published by Thames & Hudson (Fall 2018).

ENDRI DANI was born in 1987 in Shkodra, Albania. He studied at the University of Arts in Tirana from 2006 to 2010, and currently lives and works in Tirana. Initially trained as a painter, this foundation permeates his now predominantly photographic, video and installation practice, which incorporates found objects, artefacts of ordinary life, elements of Albania’s history, and examinations of collective memory. His recent work has been deeply oriented towards anthropological research, focusing on the predicaments of local identity in the era of globalization and underlying paradoxes, particularly as they manifest themselves in material and consumer culture. Recent solo exhibitions include Copper (2017), The Open Box, Milan and POIEIN (2017), 1919 Gallery, Mexico City. His work has been included in group exhibitions such as Mythologies (2017), Palazzo Palmieri, Monopoli, Italy; Forming in the pupil of an eye, Kochi-Muziris Biennale (2016), Kochi, India; and Museum on/off (2016), Centre Pompidou, Paris. Dani is also a co-founder of MIZA gallery, an artist-run-space in Tirana dedicated to emerging artists from the Balkan/Mediterranean region.

OSCAR ENBERG (1988, New Zealand) is an artist based in Berlin. Recent solo exhibitions include Taste and Power (2018), Hopkinson Mossman, Auckland; Red Beryl and crocodile Opal (Irrational Exuberance in the White Man’s Hole) with Hopkinson Mossman, Statements, Art Basel 2017; Der Amethyst, Die Opale, Die Agamemnon (2017), curated by Maurin Dietrich, Frankfurt am Main; and Troubles de la Croissance (der ursprung des pendels) (2016-18), Auckland Art Gallery Toi o Tāmaki. Recent group exhibitions include ARS VIVA 2018 (2017-18), S.M.A.K., Ghent, and Kunstverein Munich, and Les Règles du Jeu / The Rules of the Game (2015), Centre Pompidou. From 2016-17 he was the Creative New Zealand Visual Arts resident at the Kunstlerhaus Bethanien in Berlin and is a recipient of the 2018 ars viva Prize for Visual Arts.

IEVA EPNERE (b. 1977) lives and works in Riga, Latvia. She creates photographs, video works and films where personal, private stories are the starting point for artistic reflections on identity, traditions and rituals. Recent solo exhibitions include Sea of Living Memories (2016), kim? Contemporary Art Centre, Riga, and Art in General, New York; Pyramiden and other stories (2015), Zacheta Project Room, Warsaw; A No-Man’s Land, An Everyman’s Land (2015), kim? Contemporary Art Centre, and The Liepāja Museum, Latvia; Waiting Room (2015), Contretype, Brussels; Esparrou (2014), Galerie des Hospices, Canet-en-Roussillon, France; Mindscapes (2013), kim? Contemporary Art Centre. Group exhibitions of her work include Belonging to a Place: An Exhibition by Fogo Island Arts (2018), Art Gallery of the Embassy of Canada, Washington, DC; Nordic-Baltic Contemporary Art Exhibition: (In)visible dreams and streams (2017), Gallery Augusta, Suomenlinna B28, Helsinki; Boundaries–A One Day Video Art Exhibition (2017), Brentwood Arts Exchange at Gateway Arts Center, Maryland; Contemporary Landscape (2016), Cēsis Art Festival, Latvia; 61st and 62nd International Short Film Festival Oberhausen (2015, 2016), Germany; Identity: Behind the Curtain of Uncertainty (2016), Ukrainian National Art Museum, Kiev; Something eerie (2016), Signal Center for Contemporary Art, Malmo; Le fragole del Baltico (2015), Careof, Milan; Ornamentalism. The Purvītis Prize, Latvian Contemporary Art (2015), 56th Venice Biennale; and 6th International Contemporary Art Biennale in Moscow (2015).

ASLAN GAISUMOV (b. 1991) lives and works in Grozny, Chechnya. Gaisumov is developing an oeuvre that feeds on, but also transforms and transcends, personal and collective memory. His works are poised between visual immediacy and social commentary, between the momentary and the monumental. He graduated from the Institute of Contemporary Art ICA, Moscow, in 2012 and Higher Institute for Fine Arts HISK, Ghent, in 2017. Selected solo exhibitions include People of No Consequence (2016), M HKA Museum of Contemporary Art Antwerp; Memory Belongs to the Stones (2015), Zink Gallery, Berlin; and Untitled (War) (2011), Vinzavod Center of Contemporary Art, Moscow. He has also participated in numerous group exhibitions, notably Power Nap (2018), Museum of Modern Art, Yerevan, Armenia; I Am a Native Foreigner (2017), Stedelijk Museum, Amsterdam; Uncertain States (2016), Akademie der Künste, Berlin; and Lines of Tangency (2015), MSK Museum of Fine Arts, Ghent.

YANNICK HERTER (b. 1990, Saarbruecken) grew up between France and Germany. In 2009 he moved to Berlin to concentrate on his work in public spaces. In 2011 he started his studies in Fine Arts at the School of Fine Arts Saar. His work deals with public spaces, spaces outside of society, transformation, the phenomenology of nature, symbiotic organisms and their characteristics, the perception of inner situations and social phenomena. He will receive his degree in Fine Arts in 2018 and is currently based in Saarbruecken.

CORINNA SCHNEIDER (b. 1989 Saarbruecken) started studying Communication Design at the School of Fine Arts Saar in 2009. In 2013, she received a TDC Certificate of Typographic Excellence for her work on the fanzine All The Small Things with students of the typography class and with Art Director Patrick Bittner. She graduated in Communication Design in 2014. She works as independent curator for the Walter Bernstein Foundation and was part of the curatorial team of the exhibition Schacht und Heim at the German Newspaper Museum in 2017. In 2018 she will receive a degree in Curatorial Studies. Corinna’s work explores conceptual publications, equal print or web, typographic experiments and photography.

CANDICE HOPKINS is a curator and writer originally from Whitehorse, Yukon. She is co-curator of the forthcoming SITE Santa Fe biennial, opening in August 2018 and was a part of the curatorial team for documenta 14 in Athens and Kassel. She was co-curator of the major exhibitions Sakahàn: International Indigenous Art; Close Encounters; The Next 500 Years; and the 2014 SITElines biennial, Unsettled Landscapes in Santa Fe, New Mexico. Her writing is published widely and her recent essays and presentations include “Outlawed Social Life” for South as a State of Mind and Sounding the Margins: A Choir of Minor Voices at Small Projects, Tromsø, Norway. She has lectured internationally including at the Witte de With, Rotterdam; Tate Modern and Tate Britain, London; Dak’Art Biennale, Dakar, Senegal; Artists Space, New York; and the University of British Columbia, Vancouver. She is the recipient of numerous awards including the Hnatyshyn Foundation Award for Curatorial Excellence in Contemporary Art and the 2016 the Prix pour un essai critique sur l’art contemporain by the Foundation Prince Pierre de Monaco. She is a citizen of Carcross/Tagish First Nation.

 STEFFEN JAGENBURG was born and raised in Cologne. Inspired by the art scene in the city from an early age, his photographic practice developed from his will to speak with and understand other creative, like-minded people. Self-taught, he uses photography as a means to get closer to people and share ideas, while executing his own conceptual framework and rules. In applying these capacities, he has been able to continually reinvent his work, from personal to contextual and corporate communication projects. He has photographed material for a number of institutions around the world such as the Heinrich B.ll Foundation, Berlin; Shorefast, Fogo Island; Kunsthalle Wien; Volksbühne, Berlin; and Witte de With, Rotterdam; among others. Jagenburg has been working on a larger artistic project over the past two years entitled Boys in the Trees, exploring the exchange between humans and nature. Jagenburg lives in the countryside just outside of Berlin.

During his residency, Jagenburg will present Open Restaurant on Fogo Island, a project that will involve local growers and producers, and knowledge inherent to place. Jagenburg will cook and host two suppers a week for invited guests during the month of August. Each meal will be sourced from local ingredients and shaped by food knowledge specific to the island’s communities and inhabitants.

You can read more about the project here.

Questions of belonging, tolerance and identification often underpin the work of ZAC LANGDON-POLE. Born in Auckland, New Zealand (1988) he currently lives and works in Berlin. In 2017, he was awarded the ars viva Prize for Visual Arts in Germany. From 2016-18 he was recipient of the Charlotte Prinz Haus Stipendium in Darmstadt. He studied at Elam School of Fine Arts, Auckland (2007-10) and at the Städelschule, Frankfurt (2014-16). Some recent exhibitions include ARS VIVA 2018 (2017-18), S.M.A.K., Ghent, and Kunstverein Munich; Discoveries (2018) with Michael Lett Gallery, Art Basel Hong Kong; emic etic (2018), Between Bridges, Berlin; Trappings (2017), Station Gallery, Melbourne; La Biennale de Montréal (2016-17); and Oratory Index (2016), Michael Lett Gallery, Auckland.

JUMANA MANNA is a visual artist working primarily with film and sculpture who was raised in Jerusalem and lives in Berlin. Her recent projects have recomposed various archival materials that pertain to historical narratives of the Levant and northern Europe. These works have explored the ways in which economic, political, and interpersonal forms of power condition architectural sites as well as human and plant life. Manna received a BFA from the National Academy of Arts in Oslo and an MA in Aesthetics and Politics from California Institute of the Arts. She has participated in several film festivals and exhibitions around the world.

JEREMY SHAW (b. 1977, North Vancouver) works in a variety of media to explore altered states and the cultural and scientific practices that aspire to map transcendental experience. Often combining and amplifying strategies from the realms of conceptual art, ethnographic film, music video, mystical and scientific research, Shaw proposes a post-documentary space in which disparate ideals, belief-systems and narration are put into crisis. Shaw has had solo exhibitions at MoMA PS1, New York; Schinkel Pavillon, Berlin; and MOCCA, Toronto. He has been featured in group exhibitions at Stedelijk Museum, Amsterdam; Palais de Tokyo, Paris; and KW Institute for Contemporary Art, Berlin. Work by Shaw is held in public collections worldwide including the Museum of Modern Art, New York, and the National Gallery of Canada. His work was featured in Manifesta 11 (2016), Zurich, and he is the recipient of the 2016 Sobey Art Award.

SIKARNT SKOOLISARIYAPORN is based between Berlin and Bangkok. Her interdisciplinary practice combines writing, performance, installation and moving image to explore questions related to human and non-human history. Skoolisariyaporn is one of the founders of Center for Lost Objects, a hypothetical museum established in 2010 whose collection consists of thousands of found, broken, un-functional and unknown objects and fragments around the globe. Skoolisariyaporn studied photography with Christopher Williams at Kunstakademie Düsseldorf and received a MFA from Goldsmiths University, London.

MICHAEL STANIAK (b. 1982, Melbourne) earned a BFA and a MFA from the Victorian College of the Arts, Melbourne; as well as a BA from Middle Tennessee State University in Digital Media Communications. He has had solo exhibitions at the Contemporary Art Museum, St. Louis (2015); Eduardo Secci, Florence (2018); Steve Turner, Los Angeles (2014, 2015, 2016 and 2017); Annarumma Gallery, Naples (2015); and Station Gallery, Melbourne (2017). His work has been included in group shows at various institutions including The Moving Museum’s Istanbul project (2014); Kunsthalle Vienna (2014 & 2015); Gertrude Contemporary, Melbourne (2016); Centro Cultural Sao Paulo (2017/18); Blain Southern, London and Berlin (2015, 2016); The Hole, New York (2014, 2015); Galerie Mikael Andersen, Copenhagen (2017); and The Journal Gallery, Brooklyn (2017). His work has been reviewed in Artforum, FlashArt Italian Edition, Leap Beijing, and Vault, and has been featured in publications such as Feelings: Soft Art (Skira Rizzoli, NewYork); Australiana to Zeitgeist: an A-Z of Australian Contemporary Art (Thames and Hudson, London) and Postdigital Artisans (Frame, Amsterdam). The Contemporary Art Museum, St. Louis published a monograph of his work in 2017 titled _IMG. He lives and works in Melbourne.

JANIQUE VIGIER (b. 1989, Winnipeg) is a curator and writer based in upstate New York. She is the Assistant Editor at Semiotext(e), Los Angeles, and has held positions as Curatorial Fellow at Kunst-Werke Institute for Contemporary Art, Berlin, and as Assistant Curator at Plug In Institute of Contemporary Art, Winnipeg. She has curated projects at The Kitchen, New York; Bridget Donahue Gallery, New York; Hessel Museum of Art, Annandale-on-Hudson; and RAW Gallery, Winnipeg. Her writing has appeared in Border Crossings, Portikus Journal, Animal Shelter, and Platform Centre for Photographic + Digital Arts, among others. With Chris Kraus and Hedi El Khoti, she recently co-edited the fifth issue of the journal Animal Shelter. She is currently a MA Candidate at the Center for Curatorial Studies, Bard College.

Janique Vigier is the 2018 Hnatyshyn Foundation-Fogo island Arts Young Curator in residence.

ASHES WITHYMAN* lives and works in Vancouver. Solo exhibitions include A Dark Switch Yawning, Neptune Skeletons Thronging, Black Bucket Prolonging, World Turtle Longing, Sink Plug Wronging (with Geoffrey Farmer) (2017), Salzburger Kunstverein; Bullae (2017), Catriona Jeffries, Vancouver; A Burning Bag as a Smoke-Grey Lotus (2015), Stroom den Haag, The Hague, and La Loge, Brussels; Household Temple Yard (2014), La Criée – Centre d’art contemporain, Rennes; Blocked Arch, Deferred Ceremony, Dawn Chorus, Tra-diddle da. Like a fly in slow suspense (2014), Glasgow Sculpture Studios; Household Temple Yard (2013), Catriona Jeffries, Vancouver; and Allochthonous Window (2013), Vancouver Art Gallery. His work A place, near the buried canal (2012) was produced as part of dOCUMENTA (13). Moore’s work has been included in numerous international group exhibitions including Lady with Gull, Peanut butter steps, World Antacid (2017), Live Arts Week VI, Museo d’Arte Moderna di Bologna, Italy; Under Construction (2015), Paramo, Guadalajara; Journeys (2014), Israel Museum, Jerusalem; Play time (2014), Les ateliers de Rennes, Biennale d’art contemporain à Rennes; Bat Ear (2014), Lüttgenmeijer, Berlin; The Intellection of Lady Spider House (2013), Art Gallery of Alberta, Edmonton; and Every Version Belongs to the Myth (2009), Project Arts Centre, Dublin.

*also known as Gareth Moore

ARTUR ŻMIJEWSKI (b. 1966, Warsaw) is a Polish artist, filmmaker and photographer. Between 1990 and 1995 Żmijewski studied in the Sculpture Department of the Academy of Fine Arts in Warsaw, receiving his diploma under the tutelage of Professor Grzegorz Kowalksi. In 2006 he represented Poland at the 51^st Venice Biennale. He has shown work at Documenta 12 (2007); Manifesta 4 (2002); Wattis Institute for Contemporary Art, San Francisco; National Gallery of Art Zacheta, Warsaw; Kunstwerke, Berlin and CAC, Vilnius, among others. Prizes include first prize at KunstFilmBiennale 2005 Cologne, for the film Repetition and The Ordway Prize in 2010, administered by the New Museum and Creative Link for the Arts, New York. He was the curator of the 7^th Berlin Biennale for Contemporary Art (2011-2012).

MARLENE CREATES is an environmental artist and poet who lives and works in Portugal Cove, Newfoundland and Labrador. Underlying all her work, spanning almost four decades, is an interest in place—not as a geographical location but as a process that involves memory, multiple narratives, ecology, language, and both scientific and vernacular knowledge. Since 2002 her principal artistic venture has been to closely observe and work with one particular place—the six acres of boreal forest where she lives. Creates’s work has been presented in over 350 solo and group exhibitions and screenings across Canada and internationally. Exhibitions in 2017 include What Came to Light at Blast Hole Pond River, Paul Petro Contemporary Art, Toronto; Photography in Canada: 1960-2000, National Gallery of Canada, Ottawa; Belonging to a Place: An Exhibition by Fogo Island Arts, Scrap Metal Gallery, Toronto; and the retrospective Marlene Creates: Places, Paths, and Pauses at the Beaverbrook Art Gallery, Fredericton. She is the recipient of numerous awards including the CARFAC National Visual Arts Advocate Award (2009); the BMW Exhibition Prize at the Scotiabank CONTACT Photography Festival in Toronto (2013); and the Grand Jury Award at the Yosemite International Film Festival (2014). Born in Montreal, Creates has lived in Newfoundland since 1985—the home of her maternal ancestors, who were from Lewisporte and Fogo Island.

marlenecreates.ca

KEREN CYTTER is a New-York based video, film, installation, and performance artist. After studying at the Avni Institute in Tel Aviv, she was a resident at De Ateliers in Amsterdam. Cytter’s work has been exhibited in numerous international venues including Tate Modern, London; The Kitchen, New York; Museum of Contemporary Art Chicago; Moderna Museet, Stockholm; Hammer Museum, Los Angeles; and Kunstverein München. She has taken part in several biennials, including Manifesta 7 (2008); the 53rd Venice Biennale (2009); and the Liverpool Biennial (2014).

kerencytter.com

BRENDA DRANEY holds a BA in English and a BFA in Painting from the University of Alberta, as well as an MA from the Emily Carr University of Art and Design. The 11th winner of the annual RBC Canadian Painting Competition in 2009, Draney was also a finalist for the 2016 Sobey Art Award. Her work has been exhibited at The Power Plant, Toronto International Art Fair and MKG127 Gallery, Toronto, and was recently included in 90X90: Celebrating Art in Alberta at the Art Gallery of Alberta. Draney is Cree from Sawridge First Nation, situated by the town of Slave Lake, Alberta. Her practice is based on her experiences and the relationships formed between her current hometown of Edmonton and the northern community of Slave Lake, where she was raised.

brendadraney.com

IEVA EPNERE (b. 1977) lives and works in Riga, Latvia. She creates photographs, video works and films where personal, private stories are the starting point for artistic reflections on identity, traditions and rituals. Recent solo exhibitions include Sea of Living Memories (2016), kim? Contemporary Art Centre, Riga, and Art in General, New York; Pyramiden and other stories (2015), Zacheta Project Room, Warsaw; A No-Man’s Land, An Everyman’s Land (2015), kim? Contemporary Art Centre, and The Liepāja Museum, Latvia; Waiting Room (2015), Contretype, Brussels; Esparrou (2014), Galerie des Hospices, Canet-en-Roussillon, France; Mindscapes (2013), kim? Contemporary Art Centre. Group exhibitions of her work include Nordic-Baltic Contemporary Art Exhibition: (In)visible dreams and streams (2017), Gallery Augusta, Suomenlinna B28, Helsinki; Boundaries – A One Day Video Art Exhibition (2017), Brentwood Arts Exchange at Gateway Arts Center, Maryland; Contemporary Landscape (2016), Cēsis Art Festival, Latvia; 61st and 62nd International Short Film Festival Oberhausen (2015, 2016), Germany; Identity: Behind the Curtain of Uncertainty (2016), Ukrainian National Art Museum, Kiev; Something eerie (2016), Signal Center for Contemporary Art, Malmo; Le fragole del Baltico (2015), Careof, Milan; Ornamentalism. The Purvītis Prize, Latvian Contemporary Art (2015), 56th Venice Biennale; and 6th International Contemporary Art Biennale in Moscow (2015).

ievaepnere.com

JAN PAUL EVERS was born in Cologne in 1982. From 2005 to 2011, he studied Fine Art at the Braunschweig University of Art in Germany. He has received several awards and scholarships including the Fine Arts Promotion Prize from the state of North Rhine-Westphalia (2012), a work scholarship from the Kunstfonds Foundation, Bonn (2012) and a work scholarship from Fürstenberg-Zeitgenössisch, Donaueschingen (2014). Evers’ work has been presented in various solo and group exhibitions in Germany since 2009. He was a recipient of the 2017 ars Viva Prize for Visual Arts. He lives and works in Cologne.

WILL GILL earned a Bachelor of Fine Arts from Mount Allison University in 1991, with a focus on sculpture. Gill has maintained a studio practice since graduation, evolving from solely sculptural exploration to a practice that encompasses painting, sculpture, photography and video work. He was named to the long-list of the Sobey Art Award in the 2004 and 2006 competitions. Career highlights include a commission for a large-scale water installation at Toronto’s Scotiabank Nuit Blanche (2012), participation in a two-person collateral exhibition at the 55th Venice Biennale (2013), and a three-week residency aboard a three-masted barquentine out of Svalbard, Norway (2014). Gill lives and works in St John’s, Newfoundland.

williamgill.ca

JACQUELINE HOÀNG NGUYỄN (b. Côte-des-Neiges, Canada) is a research-based artist who lives in Stockholm. She completed the Whitney’s Independent Study Program, New York, in 2011, having obtained her MFA and a post-graduate diploma in Critical Studies from the Malmö Art Academy, Sweden, in 2005, and a BFA from Concordia University, Montreal, in 2003. Nguyễn’s work has been shown internationally at institutions including the MacKenzie Art Gallery, Saskatoon (2017); EFA Project Space, New York City (2016); Mercer Union, Toronto (2015); MTL BNL at the Musée d’Art Contemporain, Montreal (2014); Kunstverein Braunschweig (2013); Apexart, New York (2013); Institute of Contemporary Art (ICA), Philadelphia (2011); Mason Gross Galleries, Rutgers University, New Jersey (2011); and Gasworks, London (2010). In 2011 she was commissioned by CC Seven to produce a site-specific sound piece for The Woodland Cemetery, a UNESCO World Heritage site in Stockholm. She has also been awarded several grants for her research-based practice from the Sharjah Art Foundation (2016); the Canada Council for the Arts (2010, 2011, 2014, 2015); The Banff Centre, Brenda and Jamie Mackie Fellowship for Visual Artists (2012); The Swedish Arts Grants Committee’s International Program for Visual Arts (2009, 2010, 2013, 2014, 2017); and the Swedish Research and Development Fellowship in the Arts (2007). Nguyễn was the Spring 2017 Audain Visual Artist in Residence at Simon Fraser University in Vancouver, and will participate in the fourth cycle of NTU Center for Contemporary Art Singapore’s Residencies Programme. In 2015, she was the first artist-in-residence at the Museum of Ethnography in Stockholm. The residency was organized by SWICH – Sharing a World of Inclusion, Creativity and Heritage – a collaborative project involving ten European museums of Ethnography and World Cultures.

Nguyễn is the invited curator of FIA Film: 2017 – Challenge for Change / Société Nouvelle: Documents in Participatory Democracy.

CORRIE JACKSON is the RBC Associate Art Curator, overseeing the management and growth strategy of the RBC Corporate Art Collection and developing engagement surrounding RBC’s support of the visual arts. A recent graduate of the Master of Visual Studies, Curatorial Practice program at the University of Toronto, Jackson’s curatorial interests focus on cross-generational dialogues and developing the role of collections as accountable and inclusive narratives. Previously she worked at the Justina M. Barnicke Gallery at the University of Toronto, at Sotheby’s Canada, and as an independent curator. She is on the board of contemporary art centre Mercer Union and the Gardiner Museum, and is the senior advisor to the Hart House Art Committee at the University of Toronto.

Jackson is the 2017 Hnatyshyn Foundation-Fogo Island Arts Young Curator in Residence.

BRIAN JUNGEN lives and works in the North Okanagan, British Columbia. Solo exhibitions include Catriona Jeffries, Vancouver (2016); Kunstverein Hannover (2013); Bonner Kunstverein (2013); Art Gallery of Ontario, Toronto (2011); Strange Comfort, National Museum of the American Indian, Washington, DC (2009); Museum Villa Stuck, Munich (2007); Tate Modern, London (2006); Vancouver Art Gallery (2006); Witte de With, Rotterdam (2006); and the New Museum, New York (2005). Modest Livelihood, a collaborative work with Duane Linklater, has been shown at the Edinburgh Art Festival (2014); Art Gallery of Ontario (2013); and the Walter Phillips Gallery, Banff Centre, in collaboration with dOCUMENTA (13) (2012). Recent group exhibitions include On Space and Place: Contemporary Art from Chicago, Los Angeles, Mexico City, and Vancouver, De Paul Art Museum, Chicago (2016); Residue: Persistence of the Real, Vancouver Art Gallery (2015); Sakahàn, National Gallery of Canada, Ottawa (2013); and Shanghai Biennial (2012).

Born in Berlin, Leon Kahane grew up in the setting of the former German Democratic Republic (GDR). His artistic practice is closely linked to his family history which is one of Jewish Holocaust survivors who returned to Germany. Kahane studied at the Ostkreuz School of Photography Berlin and the Berlin University of the Arts. His video and photographic works address themes such as migration and political protest from a conceptual perspective that examines the complexity of visual media as a document of social reality. Kahane lives in Berlin and Tel Aviv, two cities with very different backgrounds that determine and propel his multifaceted approach. He is a recipient of the 2017 ars Viva Prize for Visual Arts.

For the past 17 years Elizabeth McIntosh has explored abstraction beyond the conventions established by Modernist abstract painting. Based in Vancouver, she has shown across Canada and the United States including exhibitions at Blanket Contemporary Gallery and the Contemporary Art Gallery in Vancouver, and Parisian Laundry in Montreal. Group exhibitions include PAINT at the Vancouver Art Gallery, and Spell: A Travelling Exhibition of Contemporary Abstraction at the Mendel Art Gallery in Saskatoon. Her work is in public and private collections all over Canada. McIntosh is the recipient of numerous grants and awards. She is currently an Assistant Professor of Painting and Visual Arts at Emily Carr University, Vancouver.

elizabethmcintosh.ca

ISA MELSHEIMER, born 1969 in Neuss, Germany, studied at the University of Arts, Berlin. Selected solo exhibitions include: We live in townscape and, after a trek, we shop in Futurism (2015), art3, Valence; Le fil rouge (2015), Espace Louis Vuitton, Paris; Kontrastbedürfnis (2015), Ernst Barlach Haus, Hamburg; Synapsen (2014-2015), Museum für Zeitgenössische Kunst, Eupen, Belgium; Times are hard but Postmodern (2014), Galerie Jocelyn Wolff, Paris; Isa Melsheimer (2013), P K M Gallery, Seoul; and Plant Hunters (2013), Galerie Nächst St. Stephan, Vienna. Recent group exhibitions include: Kristalle im Beton – Die productive Leichtigkeit (2016), Sculpture Museum Glaskasten, Marl, Germany; Microscopie du banc (2016), Centre d’Art Micro Onde, Vélizy-Villacoublay, France; Keep your Eyes Open (2016), Lullin + Ferrari, Zurich; Parcours (2015), Domain du Muy, France; Tapisserie? De Picasso à Messager (2015), Musée Jean-Lurçat et de la tapisserie contemporaine, Angers, France; and Variations Le Corbusier (2015), Château de Carros, France. She lives and works in Berlin.

isamelsheimer.com

MIKE PENTON is a singer and musician who grew up on Fogo Island, in the community of Joe Batt’s Arm. Penton’s love of music started early – his mother and two sisters are musicians and there was always a guitar in the house. At 18 years old, Penton has played several concerts locally, and performs regularly at the Fogo Island Inn.

Penton’s residency with Fogo Island Arts will consist of professional musical training and performance opportunities in Europe in spring-summer 2017.

JOSEPH DEL PESCO is a curator, writer and publisher. Since 2009 he has been Director, and in 2016 became International Director of KADIST (Paris and San Francisco). At KADIST del Pesco established a fast-paced program of weekly events that position art as a vehicle for discussion about social and political issues internationally, and started the first residency for international art magazines. Previously he was adjunct curator at Artists Space, New York. As an independent curator he has organized exhibitions, projects and publications at The Berkeley Art Museum and Pacific Film Archive; The San Francisco Museum of Modern Art; Temple Contemporary, Philadelphia; CCA Wattis Institute for Contemporary Arts, San Francisco; The Banff Centre; Articule, Montreal; Yerba Buena Center for the Arts, San Francisco; and the UC Davis Museum among others. In 2015-16 he was in residence at SOMA in Mexico City, Beta-Local in Puerto Rico, The Luminary in St. Louis and ArtPort in Tel Aviv. His recent short stories about speculative museums have appeared in Art21 Magazine and White Fungus magazine. Previously, he has contributed writing to the catalogue for SFMOMA’s exhibition Six Lines of Flight, as well as Manifesta Journal, X-Tra, NERO, Fillip, and SFAQ. 

Del Pesco is the recipient of The Islands Spring 2017 arts writing residency program held in collaboration with Art Metropole.

delpesco.com

Charles Stankievech (b. 1978, Canada) is an artist whose research has explored the notion of “fieldwork” in the embedded landscape, the military industrial complex, and the history of technology. His diverse body of work has been shown internationally at the Louisiana Museum of Modern Art, Copenhagen; Palais de Tokyo, Paris; Haus der Kulturen der Welt, Berlin; Thyssen-Bornemisza Art Contemporary, Vienna; MASS MoCA, North Adams, MA; Musée d’art contemporain de Montréal; Canadian Centre for Architecture, Montreal; and the Venice Architecture and SITE Santa Fe Biennales. From 2010 to 2011 (and again from 2014 to 2015) he was hired as a private contractor for the Department of National Defence where he conducted independent research in intelligence operations under the rubric of the Canadian Forces Artists Program (CFAP). His lectures for dOCUMENTA (13) and the 8th Berlin Biennale were as much performance as pedagogy, while his writing has been published by Sternberg, Eflux Journal, MIT and Princeton Architectural Press. His idiosyncratic and obsessively researched curatorial projects include Magnetic Norths and CounterIntelligence—both critically acclaimed as the top Canadian exhibitions of 2010 and 2014 respectively. He is an Editor of Afterall Journal, London, and since 2011, he has been co-Director of the art and theory press K. in Berlin. He was a founding faculty member of the Yukon School of Visual Arts in Dawson City, Canada, and is currently Director of Visual Studies in the Faculty of Architecture, Landscape and Design at the University of Toronto. He lives and works in Berlin and Toronto.

stankievech.net

WALTER SCOTT is an interdisciplinary artist working across writing, illustration, performance and sculpture. In 2011 while living in Montreal, he began a comic book series, Wendy, exploring the narrative of a fictional young woman living in an urban centre, who aspires to global success and art stardom but whose dreams are perpetually derailed. Romantic woes, professional frustrations, parties and awkward encounters play out in black and white. The position of the outsider and shape-shifter is central to this body of work and the influence of feminist icons such as Mary Tyler Moore, Elle Woods in Legally Blonde or artist, punk poet, experimental novelist and filmmaker Kathy Acker lingers. Wendy is an avatar who shifts between different cultural institutions, reinventing herself with every modality and juggling different fictions of herself.

PAUL P.(1977, Canada) is an artist and writer who works alternately between Paris, New York and Toronto. He initially came to attention in 2003 for his drawings and paintings of young men that systematically re‐imagined found erotic photographs along nineteenth century aesthetic modes. In recent years the artist’s interests in transience, desire, cataloging, notation and repeat observation has expanded to include evocative landscapes and their abstraction. His practice has also extended to plein air drawing of sculptures within museums, and to the production of his own sculptural works in the form of furniture. Paul P’s work was included in the 2014 Whitney Biennial, as well as in group exhibitions at MoMA, New York, and the Freud Museum, London, and is in the collection of MoMA; LACMA, Los Angeles; the Brooklyn Museum; SFMoMA, San Francisco; and the Whitney Museum, New York, among others.

STEVEN COTTINGHAM, artist and curator, lives and works in Vancouver. He holds a Bachelor of Fine Arts from the Alberta College of Art + Design (ACAD) and has studied and carried out international residencies in New York; Madison, Maine; Berlin and St. Louis. Cottingham is the founder of the Calgary Biennial. His curatorial projects include Atlas Sighed: The Calgary Biennial of Contemporary Art, United Congress: Reconvenience and Soft Movements in the Same Direction at The New Gallery, Calgary. His solo exhibitions and projects have been presented at Niagara Artists Centre, St. Catharines, Ontario; ZK/U, Berlin; Galerie Tiers-espace, Saint John, New Brunswick to name a few.

Steven Cottingham was selected for the 2016 Hnatyshyn Foundation-Fogo Island Arts Young Curator Residency.

RICARDO OKARANZA was born in Spain and is now based in Berlin. In 2007 he left a 25-year career as a professional conservator to pursue photography. As a conservator, he specialized in Renaissance polychrome sculpture and held several prestigious museum posts, notably at the Bode Museum, Berlin (2000-2007); the Museum of Modern Art, New York (1999); and the Bundesdenkmalamt, Vienna (1996-2000). In addition to a wide array of conservation studies, Okaranza’s photography practice is informed by a master’s degree in humanities from the University of Barcelona, film studies at the Deutsche Film und Fernsehe Akademie Berlin (DFFB), Bundesarchiv Filmarchiv in Berlin and a Banff Centre residency in Canada. Okaranza’s work has been presented in curated exhibitions at Nuit Blanche Toronto (2008); Tape Modern #08, Berlin; Illingworth Kerr Gallery, Calgary; Witte de With, Rotterdam; and Koldo Mitxelena, San Sebastián. He has had solo exhibitions and participated in art fairs with WILDE Gallery, Berlin and lorch + seidel, Berlin.

LISA OPPENHEIM, who lives and works in New York, creates photographs and videos that connect historical imagery and techniques with the present moment. Her process often begins with online research to source images that she reinterprets using old and new technologies. Oppenheim also employs unusual materials as negatives – fabric, lace, slices of wood – directly recording the objects’ specific textures to create near-abstract compositions. Through her experiments with analog darkroom and digital methods, Oppenheim gives photographic images new forms and new contexts, inviting us to question and to wonder.

Oppenheim was awarded the 2014 AIMIA/AGO Photography Prize.

MAP OFFICE is a multidisciplinary platform devised by Laurent Gutierrez (1966, Casablanca, Morocco) and Valérie Portefaix (1969, Saint-Étienne, France). This duo of artists/architects has been based
in Hong Kong since 1996, working on physical and imaginary territories using varied means of expression including drawing, photography, video, installations, performance, and text. MAP Office projects have been exhibited in over 100 exhibitions at prestigious venues including MoMA and the Guggenheim Museum, New York; Centre Georges Pompidou, Paris; Ullens Centre for Contemporary Art, Beijing; Witte de With, Rotterdam, and over 30 biennales and triennials around the world, including five contributions to the Venice Biennale in Art and Architecture (2000, 2003, 2007, 2008, 2010). Their cross-disciplinary practice has been the subject of a monograph, MAP OFFICE – Where the Map is the Territory (Office for Discourse Engineering, 2011). MAP Office was the recipient of the 2013 edition of the Sovereign Asian Art Prize.

The practice of Abbas Akhavan, BFA (art history & studio arts), ranges from site-specific ephemeral installations to drawing, video, sculpture and performance. His research is deeply influenced by the specificity of the sites where he works: the architectures that house them, the economies that surround them, and the people that frequent them. The domestic sphere, as a forked space between hospitality and hostility, has been an ongoing area of research in Akhavan’s practice. Recently, he shifted focus, wandering onto spaces and species just outside the home — the garden, the backyard and other domesticated landscapes.

Akhavan’s residencies include Foundation Marcelino Botin with Mona Hatoum (Spain); Le Printemps de Septembre (France); Trinity Square Video, Western Front and Fogo Island Arts (Canada); The Watermill Center (USA); and The Delfina Foundation (Dubai, UAE & London, UK). His recent exhibitions include: Burning down the house at the Gwangju Biennale (2014); Variations on a Garden, Galerie Mana, Istanbul (2013); Study for a Garden, Delfina Foundation, London (2012); Tactics for Here & Now, Bucharest Biennale (2012); Tools for Conviviality, Power Plant, Toronto (2012); Beacon, Darling Foundry, Montreal (2012); Phantomhead, Performa 11, New York (2011); and Seeing is Believing, KW Institute for Contemporary Art, Berlin (2011). Akhavan won the 2012 Kunstpreis Berlin, the 2014 Abraaj Group Art Prize, and the 2015 Sobey Art Award. He lives and works in Toronto and Istanbul.

MARCO BRUZZONE lives and works in Berlin. He studied Biology at University of Genova and Photography and New Technologies at Bauer Institute in Milan. He runs the Beyond, a gallery in the hollow of a 150-year-old platanus tree. Bruzzone’s work is primarily conceptual and finds its final form mainly through the mediums of painting, sculpture and performance. His work is represented by Gillmeier Rech in Berlin and is exhibited regularly in international institutions and galleries. Recent exhibitions have taken place at: Kunstverein Arnsberg; Ashley, Berlin; Museo Hermann Nitsch, Naples; Gillmeier Rech, Berlin; MJ, Geneva; Dingum, Berlin; Chateau Shatto, Los Angeles; Paradise Garage, Los Angeles; Performa 13, New York City; Kings ARI Melbourne; Tagteam, Bergen; Almanac, London; Ludlow 38, New York City; Isabella Bortolozzi Galerie, Berlin; Witte De With, Rotterdam; Palais de Tokyo, Paris; Bergen Kunsthall; Weneklasen/Werner, Berlin; WIELS, Brussels; Supportico Lopez, Berlin; Kunsthalle Basel; OSLO10, Basel.

JEREMY SHAW (1977, North Vancouver) works in a variety of media to explore altered states and the cultural and scientific practices that aspire to map transcendental experience. Often combining and amplifying strategies from the realms of conceptual art, ethnographic film, music video, mystical and scientific research, Shaw proposes a post-documentary space in which disparate ideals, belief-systems and narration are put into crisis. Shaw has had solo exhibitions at MoMA PS1, New York; Schinkel Pavillon, Berlin; and MOCCA, Toronto. He has been featured in group exhibitions at Stedelijk Museum, Amsterdam; Palais de Tokyo, Paris; and KW Institute, Berlin. Work by Shaw is held in public collections worldwide including the Museum of Modern Art, New York, and the National Gallery of Canada. He is currently featured in Manifesta 11, Zurich, and is shortlisted for the 2016 Sobey Art Award.

AUGUSTAS SERAPINAS is based in Vilnius, Lithuania. He received his BA in Sculpture at the Vilnius Academy of Art in 2013. As a part of his ongoing project called Secret Places he creates site-specific installations that are indiscernible from their surroundings, building secret studios in ventilation shafts and other hard-to-access spaces for the purposes of reading, discussion, thinking and writing. In 2014 he received “Best artistic debut of the year” prize awarded by the Culture Ministry of Lithuania. Recent shows include: How to gather? (6th Moscow Biennial); Phillip, Lukas & Isidora, Salts, Switzerland; The Future of Memory, Kunsthalle Wien; Don’t You Know Who I Am? Art after Identity Politics, Museum of Contemporary Art, Antwerp; Utopian city, Survival kit 6, The Latvian Center for Contemporary Art; Unanswered Q, Contemporary Art Center, Vilnius and Beginnings, Vartai gallery, Vilnius.

RICHARD IBGHY & MARILOU LEMMENS live and work in Montreal and Durham-Sud, Quebec. Their collaborative practice combines a concise approach to form and construction of the art object with a desire to make ideas visible. Spanning across multiple media including video, performance, sculpture and installation, their work explores the material, affective and sensory dimensions of experience that cannot be fully translated into signs or systems.

Their work has been shown at: the 14th Istanbul Biennial (2015); La Biennale de Montréal (2014), Canada; Images Festival (2014), Canada; Manif d’art 7: Quebec City Biennial (2014), Canada; La Filature, Scène Nationale (2013-14), France; Henie Onstad Kunstsenter (2013), Norway; Centre for Contemporary Arts (2012), Scotland and the 10th Sharjah Biennial (2011), UAE. Recent and upcoming solo exhibitions include Leonard and Bina Ellen Gallery (2016), Montreal; VOX (2014), Montreal; Trinity Square Video (2014), Toronto; and Monte Vista Projects (2012), Los Angeles. International residencies include ISCP (2016), New York; Fondation Christoph Merian (2013), Basel and CCA (2012), Glasgow.

MARKO LULIĆ lives and works in Vienna. He has exhibited extensively nationally and internationally. His work deals intensively with topics such as architecture and modernism, the interweaving of ideology and esthetics, and the contrast of bodies in flux with the motionlessness of monumental structures. In his artistic practice he makes use of a number of media including video, performance, photography and installation. In recent years he has also curated several exhibitions as part of his expanded artistic practice. For the past five years he has been teaching at the Academy of Fine Arts in Vienna. Lulić’s work has been exhibited at the Storefront for Art and Architecture, New York; MAK Schindler Center, Los Angeles; Kunsthalle Vienna; Witte de With Center for Contemporary Art, Rotterdam; The Biennale of Sydney; Museum of Contemporary Art, Zagreb; Migros Museum for Contemporary Art, Zurich; 12th Swiss Sculpture Exhibition, Biel / Bienne and the Frankfurter Kunstverein.

GORAN PETROVIĆ LOTINA works as a researcher, curator and theorist in visual and performing arts and film. He holds Master’s Degrees in Art History from the University of Belgrade (Serbia) and Art and Politics from Sciences Po Paris Institute of Political Studies (France). Currently, he is a PhD candidate at Ghent University (Belgium). Petrović Lotina’s research combines art theory with political philosophy to examine the political dimension of art. His main point of interest is to explore how art, particularly contemporary dance, challenges dominant politics and invigorates democracy. His work on this subject has recently been published by Art Centrala, Performance Research and Palgrave Macmillan. Petrović Lotina has collaborated with numerous institutions such as MoCA Belgrade, CAC Adelaide, Kaaitheater Brussels, CCA Sarajevo, Kunstahelle Wien, Kran Film Copenhagen and ArtCenter South Florida, among others.

Petrović Lotina will curate a short film series for Fogo Island Arts during his fall 2016 residency.

Based in Vienna, Leander Schönweger constructs scenarios that tell no story, but create atmospheres with their own open, dreamlike logic. His installations seek to address the symbolic meanings of objects and situations on an individual subconscious level. At once familiar and foreign, his works evoke a sense of alienation as much as déjà-vu, triggering associations based on a viewer’s personal memories and the larger cultural matrix. Schönweger studied sculpture and multimedia at the University of Applied Arts Vienna and Kunsthøgskolen, Bergen. Recent exhibitions include Parallel Vienna, Alte Post, Dominikanerbastei, Vienna (2015); Psychogramm, Zur Alten Traube, St. Ulrich (2015); Destination Wien (2015) and The Fog Disperses(2014), Kunsthalle Wien. He is the recipient of the Kunsthalle Wien Prize 2014.

YOTARO NIWA studied at Musashino Art University in Tokyo and Braunschweig University of Art in Germany. He now lives and works in Berlin. In 2009 Niwa was awarded a scholarship by the Japanese Department of Art and Culture. Recent exhibitions include ABC Art Berlin Contemporary, Berlin, 2012; The Spring Exhibition, Charlottenborg Kunsthal, Copenhagen, 2011; Untitled, Irish Museum of Modern Art, 2010; Emporium, Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci, Milan, 2009; Dialogausstellung-Konsistenz, Japanisches Kulturinstitut, Cologne, 2009; The Space of Appearance Vol.1, Alpha M project, Art Space Kimura, Tokyo, 2008; Den Gang der Handlung verfolgen, Kunstverein St.Pauli, Hamburg, 2007; Plattform#2, Kunstverein, Hannover, 2005; and Beyond The Line, HBK Braunschweig / Herzon Anton Ulrich Museum, Braunschweig, 2006.

WILFRED ALMENDRA is a French/Portuguese artist who lives and works in Cholet, France. His work draws upon architectural influences found in the shapes and surfaces around us. Almendra brings together diverse sources and materials to create sculptures that reference the practices of hobbyist, cite the designs of major architects of the Modern era, and question social class divisions, labour and alternative economies. Recent solo exhibitions in 2014 include Centre d’Art Les Églises, Chelles; Centre d’art Passerelle, Brest; and Fondation d’Entreprise Ricard, Paris. In addition, his work has been included in numerous international exhibitions including at Kunsthalle Wien; Palais de Tokyo, Paris; Villa Arson, Nice; Centre Pompidou, Metz; Museum of Contemporary Art Chicago; Klaipeda Art Center, Lithuania; Kunstmuseum Thurgau, Switzerland; Witte de With, Rotterdam; Ural Industrial Biennale of Contemporary Art; and at the National Center of Contemporary Art, Ekaterinburg Russia, among others.

DARRYN DOULL is a curator, musician, artist, and gardener currently based in Sarnia, Ontario. He was part of the curatorial team that managed the transformation of the Judith & Norman Alix Art Gallery, moving to a historically significant purpose-built facility in 2012. Recent curatorial credits of contemporary and historical art exhibitions include: James Kirkpatrick: Sculpting Sound (2013); Making Methods: Mark Stebbins, Samantha Mogelonsky, Becky Ip (2013-14, with Linda Jansma); It Isn’t Either Or: The 70s in Ontario (2013); and Ron Martin: Activating Absence (2014). Writings have been included in the monograph Adad Hannah: The Diversions (2012), in exhibition materials for Andreas Rutkauskas: Petrolia (2013), and numerous other exhibition publications. Darryn graduated with distinction from the Studio Art program at the University of Guelph in 2010.

www.darryndoull.com

HANNAH RICKARDS lives and works in London. She was the recipient of the Max Mara Art Prize for Women in 2008/9. Her work has been exhibited at the Walker Art Center, Minneapolis; Palais de Tokyo, Paris; Witte de With, Rotterdam; and at the South London Gallery. Her work will be the subject of a solo exhibition at Modern Art Oxford in February 2014, and she has previously had solo exhibitions at the Whitechapel Gallery, The Showroom, London and Artspeak, Vancouver. Her work deals with perception and its description; with how one can translate an encounter, be that with a sound, an object, a space or an image. It is centered on the framing of description in language, gesture and sound. To date, in particular, her work has explored, in installation, video, text and sound works, the relationship between atmospheric phenomena and experience of them: a sound heard accompanying the aurora borealis, a remembered image of a mirage, a thunderclap re-performed by a musical ensemble. Rickards’ current area of interest and research is centered on the relationship between either temporary or permanent elements in a landscape and the perception of groups or individuals to a landscape as a whole, with the specific sites concerned being used as both a vantage point and a stage for examining our verbal, auditory, spatial and gestural relationship with our surroundings.

EDGAR LECIEJEWSKI explores the various social and scientific uses of photography. His work employs an experimental, analytic approach to the medium of photography by using various techniques and media. Besides content-related issues and the reflection of his own work, he is interested in issues such as the rhetoric of the photographic series, the photographic genre, the composition, and how as much time as possible can fit in a single photographic image. His pictures are repositories of time that allow for the slowing down of the act of seeing. Leciejewski’s work has been exhibited amongst others at Witte de With Center for Contempoary Art Rotterdam, Schirn Kunsthalle Frankfurt, Kunsthalle Wien, Museum der bildenden Künste Leipzig. Leciejewski lives and works in Leipzig, Germany.

www.edgarl.de

GORAN PETROVIĆ LOTINA works as a researcher, curator and theorist in visual and performing arts and film. He holds Master’s Degrees in Art History from the University of Belgrade (Serbia) and Art and Politics from Sciences Po Paris Institute of Political Studies (France). Currently, he is a PhD candidate at Ghent University (Belgium). Petrović Lotina’s research combines art theory with political philosophy to examine the political dimension of art. His main point of interest is to explore how art, particularly contemporary dance, challenges dominant politics and invigorates democracy. His work on this subject has recently been published by Art Centrala, Performance Research and Palgrave Macmillan. Petrović Lotina has collaborated with numerous institutions such as MoCA Belgrade, CAC Adelaide, Kaaitheater Brussels, CCA Sarajevo, Kunstahelle Wien, Kran Film Copenhagen and ArtCenter South Florida, among others.

Petrović Lotina will curate a short film series for Fogo Island Arts during his fall 2016 residency.

MARKO LULIĆ lives and works in Vienna. He has exhibited extensively nationally and internationally. His work deals intensively with topics such as architecture and modernism, the interweaving of ideology and esthetics, and the contrast of bodies in flux with the motionlessness of monumental structures. In his artistic practice he makes use of a number of media including video, performance, photography and installation. In recent years he has also curated several exhibitions as part of his expanded artistic practice. For the past five years he has been teaching at the Academy of Fine Arts in Vienna. Lulić’s work has been exhibited at the Storefront for Art and Architecture, New York; MAK Schindler Center, Los Angeles; Kunsthalle Vienna; Witte de With Center for Contemporary Art, Rotterdam; The Biennale of Sydney; Museum of Contemporary Art, Zagreb; Migros Museum for Contemporary Art, Zurich; 12th Swiss Sculpture Exhibition, Biel / Bienne and the Frankfurter Kunstverein.

FLAKA HALITI (born 1982, Prishtina) lives and works in Munich. She graduated from the Faculty of Arts, Prishtina University in 2006. Between 2008 and 2013, Haliti continued her education at the Städelschule Frankfurt am Main. She is currently completing the PhD-in-Practice program at the Academy of Fine Arts, Vienna. Her work has been shown in solo and group exhibitions including Museum of Modern Art, Vienna (MUMOK); Castile-Leon Museum of Contemporary Art (MUSAC); ZKM Museum of Contemporary Art, Karlsruhe; 54th October Salon, Belgrade; Gallery Martin Janda, Vienna; Weltkulturen Museum, Frankfurt; Kosovo National Gallery, Prishtina; Brussels Biennial 1; Stacion Center for Contemporary Art, Prishtina; Haus der Kulturen der Welt, Berlin; Vienna Fair; Artist Run Sweden Art Fair, Stockholm; Museum of Contemporary Art of Vojvodina, Novi Sad; SpaPort Biennial, Sarajevo; Museum of Yugoslav History, Belgrade; and Portikus, Frankfurt am Main.

Haliti is representing Kosovo at the 56^th Venice Biennale (2015) in an exhibition curated by Nicolaus Schafhausen and commissioned by the Ministry of Culture, Youth and Sport of the Republic of Kosovo. She is a winner of the Muslim Mulliqi Prize 2014, organized by the National Gallery of Kosovo, and recipient of the Henkel Art.Award (2013), granted in cooperation with Museum of Modern Art Vienna and KulturKontakt Austria. She was nominated for the 54th October Salon Prize, Belgrade in 2013 and received First Prize Agriculture and Banking (2009), organized by Städelschule and Rentenbank.

MICHELE DI MENNA’s circular artistic practice centres on ideas of ephemerality and fluidity, incorporating elements of performance, collage, sculpture, video, sound, text and installation. Repurposing is a central technique of her practice: bricks from an installation become instruments in a sound piece, a collage becomes inspiration for a video, or a performance yields a papier-mâché sculpture. Di Menna’s performances are distinctly thematic and narrative-based, with an introduction, climax and ending; though enigmatic, they represent the ultimate realization of her practice, linking her various creations and exploring their powers to mutually inform. For These Eels Are Electric (2006), one of her better-known pieces, she donned a Lycra costume and performed a ritualistic-seeming dance in a gallery installation of her own creation.

MARK MANN is a freelance writer based in Montreal. He writes about science and tech for Motherboard at Vice, and covers the tech beat for Report on Business at the Globe and Mail. His longform feature journalism and other cultural reporting have appeared in The Walrus, Maisonneuve, Reader’s Digest, Torontoist, and upcomingly in Toronto Life. He reviews contemporary art and dance for Momus, an online art criticism publication, and The Dance Current. He is the chief scriptwriter for CCC, an audio art collective, and is currently collaborating with the Belgian designer Boy Vereecken on a book of short stories scheduled to be published by Sternberg Press in the winter of 2017. He won gold in the humour category at the National Magazine Awards in 2011, and has been awarded residencies at the Banff Centre (Memoire and Literary Journalism) and at Fogo Island Arts in 2015.

BOY VEREECKEN is an editorial designer. He runs a studio in Brussels and is an advising researcher in the design department of Sint Lucas Antwerp College of Art. He is currently doing a PhD in Arts at the University of Antwerp. He has lectured at institutions including Marmara Üniversitesi, Istanbul; Università Iuav di Venezia, Italy; Sandberg Institute, Amsterdam; and Otis College of Art and Design, Los Angeles. Vereecken is interested in design and editing as the study of signs, not in isolation but as part of semiotic “sign systems,” which differ according to medium or genre. This is, in other words, the study of how meanings are made — concerned not only with communication, but also with the construction and maintenance of reality. By deconstructing and contesting the realities of signs, we can reveal whose realities are privileged, and whose are suppressed. Vereecken is currently the Art Director at Kunsthalle Wien, Austria for which he was awarded the German Design Prize 2014.

www.boyvereecken.info

NADIA BELERIQUE (born 1982; lives and works in Toronto) constructs installations that engage with the poetics of perception and asks how images perform in contemporary culture. Primarily invested in questions around materiality and dematerialization through the illusion of photographs, her image-based works are often interrupted by sculptural objects. She received her MFA from the University of Guelph, and has recently exhibited at such venues as Daniel Faria Gallery, XPACE, The Drake Hotel, Diaz Contemporary and Gallery TPW in Toronto.

www.nadiabelerique.com

NICO IHLEIN works and lives in Berlin. He studied Information Science at Freie Universität Berlin and Experimental Media Design at the Universität der Künste Berlin. He also worked and showed extensively with the artist group Honey Suckle Company, contributing to their open associative work practice. His work has been shown in several group and solo shows.

Ihlein’s recent works are an ongoing series of empty ceramic vessels, which are inspired by the costumes of the belle époque, Tupperware and alien blobs. They are sculptural gestures between ornament and abstraction, android-ized bodies and sublime beauty.

ERIKA BALSOM is lecturer in Film Studies and Liberal Arts at King’s College, London, specializing in the study of the moving image in art. Originally from St. John’s, Newfoundland, she holds a PhD in Modern Culture and Media from Brown University and was an Andrew W. Mellon Postdoctoral Fellow in the Humanities at the University of California, Berkeley. Her writing has appeared in journals such as Cinema Journal, Screen, and Afterall, and her book, Exhibiting Cinema in Contemporary Art, was published by Amsterdam University Press in 2013. She has lectured widely, including recent talks at LUX, London; Light Industry, New York); Paris 3-Sorbonne Nouvelle, Paris; and the Carnegie Museum of Art, Pittsburgh. She is features editor of Moving Image Review and Art Journal (MIRAJ).

MARK CLINTBERG is an artist and art historian based in Montreal, Quebec. He has shown his work in institutions across Canada and in the United States. Recent exhibitions including his work have been held at the Art Gallery of Alberta, the Habourfront Centre, Centre des arts actuels Skol, and AXENÉO7. Upcoming solo projects will be presented at the Illingworth Kerr Gallery (Calgary), Western Front, (Vancouver) and Trap\door (Lethbridge). Clintberg maintains a studio practice in Montreal, where he recently completed his PhD in the Department of Art History at Concordia University. He earned his MA at Concordia University (2008), and his BFA from the Alberta College of Art and Design, completing a portion of his studies at the Nova Scotia College of Art and Design (2001). In 2011 Clintberg conducted research at Oxford University with support of the Social Sciences and Humanities Research Council. Publications of his writing can be found in the following periodicals: The Senses & Society, C Magazine, The Art Newspaper, Fillip, Canadian Art, Border Crossings, BlackFlash, Arte al Dia International and Photofile. Other publications include contributions to One for Me and One to Share: Artist’s Multiples by Multiple Artists (2012), The Domestic Queens Project (2011), and Paul Butler’s Lateral Learning (2010).

Mark was shortlisted for the 2013 Sobey Art Award. For the Sobey Art Award Exhibition, Mark presented a work that he created during the first part of his residency at Fogo Island Arts, Not the one but there is no one else, comprised of a hand-woven fishing net and a series of take-away posters. Photos of this work can be found on Mark’s website.

www.markclintberg.com

GEORGE VAN DAM The Namibian-born violinist George Alexander van Dam has been a committed performer of contemporary music since the early stages of his career. He has worked with leading composers of today — Adès, Aperghis, Benjamin, Chin, Eötvos, Francesconi, Goeyvaerts, Harvey, Hosokawa, Kagel, Kurtàg, Ligeti, Mamiya, Reich, Saariaho, Stockhausen, Joji Yuasa, amongst others — as a soloist or within the context of contemporary-music ensembles such as Ensemble Modern Frankfurt, MusikFabrik, or Ictus, of which he is a founding member.

Through close collaboration with the younger generation of composers — Cassol, De Mey, Harada, Hus, Vermeersch, and others — several new works have been written specially for him, e.g. Homeobox by Mochizuki, premièred with the Junge Deutsche Philharmonie. He took master classes with Dorothy DeLay, Z. Gilels, A. Markov, A. Rosand, Rainer Kussmaul and studied at the Brussels Conservatory with Georges Octors and Arie van Lysebeth. In 2012 he resumed studying the harpsichord — with Robert Kohnen – rekindling his childhood fascination for early keyboard music.

His own work as a composer includes chamber music, the song cycles Engel-Lieder for James Bowman, Lorca Songs, Melanchotopia Songs (written together with Claron McFadden) for Witte de With, Rotterdam 2011, a violin concerto with timbila orchestra for Drumming Grupo Percussão Porto, music for (silent) film, for theatre and dance performances — Ballet de Marseille, Needcompany, Ultima Vez i.a. — and works with visual artists such as Manon de Boer, Angela Bulloch, Trudo Engels, Ana Torfs and Jorge Léon. Recent projects include new music for a production of Escorial by Michel de Ghelderode/Josse De Pauw for Collegium Vocale Gent/Transparant and the film sequenza — on Sequenza VIII by Luciano Berio — in collaboration with Manon de Boer in May 2014.

Generally I am interested in the human condition, with a specific interest in the things we say. There is no such thing as a neutral word or an innocent sentence. Everything we say is a redefinition of who we are and thus plays a crucial role in constructing our social reality. It is ultimately this landscape of the spoken word that I am interested in and through my examination of it I see my work as a documentation of how contemporary society reacts with itself.

For video footage, more examples and more elaborate explanations of my work, please visit: www.murraygaylard.com

CHRIS KABEL is a product designer who combines his desire to be an inventor with an intuitive, artistic approach to design everyday objects. Kabel: “I like to be smart more than stylish. For some reason aesthetics always follow suit quite naturally”. Equally important to Kabel is the context of his works: “I like to react to rather specific questions by clients that are looking for answers for a particular situation. It often turns out that my answers to those questions can be applied to similar situations elsewhere”.

Kabel works with product design labels (Droog in Amsterdam) as well as with galleries (Galerie kreo in Paris) and cultural institutions (Portikus in Frankfurt am Main, Marres in Maastricht and Witte de With in Rotterdam). His work is in the collection of the MoMA in New York, museum Boijmans van Beuningen in Rotterdam and the Stedelijk Museum in Amsterdam. Kabel teaches with intervals at Ecole cantonale d’art de Lausanne and the Design Academy in Eindhoven.

NICOLE LATTUCA is a curator and educator originally from Massachusetts, USA. Currently, she is based in Montreal, Canada where she has been directing Educational Programs at the Canadian Centre for Architecture since 2011. Lattuca received her M.A. in Exhibition and Museum Studies from the San Francisco Art Institute. Her thesis, Bad Education: Appropriating the Experimental School within Curatorial Practice, addresses the co-opting of the school aesthetic for display purposes during what was termed the “educational turn in curating”. Her research interests include contemporary art and architectural projects, remote art spaces and art residencies, and experimental learning platforms. Lattuca has held professional positions at the Chinati Foundation in Marfa, Texas and the San Francisco Museum of Modern Art. Her work has been presented at international conferences on education within the museum field, including Canadian Art Gallery Educators and the International Confederation of Architectural Museums. Throughout her career, Lattuca has curated exhibitions, public programs, and educational initiatives that take the form of discursive practices, participation, and co-design workshops.

EDGAR LECIEJEWSKI explores the various social and scientific uses of photography. His work employs an experimental, analytic approach to the medium of photography by using various techniques and media. Besides content-related issues and the reflection of his own work, he is interested in issues such as the rhetoric of the photographic series, the photographic genre, the composition, and how as much time as possible can fit in a single photographic image. His pictures are repositories of time that allow for the slowing down of the act of seeing. Leciejewski’s work has been exhibited amongst others at Witte de With Center for Contempoary Art Rotterdam, Schirn Kunsthalle Frankfurt, Kunsthalle Wien, Museum der bildenden Künste Leipzig. Leciejewski lives and works in Leipzig, Germany.

www.edgarl.de

YOTARO NIWA studied at Musashino Art University in Tokyo and Braunschweig University of Art in Germany. He now lives and works in Berlin. In 2009 Niwa was awarded a scholarship by the Japanese Department of Art and Culture. Recent exhibitions include ABC Art Berlin Contemporary, Berlin, 2012; The Spring Exhibition, Charlottenborg Kunsthal, Copenhagen, 2011; Untitled, Irish Museum of Modern Art, 2010; Emporium, Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci, Milan, 2009; Dialogausstellung-Konsistenz, Japanisches Kulturinstitut, Cologne, 2009; The Space of Appearance Vol.1, Alpha M project, Art Space Kimura, Tokyo, 2008; Den Gang der Handlung verfolgen, Kunstverein St.Pauli, Hamburg, 2007; Plattform#2, Kunstverein, Hannover, 2005; and Beyond The Line, HBK Braunschweig / Herzon Anton Ulrich Museum, Braunschweig, 2006.

SILKE OTTO-KNAPP is originally from Germany. She received a Master of Fine Arts from Chelsea College of Art and Design, London, and a degree in Cultural Studies from the University of Hildesheim, Germany. Recent solo exhibitions include: “Monday or Tuesday”, Camden Art Center (2014); “Geography and Plays”, Kunsthal Charlottenborg (2013); “A light in the moon”, Berkeley Art Museum and Pacific Film Archive, Berkeley (2011); “Voyage Out”, Greengrassi, London (2011); “Many Many Women”, Kunstverein München, Munich (2010); “Standing anywhere in the space in a relaxed position”, The Banff Centre, Banff; and “Present Time Exercise”, Modern Art Oxford, Oxford. She has participated in numerous group exhibitions including: “Sacre 101”, Migros Museum, Zürich (2014); “À Ciel Ouvert: Le Nouveau Pleinairisme” (2012), Musée national des beaux-arts du Québec, Quebec; “Hilary Lloyd, Janice Kerbel, Silke Otto-Knapp, Kölnischer Kunstverein, Cologne” (2012-2013); “Watercolour” , Tate Britain, London (2011); “rendez-vous nowhere”, Centro Cultural Montehermoso, Spain (2008-2009); 9th Istanbul Biennial, Istanbul (2005); and “The Undiscovered Country”, Hammer Museum, Los Angeles (2004-2005). Silke Otto-Knapp is Associate Professor, Painting and Drawing at University of California, Los Angeles.

JANICE KERBEL is a Canadian artist, living and working in London, UK since 1995. Kerbel’s work is often produced in relation to existing logic systems, re-configuring the principle applications of organising structures to better define the relationship between reality, imagination and illusion. Her work ranges in its use of material, often involving the use of print, text, sound, and more recently, light. Her body of work includes: Bank Job (1999), a detailed plan to rob a central London bank; Deadstar (2006), a plan for a new ghost town; Ballgame (2009–12), an audio recording of a scripted play-by-play commentary of a imagined, statistically average, baseball game; and most recently Kill the Workers! (2011), a play written for theatrical lights. Recent solo exhibitions include: Justina M. Barnicke Gallery, Toronto (2013); Arts Club of Chicago (2012); Walter Phillips Gallery, Banff (2012); i8 Gallery, Reykjavík (2012); Chisenhale Gallery, London (2011); Art Now Tate Britain (2010); and greengrassi, London (2009). Her radio play, Nick Silver Can’t Sleep (2006), was commissioned by Artangel, and produced by BBC Radio3; her book, 15 Lombard St., was published by Book Works, London (2000). She is currently Reader in Fine Art at Goldsmiths College, University of London. Kerbel is represented by greengrassi, London; Catriona Jeffries, Vancouver; Karin Guenther, Hamburg; and i8, Reykjavík.

HANNAH RICKARDS lives and works in London. She was the recipient of the Max Mara Art Prize for Women in 2008/9. Her work has been exhibited at the Walker Art Center, Minneapolis; Palais de Tokyo, Paris; Witte de With, Rotterdam; and at the South London Gallery. Her work will be the subject of a solo exhibition at Modern Art Oxford in February 2014, and she has previously had solo exhibitions at the Whitechapel Gallery, The Showroom, London and Artspeak, Vancouver. Her work deals with perception and its description; with how one can translate an encounter, be that with a sound, an object, a space or an image. It is centered on the framing of description in language, gesture and sound. To date, in particular, her work has explored, in installation, video, text and sound works, the relationship between atmospheric phenomena and experience of them: a sound heard accompanying the aurora borealis, a remembered image of a mirage, a thunderclap re-performed by a musical ensemble. Rickards’ current area of interest and research is centered on the relationship between either temporary or permanent elements in a landscape and the perception of groups or individuals to a landscape as a whole, with the specific sites concerned being used as both a vantage point and a stage for examining our verbal, auditory, spatial and gestural relationship with our surroundings.

ZIN TAYLOR (1978, Canada) is an artist based in Brussels, Belgium. “Thoughts about a subject, turned into forms about a subject” is how Taylor describes his approach to — and use of — environments as material for sculpture and thinking. Taylor has presented solo exhibitions throughout Europe and North America. His writing and artist books have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Mousse Publishing (Milan), and Artforum (New York). He is represented by Jessica Bradley Gallery (Toronto) and Supportico Lopez (Berlin).

ABBAS AKHAVAN currently lives and works in Toronto. His practice ranges from site-specific ephemeral installations to drawing, video and performance. The domestic sphere has been an ongoing area of research in Akhavan’s work. Earlier works explore the relationship between the house and the nation state and how trauma of systemic violence enacted upon civilians can be inherited and reenacted within the family lineage — the home as a forked space between hospitality and hostility. More recent work has shifted focus onto spaces just outside the home: the garden, the backyard, and other domesticated landscapes.

Akhavan’s work has been exhibited at the Darling Foundry, Montreal; the Vancouver Art Gallery; the Power Plant, Toronto; KW Institute for Contemporary Art, Germany; Performa 11, USA; Bucharest Biennial 5, Romania and the Belvedere Museum, Vienna. Akhavan was the recipient of the Berlin Kunstpreis 2012.

KATIE BETHUNE-LEAMEN works in sculpture, video and installation. She holds an MFA from the University of Guelph, and has exhibited across Canada, and internationally. Recent solo exhibitions include Shiny Object Person, Art Gallery of Ontario, Toronto (2012). Recent residencies include The Banff Centre, SIM (Reykjavík, IS), and Fogo Island Arts (Fogo Island, NL), with upcoming residencies at Open Studio (Toronto), the Illulissat Art Museum (Ilulissat, GD), The American Museum of Natural History (NYC), and The Arctic Circle (Svalbard, NO). Her writing has appeared in Canadian Art, C Magazine and Border Crossings.

www.katiebethuneleamen.com

MARK CLINTBERG is an artist and art historian based in Montreal, Quebec. He has shown his work in institutions across Canada and in the United States. Recent exhibitions including his work have been held at the Art Gallery of Alberta, the Habourfront Centre, Centre des arts actuels Skol, and AXENÉO7. Upcoming solo projects will be presented at the Illingworth Kerr Gallery (Calgary), Western Front, (Vancouver) and Trap\door (Lethbridge). Clintberg maintains a studio practice in Montreal, where he recently completed his PhD in the Department of Art History at Concordia University. He earned his MA at Concordia University (2008), and his BFA from the Alberta College of Art and Design, completing a portion of his studies at the Nova Scotia College of Art and Design (2001). In 2011 Clintberg conducted research at Oxford University with support of the Social Sciences and Humanities Research Council. Publications of his writing can be found in the following periodicals: The Senses & Society, C Magazine, The Art Newspaper, Fillip, Canadian Art, Border Crossings, BlackFlash, Arte al Dia International and Photofile. Other publications include contributions to One for Me and One to Share: Artist’s Multiples by Multiple Artists (2012), The Domestic Queens Project (2011), and Paul Butler’s Lateral Learning (2010).

Mark was shortlisted for the 2013 Sobey Art Award. For the Sobey Art Award Exhibition, Mark presented a work that he created during the first part of his residency at Fogo Island Arts, Not the one but there is no one else, comprised of a hand-woven fishing net and a series of take-away posters. Photos of this work can be found on Mark’s website.

www.markclintberg.com

THEODORE ZACHARY COTLER is the author of two collections of poetry, House with a Dark Sky Roof (2011) and Sonnets to the Humans (2013), and the forthcoming novel Ghost at the Loom (2013). His awards include the Amy Clampitt Fellowship from the Clampitt Estate and the Ruth Lilly Fellowship from the Poetry Foundation. He is a founding editor of The Winter Anthology.

www.winteranthology.com

KARSTEN FÖDINGER (1978, Germany) lives and works in Karlsruhe, Germany. He has had solo shows at SALTS, Birsfelden (2012); Palais de Tokyo, Paris (2011); RaebervonStenglin, Zurich (2010); and projektraum4, Mannheim (2009). Selected group exhibitions include: Alone Together, Rubell Family Collection, Miami, (2012); Art and the City, Zurich (2012); Local 11, curated by Eric Hattan, Kunsthaus base country, Muttenz (2010); The unstoppable rise of daredevils and bottles, curated by Meuser, Städtische Galerie, Karlsruhe (2010); herringbone parlor, curated by John Bock, Temporary Kunsthalle, Berlin (2010); and Purple Rain, Galerie Iris Kadel, Karlsruhe (2010). His awards include: the 2012 Baloise Art Prize, Art 43 Basel Statements, Basel; a residency at the Cité Internationale des Arts, Paris; the France Grant of Arts Fund, Germany; and a grant from the Art Foundation Baden-Württemberg, Germany.

STEFFEN JAGENBURG sees the world reflected in the people who live there. Just as colours seep into each other, so do character, situation and time harmonise to create unique, personal experiences. With this outlook, his approach to beauty becomes more about the short moments people are willing to share with us. Over the next two years, Steffen will be visiting Fogo Island regularly to use photography to document the Fogo Island Arts studios and the artists working in them. (Repeat visit in 2015)

JANICE KERBEL is a Canadian artist, living and working in London, UK since 1995. Kerbel’s work is often produced in relation to existing logic systems, re-configuring the principle applications of organising structures to better define the relationship between reality, imagination and illusion. Her work ranges in its use of material, often involving the use of print, text, sound, and more recently, light. Her body of work includes: Bank Job (1999), a detailed plan to rob a central London bank; Deadstar (2006), a plan for a new ghost town; Ballgame (2009–12), an audio recording of a scripted play-by-play commentary of a imagined, statistically average, baseball game; and most recently Kill the Workers! (2011), a play written for theatrical lights. Recent solo exhibitions include: Justina M. Barnicke Gallery, Toronto (2013); Arts Club of Chicago (2012); Walter Phillips Gallery, Banff (2012); i8 Gallery, Reykjavík (2012); Chisenhale Gallery, London (2011); Art Now Tate Britain (2010); and greengrassi, London (2009). Her radio play, Nick Silver Can’t Sleep (2006), was commissioned by Artangel, and produced by BBC Radio3; her book, 15 Lombard St., was published by Book Works, London (2000). She is currently Reader in Fine Art at Goldsmiths College, University of London. Kerbel is represented by greengrassi, London; Catriona Jeffries, Vancouver; Karin Guenther, Hamburg; and i8, Reykjavík.

Dr. marjolijn kok is trained as a theoretical archaeologist (phd) and worked for over ten years at the University of Amsterdam. At this time she made collages in her free time. In 2010 she quit her job to focus on contemporary archaeology and art. She researched Occupy and related protest movements. At the end of 2012 she joined ‘Ateliergemeenschap Havenstraat’ (studio community), where she now works nearly full-time as an artist. Her work is interdisciplinary and characterized by an interest in the relation between people, material culture and social relations, which she explores in different media. Collages are a large part of her work, especially the series ‘The Wonderous World of the Little Researcher’ but she also makes videos, photography, soundpieces, artist’s books and digital drawings. Her latest ongoing project ‘100 metres of Fogo’ consists of making 100 artworks, based on scale drawings of the landscape on Fogo, in different styles, each one measuring a square metre. Since 2013 she formed together with line kramer the artist collective THE KOKRA FAMILY, they make social critical installations. She has exhibited in various group exhibitions.

www.marjolijnkok.com

LINE KRAMER I have been making studio-works (drawings, paintings and combinations/assemblages with mixed materials) for 23 years now. Lately I’m working on the notion of liberating my work from the economic and materialistic traditional restraints, e.g. recycling existing works and writing. And while creating objects I deconstruct objects as I’m also interested in creating space while letting time be the most influential factor.

The use of language as/in images is at this moment very important in my thinking and crafting. Language pieces are reflected in poetry and performances. At the same time I’ve been working as a technician and artist assistant at Witte de With, contemporary art centre in Rotterdam, for 23 years on a part-time basis. My own practice is developing on a different scale than at Witte de With but nevertheless I consider it of the same level.

My work that could be seen as a “all-round-artist” work, is focused on intellectual content. I am strongly committed to a practice that involves thinking about art, but also reflects and critiques a more theoretical and political discourse. I have been showing on a regular base in group and solo exhibitions on a somewhat ‘local’ level, but consider myself as someone having a voice in the ‘greater’ art world as well due to my technical expertise and intellectual experience. In my spare time I like to run and do yoga. My last free hours are filled with a wide range of on-line courses.

www.linekramer.com

YVONNE MULLOCK is a graduate of the Glasgow School of Art and is currently based in Calgary. Over the past 16 years she has participated in artist-in-residence program in Scotland, England, Canada and the United States and has presented group and solo exhibitions in Oregon, Calgary, Toronto, Fogo Island and Glasgow. Recent projects include the Alberta Foundation for the Arts International Studio Curatorial Program recipient, New York; Great Auk Sanctuary at the Museum of Flat Earth, curated by Kay Burns, Fogo Island; Dark Horse, Stride Gallery, Calgary; Charrette Roulette – Homeworks, Art Gallery of Alberta curated by Kristy Trinner, Edmonton; HIT & MISS at Esker Foundation Contemporary Art Gallery, Calgary; HOME ECONOMICS, Textile Museum of Canada, Toronto; Alberta Biennial – Future Station, Art Gallery of Alberta, Edmonton; Calgary’s 2015 Biennial Atlas Sighed, curated by Steven Cottingham; Beaver Fever, Project Room, Glasgow; and WE, a provincial and international co-curatorial touring exhibition exploring both Calgary and Glasgow’s art scenes. During 2010-13 Yvonne worked with Shorefast Foundation and Fogo Island Arts as Lead Artist for a community based quilt project for the Fogo Island Inn. This textile-based project, amongst others Mullock has spearheaded and coordinated, reimagined traditional forms and techniques to guide a process of creating contemporary textiles that are rooted in the old. To date, Mullock’s studio practice is multi-disciplinary and spans diverse interests in nature and craft. Incorporating collage, sculpture, ceramics, video and textiles, her work explores ideas of authorship, craft and labour inherent in the act of making for both gallery and site-specific installations. Mullock often works with groups and individuals to develop works that are collaborative in nature, socially engaged and performative.

www.yvonnemullock.com

KATE NEWBY (1979, New Zealand) graduated from Elam School of Fine Arts MFA program in 2007. Recent solo exhibitions include: What a day, Hopkinson Mossman, Auckland; I’m just like a pile of leaves, Auckland Art Gallery; I’ll follow you down the road, Hopkinson Cundy, Auckland; and Crawl out your window, GAK Gesellschaft für Aktuelle Kunst, Bremen. Group exhibitions include: Melanchotopia, Witte de With, Rotterdam; Bas Jan Ader: Suspended between Laughter and Tears, Museo de Arte Zapopan (MAZ), Guadalajara; The Future is Unwritten, The Adam Art Gallery, Wellington; and Show me, don’t tell me, Witte de With, Brussels Biennial 1, Brussels. The Winner of the Walters Prize in 2012, during that year Newby also undertook residencies at ISCP (New York), during which time she completed two temporary public commissions: All Parts. All the time, Olive Street Garden and Cooper Park, Brooklyn; and How funny you are today New York, Fort Greene Park, Brooklyn.

YOTARO NIWA studied at Musashino Art University in Tokyo and Braunschweig University of Art in Germany. He now lives and works in Berlin. In 2009 Niwa was awarded a scholarship by the Japanese Department of Art and Culture. Recent exhibitions include ABC Art Berlin Contemporary, Berlin, 2012; The Spring Exhibition, Charlottenborg Kunsthal, Copenhagen, 2011; Untitled, Irish Museum of Modern Art, 2010; Emporium, Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci, Milan, 2009; Dialogausstellung-Konsistenz, Japanisches Kulturinstitut, Cologne, 2009; The Space of Appearance Vol.1, Alpha M project, Art Space Kimura, Tokyo, 2008; Den Gang der Handlung verfolgen, Kunstverein St.Pauli, Hamburg, 2007; Plattform#2, Kunstverein, Hannover, 2005; and Beyond The Line, HBK Braunschweig / Herzon Anton Ulrich Museum, Braunschweig, 2006.

ANITA NOWAK is the Integrating Director of the Social Economy Initiative at McGill University and teaches Introduction to Social Entrepreneurship and Social Innovation at the Desautels Faculty of Management. As an author-in-residence with Fogo Island Arts she worked on her first book entitled The Power of Empathy.

LUCY PAWLAK’s art practice focuses on questions surrounding how we act together. Pawlak conducts ongoing practical research about potentials for critical distance in augmented reality. She aims to design structures for reflexive navigation of how and why we conform to systems and what the possibilities are of for breaking with these patterns. In 2010 Pawlak founded the Samsonov Film and Theatre Cooperative, a collective of performers, cinematographers, sound designers and editors, experimenting with different approaches to filmmaking. The project culminated in a feature film, The Inspection House (training for the family in how to act). Pawlak studied graphic design in Bristol, painting at the Royal College of Art, and cinematography at the Polish National Film, Television and Theatre School in Lodz. She was also a member of the Lux Associate Artists 2011. She currently is experimenting with wireless transception and remote communication.

HANNAH RICKARDS lives and works in London. She was the recipient of the Max Mara Art Prize for Women in 2008/9. Her work has been exhibited at the Walker Art Center, Minneapolis; Palais de Tokyo, Paris; Witte de With, Rotterdam; and at the South London Gallery. Her work will be the subject of a solo exhibition at Modern Art Oxford in February 2014, and she has previously had solo exhibitions at the Whitechapel Gallery, The Showroom, London and Artspeak, Vancouver. Her work deals with perception and its description; with how one can translate an encounter, be that with a sound, an object, a space or an image. It is centered on the framing of description in language, gesture and sound. To date, in particular, her work has explored, in installation, video, text and sound works, the relationship between atmospheric phenomena and experience of them: a sound heard accompanying the aurora borealis, a remembered image of a mirage, a thunderclap re-performed by a musical ensemble. Rickards’ current area of interest and research is centered on the relationship between either temporary or permanent elements in a landscape and the perception of groups or individuals to a landscape as a whole, with the specific sites concerned being used as both a vantage point and a stage for examining our verbal, auditory, spatial and gestural relationship with our surroundings.

JERRY ROPSON started out from Pollard’s Point, a tiny community in rural Newfoundland. Ropson received his BFA from Memorial University, Grenfell Campus in 2001 and earned an MFA in Studio Arts from Concordia University some years later. His practice focuses on material-based installation and performative storytelling. He primarily uses drawing and narrative to construct and document his unyielding attachment to the commonplace. He has exhibited his work across Canada, working mostly within artist-run-centres and non-traditional spaces. Over the years he has contributed projects to, among others: Eastern Edge Gallery (St. John’s, NL); The Khyber Centre for the Arts (Halifax, NS); Modern Fuel ARC (Kingston, ON); Forrest City Gallery (London, ON); SKOL Centre des Arts Actuels, FOFA Gallery, and The Leonard & Bina Ellen Gallery (Montreal, QC). Ropson as also exhibited internationally, contributing to exhibitions throughout Europe, as well as in Australia, Thailand and Cuba. Ropson currently resides in Sackville, New Brunswick where he is an Assistant Professor in the Fine Arts Department at Mount Allison University. He prefers longer walks in cooler months, and hums near incessantly.

ANDREAS SIQUELAND lives and works in Oslo. His practice is concerned with the relationship of art to nature and notions of translation, re-enactment and repetition. Working both outside and inside, Siqueland often lets the concrete situation, such as changing weather conditions or restrictions imposed by architecture, play an active role in making the work. He works as a painter and in collaboration with the Norwegian artist Anders Kjellesvik under the name of aiPotu. Siqueland’s recent exhibitions include A Box and Picture, The Academy of Fine Art, Oslo (2012), Winterstudio, Henie Onstad Art Centre, Bærum (2011), Momentum, 6th Nordic Biennial of Contemporary Art, Moss (2011), Practice for a Sunset, Tidens Krav, Oslo (2011), Villa Moderne, GAD, Oslo (2009) and Pleinairism, i8 Gallery, Reykjavík (2008). Recent exhibitions with aiPotu include Five Thousand Generations of Birds, Fitjar, Norway (2012), Torino Over, MAO, Turin (2012), Leila, Hordaland Kunstsenter, Bergen (2010), Smeden og Vandreren, Kunstnernes Hus, Oslo (2009) and the 2008 Sydney Biennale, Revolutions — Forms That Turn.

TOBIAS SPICHTIG’s work is based on a discourse concerning images and their meaning—more specifically, the overwhelming presence of the media and the continuous availability of information, which contribute to the dissolution of time. His approach is based on material production. Concept and narration are abstracted and continually redefined. This creates symbolic works that present the historical and contemporary as the bases of a radical presence.

BOY VEREECKEN is an editorial designer. He runs a studio in Brussels and is an advising researcher in the design department of Sint Lucas Antwerp College of Art. He is currently doing a PhD in Arts at the University of Antwerp. He has lectured at institutions including Marmara Üniversitesi, Istanbul; Università Iuav di Venezia, Italy; Sandberg Institute, Amsterdam; and Otis College of Art and Design, Los Angeles. Vereecken is interested in design and editing as the study of signs, not in isolation but as part of semiotic “sign systems,” which differ according to medium or genre. This is, in other words, the study of how meanings are made — concerned not only with communication, but also with the construction and maintenance of reality. By deconstructing and contesting the realities of signs, we can reveal whose realities are privileged, and whose are suppressed. Vereecken is currently the Art Director at Kunsthalle Wien, Austria for which he was awarded the German Design Prize 2014.

www.boyvereecken.info

AGNES WALSH was born in Placentia, Newfoundland. She is a poet and a playwright. She has published two collection of poetry, In the Old Country of My Heart, Killick Press (1996) and Going Around With Bachelors, Brick Books (2007). She is the artistic director and playwright for the Tramore Theatre Troupe on the Cape Shore of Placentia Bay. In May of 2011 her collection of plays for Tramore, Answer Me Home, Plays from Tramore Theatre, was published. She has read her work in such extreme and lovely places as the Azores and Iceland. In 2006 she was named the inaugural St. John’s Poet Laureate. Her poems have been translated into French, Portuguese and Icelandic.

My name is DANAI ANESIADOU. I was born in Germany, raised in Greece and Belgium, and now live in Brussels. When people ask me what I do, I play with my fingers instead of saying, “I’m a performance artist.” Then I usually add: “I also make videos, installations, black box dance-theatre and would like to act in a film some day.” A live event is always at the centre of my work. I don’t believe in separating life and work. Therefore, I frequently collaborate with talented friends and family members. Some say I’m married to the idea that theatre is a space for autobiographical confession and that I tend to offer audiences insight into the neurotic mess of my stage character’s family history and private life. I agree about that on some level, but do believe that some things are best kept secret. Others add that my work explores a revisitation of the magical, the surreal; invests in cheap objects and actions; an improvised church where actual poetics and sublimation are found in the bargain bin. I say: when one has to write one’s own biography, let it be written in the first person singular.

KATIE BETHUNE-LEAMEN works in sculpture, video and installation. She holds an MFA from the University of Guelph, and has exhibited across Canada, and internationally. Recent solo exhibitions include Shiny Object Person, Art Gallery of Ontario, Toronto (2012). Recent residencies include The Banff Centre, SIM (Reykjavík, IS), and Fogo Island Arts (Fogo Island, NL), with upcoming residencies at Open Studio (Toronto), the Illulissat Art Museum (Ilulissat, GD), The American Museum of Natural History (NYC), and The Arctic Circle (Svalbard, NO). Her writing has appeared in Canadian Art, C Magazine and Border Crossings.

www.katiebethuneleamen.com

GEOFF BUTLER is a painter, writer and book illustrator. He was born on Fogo Island near Brimstone Head, which has been designated one of the four corners of the earth by the Flat Earth Society. Butler practices his art daily so as not to fall over the edge. His most recent illustrated book is Ode to Newfoundland, published by Tundra Books (2003). He is a graduate of Memorial University (St. John’s, Newfoundland) and Syracuse University (New York). He also studied at the Art Students’ League in New York City. His paintings have been exhibited at the Art Gallery of Nova Scotia. He has been the recipient of a Nova Scotia Arts Council Creation grant and a Canada Council Established Artist grant.

LYN HUGHES was born in Wales in 1952, and lived in South Africa for eighteen years before settling in Sydney in 1982. Her first novel, The Factory (Pascoe Publishing, 1990), was shortlisted for the Qantas/National Book Council’s New Writer’s Award. She has since published three more novels: One Way Mirrors (Allen & Unwin, 1993), The Bright House (Random House, 2000), and Flock (HarperCollins Fourth Estate, 2011). She is currently at work on The Name of the Crime, a gothic novel set in the Azores, Fogo Island, and Eden, a former whaling town in New South Wales. Lyn writes and lives between the Blue Mountains and Sydney.

www.lynhughes.com.au

CHRIS KABEL was born in Bloemendaal, the Netherlands in 1975. He graduated in 2001 from the Design Academy Eindhoven. In 2002 he moved to Rotterdam where he started his design practice. He works for and with design labels, architects, cultural institutions and design galleries. He is a professor at the Design Academy Eindhoven and at the Ecole Cantonale d’Art in Lausanne (ECAL). Kabel’s work is in the collections of MoMA (New York), Boijmans van Beuningen (Rotterdam), Stedelijk Museum (Amsterdam), Hangaram Design Museum (Seoul), Fonds National d’Art Contemporain (Paris), Mint Museum (Charlotte), EKWC (Hertogenbosch), and the Den Bosch Institut fuer Auslandsbeziehungen (Stuttgart).

SAMUEL THOMAS MARTIN is the author of the story collection This Ramshackle Tabernacle (Breakwater, 2010), short-listed for the BMO Winterset Award and long-listed for Canada’s ReLit Award. His first novel, A Blessed Snarl (Breakwater, 2012), was hailed as one of the “most anticipated books of 2012” by the 49th Shelf and has received great reviews since its publication. His short stories, essays, and reviews have appeared in Image, Riddle Fence, Cuffer Anthology, Canadian Literature, Comment, Christian Courier, Relief, and qwerty. He holds an MA in Creative Writing from the University of Toronto, where he worked with award-winning writer David Adams Richards, and a PhD in English Literature from Memorial University of Newfoundland, where he completed a dissertation on “sacramental reading.” He is currently the Assistant Professor of Creative Writing at Northwestern College in Orange City, Iowa, where he lives with his wife Samantha and their black lab Vader.

YVONNE MULLOCK is a graduate of the Glasgow School of Art and is currently based in Calgary. Over the past 16 years she has participated in artist-in-residence program in Scotland, England, Canada and the United States and has presented group and solo exhibitions in Oregon, Calgary, Toronto, Fogo Island and Glasgow. Recent projects include the Alberta Foundation for the Arts International Studio Curatorial Program recipient, New York; Great Auk Sanctuary at the Museum of Flat Earth, curated by Kay Burns, Fogo Island; Dark Horse, Stride Gallery, Calgary; Charrette Roulette – Homeworks, Art Gallery of Alberta curated by Kristy Trinner, Edmonton; HIT & MISS at Esker Foundation Contemporary Art Gallery, Calgary; HOME ECONOMICS, Textile Museum of Canada, Toronto; Alberta Biennial – Future Station, Art Gallery of Alberta, Edmonton; Calgary’s 2015 Biennial Atlas Sighed, curated by Steven Cottingham; Beaver Fever, Project Room, Glasgow; and WE, a provincial and international co-curatorial touring exhibition exploring both Calgary and Glasgow’s art scenes. During 2010-13 Yvonne worked with Shorefast Foundation and Fogo Island Arts as Lead Artist for a community based quilt project for the Fogo Island Inn. This textile-based project, amongst others Mullock has spearheaded and coordinated, reimagined traditional forms and techniques to guide a process of creating contemporary textiles that are rooted in the old. To date, Mullock’s studio practice is multi-disciplinary and spans diverse interests in nature and craft. Incorporating collage, sculpture, ceramics, video and textiles, her work explores ideas of authorship, craft and labour inherent in the act of making for both gallery and site-specific installations. Mullock often works with groups and individuals to develop works that are collaborative in nature, socially engaged and performative.

www.yvonnemullock.com

KATE NEWBY (1979, New Zealand) graduated from Elam School of Fine Arts MFA program in 2007. Recent solo exhibitions include: What a day, Hopkinson Mossman, Auckland; I’m just like a pile of leaves, Auckland Art Gallery; I’ll follow you down the road, Hopkinson Cundy, Auckland; and Crawl out your window, GAK Gesellschaft für Aktuelle Kunst, Bremen. Group exhibitions include: Melanchotopia, Witte de With, Rotterdam; Bas Jan Ader: Suspended between Laughter and Tears, Museo de Arte Zapopan (MAZ), Guadalajara; The Future is Unwritten, The Adam Art Gallery, Wellington; and Show me, don’t tell me, Witte de With, Brussels Biennial 1, Brussels. The Winner of the Walters Prize in 2012, during that year Newby also undertook residencies at ISCP (New York), during which time she completed two temporary public commissions: All Parts. All the time, Olive Street Garden and Cooper Park, Brooklyn; and How funny you are today New York, Fort Greene Park, Brooklyn.

SILKE OTTO-KNAPP is originally from Germany. She received a Master of Fine Arts from Chelsea College of Art and Design, London, and a degree in Cultural Studies from the University of Hildesheim, Germany. Recent solo exhibitions include: “Monday or Tuesday”, Camden Art Center (2014); “Geography and Plays”, Kunsthal Charlottenborg (2013); “A light in the moon”, Berkeley Art Museum and Pacific Film Archive, Berkeley (2011); “Voyage Out”, Greengrassi, London (2011); “Many Many Women”, Kunstverein München, Munich (2010); “Standing anywhere in the space in a relaxed position”, The Banff Centre, Banff; and “Present Time Exercise”, Modern Art Oxford, Oxford. She has participated in numerous group exhibitions including: “Sacre 101”, Migros Museum, Zürich (2014); “À Ciel Ouvert: Le Nouveau Pleinairisme” (2012), Musée national des beaux-arts du Québec, Quebec; “Hilary Lloyd, Janice Kerbel, Silke Otto-Knapp, Kölnischer Kunstverein, Cologne” (2012-2013); “Watercolour” , Tate Britain, London (2011); “rendez-vous nowhere”, Centro Cultural Montehermoso, Spain (2008-2009); 9th Istanbul Biennial, Istanbul (2005); and “The Undiscovered Country”, Hammer Museum, Los Angeles (2004-2005). Silke Otto-Knapp is Associate Professor, Painting and Drawing at University of California, Los Angeles.

LUCY PAWLAK’s art practice focuses on questions surrounding how we act together. Pawlak conducts ongoing practical research about potentials for critical distance in augmented reality. She aims to design structures for reflexive navigation of how and why we conform to systems and what the possibilities are of for breaking with these patterns. In 2010 Pawlak founded the Samsonov Film and Theatre Cooperative, a collective of performers, cinematographers, sound designers and editors, experimenting with different approaches to filmmaking. The project culminated in a feature film, The Inspection House (training for the family in how to act). Pawlak studied graphic design in Bristol, painting at the Royal College of Art, and cinematography at the Polish National Film, Television and Theatre School in Lodz. She was also a member of the Lux Associate Artists 2011. She currently is experimenting with wireless transception and remote communication.

WILLEM DE ROOIJ studied art history at the University of Amsterdam (1989–1990), and studio practice at the Gerrit Rietveld Academie (1990–95) and at the Rijksakademie (1997–1998), both in Amsterdam. He worked in collaboration with Jeroen de Rijke from 1994 to 2006, as De Rijke/De Rooij. Together with De Rijke, De Rooij mounted major exhibitions at K21, Düsseldorf in 2007, and at the Museo d’Arte Moderna di Bologna in 2008, and they represented the Netherlands at the Venice Biennale in 2005. He is a Professor of art at the Städelschule in Frankfurt am Main, Germany since 2006 and a tutor at De Ateliers in Amsterdam since 2002. In 2004, De Rooij began to include pieces by other artists in his own artworks. For example, his film Mandarin Ducks was shown at the Stedelijk Museum in Amsterdam in 2005 within the context of objects and artworks from the Museums’ collection. In 2007, de Rooij made two installations in which he included the work of artists Isa Genzken, Keren Cytter and designer Fong-Leng: The Floating Feather, at Galerie Chantal Crousel, Paris; and Birds in a Park at Galerie Daniel Buchholz, Cologne. His 2009 installation Birds, shown at Cubitt Artists in London, included works by the Dutch artist Vincent Vulsma. Since 2002, De Rooij has been making sculptures made of flowers —the Bouquet series.

STEVE ROWELL is an artist, curator and researcher based in Los Angeles whose practice focuses on overlapping aspects and perceptions of technology, culture and infrastructure related to the landscape. Rowell aims to contextualize the built and the natural environment, appropriating the methods and tools of the geographer and cartographer. In addition to being Program Manager at The Center for Land Use Interpretation since 2001, Rowell collaborates with SIMPARCH and The Office of Experiments. Rowell’s work (collaborative and solo) has been exhibited internationally at a range of galleries and museums, including Temporäre Kunsthalle, Berlin; The 2006 Whitney Biennial and PS1, New York; Yerba Buena Center for The Arts, San Francisco; The Smithsonian American Art Museum, Washington; The Barbican Art Centre, IBID Projects, Between Bridges and the Frieze Art Fair, London; Ballroom Marfa, Marfa; and The Center for PostNatural History, Pittsburgh.

www.steverowell.com
www.clui.org
www.simparch.org

KEVIN SCHMIDT was born in 1972 and is based in Vancouver. Schmidt works across diverse media, but primarily in photography and video. His practice is an investigation of transcendent possibility in a culture where “all that is solid melts into air.” He has a strong interest in landscape, music and popular culture. After graduating from Emily Carr Institute of Art and Design in 1997, Schmidt has received considerable national and international recognition. Recent solo exhibitions include Epic Journey at the Musée d’art contemporain de Montréal, Montréal (2011); A Sign in the Northwest Passage at The Power Plant, Toronto (2011); Wild Signals at Galerie Barbara Thumm, Berlin (2009); Burning Bush at Artspeak, Vancouver (2005); and Fog at the Presentation House Gallery, Vancouver (2004). He has participated in a number of significant group exhibitions including a collaboration with Ragnar Kjartansson at the Art Gallery of Alberta, Edmonton (2011); True North, Anchorage Museum (2011); unfinished business, Waterside Project Space, London (2010); Sentimental Journey, Contemporary Art Gallery, Vancouver (2009); How Soon is Now, Vancouver Art Gallery, (2009); and Depiction Part IV: Film Program for the IFFR 2007, Witte de With, Rotterdam (2007). Schmidt is represented by Catriona Jeffries Gallery in Vancouver.

ROBIN SIMPSON is an art historian, curator and student based in Vancouver where he is currently a Ph.D. student in Art History at the University of British Columbia. He earned his M.A. at Concordia University, Montreal (2011). His research interests as an art historian are situated within the decades following the Second World War and include artist-run culture, art education, independent publishing, and the correlation between these activities and public policy. He is a contributing author to A Play to be Played Indoors or Out: This Book is a Classroom (edited by Corinn Gerber, Lucie Kolb, and Romy Rüegger, 2012) and Oh, Canada (MassMoCA and MIT Press, 2012).

ANDREAS SIQUELAND lives and works in Oslo. His practice is concerned with the relationship of art to nature and notions of translation, re-enactment and repetition. Working both outside and inside, Siqueland often lets the concrete situation, such as changing weather conditions or restrictions imposed by architecture, play an active role in making the work. He works as a painter and in collaboration with the Norwegian artist Anders Kjellesvik under the name of aiPotu. Siqueland’s recent exhibitions include A Box and Picture, The Academy of Fine Art, Oslo (2012), Winterstudio, Henie Onstad Art Centre, Bærum (2011), Momentum, 6th Nordic Biennial of Contemporary Art, Moss (2011), Practice for a Sunset, Tidens Krav, Oslo (2011), Villa Moderne, GAD, Oslo (2009) and Pleinairism, i8 Gallery, Reykjavík (2008). Recent exhibitions with aiPotu include Five Thousand Generations of Birds, Fitjar, Norway (2012), Torino Over, MAO, Turin (2012), Leila, Hordaland Kunstsenter, Bergen (2010), Smeden og Vandreren, Kunstnernes Hus, Oslo (2009) and the 2008 Sydney Biennale, Revolutions — Forms That Turn.

TOBIAS SPICHTIG’s work is based on a discourse concerning images and their meaning—more specifically, the overwhelming presence of the media and the continuous availability of information, which contribute to the dissolution of time. His approach is based on material production. Concept and narration are abstracted and continually redefined. This creates symbolic works that present the historical and contemporary as the bases of a radical presence.

PATRICK STAFF is an artist based in London working with video, installation, performance and publishing. Previous projects have explored the political, physical and material implications of social spaces, historical alternatives to industrial and late capitalist society, counter-culture and alternative forms of community building. He frequently collaborates with other artists, historians, actors/dancers and public participants. His exhibitions, performances and screenings have taken place internationally. His project with Fogo Island Arts was in collaboration with Robin Simpson.

www.patrickstaff.co.uk

ZIN TAYLOR (1978, Canada) is an artist based in Brussels, Belgium. “Thoughts about a subject, turned into forms about a subject” is how Taylor describes his approach to — and use of — environments as material for sculpture and thinking. Taylor has presented solo exhibitions throughout Europe and North America. His writing and artist books have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Mousse Publishing (Milan), and Artforum (New York). He is represented by Jessica Bradley Gallery (Toronto) and Supportico Lopez (Berlin).

HOLLY WARD is a Vancouver-based interdisciplinary artist working with sculpture, multi-media installation, architecture and drawing as a means to examine representations of social progress and the utopian imaginary. She received her BFA (interdisciplinary) from the Nova Scotia College of Art and Design in 1999 and her MFA (studio) from the University of Guelph in 2006. Ward has exhibited in solo shows across Canada: at the Morris and Helen Belkin Gallery and the Or Gallery in Vancouver; and YYZ Gallery, Toronto amongst others. She has participated in group exhibitions in Canada, England, Mexico, the US, Norway and South Korea. She is currently represented by Republic Gallery, Vancouver where she had a solo exhibition in 2009. For her 2009-2010 Langara College Artist-in-Residence project in Vancouver, Ward constructed a 22 foot diameter geodesic dome to act as host to a series of exhibitions, readings, workshops and experimental performances.