Thresher Grey is a short story writer and essayist living in Chicago. She studied creative writing and English at New York University, and recently had a piece published in Stories from the World of Tomorrow: The Way the Future Was, an anthology of short science fiction.
Since the mid-1970s Navjot Altaf has created an oeuvre which constitutes an ever-growing flow of video, sculptures, installations and site-specific works that negotiate various disciplinary boundaries. The essence of her imagery comes out of her theoretical and methodological innovation, combined with deeply engaged readings of historical and contemporary art, film and cultural theory. Altaf continues to work with collaborators from other disciplines and simultaneously since 1997 has been working in collaboration with indigenous artists and community members on ongoing ‘Nalpar’/hand pump sites and ‘Pilla Gudi’/temples for children – public art projects in Bastar district – Chhattisgarh in Central India. Her methodology ascertains the interactive aspects of collaboration, whereby the work emerges out of an extended dialogical interaction and alters the conventional relationship between the participants/ viewer and the work of art. The process has helped her address and realize the significance of transdisciplinary work “whose nature is not merely to cross disciplinary boundaries but to rearrange mental landscape”
Exhibitions include: ‘Making Sense of Crisis : Art as Schizoanalysis’ , KHOJ, New Delhi, India (2015) ‘Dead Reckoning: Whorled Explorations’, 2nd edition of the Kochi-Muziris Biennale, Kochi, India (2014) Is it what you think?, Kiran Nadar Museum of Art, New Delhi, India (2014). Forms of Activism, Rabindra Bhavan, New Delhi (2014). Rewriting the landscape: India and China: Contemporary Art from China and India, MMCA Korea (2013). Water, EuropaliaIndia Liege, Belgium, Germany, (2013). Horn in the Head, Talwar Gallery, New Delhi (2013). Women In Between: Asian Women Artists (1984-2012) Japan (2012/13). Yamuna Elbe-Contemporary Flows, fluid times, Hamburg and Delhi. A place in New York, The Guild, New York (2011). Touch IV, Talwar Gallery, New Delhi and the Guild, Mumbai (2010). IN CONTEXT: Public.Art. Ecology, (2010) New Delhi (2010). Lacuna in ‘Testimony, Frost Art Museum, Florida, (2009). Touch, Sakshi Gallery Mumbai. Bombay Shots, the Guild, Mumbai, (2008). 48%c Public Art and Ecology, New Delhi (2008). Public Places Private Spaces, Newark Museum, New Jersey. Tiger by the Tail –Contemporary Indian Women Transforming Culture, Brandies Museum, Boston, (2007). Bombay Maximum City, Lille, France. Zones of Contact, 15th Sydney Biennale, Australia (2006). Groundworks, Carnegie Mellon University, Pittsburgh. Water Weaving, Talwar Gallery, New York (2005). ZOOM – ART IN CONTEMPORARY INDIA, Lisbon. Passage to India, Geneva (2004). Sub Terrain-Indian Contemporary Art, House Of World Culture, Berlin. Eight Havana Biennale, Cuba (2003). Century City, Tate Modern London (2001). First Fukuoka Asian Art Triennials, Japan (1999).
Altaf has participated in national and international artists’ workshops / residencies and has presented papers in seminars in India, Japan, Bangkok, U.K. U.S.A, Canada, and Germany including: Geographies of Consumption/The City as Consumption Site: Bombay/Mumbai’ MPCVA, Mumbai (2015). Anthropocene Curriculum, HKW, House of World Culture, Berlin, (2014). Asymmetry / symmetry, Is it what you think?, Kiran Nadar Museum of Art, New Delhi, India (2014). Rewriting the landscape, National Museum of Modern and Contemporary Art, Seoul, Korea (2013). Art Ecology Sustenance: at Disappearance as work in progress: Approaches to ecological romanticism, as part of the Maldives pavilion in Venice Biennale (2013). Artist is not an isolated system, Seattle Asian Art Museum and participated in Artists Roundtable Sites, Henry Art Gallery Auditorium: New Geographies of Feminist Art: China, Asia, and the World, University of Washington, Seattle, USA (2012). Looking at Art as Experience, Arts Education Conference: Diversity and Justice, National Gallery of Modern Art Bangalore, India (2012). Hence Undoing is Doing, Yamuna- Elbe Contemporary Flows; Fluid Times, Goethe Institute /Max Muller, New Delhi, India, Hamburg, Germany (2011). IN CONTEXT: Public Art. Ecology, Khoj International Artists Residency, New Delhi, India (2010) She is one of the founding members of a center ‘Dialogue – Interactive Artists Association, in Kondagaon, Chhattisgarh, and has organized seminars /discussions Samvad 1’, Samvad 2’ and Samvad 3’ (2009 ,2011 and 2015) at Dialogue. Altaf Lives and works in Mumbai and Bastar, India.
Ravi Agarwal is an artist, environmental activist, writer and curator living in New Delhi. Trained as an engineer, he has engaged his art practice integrally with his other pursuits as founder of the NGO Toxics Link, one of India’s leading environmental, non-profit organizations. In addition to writing extensively on ecological issues, his artistic practice has encompassed photography, video, and installation, integrating science, politics, and explorations of self, as ‘personal ecologies’. By merging social documentary and environmental activism, his resistance to ecological and environmental depletion adds an urgency to work as an artist, becoming a medium in itself for his activism.
Agarwal has shown in international shows including Documenta XI (2002) Kassel, Germany, Horn Please (Berne 2007), Indian Highway (2009), Sharjah Biennial (2013), as well as several national shows and solo shows. Agarwal recently co-curated a twin-city public art show, Yamuna-Elbe Public Art Outreach (2011-12), a project of public art works that highlighted ecological, developmental and socio-cultural issues relating to the river Yamuna in Delhi, and the river Elbe in Hamburg.
Joana Hadjithomas and Khalil Joreige
Joana Hadjithomas and Khalil Joreige collaborate as filmmakers and artists, producing cinematic and visual artwork that interwine. For the last 15 years, they have focused on the images, representations and history of their home country, Lebanon and questioned the fabrication of imaginaries in the region and beyond. Together, they have directed documentaries such as Khiam 2000-2007(2008) and El Film el Mafkoud (The Lost Film) (2003) and feature films such as Al Bayt el Zaher (1999) and A Perfect Day (2005).Their feature film, Je Veux Voir (I Want to See), starring Catherine Deneuve and Rabih Mroue, premiered at the Cannes film festival in 2008 and was chosen by The French critics Guild as Best singular Film 2008. In 2013, they have presented their feature documentary The Lebanese Rocket Society, the strange tale of the Lebanese space race and a series of artistic installations around the space project of the 60′s.Their films have been multi awarded in international festivals and enjoyed releases in many countries. Several retrospective of their films have been organized in venues as Tate Modern, Moma New York, Vision du reel, Nyon, Paris cinema, Institut Français, Tokyo….They have created numerous photographic and video installations, among them Faces, Lasting Images, Distracted Bullets, The Circle of Confusion, Don’t Walk, War Trophies, Landscape of Khiam, A Faraway Souvenir, The Lebanese Rocket society and the multifaceted project Wonder Beirut shown in solo or group exhibitions in museums, biennials and art centers around the world, such as lately: SF MOMA, Musée d’art moderne de la ville de Paris, Centre Georges Pompidou, Beaubourg, Paris, Mori museum, Tokyo The Guggenheim, New York, la Triennale, 1rst Kochi Biennal, 12th Istanbul Biennal, 9th Gwangiu Biennale, ZKM Karlsruhe, KW Berlin, 10th Sharjah Biennal, 11ème biennale de Lyon, V &A, UK, Ashkal Alwan, Beirut, Singapore art museum and many others….They are the authors of numerous publications and university lecturers in Lebanon and Europe, members of the board of Metropolis Cinema, and co-founders of Abbout Productions. http://hadjithomasjoreige.com/
One of the Arab world’s leading contemporary artists, works in a variety of media, including film, photography, social interventions, installation, performance, video, writing and sound. Jacir has shown extensively throughout the world since 1994. Solo exhibitions include Darat il Funun, Amman (2014); Alexander and Bonin (2014); Beirut Art Center (2010), Guggenheim Museum, New York (2009), and Kunstmuseum, St. Gallen (2008). Jacir participated in dOCUMENTA (13) (2012) and she has been featured in the Biennale di Venezia five times: the 51st (2005), 52nd (2007), 53rd (2009), (2011) and 55th 54th the 15th Biennale of Sydney (2006); Sharjah Biennial 7 (2005); and the 8th Istanbul Biennial (2003). She has been honored many times for her artistic achievments which include a Golden Lion at the 52nd Venice Biennale (2007) for her work “Material for a film”; a Prince Claus Award from the Prince Claus Fund in The Hague (2007); the Hugo Boss Prize at the Guggenheim Museum (2008); and the Alpert Award (2011) from the Herb Alpert Foundation. She has been actively involved in education in Palestine since 2000 including PIVF and Birzeit University.She is a professor at the vanguard International Academy of Art Palestine in Ramallah since it opened in 2006 and served on its Academic Board from (2006–2012). She conceived of and co-curated the first Palestine International Video Festival in Ramallah in 2002. She also curated a selection of shorts; “Palestinian Revolution Cinema (1968 -1982)” which went on tour in 2007. She currently lives around the Mediterranean. (2013).
Julian Honkasalo, scholar and activist, is currently working on a dissertation on Revolution and Law in the thought of Hannah Arendt, at The New School for Social Research NYC. Honkasalo is also finishing his research project in gender studies, at University of Helsinki, where he is completing his PhD thesis titled ‘Arendt’s Silence on Gender’. Honkasalo’s main research interests include the political thought of Hannah Arendt, the philosophy of revolutionary action, statelessness and human rights, as well as the Israeli-Palestine conflict. Honkasalo has a long background in peace work and humanitarian activism and has conducted voluntary work in Zambia, Nepal and Lebanon among other countries.
(b. New York, 1978) is a visual artist whose work explores how histories, places, identities and communities are constructed and reconstructed. Her exhibitions and screenings include dOCUMENTA (13) , the Museum of Modern Art, New York (2011), Sharjah Biennials 10 and 9 (2011, 2009), National Gallery, Washington DC (2008), Tate Modern, London (2007), EMAP, Seoul (2005), Liverpool Biennial (2004) and transmediale, Berlin (2003). Public projects have been commissioned by Creative Time and the Arab American National Museum, among others. Critical texts have appeared inFUSE, Viralnet, Pavilion, Sarai Reader, Radical History Review and the Journal of Aesthetics and Protest. In spring 2012 she collaborated with Afghan Films and the media archive collective pad.ma to launch a digitization project in the Afghan Films archive.
Born 1969, London, England. Lives and works in New York. Naeem Mohaiemen explores histories of the international left and the contradictions of nationalisms through essays, photography, film, and installation. Since 2006, he has worked onThe Young Man Was, a history of the ultra-left in the 1970s, with each portion in a different medium. The latest installment of the project, United Red Army, is a film about the 1977 hijack of a Japan Airlines flight (shobak.org).
Mohaiemen’s essays include “Islamic roots of Hip-Hop” (Sound Unbound, MIT Press), “Asterix and the big fight” (Playing by the rules, Apex Art), “Live true life or die trying” (Visual Culture Reader, 3rd Ed., Routledge), and “These guys are artists and who gives a shit” (System Error, Silvana). The themes he has addressed in his work have been described as “not yet disillusioned fully with the capacity of human society” (Vijay Prashad, Take on Art). Mohaiemen is a Ph.D. student in Anthropology at Columbia University.
Born in Beirut in 1965, Ramadan is an architest, filmmaker, curator and cultural writer working between Europe, Asia and the Arab world, focusing on the MENA region and the Arab world in a global context. His fields of specialties include the intersections of the history of constructed media, the fusion of alternative art with aesthetic journalism and media research in relation to internet art content providers.
He works with universities, think tanks, museums, foundations and media institutions. He has taught at universities and academies across Northern and Southern Europe, Asia and the Middle East. He worked as senior advisor for the Manifesta Foundation, NL; Spanish Art Council; Maldives Ministry of Culture; the Danish Art Council and the Nordic Institute for Contemporary Art (NIFCA). He published several books and articles in international publications, e.g. Trans-Visuality (Forth coming University of Dublin) BRUMARIA (Spain), Manifesta Journal, NL; and Peripheral Insider, Copenhagen University Press. In 2009 Al-Jazeera TV produced a documentary about Ramadan’s activities. He is member of the International Association of Curators of Contemporary Art (IKT) and The International Association of Art Critics (AICA).
He co-curated among others, the Maldives Pavilion at the 55th Venice Biennale 2013; Manifesta 8, Spain; Guangzhou Triennial, Guangdong Museum of Modern Art, China; and projects for UCCA, Beijing, and Museo Nacional Centro de Arte Reina Sofía, Madrid. http://www.khaledramadan.org/
Juan Orrantia (b. bogota, colombia)
Based in Johannesburg, South Africa. Working in the documentary arts his practice is based on the evocative possibilities of photography as a critical form. His works also explore the medium in its relation to text, sound, and multimedia, particularly regarding questions about memory, history, violence, dislocation and time. Awards include the Tierney Fellowship in Photography (2010) as well as various grants and residencies at research institutes, solo exhibitions in Germany, Colombia, and South Africa, as well as group shows including the New York Photo Festival, Le Cube (Paris), Cape Town Month of Photography, Bonani Africa Festival of Photography, and Ethnographic Terminalia (New Orleans). His work has appeared in publications such as Sensate (A journal for experiments in critical media practice), Visual Anthropology Review, Iconos, and online platforms such as Foto8, Africa is a Country, Documentography, Fototazo and F-Stop. www.orrantiajuan.wordpress.com