Ariana Page Russell
Ariana Page Russell is a visual artist and artist coach. She creates images that explore the skin as a document of human experience, using her own hypersensitive flesh to illustrate the ways we expose, express, adorn and articulate ourselves.
Russell lives and works in Los Angeles, California. She has exhibited internationally, including the Royal Hibernian Academy, Dublin; New York University, New York City; Massachusetts College of Art and Design, Boston; Platform Gallery, Seattle; Town Hall Gallery, Australia; the Luminato Festival, Toronto; and Museo de Arte Contemporáneo, Bolivia. Her work has appeared in Art in America, the Huffington Post, Wired, The Atlantic, VISION Magazine: China, and the monograph ‘Dressing’ published by Decode Books. She was featured on ABC News 20/20 and was a recent participant in the SextoEncuentroMundial de Arte Corporal in Caracas, Venezuela. She received her MFA from the University of Washington, Seattle in 2005.
Shailesh BR has received his Bachelors in Fine Arts, specializing in painting from Chamarajendran Academy of Visual Arts, Mysore and has a Post Graduate Diploma from Faculty of Fine Arts, MSU, Baroda. He has participated in various group shows, CIMA Art Award Show, Kolkata (2014); Drawing 2014: Seven Decades of Indian Drawing by Gallery Espace, Delhi (2014); and Students Biennale Exhibition, Kochi Muziris Biennale, Kochi (2014). He has been part of the Khoj Peers 2015 as an artist-in-residence and was invited for the Khoj Peers Share in October 2013. In 2014, Shailesh has received the Inlaks Fine Arts Award and was also invited to Sandarbh Art Residency, Partapur, as an artist-in-residence. Shailesh BR lives and works in Vadodara.
Chitra Ganesh specializes in creating art that shocks and awes the viewer with its unabashed sexual imagery - imagery that is so graphic and subversive that it almost constitutes anti-erotica. Women are terrifying, almost monstrous figures with multiple eyes, tentacles and sharp teeth - both perpetrators and victims of violence in an endless cycle of creation and destruction. Inspired by comic books, street art, anime and manga, Ganesh's psychedelic colours and surrealist text construct alternate narratives that subvert and mystify meaning, using sci-fi to create a new mythology. It is however a mythology that uses images from the old paradigm, as in works where digitally modified images from Amar Chitra Katha comics are used to construct new narratives. Elsewhere, she incorporates organic materials like beetle wings, shells, feathers, coral and moss in her works. Remarkably, Chitra Ganesh manages to replicate some of her installations in striking photographic works. Her charcoal sketches by contrast are intensely realistic, sourced from old movies and showing brilliant interplay between light and dark.
The work of Ester Fleckner work is analogue and hands-on driven. It derives from explorations of language and materials in ways that make marks of a work process, errors and the repetitive labour of trying again into central part of the works. Moving within notions of queerness, Fleckner is inspired by the value of chaotic knowledge, the unfinished, failure, and experiences of displacement. Fleckner's practise has materialised in series of woodcut prints, sculptural and installational work, texts, collages and performative reading formats
Éva Magyarósi is a Hungarian artist primarily known for her video work who also has a diverse practice writing short stories, creating public sculptures, animations, photographs, and drawings. Magyarósi often utilises different techniques, as in her glass series, which are amalgams of photography, drawing, and painting. In accordance with the ut pictura poesis principle (‘as is painting so is poetry’) her art is not only a mixture of visual art and narration, but also a manifestation of poetic visualisation and visual poetry. Her works typically tell us about the mysteries of the female soul, the body and its emotions, displaying polyphonic stories of strange dreams and lived experiences. Her works of art can be interpreted as visual diaries, in which the fictive and the personal past are blended, thus contributing to the literary works of different philosophical theories on time and memory. Magyarósi graduated from Moholy-Nagy University of Art and Design, Theoretical Studies, Department of Animation in 2005.
A vaginatist artist, sculptor, feminist, artistic missionary and artivist.
Born on 7 August 1974 in Sanok. She obtained her diploma in 2001 at the Academy of Fine Arts in Krakow at the Sculpture Department. Since 2008 she has worked at the Alma Mater featuring as a ’’pink sheep” of the Department. In 2012 she defended her PhD based on her dissertation ‘’Vaginatism” and the sculpture ‘’The Chapel of Vagina”. In 2016 she received her post-doctoral degree based on a piece originating from her friendship with two women working as sex workers and an exhibition they created together. Against the warnings coming from her own artistic and academic circles she deliberately produces work that may be classified as feminist art. Iwona curated a few feminist exhibitions, such as ‘’Krzataczki” [Bustlers], ‘’HERstoria sztuki” [Art HerStory], ‘’Gastronomki” [Caterers]. Recently immersed in her research on the history of womens’ struggle for the right to study at Krakow’s Academy.
Jacolby Satterwhite’s vibrant work weaves together performance, animation, and personal ephemera. His videos and performances build on household or cosmetic products that his schizophrenic mother imagined and sketched. Satterwhite traces these objects and incorporates them into a virtual world filled with family videos and recordings of the artist dancing and vogue-ing in bright, tight body suits. “There are limits with what you can do with objects, because objects are imbedded with history, politics and all kinds of anxiety,” he has said. “To put myself in a virtual world is a political gesture, negating all those associations.” Satterwhite’s worlds evoke the escapism of Afro-futurism and suggest a posthuman quasi-utopic virtual reality.
Khushbu is a graduate of Surat School of Fine Arts she completed her MFA from the School of Art, Design and Performing Arts at Shiv Nadar University. She has been part of residencies at Sanskriti Kendra and was part of Khoj Peers Share programme.
Khushbu Patel’s art practice is mainly about looking through the lens of abjection — talking about that which inherently disturbs conventional identity and cultural concepts — the way people have been defining beauty, the stereotypes in society, objectification of bodies and political abjection. Her work questions the kind of revulsion that society holds on to, towards certain individuals, who don’t fit into the realm of the collective social idea of beauty. With the abject body as analogy and as an opposition, her extensive research in dermatological anomalies and meticulous process influenced by the miniature tradition also holds the state and society accountable for its indifference, and its attitude.
Malgorzata Dawidek is a Polish born visual artist, writer and art historian currently based in the UK.Her artistic and academic interests are located between language, the visual arts, psychology and medicine. She deals with the language aspect of communication – the relationship between words and their visual representations. She is focused on the phenomenon of the body as a text and storage of memories. The artist uses text of the body to talk about organic physicality as a continuous narration, the text “in process”. She is interested in the extreme states of the body, anatomy, inexpressible emotions, physical limitations and mental blockages.Dawidek combines a wide range of media in the creation of her projects – textual objects and installations, painting, animation, photographs, written drawings and hypertexts, which are then displayed in galleries, public spaces and as published works of art and record.
Malgorzata Dawidek is also a researcher of visual literature and the author of numerous articles, studies and books on visual texts, including “A Piece of Poetry” (Krakow 2012) and “History of the visual text. Poland after 1967″ (Krakow-Warsaw-Wroclaw 2012).
Mariam Ghani is an artist, writer, and filmmaker. Her work looks at places and moments where social, political, and cultural structures take on visible forms. Long-term collaborations include the experimental archive Index of the Disappeared, with Chitra Ganesh, and the video series Performed Places, with choreographer Erin Kelly and composer Qasim Naqvi. Solo and collaborative exhibitions include the Indianapolis Museum of Art (2017), the Queens Museum of Art (2016), the Saint Louis Art Museum (2015), the Rogaland Kunstsenter (2014), and the Gatchina Museum (2013). Notable group exhibitions include the Asian Art Biennial (2017), the Dhaka Art Summit (2016), the Guggenheim Museum (2016), the Secession in Vienna (2015), the CCCB in Barcelona (2014), dOCUMENTA 13 in Kassel and Kabul (2012), the WKV in Stuttgart (2012, 2010), and the Sharjah Biennial (2011, 2009). Notable screenings include the Rotterdam Film Festival, CPH:DOX, the Liverpool Biennial, the National Gallery in DC, and the Met Breuer and MoMA in New York. Recent texts have been published in Foreign Policy, Ibraaz, Triple Canopy, and the readers Assuming Boycott, Critical Writing Ensembles, Dissonant Archives, Utopian Pulse, and Social Medium: Artists Writing 2000-2015. Ghani also teaches and lectures internationally and has received a number of awards, grants and fellowships, most recently from Art Matters, Creative Capital, Yale Law and the Center for Constitutional Rights.
The installation features plaited old saris that draw from the traditional hairstyles of Indian women and considers concepts of cultural (also lost) identity, cultural genealogy and adornment. The saris are consciously chosen as found, unknown, coming from no specific source. They tell stories of loss, displacement, migration, memories and heritage.
personal objects can be seen as a part of someone’s biography with cultural memories and feeling. I give the lost saris a new life. And possible stories too. Here they are treated as an individual persona. Each one stands for someone as a fictional character with narrative, emotion, and surreal undertones. I transfer the saris into hair braids. I make the identity of the particular object dysfunctional. This hybrid sari subverts the genre; blurring the boundaries between fact and fiction, self and persona. The object /sari stimulate our intellect; allow us to interpret ideas in our own personal way. This new persona of half sari-half braid presents an opportunity to impose a personal narrative upon it with the universal emotion by the viewer. The stories of the forgotten and lost women from past can be seen and heard with no particular memories but as a collective voice. It's a carnival. These transcended saris are for celebration.
Neerja Kothari currently living and working from Kolkata, India. She holds a B.Com from Calcutta University, India and a MFA from the School of the Museum of Fine Arts, Boston/Tufts University, USA. In 2016 she was awarded fellowships at the Helene Wurlitzer Foundation, New Mexico and the Corporation of Yaddo, New York. Previously, she has been awarded residencies at the MacDowell Colony, Virginia Center for the Creative Arts, Vermont Studio Center and the La Napoule Art Foundation.
Sunil Gupta is recognized as a photographer, curator, writer and activist for his works and engagements, which largely deal with issues such as racism, alternative sexuality and the voices from the leeway of society and culture. The subject matter in his photographs often poses a challenge to the viewer by bringing out conflicts that appear with the objectification of the viewed. As a writer, Gupta has five books to his credit. Also respected for his curatorial practice, Gupta’s most recent project, Where Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh at the Whitechapel Gallery, London in 2010, was very well received in the art world as well as in the media. His 2008 co-curated exhibition Click! Contemporary Photography in India is considered an important survey of the breadth of Indian photography at the time, and included over 100 photographs by 86 artists. The locus of all his projects is formed out of his genuine concerns about art, life, existence of the ‘other’ and its expression.
Vidha Saumya is a drawer, cook, and bookmaker currently pursuing a Master’s Degree in Visual Culture and Contemporary Art at Aalto University. Her practice seeks visual interest in the idea of congregating bodies, popular culture and the notion of deformity. She has held solo exhibitions and participated in group exhibitions in Lahore, Mumbai, Helsinki, and Tampere. She holds a Diploma in Visual Communication Design from SrishtiInstitute of Art, Design and Technology, Bengaluru; a BFA (Painting) from Sir J.J. School or Art, Mumbai; and has studied at Beaconhouse National University, Lahore under an Independent Study Program.