Mike Bianco (WA)

Bianco’s art practice is invested in socially engaged art, and focuses on the politics of ecology, sustainability, and the impending “century of crisis.” Bianco has conducted extensive research in the field of gastroecology, and the intersection of food, craft, and sustainability, in locations that range from Oaxaca, Mexico, to Fukushima, Japan. Bianco exhibits his work internationally, and has been  featured in venues that range from the Kenpoku Art Festival in Ibaraki, Japan, to the Science Gallery in London, England. 

Bianco received his BA in Interdisciplinary Arts from Alfred University (2004), an MA in Curatorial Practice from the California College of the Arts (2007), an MFA in Art & Design from the Stamps School of Art and Design at the University of Michigan (2015), and is currently a PhD candidate at the University of Western Australia. Bianco is also an alumnus of the prestigious Dow Sustainability Fellowship, and the only participant to have ever represented the fields of Art & Design.


Elizabeth Pedler (WA)

Elizabeth Pedler was born and raised in Perth, and completed a Bachelor of Fine Arts with First Class Honours at the University of Western Australia. Her work has been shown at Disrupted Festival of Ideas, Tarrawarra Museum of Art, Perth Institute of Contemporary Art, Casula Powerhouse Arts Centre, Perth Fringeworld Festival, Harvest Music Festival (Melbourne), Melbourne Fringe Festival and Gertrude Street Projection Festival. Elizabeth has held solo or two-person exhibitions at free range Gallery, Moana Project Space (Perth), Kings ARI, Blindspace Artist Run Space, TCB Art Inc and Top Shelf Gallery (Melbourne). In 2012 she was awarded an ArtStart grant, which has facilitated the expansion of her practice and allowed her to travel internationally to research the field of contemporary art. In 2015 Elizabeth was a recipient of the Young People and the Arts Fellowship, from the State Government of Western Australia's Department of Culture and the Arts. From 2014 to 2017, Elizabeth undertook a Phd  (Art) at Curtin University, Western Australia, focusing on the methods of generating participation in relational and socially engaged art practices. When not writing in the third person, Elizabeth is usually researching or producing original and transformative art experiences.


Ella Sutherland (NSW)

Ella is an artist and graphic designer whose work is concerned with the analysis and activation of text and visual language. She investigates systems of reading and navigation within the built environment and printed spaces. Looking at the complexity of graphic language outside of commercial endeavours, she identifies gesture and narrative as elements tied to our interpretation of text and visual language. She employs these elements to coaxe a graphic sensibility to operate in a different register and shift the ‘typical’ readings of spaces and information.

Recent exhibitions include: Slow Seeing and Attention to Make, The Dowse Art Museum, Wellington, 2016; Beauty is in the Street, Objectspace, Auckland, 2016; Boring month start to finish, the whole month, North Projects, Christchurch, 2015; Speaking places: How to Work (with Matthew Galloway), Ramp Gallery, Hamilton, 2015. Recent publication projects include: with a body always but but still drying, designed for the Biennale of Sydney and Artspace, Sydney; Pale Like a Fish, edited and designed for North Projects, Christchurch, New Zealand, 2016; Speaking places: Hamilton 2015, artist publication for Ramp Gallery, Hamilton, New Zealand, 2016; Home & Away, artist publication for RM Gallery, Auckland, New Zealand, 2014. Ella was co-founder of Dog Park Art Project Space and co-director between 2012-2014, she is a current board member of The Physics Room, both contemporary art spaces located in Christchurch, New Zealand.

 


Friction Arts (UK)

Art that connects people

Friction Arts have been making ‘art where you live’ for over 27 years. Friction listen to people, work with them and then translate their thoughts and ideas into high quality contemporary artworks which communicate to the wider world whilst remaining true to the voices of the people they originate with. These artworks may be performances, installations, interventions, publications or whatever is appropriate to the context of the project. Friction firmly believe in the transformative nature of the arts, with communities and individuals, and are committed to expanding the reach of the arts into places they have not been before.

Friction is based at The Edge, a former industrial unit on the border of Digbeth and Highgate in central Birmingham, which we own (well, technically our bank does). We are linked to our local community through friends, personal history and professional connections to local groups. We aim to deliver work that is relevant to the people in our immediate area and which responds to the rich cultures that exist here.

Friction is an artist led organisation, with a focus on constant research and development to generate new ideas. We aim to understand the wider trends in society that are reflected in the place we work, how those are understood all over the globe and the different responses people take to them outside our immediate area. We undertake work internationally so that we can discover fresh perspectives on domestic challenges, and perhaps uncover new and exciting solutions. It can also be an opportunity to undertake experimental work in very different contexts. This year we’ve worked in Bulgaria, Australia and Indonesia, and spoken at a bunch of events and conferences in various bits of Europe. 


House of Natural Fibre (Indonesia)

The House Of Natural Fiber started as Yogyakarta New Media Art Laboratory, it was run by a community in Yogyakarta. They implement a methodology called Open –Community, which is mostly concerned with the needs of cross-collaborative actions responding to technology development and practical use in daily life.

In the beginning, they started off as a young community with various backgrounds and ideals. They wanted to do whatever they wished, but with a natural inclination to create with the spirit of togetherness and not to work simply for personal profit. They creation is pointing for themselves, their family, the society and their environments. This was the basis for the first actions and the commitment between them. Since 1999, they have been concentrating on the principles of critique and innovation. Thinking forward, positivity and creativity have become the vision for HONF. In the implementation of this vision, in every program, they work towards the development of art, science and technology for the society. By this vision HONF initiated Education Focus Program (EFP), a curriculum which acts as the guideline for every HONF activity that is created to respond to the global situations and conditions in Indonesia.

EFP concentrates on interdisciplinary knowledge exchanges and collaborations in critical analysis towards local and global issues and creating innovative ideas to seek solutions for them. EFP’s main objective is to build a modern mind and mentality of society by bridging art, science and technology that is useful in processing local potentials into beneficial outputs for the society based on human uses and urgent needs.

To accelerate the impact of EFP to the society, Cellsbutton – Yogyakarta international media art festival and yivf – yogyakarta international videowork festival was held annually to invite local and international communities to collaborate and expand new possibilities in creative innovations and solutions.


Georgie Mattingley (VIC)

I am a visual artist based in Melbourne, Australia. I make photographs, paintings, videos and public installations. My work uses colour and beauty and to make society’s hidden spaces more visible. By visually transforming these spaces, I want to unravel the value systems that repress them and invite a more holistic acceptance of realities that Western society encourages us to avoid


Mary Mattingly (USA)

Mary Mattingly is an American visual artist living and working in New York City. Mattingly explores the themes of home, travel, cartography, and humans' relationships with each other, with the environment, with machines, and with corporate and political entities. She has been recognized for creating photographs and sculptures depicting and representing futuristic and obscure landscapes, for making wearable sculpture, "wearable homes," and for her ecological installations, including the Waterpod(2009). Mary Mattingly’s work has also been exhibited at Storm King, the International Center of Photography, the Seoul Art Center, the Brooklyn Museum, the New York Public Library, deCordova Museum and Sculpture Park, and the Palais de Tokyo. With the U.S. Department of State and Bronx Museum of the Arts she participated in the smARTpower project, traveling to Manila. Mattingly has been awarded grants and fellowships from the James L. Knight Foundation, Eyebeam Center for Art and Technology, Yale University School of Art, the Harpo Foundation, NYFA, the Jerome Foundation, and the Art Matters Foundation. Her work has been featured in Aperture Magazine, Art in America, Artforum, Art+Auction, Art News, Sculpture Magazine, China Business News, The New York Times, New York Magazine, Financial Times, Le Monde Magazine, Metropolis Magazine, New Yorker, The Wall Street Journal, the Brooklyn Rail, the Village Voice, and on BBC News, MSNBC, Fox News, News 12, NPR, WNBC, New York 1, and on Art21's New York Close Up series. Her work has been included in books such as the Whitechapel/MIT Press Documents of Contemporary Art series titled “Nature” and edited by Jeffrey Kastner, Triple Canopy’s Speculations, the Future Is... published by Artbook, and Henry Sayre’s A World of Art, 8th edition, published by Pearson Education Inc.


Sarah Rodigari (NSW)

Sarah Rodigari is an artist whose practice addresses the social and political potential of art. Her work is site responsive, employing, durational live action, improvisation, and dialogical methodologies to produce text-based performance and installations. Rodigari has worked with and within various contexts and institutions. These include the Museum of Contemporary Art (Sydney), the 20th Biennale of Sydney, MUMA, Melbourne International Arts Festival, ACCA, The Poetry Project (NYC) Cemeti Arts House (Indonesia), PACT Zollverein (Germany) and SOMA (Mexico City). She holds a PhD in Creative Arts from the University of Wollongong and is member of the collective Field Theory.


Alana Hunt (WA)

Alana Hunt’s award-winning activities as an artist and writer are defined by her commitment to sensitively challenge ideas and histories in the public sphere and the social space between people. Alana lives on Miriwoong country in the north-west of Australia and has a long-standing relationship with South Asia, and more specifically Kashmir. These places have shaped her engagement with the violence that results from the fragility of nations and the aspirations and failures of colonial dreams. Most recently her work has featured in Startup States curated by Laura McLean at Sarai (February, Delhi), Uncertain Territory curated by Halinka Orszulok at Artbank (Feburary, Sydney) and the International Public Art Festival Quantum City (March, Karachi) curated by Zarmeene Shah, Amin Gulgee and Sara Paganwala.



Elena Mazzi (Italy)

Elena Mazzi was born in 1984 in Reggio Emilia (Italy). Her practice deals with the relationship between people and their environment.  Her works have been displayed in many solo and collective exhibitions, among others: Whitechapel gallery in London, GAMeC in Bergamo, MAMbo in Bologna, AlbumArte in Rome, Sonje Art Center in Seoul, Palazzo Fortuny in Venice, Golinelli Foundation in Bologna, Pecci contemporary art center in Prato, 16° Rome Quadriennale, GAM Turin, 14° Istanbul Biennale, 17° BJCEM Mediterranean Biennale, Fittja Pavilion at the 14° Architecture Venice Biennale, COP17 in Durban, Italian Institute of Culture in New York, Brussels and Stockholm, Bevilacqua La Masa Foundation.



Nathan Gray (VIC)

Gray's recent, meticulously written lecture performances explore historical, technological and social circumstances imagining them as scores for possible futures, alternate histories and radically divergent presents. Often employing sound and video, in which his background lies, these evocative works invite audiences to imagine futures beyond contemporary crises.

His 2014 multi-channel video installation Species of Spaces was shown in the 19th Biennale of Sydney and was the winner of both the Substation Contemporary Art Prize and Substation People’s Choice Awards. It is now part of the permanent collection of the National Gallery of Victoria.

His 2012 Tarrawarra Biennale sculptural/performance work entitled Treatise pages 77 and 131 was reshown and performed in 2017 at The Score at Ian Potter Museum of Art and my work Score for Dancewas shown at Open Archive in 2011 and ACCA in 2014.

His film works have been shown at Close Up Cinema in London, Christchurch City Art Gallery, Te Uru Waitakere Contemporary Gallery in Auckland and City Gallery in Wellington during 2016 and presented by Liquid Architecture (Australia), The Audio Foundation (Auckland) and North Projects (Christchurch).

He has had numerous solo shows including Work with Me Here, 2015 at RMIT DesignHub, Things That Fit Together, 2014 at Utopian Slumps, Theorist Training Camp, 2012, at Westspace and ACTS, 2012, at Utopian Slumps.

In 2015 he curated the exhibition The Object as Score, based on his masters thesis of the same name. He attended residencies in Japan, Brazil, New Zealand, Indonesia, regional Australia, and more recently several residencies in Germany.

His recent performance lectures have toured to Taiwan, Greece, Austria, Germany, France, Norway, Poland and Australia in 2017-18 and writings have appeared in Un Magazine, the book Assuming Boycott published by the New School / Vera List and Writing & Concepts published by Art + Australia 2018.