Kristin Bergaust is an artist, researcher and professor at the Faculty of Technology, Art and Design in OsloMet. She is educated at the National Academy of Fine Art in Oslo and Oslo University. Kristin is known as an early Norwegian pioneer in media arts with a social perspective, active in many artists’ initiatives and organizations. She works with video, animation, digital imagery, sound and installation. She also curates exhibitions, screening programs and presentations and writes and edits related texts. Currently, she initiates transdisciplinary efforts to ecological and transcultural processes in urban contexts through artistic research and technological developments. Most importantly, she developed Oslofjord Ecologies as an artistic research project since 2015 and leads the transdisciplinary artistic research project FeLT-Futures of Living Technologies. Her interests are invested in contemporary art and artistic work methods to contribute to and critique societal developments and possible ideas of shared futures.
Gala Berger (Villa Gesell, Argentina, 1983) is a visual artist and independent curator, currently living in Lima, Perú. Berger‘s work is rooted in Latin America, and for the development of her projects she builds independent spaces. Co-founder of Casa MA [2018-2022] a community commit- ted to the dissemination of creative practices generated by diverse identities in the territory of Costa Rica, Central America and its diaspora. Berger has also worked extensively in Buenos Aires, Argentina, where she is co-founder of La Ene (New Energy Museum of Contemporary Art 2010- 2020) experimental museum, and co-founder of the Paraguay Printed Art Fair. Also between 2012 and 2014, she directed two exhibition spaces: Inmigrante [Immigrant] and Urgente [Urgent]. She has held individual and collective exhibitions in Santo Domingo, São Paulo, Lima, Los Ange- les, Mexico City, Buenos Aires, Seoul, Querétaro, Sorocaba, Medellín, Montreal, Tampere, Río de Janeiro, San Juan, among others.
Penelope Cain is an artist with a research science back- ground. Her art practice is located interstitially between scientiﬁc knowledge and unearthing connective untold narratives in the world; using video, installation, objects, ﬂags, text, public participation in storytellings about the lands of the Anthropocene. Her work has been exhibited in commissioned and curated exhibitions nationally and internationally in Brazil, Britain, Australia, Taiwan, China and Korea. She was awarded the S+T+ARTS Repairing the Pre- sent residency in The Hague (2022), where she is working at the intersection of art, science and technology, and with lichen as an entry point to consider interspecies col- laboration, notions of microrewilding and ‘lichen time’. In this research she is developing tiles to invite lichen growth, working with algal and fungal print pigments as well as a virtual 3D urban micro-rewilding environments. Working with In4Art, Witteveen +Bos and institutions including the City of the Hague, Delft TU, Dutch Bryological and Lichen Society.
Olga Kisseleva is an international artist with a research science background, working interdisciplinary at the science-art intersection. She is interested in critical social practice and the role of science in art for an age marked by technological progress and an ecological crisis. Professor at the Sorbonne Contemporary Art department Olga Kisseleva has had major exhibitions in KIASMA (Helsinki), Centre Georges Pompidou (Paris), Guggenheim Museum (Bilbao)... Her works are present in many of the world’s most important museum collections, including, the Centre Pompidou, Louis Vuitton Foundation, ZKM, and the NY MoMA. In 2020 for her EDEN (Ethics - Durability - Ecology - Nature) project focused on plants’ intelligence Olga Kisseleva awarded the S+T+ARTS Grand Prize for innovative collaboration between technology and art that opens new pathways for innovation.
Since 2022 Olga Kisseleva is artist in residence in MAXXI (Rome) and Sony Computer Lab (Paris) for her project Cities Live Like Trees, an invitation to reﬂect on innovative perspectives for the improvement of the quality of urban life in the frame of the international program Repairing the Present.
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Yiannis Kranidiotis is an artist whose work explores the relationship between science and art using mainly light, motion and sound to create spaces and experiences where all coexist and interact. He is interested in physical phenomena like the harmonic oscillation, the natural repeatability and the wave movement and also in exploring and transforming scientific data, like the properties of the exoplanets or the solar wind. The increasing pollution of the planet with plastic and the effects on the oceans and on the environment in general are issues that also affect his practice. Many of his works include motion and inter- action where others include data processing and sonification methods. This requires cross-disciplinary work with sound, visual arts, coding, electronics and physics. His work has been presented in many festivals and exhibitions. He has a BS in Physics from the University of Patras and an M.Sc. in Optics from Essex University.
Athena LaTocha lives and works in New York. She was raised in the Alaskan wilderness, and from an early age, has been fascinated by the shaping of the earth, both by natural events as well as humankind’s impact upon it. LaTocha’s process begins with deep observation of and research into the land in which she is working, which in- forms her artistic approach on all levels. Recent exhibitions include: Greater New York 2021, MoMA PS1, BRIC, Brooklyn, the Visual Art Center of New Jersey, the New Orleans Museum of Art, the Plains Art Museum, Fargo, ND, Crystal Bridges Museum of Art, Bentonville, AR, among others. LaTocha currently has a solo exhibition of new work on view at JDJ the Ice House in Garrison, New York. Also, her solo exhibition Mesabi Redux opens at the IAIA Museum of Contemporary Native Arts, Santa Fe in New Mexico, on June 10, 2022.
Ingrid Mayrhofer-Hufnagl is an experimental architect, researcher, and educator from Austria. She received her PhD from the University of Innsbruck, where she currently also holds a postdoc position. In the past, she has been a visiting scholar at Yale School of Architecture in New Haven, at the ETH in Zürich, and has taught and lectured at numerous venues. Her arts-based research has been supported by the Austrian Federal Ministry of Arts and Culture, the Ministry of Science and Research, and the Young Scientist’s program by the University of Innsbruck amongst others. Some of her most recent work has been exhibited in the Rolex Center in Lausanne (2021). In 2019 she founded the multidisciplinary think tank A[I]rchitectural Minds as a collaborative practice of the human, the natural, and the machine. It envisions the augmentation of nature into a new kind of architectural environment using AI technologies.
Lorenzo Montanini (1980) is an Italian director, performer, teacher and creator. He trained with many artists and in a variety of disciplines in Italy and abroad such as B. Meyers, The Living Theatre, Milon Mela, A. Bogart and the SITI Company. He studied cinema at the New York Film Academy, trained in the Suzuki method and Viewpoints at Columbia University and Skidmore College. He holds an MA in Performance Making at Goldsmiths University and is completing a Phd at Queen Mary’s University. Striving to create a theatre that is intimate and epic at the same time, Lorenzo directed more than 30 shows and performances in Italy and abroad. His work is multidisciplinary, multilingual and always trying to cross boundaries pushing the deﬁnition of theatre and live performance. His works have been presented in many theatres and festivals such as Festival Iberoamericano de teatro de Bogotà, Festival Iberoamericano de Cadiz, Napoli Teatro Festival, Longlake Festival, Tramedautore, LOOP Festival, Piccolo Teatro (Milan), Teatro Mayor Julio Mario Santo Domingo (Bogotà), La Mama Etc (NYC), Steppenwolf theater (Chicago), LATC (LA) among others. He worked in universities in Italy and in the UK, teaching and directing for the past 17 ye- ars. He has also worked with the JRC (Resonances Festival 2017) and with the United Nations (2008 - NYC), participating in projects aimed at building dialogue between art, science and politics.
Sam Nester is an Australian born, New York City based musician. Using data soniﬁcation to create his compositions and sound installations, Nester aims to bring the environment from the background into the foreground at a critical time for environmental awareness. His Arcadia project (2019-present) uses technology to convert the live bio- rhythms of native plants to MIDI data to create immersive site-speciﬁc sound and light installations. In 2021, Nester spent time as the artist-in-residence for Hawai’i Volcanoes National Park, designing musical scores from seismic data collected by the United States Geological Survey (USGS). Between the years of 2015-2018, he traveled from deep in the Australian outback to 320 miles north of the Arctic Circle, interviewing dozens of individuals about life on the frontier in the age of technology. This audiovisual project, Back of Beyond, explores lessons about climate change, Indigenous rights, and community.
Nonhuman Nonsense is a research-driven design and art studio creating near-future fabulations and experiments somewhere between utopia and dystopia. By embracing the contradictory and the paradoxical we aim to redirect focus to the underlying ethical issues. We seek to transmute our relationship to the non-human – telling stories that open the public imaginary to futures that currently seem impossible. Working in the embryonic stages of system transformation, in the realm of social dreaming and world- making. We use storytelling as tools for reﬂection of the present, not to create dreams of futures, but to stop for a moment to take a look at how narratives drive the continual creation of “the world”. Examining how, for example, human domination leads to destructive ways of relating to other beings. We are looking forward to engaging in discussions about themes such as: Rights for nature and nonhumans / (space) decolonization / mythology and anthropomorphism / entanglement and interbeing.
Ingrid Ogenstedt is a Swedish born artist who works both with large sculptural projects and drawing. She studied at Umeå Art Academy (SE) and under Prof. Ingo Vetter at University of the Arts Bremen (DE). She has created site-speciﬁc sculptures for Galerie Wedding, Berlin (DE), the Luleå Biennale 2020 (SE), Wadden Tide, Blåvandshuk (DK) and Kjerrinøy Land Art Biennale (NO). She recently was given a two-year-working grant from the Swedish Art Council and was one of the ﬁfteen selected artists for the Goldrausch Program 2021 in Berlin (DE). I love crossing of interest and to meet professionals who are as passionate about their work as I am. I truly enjoy learning about new materials, discussing ways to solve a speciﬁc problem, technical, ecstatic or economical. Collaborations always generates new ideas and unexpected results. I change my materials as a way to push myself in new directions. This is also a reason for me to reach out and ﬁnd new contexts and interesting people to collaborate with. To ﬁnd experts and people who have knowledge that I lack, but put in conversation with, both parties have something to gain. Creativity thrives to think new thought, imagine the unimaginable and bend the rules of reality and create/ﬁnd new rules. Put yourself in the risk of failing, but thats what you pay to always try new ideas, new settings and step outside that what you know to be true.
Fara Peluso is a Berlin based artist-designer which through a speculative methodology pursues a deep research on algae poetry and agency. Peluso investigates possible closer relationships between human beings and algae organisms focusing her work on both the material and the procedural aspects. Through the design of ﬁctional artifacts that tell the story of possible future scenarios she wants to raise critical questions about the quality of our lives and choices. Between 2018 and 2020 Peluso has been s guest at the Institute of Biotechnology TU Berlin as a resident artist for the project ‘Mind the Fungi’, a two-year collaborative project between the Technical University Berlin, the Institute for Biotechnology and Art Laboratory Berlin. From February 2022 she’s in residency at Ars Electronica, regional S+T+ARTS center in Linz, with her new collabora- tive project ‘Circular Records’ about LP bioplastic manufacturing.
Margherita Pevere is an artist and researcher whose practice glides across biological arts and performance with a distinctive visceral signature. Her inquiry hybridizes bio-technology, ecology, environmental politics, gender and death studies to create arresting installations and performances that trail today’s ecological complexity. Her body of work is a blooming garden crawling with genetically edited bacteria, cells, sex hormones, microbial bioﬁlm, bovine blood, slugs, growing plants and decomposing re- mains. She would not be the artist she is today without the many collaborations across art, science and humanities. Together with Marco Donnarumma and Andrea Familari she co-founded the artists’ group Fronte Vacuo. She is member of the Finnish Bioart Society, of The Queer Death Studies Network and of The Posthumanities Hub. She is completing a PhD at Aalto University on biological arts and queer studies.
Giovanni Paolo Randazzo
Giovanni Paolo Randazzo (Bogotá, 1975) is a multimedia artist, graduated from the University of Vincennes, Paris VIII (France), with a Master‘s in Contemporary Art and New Media from the same University. Since 2016 he works as teacher of the Chair of Audiovisual Installation for the De- partment of Art of the University of Los Andes (Bogotá). Additionally, he leads a research group called Imágenes de segunda mano, whose work focuses on the appropriation of archive in contemporary art and cinema. His practice centers on the construction of audiovisual narratives that suggest deep reﬂections on environmental is- sues like climate change and biodiversity loss. Nourished by the conﬂuence between art, science, and technology his work takes multiple forms in videos, installations, photo- graphic series, and pictorial installations. He has exhibited internationally in museums, galleries, artistic institutions, and independent spaces in France, Italy, Germany, Spain, Paraguay, and Colombia.
Claus Lam Yong Schoening
Claus is a trained biologist and artist from Berlin. He is currently studying the master program Art&Science at the University of Applied Art Vienna. His main interests are the non-human and science theory, that which he narrates and researches through a multi-media art practice and collaboration with scientists. His works make use of sound and music, moving image and objects to demonstrate how a human condition is embedded in a scientiﬁc practice. He has worked with chemical regimes of production, biotechnology, radio and micrography and is eager to learn new scientiﬁc methods.
Victoria Vesna, Ph.D., is an artist and Professor at the UCLA Department of Design Media Arts and Director of the Art|Sci center at the School of the Arts and California NanoSys- tems Institute (CNSI). Although she was trained early on as a painter (Faculty of Fine arts, University of Belgrade, 1984), her curious mind took her on an exploratory path that resulted in work can be deﬁned as experimental creative research residing between disciplines and technologies. With her collaborative art projects, she investigates how communication technologies affect collective behavior and perceptions of identity shift in relation to scientiﬁc in- novation. Her work involves long-term collaborations with composers, nano-scientists, neuroscientists, evolutionary biologists and she brings this experience to her students. Victoria has exhibited her work in 30+ solo exhibitions, 80+ group shows, was published in 20+ papers, multiple book chapters and gave 100+ invited talks in the last decade. She is the North American editor of AI & Society journal (Springer Verlag, UK) and in 2007 published an edited vo- lume - Database Aesthetics: Art in the Age of Information Overﬂow(MinnesotaPress)andanotherin2011--Context Providers: Conditions of Meaning in Media Arts. (co-edited with Christiane Paul and Margot Lovejoy) Intellect Ltd, 2011. Currently she is working on a series of artist books including the Hox Zodiac “cookbook”.
Marina Wainer is a Paris-based artist. She develops a transdisciplinary practice at the crossroads of creation, research and innovation. First deployed in the ﬁeld of interactive art, then turned towards curatorial events and education, her work proposes sensitive experiences and places the public at the heart of the device. The artist explores both societal issues and spaces of representation to create new perceptions and open up horizons. Three years ago, she started working on the Wild Diplomacy project, around representations of natural elements if they had legal status. A shift in perspective regarding Nature‘s right to exist for itself, which raises the point of how natural elements are subjectivated in Western culture. The intention is to consider the perceptions of non-human expressions; to make perceptible thoughts from other worlds; to invent languages to communicate with ecosystems, in a posture of dialogue that staggers our anthropocentric positioning.
Jacquelyn Dale Whitman
JD Whitman is an installation artist, educator, and ocean advocate conducting interdisciplinary research in the Uni- ted States and Ireland. She investigates how art, scientiﬁc inquiry, technology, and public engagement can be combined to circumvent ecophobia, eco-anxiety, and climate anxiety in environmental education; facilitate effective science communication; provide nature-based, experiential learning opportunities; increase ecoliteracy rates; and drive collective action. Through multidisciplinary collaborations, she works to develop, implement, and evaluate creative methods for translating marine research to target audiences through community-speciﬁc, interactive installations. Currently, JD is the Director of the Global Youth Mentor (GYM) Program at Plastic Tides, a nonpro- ﬁt dedicated to inspiring and catalyzing action towards a plastic-free future through adventure, education, and youth empowerment. She holds an MFA in Photography, MFA in Sculpture, and MA in Studio Arts (University of Iowa, 2019); a Post-Baccalaureate in Fine Art (National University of Ireland, Galway, 2014); and a BA (University of Chicago, 2013).
I am a media artist, originally from New Zealand and based in Berlin. My practice explores the spatial and emotional possibilities of light, sound and image in immersive and performative environments. Currently, I am investigating how immersive experiences and game environments can become tools to tell meaningful stories from other-than-human perspectives and build better relationships with ecologies. Topics that fascinate me are: the entanglement of earth systems with human systems, making the invisible visible, storytelling as a tool for change and amplifying non-human perspectives. The question ‘How can my work challenge and motivate audiences to take action, to become engaged?’ is a new one that motivates me. I get excited about cross-disciplinary collaboration and am pushing my practice towards projects that bring together art, science and technology.
Hana Yoo is interested in investigating the collective anxiety and transcendental experiences, formulated from the natural-artiﬁcial process of reversing perspective. Working in ﬁlm and multimedia installation, she engages with the allegory of nature and technological appropriation in the context of human-environment transformation and reconstructs them through storytelling. She studied Media Arts at the Berlin University of Arts and her previous awards include a ﬁlm/video work grant from the Berlin Senate, a work grant from the Seoul Foundation for Arts and Culture, research grants from the Stiftung Kulturwerk, Kunstfonds Bonn, and Arts Council Korea. In 2021 she held a solo exhibition at Post-territory Ujeongguk, Seoul, and in 2020 at Diskurs Berlin. Her works also have been shown at museums and festivals including the Fotomuseum (Winterthur, CH), European Media Art Festival (EMAF, DE), and Busan Inter- national Video Art Festival (Busan, KR) among others.