Lithuanian origin professional artist, mostly working in and in-between theater, opera, performing and visual arts fields

STATEMENT

I live, I think, I create and ....

I am (in) space.

Physical and theoretical.

Natural and cultural.

Space between them (both).

Space I am (in)

and space I create.

Space where both You and I can be not only listened but also heard,

space where contradictions are values,

creating a space and an opportunity for discussion.

That is my goal and work on it.

Space where I can get lost.

Space where I can discover,

discover new points of view, new horizons, new mythical/mystical/dreamed and at the same time such real/tangible/carnal ...

You and myself.

Through my artwork, get to know me - authentic Baltic origin woman.

Please,

let me, to know you - true and authentic other. (That is my wish.)

Equal to me.

Equal to space.

2021 January

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Enkaryon Ang is a poet and critic based in Taipei. He has published several collections of poetry and essay, such as “A galaxy of Howness”, poetry about post-digital society. He also is selected as a resident writer in Can Serrat in 2017 and in UNESCO Prague – the City of Literature in 2020. His recent interest is to apply the idea, “climate change” into experimental poetry. As different humidity or conditions of the atmosphere change our speaking, how will we talk and hear in the near future? A new linguistic system is about alternating with the medium of air to maintain its basic function of communication. As poets, how do we write a poem about catastrophe? How will we live in tropical Berlin or temperate Taipei to write? How do we write a poem determined by the climate zone, thus opening up new imagination?

Jun and Bonnie are a UK-based artist duo who have been working together since 2018.

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A Qingdao-native, Jun Wang has lived in Edmonton, Canada and London, UK for the past decade. After obtaining a degree in Industrial Design she further explored printmaking by pursuing a Master’s degree at the Royal College of Art (UK). Jun’s work looks into how we measure time through investigating its relation to nature, the universe and memory. She is fascinated by the most easily overlooked, ubiquitous elements that quietly coexist with us and centres her work around these instinctive moments of the every day. Jun has exhibited internationally in cities including London, Shanghai, Changsha, Tokyo, Toronto and Edmonton. Her works are collected by the Victoria & Albert Museum (UK), Royal College of Art (UK), Tama Art University Museum (Japan) and University of Alberta (Canada).

Bonnie Wong is from Hong Kong, currently living between the UK, Hong Kong and China. She completed her Master’s degree in Print at the Royal College of Art (UK). Bonnie works extensively with two-dimensional media, including prints, photography, and books and uses them to create installations. She makes work by examining and recontextualising found materials. Her work is both socio-political commentaries as much as a poetic meditation on identity and migration. In the past few years, Bonnie has created work and shown them in locations around the world, including Marseille, Bologna, Manchester, London, Hangzhou, Changsha and Hong Kong.

Jun and Bonnie's research focuses on the relationship between nature, personal and collective history and languages. Their work encompasses materials including slides, old photos, dictionaries, maps of foreign places and archival documents. There is a strong emphasis on the process of relocation and how it generates interpreted memories and unfamiliarity. In the past three years, they have been invited and commissioned to create site-specific installations in various locations in Europe and Asia.

Sofia Kaloterakis is a writer, researcher and poet currently studying in the RMA program Media Arts and Performance studies at Utrecht University. She is interested in fictional universes, philosophy of science and any type of performative exploration of language and poetics. She has published short stories, poetry and also articles and papers on media art aesthetics.

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Poetry for me starts from an exploration of the inner world to extend into the exploration of the poetic medium itself as a reflection of the synthetic processes of life and of the universe.

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I grew up in a secluded village on the outskirt of Shanghai, which has stayed detached from the modern and cosmopolitan city center for decades. The rustic and unsophisticated social context I had been through framed my initial understanding of the world. In my inner word, there was barely a concept of art or foreign.

I am fascinated with my mother tongue and rustic dialect. They are the undeniable history and now the 'gravity' of my perspectives. The numerous experiences of incomprehension after I grew up in which I felt like a rabbit caught in the headlight make me confused and obsessed simultaneously, especially in an English spoken environment, the strange but familiar feeling of "almost-understanding".

I am currently making lens-based installation artwork. I prefer to stay in a position of "not understanding", to take language as a sound(structure) instead of something that needs to be understood or decoded. It somehow takes me beyond the domain of the language and toward the under-layer of it like emotion, performativity, and the deepest nature - feeling.

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I explore a relationship between society and individuals through human voice and sound transforming to noise or vibration which is intended to give a visual power to individuals’ personal narratives. I focus on each individual who has its own identity, individuality, personality, sexuality, or interest looking into how people express their own identities under the invisible or visible social rules or cultural hegemony. A society is made up of all the different individuals with their different identities. With social rules and/ or cultural hegemony, people are expected to conform to society as members of it, and naturally follow them with systems of education. However, the social force encourages individuals to have a desire to express their own identities.

Website: www.linaaaa.com

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I'm a self employed intermedia artist, curator and lecturer. I experiment in the context of science, technology and media art. Most of my intermedia research, art projects and workshops are based on electronic textiles, graphical sound, the reaction of sound to tactile stimuli, and generative sound landscapes that trigger light effects. My soft circuits are designed from soft conductive and capacitive materials.

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Dimple B Shah is practicing multidisciplinary artist from Bangalore, studied in MS University, Baroda 2001; her art practice has developed in Painting, Printmaking, Installation and Performance Art. She has been honored with National & International Awards among them International Residency Krupa Gallery Poland 2021 , ROSL International Residency Art house UK 2019, Artist in Residence Munich, Villa Waldberta, Germany 2017, India Foundation for the Arts grant for project 560, 2014, Afiriperforma International Residency, Lagos ,Nigeria 2013, First Gold Prix in 7th Engraving Biennale, Versailles 2009, National Award, LKA, Government of India 2008, Commonwealth Arts & Crafts Award, UK 2005, Arunawaz Award 2004, Junior Fellowship, HRD, Govt.2000/2. She has curated performances Festival like KIPAF, JAS summit and Basavanagudi Live Art Project.

She had solo shows in Glasgow Print studio, United kingdom., Sumukha Art Gallery & Kalakriti Art Gallery, Hyderabad. performed at show titled ‘The Weitere Weiterreichung' in Kunstquartier Bethanien, Berlin. 2019 Hit | Haugesund International Relief Print Festival,THE 5TH BANGKOK TRIENNALE, EIGHT INTERNATIONAL TRINNALE, SOFIA ,BULGERIA Dada Fest International Festival, Liverpool and Massachusetts USA. In 2020 she participated in many International performances Online Event – ‘Beyond Belfast’, Bio-Network DLab , Anant Art Gallery, Oblak Event, Hypothetical Space, IMAF Serbia, Out of Cite Chicago, Lock Unlock Performance Art Project and Evil o The Art World Responds. In 2021 her works are selected as part 3rd International Yerevan Print Biennale 2021 and has invited to perform in performance events in New York, Chicago, Brazil, Mexico, Madrid and Belfast.

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The broken string serves as metaphor for the devastating loss indigenous people experienced through encounters with the colonizer. The impact of colonization still lingers today and it is necessary to engage with what has happened and how it manifests in today's life. In South Africa, the story of the First Nations people – the San peoples together with that of the Khoi peoples - remains hidden within contemporary culture.

Collectively responding to this hidden narrative are Diana Ferrus (poet / social activist), Garth Erasmus (musician / visual artist), Sonya Rademeyer (visual artist) and Franco Prinsloo (composer / sound artist). Through their cross-cultural and inter-discipliniary energies the artists seek ways of opening up contemporary conversations seeped in a broken past. This is powerfully underscored through Ferrus’ writing: “My poem will become the voice of the narrator who will speak from history and the present, a cry for help, a cry for justice, a cry for caution (not to repeat past mistakes), a plea for a language dying, a plea for recognition, a plea for restoration.”

Franco Prinsloo depicts this pre-linguistic universality of ‘brokenness’ via sound through the interpretation of “Song of the broken string”, a lament by indigenous poet Diä!kwain at the onset of, and as a direct consequence to, early colonisation in Southern Africa. Transcribing Diä!kwain’s lamentation of loss into Morse code, the new soundscape consists of clusters of this sonic coding, becoming a minimalist soundscape of distress-calls sending Diä!kwain’s lament into the world. Prinsloo uses the method of transmitting text information that was widely used in the early 20th century as means of communication, although today is best remembered as a means of sending a distress signal or ‘SOS’ as a series of on-off tones, lights or clicks. In this sound installation then, the code - a symbol of colonialism and westernization - echoes the extinct /Xam languages thereby eluding meaning to the contemporary listener. And, although the poet’s plead is ironically obscured by a forgotten colonial code, new meaning is attained through the juxta-positioning of Ferrus’ contemporary poem as well as entering an a musical discussion with renowned South African musician and visual artist, Garth Erasmus. As Visual artist and musician, Garth Erasmus is best known for his innovative use of materials, Erasmus has extensive experience as a facilitator and teacher. Garth Erasmus unsettles the hegemonic, exclusionary constructions of African and coloured identity through introspective explorations of his decolonial identity, frequently presented on an intimate scale.

Rademeyer’s work acknowledges the metaphorical severing of Diä!kwain’s ‘broken string’ and seeks new ways of re-connecting across time and space. Working within this conceptual framework and responding to the sound work, she uses her body to draw with light as source material. In this new layered soundscape a musical conversation about culture, shared heritage, human likeness and the trauma caused by colonial past is both re-imagined and created.

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I studied in Cairo, my hometown, and London (Slade School of Art, UCL). I work in a multi-disciplinary fashion, and Central to my work is the issue of Value: The way things are seen, heard and used, how words are uttered and how meaning is formulated and some times lost, how objects of desire are priced, consumed and discarded.

Just as my experience of Egypt forms the greater part of my visual and social archive, the sounds of the busy streets of Cairo, the city where I grow up. I am stimulated by issues which are of great relevance to the Middle East, such as inclusion and exclusion, borders and crossings, authority and bureaucracy, the dynamics of unequal power, arbitrariness and co-ercion, resistance to power, uneasiness, entrapment, tightness and comfort, availability of space, see-through walls and the world of the in-between.

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Yishuai Zhang is an artist and researcher specializing in the demystification of the entanglement between art and science. His artworks intend to explore and navigate a spectrum of dynamic resonance between organisms and machines based on the progression of his interdisciplinary research on contemporary computational art theory. The media of his works vary from painting, installation, performance, to digital and computational expressions.

Aligned with modern process philosophical thought, queer- and technoscience feminist theory, his research questions the anthropocentric relations between machines and organisms that strictly follows a doctrine of mechanical reductionism, while explores innovative opportunities for human-computer interaction. He simulates speculative process metaphysics to bring the meaning of art into more aspects of this multimodal reality. He is currently pursuing the MFA Computational Arts program at Goldsmiths, University of London.

The construction of my soul as a visual artist and its transcription in my work result from a long and slow process. I have lived various experiences of cultural immersion rich in their plural sounds. Starting from Rabat, my home town to eastern Morocco region, leaving it to France for biological studies, to come back finally to Rabat. This looping process has led to the stratification of my different cultural layers, they constitute the fertile background of all my artistic productions.

The black box of my work When I was studying in Paris, I used to spend time at the Orsay Museum, where I have been impregnated by Monet paintings. The "pictorial atmosphere" of this great master, both through his palette of colors and the rendering of the vegetal texture of certain paintings have permanently forged my inspiration as an artist. This influence kneads the « long time of my work ». My reflexive process as an artist is in « the medium term ». It is rhythmed and nourished by the diversity of my different social statuses, as a Moroccan woman with Western influences, as a scientist and as an artist. So many cultural binomials made of contradictions and also dialogues within my own interiority. Comes then the « Instantaneity » : spark, flash, each concrete idea of a painting emerges from an impression in front of an exhibited work, from a landscape, from a moment experienced or observed. This fragile moment consumes time before it comes to light. Because, it requires a discreet maturation process, during which time I record, my soul sponges, and then suddenly, there is the frenzy of revelation. Then comes the blossoming of the transmission, saying everything through painting, as a relief

My work in a few words Immersion in my canvases and reading their geography follows the maps of my multicultural strata. For, these transcend the whole process of my work; they combine aesthetics with collorisms, in turn bright and diffuse, sculpted with moving strokes to interpret a landscape or a scene. As for pure abstraction, it takes shape through gesture; evocative, seductive by the feeling of freedom it gives me through its unconventional paths. This creative insolence of freedom privileges the virgin field of large canvas spaces.

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Nathalie Fougeras is a sound and visual artist exploring sound field recording, textile sound, and low tech noise sound art installation sometimes combined with a specific sound-music composition with interest for sculpture, mutation, nature environmental rythm and impulse into art and individuals perception.

Website:

http://cargocollective.com/nathaliefougeras/SOUND-ART