Daniela (b.1980, San José, Costa Rica, she/her)is a curator and organiser with an interest in mediation and social practices. Daniela lives and works in Bergen, Norway. She has a BA and a MA in visual arts from Kunst og Designhøgskolen i Bergen and an MA Curatorial Practice at the University of Bergen.

Daniela is part of the curatorial team at Hordaland Kunstsenter (www.kunstsenter.no) and co-founder and manager of the interdisciplinary space KIOSKEN (www.kioken.studio), a platform dedicated to mediate, disseminate and represent the work of local artists and designers in Bergen. Daniela is currently a member of the board at Bergen Kunsthall and was Head of the Education and Mediation platform at the 2019 edition of the Bergen Assembly. She has an active freelance practice collaborating with different institutions and arts organisations both nationally and internationally such as Nasjonalmuseet i Oslo, Norsk Billedhugger Forening, Vaksdal Kommune, Tenthaus Oslo, Fundación TEOR/éTica, U-Jazdowski, Latvian Centre of Contemporary Art and Perennial Biennial.

Photo Credit: Linn Heidi Stokkedal.

Pedro (Bergen Assembly Board Member and Artist) makes sculptures, immersive installations, phonographic pieces and films. Central to his artistic approach is the performative aspect of sculpture, which he presents as animated objects or theatrical environments. His practice explores how technology influences our experience and understandings of time and temporality.

Drawing from both contemporary and historical intersections between science and the occult, Gómez-Egaña’s work also explores the relationship between technology and mysticism, and the emotional and spiritual undertones of digital culture.

Pedro Gómez-Egaña (1976, Colombia) lives and works in Oslo (Norway). He studied at Goldsmiths College, Bergen National Academy of Arts, and holds a PhD from the University of Bergen. Gómez- Egaña is currently professor of sculpture and installation at the Oslo National Academy of the Arts. Gómez-Egaña’s works have been presented at 15th Istanbul Biennial (Istanbul, Turkey, 2017), Contour Biennial (Mechelen, Belgium, 2017), Kochi-Muziris Biennial (Kochi, India, 2016), Colomboscope Biennial (Colombo, Sri Lanka, 2015), Performa 13 (New York, U.S.A., 2013), Marrakech Biennial (Marrakech, Morocco, 2009), and Brussels Biennial (Brussels, Belgium, 2008). His recent solo shows took place at Munchmuseet (Oslo, Norway, 2019), YARAT Contemporary Art Space (Baku, Azerbaijan, 2018), and Casas Riegner Bogotá (Bogotá, Colombia, 2013).

Photo Credit: Randi Grov Berger.

Emma is an artist, researcher and educator. Her recent exhibitions & screenings include: Alchemy Film and Moving Image Festival (Howick, GB), Au-delà des Apparences. Il était une fois, il sera une fois (Les Abattoirs, Musée - Frac Occitanie Toulouse, FR), SITUATIONS/Closure (Fotomuseum Winterthur, CH), Many voices, all of them loved (John Hansard Gallery, Southampton, GB), Opaque to Herself: Poland and Postcolonialism (La Colonie, Paris, FR); Actually, the Dead Are Not Dead: Bergen Assembly 2019 (Bergen, NO); 62nd BFI London Film Festival (GB); Women on Aeroplanes (The Showroom Gallery, GB & Museum of Modern Art, Warsaw PL); and We Don’t Need Another Hero (10th Berlin Biennale of Contemporary Art, DE). Her essay, ‘Margaret Trowell’s School of Art or How to Keep the Children’s Work Really African’ was published in the Palgrave Handbook on Race and the Arts in Education in 2018. Emma studied English Literature at Cambridge University and Art at the Slade School of Fine Art, UCL. She is currently a doctoral candidate in artistic research at the University of Bergen (NO) and Convenor of the Africa Cluster of the Another Roadmap School. Her video works are distributed by LUX.

Diana (Latvia/ Estonia, 1986) was born in Riga, and lives and works between Tartu and Riga. Her primary medium of expression is photography, but she also uses video, sound, text and found objects. In the artist’s works, family albums, documents and private correspondence are transformed into catalysts, making it possible to reveal not only touching autobiographical stories but also apt portrayals of society and how a complex political history and presence intertwines with the desires, needs and dreams of ordinary people.

Tamane has graduated from the Tartu Art College (BA), the LUCA School of Arts in Brussels (MA) and HISK post-academic residency program in Ghent. She has participated at the Kyiv Biennial (2021), the Survival Kit 10.1 festival in Riga (2019), the Riga International Biennial of Contemporary Art 1 (2018), and the Kathmandu Triennale (2017) and elsewhere. In 2020 APE (Art Paper Editions) published her first book Flower Smuggler, which has received the Authors Book Award at Les Rencontres d’Arles Book Awards and been shortlisted in the Paris-Photo Aperture Foundation PhotoBook Awards.

For more info: http://dianatamane.com

Photo Credit: Hanna Sasoson.

Linda is an artist and art educator. She has been working with RIBOCA developing projects for the educational program since its first iteration. From 2016 to 2018 Linda was the Head of Educational program at Kim? Contemporary Art centre. She has participated in the development and implementation of several educational programs and events in various cultural institutions (including at Riga IFF and ISSP) and has spoken in several conferences related to art education. Linda holds a bachelor’s degree in philosophy and visual arts from University of Latvia and Art Academy of Latvia, and a master’s degree in fine arts from Chelsea College of Arts. Linda also frequently participates in exhibitions in Riga and abroad.

Signe Pucena is an artist and researcher of intangible cultural heritage who has BA on Traditional culture and folklore and MA on Cultural management from Latvian Academy of Culture, currently finishing Phd her studies in New Media art at Liepaja university. Co-founder and program director of Interdisciplinary Art group SERDE. Works as art and cultural events producer, organizes expeditions and field works, has more then 20 publications on the SERDE series “The notebooks of traditions”. Member of National Intangible Culture Heritage Council.

On 2002 the Interdisciplinary Art Group SERDE was founded as non-governmental organization, which seeks to develop regional and international collaboration between different cultural fields, organizations and professionals. SERDE’s activities create dialogue between arts, science and education, which includes organizing residencies, workshops, expeditions and publishing thematic notebooks, among other things. The Residency and workshop centre SERDE was founded in Aizpute during 2002 as a platform for international and cross-disciplinary collaboration and it is located in the historical centre of Aizpute. In 2016 SERDE was accredited by the UNESCO General Assembly of the States Parties to the Convention for the Safeguarding of the Intangible Cultural Heritage to provide advisory services to the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage.

More about SERDE - serde.lv

https://www.facebook.com/SERDE

https://issuu.com/smg.serde

https://vimeo.com/smgserde

Frances is a multidisciplinary artist based in Liverpool with a practice that spans sculpture, participation, performance and installation. Disley is influenced by the therapeutic effect that art, and even individual objects, can have on mood, whether it’s the calming fragrance of a geranium leaf, or the smooth, time-whittled surface of a pebble clasped in your palm.

Defining one’s own version of self-care is a topic that has emerged in Disley’s collaborations. In Liverpool, where the artist is based, her project Relax & Repeat shunned the bossy, Goop-y orthodoxy of the wellbeing industry by asking participants to curate their own soothing scents and meditation routines, while RRR (Release Re-energise Restore) merged painting with choreography and techno for a totally interactive installation whose composition was only complete when people danced in front of it. But rather than being paraded as high art, the workout was slipped by sleight of hand into the dance programme of a community centre in North Liverpool.

Recent works include a commission from Invisible Dust for UnNatural History at The Herbert Gallery Coventry, including sculptures and film-works as a response to her local municipal park, which offered sanctuary and inspiration to test ideas around the psychological benefits of being around plants, and in particular plants with medicinal properties that are common in urban landscapes. Plant life and seasonality seem to offer a level of certainty and comfort in shifting chaotic times, during which healing gifts have been prepared and conversations shared with others, allowing Disley to think about being part of a community which incorporates people, plants and place.

Epic Luxe a collaborative dance installation and video work with Fallen Angels Dance (performers in recovery from addication) company comissioned by The Turnpike Gallery Leigh. She recently presented a solo exhibition at Bluecoat, Liverpool and her work "Holo Programme 155" which was part of the show was purchased by the Contemporary Arts Society to become part of the Walker Art Galleries permanent collection. Her performance installation RRR commissioned by Human Libraries with Sefton Libraries was acquired by the Arts Council Collection in 2018; Cucumber Fell in the Sand, Humber Street Gallery, Hull, 2019; Tripleflex, Bluecoat & MDI, Liverpool, 2019; Solo Show, OUTPUT Gallery, Liverpool; 2019.

www.francesdisley.com

Marianna (b. 1980, Athens) is a curator, researcher and educator currently based in Manchester. She holds a PhD in Curatorial Studies from the Manchester School of Art discussed alter-institutionality through curatorial knowledge and aesthetic production at the intersection of art, ecology and technology. She also holds an MA in Contemporary Art Theory from Goldsmiths University of London, Visual Cultures Department and a BA in Multimedia Design from Huddersfield University.

Her research/practice examines curating as a critical practice and discourse; previous curatorial projects and writing have focused on the impact of globalisation, migration, digital infrastructures and networks, ecotechnology and climate change.

Among her curated projects are the exhibitions Meteorological Mobilities at Apexart, NYC (2020), A Cinematic Museum of the Everyday at Next Mixing, Shanghai (2019), Polyrhythmia at Castlefield Gallery New Art Spaces, (2017) and the upcoming A Common World in Transition – An Assembly (SixtyEight Art Institute, Copenhagen, 2022).

Catherine is a curator based in London, born in South Korea. Her research interest is in transdisciplinary practices spanning art, social practices, politics, science and sustainability. She currently holds post as the curatorial team for the Korean Pavilion at 59th Venice Biennale and is the Gallery Manager at No.9 Cork Street, Frieze’s permanent exhibition space in London. Previous works include Assistant Curator and Curatorial Fellow at Liverpool Biennial, Artist Development for London Creative Network at SPACE Studios, and Assistant Curator at the Korean Cultural Centre UK, where she worked on the Korea/UK Season 2017-18, a yearlong cultural exchange project in partnership with UK cultural institutions. She received her MA in Contemporary Art and Art Theory of Asia and Africa, and BA in History of Art from SOAS, London.

Lara (1994, Ljubljana) is a curator and art historian who is currently finishing her Master’s degree in Art History at the Faculty of Arts, University of Ljubljana. In 2020 she completed the School of Curatorial Practice and Critical Writing at the SCCA-Ljubljana Institute. Since 2016, she has been part of the DobraVaga gallery team, where she works as a programme and sales coordinator and curator. She was an assistant curator for the 34th Ljubljana Biennale of Graphic Arts ISKRA DELTA. She has curated several solo and group exhibitions, such as JOŽE (Plečnik House, Ljubljana, 2017), OFF THE HOOK. Accept and Continue (online, 2021), Sara Bezovšek: Computering (Kino Šiška, Ljubljana, 2020), freštreš: Rebirth (Media Nox, Maribor, 2021) and Sebastian Jung: Intensive Care (Škuc Gallery, Ljubljana, 2021).She was a co-curator of the exhibition cycle Constructed Identites in Kamera Gallery in Kino Šiška and is a co-founder and curator of the ETC. Magazine.

Neja (1992) graduated in Painting from the Academy of Fine Arts and Design in Ljubljana in 2015 and completed a master's degree in Painting in 2020. In her art practice, in relation to the guidelines of "ecological philosophy" and "ecology without nature", hyperobject entities and hyperoccultation, she focuses on a phenomenon in which the body itself functions as something partially foreign to the subject, not in the sense of exploring how human experience is adapted to the physical or biological properties of the body, but rather how human experience is in a sense transmitted through the object of the body – in short, through the object into which the subject is immersed. She builds a modified space and/or object that necessarily in its essence penetrates the skin, passes into food, cells, adheres to organs, thus creating an atmosphere of decomposition of the body and modification or adaptation of the body to a different kind of environment. She seeks to represent appearance based on the guiding idea of disembodied objectivity, in which materiality is not limited to the perception of objectivity as such, but behaves objectively in response to the accommodation through which the boundary between object and body disappears. She received the 2013/2014 Academy of Fine Arts and Design Award and the 2015/2016 Prešeren Award of the Academy of Fine Arts and Design. Solo exhibitions: Alohton (2018, Equrna Gallery, Ljubljana); Adhesive (2019, Museum of Contemporary Art Metelkova, Ljubljana).

Omsk Social Club’s work is created between two lived worlds, one of life as we know it and the other of role play. These worlds bleed into one. That is where Omsk positions their speculative fictions, through these immersive installations they move into a territory they coined in 2017 called Real Game Play (RGP). Their work aims to induce states that could potentially be a fiction or a yet, unlived reality.

Omsk works closely with networks of viewers, everything is unique and unrehearsed. The living installations they create examine virtual egos, popular experiences and political phenomena. Allowing the works to become a dematerialized hybrid of modern-day culture alongside the participant's unique personal experiences. In the past Omsk Social Club’s Real Game Play immersive environments have introduced landscapes and topics such as otherkin, rave culture, survivalism, catfishing, desire&sacrifice, positive trolling, algorithmic strategies and decentralized cryptocurrency.

They have exhibited across Europe in various institutions, galleries, theatres and off-sites such as Martin Gropius Bau, House of Electronic Kunst Basel, HKW, Berlin, Seventeen, London Volksbühne, Berlin, Stroom den Haag, Den Haag Netherlands and Light Art Space Berlin. They have been included in CTM Festival (2021), 34th Ljubljana Biennale of Graphic Arts (2021), 6th Athens Biennale (2018), Transmediale Festival (2019), The Influencers (2018) and Impakt Festival (2018). In 2021 they co-curated the 7th Athens Biennale with Larry Ossei-Mensah.

Memeplex, Omsk Social Club and Joey Holder Dec 2021 at Seventeen Gallery. Photo Credit: Stateless Studio.

Sabine is an editor, writer, translator, and mother of one based in Berlin, where she is currently managing editor at the 12th Berlin Biennale for Contemporary Art curated by Kader Attia. Her work focuses on feminist art and theory, digital culture, and critical visual history. She regularly contributesu critical texts on contemporary art to catalogues, newspaper, and art magazines such as Springerin and Camera Austria International, where she was an editor from 2016 to 2018. She was online editor at the 11th Berlin Biennale curated by María Berríos, Renata Cervetto, Lisette Lagnado, and Agustín Pérez Rubio (2019/2020). As a conlusting editor she collaborated with Alice Maude-Roxby and Stefanie Seibold on the book “Censored Realities / Changing New York” that published the complete reclaimed texts of art critic and political journalist Elizabeth McCausland intended for photographer Berenice Abbott’s 1930s seminal book “Changing New York” (Edition Camera Austria, 2018). Together with Krisztina Hunya she organized the symposium “On the Aftermath of Images. Plenum on political debate and visual participation practices” at the f/stop Festival for Photography in Leipzig 2018, where she was also head of communications. Her research in the photographic archive of the European Solidarity Centre (ECS) in Gdańsk, Poland, in cooperation with the Polish Institute in Berlin (under the directorship of Katarzyna Wielga-Skolimowska) was published in an online exhibition on the pages of the Google Cultural Institute and as newspaper (2014). She is especially interested in publication formats at the intersections of printed and digital matter, communication and mediation. She holds a master’s degree in literary and film theory and media philosophy.

Selected writings and project descriptions can be found here: www.sabineweier.de

Photo Credit: Alex Ostojski.

Nikola is a Berlin based artist, cultural worker, researcher and curator. Her practice is distinguished by a research-based and transdisciplinary approach that is deeply rooted in debates and concepts of intersectional feminist and postcolonial theory. She is especially interested in counternarratives that confront the status quo of hierarchical and oppressive structures in our social fabrics, complex inter_dependencies and inter_relations.

From 2017-2020 she conceived the public program of UNTIE TO TIE at ifaGallery Berlin and was curating the research space Resonances a space for encounter and research pairing with the exhibition program. She was assistant curator of the exhibition INVISIBLE curated by Alya Sebti for the DAK’ART 2018 inDakar Senegal. At Manifesta 13 in Marseille she conceptionalized and co-curated public programs for the artistic program TRAITS D’UNION.S dealing with themes of restitution, reparation and Mediterranean crossroads. She was part of the artistic office for the 12th Berlin Biennial and is currently conceptualizing and curating an artistic and discursive program for the 15th Fellbach Triennial centering questions about ownership, interconnectedness, restitution and responsibility. In parallel she is managing and contributing to the DOX BOX project People´s Stories-Past & Present a 2-year long program bridging the silenced and liminal spaces of African imagery that combines research, public programs and exhibitions happening in and between Senegal, Morocco and Germany amongst other places.

Photo Credit: Victoria Tomaschko.

Nomaduma Rosa Masilela is an artist, writer, and curator. Her work and interests center around collective work and strategy; public and performance art; ideas of the uncanny, the absurd, the dissonant; and the ambivalent natures of authenticity, history and identity production. She holds a Masters in Art History and Philosophy from Columbia University in New York City (USA). She has written essays for various exhibition catalogues and publications, including but not limited to Among Others: Blackness at MoMA (USA, 2019), We don't need another hero (DE, 2018), Portia Zvavahera: I'm with You (ZA, 2017), as well as for publications for the Studio Museum in Harlem (USA), amongst others. Her curatorial practice includes exhibitions and projects with the Rijksakademie in Amsterdam (NE), the Museum of Modern Art (MoMA) in New York (USA), The Kitchen in New York (USA), and her contributions as a co-curator of the 10th Berlin Biennale for Contemporary Art (DE, 2018), including a curatorial publication project and reading room, titled Strange Attractors (DE, 2018). Previous years of research focused on collective and performance art practices in Dakar, Senegal; she currently commits her writing and curatorial practice to critically supporting the work of queer and femme-identifying artists from the global south and its diasporas. (Berlin, DE)