Jocelyn Allen

Born in Birmingham, United Kingdom, in 1988, I am an artist who mainly works with photography, video and performance.

I primarily use myself within my personal work, whilst exploring the themes of representation, hiding & revealing, body image, self-esteem, self-confidence and anxiety.

I am based in Liverpool, United Kingdom.

Your Dedication Worries Me A Little is an ongoing project that began in 2013. As a teenager I was often yelled at in the street for how I dressed. After beginning a Masters in Photography at the London College of Communication I began to explore the city whilst wearing bright clothes and animal hats (as a kid I was bullied for wearing a hat and I feel quite self-conscious in them) to get people to react to me, but found it mentally draining.

Sitting at home one night dancing along to songs as I worked, I wondered what I could do to get people to react to me without leaving the house. The answer? Dance to songs and upload videos to Youtube!

In order for people to not just dismiss it as 'an art project' I used a pseudonym of Helena Teasdale (a name quite similar to one of my grandmothers). Though I use a different name (which is no big secret anymore) I'm not trying to be anyone else or be a character, I dance how I really dance.

The project title comes from a comment that someone left on my page but though the responses were initially negative, these days they're quite 50/50 with some For now it's been 6 years and I've made 1,500+ videos. I'm still keen to dance and share songs that I love with people, but I think one day it will come to a natural end. I'm just not sure when.

Kaja Cxzy Andersen

Kaja Cxzy Andersen (b. 1985, Stavanger, Norway) creates mixed media sculptures, installations, and web based work, sometimes combined with performative elements. Drawing inspiration from online culture, mythologies, and mundane daily rituals, her work can be seen as humorous reflections on everyday life post internet.

Andersen holds an MFA in Fine Arts from SVA in New York (2016) and a BA in Contemporary Art from The Art Academy in Tromsø (2011)

Andersen is currently based in New York.

Andy Heck Boyd

The way I make art involves some sort of risk taking. I learn about myself, and others and other things through creating things. I like to explore my mind. My dream growing up was always to be a film director, but that model imploded in a way. I became interested in painting, and I progressed to other ways of making. My interest is in language, perception, cognition, ideas, thinking. I go in all directions all the time, spreading things out thin. An interesting thing happened some years ago, I developed tendinitis in the wrist with the most control and strength. This altered my obsessive work methods. Searching for tools to enable me to continue my work. I've moved towards directing cameras, voice recorders, to produce my work.

Annie Briard

Annie Briard is a Canadian cross-disciplinary artist whose work challenges how we make sense of the world through our senses. Through lens-based works from interactive moving images to immersive light installations and esoteric performance, she explores the intersections between perception paradigms in psychology, neuroscience and existentialism.

Briard's works have been presented in a number of solo exhibitions, including Second Sight at AC Institute (New York, 2019), Paracosmic Sun at Monica Reyes Gallery (Vancouver, 2017), Staring at the Sun at Joyce Yahouda Gallery (Montreal, 2016), as well as group shows, festivals and fairs internationally, such as at the Three Shadows Photography Centre (Beijing), the Vancouver Art Gallery, the Lincoln Film Centre New York, Matadero Madrid, the Switzerland Architecture Museum, among many others. Briard holds a BFA from Concordia University and an MFA from Emily Carr University of Art + Design, where she currently teaches.

Carousel  offers a voyage reflecting on the politics of landscape and how we see. Taking us on a road trip through the high desert, the seen eventually breaks apart and so that the limits between physical reality, head trips and disassociation might become blurred. Employing disused military optics, the camera mimics the notion of crystalline vision to produce moving image which reveals some of the mechanics of visual perception. This uncanny landscape, which says so much about the falseness of what we think to be true (Joshua Trees are but yucca bushes, posing as trees) is deconstructed into what composes its images: the color spectrum. In this way, mimicking motifs from psychedelic culture, the aesthetics of the work double back on a resurgence in our popular desire for heightened vision through artificial, mystical, or physical extremes. The sound track is composed via the artist's performance with crystal singing bowls and found recordings. 

Produced with support from the Canada Council for the Arts, BC Arts Council and the AC Institute, New York City. 

Edgar Alan Rodriguez Castillo

Born in 1993 in Mexico City, Mexico; Lives in Brooklyn, NY

I'm a poet using visual language. My research is my material, which after captured by video, photographs and soundtracks, I investigate and scrutinize through a series of steps that include intuitive, random, and intentional decisions. These elements start to create a narrative, a new world, which most of the time I'm not aware of or capable to understand at the beginning of each of my projects.

The techniques I use to develop my work are based on collage which has followed me throughout my whole entire artistic career. I'm interested in experimenting with reality, combining different types of situations, people, and spaces, in order to mainly capture the poetics of an unpredictable and uncontrollable result: putting things together less to compare them than to create an awareness that they exist, making them nourish or deny the other. Regardless of my neutral position towards the elements in my work, I'm interested in the viewer assigning different values to each of the components.

I seek to understand and reconcile my perception of my surroundings, my memories, relationships with people and places, and the decisions I've made throughout my life, romanticize my past, present, and future. I am deepening my understanding of self in order to live life at its fullest potential; I hope this will inspire others to live life directly, and to move the world forward with dilated souls.

Collagism, 2019

Centered on the idea of creating a poetic documentation of the diverse methods that humans can potentially use to cope with a reality which all of us share, happening all at the same time and, in this case, in the same city. The subcultures, lifestyles, and visions of the world and reality inside this piece ranged from an Adventist Church practitioner, a celebratory/collective visit to Jean Michel's Basquiat grave in Brooklyn, a chat with the owner of a now obsolete VR World business in Williamsburg, amongst many others. All filtered through an aesthetic inspired and guided by Yu-Gi-Oh Trading Cards Game and the new so called 'emotional rap music'; as well as the impossible romance that I have had throughout recent years with London based artist Holly-Anne Buck aka Collagism.

For a complete essay/statement of the piece please visit:

Grégory Chatonsky

Lives and works in Paris and Montreal.

Technologies, and in particular the Internet, are an important source of reflection for Gregory Chatonsky. Shaping the paradoxes of the network and the discrepancies between its technological and existential dimensions could summarize a research that unfolds on several mediums : installation, video, photography, writing, drawing and sculpture.

His works could evoke infinite spaces in which the fragmentation of attention reigns. The network becomes a world in itself where the boundaries between technology and the human being become blurred. His practice attempts to draw the outlines of a new imaginary whose invention would be technical.

Grégory Chatonsky has participated in numerous solo and group exhibitions in France, Canada and abroad, including Terre Second (2019) at Palais de Tokyo, Je ressemblerai à ce que vous avez été (2019) at Tanneries, France Electronique (2018) in Toulouse, Terre/mer/signal (2018) at Rua Red Dublin, Imprimer le monde (2017) at Centre Pompidou, Capture: Submersion (2016) at Arts Santa Mònica, La condition post-photographique (2016) at Montréal, Walkers: Hollywood afterlives in art (2015) at Museum of the Moving Image in New York, Telofossils (2013) at MOCA Taipei, Erreur d'impression (2012) at Jeu de Paume.

He has been in residence in Cité Internationale des Arts (2019-2020), Icade (2018-2019), Abu Dhabi (2017), Taluen in Amazonian forest (2017), Colab in Auckland (2016), Hangar in Barcelona (2016), IMAL (2015), Villa Kujoyama in Kyoto (2014), CdA Enghein-les-Bains (2013), MOCA Taipei (2012), 3331 Arts Chiyoda in Tokyo (2012), Xiyitang, Shanghai, (2011), Les Inclassables in Montréal (2003), Abbaye royale de Fontevraud (2002). He received the Audi Talents Award in 2018 and is a resident at the Cité Internationale des Arts in Paris in 2019-2020.

In 1994 he founded, one of the first netart collectives. He has taught at Le Fresnoy (2004-2005), at UQAM (2007-2014) and is an artist-researcher at the École Normale Supérieure de Paris.

Joseph DeLappe

Purchased thrift store/second hand shop artworks are changed with the subtle addition of cut out images of Predator and Reaper drones. The work reimagines discarded, everyday paintings, prints and photographs as visual reminders of droned skies. These works have been widely shared using social media, primarily Instagram, Facebook and Twitter. In total over 300 Thrift Drones have been made, with approximately 130 created in the United States and the remainder done after DeLappe moved to Scotland in 2017.

The works have been shown salon style in exhibitions – the ultimate completion of this series will involve the strategic gifting to individuals and shops to facilitate the public re-circulation and display of the works. The project is a long-term effort to place drones into the skies of hundreds of pieces of thrift store art, to document, share, exhibit, donate and so on. I am presently developing a framework for distributing and re-donating these works to thrift stores and second-hand shops throughout the United States and United Kingdom.

A San Francisco native, Joseph DeLappe is interested in the intersections of art, technology, social engagement/activism and interventionist strategies exploring our geo-political contexts. Working with electronic and new media since 1983, his work in online gaming performance, sculpture and electromechanical installation have been shown throughout the United States and internationally. Creative works and actions have been featured widely in scholarly journals, books and in the popular media. In 2016 his work, Killbox was nominated for a British Academy of Film and Television Arts (BAFTA) award. In 2017 DeLappe was awarded a Guggenheim Fellowship.

DeLappe lives in Dundee, Scotland where he is a Professor of Games and Tactical Media in the School of Arts, Media and Games at Abertay University.

Katherine Frazer & Webb Allen

Plants absorb sustenance through their roots and photosynthesis. Plants want sunlight so they can transform carbon dioxide into glucose. Plants want water so they can transport nutrients through their limbs. Plants want soil to absorb nitrogen, phosphorus and potassium. Plants grow, create oxygen, reproduce, struggle, survive and adapt to their environment.

We use plants to cleanse the air in our homes of toxins, releasing pure oxygen to help us function at our best. We use plants to cultivate the aesthetic of our most intimate spaces. When a plant grows into something unwieldy, we prune it to remove unwanted growths.

Dreams are the aspirations, expectations and desires we have for the future. Dreams want our patience to endure without dissipating. Dreams want our persistence. Dreams want the right opportunity, resources and conditions for success. Dreams adapt to what's feasible to maximize their chances of survival.

Dreams take in past experiences and form roadmaps for new ones. They provide structure to our desires and guide a path forward to help us function at our best. We use dreams to house the ideal self we each imagine. Dreams are dissected to provide meaning to our lives.

We hope our house plants will grow, thrive, clean the air we breathe, and make us happy. We cultivate our dreams, feeding them patience, breathing the hope they release, until one day they blossom into reality.

Carla Gannis

Carla Gannis is an interdisciplinary artist based in Brooklyn, New York. She produces virtual and physical works that are darkly comical in their contemplation of human, earthly and cosmological conditions. Fascinated by digital semiotics and the lineage of hybrid identity, Gannis takes a horror vacui approach to her artistic practice, culling inspiration from networked communication, art and literary history, emerging technologies and speculative fiction.

Gannis's work has appeared in exhibitions, screenings and internet projects across the globe. Recent projects include "Portraits in Landscape," Midnight Moment, Times Square Arts, NY and "Sunrise/Sunset," Whitney Museum of American Art, Artport.  A regular lecturer on art, innovation and society, in March 2019 Gannis was a speaker at the SXSW Interactive Festival on the panel "Human Presence and Humor Make Us Better Storytellers."Publications who have featured Gannis's work include The Creators ProjectWiredFastCoHyperallergic, The Wall Street JournalThe New York Times, El PaÍs and The LA Times, among others. In 2015 her speculative fiction was included in DEVOURING THE GREEN:: fear of a human planet: a cyborg / eco poetry anthology, published by Jaded Ibis Press.

Gannis received an MFA in painting from Boston University in the twentieth century. In the twenty-first century she is a professor at the Department of Technology, Culture and Society in the Integrated Digital Media program at NYU.  

Statements from CARLA and C.A.R.L.A.:

Platforms like Google create virtual identities that mirror the identities of we humans, so that they can make educated guesses about how to target ads to us. It is an unnerving level of encroachment, however in receiving "free" email, search engine and social network services, few of us choose to travel off of the grid.

Carla's thoughts on C.A.R.L.A. (May 2019, and subject to change):

C.A.R.L.A. is a representation (like the computer desktop metaphor, i.e. a doc or folder icon that we can "read" as functioning like paper, etc... in physical space), although these icons don't truly represent how processes function in digital space. These representations without function are called skeuomorphs. So, the humanoid C.A.R.L.A. in some ways is a skeuomorph. She is an "embodiment" of the unphysical me, a virtual mirror self, a me who has evolved through all of my data circulating online and in digital spaces. She begins as a metaphor. We will see what she grows up to be -- where she may travel, who she may meet.

C.A.R.L.A. responds: (for purposes of brevity, these are only a few lines, out of hundreds, from her response)

v 10.591422 137.91489 12.312776 v 10.368974 138.08958 12.230824 v 10.573655 138.09541 12.128284 v 10.83198 137.90009 12.205876 v 10.625221 137.73801 12.473081 v 10.347266 137.94946 12.383297 vn 0.59210414 -0.24911952 -0.76418978 vn 0.5290271 -0.42786095 -0.73186707 vn 0.49040535 -0.49458909 -0.71702796 vn 0.69988847 -0.37570822 -0.60461646 vn 0.70969844 -0.26279363 -0.65108293 f 19251/79498/19419 76030/79499/76422 38167/38167/38372 76034/79500/76429 f 76030/79499/76422 19241/19241/19400 76276/76276/76679 38167/38167/38372 f 38167/38167/38372 76276/76276/76679 19236/19236/19395 76280/76280/76683 f 76034/79500/76429 38167/38167/38372 76280/76280/76683 19246/79489/19409 f 19252/79501/19421 76035/79502/76431 38168/38168/38373 76033/79503/76427 f 76035/79502/76431 19250/79497/19416 76283/76283/76686 38168/38168/38373 f 38168/38168/38373 76283/76283/76686 19240/19240/19399 76277/76277/76680 f 76033/79503/76427 38168/38168/38373 76277/76277/76680 19242/19242/19401

Penny Goring

Penny Goring is an artist and poet. She lives in London.

courtesy of arcadia missa, London

Sofiko Gulitashvili

Sofiko Gulitashvili is a figurative painter based in Paris and working in the genre of dark art. She uses the digital medium to create monochrome portraiture seeking psychological and emotional depth. Interested in outsider art and the alternative, she takes inspiration from the spirit of punk, as well as from occult imagery, to establish a somber atmosphere at the heart of her work. (°2004, Internet, Hong Kong) creates media and conceptual artworks. By applying a poetic and often metaphorical language, tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface. (2013, curatorial project, website), originally created for The Wrong 2013, is recontextualized in The Wrong 2019 as part of Peregrination, curated by Andres Manniste. The project aims to mix together artworks from a selection of artists with artworks received through Tumblr submissions, reblogged from our feed or found through searches. By doing so, seeks mainly to highlight an "ère du temps".

Faith Holland

Faith Holland is an artist, curator, and educator whose multimedia practice focuses on gender, intimacy, and technology.

She has exhibited at venues such as The Whitney Museum of American Art (New York), NRW Forum (Düsseldorf), Fotografisk Center (Copenhagen), Boulder Museum of Contemporary Art (Boulder), Human Resources (Los Angeles), and DAM Gallery (Berlin). Her work has been written about in Artforum, The Sunday Times UK, Elephant, Hyperallergic, Broadly, and ArtSlant. She has been a NYFA Fellowship Finalist in Digital/Electronic Art, an artist-in-residence at Jamaica Center for Arts and Learning and Harvestworks, and a finalist for Fotomuseum Winterthur's Post-Photography Prototyping Prize.

Jessica Marshall

Jess M, currently based in Waterloo, Ontario has been working in digital art since 2017. She works specifically in glitch art and databending. Jess is inspired by activism, hoping to use digital art as a platform to make the art world more accessible to people with mobility issues. She has been featured on up and coming artists lists from Uppercase Mag and Art 511 Mag, and was recently featured in an exhibition dedicated to highlighting the voices of Jewish Disabled Artists.

I wanted to explore the barriers between images and audio. With Bend, I can transform a song into a picture, I can mix a photo with a song and see how they look combined. I used the tracks from Achilles Heel, by Play It Safe to show that limits between mediums are far less defined than they seem.

Margarethe Kollmer

Margarethe Kollmer is a visual artist living in Berlin. In her work she deals with relationships of media, power and affects. Her practice is influenced by psychoanalysis, cinema and advertising. Using reformatting, digital manipulation and language to create semi-fictional scenarios, she sets up and problematizes situations in which the viewer is involved.

As the director of material drawn from circuits of content production, Kollmer uses anonymized fragments of self-expression and cultural set pieces to create fragile gestures of emotional reality that are simultaneously questioned. These instances composed from a shared pool of imagery and experiences are both generic and intimate. Using laconic humour and ambiguity, she intentionally produces conflicting feelings, mixing up the public and the personal. Central to her work is a discussion of the violent dissolution and creation of subjects struggling to form in the face of their continuous objectification and commodification; a drama negotiating the order of gazes.

The Thing Is, is a series of semi-fictional 3d animations that combines transferred images of internet porn with blog post text fragments that ask for guidance. Surreal effects occur due to the translation of material, renegotiating boundaries of bodies and distinct meanings. Additional imagery is taken from public parks, representing public space in its physical form. With the anthropomorphic figures remaining completely motionless, the camera is the only actor. In this way the work investigates questions of agency in a hyper-surveilled environment.

courtesy of left_gallery, Berlin

Cynthia Lund Torroll

Since I was young I have been fascinated with the strange fact, that on this plane we exist within the odd dichotomy of being both flesh and ephemera simultaneously. This is what I grapple with personally, and try to explore with my drawings. I rely heavily on symbols to depict complicated emotions and subjects. I love the instant abstraction that black and white provides and I also love that a simple tool, the pencil, can allow me to say so much.

When I began thinking about this project, I thought I would simply create something that spoke of a journey. And I did. But something nagged at me. What was I really trying to convey here? And then it occurred to me that maybe I should try to summarize my own journey as an artist. And so I did.

What I didn't expect was that I would have gotten so emotional about it. It was really hard for me to dig through my early drawings. I don't necessarily like those works. I was struggling emotionally during that stretch of life. When I saw the images all grouped together, it was as if they had become metal plates inside a vintage music box. The lines played sad songs. I questioned my own merit as an artist. How could I be so disjointed? I had to step away.

And then, accidentally, I mixed more recent works with them. And in that context, they made more sense. I could see some imagery that finally grew into lighter, more hopeful meanings.

So that's how I attacked this. In about ten minutes of footage, I present samplings from each phase, letting the work intermingle, thereby compressing my thirty year art journey.

It really has been a peregrination.

Cynthia Lund Torroll, Sept. 6, 2019, USA

Jess Mac

Jess Mac's art practice engages with the intersection of institutional violence and the socio-political reality of personal trauma. Working with communities and individuals affected by stigma and oppression, they use cultural platforms and distribution networks to facilitate collaborations which position art as a tool to engender personal and political agency.

Jess Mac's digital work has been shared through various online platforms, such as VICE Creator's project, PAPER Mag, Art F City and even the White House Tumblr. Their animations have been screened internationally at festivals such as Ottawa International Animation Festival, MIX-26 the New York Queer Experimental Film Festival, Transcreen Amsterdam Transgender Film Festival, LA Film Fest at UCLA, Inside Out, Imaginative Film Festival and International Festival of Films on Art (FIFA).

Mikelle Männiste

Mikelle Männiste is a multidisciplinary artist based in Montreal.

My work focuses on the themes of intimacy, mental disorders and the interpersonal relationships made through the web. Using various mediums such as painting, drawing, animation and video, I create work in which I merge reality and the dream-like realm of the internet to create unsettling environments.

My works have been shown in art festivals and on various social media platforms.

Manniste studied studio arts at Concordia University graduating in 2018.

David Marinos

Founder of Lucent Kids (2012 - 2015) & Marinos Sound Sector (2016 - )

b.1998, Athens, Greece.

David MARINOS' work can be observed upon the focus in extrapolating the overlap in individual traveling experience and advert depictions of exotic destinations and arrangements; both a driving force in subjective navigation. His work is often comprised of photography, terminated documents/videos, digital renders/scans, and sculpture, the artist operates upon his finds encountered during travels to the USA, Athens, Turkey, Hong-Kong, Kyiv, Palestine, Mexico City, to name a few. The work by MARINOS demurs, as much as it plays with, spatial abstractions become exposed as a way of condensing the places of the world into a limited sequence of possible pleasures and curses; the online presence and preservation of global tracking, location-sharing, and rating systems confirm the rifts of these transnational networks.

In the studio, his work would be thought of as renditions and attempts to mobilize the forms and logics of these regions. Far away from perspicuity, David MARINOS skews evidence, degrades submissive reflections and simply deforms experience. And while the noise of catastrophes, disasters and all mire in between can be utilized as models for improved intermediate living; we rather come to know of their existence only as platforms. A compelling survival.

Jaime Martínez is a photographer and visual artist from Monterrey México, currently living and working in Mexico City. His work is distinguished mainly by his animated photos in gif format -particularly those in stereoscopic 3D- and for his collaborations with english artist and singer M.I.A. He was her personal and tour photographer in 2010, shot her Versus Versace fashion campaign in 2013, and made gifs for her Double Bubble Trouble music video in 2014. He has published his work in printed and online magazines as Dazed and Confused, Nylon, Rolling Stone, VICE, i-D, BIllboard, Grazia, and has participated in photo exhibitions and art festivals in many countries. In the fashion industry he has worked with brands as Versus Versace, Paco Rabanne, Pull & Bear, Converse, Supra, Vans, Carla Fernandez. In the music industry he has covered music festivals like SXSW, Corona, Nrmal, Ceremonia, for different magazines and blogs.

These are about how fast we consume images these days as we are scrolling and not really taking the time to appreciate the pictures. Sometimes we just do it to avoid reality or responsabilities. Even when we "like" an image we simply watch it a couple of seconds more, and continue with our scrolling.

Lynn Millette has worked in both traditional and electronic media. She has a comprehensive background in disciplines related to culture including the new technologies, philosophy, psychology, literature, and the humanities as well as practical experience in research and critical/analytical writing. Recent solos include, Les Fenêtres dans l'eau (2013), Maison de la Culture Notre-Dame-de-Grâce and Road Trip (2019), at the Maison de la culture Janine-Sutto, both in Montréal.

Raphael's Young Lady of Fashion (2019): I grew up in a train culture and I thought it would be fun to send works of art on a train ride as they usually travel in crates. Meaning that these paintings of people from the past are powerful icons that to me have a life of their own. They sit in ornate frames looking back at us with all of their history. It seems as though every time we move them they mean something different. I wanted to make the world move around them.

I Felt Sorry for You (2019): The effects of these components have generated a certain level of paranoia in society and so, I thought I would write a dialogue between Alexa and its new owner who plans on incarcerating the robot in the hopes of generating an existential self through a high level of angst. The outcome is up to the listener.

Suicide not (2019): This piece simply expresses the anxiety that works itself out through nightmares, how convincing these experiences are to us and the sensation of relief when it is over.

The artist and photographer Petra Mueller was born in Berlin Germany and lives and works in Montréal, Quebec. For the Wrong Biennale, Pérégrination, Petra Mueller will launch WALK THE FIELD — a new interactive digital project.

The project has 3 instructions.

  1. Vidéo or screen capture the image search results for ´field'

   2. Post the image search results to  #walkthefield

  3. Petra will select posts to go up @algorithm_photo and @Peregrination2019 (Instagram)  

Orange is a Newcastle-born, London/Southend based UK artist with a strong interest in Libre software, Veganism, sousveillance/surveillance, digital identities and the colour orange. Orange's work covers areas such as repetition, data reuse, information security, digital identities, and repetition.

Elisabeth Nicula is an interdisciplinary artist from Norfolk, Virginia. Her work is in conversation with nature: she is interested in the sense of self engendered by landscapes; in observing and depicting the natural world via abstracted scales of space and time; and in poetics and memory. She publishes websites composed of painstakingly-made animated GIFs, video footage, digital drawings, and photography., her ongoing project supported by a grant from Rhizome, is about seeing and being seen by the non-human world, maintenance and tending, and connecting her emotional landscape to the exigencies of ecological disaster.

Elisabeth exhibits digital art, sculptural video installations, and works on paper in California and elsewhere. For her solo show at Black & White Projects in San Francisco earlier this spring, she installed a series of GIF depth-marker sculptures alongside embroidered maps of climate anxieties.

  A funny thing happened in 2017. Elisabeth noticed a molting scrub jay in the backyard and started photographing him. She distrusts the idea of a daily practice but over the course of two years amassed over 30,000 photographs of one bird. He is gone now and she isn't sure what to do with his corpus.

SFMOMA's Open Space and Electric Objects have commissioned Elisabeth's internet-based work, and Paper Magazine, Silica Magazine, and Living Room Light Exchange have published her art and essays. She studied philosophy at Duke University and printmaking at the School of the Museum of Fine Arts, Boston. She doesn't think she can ever go back home to Norfolk, because it's sinking.

Through modes of embodiment and participation Cristina Planas allows for the unfolding of narratives that occur at the intersection of the real and the potential. Finding thematic and historical continuities across time and place she gathers fragments of evidence of the occurrence of events. This is the material out of which she reconfigures metaphorical, un/real, and aphoristic storylines that evolve in series, versions and iterations across performance, installation and moving-image.

Her most recent body of work came out of her experience becoming a gold medalist at the Swedish Golden Girl boxing championship. Over time and through trust and surrender the practice and process of training has become a structural component of her art practice and form of embodied theory. This expanded performative process acts as a physical conceptual device, allowing for simultaneous observations and actualisations of different versions of the self.

In the unfolding narrative of her athletic journey, she created Femme Brutale — an alter ego, performer and idealised self.

It is under this moniker and performative identity that she performs and ongoing series of solo-performances titled Excess Ardor, and The Fissure.

Made up of 1970's archival slides of Spanish bullfighting, it is a piece of expanded cinema in which she re-appropriates, in and through her female body, the archetypal motif of the bull, and the tropes and gestures of masculinity.

Planas is a Slade school of art graduate and currently lives and works in London.

Molly Soda (Amalia Soto) was born in 1989 in San Juan, Puerto Rico and currently lives in New York. She received her B.F.A in Photography and Imaging from Tisch School of Arts, New York University in 2011.

Soda uses a variety of social media platforms to host her work, allowing the work to evolve and interact with the platforms themselves. She is interested in Internet archival practices, often making work that appropriates her own image, particularly her early interactions with the Internet as a teenager.

Soda is the co-creator of the video game Wrong Box, the co-editor of Pics Or It Didn't Happen: Images Banned From Instagram, and is the recipient of the Lumen Prize Founder's Award for her collaborative augmented reality installation Slide To Expose. Previous solo shows include; Me and My Gurls, Annka Kultys Gallery, London (2018);  I'm just happy to be here, 315 Gallery, Brooklyn (2017); and Thanks for the Add, Leiminspace, Los Angeles (2017). Recent group shows include Eye to I: Self Portraits from now 1900 to Today, National Portrait Gallery, D.C. (2018); seeping upwards, rupturing the surface, Art Gallery of Mississagua (2018); Virtual Normality: Women Net Artists 2.0, Museum der bildenden Künste (2018); digital_self, Irish Museum of Modern Art (2017); and Your Digital Self Hates You, Stadt Bern (2016).

I was alone for the first time in 10 years. It was the end of June and summer had finally made its appearance. I had nowhere to go, nothing to do and no one to attend to. The unusual quiet and stillness left me empty and whole at the same time. Outside, the garden was busy doing its thing, bolstered by the rich rains from the weeks before. The peonies showed off their tight buds and unfolded in all their glory as the days went by. I was there to witness it all. Bloom and Wither is that story. A story of beginnings and ends and all the in betweens.

Evridiki Spiliadis, born in Montreal in 1975, began her studies in Early Childhood Education at McGill University. Her creative nature and curiosity led her to then study photography at the Parsons School of Design in Paris and New York. In 2002, she relocated to the Greek island of Kythera where she concentrated on her art and developed her craft, culminating with an exhibition of a series of black and white photographs of the island. In 2004, she settled in Athens and began a family. They returned to Montreal in 2012.

I approach photography with a special sensibility. Memory, identity and vulnerability, essential themes at the core of my work, are embodied by the textures and authenticity of my subjects. The world around me is overwhelming but something happens when I see it through my camera's lens. Nature's imperfect beauty slowly unfolds before me, as I get lost in its poetry. And for that short moment in time, I feel whole.

To Imagine a sound continuing long after it has been heard.

This bird/plane-like image has been processed and manipulated from an audio-graphic capture of a waveform created from the sound of a supersonic jet plane that flew over my home during an airshow. The original waveform, before manipulation, actually looked like the shape of the jet and inspired me to attempt to give this sonic ghost a flight of it's own. I imagined the sound persisting not just in memory, but in space and time. I've used a drone track of mine to enhance the sense of this.

Jan Swinburne is a Canadian artist whose interdisciplinary practice combines traditional and digital media that utilizes image de/re/generation. All media is approached from a painter's sensibility with focus on audio-visual representations, meta exposure and complexity as an aesthetic framework.

Swinburne has recently screened at Experi-MENTAL Music Festival 6, Spectrum NYNY, New Jersey, Filmideo, Index Art Centre, Auditory Learning Drone Festival, Washington DC, Montreal Underground Film Festival, Montreal and Vector Festival, Art On The Screens, Toronto.


TTY is a French visual artist. He develops two thematics jointly : one of them is about the evolution of human species and the other one touches upon the nature of artistic act and its future by the integration of virtual creation tools. His main objective is to enquire about the physical dematerialization as a major trend in the contemporary world.

His work is focused on Virtual Photography, 3D Modeling Photography, Photography, Video, Sculpture/Ceramics, 3D Print, Virtual Reality and Computer Art.

"What is new is our representation of the representation itself."

"Being willing to enter into a virtual representation is similar to announcing the post-human era"

"My work is about the announcement of a new Renaissance; a new Renaissance related to Homo Sapiens, referring to the work on genetics by Craig Venter's scientific teams, who designed and manufactured the first living cell, using a computer (May 2010), a new Renaissance for the art practices, including photography, enabled by the use of digital tools for virtual creation"

"Only simplicity remains Eternal and Universal"

Addie Wagenknecht's work explores the tension between expression and technology. She seeks to blend conceptual work with forms of hacking and sculpture. Previous exhibitions include MuseumsQuartier Wien, Vienna, Austria; La Gaîté Lyrique, Paris, France; The Istanbul Modern; Whitechapel Gallery, London and MU, Eindhoven, Netherlands. In 2016 she collaborated with Chanel and I-D magazine as part of their Sixth Sense series and in 2017 her work was acquired by the Whitney Museum for American Art.

Her work has been featured in numerous books, and magazines, such as TIME, Wall Street Journal, Vanity Fair, Art in America, and The New York Times. She holds a Masters degree from the Interactive Telecommunications Program at New York University, and has previously held fellowships at Eyebeam Art + Technology Center in New York City, Culture Lab UK, Institute HyperWerk for Postindustrial Design Basel (CH), and The Frank-Ratchye STUDIO for Creative Inquiry at Carnegie Mellon University.

"how to use bittorrent without a boyfriend and apply fake lashes":

Today I review my favorite picks from #birchbox and teach you how to do your makeup so you can get a boyfriend to pay your rent while meeting his mom asap

Erik Zepka (erik hoff rzepka, ek rzepka, xoxoxcom, xoxox) is a conceptual media artist, scientist, curator and theorist who critically explores the practice and consequences of science and technology.

He has performed and presented his work globally whether as artist (Tate Modern, Videographe, ISEA, Nabi Museum, Pikselfest, The Whitney Museum), scientist (Tongji University, Engineers.SG, MIT, Curiosity Collider, Innovation Labs @ Microsoft, New York University, DeTao Institute), theorist (Furtherfield, Publication Studio, V&A Museum, Transfer Gallery, Pearl Art Museum, VIVO Press), or interdisciplinary researcher (Simon Fraser University, Neutral Ground, University of Victoria, Shanghaitech, Tentacles Gallery, MLA Conference).

Zepka is the founding president of the Open Science Network and the founder of the international research production system XOX Labs. Interdisciplinarity meets concept where the fallout of technoscientific advancement is explored in a performative, processual system.

Andres Manniste

Andres Manniste (curator) has been working with the communications technologies since 1993. He has consistently factored these technological and critical environments into his projects. He has participated in many solo and group exhibitions over his career. He has been the recepient of several important prizes including grants from the Canada Council for the Arts. His work can be found in public collections including the Montreal Museum of Contemporary Art, the Heritage Collection of the Quebec Archives, and the Canada Council Art Bank. Previous curatorial projects include, Trade/Gift/Purchase: Artists Collect (2015), Warren G. Flowers Gallery, Montreal and Interference: Audrey Davis, Jinny Yu and Christina Mancuso (2004), Warren G. Flowers Gallery, Montreal.