Katherine Araniello trained in Fine Art at London Guildhall University (1996-99) and Goldsmiths College (2002-2004). Her work is a continued investigation and exploration of ways to challenge and subvert representations of physical disability. She translates an unforgiving attitude into visualising concepts, often using her art to parody the profound ignorance that disabled people face on a daily basis. Creating frameworks that challenge and alter preconceptions, she uses satire and subversive humour to address current issues related to disability such as assisted suicide, media representation, prejudice, charity, ignorance, and body aesthetics. Using a variety of media including film and performance she transforms these complex and serious issues to make works that are humorous and playful with a critical edge. She is a member of the film collective 15MM, one half of The Disabled Avant-Garde (DAG) with Aaron Williamson. Araniello has shown work extensively in the UK at Beaconsfield, Tate Modern, Tate Britain and Serpentine Gallery, as well as internationally, most recently at Pumpehuset, Copenhagen and UICA, Michigan.
Ingrid Bachmann’s works exist at the crossroads of the technological, the generative, the performative and the corporeal. Using both redundant and state of the art digital technologies, Bachmann’s projects create visually rich, immersive and interactive environments — spaces of encounter activated by the viewer — where various interactions and interventions can take shape. By combining materials, found objects, and sculpture, Bachmann creates situations, circumstances and systems that generate their own dynamics, contingent on the viewer’s presence and participation. In so doing, her works invite the viewer to negotiate materiality, performance, presence and the haptic. Bachmann is a founding member of Hexagram: Institute for Research and Creation in the Media Arts in Montreal, Canada and the Director of the Institute of Everyday Life.
Her works have been exhibited nationally and internationally in exhibitions and festivals in Canada, Europe, the United States, Asia, and Latin America including the PHI Centre Montreal (2014), Eveil/Alive in Sao Paolo, Brazil (2013),11th Havana Biennal (2012), Manifestation International d’art 6, Québec (2012), Lab 30, Augsburg (2010), and the Southern Alberta Art Gallery (2010).
Born in Los Angeles in 1936 and educated at Pomona College and Stanford University, Mowry Baden has lived and worked in Canada since 1971. He has practiced sculpture for nearly 50 years and has taught sculpture at Raymond College, Pomona College, UBC, and the University of Victoria, from which he retired in 1997. Articulating an internal awareness of movement has always been the most important element in his work. Over the past 43 years, he has developed various methods of decentering vision and interfering with habitual human gestures. He has built harnesses, furniture, rooms, pathways and catwalks, all with the goal of impinging upon the viewer’s movements and awakening a physical self-awareness that was previously unconscious.
Louise Bourgeois (1911 – 2010) is widely considered to have been one of the most influential artists of the 20th century. In a career spanning seventy years, she produced an intensely personal body of work that is as complex as it is diverse. Louise Bourgeois’ work is widely exhibited on the international stage and continues to inspire a rich body of academic and critical commentary. Recent or upcoming solo exhibitions include Louise Bourgeois. Works on Paper, Tate Modern, London; Louise Bourgeois. Structures of Existence: Cells, Haus der Kunst, Munich and Louise Bourgeois. Retrospective, Museo Picasso Málaga. The Museum of Modern Art in New York has established an online digital catalogue raisonné of the 35,000 prints and illustrated books that she produced during her lifetime.
Lisa Bufano (1972 – 2013) was an interdisciplinary artist and performer, originally from Boston, Massachusetts, who often used prosthetics and props in her work. Lisa performed for audiences in Brazil, France, Austria, Croatia, Slovenia, Canada and in venues across the United States including The Kennedy Theater in Washington D.C., The Baryshnikov Arts Center, and Judson Memorial Church in NYC. She is a Franklin Furnace Fund for Performance Art recipient.
Jason Tschantré is a filmmaker and video installation artist living and working in Brooklyn. He designs video projections for theater productions, parties, large outdoor venues and art galleries. He is also a freelance videographer and editor; he recently co-edited and co-shot feature documentaries such as the Official Sundance Selection, 99%, and has also completed broadcast, promotional and archival videos for PBS, Carnegie Hall, The Metropolitan Opera, and The New York Public Library.
Raphaëlle de Groot’s Raphaëlle de Groot was born in 1974 in Montreal. She works actively in Canada and abroad since 1997 engaging in a polymorphous and interdisciplinary art practice that encompasses drawing, performance, video, installation and curatorial undertakings. Some of her major projects include 8x5x363+1 with the Cittadellarte-Fondazione Pistoletto (Biella, Italy, 2002-2004), En exercice with the Galerie de l’UQAM (Montréal, 2006) and The Burden of Objects with the Southern Alberta Art Gallery (SAAG, Lethbridge, 2009), a long term undertaking that is now coming to closure with the 3 part exhibition The Summit Meetings presented by the SAAG (2014), the Art Gallery of Windsor (2015) and the Musée national des beaux-arts du Québec (2016). In 2013, Raphaëlle de Groot carried out a performance during the opening days of the 55th Venice Biennale – the event was presented by the Conseil des arts et de lettres du Québec under the curatorship of Louise Déry (Galerie de l’UQAM). The film Raphaëlle de Groot à Venise was shown at the 32nd International Festival of Films on Art under the curatorship of Nicole Gingras. Raphaëlle de Groot has received many distinctions among which the Sobey Art Award in 2012. She holds a Master’s degree in Visual and Mediatic Arts from the Université du Québec à Montréal.
Arseli Dokumaci is a Fonds Québécois de Recherche sur la Société et la Culture (FQRSC) postdoctoral fellow at McGill University’s Department of Social Studies of Medicine. She received her PhD in performance studies at Aberystwyth University and completed postdoctoral research at Concordia University’s Mobile Media Lab, where she works as a research associate. Her work focuses on the intersections of disability and performance, with an emphasis on everyday life performances, visual ethnography and measurements of disability in medicine. Arseli is also a video-maker and has created several videos, including “Misfires that Matter: Invisible Disabilities and Performances of the Everyday” (2012), “Misfire, ‘Mis’perform, Manifest: Disability and Everyday life” (2014) and “Blindness, Techno-affordances and Participation in Everyday Life” (2014). Her research has appeared in Performance Research; Wi: Journal of Mobile Media; MISperformance: Essays in Shifting Perspectives (Maska, 2014) and Disability in Judaism, Christianity and Islam (Palgrave, 2011). Arseli is the co-convener of Performing Disability/Enabling Performance Work Group at Encuentro and the Chair of Constituency Groups at Performance Studies international.
Helen Dowling (b. 1982, UK) works through a multi-disciplinary practice which engages with the capacity to transfer empathy and emotion within the medium of video. Rather than working with narratives, her videos, photographs and objects juxtapose basic elements such as rhythm, colour and sound to draw the viewer through a sequence of sensations that relate and build upon each other. She received her BA at Goldsmiths College, London and her MA at Slade School of Fine Art, London and attended the 2 year residency at the Rijksakademie van beeldende kunsten. Recent exhibitions include ‘VISIO’, Villa Romana, ‘Euritmie’, The Castelvecchio Museum, Verona, ‘Open Studios’ Viafarini Artists in Residence, Milan, ‘Disabled by Normality’, DOX Centre for Contemporary Art, Prague and ‘l’evento immobile’, Casa Masaccio, Tuscany. Future exhibitions in 2015 include solo presentations at Kazachenko’s Appartment, Oslo and M4, Amsterdam. Her current research project, investigating the possibilities of rhythmic entrainment in the context of moving image, has been awarded funding by the Mondriaan Foundation. Over the summer she will be artist in residence at the M4gastatelier, Amsterdam.
Lindsay Fisher is a visual artist with various practices in digital media, photography, illustration, textiles and graphic arts. Her work often reflects an investigation into identity, the body, and notions of difference. Her recent work in digital media and embroidery explores representations of gender and sexuality within the context of online media and with an interest in how individuals negotiate, interact and experience different understandings of sex and gender. Lindsay holds a Bachelor of Fine Arts from Emily Carr University and a Bachelor of Graphic Design from OCAD University. She currently works in Toronto.
Erin Gee is a Canadian artist who centralizes on digital culture through human voices in electronic bodies. Working in video, performance, robotics and audio art, her work is characterized by a distinctive use of historical referencing that enfolds past narratives into possible futures. Gee’s work has been presented most recently at Maison des Arts du Laval, Quebec (2013), Leonard and Bina Ellen Gallery, Montreal (2012), Tin Sheds Gallery, Sydney (2012), Powerhouse Museum, Sydney (2011), the MacKenzie Art Gallery, Regina (2011) and the Deep Wireless Festival of Transmission Art, Toronto (2011). Gee was short-listed in the Bourges International Electroacoustic competition for multichannel composition in 2009. Her work has been reviewed and included in WIRE: Adventures in Sound and Music, National Post, and Sydney Morning Herald. Gee is a founding member of Holophon, an audio curatorial collective based in Saskatchewan (est. 2008). Gee lives and works in Montreal, Canada where she is completing her MFA at Concordia University.
Ann Hamilton is a visual artist internationally recognized for the sensory surrounds of her large-scale multi-media installations. Using time as process and material, her methods of making serve as an invocation of place, of collective voice, of communities past and of labor present. Noted for a dense accumulation of materials, her ephemeral environments create immersive experiences that poetically respond to the architectural presence and social history of their sites. Whether inhabiting a building four stories high or confined to the surface of a thimble, the genesis of Hamilton’s art extends outwards from the primary projections of the hand and mouth. Her attention to the uttering of a sound or the shaping of a word with the hand places language and text at the tactile and metaphoric center of her installations.
Born in Lima, Ohio, in 1956, Hamilton received a BFA in textile design from the University of Kansas in 1979 and an MFA in sculpture from the Yale School of Art in 1985. From 1985 to 1991, she taught on the faculty of the University of California at Santa Barbara. Hamilton has served on the faculty of The Ohio State University since 2001, where she is a Distinguished University Professor in the Department of Art.
Sara Hendren is an artist, design researcher, and professor. She writes and lectures on adaptive and assistive technologies, prosthetics, inclusive design, and related ideas. She is the designer and co-founder of the Accessible Icon Project. Her work has been exhibited in the US and abroad and is held in the permanent collection at MOMA (NYC), and her writing and design work have appeared in the Boston Globe, The Atlantic Tech, FastCo Design, and on National Public Radio (US), among others. She teaches design for engineers at Olin College, where she runs the Adaptation and Ability Lab, and she blogs at the Abler web site.
Wendy Jacob is an artist whose interdisciplinary practice includes sculpture, site-based installation and performance, and explores relationships between architecture and perceptual experience. Projects include breathing walls and ceilings, tightropes through living rooms and chairs that embrace. Jacob’s practice is often collective. Recent projects include working with scientists, circus performers, and members of an explorers club. Jacob’s work has been exhibited in the Centre Georges-Pompidou, Paris; Zero1 Biennial, San Jose; Museum of Contemporary Art, San Diego; Kunsthaus Graz, Austria; and the 1991 Biennial Exhibition, Whitney Museum of American Art, New York. Jacob is also a founding member of the four-person artists’ collaborative, Haha (working 1989 – 2009). Jacob was recently awarded a Fulbright Visiting Professorship at the Glasgow School of Art, Scotland, where she will be investigating utopian communities.
Martin Kersels’ large-scale sculptures and installations are influenced by his earlier practice as a performance artist, particularly in his explorations of time and movement in his pieces. He also works with photography, audio, and video media. His interest in machines, entropy, sound, and dissolution has produced work that examines the dynamic tension between failure and success, the individual and the group, and the thin line between humor and misfortune. Since 1994, Kersels’ objects and projects have been exhibited at museums both nationally and internationally, including the 1997 Whitney Biennial, the Pompidou Center, MOCA Los Angeles, the Tinguely Museum, Kunsthalle Bern, and the Getty Museum. A survey of his work, Heavyweight Champion, was organized and exhibited by the Tang Museum in 2007 and the Santa Monica Museum in 2008. His room-sized sculpture, 5 Songs, and an accompanying performance series was on view in the 2010 Whitney Biennial of American Art. Kersels received a BA (1984) and an MFA (1995) from UCLA. Before joining the faculty at Yale he was a faculty member and Co-Director of the Art Program at the California Institute of the Arts. Kersels is the Director of Graduate Studies in Sculpture at the Yale School of Art and was appointed Professor in 2015.
Noëmi Lakmaier was born in Vienna and studied for both her BA (2003) and her MA (2004) in Fine Art at Winchester School of Art. She has exhibited and performed widely in the UK and internationally including Disrupted, mac, Birmingham, 2015, Access All Areas, Abrons Arts Centre, New York, 2014, Performing Crip Time, Space4Art, Saint Diego, 2014, Disabled by Normality, DOX, Prague, 2013 Object/Female, Wolverhampton Art Gallery, Wolverhampton, 2011/2012, We Are For You Because We Are Against Them, The LAB, Dublin 2009, Essence, Beldam Gallery, Brunel University, London 2008. In 2008 she was artist in Residence at Camden Arts Centre, London and from 2008 – 2009 she held a studio residency at the Fire Station Artists’ Studios in Dublin. She has won awards and bursaries including the Adam Reynolds Bursary, a Fire Station Studio Award, an Artsadmin Bursary, a Chisenhale Dance Space ‘Dance and the Homemade’ commission and most recently an Unlimited commission. Lakmaier’s work explores notions of the ‘Other’ ranging from the physical to the philosophical, the personal to the political. The individual’s relationship to its surroundings, identity, and perception of self and other in contemporary society are core interests in her predominantly live and site-responsive practice. Through the use of everyday materials and her own body she constructs temporary living installations – alternative physical realities – exploring the psychological implications of power, control and insecurity, the drive to belong and succeed as well as feelings of self-doubt and otherness.
Working with photography, video, text and sculpture, Tim Lee’s work both replicates and reimagines seminal moments in art history and popular culture. With sources that range from Johann Sebastian Bach, Steve Martin, Dan Graham, Public Enemy, Laszlo Moholy-Nagy and Ted Williams, Lee suggestively interpellates himself with the history of his subjects by loosely reconstructing specific works associated with their creators, and in so doing, complicates our knowledge of these histories while mapping out an extended timeline that travels from the historical past to the imagined future. Tim Lee lives and works in Vancouver
Darrin Martin is an artist and educator born in New York. Through video, sculpture, print and multi-channel installations, Martin’s works engage the synesthetic qualities of perception as a way to examine the limits of certainty. Influenced by his own experiences with hearing loss, his current projects have been considering notions of accessibility through the use of tactility, sonic analogies, and audio descriptions. His videos have screened internationally at festivals and museums, including the Museum of Modern Art, Pacific Film Archives, Impakt Festival, and the European Media Art Festival. His installations have exhibited at venues including The Kitchen in New York. Grand Central Art Center in Santa Ana, and the Center for Contemporary Art in Sacramento, and, most recently, at Aggregate Space Gallery in Oakland, CA.
Martin received his degrees with an emphasis on video and sculpture from Alfred University’s School of Art and Design (BFA) and University of California, San Diego (MFA). He has held artist residencies at Cite Internationale des Arts, Eyebeam, Experimental Television Center, and Signal Culture. Martin also occasionally curates video screenings. Most recently, an exhibition of works by 18 artists for Vanity Projects in New York City and Parsons Hall Project Space in Holyoke, MA titled “Tooth and Nail.” He is an Associate Professor in the Department of Art and Art History at University of California, Davis. He lives in San Francisco, CA.
Bruce Nauman’s body of work includes sculptures, films, holograms, interactive environments, neon wall reliefs, photographs, prints, sculptures, videotapes, and performance. His Conceptual work stresses meaning over aesthetics; it often uses irony and wordplay to raise issues about existence and alienation, and increasingly it provokes the viewer’s participation and dismay. Since the mid-1980s, primarily working with sculpture and video, he has developed disturbing psychological and physical themes incorporating images of animal and human body parts. Nauman has received many honors, including an Honorary Doctor of Fine Arts degree from the San Francisco Art Institute in 1989, the Max Beckmann Prize in 1990, the Wolf Prize in Arts-Sculpture in 1993, the Wexner Prize in 1994, the Leone d’Oro in 1999, an Honorary Doctorate of Art from California Institute of the Arts in 2000, and the Praemium Imperiale Prize for Visual Arts, Japan, in 2004. Nauman’s work has been exhibited extensively internationally.
Carmen Papalia designs experiences that invite those involved to expand their perceptual mobility and claim access to public and institutional spaces. Often requiring trust and closeness, these engagements disorient the participant in order to introduce new modes of orientation that allow for perceptual and sensorial discovery. Each walking tour, collaborative performance, public intervention, museum project and art object that Papalia makes is a temporary system of access—a gesture that establishes a moment of radical accessibility. As an open-sourcing of his own embodiment, his work makes visible the opportunities for learning and knowing that come available through the nonvisual senses. It is a chance to unlearn looking and to help acknowledge, map and dname entire unseen bodies of knowledge.
Born in Vancouver, British Columbia in 1981, Carmen Papalia is a Social Practice artist who makes participatory projects on the topic of access as it relates to public space, the Art institution and visual culture. His work has been featured as part of exhibitions and engagements at: The Solomon R. Guggenheim museum, the Museum of Modern Art in New York, the Whitney Museum of American Art, the L.A Craft and Folk Art Museum, the CUE Art Foundation, the Grand Central Art Center, the Portland Art Museum, the Columbus Museum of Art in Ohio and the Vancouver Art Gallery, among others.
Catherine Richards is a visual artist working with new and old technologies. Her work explores the volatile sense of ourselves as new information technologies shift our boundaries. She has exhibited within and without North America including Zentrum für Kunst und Medientechnologie (ZKM) Karlsruhe, Germany; 2004 Biennale of Sydney, Australia; ACM SIGGRAPH, San Diego; the National Gallery of Canada Ottawa, and The Powerplant, Toronto. Her work has been discussed by major theorists in the field including Katherine Hayles, Frances Dyson, Sounding New Media: Immersion and Embodiment in the Arts and Culture, UC Press Cal, and in Art and Feminism, Phaidon, edited by Helena Reckitt and Peggy Phelan. Her work has also has been included in key surveys such as Art & Science Now, Thames & Hudson, edited by Stephen Wilson, and Art and Electronic Media, Phaidon, edited by Edward Shanken. Richards often works collaboratively with scientists and won the Artist in Residence for Research Fellowship (AIRes), at the National Research Council of Canada, 2002-2005. Her work has been supported by such foundations as the Daniel Langlois Center for Art, Science and Technology, Montreal and has received awards such as the Canada Council for the Arts Media Arts Prize. Currently she is professor of visual arts and University Research Chair at the University of Ottawa, Canada.
In 1996 Stelarc was made an Honorary Professor of Art and Robotics at Carnegie Mellon University, Pittsburgh. He was Artist-In-Residence for Hamburg City in 1997. In 2000 he was awarded an Honorary Degree of Laws by Monash University. He has completed Visiting Artist positions in Art and Technology, at the Faculty of Art and Design at Ohio State University in Columbus in 2002, 2003 & 2004. He has been Principal Research Fellow in the Performance Arts Digital Research Unit and a Visiting Professor at The Nottingham Trent University, UK. Between 2006 and 2011 he was Senior Research Fellow and Visiting Artist at the MARCS Lab, University of Western Sydney, Australia. He was Chair in Performance Art, School of Arts, Brunel University, Uxbridge, UK from 2006-2011. In 2010 he has received a special projects grant from the Australia Council and was also awarded the Ars Electronica Hybrid Arts Prize. In 2014 he initiated and was Director of the Alternate Anatomies Lab for two years. In 2015 he received the Australia Council’s Emerging and Experimental Arts Award. Stelarc is currently a Distinguished Research Fellow at the School of Design and Art (SODA) at Curtin University. His artwork is represented by the Scott Livesey Galleries, Melbourne.
Aaron Williamson’s art is inspired by his experience of becoming deaf and by a politicised, yet humorous sensibility towards disability. His works are often created on-site immediately prior to their public presentation. In the last ten years, he has created over 300 performances, videos, installations and publications in Britain, Europe, Japan, Greenland, China, Australia and North America. A monograph “Aaron Williamson–Performance, Video, Collaboration” was published by the Live Art Development Agency in 2007. Among his awards are the Arts Council England Helen Chadwick Fellowship in Rome; Artist Links, British Council, Beijing and Shanghai; Three-Year AHRC Fellowship, Birmingham City University; Cocheme Fellowship, Byam Shaw School of Art; the Adam Reynolds Memorial Bursary, Spike Island, Bristol; Artist in Residence at the Walker Art Gallery for the Liverpool Biennial and DaDaFest 2012. He was the recipient of the Stephen Cripps Studio award at Acme Artists Studios, High House, Purfleet for 2013-14. Williamson holds a D.Phil doctorate in critical theory from the University of Sussex (1997).
Alexa Wright is an artist based in London, UK. She uses photography, video, sound and interactive digital media to explore some of the heavily defended boundaries of human identity. In different ways her works make us aware of the processes by which we constitute our sense of self in relation to others. Alexa’s practice exists at the intersection between art, technology and medical science. She has worked across the domains of art and science for more than fifteen years, collaborating with several different medical scientists, most frequently with Professor Alf Linney at University College London. Several of her projects have involved working closely with people with medical conditions or with disabilities. Her work has been presented in exhibitions internationally, including Slippage, The Unstable Nature of Difference, Chester University Gallery (2015); Crafting Anatomies, Bonington Gallery, Nottingham (2015); Hybrid Bodies, PHI Centre, Montreal (2014); A View From Digital Aesthetic 3, Preston (2012), DaDaFest International, Liverpool (2010); The Definition of Self, 21_21 Design Sight Gallery, Tokyo, Japan (2010); Locate Me, Kunstraum Kreuzberg, Bethanien, Berlin, Germany (2010); and the International Symposium of Electronic Art, Ormeau Baths Gallery, Belfast (2009). She is the Artist in Residence at Camden and Islington NHS Mental Health Recovery Centres in 2015. Alexa teaches at the University of Westminster in London.
Artur Zmijewski – a radical figure on the contemporary art scene – is concerned with socio-political conflicts. He relentlessly examines mechanisms of political power, the dynamics of social order and processes of victimisation, stigmatisation or collective trauma by focusing on the cognitive, emotional and physical expressions of the individual or the group. Mostly working with video, Zmijewski films and sometimes interacts with his protagonists, all of them entering a social experiment with an uncertain outcome. Important solo exhibitions include: Working, CCA Warsaw Ujazdowski Castle, Warswaw (2012); Them, MOCCA, Museum of Contemporary Canadian Art, Toronto (2011); Project 91: Artur Zmijewski, MoMA, New York (2009); and Repetition, CCA Wattis, San Francisco (2005). Zmijewski exhibited as main artist in the Polish Pavillion of the 51st Biennale of Venice (2005), and participated in the Documenta 12, Kassel (2007), and Manifesta 4, Frankfurt am Main (2002). In 2012, Zmijewski curated the 7th Berlin Biennale. His works are part of collections worldwide, such as the MoMA, New York; Tate Collection, London; Zacheta National Gallery of Art, Warsaw; Museum Ludwig, Cologne; Sammlung Goetz, Munich; Neue Pinakothek, Munich.
Amanda Cachia is an independent curator from Sydney, Australia and is currently completing her PhD in Art History, Theory & Criticism at the University of California, San Diego. Her dissertation will focus on the intersection of disability and contemporary art. Cachia completed her second Masters degree in Visual & Critical Studies at the California College of the Arts (CCA) in San Francisco in spring, 2012, and received her first Masters in Creative Curating from Goldsmiths College, University of London in 2001. She held the position Director/Curator of the Dunlop Art Gallery in Regina, Saskatchewan, Canada from 2007-2010, and has curated approximately 30 exhibitions over the last ten years in various cities across the USA, England, Australia and Canada. Her writing has been published in numerous exhibition catalogues, Canadian Art, Art Monthly Australia, and peer-reviewed academic journals such as Canadian Journal of Disability Studies, and Disability Studies Quarterly. She has lectured and participated in numerous international and national conferences and related events within the USA, Canada, Australia and Europe, and has served as a panelist for the National Endowment for the Arts (NEA) Art Works grant. Cachia is a dwarf activist and has been the Chair of the Dwarf Artists Coalition for the Little People of America (LPA) since 2007. She also serves on the College Art Association’s (CAA) Committee on Diversity Practices (2014-2017).