Nomin Bold is a painter trained at the University of Fine Arts and Culture in Ulaanbaatar and graduated in the class of Mongol Zurag (Mongolian Painting). Her works have been exhibited extensively e. g. at Documenta 14 (2017); 2nd Yinchaun Biennale; MARKK Hamburg (2020/21); Weltmuseum Wien (2021/2022); She was awarded the Grand Prize Golden Brush by the Union of Mongolian Artists, Ulaanbaatar (2016).
Tatia (Tamar) Skhirtladze is a Vienna-based artist and filmmaker.
Tatia Skhirtladze integrates autobiographical storytelling and site-specific research into her long-term conceptual artworks that develop over the course of many years. After finishing her studies in art education in Georgia, as well as at the University of Applied Arts Vienna and Fine Arts at Dutch Art Institute in Netherlands, she has been teaching Video at the Institute of Art Sciences and Art Education at the University of Applied Arts Vienna since 2011 and has been/is involved in several art-based research projects.
Baterdene Batchuluun is a multi-disciplinary artist trained at the School of Fine Arts / Mongolian State University of Arts and Culture. His focus is on film and multi-media installations. His works were/are exhibited in Ulaanbaatar; Todays Art festival in The Hague 2017; Insomnia festival in Tromsø 2018; Weltmuseum Wien 2021/22 and Völkerkundemuseum VPST Heidelberg (2023/2024).
Baatarzorig Batjargal is a painter trained at the School of Fine Arts / Mongolian State University of Arts and Culture in Ulaanbaatar and graduated in the class of Mongol Zurag (Mongolian Painting). His works have been/are exhibited e. g. at Jack Bell Gallery in London, 976 Gallery Ulaanbaatar, 2nd Yinchuan Biennale; Chian Art Museum Shanghai (2017); 8th Asia Pacific Triennial, Queensland, Australia; Chinggis Khan Museum in Ulaanbaatar. His work has been acquired by the Minneapolis Institute of Art, USA.
Khosbayar Narankhuu is a painter trained at the School of Fine Arts / Mongolian State University of Arts and Culture in Ulaanbaatar and graduated in the class of Mongol Zurag (Mongolian Painting). He is currently head of the department for exhibition design at the Chinggis Khan Museum in Ulaanbaatar. His works have been/are exhibited at MARKK Hamburg (2020/21); Weltmuseum Wien (2021/2022); Völkerkundemuseum VPST Heidelberg (2023/2024).
Jack Wolf is an investigative researcher, filmmaker and artist. He has been working on investigations with Mnemonic and Syrian Archive for over four years.
He works freelance for NGOs and media outlets investigating emerging technologies, conflicts and environmental issues. He is also part of the independent collective of investigators, The Rock Pool and leading an EI Forum team mapping the extractive industry across Africa.
His films, stories and works have been shown and published around the world, including the Winterthur Fotomuseum, Switzerland; HKW, Berlin; Centre Pompidou, Paris; Onassis cultural centre, Athens; and the Grenada National Museum. He has given lectures at the Volksbühne, the Vilém Flusser Archive and the University of Ulster, Northern Ireland.
Paul Kolling (*Karlsruhe) lives in Berlin and makes works about infrastructural and economic processes and their integration into environmental and social structures. His research into and (re-) appropriation of emerging technologies is rearranged to reveal new perspectives that can be obscured through complexity and rhetoric. The outcomes are technological systems, installations and hybrid objects that strive to make complicated issues accessible.
Paul is a founding member of terra0.org, an art collective exploring the creation of hybrid ecosystems in the technosphere. His (other) projects range from objects and installation works for exhibits and galleries to publications, lectures and panel discussions. They have been presented at the 58th Carnegie International, the 17th International Architecture Exhibition — La Biennale di Venezia, Canadian Centre for Architecture Montreal, The Shed New York City, Kunstverein Hamburg, Kunstverein Harburger Bahnhof, Weltmuseum Wien, Kunsthalle Zürich, Francisco Carolinum Linz, Chronus Art Center Shanghai, Furtherfield Gallery London, and Schinkel Pavillon Berlin among others.
Dilyara Kaipova (Tashkent, 1967) works with Uzbek textiles, reviving its centuries-long traditions, to make this medium relevant to current socio-cultural and ecological problems of the region and its post-modern history. Kaipova’s practice is located at the intersection of folk artisan traditions and contemporaneity. The artist designs original patterns and produces her ikat fabrics in collaboration with traditional masters. She also sources and uses vintage fabrics and embroideries – local fabrics of the Soviet period and ‘naive’ homemade embroideries. Kaipova’s textile work was first shown in Tashkent in 2016 and since then has been displayed in exhibitions in Kyrgyzstan, Russia, Georgia and the UAE. Kaipova’s work is included in the following museum collections: State Tbilisi Museum of Silk, Textile Museum at Georgetown, DC; Royal Museum of Ontario, Canada; RISD Museum of Art, Johnson Museum of Art at Cornell University, MARKK Museum, Weltmuseum Wien, Völkerkundemuseum VPST Heidelberg and Stedelijk Museum, Amsterdam.
Umida Akhmedova is a photographer and photojournalist working and living in Central Asia. In 2010 she was convicted of “slander of the Uzbek nation” after making a documentary. Since 2010, she cannot participate in any official exhibitions in Uzbekistan. As a photographer she has participated in exhibitions addressing urban and rural issues and has collaborated on film and book projects including the presentation of the short film The Burden of Virginity. As an Associated Press photographer, her images have been published in the photography sections of the online editions of The New York Times, the Wall Street Journal and The Globe and Mail. In the course of her work, she has documented the traditions, disparate cultures and everyday events in the modern borders of Uzbekistan.
Marylise Vigneau is an award-winning documentary photographer and author usually based between Austria and Pakistan. Raised in a secretive Parisian family, Marylise Vigneau developed an early taste for investigation and justice. At la Sorbonne, her “Compared Literature” master was about cities as characters in Russian and Central-European novels, where and when the clearest narrative gets lost in a heady, haunting uncertainty. Despite her fascination with literature, her mode of expression has become photography over time, without her knowing precisely why – maybe the mix of precision, immediacy, truth, and lies which is behind every image.
What attracts her first and foremost is how human beings are affected by borders, both physical and mental, this fugitive space where an unexpected, bold and fragile act or a glimpse of freedom can arise. She works preferably on long-term projects to better explore memory and place. She likes to capture in-between moments in regions saturated with history and socio-political tensions.