Call for Web Residencies No 18 »Magical Hackerism or The Elasticity of Resilience«

Jurors/The Research Netting Group

Alejandro Duque, born 1970 (CO/CH), is an artist involved with collaborative/participatory arts that celebrate cultural agitation with a defined ethos and technosocial affects. His art practice is based on crossing video art and sound art with new, old and unstable media, aswell with open software and hardware. Alejandro is experienced on the network based art (net.art), streaming technologies and as a radio amateur with callsign -HK4ADJ- and a Phd in Media Philosophy (Switzerland). Founding member of networks such as Bricolabs, dorkbot, labSurlab, un\loquer and Pnode. Currently active on red.radiolibre.cc and Coomunarte.

Czar Kristoff, (Camarines Sur, Capricorn Earth Snake) is an artist, educator, designer, and publisher, interested in (re)construction of space and memory, through concepts of nesting and temporary architecture, for (pedagogical) occupation, using cottage industry publishing – blueprints, Xerox, and other low-fidelity printing methods – as his current media of interest. He has exhibited at the Stedelijk Museum Amsterdam, Showroom MAMA Rotterdam, Jogja National Museum, C3 Artspace Melbourne, Bangkok Arts and Culture Center, De Appel Amsterdam, Dansehallerne Copenhagen, and Vargas Museum Manila. Kristoff runs Temporary UnReLearning (URL) Academy, a school with no permanent address, interested in queering art and cultural production in the Philippines.

Neema Githere (they/she) is an artist and guerrilla theorist whose work explores love and indigeneity in a time of algorithmic debris. Having dreamt themselves into the world via the internet from an early age and subsequently traveled to more than twenty countries researching Black cultural production, Githere’s practice investigates digital Africanity through experiments that span public lectures, community organizing, curation, performance, and image-making.

Githere’s concept of Afropresentism – a term they coined in 2017 to explore diasporic embodiment in the age of Big Data – has influenced exhibitions from London to Lagos, and been profiled in BOMB magazine. Their experimental practice, data:healing, seeks to illuminate the links between technology, nature, and spirituality to investigate how working from this intersection can combat data trauma, a term coined by Olivia Ross.

In 2018, Githere left Yale University to pursue a path of unschooling, and has since lectured at cultural institutions and organizations across North America and Europe, including Studio Olafur Eliasson, Microsoft, and the Toronto Queer Film Festival.

Anderu Immaculate Mali a.k.a. Immy Mali lives and works in Kampala, Uganda. Using a variety of media including, text, video, sound, sculpture, installation, and animation, her work attempts to unpack the complexities and entanglements of memory and existence in a neo/postcolonial Uganda. Notions of presence and absence, personal memories of childhood growing up in Uganda juxtaposed with current personal and collective experiences of existence in shifting spaces and places also influence her work. Her ongoing project »Letters to my childhood« (2017–present) accords her the duality to engage with her past and present simultaneously.

She is a cofounder of Iraa The Granary, an experimental artist’s kitchen geared toward exploring the possibility of creating archival/memory systems of artists’ work relevant to the African context. In 2013, she obtained her BA in Industrial and Fine Arts from Margaret Trowell School of Industrial and Fine Arts, Makerere University, Kampala. She is an alumna of the Rijksakademie van Beeldende Kunsten in Amsterdam, Netherlands (2018–19). She has participated in exhibitions, residencies, and workshops online and in countries including Kenya, Netherlands, India, Ethiopia, Denmark, Germany, the United States, South Africa, Mozambique, Angola, and Uganda. Her work has been published in art magazines including African Arts 2019.

Sahej Rahal lives and works in Mumbai. In 2011 he graduated from the Rachana Sansad Academy of Fine Arts & Crafts in Mumbai, majoring in painting. Sahej Rahal has since expanded his practice to explore a burgeoning mythology through installations, films, and performances.

His work has been exhibited at the Kochi–Muziris Biennale 2014, the MACRO Museum in Rome/Italy, GALLERIA CONTINUA in Les Moulins/France, GASWORKS in London/Great Britain 2013, the Vancouver Biennale 2014, the Jewish Museum in New York, NY/USA, Art Stage Singapore, the Setouchi Triennale 2016 in Japan, and most recently as a part of the Liverpool Biennial 2016.

He is a recipient of Inlaks Fine Arts Award 2012, the IFA Critical Arts Practice grant 2014 and has been awarded the Forbes India Art Award 2014 for best debut show for his solo exhibition Forerunner at Chatterjee & Lal, Mumbai, the Cove Park/Henry Moore Fellowship, 2017, Akademie Schloss Solitude Fellowship 2018, and most recently the Sher-Gil Sundaram Arts Foundation Installation Art Grant, 2019, and Human Machine Fellowship, Akademie der Künste, 2020i

Morehshin Allahyari is an artist, activist, educator, and occasional curator. She is the recipient of the leading global thinkers of 2016 award by Foreign Policy magazine. Morehshin was born and raised in Iran and moved to the United States in 2007. Her work deals with the political, social, and cultural contradictions we face every day. She thinks about technology as a philosophical toolset to reflect on objects and as a poetic means to document our personal and collective lives struggles in the twenty-first century. Morehshin is the coauthor of the 3D Additivist Cookbook in collaboration with writer/artist Daniel Rourke (published on December 2016 online in 3D PDF format and in print by the Institute of Networked Cultures). Her modeled, 3D-printed sculptural reconstructions of ancient artifacts destroyed by ISIS, titled Material Speculation: ISIS, have received widespread curatorial and press attention and have been exhibited worldwide. For more information, see http://www.morehshin.com/

Graphic design by Juan Pablo García Sossa (@puntojpgs) for Futura Trōpica Netroots