Artists 2025

Short Biography

Akkara Naktamna is a photo artist and curator, born in 1979 in Bangkok, Thailand. His work has been featured in international festivals, including the PhotoBangkok, the Singapore International Photo Festival and the Dali International Photo Festival. He founded CTypeMag in 2016 and opened a gallery in Bangkok in 2021 to support emerging photographic voices. As a curator, he has organized exhibitions at major Thai museums such as MOCA and BACC. He currently works as a curator at Kathmandu Photo Gallery.

Ordinary People
Print on Paper, 11 artworks
21.6 x 27 cm & 48 x 60 cm
2024

In the era where artificial intelligence (AI) is making its way into the realm of photography, there is a surge of novel works. People are excited to do things that were previously impossible, and the process has become as simple as pressing a button. AI-generated images are often flashy, catering to the demands of online society, much like traditional photography, which aims to be more beautiful, unique, and challenging. With AI as a new player, this cycle is recurring, using it as a stepping stone to reach the peak of creative expression.

“Ordinary People” (2024) reflects on the origins of the systems that learn from human inputs, whether paintings, photographs, history, or personal stories, to produce bizarrely realistic results. This work has a sense of simplicity and extreme ordinariness, similar to the conceptual art of Joseph Kosuth and Thomas Ruff. It uses photography as an artistic medium. However, it shifts the process from the camera lens to the lens of AI, with the text also written entirely by the machine.

By searching for photos of ordinary people using simple prompts, I got images resembling ID photos from various parts of the world and cultures. These images were eerily normal, as if AI had pulled them from a drawer without altering anything, suggesting the existence of pre-existing data. I converted these images into text using an AI tool and fed them back into the AI itself to investigate the identities, origins, and lives of these individuals. The results were unusually peaceful and beautiful, as if AI were creating a utopian digital world, characterized by optimism, mutual support, and a conflict-free existence. This seemed like a system-imposed, one-sided thinking, devoid of diversity and strangely surreal, akin to a nation where people are brainwashed to believe in the supreme ruler’s policies.

www.akkaranaktamna.com

Short Biography

Anna Madeleine Raupach is a multidisciplinary artist based on Ngunawal/Ngambri land, Australia, and a Lecturer at the Australian National University School of Art & Design. Through multimedia installations, AR and VR experiences, and mixed media artworks, her practice engages with science and technology to critically address socio-political issues enmeshed with climate change. Anna has a PhD in Media Arts from UNSW Art & Design (2014), and a Bachelor of Visual Arts (Honours) from ANU School of Art & Design (2007). In 2024 she was awarded a Fulbright Scholarship hosted by the Expanded Animation Program at University of Southern California’s School of Cinematic Arts. 

Anna has led research projects through the Australian Network for Art and Technology Synapse Residency, and a Powerhouse Museum Research Fellowship; and undertaken  international residencies at the Cité Internationale des Arts, Paris, through the Art Gallery of NSW (2018); Common Room Network Foundation, Indonesia, with Asialink Arts (2017). She has had solo exhibitions in New York, Melbourne, Sydney, Canberra, and Bandung, and has participated in significant group exhibitions across Australia.

Places on Earth where all Forces are Absent
Print on Cotton Canvas, 09 artworks
42 x 59 cm
2025

“Places on Earth where all Forces are Absent” is a series of images captured from within the digital architecture of Google Earth. It is made by exploiting software glitches to ‘break through’ the usually seamless surfaces of digitally rendered buildings. On the other side of these facades, conventional 3D models become fictional spaces defined by their wireframe forms. From here, screenshots from within these structures have been reconstructed into volumetric renderings using Neural Radiance Field (NeRF) imaging. This technique uses machine learning to generate new 3D representations of a scene. In this work, it reconstructs physical places using the digital residue of their existence on Google Earth.

By employing this technique at GPS locations of data centres, warehouses, base stations, and headquarters of ‘tech giant’ corporations, this series renders transparent some of the world’s most powerful industries that are deliberately kept opaque. By using the Google Earth interface to peer into the digital void behind its exterior shell, the tools designed to ‘see the world from above’ instead expose the illusions of computational infrastructures from below.  

While only metaphorically deconstructing these systems, this approach fabricates a notion of seeing inside the ‘black box’ of algorithmic, cloud-based, and AI technologies. The resulting images are composed of skeletal empty architecture that frames surrounding landscapes from which many digital industries extract precious natural resources. By dismantling and imperfectly reconfiguring imagined spaces, they explore the politics of redaction and the messy materiality of digital infrastructure. By doing so, ‘Places on Earth where all Forces are Absent’ conveys sites symbolic of celebrated technological innovation as facades shielding flawed interiors paradoxically devoid of substance.

www.annamadeleine.com
IG: @anna_madeleine

Short Biography

Bobby Davidson (born. 1982) is a New York City-based artist and cinematographer. Bobby has established himself as a multi-disciplinary artist using painting, sculpture, fi lm, and virtual reality. Assembling works from both the physical and digital world, he has sequentially created a lineage of works that navigate beyond a singular dimension, capturing an extension of both the physical and non-physical. His work has been exhibited with Sheila C. Johnson Design Center, New York, NY; MOMA PS1, New York, NY; The SCAD Museum of Art, Savannah, GA, The Museum of Modern Art, New York, NY; The Alabama Contemporary Art Center, Mobile, AL; Tsinghua University, Beijing, CHN; The Center for Photography at Woodstock, Woodstock, NY; Parsons Design Center, Shanghai, CHN and the Aperture Foundation, New York, NY; his work is part of the permanent collection at the SCAD Museum of Art, Yale University and the New School. Davidson lives and works in Brooklyn, NY.

https://www.bobby-davidson.com/

Short Biography

Boram Kim creates works that blend fictional worlds with everyday life, encouraging audiences to see familiar aspects of daily life from new perspectives. Since 2020, she has focused on climate change, exploring ways of coexisting with non-human beings. Her works also function as ‘safe spaces’ for open and honest discussions around socially sensitive or controversial issues.

She primarily creates participatory works and is the director of the creative group Untitled Road. Her major works include Plug-in City (2017), Index for the Adventures of Nils (2018), and Moving a Forest: Theatre Game (2022).

Ghost Bird
Single channel video
00:23:12
2023

GHOST BIRD is a video work filmed in a former paint factory in Incheon, South Korea, which has since been transformed into a café. Based on interviews with people who remember the factory’s past, the work constructs a fictional narrative that blurs the boundaries between human and non-human, past and present, reality and imagination—all mediated through the figure of the bird.

The main characters—Hae-su, a bird habitat researcher; Yun-woo, an observer; and Doyo, a bird in the form of a barista—each pursue their own path in search of the bird. Through this journey, the bird comes to represent more than just an animal; it expands into a symbol of memory, emotion, freedom, and the forgotten voices within ourselves. The work invites viewers to reconsider their relationship with the space and their own sense of being.

www.untitledroad.com
IG: @borahmkim

Coming Soon

https://www.instagram.com/cecilmariani

Short Biography

Hwang Minsoo earned a BFA in Photography from Chung-Ang University, an MFA in MediaArchitecture from Bauhaus-Universität Weimar, and completed doctoral studies in Art Theory at Chung-Ang University. He has centered his career on media art and digital signage, successfully executing over 30 projects for major corporations and local governments in Korea and abroad while at Bitgleam Inc.

Choi Haksong studied audio and post-production, driven by an interest in sound textures and spatial composition. While working in the music industry, his international travels sparked a fascination with the unique artificial and natural sounds of different environments. His creative process now concentrates on minimally reconstructing these acoustic discoveries through sampling and processing.

dont think officially launched their career with a debut solo exhibition in 2023. In 2024, they contributed an audiovisual piece to a special exhibition at the National Assembly Museum. They continue to expand their practice, focusing on new experiments in visual and audio realms.

The Sense of the Time
Single Channel, 03 artworks
00:03:01
2025

We take photographs and videos to hold on to the fleeting moments of everyday life and to preserve the significance of special occasions. These images serve as anchors to our past, yet over time, even the clearest memories begin to fade. What remains often shimmers like a mirage—visible, yet unreachable.

This project began with a simple question: “Why do some memories elude us, even when we are confronted with their visual traces?” I speculated that perhaps it was due to an absence of data—of context beyond the visual and auditory. With that in mind, I expanded the scope of my documentation to include environmental elements: temperature, humidity, wind direction, and GPS data recorded at the time of capture. Despite this expanded dataset, I found that memory could never be fully reconstructed. It is not merely a question of information but of sensation, time, and the inherent instability of recollection itself. Memory continues to distort, dissolve, and drift—like heat rising from the ground, elusive and ephemeral.

This work is a meditation on the nature of fading memory and the sensorial traces of time. By algorithmically altering photographs and introducing noise based on meteorological and spatial data from the moment of capture, I translate the experience of memory loss into an audiovisual form. The result is a landscape of partial recollection—fragmented, unstable, and perpetually in flux.

www.dontthink.kr

Short Biography

Born in 1956 in Essen, Germany, He is a German photographer and professor whose work has been widely exhibited internationally since 1982. He received early recognition with the Alfried Krupp Photography Scholarship (1982) and has since participated in major exhibitions alongside artists like Robert Frank and William Eggleston. A key figure in the Werkstatt für Fotografie in Berlin, he curated pivotal exhibitions featuring Lewis Baltz, Allan Sekula, and others. He has collaborated with institutions such as PPS.Galerie Hamburg and participated in major European festivals including Steirischer Herbst and Perspektief Rotterdam. His work is held in public collections including MoMA New York, Museum Folkwang, Sprengel Museum, and Berlinische Galerie. He was awarded the German Photography Prize (1989) and the Werner Mantz Photography Prize (2001). He has taught photography at the University of Applied Sciences in Hannover and, since 2007, at the Braunschweig University of Art.

Return to Reason (Leo)
Print on cotton paper, 11 artworks
50×70 cm
2025

Return to Reason (Leo) is a long-term photographic project that traces the development of a young person from adolescence into their thirties – through different stages of life, personal transformations and key decisions. The protagonist moves to a new city, begins and ends relationships, and becomes a parent. At the same time, a queer-feminist politicization takes place: traditional female roles and representations are questioned and redefined.

Over time, an autonomous, authentic self-image re-emerges – one that resists binary, socially imposed expectations and the external control that comes with them. These changes are reflected in both the content and the form of the photographic collaboration: while the project begins with documentary-style portraits and everyday observations, it gradually shifts toward staged scenes, performative gestures, and symbolic dialogues – expressing growing self-awareness and active co-creation.

A central theme is the protagonist’s ongoing exploration of their own identity. What does it mean today to have been shaped by male role models in childhood, while female socialization processes – through relationships, parenting, or political activism – dominate the personal sphere? Doubts about traditional gender concepts become visible – through emotions, conscious decisions about appearance, clothing, and body language, as well as in conversations and social interactions.

At the same time, the relationship between photographer and protagonist undergoes a fundamental shift: what begins as a one-sided gaze upon the subject evolves into a dialogical, equal collaboration. The process becomes one of shared reflection and creation, with self-determination as a central guiding principle. The so-called “male gaze,” which continues to dominate our visual culture, is questioned and deconstructed—replaced or expanded by the protagonist’s own perspective.

This evolution also shapes the project’s media presence. The communication between both participants—their conversations, considerations, and decisions – becomes increasingly visible within the work itself. Video recordings document not only the results but also the process: the exchange, the struggle for imagery, visibility, and representation.

www.gosbertadler.de

Short Biography

Jeongwook Goh is a visual artist based in South Korea. His photographic practice explores bodily perception, emotional tension, and the aesthetics of uncertainty, often drawing on his lived experience with epilepsy. Through fragmented and symbolic image-making, he investigates the visual languages of inner disruption, premonition, and the invisible.

His major photographic series include Before the Diagnosis, Cold Sweat, Picking Specimen, and Encounter, which examine unstable physical states, fragmented memories, and moments of subconscious disorientation. His work often merges poetic structure with conceptual inquiry, rooted in themes of vulnerability, silence, and the blurred threshold between presence and absence.

Goh holds an MFA in photography and has participated in exhibitions that address the visibility of marginalized bodies and the emotional landscape of discomfort. His recent practice seeks to engage audiences in affective encounters through photography as a medium of emotional observation.

Picking Specimen
Print on paper, 06 artworks
60x60cm
2020-2021

A symbolic exploration of epilepsy, approached not as a diagnosis but as an object of observation—Picking Specimen reflects on the emotional and ethical distance in viewing illness. Through reimagined medical and scientific aesthetics, the series questions how a condition can be isolated, analyzed, and ultimately recontextualized through a personal gaze.

In this work, I focus not on defining or illustrating epilepsy itself, but on observing how one experiences the psychological and social space surrounding it. Each image draws on the visual language of medical photography and specimen documentation, but is intentionally restructured into fragmented forms that resist categorization. The unfamiliar, depersonalized format invites viewers to confront their own emotional stance toward illness and otherness.

The series also engages with the paradox of visibility—the simultaneous presence and erasure of the self in representations of sickness. This tension echoes the everyday reality of those living with conditions that are often hidden, misread, or socially silenced.

Rather than framing epilepsy as something to be overcome or explained, Picking Specimen proposes a way to live with uncertainty. It is an invitation to perceive illness not merely as a clinical condition, but as a complex encounter between the body, memory, and gaze.

IG: @gohjeong

Short Biography

Gustav Hellberg is an artist working across multiple media, exploring the complex relationships between people, spaces, and the systems that shape our world. Through lens-based works, spatial and interactive installations, and processor-controlled technologies, Hellberg explore themes of ownership, real estate, and environmental sustainability. His artistic journey has transitioned from examining urban dynamics to investigating the tensions between urban centers—epicenters of political and economic power—and rural landscapes, including untamed natural environments. This evolving focus reflects his concern with the unchecked exploitation of both natural and human resources that occurs in these intersecting zones.

On off Shore – DELTA
Print on blocks
284 x 284 cm
2025

On Off Shore – DELTA is a photo-based installation—a still-image counterpart to the earlier video piece On Off Shore – beta version. It extends the project’s exploration of the South Korean tidal flats (갯벌) as both political and poetic terrain. The installation engages with the memory of environmental violence—reclamation, pollution, and erosion—tracing visual echoes of industrial expansion that began in the 1970s and continues to shape South Korea’s coastal zones.

Here, still images, together with online video sequences accessed through QR codes, stage fictional evidence of a speculative ecology shaped by resistance, decay, and adaptation. The photo installation presents a fictive narrative involving three protagonists: the Korean tidal flats, an environmental activist movement, and the powerful South Korean industrial conglomerate KOHON. The displayed images consist of research footage, video stills, and AI-generated imagery. The photographic layout draws inspiration from the design of crosswords and board games.

Interspersed among the photo prints are QR codes, allowing viewers to access online video sequences that guide them along the work’s winding path through fiction, fact, and the artist’s own creative process. This project began as a film idea rooted in research into the topography and history of the tidal flats, in parallel with South Korea’s rapid industrial development.

The displayed still images consist of research footage, video stills, and AI-generated imagery. The photographic layout draws inspiration from the design of crosswords and board games. The imagery includes field footage, environmental textures, and visual notes from the development of On Off Shore, reflecting observations of changing coastal zones and landscapes in Korea.

https://www.gustavhellberg.com

Short Biography

He Bo is a Chinese artist whose practice explores the intersections of image, memory, and power. His work engages with the re-creation of ready-made imagery, the interplay between image and text, and the narrative potential of photographic archives—especially within contexts of war, trauma, and historical aftermath. Recent projects focus on memory, post-memory, and trauma related to the history of Sichuan. Collaboration and audience participation are integral to his process. He Bo’s work has been exhibited in cities such as Amsterdam, New York, London, Frankfurt, Bangkok, and across China, including the Lianzhou Foto Festival and Jimei×Arles. He has received numerous accolades, including recognition from the LensCulture Exposure Awards, Foam Talent, the 1839 Photography Award, and the Three Shadows Photography Awards. In 2022, he was an artist-in-residence in Switzerland’s Verzasca Valley.

Farewell to the Stream (of…)
Print, 11 artworks
Various sizes
2022

 In the summer of 2022, I took part in an art residency in the Valle Verzasca in Switzerland. The landscape there seems to me to be very similar to the mountainous landscape of The Western Sichuan Plateau near my hometown in China. This similarity triggered a very strange feeling of homesickness and longing for old friends, which were linked to the visual experience of being reproduced and to the physical situation of being actually in a distant land.

I asked my friends to send me some photographs of landscapes they had taken when we had previously travelled together in western Sichuan. Using the brushes I bought when I studied Chinese painting as a child and dipping them into the water in the streams here, I tried to draw the scenes from these photographs on the rocks in the bodies of water. After painting a part, the water on the rock would dry out quickly, so I photographed each part of the painting and finally put them together.

Acknowledgements to the original photographers: Yang Lisha, Wang Jianyu and Wang Weirong, and to Wo Ruojia.
This project is supported by Pro Helvetia Shanghai, Swiss Arts Council.

http//www.hebo.photography 

Short Biography

Himawari Hara (b. 1996, Shimane, Japan) is a Tokyo-based artist whose practice centers around geographic structures and spatial relationships. Drawing inspiration from infrastructure such as National Route 1, as well as maps and the field of geography, Hara investigates the significance of place and its relationship to people.

A graduate of the Department of Photography, Faculty of Arts, Tokyo Polytechnic University (2020), Hara has exhibited both solo and in group settings. Notable solo exhibitions include ROUTE 1 at Ricoh Imaging Square Shinjuku and Osaka (2021). Group exhibitions include the 22nd Fox Talbot Award at Shadai Gallery (2020), Photography and Books / Books and Photography at AXIS Gallery (2020), and YAU TEN (2022) in Tokyo.

Hara has received multiple recognitions, including an Honorable Mention at the 44th Fox Talbot Award and a Jury Encouragement Award from Rei Masuda at the 22nd 1_WALL Exhibition (2020). In 2022, Hara was nominated for the Newcomer Category of the Leica Oskar Barnack Award.

Her work is part of the Tokyo Polytechnic University collection and has been featured in events such as TOKYO ART BOOK FAIR 2022 and Fancy Shop Drive-In POP-UP at Flotsam Books.

My practice explores photography’s role in creating new visual experiences through the inherent fluidity and editability of digital images. Moving beyond traditional representation, I treat images as ever-transforming, immaterial flows in virtual spaces, making this fluidity central to my work.

I delve into photography’s potential when it departs from strict realism, embracing imperfect data, unexpected glitches, and even intentional manipulation as avenues for new visual narratives. This approach redefines the traditional photographer-subject dynamic, fostering fluid interactions. Through this, I expand the very definition of “photography” and its artistic possibilities.

My process actively employs digital collage, screenshots, scanned images, and drawing to deconstruct and rebuild photographic images. I consider scanning noise as meaningful visual layers and use graphic design principles and editing tools to blur the lines between photography and painting, disrupting the shooting-post-production dichotomy.

Ultimately, I aim to paradoxically broaden “the photographic” beyond conventional notions of objective reality. My work investigates how digital images, constantly recombined and recirculated across platforms, become fluid, algorithmic entities rather than fixed records. This visual research into contemporary image status and existence is at the heart of my practice.

Repackage
Print on cotton canvas, 35 artworks
@50x50cm
2023-2024

Feed images constantly update, promising ‘newness.’ Landscapes, selfies, and screenshots flow by, grabbing our attention yet often functioning like dazzling posts or shallow hopes—mere decoration. Photography, with its instant visual appeal, has become integral to this decorative role.

I take this ‘decorative’ state, perhaps insulting to art, as a necessary starting point. Collecting fragments from all observed subjects, I deconstruct, mix, and meticulously edit them into (semi)-decorative ‘Landscapes’ or ‘Screens,’ akin to ornate cakes whose beautiful surfaces hide an artistic desire.

Resisting the screen’s ephemeral newness and superficial touch, these virtual constructs ‘become material,’ gaining physical substance. This attempt to persist on walls or in physical spaces signifies a movement towards tangible reality—a darkness distinct from the screen’s void.

My materialized, (semi)-decorative work thus asks: How can decoration assert itself as art? Can these ‘Landscapes/Screens’ transcend mere spectacle? Using photo editing methods—collection, deconstruction, framing—I examine the structure of contemporary ‘symptoms’ (e.g., photos as decoration, obsession with newness, visual fatigue), questioning what photography can become and seeking new forms. Ultimately, the work may point beyond the screen’s relentless promise of newness, or perhaps just remain a silent, material object.

Short Biography

Jan Svenungsson (born 1961) is a visual artist whose work combines conceptual elements and research into the function of language with a deep interest in the process of creating by hand. His practice spans a wide range of techniques, including photography, large-scale sculpture, drawing and writing. He has been Professor of Drawing and Printmaking at the University of Applied Arts Vienna since 2011. His book Art Intelligence: How Generative AI Relates to Human Art-Making was published by transcript in 2024.

Picture This: Art Intelligence
Print on paper, 12 artworks
@ 70 x 37,6 cm, installed as a block 143,5 x 243 cm
2025

On 29 June 2023, I started writing a book about the current and future impact of generative AI on art and artists. From the outset, two things were clear to me: the title would be “Art Intelligence” and the book should be illustrated with random details from my own analogue “Trial Drawings”. Once the text was complete, I sent 250 drawing details to the designer and asked her to decide what should go where. I then began posting drawing details at random on Instagram.

The book, “Art Intelligence: How Generative AI Relates to Human Art-Making”, was published in June 2024. It is freely available to everyone, everywhere as an open-source PDF. Now, one year later, the landscape has already evolved. Generative AI is fundamentally changing the conditions for art and photography. Meanwhile, the unforeseen visual combinations appearing on my smart phone screen have become both touching and inspiring in a fundamentally human way. Having been invited to participate in the Bandung Photography Triennale, I decided to use the book as a source for my photographic project.

www.jansvenungsson.com

Short Biography

Jeff Weber is an artist based in New York. He situates his activity at the intersection of conceptual art and experimental cinema. Weber is the founder of the Kunsthalle Leipzig, a conceptual project in the form of an institution, which he established in 2012 as an extension of his photographic and filmic practice. The subsequent book, An Attempt at a Personal Epistemology (Roma Publications, Amsterdam), was presented in 2018 at KW Institute for Contemporary Art in Berlin. 

Solo exhibitions include Serial Grey at Carré d’Art – Musée d’art contemporain, Nimes, France (2021); Camouflage at lxbxh, Eindhoven, The Netherlands (2020); and Mimetic Assimilation at Erna Hecey Gallery, Luxembourg (2019). His work has also been shown at Mudam Museum, Luxembourg; de Appel, Amsterdam; Foto Museum, Winterthur, Switzerland; Anthology Film Archives, NY; Microscope Gallery, NY; Belvedere 21, Vienna; and Casino – Forum d’art contemporain, Luxembourg.

Weber earned his MFA from the LaCambre art school in Brussels and was an artist-in-residence at Jan van Eyck Academie in Maastricht. He is a participant of the Thinking Tools research group in Antwerp, Belgium and the co-founder of the Institute of Contemporary Arts, NY. Weber is currently a lecturer at Parsons School of Design at The New School, NY.

Untitled (Neural Networks)
Print on paper, 02 artworks
210 x 45,5cm each
2018-2024

Untitled (Neural Networks) is a series of experimental large-format photograms and abstract 35mm films (started in 2018) that trace, explore, and investigate the structural conditions of what constitutes a photograph (and its use) in today’s networked image regimes. I consider the intersection of artificial intelligence and neuroscience as profoundly pertinent to the understanding of how (technical) images operate today.

https://www.jeffweber.be

Short Biography

Kai Machida is a Tokyo-based photographer whose work explores the evolving dialogue between photography and design. He has exhibited in prominent venues including the FUJIFILM Photo Salon Tokyo and AXIS Gallery, as well as in traveling exhibitions across Japan. His recent participation includes the 2025 exhibition PHOTOGRAPHY/DESIGN: STOCKHOLM–TOKYO and the ongoing series Letter to Photography as part of the Gelatin Silver Session. Machida is a recipient of the 2025 Fox Talbot Award and continues to engage with the medium through both academic and curatorial contexts at Tokyo Polytechnic University.

Short Biography

Polańska is a multidisciplinary artist born in the South of Poland in 1994. She is focused on photography, video and installation, often merging photographic and sculptural disciplines. Her work touches upon subjects related to tensions and deep connections on the line nature-human, transcendence, primeval rituals and body as a transgressive power. She is fascinated by notions of trace, trauma and the subconscious. Polańska has currently finished her second Master of Fine Arts at the University of Fine Arts Poznan, Poland in the field of Intermedia Photography. She has shown her work in Germany, Norway, France, Poland and South Korea. She lives and works in Berlin.

Coming Soon

Short Biography

Marco Scozzaro is an Italian-American multidisciplinary artist based in New York. Working across photography, video, performance, music, and installation, his practice investigates media and consumer culture, and the intersection of personal and collective narratives. He holds a degree in Psychology with a focus on visual perception from the University of Parma and an MFA in Photography from the School of Visual Arts, NY.

His work has been exhibited at the Bronx Museum, Aperture Foundation, and BRIC in New York; FMAV in Modena, Italy; and the Lishui Photography Festival in China, among others. He has been an artist-in-residence at Signal Culture, the Institute for Electronic Arts, and the Camera Club of New York.

Scozzaro’s work has appeared in Artnet, Der Greif, GUP, and Osmos, and has been commissioned by The New York Times, Vogue, and Wallpaper.

Under the moniker l’oggetto, he produces underground electronic music, performs live, and runs the independent label MKDF Records. He maintains a studio in Brooklyn and teaches photography at Parsons School of Design and the School of Visual Arts in New York. 

www.marcoscozzaro.com

Short Biography

MARIEVIC [b. Paris, France] is a visual artist currently living and working in New York City. She graduated from École Spéciale d’Architecture and received an MFA from Parsons The New School for Design.

Her work considers the fetishized cultures of consumption and gives a careful look to changing conceptions of luxury and disposability. She develops visual idioms that explore the contemporary cultural landscape, and exist within the liminal space of interstitial paradigms.

Her work has been exhibited at Red Bull Studios (New York), Eyebeam (New York), Palais de Tokyo (Paris), MUCEM (France), MOCA (Toronto), Stems Gallery (Bruxelles), Eigen+Art (Berlin), Brackett Creek Exhibitions (Montana & New York), ALAIA (Paris), Dries Van Noten’s Little House (Los Angeles). As well as featured in Nowness, Visionaire, Vogue, i-D, W Magazine, Wallpaper and Garage. In 2015, she won Vogue Italia’s best Fashion Film award for Blowing Riccardo. In 2018, she won the Lishui International Photography Biennal award for Uniclones. She teaches in the MFA Program of Parsons The New School.

Short Biography

His work emerges at the intersections of visual culture, technology, and social choreography. As a media-based artist, he explores how people perform in digital and physical public spaces—and the systems that shape these actions. His practice is experimental, process-oriented, and often participatory. Using found footage, performance, text, and audiovisual installations, he investigates mediated identities and self-images shaped by observation.

A key work is Screen Age, a speculative interview with a cyborg, filmed by various

individuals and voiced in multiple languages. It reflects on algorithmic identity, mediated presence, and the desire to preserve our visual language in a digital archive. Designed as a time capsule, the work will be stored and made accessible via blockchain technology.

Other works intervene in public spaces, turning retail environments into social laboratories and passersby into unintended participants. The staging of digital identity in everyday contexts becomes visible and fragile. Resistance and ritual as agency of inscription in ephemeral systems.

Graduating with distinction from HBK Braunschweig in 2024 after a DAAD fellowship at Kyoto Seika University, he continues to explore collective behavior, technological change, and the fleeting memory of contemporary image culture.

Short Biography

Fanny and Maya met in Highschool in Ducos, Martinique. When they turned 18 in 2017, they both went to France to pursue their studies. Slowly, they started collaborating on many different projects : short films, shootings, albums, they even joined a writers group where they could share their scenarios and get feedbacks. 

We’re now in 2025 and Fanny is a singer, actress, writer, composer and a musicology graduate. She just finished a year studying musical theater and she is now starring in a musical, she’s also active in dubbing and gives singing lessons. 

Maya studies literature in La Sorbonne while working for the photographer Françoise Huguier. She also works with Image Evidence where she’s assisting on the production of the festival “VISA pour l’image” in Perpignan. 

“WA MODI-A” is the first project that Fanny and Maya entirely co-directed together. Starting as a photographic journey with pictures photographed by Maya and based on a story written by Fanny; the story of Isidore, the cursed immortal king is now transforming into a short film.

Short Biography

Mick Siregar is a Bandung-based photographer working with the 19th-century wet plate collodion process using a handmade large-format camera. His interest in the medium began in 2014, drawn by its demanding yet meditative process, where every step requires precision, patience, and care. What captivates him most is witnessing the direct transformation from negative to positive. In his recent work, Mick explores the idea of “seeing without eyes” as a way to reframe perception and presence. Through the slow, tactile nature of wet plate photography, he creates quiet yet tension-filled portraits—like shadows born from inner light.

Short Biography

Rebecco Ann Tess is a visual artist working with a focus on video art, expanded photography and choreography. Tess practice addresses political, economic global structures and queer ways of life through the lens of current and future image technologies, reflecting on the medium itself and its profound impact on society. 

Tess studied fine art at the University of the Arts, Berlin, Chelsea College of Art and Design, London, and the Städelschule in Frankfurt. In addition to pers own practice, Tess is active in art teaching, most recently as a lecturer at the Johannes Gutenberg University Mainz, at the Academy of Arts, Nuremberg, and as an assistant professor in the Department of Photography at Chung-Ang University, Seoul. During the years in Asia, Tess observed megacities, their architecture, the socio-political order and the influence of implemented smart technologies on daily life, which led to the project »Alpha++«. From there, the focus in »2Dbody3Dcode« shifts to landscapes and infrascapes, in which Tess explores the utopian potential of movement and encounters between animate beings and AI entities in the micro and macro realms, between the physical and virtual spheres. In doing so, per addresses the Western dichotomy of nature and technology and searches for ways to overcome it. Through the daily practice of internal Chinese Kung Fu, the relationship between practice and artistic production is questioned and shaped.

Short Biography

Romina Herrera (*1979 in Buenos Aires) deals with organic structures and processes in her works. It is important to Herrera to make references to physicality and vulnerability tangible and to point out processes that are essential but hardly visible in society. She studied Fine Arts at HBK and graduated in 2023 in the sound art class of Franziska Windisch. In 2024, she successfully completed her studies as a master student with Prof. Jens Brand.

Short Biography

Septian Harri Yoga is a kinetic sculpture artist currently based in Bandung, West Java. graduated from the Department of Sculpture, Faculty of Fine Arts and Design, ITB in 2004. His sculptures are made of andesite, steel, aluminum, and are durable. highly emphasizes the process of creation, which is an important aspect of the workshop/studio tradition. Really enjoys the process of cutting stone, cutting duralumin, shaping it, smoothing it, and polishing it.

Short Biography

Suwa Shin(b.2000) explores the performativity of ‘art’ and the ‘artist’, creating structures to connect with strangers through lens-based media and performance. By using personal vulnerability as a means of building trust, or by foregrounding the desire for connection, Shin seeks spontaneity and uncertainty as a form of accomplishment within a conflicted social community.

She studied Theatre and Film at Kaywon High School of Arts and earned a bachelor’s degree in Photography and Sociology from Chung-Ang University. Her major exhibitions include Pump and Circumstances (Kimhongdo Museum, 2024) and Gen Z: Shaping a New Gaze (PhotoElysée, 2025). She was also awarded a grant from the Gyeonggi Cultural Foundation’s Visual Arts Support program.

@suwa_shin_scent

Be Nu (累)
Print on Board, 18 Series of artworks
Various Sizes
2024

Living in ‘safe isolation’, my 20-years-old apartment neighbor and I, never have a chance to feel each other’s scent. In an apartment community, which is designed not to reveal each other’s scent, I left my house to give off warm steam.

 I randomly rang the doorbell of my neighbor’s house and asked if I could take a shower. In the neighbor’s bathroom, I washed and wiped myself with the soap and towels he was using. The soap, which is already scratched along the skin surface, is engraved with the time when dead skin cells and dust were washed with foam. I patted and rubbed the surface slowly or quickly, filling the neighbor’s bathroom with hot moisture. The two people’s fragrances, the neighbor who rang the doorbell and the neighbor who owns the soap, have a new relationship, “the neighbor who wears the same scent”, without physical contact. [Be Nu(累)] records all relationships, including the relationship of not allowing a shower.

Through the shower, I wore the scent of my neighbor. The moment I left the house, the scent faded, but I came out wearing the atmosphere and trust of my neighborhood. I left them at his house, too.

Short Biography

TaeHwan Jeon is an artist, filmmaker, and composer who makes videos, sounds, photographs, and installations. Encompassing image and audio based media, his works have been presented in diverse contexts, spanning exhibitions, screenings, and performances.

Baby Song
Print in Paper, 2 series of artworks
110 x 137 cm
2025

Made with a flatbed scanner, Baby Song is an observation of images and objects that have been compiled and accumulated in part of a studio practice such as dental X- rays, polaroids, wrapping paper, metal hooks, doodles from old notes, chroma key gloves to create scenographic images. 

Proposed as like a duet, Baby Song examines the way in which the invisible, and temporary bodies of accessories, waste, and bits and pieces permeate the intangible dimensions of bodily images. A method of erasure and camouflage that bypasses comprehension and visibility, just like a baby song.

Short Biography

Driven by a sense of urgency about Japan’s shifting identity, uses humorous and observational street photography to explore the  social issues and daily contradictions. From an early age, fascinated by Japanese comedy and variety shows, which shaped a distinctive perspective grounded in curiosity, timing, and respect for the unguarded moment.

Profoundly influenced by the work of Elliott Erwitt, began taking street photography seriously during his studies in film at a vocational college, and later deepened the practice at the Department of Photography at Tokyo Polytechnic University.

Past works include Excuse Me for “Entering Your World – in Japan” a series documenting the respectful intrusion into personal and public spaces across Japan, particularly in tourist destinations. Another key work “Japan Under COVID-19” captures the visual and societal shifts brought about by the pandemic across the country.

Currently active as a news cameraman for a television network, and continues to cover international political and social affairs while developing personal photographic projects with a sense of humility, wit, and critical awareness.

Glimpses of an Unknown Japan
Print on paper, 09 series of artworks
87 x 58 cm
2023 – 2025 

The year was 1945; Japan lay in ruins following the end of World War II. In just over three decades, however, the country rose to become the world’s second-largest economy and was recognized as one of the developed nations. With a growing population and accelerating economic power, Japan established its position as a global leader.

Yet, recent years have brought radical changes. In terms of GDP per capita, Japan has fallen behind neighboring Asian countries. Additionally, Japan is facing significant demographic decline. In contrast, a weakening yen has led to a surge in inbound tourism. Tokyo, once a city where Japanese voices predominated, now echoes with a multitude of global languages.

These changes have prompted deep reflection. Is Tokyo gradually losing its distinct Japanese identity? Might the day come when the city hosts more foreigners than Japanese citizens?

This photographic series captures Tokyo in flux, shaped by the growing presence of overseas visitors. Rather than merely photographing foreign tourists, the images feature both international and Japanese individuals—at times indistinguishable—set against iconic cultural backdrops such as Asakusa and Shinjuku. These juxtapositions emphasize the ambiguity of a city caught between tradition and transformation, raising poignant questions about the future identity of Japan’s cultural symbol.

Short Biography

Ulf Lundin was born in Alingsås, Sweden in 1965 and trained as a still photographer at the School of Photography, The University of Gothenburg (MFA, 1997). He now lives in Stockholm and works as an artist, primarily in the field of video and photography.

Recent solo presentations are ”Best of Sweden” Galleri Magnus Karlsson, Sweden (2023). ”Day by Day”, Stockholm City Museum (2020), ”From Darkness”, Kunsthall 3.14, Bergen, Norway (2020). 

Recent group exhibitions include ”Darkrooms”, Hasselblad Center, Göteborg (2022). ”OOH! Urban Video Art Festival”, Varg e vi, Kosovo (2019). ”VAFT”, Turku, Finland (2018).

Lundin is represented by Galleri Magnus Karlsson in Stockholm. He has published four books, Best of Sweden came out in 2023 and Pictures of a Family 2024.

Best of Sweden
Prnt on paper, 04 series of artworks
Various sizes
2023

In the project Best of Sweden (2023), Ulf Lundin has photographed the same scene from early morning before dawn until it gets dark again in the evening. The final image is composed of different parts from a selection of exposures he took during the day. It can be night in one corner of the picture, noon in another and a small detail can be illuminated by the early morning light. A whole day compressed into one image.

The title of the project alludes to the subjective choices Lundin makes when deciding which parts of the photographs to use in the final composition, but also to the places he chooses to photograph. Photography is in many cases used to confirm our view of the world around us. Lundin has chosen common and unremarkable places, which we may not usually associate with the image of Sweden. They are not made for the eye, but here they are presented in an idealized light. The project raises the question about what a photograph is and how we perceive it, but also about the environment surrounding us and how we influence, and are influenced by it.

When I first started the project I thought that the images would be more difficult to read and accept as photographs. Even if every work in the series consists of between 50 and 200 fragments from different photographs I think that we read them as photographs, not as a painting or a more obviously manipulated image. It says something about how we relate to photography. Even if we know that a photographic image is no evidence of truth we look at them and understand them in a unique way. They are, as André Bazin put it ”a hallucination that is also a fact”. Photography is good at capturing a brief moment. It is of course interesting to try to do the opposite.

www.ulflundin.nu
IG: @flulundin

Short Biography

Wu MeiChi, (b. 1989, Tainan, Taiwan), is a prominent figure in digital image creation. Her unique artistic approach involves assembling fragmented images into abstract compositions, imbuing them with intense emotions and complexity. Drawing from personal experiences with fruits, objects, and injuries, Wu creates vibrant party scenes that convey a deeper message beyond mere celebration of life’s diversity. Her work delves into contemporary psychological issues, offering a thought- provoking perspective.

Wu’s solo exhibitions include “Baby’s Baby” (2023) at Jimei x Arles International Photo Festival; “Pandora’s Box” (2023) at A26 Space and Vege Wonder, Beijing; “Picnic” (2021) at Pon ding, Taipei; “YXX-The Flares” (2019) at Each Modern, Taipei. Her recent group exhibitions include “Elsewhere, within Now” (2024) at Frees Art Space, Taipei; “… Until Someone Gets Hurt.” (2023) at NINUNO Gallery, Manila; 2023 Nuit Blanche, Taipei, “IMAGRATION” (2023) at Gallery COMMON, Tokyo; “The Eye of Abstraction” (2023) at National Center of Photography and Images, Taipei. In 2017, Wu participated in Fotofever, Paris. In 2023, She was awarded with Jimei x Arles International Photo Festival Discovery Award, in 2024 participated in Paris Photo, Paris.

YXX-The Flares
Print on paper, 04 series of artworks
Various sizes
2019

Continuing the research of space in XYX – A Moveable Feast, YXX – The Flares advances Wu’s exploration of space from foundational still life to vibrant, grotesque forms and swirling colors. Each piece serves as a dynamic experiment, documented through her camera, reflecting her dual role as artist and researcher.

This iteration shows her mastery of color, light, and curated objects, transforming everyday items into portals to unseen dimensions. The glossy images create frictionless planes where objects accelerate through hyperbolic space. The choice of materials—colored wigs, clear containers, and plastic trinkets—highlights themes of consumerism and disposability. In the chaos of her compositions, these kitsch elements reveal unexpected beauty to reconsider the malleability of images, artifice, and the intricate relationship between collection and display.

IG: @wu_meichi

Short Biography

Born and raised in Khlong Lan District, Kamphaeng Phet Province. The most remote district from the provincial center, bordering the Western Forest Complex of Thailand. Wutthichai grew up in an environment shaped by cultural diversity.

Wutthichai began photographing out of an interest in the lives and stories of people. In his rural hometown, opportunities for creative work were limited. After graduating from high school, Wutthichai moved to Chiang Mai to study Creative Photography at the Faculty of Fine Arts, Chiang Mai University. Wutthichai’s education there profoundly influenced both his way of thinking and his artistic practice.

Wutthichai’s work explores the relationship between photography, memory, cultural, spirit,place, and time. Photography becomes a tool for expressing the inner landscapes of his mind — a means of searching for himself, while venturing into new territories and possibilities.

His practice is rooted in photography but often extends into mixed media, installation art, video art, documentary, and experimental photography, with ongoing interests in the environment, oral histories, and music.

Finding the Rainbow
Video & print on paper, 05 artworks
Various sizes
2023 – 2025

Finding the Rainbow is an experimental photography project that attempts to reconstruct a memory of a woman who once lived, but was never photographed — my grandmother, whose name was “Sairung.” (which means “Rainbow” in Thai )

In an era when the opportunity to capture one’s identity on film was rare for ordinary people, no image of her was ever made.

This project began with a question:

If no one had ever photographed a person, can we recreate their image from memory?

I collected stories from people who once lived with her — siblings, relatives, and neighbors — and used these fragmented recollections to construct simulated portraits. Through image layering, emotional interpretation, and experimental visual methods, I created a series of faces — some familiar, some unfamiliar — each shaped by the memory of a different person who remembered her.

This body of work does not aim to discover the true face of any one individual, but rather seeks to question the boundaries of photography, the mechanisms of human memory, and the collapsing nature of time and space.

IG:@got.surreal

Short Biography

Zhou Yichen (b.1986) graduated from Parsons School of Design in New York with a degree in Photography and Related Media. Currently based in Beijing and online, her performance-based work explores the dynamic between individual and collective memory and tries to figure out where she stands as an individual in the society. Zhou Yichen’s work has taken part in museums, galleries, and photography festivals internationally. She was nominated for 2018 Madame Figaro Women Photographer Award and 2020 Exposure Award in Shanghai PhotoFair, she received 2019 Alane Fineman New Photography Award in Ballarat International Foto Biennale, 2022 Material Matters Photography Award from Magnum and Textile Exchange, 2023 Curatorial Award for Photography and Moving Images. She co-founded the non-profit art organization MiA Collective Art, wearing dual hats as a curator and artist, orchestrating exhibitions and art-related initiatives.

www.yichenzhou.com

IG: @yichenzhouu

Daily Talk
Print on paper, 16 series of artworks
Various Sizes
2010-Present 

Daily Talk is a series of photography work that collects daily personal thoughts through performances, which were inspired by the current contradictions in Chinese society. With all these photos, I tried to create a context of personal history. I am interested in drawing attention to two coexistent forms of memory – personal and collective. What do individual thoughts and family history mean to the society? When we talk about history, we are talking about collective memories. Compared to collective memories, I believe personal history is more objective. 

The Daily Talk series is the process of figuring out who I am and where I stand as an individual in this society. It is the most personal and intimate compilation of images, and simultaneously, the most open and comprehensive.

“I” becomes concrete in my day-to-day performances.

Short Biography

Yuki Takada (b. 1992, Saitama) is a Tokyo-based photographer whose practice revolves around photographing and collecting specific subjects to uncover new layers of meaning and value. A graduate of the Tokyo Polytechnic University’s Department of Photography, Takada’s work has been shown in various international group exhibitions, including Photography / Design – Stockholm / Tokyo (2024, Stockholm), When Boundaries Become Frame (2020, Zurich University of the Arts), and Art Award Tokyo Marunouchi (2016). In 2017, Takada received the 3rd Prize at the Fox Talbot Award. Since 2021, she has independently published GC magazine, a platform for visual and conceptual explorations through photography.

Short Biography

Born in 1981 in Yantai city, Shandong province, China, Zhang Xiao graduated from the Department of Architecture and Design at Yantai University in 2005. He was a photojournalist for Chongqing Morning Post. Zhang won the Robert Gardner Fellow in Photography of Harvard University in 2018. He won the Three Shadows Photography Award in 2010 with They series. He also received the second Hou Dengke Documentary Photography Award in 2009, The Photography Talent Award (France) in 2010 and the Prix HSBC pour la Photographie in 2011 with his Coastline series. 

Zhang has participated in several solo and group exhibitions, including “Shehuo”, Harvard University Peabody Museum of Archaeology and Ethnology, “The World in 2015”, “Civilization: The Way We Live Now”( Ullens Centre for Contemporary Art, Beijing, China), “Unfamiliar Familiarities” , ( Fotostiftung Schweiz ,Winterthur, Switzerland), “Photoquai” (Quai Branly Museum，Paris，France ),  and “ Apple ”, ( Lianzhou PhotographyMuseum, Guangdong, China), “ Social Geography: Ten Journeys with a Camera, (Shanghai Centre of Photography, Shanghai, China), “Photography and Video Experiments in Southwestern China since 2000”, (A4 Art Museum, Chengdu, China), “The Farm”, (chi k11 Art Space, Shenyang, China), etc. 

Zhang currently lives and works in Chengdu city, Sichuan province, China.

The Twelve Zodiac Bodhisattvas
Print on paper, 56 x 40 cm
2022

Guai Li Luan Shen (‘怪力乱神’) stems from a line in the Analects of Confucius, “The subjects on which the Master did not talk, were: extraordinary things, feats of strength, disorder, and spiritual beings.” (‘子不语怪力乱力乱神’). There are many interpretations of this quotation today, but the most scholarly would be that Confucius did not talk about ghosts and gods that were not on the divine list. In a literal sense, the phrase Guai Li Luan Shen also refers to things about bizarreness, courage, rebellion as well as ghosts and gods. 

This project continues Zhang Xiao’s ongoing interest in Chinese folk society. While many of Zhang Xiao’s previous works originated in his hometown and explored folk society in depth around folk aesthetics and their appreciation of beauty, this project extends from the artist’s native place in the countryside to the larger Chinese rural so­ciety, focusing on the rich forms of Chinese folk religion. These newly created deities are exceedingly strange with their images corresponding to all walks of life in our time. The icons rooted in the present breaks down the original belief and aesthetic system of religion and turn into ad-hoc bodhisattvas that embody whatever the people desire. 

Zhang Xiao is not criticizing this kind of folk religion and kitsch images; he merely tries to lay out their current existence. Forms of folk religion as such are pervasive in Chi­na’s rural society, which probably do not compose a religion in the strict sense or can be rather understood as a religious mutation in the process of China’s economic devel­opment. The imagery is primarily raw and direct, reflecting more of a collective uncon­scious of the people. At the same time, it also speaks to the need for religion and faith from the civil underclass, who are eager to seek psychological comfort and suggestion from the divine. The statues provide the people with a crude and straightforward vehi­cle to navigate and find a way out in their lives – although these bodhisattvas may not be on the divine list and are hardly mentioned by the believers.

www.zhangxiaoart.com