Ephraim Asili is an African-American multidisciplinary artist and educator whose work focuses on the African diaspora as a cultural force. Often inspired by his quotidian wanderings, Asili creates films, books, cassettes, records, collage, and installation works that situates themselves as a series of meditations on the everyday in relation to local and global politics. Asili’s work has been exhibited in festivals and venues all over the world, including the New York Film Festival, Toronto International Film Festival, and The Berlinale. Asili’s 2020 feature debut The Inheritance premiered at the 2020 Toronto International Film Festival and is a part of the permanent collection at The Whitney Museum of Art. Asili was the recipient of a John Simon Guggenheim Memorial Foundation Fellowship in 2021 and the recipient of a Ford Foundation JustFilms grant in 2022. During the summer of 2022 Asili directed the short film prelude Strange Math. Asili is currently the director of the Film and Electronic Arts program at Bard College, and a 2023/2024 Harvard Radcliffe Fellow.
Sriwhana Spong is an artist from Aotearoa New Zealand based in London. Drawing on the particular and ecstatic practices of women mystics, Spong produces scripts of her body that document in various mediums the oscillations of distance and intimacy produced by her approach toward another—most recently, a rat nesting outside her window; a newly discovered species of snake; a painting by her grandfather, the Balinese painter, I Gusti Made Rundu; and a twelfth-century Javanese poem. These encounters spark journeys, where experiential knowledge, autobiography, fiction, and systematic research produce films, sculptures, performances, and reorientations.
Tiffany Sia (b. 1988, Hong Kong) is an artist, filmmaker, and writer. Sia’s films have screened at MoMA Documentary Fortnight, New York Film Festival, Toronto International Film Festival, Open City Documentary Film Festival, and elsewhere. Her first institutional solo show Slippery When Wet at Artists Space proposed the concept of a wet ontology of Hong Kong. Sia has also shown at Seoul Museum of Art, and at Kunstverein für die Rheinlande und Westfalen Düsseldorf, among other venues. She is the author of Too Salty Too Wet (2021) and her writing has appeared in October, Film Quarterly, LUX Moving Image, and elsewhere.
May Adadol Ingawanij / เม อาดาดล อิงคะวณิช is Professor of Cinematic Arts and Co-director of the Centre for Research and Education in Arts and Media (CREAM), University of Westminster. She works on Southeast Asian contemporary art, genealogies of cinematic arts, Southeast Asian artists’ moving image and the region’s avant-garde legacies, and forms of future-making in artistic and curatorial practices. Her curatorial projects include Legacies, and Animistic Apparatus. She writes prolifically in English and Thai for diverse publication contexts, and is guest-editing the cinema magazine NANG’s forthcoming tenth issue, “Futures.”
Riar Rizaldi works as an artist and filmmaker. His artistic practice focuses mostly on the relationship between capital and technology, labor and nature, worldviews, genre cinema, and the possibility of theoretical fiction. His works have been shown at various international film festivals (including Locarno, IFFR, FID Marseille, Viennale, BFI London, Cinema du Reel, Vancouver, etc.) as well as Centre Pompidou Paris, NTT InterCommunication Center Tokyo, Taipei Biennial, Istanbul Biennial, Venice Architecture Biennale, Biennale Jogja, National Gallery of Indonesia, and other venues and institutions. In addition, solo exhibitions and focus programs of his works had been held at Batalha Centro de Cinema, Porto, and Centre de la photographie Genève amongst others.
