Thomas Bayrle is an artist who was trained as a weaver and currently works with drawings, collages, film and computer graphics. Bayrle focuses on ideas around the masses in his drawings, photocopy collages and film animation sequences dating from the 1960s, and further into ideas around generating superstructures through geometric patterns of images with a variety of techniques and materials. In doing so, his work reveals contradictions within the forms of organization upon which society rests. Bayrle taught at the Academy of Fine Arts, Stadelschule in Frankfurt from 1975 to 2002. He has received several awards and prizes including the Prix Arts Electronica, Linz (1995) and the Cologne Art Prize (2000). Bayrle's work has been shown in over thirty solo exhibitions internationally including in Documenta III and VI.
Rosalind Nashashibi (b.1973) uses her 16mm
camera as a catalyst, an accelerator of the real. Her films
investigate the divide between reality and its extra-dimension -
which could be fiction, the world of archetypes or spiritual
realms, combining an interest in epic narrative with close
observation of details. Throughout her work, she has observed small
communities (Hreash House, 2004 and Midwest,
2002); investigated the unconsciously symbolic function of objects
(Park Ambassador, 2004, Proximity Machines, 2007)
and of a human standing in for an idea (Ambassador, 2004,
in collaboration with Lucy Skaer); she has found mythological
figures in the urban fabric of New York (Eyeballing, 2006)
and attempted to reanimate encased objects in a museum (Flash
in the Metropolitan, 2006, in collaboration with Lucy Skaer).
Her recent production focuses on the notion of bachelor machines.
Bachelor Machines Part 1 combines the observation of a
closed community - a cargo ship crew - with the attribution of an
anthropomorphic character to the ship as a machine in itself.
Conversely, Bachelor Machines Part 2 revolves around
Thomas Bayrle's meditation on the invention of the machine, in
particular the diesel engine, as man's materialisation of the
desires once conveyed abstractly through the repetition of the
rosary. Nashashibi conceives her practice more as a tool offered to
the viewer to interrogate the world with her, than a report on our
current state of affairs. Winner of Beck's Futures in 2003,
Nashashibi has had solo shows at Kunsthalle Basel and CCA Glasgow
(2004). In 2006 she participated in Momentum, Nordic Biennial of
Contemporary Art in Moss, Norway and in an OCA residency in
February 2007 with a later solo show at the Chisenhale. In 2007 she
also represented Scotland at the 52nd Venice Biennale, and
exhibited in Contour, third Biennial for Video Art in Mechelen,
Belgium and at Matrix, Berkeley Art Museum Berkeley
Francesco Manacorda is tutor in the Curating Contemporary Art department at the Royal College of Art, London, and a writer and a freelance curator based in London. In 2004 he curated the exhibition The Mythological Machine at the Mead Gallery, Warwick University, on the impact of mass-media images, and in 2005 A Certain Tendency in Representation - Cineclub at Thomas Dane, Thomas Dane Gallery, London, and he organised the symposium Ecology and Artistic Practice for the programme Arts&Ecology at the Royal Society of Arts, London. The same year he also was curatorial correspondent for the Turin Triennial The Pantagruel Syndrome. In 2006 he curated Subcontingent - The Indian Subcontinent in Contemporary Art at the Fondazione Sandretto Re Rebaudengo, Turin and Satellites at Tanya Bonakdar Gallery, New York. He just published a monograph on Maurizio Cattelan (2006, Electa), and regularly contributes to Flash Art, Metropolis M and Domus.