We would prefer if you would register for the workshop by emailing a short note to s.wuschitz@akbild.ac.at
A WORKSHOP ON STENCIL BASED STREET ART AS A CRITICAL VISUAL LANGUAGE SITUATED WITHIN PUBLIC SPACE, POLITICAL DISCOURSE, AND PERSONAL NARRATIVE, EXPLORING STENCIL PRACTICE AS A HISTORICALLY AND CONCEPTUALLY SIGNIFICANT METHOD WITHIN CONTEMPORARY STREET ART.
ENGLISH
This workshop proposes an introduction to stencil-based street art as a critical visual language situated within public space, political discourse, and personal narrative. Led by artist Anagard, the sessionexplores stencil practice not merely as a technical process, but as a historically and conceptually significant method withincontemporary street art. Stencil art has long functioned as an accessible and reproducible tool for visual intervention, often employed to disseminate social commentary, political critique, and personal ideologies within urban environments. Through this workshop, participants will engage with the foundational principles of stencil production and application, while reflecting on its role in shaping collective visual culture.
DEUTSCH
Dieser Workshop bietet eine Einführung in die kritische visuelle Sprache von Stencils (deutsch: Schablonen) und Stencil-basierter Street Art. Sie positioniert sich im öffentlichen Raum als Teil politischer Diskurse und als persönliches Narrativ. Der Leiter des Workshops, Anagard, wird mit unterschiedlichen Stencil Praktiken Praktiken experimentieren, was er aber nicht als rein technischen Prozess versteht, sondern als zeitgeschichtlich und konzeptionell relevante Methode innerhalb der gegenwärtigen Street Art Szene. Kunst aus Stencils funktioniert schon seit Längerem als niederschwelliges und reproduzierbares Werkzeug für visuelle Intervention. Stencils dienen der Ausbreitung gesellschaftlicher Kommentare, politischer Kritik und der Äußerung persönlicher Ideologie in urbaner Umgebung. In diesem Workshop setzten sich Teilnehmende mit den grundsätzlichen Prinzipien der Stencil Produktion und Anwendung auseinander. Gleichzeitig reflektieren sie darüber, welche Rolle Stencils in der Entwicklung einer kollektiven visuellen Kultur spielen.
ARTIST STATEMENT ANAGARD / short bio
My name is Anagard, I have always been deeply interested in the relationship between art and society, which is why my art is not only in the galleries but also on the street. I learned stencil techniques autodidactically, by directly creating works on city walls. My personal works explore socio-political and environmental issues. I believe that art must contribute to life — it emerges from social turbulence and moves through multiple spaces: from the studio to the street, to the gallery, to the field of research, and finally into private reflection. Through manually cut stencils and spray paint, I consistently bring my work to both public spaces and galleries. The colourful aesthetic and visual character of my work are influenced by my childhood experiences of drawing Minangkabau traditional house ornaments and painting West Sumatran landscapes. Today, my artistic hybridity continues to be shaped by both Sumatran and Javanese culture, particularly in batik patterns, wayang motifs, and the dynamic movements of jatilan dance. My work has also been shown internationally, with solo exhibitions such as From Nasi Padang to the World (NAFA, Singapore, 2024) and Spray, Peace, Diversity (Cuturi Gallery, Singapore, 2022). My public murals and installations have appeared at festivals and biennales across Asia, Europe, and Australia. As Art Director of the Yogyakarta Street Art Festival and founder of Cosmos Street Art community, I am committed to collaboration and exchange and look forward to contributing to the dialogue of community-driven art
Dieser Vortrag von Karina Roosvita wird organisiert vom Elise Richter PEEK Projekt
„Datenkolonialismus in Indonesien. Die Strategien indonesischer Künstler*innen im digitalen Kolonialismus“
und beschäftigt sich mit der ausgelöschten Vergangenheit jener indonesischer Frauen, die bei der Afrika Asien Konferenz 1955 eine tragende Rolle gespielt hatten.
ENGLISH
The Complexities of Clothing in Gendered Practices A reflection on the intersections of art and activism by Karina Roosvita
This presentation examines how clothing works as a structure of power within historical, cultural, and transnational gender politics. Since 2019, Karina have engaged with clothing across different contexts, from everyday use to diplomatic staging and national traditions, to understand how clothing mediates cultural and political identity.
It began with Karina’s research on the Sarong (2019–2020), which revealed that the Sarong, although almost identical to a skirt, is legitimized as masculine clothing through religious authority, patriarchal norms and social consensus. Through The Tea Party Project (2022) her next research examines the erasure of women in Asia Africa Conference 1955 history – while women traditional clothing continued to function as cultural diplomation. Karina expands the research through her residency in Graz (2024), where she learned that traditional clothing in the Austria has become a signifier of conservatism and national trauma, in contrast to the Global South, where kebaya and sarong are tied to class struggle and egalitarian politics.
These trajectories developed into „The Shadow of Being“ (2025), an embroidery and light installation works that highlights women whose identities revealed through „The Tea Party Project“. Drawing from photo archive, Javanese Wayang philosophy, and Naoko Shimazu’s concept of staging diplomacy, the work brings forward those erased history.
DEUTSCH: Über die Komplexität von Bekleidung in Gender Praktiken: Intersektionale Reflektionen zu Kunst und Aktivismus
Diese Präsentation untersucht, wie Kleidung innerhalb historischer, kultureller und transnationaler Gender Politik als Machtstruktur funktioniert. Seit 2019 arbeitet Karina mit Kleidung in unterschiedlichen Kontexten, im Alltag bis zur diplomatischen Inszenierung sowie nationalistisch geprägten Traditionen, und versucht zu verstehen, wie kulturelle und politische Identifikationen über Kleidung mediiert werden. Karinas erstes Research Projekt über den Sarong (2019-2020) zeigte, dass der Sarong, der einem Rock ähnelt, sich als maskulin konnotiertes Kleidungsstück sowie über religiöse Autorität als auch über patriarchale Normen und soziale Konventionen legitimiert. Das darauf folgende Forschungsprojekt widmete sich, anhand des „The Tea Party Project“ (2022), der Auslöschung von Frauen, die ein tragenden Rolle während der Asia Africa Conference 1955 spielten. Karina setzte ihre Untersuchungen während ihrer Artist Residency in Graz (2024) fort, wo sie feststellte, dass traditionelle Kleidung in Österreich mit Konservatismus und nationalistischem Trauma assoziert wird, ganz im Gegensatz zum Globalen Süden, wo Kebaya und Sarong mit Klassenkampf und dem Ziel einer egalitären Gesellschaft in Verbindung gebracht werden. Diese Erfahrung entwickelte sich zum Konzept für The Shadow of Being (2025), eine Stick- und Licht Installation, in der Frauen im Mittelpunkt stehen, die im The Tea Party Project entdeckt worden waren. Die ausradierte Geschichte wird anhand eines Foto Archivs, Javanischer Wayang Philosophie und Naoko Shimazus Konzept der inszenierten Diplomatie rekonstruiert.
A small wooden light sculpture stands on the floor. It consists of a box-like wooden frame with four vertical rods and a flat top. Inside it stands a cut-out embroidered figure of a woman, glowing warmly from a light at the base. The light casts a much larger, softer shadow of the figure onto the wall behind it. The dim surroundings make the glowing embroidery and its shadow the main focus of the image.
Ort: Stallecker Geschäftsfläche, gegenüber vom Rathaus Raabs an der Thaya
GRUPPENAUSSTELLUNG VON WALDFÜNFTEL:
Elisa Bergmann
Janine Jembere
Ulla Rauter
Theresa Schütz
Stefanie Wuschitz
Screenshot
Das Wort für Welt ist Wald
Der Wald als offenes und für Störungen anfälliges System. Der Wald als geistiger und künstlerischer Nährboden, als geschichtlicher Erzähl-Raum und als ein Sehnsuchtsort. Fünf Künstlerinnen und ihre Kinder leben gemeinsam zehn Tage lang in Raabs an der Thaya, suchen das Gespräch mit den Menschen in Raabs und nähern sich dem breiten Thema „Wald“ an. Mit fünf unterschiedlichen Herangehensweisen und künstlerischen Perspektiven nehmen die Künstlerinnen, die in dieser Zeit ein Geschäftslokal im Zentrum von Raabs mit neuem Leben füllen, als „Waldfünftel“ die Herausforderung der offenen Zusammenarbeit an. Im Geschäftslokal der Familie Stallecker, das die Familie den Künstlerinnen für die Ausstellungsdauer freundlicherweise zur Verfügung stellt, werden die entstandenen Werke sowie bestehende Arbeiten der Künstlerinnen zum Thema Wald ausgestellt.
Photo Credits: Yusuf Agus Kurniawan
Graphic Design: Elisa Bergmann
TEILNEHMENDE KÜNSTLERINNEN:
ELISA BERGMANN
In ihrer künstlerischen Praxis widmet sich Elisa Bergmann der Malerei und dem kontinuierlichen Hinterfragen des Mediums sowie seiner Mittel. Überlegungen zu den Produktionsbedingungen von Kunst, insbesondere zur Koexistenz von künstlerischer Praxis und Care-Arbeit, spielen ebenso eine zentrale Rolle sowie Themen der Skalierbarkeit. Diese Aspekte spiegeln sich sowohl in den gewählten Motiven, Techniken und Materialien als auch in ihren räumlich-installativen Übersetzungen wider. Bergmann integriert zudem Elemente einer halbfiktionalen Sprache in ihren Arbeiten, die zum Teil beschreibend, abstrakt und fiktional ist, aber immer auf das private Leben und die Umwelt Bezug nimmt. Ihre Arbeiten wurden unter anderem in le carceri, Caldaro; Avlskarl Gallery, Kopenhagen; Kunstraum Schwaz, Schwaz; KünstlerhausVereinigung, Wien; wasserwasser, Wien; Galerie 5020, Salzburg; Exhibit Studio, Wien; Kunsthalle Bozen; Plan-Raum für Kunst, Hamburg und Galerie Prisma, Bozen ausgestellt.
JANINE JEMBERE
Janine Jembere ist Künstlerin und Lernende in Wien. Sie arbeitet in verschiedenen Konstellationen an Performances, Installationen, Video, Sound und Bildungsprojekten. Ihre Arbeiten beschäftigen sich mit Sinnen und Körpern und befragen Konzepte der Repräsentation und Übersetzbarkeit. Sie interessiert sich für verkörpertes Wissen und das Konzept von Dissonanz als Werkzeug Differenzen zu beschreiben und zu leben. Sie studierte Visuelle Kommunikation/Medien an der Hochschule für bildende Künste Hamburg und war Gaststudentin am Department for Fine Arts and Design der Addis Ababa University, Äthiopien. Ihre Arbeiten wurden unter anderem im Ballhaus Naunynstrasse Berlin, Golden Pudel Club Hamburg, Dokumentarfilmwoche Duisburg, Haus der Kulturen der Welt Berlin, transmediale Berlin, Kunsthalle Bremen, Detroit Public Library, Research Pavillion at the 57th Venice Biennale, Venedig, Museum für Geschichte Sarajevo, Gropius Bau Berlin, mumok Wien gezeigt. Sie war Stipendiatin des Videokünstlerinnenprogramms Berlin 2016, Akademie Schloss Solitude 2016/2017, Fleetstreet Theater Hamburg 2018. Sie war Theoriekuratorin am Tanzquartier – Center for Contemporary Performance & Choreografie, Wien und ist derzeit Post-Doc Researcher im FWF PEEK Projekt Fabricating Adjacency. On Textiles, Trade and Terror. Gemeinsam mit Moira Hille unterrichtet sie das Kolloquium des MA Critical Studies und ist Senior Scientist beim PhD in Practice Programm an der Akademie der bildenden Künste Wien.
ULLA RAUTER
Ulla Rauter, geboren 1980 in Wiener Neustadt, studierte Transmediale Kunst an der Universität für Angewandte Kunst Wien. Sie arbeitet als Medienkünstlerin und Musikerin an der Schnittstelle von Klangkunst und Bildender Kunst – ihre Werke umfassen performative Skulpturen, musikalische Performances und selbstgebaute Instrumente.
Ein Schwerpunkt in ihrer Arbeit ist die Entwicklung experimenteller Klanginterfaces. Ihre sensorbasierten elektronischen Musikinstrumente wurden international in Performances und als Objekte in Ausstellungen gezeigt. Zwei weitere zentrale Themen in ihrer künstlerischen Arbeit sind die Stille als Material und Sehnsuchtsort – zu diesem Thema realisierte sie seit 2009 eine Reihe interaktiver Arbeiten im öffentlichen Raum – und die menschliche Stimme, die sie als Ausgangsmaterial ihrer visuellen und akustischen Übersetzungs- und Transformationsprozesse erforscht.
2010 gründete sie mit Christine Schörkhuber die jährliche Hörschau „Klangmanifeste“. Seit 2013 ist sie Lehrbeauftragte an der Abteilung Digitale Kunst der Universität für Angewandte Kunst Wien.
THERESA SCHÜTZ
lebt und arbeitet in Wien. Sie setzt sich in künstlerisch forschenden und transdisziplinären Projekten mit öffentlichen und sozialen Räumen auseinander. Dabei wird situativ performativ und direkt gestaltend erkundet, was zwischen uns und dem Anderen, Dingen und Orten verhandelt und sinnlich erfahrbar werden kann. Zwischen Kunst und Urbanismus, kultureller Vermittlung und Architektur arbeitet sie seit 2015 selbständig mit Rainer Steurer als unos, oft in Kollaboration mit dérive. Sie mitbegründen das Hidden-Institute in Berlin, initiieren das T/abor in Wien, das Schütz als Raum für Kunst und transdiziplinäre Zusammenarbeit kuratiert. Parallel forschte und lehrte sie an der TU-Wien sowie an Kunsthochschulen in Berlin und Basel, arbeitete in Forschungsprojekten zu Leerstand, Politiken öffentlicher Räume und Handlungsspielräumen von Jugendlichen im öko-sozialen Wandel. Derzeit forscht sie als Doktorandin für Architektur an der TU-Wien im HOPE-Raumlabor zu Bildungslandschaften im Klimawandel und im Doktoratskolleg STE[A+]M zu Kunst als transversale Lernumwelt für das gemeinsame Zukünftebilden mit Kindern und Jugendlichen nach dem digitalen Anthropozän.
STEFANIE WUSCHITZ
Stefanie Wuschitz ist Künstlerin und Forscherin. Von 2009-2023 leitete sie ein feministisches Hacklab in Wien. 2014-2024 hielt sie an internationalen Universitäten Post-Doc Stellen inne (u.a. TU Berlin, UdK, Weizenbaum Institut, Akademie der bildenden Künste Wien, etc.). Ihre Projekte beschäftigen sich mit Strategien zur Entmystifizierung und Entkolonialisierung von Technologie aus öko-feministischer Perspektive. Ihre Videos, Installationen und Zeichnungen wurden in zahlreichen Galerien, Biennalen, Festivals und Einzelausstellungen präsentiert, z.B. Ars Electronica Festival (Österreich), 38c3 (Deutschland), ART|JOG 8 (Indonesien), Bouillants Vern-Sur-Seiche (Frankreich), the Taipei Fringe Festival (Taiwan), the 8th International Sinop Biennial (Türkei) und the 16th International Biennial of Aveiro (Portugal). Sie hatte Einzelaustellungen im Kunstraum pro arte und Galerie 3. Derzeit forscht Wuschitz finanziert vom österreichischen Wissenschaftsfonds (FWF) zu digitalem Kolonialismus.
Wir begegnen in diesem Artist Talk und Workshop Revolutionär*innen, Hacker*innen, Aktivist*innen und Künstler*innen, die gemeinsam unberechtigte Machtgefälle enttarnt und überwunden haben. In welcher Beziehung stehen wir zu ihren vergangenen Kämpfen?
„The concepts of hurricanes and scaffolding will be used to identify new critically reflexive frameworks that the arts bring to the wider discourses of society, technology and politics. The hurricane being a non-human force, and scaffolding being the built infrastructure on which systems can grow. Nora N.Khan outlines her concepts of hurricanes and scaffolding in her essay ‘Towards a poetics of Artificial Super Intelligence’ (In: ‘The Atlas of Anomalous AI’ edited by Ben Vickers and K Allado-McDowell). The symposium presentations will explore human and non-human perspectives on infrastructures for new ways of thinking and making.
Whilst artistic academies and conservatoires have supported the development of the arts for many centuries, Artistic Research is a relatively new field of practice in relation to University research infrastructures. On the one hand disciplines want to protect their traditions, whilst on the other hand practices that engage with an interdisciplinary critique enable a clearer understanding of the contribution of the arts to society. This symposia will bring together artists, architects and designers who are moving beyond individual practices that rely on the art market or state sponsorship to engage with societal infrastructures and responsibilities through research. At the same time Universities in Sweden are slowly changing the way in which they validate artistic research supported by new initiatives such as CoARA which require subject specific assessment.“
15.30h Women and Agrarian Injustice: Palm Oil Plantation Partnership That Deprives of The Livelihood, Land Rights, and Economic Rights of Women in Rural Areas Lecture by Fatrisia
Fatrisia reports on how palm oil companies exacerbate the situation of women* in rural areas. Women* not only play a dual role in the household, but also in relation to the palm oil companies‘ land monopoly. In rural areas in Central Sulawesi, women* are forced to deal directly with the agrarian conflicts that control their economic resources and make their food sources unhealthy. They are silenced, their safety and freedom threatened by criminalization and gender-based violence as their land is confiscated by palm oil companies that are an integral part of the government’s plantation program. This makes their frontline struggle to restore their community’s rights and food security all the more astonishing.
____
16h
Triangle of Sacrifice: Technological Infrastructures of Colonialism Lecture by Victor Mazón and Guely Morató Loredo
A critical review of the impacts of large-scale mining in the lithium triangle, a territory between Bolivia, Chile and Argentina that concentrates 65% of the lithium found on the planet.
____
16.45 Eco-Feminist Decolonial Hardware Lecture by Stefanie Wuschitz
It is an open secret that the hardware in our smart devices contains not only plastics but also ‘conflict minerals’ such as copper and gold. Stefanie Wuschitz and Patricia J. Reis researched on fair-trade, ethical, biodegradable hardware for environmental justice, building circuits that use ancient community-centered crafts encouraging de-colonial thinking. Their artistic outcome is an Ethical Hardware Kit with a PCB microcontroller at its core. PCB is made of wild clay retrieved from the forest in Austria and fired on a bonfire. The conductive tracks used urban-mined silver and all components are re-used from old electronic devices
____
Bios
Fatrisia As a child from a family of farmers, I was fortunate enough to be educated at a college level (I studied at the Department of Social and Political Sciences, at Muhammadiyah University of Yogyakarta), as were some of my colleagues who were also activists in a civil society organization founded by peasants in my area, called Forum Petani Plasma Buol (local peasants’ organization). As a young person and a woman, it was not easy for me to gain the trust of my community, which was mostly the older generation who were familiar with patriarchal ways, let alone being chosen to lead a mass struggle. However, for the past two years I have been trusted to lead my community’s resistance movement against the seizure of their rights by non-state actor, a large-scale palm oil company that have deceived around 4 thousand family groups in my community for 16 years through a government program called ‘Plantation Revitalization’, with a core-plasma partnership scheme.
Víctor Mazón Gardoqui Mazon Gardoqui´s work exposes the unheard and unseen, addressing the inaccessible and experiencing vulnerability and awareness on the viewer. Perception and altered states are key concepts in his performances through the use of sound or light.His art practice explores amplification, electromagnetic phenomena and images of invisible fields by using locative audio and custom electronics.His work materializes in three main fields: actions or site-specific performances through experimental processes, exhibitions as consequences of previous actions and collaborative works through seminars to form a communal dialog.He is a senior educator and professional working with open hardware and experimental circuit design, coordinating workshops and educational formats in the domain of device-studies and experimental sensory applications. His work has been performed or exhibited in museums, biennials, galleries, bill- boards, urban screens and TV/radio stations in Africa, Russia, Nepal, North America, Canada, Mexico, Bolivia, Colombia, Argentina, Uruguay, Antarctica and numerous locations across Europe. Mazon Gardoqui has been a guest artist and lecturer at Slade School of Fine Art, Concordia University, Universität der Künste Berlin, Rijksakademie Amsterdam, Ecole Nationale Supérieure des Beaux Arts de Paris, Universität für angewandte Kunst Wien, Superior Technical School of Architecture of Madrid, Master Studies Interface Cultures Linz, University College London – Arts and Sciences, HFK Bremen University of Arts, Master Studies C:Art Media Valand Univ Goteborg, Institute of Dramatic Arts and Cultural Studies Casablanca, University Mohamed V Rabat, Patricio Lynch Universidad de Valparaíso, Universidad de Humanidades y Arte Concepción, Harvestworks Digital Media Arts Center, MediaLAB Prado, LABoral Art and Industrial Creation Centre and Hangar.org, among others. https://victormazon.com
Guely Morató Loredo is curator, artist and researcher. Winner CIFOxARS Electronica award, 2024, winner of the Cultural & Artistic Responses to Environmental Change-2023 award by the Prince Claus Fund and the Goethe-Institut. Curator of six editions of the Sonandes International Biennial of Sound Art (2014-2024) and one edition of the Biennial of Listening (2023). Head researcher of the ALTER residency, a mountain laboratory specializing in solutions for the period of cultural, climate and energy transition held in the Swiss Alps (2022). During 2021 she was the head researcher of the Bolivian team participating in The Witness_Openlab, annual research laboratory focusing on the anthropocene and the human footprint on the planet. She led the Gender, Science and Technology Observatory (2019-2022). She led the Medialab at the Cultural Center of Spain in La Paz (2019). She is currently curator of Wak’a, a project that involves several communities and creators who reflect on extractivism, sacredness and deep listening in the Lithium Triangle. Since 2014 she founds and directs Sonandes: Platform for Experimentation and Research, which organizes the only biennial specialized in sound art in Latin America, Puertos: Residency Program, laboratories, exhibitions and projects specialized in sound art and listening.
Stefanie Wuschitz
is an arts-based researcher investigating strategies to decolonise technology. Her publications evolve around feminist hacking. Her artwork has been exhibited and screened at international venues such as Ars Electronica Festival (Austria), ART|JOG 8 (Indonesia), Bouillants Vern-Sur-Seich (France), Austrian Cultural Forum (United States), 8th International Sinop Biennale (Turkey), 16th International Biennial of Aveiro (Portugal) among others. She had solo exhibitions at Kunstraum pro arte, Galerie 3 and solo exhibitions with her former artist collective Mz* Baltazar’s Lab at Kunstraum pro arte, VBKÖ, Forum Alpbach and Medienwerkstatt Vienna among others. She is currently Principal Investigator of a project on Digital Colonialism in Indonesia affiliated to the Academy of Fine Arts Vienna.
15.30h
Women and Agrarian Injustice: Palm Oil Plantation Partnership That Deprives of The Livelihood, Land Rights, and Economic Rights of Women in Rural Areas Lecture by Fatrisia
Fatrisia reports on how palm oil companies exacerbate the situation of women* in rural areas. Women* not only play a dual role in the household, but also in relation to the palm oil companies‘ land monopoly. In rural areas in Central Sulawesi, women* are forced to deal directly with the agrarian conflicts that control their economic resources and make their food sources unhealthy. They are silenced, their safety and freedom threatened by criminalization and gender-based violence as their land is confiscated by palm oil companies that are an integral part of the government’s plantation program. This makes their frontline struggle to restore their community’s rights and food security all the more astonishing.
____
16h
Triangle of Sacrifice: Technological Infrastructures of Colonialism Lecture by Victor Mazón and Guely Morató Loredo
A critical review of the impacts of large-scale mining in the lithium triangle, a territory between Bolivia, Chile and Argentina that concentrates 65% of the lithium found on the planet.
____
16.45 Eco-Feminist Decolonial Hardware Lecture by Stefanie Wuschitz
It is an open secret that the hardware in our smart devices contains not only plastics but also ‘conflict minerals’ such as copper and gold. Stefanie Wuschitz and Patricia J. Reis researched on fair-trade, ethical, biodegradable hardware for environmental justice, building circuits that use ancient community-centered crafts encouraging de-colonial thinking. Their artistic outcome is an Ethical Hardware Kit with a PCB microcontroller at its core. PCB is made of wild clay retrieved from the forest in Austria and fired on a bonfire. The conductive tracks used urban-mined silver and all components are re-used from old electronic devices
____
Bios
Fatrisia As a child from a family of farmers, I was fortunate enough to be educated at a college level (I studied at the Department of Social and Political Sciences, at Muhammadiyah University of Yogyakarta), as were some of my colleagues who were also activists in a civil society organization founded by peasants in my area, called Forum Petani Plasma Buol (local peasants’ organization). As a young person and a woman, it was not easy for me to gain the trust of my community, which was mostly the older generation who were familiar with patriarchal ways, let alone being chosen to lead a mass struggle. However, for the past two years I have been trusted to lead my community’s resistance movement against the seizure of their rights by non-state actor, a large-scale palm oil company that have deceived around 4 thousand family groups in my community for 16 years through a government program called ‘Plantation Revitalization’, with a core-plasma partnership scheme.
Víctor Mazón Gardoqui Mazon Gardoqui´s work exposes the unheard and unseen, addressing the inaccessible and experiencing vulnerability and awareness on the viewer. Perception and altered states are key concepts in his performances through the use of sound or light.His art practice explores amplification, electromagnetic phenomena and images of invisible fields by using locative audio and custom electronics.His work materializes in three main fields: actions or site-specific performances through experimental processes, exhibitions as consequences of previous actions and collaborative works through seminars to form a communal dialog.He is a senior educator and professional working with open hardware and experimental circuit design, coordinating workshops and educational formats in the domain of device-studies and experimental sensory applications. His work has been performed or exhibited in museums, biennials, galleries, bill- boards, urban screens and TV/radio stations in Africa, Russia, Nepal, North America, Canada, Mexico, Bolivia, Colombia, Argentina, Uruguay, Antarctica and numerous locations across Europe. Mazon Gardoqui has been a guest artist and lecturer at Slade School of Fine Art, Concordia University, Universität der Künste Berlin, Rijksakademie Amsterdam, Ecole Nationale Supérieure des Beaux Arts de Paris, Universität für angewandte Kunst Wien, Superior Technical School of Architecture of Madrid, Master Studies Interface Cultures Linz, University College London – Arts and Sciences, HFK Bremen University of Arts, Master Studies C:Art Media Valand Univ Goteborg, Institute of Dramatic Arts and Cultural Studies Casablanca, University Mohamed V Rabat, Patricio Lynch Universidad de Valparaíso, Universidad de Humanidades y Arte Concepción, Harvestworks Digital Media Arts Center, MediaLAB Prado, LABoral Art and Industrial Creation Centre and Hangar.org, among others. https://victormazon.com
Guely Morató Loredo is curator, artist and researcher. Winner CIFOxARS Electronica award, 2024, winner of the Cultural & Artistic Responses to Environmental Change-2023 award by the Prince Claus Fund and the Goethe-Institut. Curator of six editions of the Sonandes International Biennial of Sound Art (2014-2024) and one edition of the Biennial of Listening (2023). Head researcher of the ALTER residency, a mountain laboratory specializing in solutions for the period of cultural, climate and energy transition held in the Swiss Alps (2022). During 2021 she was the head researcher of the Bolivian team participating in The Witness_Openlab, annual research laboratory focusing on the anthropocene and the human footprint on the planet. She led the Gender, Science and Technology Observatory (2019-2022). She led the Medialab at the Cultural Center of Spain in La Paz (2019). She is currently curator of Wak’a, a project that involves several communities and creators who reflect on extractivism, sacredness and deep listening in the Lithium Triangle. Since 2014 she founds and directs Sonandes: Platform for Experimentation and Research, which organizes the only biennial specialized in sound art in Latin America, Puertos: Residency Program, laboratories, exhibitions and projects specialized in sound art and listening.
Stefanie Wuschitz
is an arts-based researcher investigating strategies to decolonise technology. Her publications evolve around feminist hacking. Her artwork has been exhibited and screened at international venues such as Ars Electronica Festival (Austria), ART|JOG 8 (Indonesia), Bouillants Vern-Sur-Seich (France), Austrian Cultural Forum (United States), 8th International Sinop Biennale (Turkey), 16th International Biennial of Aveiro (Portugal) among others. She had solo exhibitions at Kunstraum pro arte, Galerie 3 and solo exhibitions with her former artist collective Mz* Baltazar’s Lab at Kunstraum pro arte, VBKÖ, Forum Alpbach and Medienwerkstatt Vienna among others. She is currently Principal Investigator of a project on Digital Colonialism in Indonesia affiliated to the Academy of Fine Arts Vienna.
The Africa Asia Conference-Festival happened for the third time and had the title „A New Axis of Knowldge“. The track “ ‚Pan-Africanims‘, ‚Bandung Spirit‘, ‚Global South‘ Futures and the New World Order‘ was dedicated to the important influence of the non-alignment movement.
I was in particular fascinated by the many lectures that outlined the strong impact that the Bandung conference had. The Bandung conference took place 70 years earlier in Indonesia, propelling South-South collaborations in education, architecture, art and culture, generating new and lasting networks of solidarity.
I was allowed to listen to outstanding international relation experts, inspiring activists, ground breaking artists, passionate scholars, brave documentary film makers who all left a deep impression on me:
Nalini E. de Sousa, Solange Chatelard, Gustavo Ciriaco, Thuy-Trang T. Nguyen, Yamini Krishna Chintamani, Idrissou Mora-Kpai, Ling Zhang, Vera Leigh Fennel, Emily Shin-Jie Lee, Mamadou Drame, Isaac Odoom, Kamila Junik and my old friend Seyram Avle, to name just a few.
Thank you to all the volunteering students of UCAD University who helped to make this gigantic conference festival happen. My thanks go in particular to the Cinè Film Club, that struggles for political justice and the right to higher education.
