Revital Cohen & Tuur Van Balen work across objects, installation, and film that explore process of production as cultural, personal and political practices. Their work was recently shown at the Renaissance Society in Chicago; Serpentine Cinema, London; Fotomuseum Winterthur; Para Site Hong Kong; Thyssen-Bornemisza Art Contemporary Vienna; HKW in Berlin; Museum of Contemporary Art Tokyo; and Congo International Film Festival. It is part of the permanent collections of the MoMA, New York, and M+ Museum in Hong Kong. They work and live in London.

Mikhail Karikis is a Greek/British artist based in London and Lisbon. Through his work in moving image, sound, performance, and other media, he employs listening as an artistic strategy and form of activism. He develops projects with communities located outside the context of contemporary art who may be pushed into economic and socio-geographic fringes. In recent years, Karikis has been collaborating with children, teenagers, young adults and people with disabilities to explore narratives of social, environmental, and economic injustice. While prompting participatory and activist imaginaries, Karikis’ projects rouse the potential for people to imagine futures of self-determination and potency. His work highlights alternative modes of human action and solidarity, while nurturing critical attention, dignity, and tenderness.

Select solo exhibitions include Sounds of a Revolution, Calouste Gulbenkian Foundation, Portugal (2024); Songs for the Storm to Come, HOME Manchester, UK (2024); Because We Are Together, National Museum of Contemporary Art Athens (EMST), GR (2023); Acoustics of Resistance, Carpintarias de São Lázaro/Lisboa Soa, PT (2022); Ferocious Love, Tate Liverpool, UK (2020); Children of Unquiet, Fondazione Sandretto Re Rebaudengo, Torino, IT (2019); For Many Voices, Middlesbrough Institute of Modern Art, UK (2019-2020); I Hear You, De la Warr Pavilion, UK (2019-2020); Mikhail Karikis, Mori Art Museum, Tokyo, JP (2019); No Ordinary Protest, Whitechapel Gallery, London, UK (2018-2019). Karikis was shortlisted for the 2019 and the 2016 Film London Jarman Award, UK, and the 2015 Daiwa Art Prize, UK-JP. Select group exhibitions include: A Outra Vida Dos Animais, MNAC – National Museum of Contemporary Art, Lisbon, PT (2022); 5th Mardin Biennial, TR (2022); 2nd Riga Biennial, LV (2020); Kochi-Muziris Biennale 2016, IN; British Art Show 8, UK (2015-2017); Steirischer Herbst, AT (2015); 5th Thessaloniki Biennale, GR (2015); 19th Biennale of Sydney, AU (2014); Mediacity Seoul/SeMA Biennale, Seoul, KR (2014); Videonale 14, Kunstmusuem Bonn, DE (2013); 2nd Aichi Triennale, Nagoya, JP (2013); Manifesta 9, Ghenk, BE (2012); Danish Pavilion, 54th Venice Biennale, IT (2011).

Miles Rufelds is an artist, writer, and researcher based in Toronto. He holds a Master of Visual Studies in studio art from the University of Toronto, and a Bachelor of Fine Arts from the University of Ottawa. Rufelds’ interdisciplinary projects weave images, videos, documents, and objects with experimental narrative structures. His works use artistic platforms as sites to explore stories connecting the tightening holds of corporate or military power to the histories of ecology, science, industry, food, film, and aesthetics. He’s exhibited in solo and group exhibitions, as well as screening programs and lecture series’, nationally and internationally, with recent exhibitions at the Art Museum at the University of Toronto and Bunker 2, SIM Gallery in Reykjavik, Roman Susan in Chicago, and PAVED Arts in Saskatoon.

Jol Thomson is an artist, sound designer, and researcher interested in the potential to bypass dominant Western rationality through critical engagements with the matter(s) and meanings of contemporary (particle) physics. Thomson completed his HBA at the University of Toronto in 2009 and received his meisterschüler in Fine Art from Professor Simon Starling at the Städelschule, Frankfurt am Main in 2013. He was recently awarded an international studentship to pursue a practice-based PhD at the University of Westminster in London, where he is currently based. Between 2014–2016 he developed and taught an experimental interdisciplinary arts pedagogy for architects with artist Tomás Saraceno at the Technical University of Braunschweig in Germany. In 2016 he won the MERU ArtScience Award for his audio-visual composition G24|0vßß. That year he was a fellow of the Akademie Schloss Solitude and in 2017 he was a resident of the Bosch GmbH’s Centre for Research and Advanced Engineering, Stuttgart. Recent screenings and selected exhibitions include Recontres Internationales: Contemporary Moving Image, Pompidou, Paris and HKW, Berlin (2019); Quantum Real: Spectral Exchange, Exhibition Research Lab, Liverpool (2019); Galleria d’Arte Moderne e Contemporanea, Bergamo (2019); Blind Faith: Between the Cognitive and the Visceral in Contemporary Art, Haus Der Kunst, Munich (2018); Open Codes: Living in Digital Worlds, ZKM (Center for Art and Technology), Karlsruhe (2017-2018). In 2017 he published Intra-acting With the IceCube Neutrino Observatory; or, how the technosphere may come to matter, with Dr. Sasha Engelmann in a special issue of the Anthropocene Review*.

Christine Shaw is Director/Curator of the Blackwood Gallery and Associate Professor of Curatorial Studies in the Department of Visual Studies at the University of Toronto Mississauga, a Research Fellow & Visiting Scholar in Art, Culture Technology (ACT) at the Massachusetts Institute of Technology, and Curatorial Research Fellow, Andy Warhol Foundation for the Visual Arts (2021–2023).

Shaw’s work convenes, enables, and amplifies the transdisciplinary thinking necessary for understanding our current multi-scalar historical moment and co-creating the literacies, skills, and sensibilities required to adapt to the various socio-technical transformations of our contemporary society. She has applied her commitment to compositional strategies, epistemic disobedience, and social ecologies to multi-year curatorial projects including Take Care (2016–2019), an exhibition-led inquiry into care, exploring its heterogeneous and contested meanings, practices, and sites, as well as the political, economic, and technological forces currently shaping care; The Work of Wind: Air, Land, Sea (2015–2023), a variegated series of curatorial and editorial instantiations of the Beaufort Scale of Wind Force exploring the relentless legacies of colonialism and capital excess that undergird contemporary politics of sustainability and climate justice; and OPERA-19: An Assembly Sustaining Dreams of the Otherwise (2021–2029), a decentralized polyvocal drama in four acts taking up asymmetrical planetary crisis, differential citizenship, affective planetary attention disorder, and a strategic composition of worlds. She is the founding editor of The Society for the Diffusion of Useful Knowledge (Blackwood, 2018–ongoing), and co-editor of The Work of Wind: Land (Berlin: K. Verlag, 2018) and The Work of Wind: Sea (Berlin: K. Verlag, 2023).