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Sara Cwynar

(Vancouver, Canada, 1985)
Sara Cwynar’s videos and photographs of found objects and images court feelings of time passing. Using studio sets, collage, and re-photography, she produces intricate tableaux that draw from magazine advertisements, postcards, or catalogues. Cwynar is interested in how design and popular images work on our psyches, in how their visual strategies infiltrate our consciousness. In her book, Kitsch Encyclopedia (2013), she considers how familiar, sentimental images smooth over unpleasant realities, to cover up “the systems of control embedded within our social, economic, and political lives.”
She presents dated commercial images to expose the failure, with time, of their visual trickery and the waning of their seductive powers. Her works highlight how the once familiar becomes foreign, how the fetishized object loses its luster, how glamour fades.
Sara Cwynar currently lives and works in Brooklyn, NY. She holds an MFA from Yale University, New Haven (USA); a Bachelor of Design from York University, Toronto (Canada); and studied English Literature at the University of British Columbia, Vancouver, (Canada).
Selected exhibitions include: “Hard to Picture: A Tribute to Ad Reinhardt,” Mudam, Luxembourg; “Subjektiv," Malmö Konsthall, Sweden; “You Are Looking at Something That Never Occurred,” Zabludowicz Collection, London, UK (all 2017); “L’Image Volée,” Fondazione Prada, Milan, Italy (2016); “Greater New York,” MoMA PS1, Queens, NY, USA (2015/16); “Under Construction – New Positions in American Photography,” Pioneer Works, Brooklyn, NY, USA (2015).

Sohei Nishino

(Hyogo, Japan, 1982)
Sohei Nishino produces works based on his personal experiences obtained through walking and travelling. In making his “diorama maps,” he combines photography, collage, cartography and psychogeography to create large prints of urban landscapes. He walks a city's streets for an average of three months, exploring many vantage points and gathering hundreds of rolls of exposed film. He then painstakingly prints the photographs by hand and compiles them to form tableaux. From a distance the maps are almost abstract, it is not until we examine them in detail that the full diorama unfolds - the theatre of one man's city played out in miniature.
Sohei Nishino graduated from Osaka University of the Arts in 2004. He has exhibited his work internationally and gleaned numerous awards including “President Award,” Osaka University of Arts (2004), “Young Eye Japanese Photographer Association Award” (2005), “Canon New Cosmos Photography Award” (2005) and the “Canon Excellence Award” (2005). He has also participated in several group shows, festivals and solo exhibitions: Daegu Photo Biennale, Korea (2010); “Out of Focus,” Saatchi Gallery, London (2012); “Contemporary Japanese Photography vol.10,” Tokyo, Metropolitan Museum of Photography (2012); “A Different Kind of Order: ICP Triennial,” New York (2013); KYOTOGRAPHY festival, Kyoto (2014); Tokyo International Photography Festival, Tokyo (2015); “Sohei Nishino CITIES,” Polka Gallery, Paris (2015). In 2016 the San Francisco Museum of Modern Art (SFMOMA) dedicated him a solo exhibition. In 2017 he was shortlisted for the theme Space of Prix Pictet.

Mari Bastashevski

(Saint Petersburg, Russia, 1980)
Mari Bastashevski is an artist, writer and researcher. She was born in a country that no longer exists, the Soviet Union. She is currently based in Switzerland, but is rarely at home. Her work – usually a result of extensive online and field investigations – combines documents with photographs and texts and explores the intersections between individuals, corporations, and states. She has recently concluded a project, 10,000 Things Out of China, a work that navigates through the violent, complex and politically ambiguous culture of logistics by which products made in China reach Europe and the United States. Her other projects include: It’s Nothing Personal, an installation juxtaposing the technocratic language and neutral space of surveillance firms with the testimonies of individuals affected by surveillance technology. And ZimTm, a self-reflective critique about an irreconcilable conflict of corporate sponsorship and critical practice, accompanied by an automaton stand-in for an artist with its own twitter account: Bastashevski’s work has been exhibited in France, the Netherlands, United States, Italy, Switzerland, Australia, and published in the NYT, Le Monde, NYT, Vice, among others. She was a 2016 World and ISP fellow at Yale and is a 2018 fellow at Data and Society. In 2011 she was awarded an artist in residency at Cité des Art in France and in 2017 at IASPIS in Stockholm. She is a recipient of two Magnum Emergency grants from Magnum Foundation.

Cristóbal Olivares

(Santiago, Chile, 1988)
Cristóbal Olivares is a documentary photographer with special interest in social affairs. He is the Co-founder of Buen Lugar Ediciones an independent publishing house focusing on zines and books about photography. In November 2015 he published the book “A-MOR” about femicide and domestic violence in Chile, which has been awarded as best photobook of the year by POY Iberoamerica.
From 2014 to mid 2016 Cristóbal was part of the VII Photo Agency Mentor Program. He has been awarded with prizes, residences and grants from different organizations such as Open Society Foundations (USA), Photographic Museum of Humanity, FotoVisura(USA), PhotoEspaña, ENS(Colombia), National Council for the Culture and Arts(Chile), Images Singulières Festival(France), Querétaro Photofest(Mexico), FIFV(Chile), Rodrigo Rojas Denegri Award(Chile) and 12 times winner at the National Press Photo Awards (FotoPrensa) in Chile including the Photo of the Year.
He currently works for different media outlets and NGO’s both in Chile and abroad.
His photographs has been published and exhibited in Chile, Argentina, Colombia, Mexico, USA, Canada, France, Italy, Spain, UK, Germany, China and India.