Karimah Ashadu (b. London 1985) is an award-winning British-Nigerian artist specializing in the moving image. Concerned with perceptions of self and place, her practice also considers sculpture and performance. Exhibitions include Centre d’Art Contemporain Genève, Faena Forum, Miami Beach, and Centre for Fine Arts (Bozar), Brussels. She was commissioned to create work for the Centre d’Art Contemporain Genève, and their Biennale of Moving images (2016), which was acquired by the City of Geneva Contemporary Art Collection (FMAC). Ashadu was one of the 2014-2016 participants of the De Ateliers, Amsterdam. She is the recipient of several awards and grants including Arts Council England, De Ateliers, and ARTE Creative. Shortlisted prizes include the Marl Medienkunst-Preise 2016, Skulpturenmuseum Glaskasten Marl, and the Arbeitsstipendium für bildende Kunst 2016, Kunsthaus Hamburg. She lives and works in Hamburg and Lagos.

Ephraim Asili is a filmmaker, DJ, and traveler whose work focuses on the African diaspora as a cultural force. His films have screened in festivals and venues all over the world, including the New York Film Festival, Toronto International Film Festival, Ann Arbor Film Festival, San Francisco International Film Festival, Milano Film Festival, International Film Festival Rotterdam; and at the Museum of Modern Art, NY, and MoMA PS1, LAMoCA, Museum of Fine Arts, Boston, and the Whitney Museum. As a DJ, Asili can be heard on his radio program In The Cut on WGXC, or live at his monthly dance party Botanica. Asili currently resides in Hudson, NY, and is a Professor in the Film and Electronic Arts Department at Bard College.

Christopher Harris is a filmmaker whose films and video installations read African American historiography through the poetics and aesthetics of experimental cinema.  His work employs manually and photo-chemically altered appropriated moving images, staged reenactments of archival artifacts, and interrogations of documentary conventions. He has exhibited widely at venues throughout North America and Europe, including solo exhibitions and screenings at the Brakhage Center Symposium, MICROSCOPE Gallery in Brooklyn, Autograph ABP in London, the Gene Siskel Film Center in Chicago, and the Wexner Center for the Arts in Columbus, Ohio;  group exhibitions at the San Francisco Museum of Modern Art, the Art Institute of Chicago, and the Artists' Film Biennial at the Institute of Contemporary Arts in London, and at festivals including the Ann Arbor Film Festival, the International Film Festival Rotterdam, the VIENNALE-Vienna International Film Festival, and the Edinburgh International Film Festival, among many others. Harris is the recipient of a 2015 Creative Capital grant and a 2017 Alpert/MacDowell Fellowship.

Sky Hopinka is a member of the Ho-Chunk Nation.  He was born and raised in Ferndale, WA, and spent several years in Southern California and in Portland, OR.  In Portland, he studied and taught chinuk wawa, a language indigenous to the Lower Columbia River Basin. His work centers around personal positions of homeland and landscape, designs of language and facets of culture contained within, and the known and the unknowable.  His work has played at various festivals and exhibitions including ImagineNATIVE, Images Festival, Wavelengths, Ann Arbor Film Festival, AFI, Sundance, Projections, Out of Sight Seattle, the 2016 Wisconsin Triennial, and the 2017 Whitney Biennial.  He was awarded the More with Less Award at the 2016 Images Festival, the Tom Berman Award for Most Promising Filmmaker at the 54th Ann Arbor Film Festival, third prize at the 2015 Media City Film Festival, and the New Cinema Award at the 2017 Berwick Film and Media Arts Festival. He currently lives in Milwaukee, WI, and is an adjunct lecturer at the University of Wisconsin-Milwaukee and University of Illinois-Chicago.

Kitso Lynn Lelliott has an MFA in art and is a PhD candidate at Wits University, Johannesburg, South Africa. She is preoccupied with enunciations from spaces beyond epistemic power and the crisis such epistemically disobedient articulations cause to hegemony. Her current work and doctorate interrogate the production of the “real” as it is shaped through contesting epistemes, their narratives, and the shape these took over the waters of the Atlantic during the formative episode that shaped the modern age--a project initiated during her residency with the Sacatar Foundation in Brazil. Her video and installation work are an enactment of enunciating from elision and between historically subjugated subjectivities while privileging South-South relations imaginatively and epistemologically unmediated by the Global North. She is an alumna of the Berlinale Talents in Durban and Berlin. She was one of the Mail & Guardian’s leading 200 young South Africans and was laureate of the French Institute 2015 Visas pour la création grant. She exhibited in Bamako Encounters 2015, ’Seven Hills’ Kampala Biennale 2016, the Casablanca Biennale 2016, and the 2nd Changjiang International Photography and Video Biennale in 2017. Her work is featured in “Acts of Passage” with Te Tuhi contemporary art space during the Auckland Art Fair 2018.

Beatriz Santiago lives and works in San Juan, Puerto Rico. Her work arises out of long periods of observation and documentation, in which the camera is present as an object with social implications and as an instrument mediating aesthetic thought. Her films frequently start out through research into specific social structures, individuals, or events, which she transforms into moving image, at times supported by objects and texts. Santiago Muñoz’s recent work has been concerned with post-military land, Haitian poetics, and the sensorial unconscious of anti-colonial movements. Recent solo exhibitions include: Song, Strategy, Sign at the New Museum, A Universe of Fragile Mirrors at the Pérez Art Museum of Miami, MATRULLA, Sala de Arte Público Siqueiros, México City; Post-Military Cinema, Glasgow International; The Black Cave, Gasworks, London. Her work is included in public and private collections, such as the Whitney Museum, Solomon Guggenheim Museum, and Kadist.

Cauleen Smith is an interdisciplinary artist whose work reflects upon the everyday possibilities of the imagination. Operating in multiple materials and arenas, Smith roots her work firmly within the discourse of mid-twentieth-century experimental film. Drawing from structuralism, third world cinema, and science fiction, she makes things that deploy the tactics of activism in service of ecstatic social space and melancholy internal contemplation. She holds a BA in Creative Arts from San Francisco State University and an MFA from the University of California, Los Angeles School of Theater Film and Television. Smith is the recipient of several grants and awards, including the Rockefeller Media Arts, Creative Capital, Chicago 3Arts, the Foundation for Contemporary Arts, Artadia Chicago, Rauschenberg Residency, 2016 recipient for the Herb Alpert Awards in the Arts, 2017 recipient of United States Artist Fellowship, 2016 inaugural recipient of the Ellsworth Kelly Award, 2018 recipient of United States Artist Fellowship. Smith lives in Los Angeles, and is on the faculty at California Institute of the Arts, in the Art Program.

Anocha Suwichakornpong was born in Thailand, and graduated from the MFA film program at Columbia University. Her thesis film, Graceland, became the first Thai short film to be officially selected by the Cannes Film Festival. Mundane History, her first feature, won numerous awards, including the Tiger Award at Rotterdam. Anocha’s second feature, By the Time It Gets Dark, premiered in Locarno and has screened in such festivals as Toronto, BFI London, Viennale, and Rotterdam. The film won three Thailand National Film Awards, including Best Picture and Best Director. By the Time It Gets Dark was chosen as Thailand’s Oscar entry for Best Foreign Language Film. Also active as a producer, Anocha founded Electric Eel Films, a production house based in Bangkok. She has produced many short films and features, including Wichanon Somumjarn’s In April the Following Year, There Was a Fire, Lee Chatametikool’s Concrete Clouds, and Josh Kim’s How to Win at Checkers (Every Time). In 2014, she was an artist-in-residence at Centre for Contemporary Art (CCA) in Singapore. In 2016, Anocha served on the Jury for the Tiger Awards at the International Film Festival Rotterdam. In 2017, Anocha, together with Visra Vichit-Vadakan and Aditya Assarat founded Purin Pictures, an initiative to support Southeast Asian cinema.

John Torres is an independent filmmaker, musician, and writer. He has made more than a dozen short films and five features, including Todo Todo Teros (2006), Years when I was a Child Outside (2008), and Lukas the Strange (2013). His work fictionalizes and reworks personal and found documentations of love, family relations, and memory in relation to current events, hearsay, myth, and folklore. His latest work, People Power Bombshell: The Diary of Vietnam Rose (2016), is a film composed of decaying 35mm footage of an unfinished film from the 80s, mixed with new footage and sound interviews of the original cast, edited to sound like dialogue in a documentary that tells of their whole ordeal of making a film at the hands of a prominent Filipino director. John teaches part-time at the Ateneo de Manila University. He conducts filmmaking workshops and co-organizes artist talks and screenings in Los Otros, a Manila-based space, film lab, and platform committed to the intersections of film and art, with a focus on process over product. He is currently in the studio to record new material for his band, Taggu nDios.

Zelimir Zilnik (b.1942, Yugoslavia) is an artist-filmmaker from Novi Sad, Serbia. In his highly prolific career, Zilnik has made over 50 feature and short films which have been exhibited internationally at film festivals, including Berlin, Toronto, Rotterdam, Moscow, and Oberhausen. From the late 60s, his socially engaged films in the former Yugoslavia earned him accolades, but also censorship in the 70s and the 90s for his unflinching criticism of the government apparatus. His power to observe and unleash compelling narratives out of the lives of ordinary people is the common thread throughout his work. Recently, Zilnik has been the subject of major career retrospectives at Cinemateca Argentina, 2018; Mar del Plata Int. Film Festival, 2017; Anthology Film Archives, New York, and Harvard Film Archive, 2017; Ankara Int. Film Festival, 2016; DocLisboa, 2015; Arsenal, Berlin, 2015; Cinusp, Sao Paulo, 2014; Thessaloniki Int. Film Festival, 2014, among others. Since 2010, his work has been featured in programs of art galleries, museums, and art institutes around the world, including Documenta, Kassel, Germany; Venice Biennale, Italy; ICA London, UK; National Gallery of Art, Washington DC, USA; MUMOK, Vienna, Austria; MACBA, Spain; Centre Pompidou, Paris, France; Museo Universitario Arte Contemporaneo, Mexico City, Mexico.