Stefanía Ólafsdóttir is an interdisciplinary artist working with water as a point of departure. Stefanía dives into the material and political implications of bodily fluids and their biopolitical complexities. Stefanía sees a future in which we will have to radically rethink our relationship to nature and our place in her theater, now that the stage is crumbling. Manifesting through staged speech performances and solo expeditions with the earth, Stefanía wants to play with this future, to fiction and daydream the self into new possibilities, new kinships. Occupying Stefanía’s praxis are concerns for xenofeminist thinking, post-human dreaming and queer fictioning as the artist delves into  personal herstory and (dis?)entangle the forms of (re)productive labor which makes one being possible. 

Photo Credit: Jesse Glazzard

enormousface is a slime mold who lives in a [w]hole in time with a mangled [w]horde of feral pups. xE performs obtuse interventions into collapsitalism, tours doing something with puppets, and has organized garbage festivals around North Am and Europe. Evincing an ontological interest in Nothingness and Abjection as a beard for ______ [expletive deleted], xE is also a student of Comparative Literature, and a grantee of the Jim Henson Foundation -- Some puppet shows include: The Morphology of XOS, which topographically and psycho-ecologically describes a kind of seething demonic porn planet birthed from the vagina dentata of a futuristic trans anarchist superher@; Offal Unstory, an anti-narrative arc that uses waste objects to attack the tradition of storytelling; and the classic "Anarchist Puppet Show". In times of Yore, the NYC streets and subways hosted xErr stupidly pretentious 'Not-Happenings' and 'Performance Carts' for thousands of years, and police authorities periodically arrested xErr across Amerika for things they tried valiantly to describe in their quite poetic reports. Some parts of enormousface are also parts of a multiplicity of other groups and nodes, most recently the Creatures From the Hole [and the Daughters of Shit] Film and Poetry Collective, who are working on a book. Let's do Nothing! Time for Space, and Make Life Scratch. Remember to Forget. It's... [ FULL STOP ]

Mary Maggic (b. 1991, Los Angeles) is a nonbinary Chinese-American artist and researcher working within the fuzzy intersections of body and gender politics and capitalist ecological alienations. Based in Vienna since 2017, Maggic frequently uses biohacking as a xeno-feminist practice of care that serves to demystify invisible lines of molecular biopower. After completing their Masters at MIT Media Lab (Design Fiction), their project “Open Source Estrogen” was awarded Honorary Mention at the Prix Ars Electronica '17 in Hybrid Arts, and in 2019 they completed a 10-month Fulbright residency in Yogyakarta, Indonesia investigating the relationship between Javanese mysticism and the plastic pollution crisis. Maggic is a recipient of the 2022 Knight Arts + Tech Fellowship, and their work has exhibited internationally including Kunsthal Charlottenborg (DK), Centre de Cultura Contemporánia de Barcelona (ES), Philadelphia Museum of Art (US), Science Gallery London (UK), Migros Museum of Contemporary Art (CH), Haus der Kulturen der Welt (DE), Jeu de Paume (FR), Museum of Contemporary Art Tuscon (US), Haus der elektronischen Kunst (CH), Institute of Contemporary Arts London (UK), Art Laboratory Berlin (DE), Akbank Sanat (TR), and Jogja National Museum (ID). They are a current member of the online network Hackteria: Open Source Biological Art, the laboratory theater collective Aliens in Green, the Asian feminist collective Mai Ling Vienna, as well as a contributor to the radical syllabus project Pirate Care and to the online Cyberfeminism Index. 

Dann Disciglio (b.1993) is a US-based intermedia artist whose research-practice investigates contemporary ecologies through both analog and digital experimentation. Disciglio works with and for non-human subjects (such as trees, plants, grass, molds, and bacteria) to stage eclectic sonic performances and compositions, multimedia installations and sculptures, and texts in which future-naturalisms are encountered. 

Chanee Choi is a transdisciplinary artist. She has developed a ritualistic craft-based art practice that transcends the conservative and isolationist roots of traditional East Asian craftwork by focusing on a celebration of feminist theory and modern tech. Within this hybrid genre, she produces both embodied and virtual immersive experiences exploring the effect of immigration on issues of identity, and the synesthetic processes of corporeal-cognitive space. Her work has been published in UW News, UW College of Arts & Sciences, GeekWire, International Examiner, Seattle Times, KUOW National Public Radio, KING-TV, Blitz Valletta, ISEA2022 Barcelona, SIGGRAPH Asia 2022 and WIRED magazine. 

Sara Cowdel is a New Zealand performance artist, facilitator and curator based in Melbourne, Australia. She is the director and founder of Performance Art Week Aotearoa, as well as an independent curator. As a performance artist, Cowdell utilizes multiple modalities including action, costume, somatics, and ethnography to explore society through a formalized and qualitative intimacy. Cowdell’s work strives for a raw viscerality and lingers on the uncomfortable textures of lived experience. Cowdell works extensively with site-specific practices and has created and presented work in numerous political, natural, and unusual sites, alongside traditional arts spaces. Alongside her own practice she works facilitating and curating situations for adhoc performance to take place, allowing people to further deepen their connection with body, space, object and time. She has curated and facilitated over fifty performance events, workshops, discussions and exhibitions. She works extensively to both present performance art and to develop performance art practises across New Zealand, Australia and the world.