Constant Dullaart

Constant Dullaart‘s (born in Leiderdorp, Netherlands) practice reflects on the broad cultural and social effects of communication and image-processing technologies, from performatively distributing artificial social capital on social media to completing a staff-pick Kickstarter campaign for a hardware start-up called DulltechTM. His work includes websites, performances, routers, installations, startups, armies, and manipulated found images, frequently juxtaposing or consolidating technically dichotomized presentation realms.

Recent solo exhibitions include: Cultural Matter, LIMA, Amsterdam; 100,000 Followers for Everyone, FOAM, Amsterdam (2018); Phantom Love, Up Projects, London (2017); Synthesising the Preferred Inputs, Future Gallery, Berlin; DeepEpoch, Upstream Gallery, Amsterdam (2016); The Possibility of an Army, Kunsthalle Schirn, Frankfurt.

Group exhibitions include: I Was Raised on the Internet, MCA, Chicago; Open Codes, ZKM, Karlsruhe; When Facts Don’t Matter, Lismore Castle Arts, Lismore (2018); Transmediale, Berlin; Collecting Europe, V&A, London (2017); Then They Form Us, MCA, Santa Barbara; When I Give, I Give Myself, Van Gogh Museum, Amsterdam; Algorithmic Rubbish, Stedelijk Museum Bureau Amsterdam (2015). Dullaart has curated several exhibitions and lectured at universities and academies throughout Europe, most currently at the Werkplaats Typografie. Recently he has been awarded the Prix Net-Art 2015 and was a resident at the ISCP in New York in 2017.

Hanne Lippard

Hanne Lippard’s practice explores the voice as a medium. Her education in graphic design informs how language can be visually powerful; her texts are visual, rhythmic, and performative rather than purely informative, and her work is conveyed through a variety of disciplines, which include short films, sound pieces, installations and performance.

Her most recent performances and exhibitions include Ulyd, Kunsthall Stavanger, Stavanger and FriArt, Fribourg (2018); Voici Des Fleurs, La Loge, Brussels (2018); Blind Faith, Haus Der Kunst, Munich (2018); Norsk Skulpturbiennale, Oslo, NO (2017); Pocket, SALTS, Basel, CH (2017); Flesh, KW, Berlin, DE (2017); ars viva 2016; Index— The Swedish Contemporary Art Foundation, Stockholm, SE (2016); AUTOFOFFICE, *KURATOR, Rapperswil, CH (2016); Fluidity, Kunstverein, Hamburg, DE (2016); Galerie für Zeitgenössische Kunst, Leipzig, DE (2016); 6th Moscow Biennale of Contemporary Art, Moscow (2015); The Future of Memory, Kunsthalle Wien, Vienna (2015); Transmediale, Berlin (2015); Bielefelder Kunstverein, Bielefeld, DE (2015); Berliner Festspiele, Berlin (2013).

Karl Holmqvist

Karl Holmqvist, born in Västerås/Sweden, works with and around text and language.
After spending the 1990s in New York, he now lives and works in Berlin. Since the early 90s his oeuvre has revolved around text, published in various forms: on posters, as wall drawings, in installations, videos, or readings. Holmqvist juxtaposes text material of popular songs, political phrases, literary quotes, art historical references, and individual letters of the alphabet; he is a master of the ambiguity of words and sentences that he shifts around and re-combines to create new meanings.

His work has most recently been shown at Centre d’Art Contemporain, Geneva; Gavin Brown’s Enterprise, New York and Rome; Kunstverein Braunschweig; The Power Station, Dallas; Camden Art Centre, London; amongst many others.

Laure Prouvost

Language – in its broadest sense – permeates the video, sound, installation and performance work of French multi-media artist Laure Prouvost (born in Lille/France). Known for her immersive and mixed-media installations that combine film and installation in humorous and idiosyncratic ways, Prouvost’s work addresses miscommunication and things getting lost in translation. Playing with language as a tool for the imagination, Prouvost is interested in confounding linear narratives and expected associations among words, images, and meaning.

Her work has been shown at Palais de Tokyo, Paris, France (2018); BASS Museum, Miami, USA (2018);Witte de With Center for Contemporary Art, Rotterdam, The Netherlands (2017); and SALT Galata, Istanbul, Turkey (2017).
In 2013, Prouvost won the MaxMara Art Prize for Women and was the recipient of the Turner Prize. Prouvost was selected to represent France at the 58th International Art Biennial Venice in 2019.

Ruth Wolf-Rehfeldt

Ruth Wolf-Rehfeldt (born in Wurzen/East Germany) started in the early 1970s to create a series of “typewritings” by combining Teutonic rigor with a subversive sense of humor. Under her fingers, the black and red characters of an Erika Schreibmaschine became patterns, butterflies, waves, abstract compositions, diagrams of fluxes, and woven lines of poetry. Wolf-Rehfeldt was employed as an office manager, worked as a self-taught artist, and was an active participant of the international mail art movement despite the regime’s strict surveillance. Her and her husband Robert Rehfeldt’s studio in East Berlin’s Pankow became a hub for the local and international art community in the 1980s.

Wolf-Rehfeldt’s work has been shown amongst others at documenta 14, at the Albertinum, SKD, Dresden;  Hamburger Bahnhof – Museum für Gegenwart, Berlin; the Latvian Centre for Contemporary Art, Riga; Museum Barberini, Potsdam; and Malmö Konsthall, Malmö.