Coming from diverse backgrounds, Ittah Yoda have developed their artistic identity as a duo through digital technology, a vector of cross-cultural creative collaborations. Their collaboration gives birth to real, virtual and participatory forms that connect the heritage of humanity and the collective unconscious. Focusing on the collective and error, they explore the possibility of new collaborations between multiple cultures and space.
Their artwork unfolds as vast, generative and performative installations. Hosting a refined Artificial Intelligence, their pieces are continuously changing and ramifying according to their own dreamlike variations, in collaboration with the visitors’ gestures. The whole haptic experience falls within a therapeutic approach and forms an attempt to reframe ways of communicating and living together in the dawn of the Symbiocene.

Ittah Yoda’s recent exhibitions include Galerie Jérôme Poggi, Paris; Andrehn Schiptjenko Gallery, Stockholm; Double Sejour at Poush Manifesto, Clichy; Hagiwara Projects, Tokyo; Rencontres d’Arles; Sprout Curation, Tokyo; PM / AM Gallery, London; Carlier Gebauer, Berlin.

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Traversing from cinema, graphic design, illustration, painting and sculpture to music and writing, he tries to understand how the form and language of a particular medium are visualized and manipulated, in order to impose those codes onto another medium. His interest lies in playing with the possible porosity created by confrontation and through this methodology, he aims to open and diversify a language while exploring the edges of its possibilities. In his work Bray blends and conceptualizes all of the parameters of these expressions to build up symbolic narratives, commenting on our diverse existences and the appearances they embody.

Bray’s (b. 1989, France) recent exhibitions include Palais de Tokyo, Paris; Deborah Bowmann, Brussels; Dordrechts Museum; Unseen Amsterdam; Future Gallery, Berlin; FOAM, Amsterdam; Mama Rotterdam; Ravisius Textor, Nevers; Witte De With, Rotterdam; FC Hyena, Amsterdam.

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The idea of the object as an archaeological evidence that appears in certain compositions doesn’t reference to its passivity, and rather functions as a kind of assemblage that has to do with the incorporation of words, images, shapes and found objects to signify the distinctive attributes of those objects as an intrinsic element of a disembodied humanity. Through his eyes, matter often presents itself as a complex archaeological site characterized by a range of inanimate materials, life forms, technological artefacts, times in collapse and linguistic references. These structures combine fiction, life and inertness while triggering a space of transaction between the human linguistic way of apprehension and other forms of activating perception. Both human and non-human negotiate a dynamic entanglement with each other. Similarly Lamas’ oeuvre defies stability. Yet, there are recurrent approaches in his practice such as an interest for industrial products, the traces of humanity on nature or the body/technology entanglement; he also puts forward an aesthetic relationship between his work and rituals that invoke ephemeral images created by impulsive composition and interdependent making.”
Extract from Alejandro Alonso Diaz’s Matter exists differently here, 2017

Lamas’ (b. 1980, Peru) recent exhibitions include SMAK, Ghent; CCC OD, Tours; Spazio ORR, Brescia; Meessen De Clercq, Brussels; Sabot, Cluj; Ladera Oeste, Guadalajara; P/////AKT, Amsterdam; Fundació Joan Miró, Barcelona; Galería Lucía de la Puente, Peru; Loods 12, Wetteren; HOW Art Museum, Shanghai; Vienna Biennale for Change 2021; Beaufort Tiennial 2021; MO.CO, Montpellier; Witte De With, Rotterdam; Museum of Modern Art in Warsaw; Centre d’ Art Contemporain d’Ivry-sur-Seine; Trafó gallery, Budapest; CAB Art Center, Brussels; Carré d’Art de Nimes; Kunsthalle Mullhouse.

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She became renowned for making self-portrait videos that use her computer’s webcam and default effects tools, which she would then upload to YouTube and caption with spam text. Cortright’s paintings on aluminium, linen, paper, or acrylic are created in Photoshop using painting software and appropriated images, icons, and marks. The digital files are endlessly modifiable, but at a “decisive moment” they are translated into two-dimensional objects. They become finite, yet their range of motifs and marks, and their disorienting perspectives and dimensions suggest dynamic change.

Cortright’s (b. 1986, USA) recent exhibitons include MCA, Chicago; Walker Art Center, Minneapolis; Yerba Buena Center for the Arts, San Francisco; Hammer Museum, Los Angeles; Scottsdale Museum of Contemporary Art; Künstlerhaus, Halle für Kunst & Medien, Graz; SITE131, Dallas; 1301PE, Los Angeles; City Gallery, Wellington; Foxy Production, New York; Whitechapel Gallery, London; Société, Berlin; and Depart Foundation, Los Angeles.
Public projects have included commissions from Frank Gehry Partners, LLP; Midnight Moment, Times Square Arts, New York, NY; Art on theMART, Chicago, IL ; and SketchedSpace in Seoul, South Korea.

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Taking form through diverse media, installations of 3D printed sculptures, light-boxes, websites, texts, and virtual reality, Si-Qin’s work often challenges common notions of the organic vs the synthetic, the natural vs the cultural, the human vs non-human and other dualisms at the heart of western consciousness.
Si-Qin’s long-term meta-project is the proposal of a new secular faith in the face of climate change, global pandemics and biodiversity collapse, called New Peace. Through New Peace, individual works aggregate into a hyper-distributed, branded ecosystem of signifiers. Drawing from disparate disciplines like the anthropology of religion, marketing psychology, and new materialist philosophy, Si-Qin regards spiritualities as cultural softwares, capable of deep behavioural and political intervention. New Peace is thus a new protocol for the necessary renegotiation of our conceptual and spiritual relationship with the non-human. New Peace is an artwork, a church, a brand and a memetic machine.

Si-Qin’s (b. 1984, Germany) recent exhibitions include the first Diriyah Biennial, Riyadh; Von Ammon Co., Washington D.C.; Riga Biennial of Contemporary Art 2; the 2019 Asian Art Biennale; the 5th Ural Industrial Biennale of Contemporary Art; UCCA, Beideihe; Spazio Maiocchi, Milan; The Highline, NY; and Magician Space, Beijing.

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