Nova Paul is a filmmaker and senior lecturer at the School of Art and Design, Auckland University of Technology. Recent film projects include Pink and White Terraces (2006) and Our Future is in the Air  (2007) and The World Of Interiors (2008) Her 16mm films use the early cinematic technique of three colour separation (technicolour). Pink and White Terraces has screened internationally and nationally, including the New Zealand International Film Festival and Telecom Prospect 2007: New Art New Zealand, City Gallery Wellington. Our Future is in the Air was part of the 2007 New Artists show at Artspace, Auckland. The World Of Interiors was screened at the New Zealand Film Archive, Wellington. She currently coordinates Talk About Terror – a series of public forums that examine some of the issues that emerged from the fallout for Tuhoe  (tribe) and New Zealanders after the October 15 2007 police arrests under the Terrorism Suppression Act. She was one of three principal coordinators of the Cultural Futures: Place, Ground and Practice in the Asia Pacific New Media Art symposium (2005). She has recently a co-edited a book titled PLACE: Local Knowledge an New Media Practice by Cambridge Scholars Publishing (2008) which examines questions of belonging and identity in new media environments.
 

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Fouad Asfour, born in Offenbach am Main (Germany), is a linguist, living and working in Vienna and Johannesburg as freelance writer and editor. He worked as part of the editorial team of documenta 12 magazines, Kassel, editor of exhibition talks at Secession, Vienna, programme coordinator of the Projekt  Migration at Kölnischer Kunstverein, and as linguistic advisor for contemporary dance choreographies by Anne Juren. He is currently writing a PhD thesis on critical art writing in South Africa. He is member of The Dead Revolutionaries Club, Johannesburg   
 
Titarubi is a Yogyakarta-based artist. She received her degree in ceramics from Bandung Institute of Technology (Indonesia) and has been working as an artist since 1988. Her works, both solo and collaborative, have been exhibited widely in galleries and events across Asia and Europe including The 1st Singapore Biennale, Bali Biennale, Yogyakarta Biennale, CP Biennale Jakarta, and ZKM The Center for Art and Media (Karlsruhe, Germany), She is currently in receipt of a commission from the National Museum of Singapore’s Art-On-Site program, to be placed in the Museum’s rotunda. For this project she made a fiberglass copy of David (about 8.5 meters high, twice bigger than Michelangelo’s David), illuminated the body from inside, and dressed the sculpture in feminine attire: brightly coloured brocade. In coming months, her works will be exhibited in The National Gallery of Indonesia (Jakarta), Eslite Gallery (Teipei), The Museum and Art Gallery of the Northern Territory (Darwin, Australia) and The 2008 Busan Biennale Sculpture Project (Busan, Korea). She plans to present a solo show at the end of this year in Valentine Wllie Art Space, Kuala Lumpur, Malaysia.
 
Fiona Jack works across many media to investigate the conceptual, geographical and political definitions of shared space - a space that includes linguistic, physical, social and historical contexts.  By calling attention to things as diverse as a list of the nationalities excluded from a dictionary, to the barriers constructed along borders around the world since 9/11 in the name of ‘National Security’, Jack questions the terms and structures that shape our lives. In a recent collaborative project with the Tangata Whenua of Tamaki - Ngati Whatua (the local Maori of Auckland) a reconstructed palisade fence along Auckland’s waterfront recalls the fence that was built in 1943 to protect the Pa (Maori village) from encroaching urbanization and persecution. The Pa was eventually burnt to the ground and its residents evicted – remaining landless for almost 40 years. In a recent billboard project Jack installed street level billboards in London that housed over ten thousand drawings of borders in envelopes accompanied by the slogan ‘Please Take One’. In ‘75 Cuban revolutions’ seventy-five postcards honoring people who house illegal libraries in their homes were sent to a gallery in Cuba that exhibited only those that made it through the postal system.  Jack has also installed several site specific painting installations internationally that locate their process and critique within Situationist thinking, and are based on local research, collaboration and intervention to generate their form. Fiona graduated with an MFA from CalArts in Los Angeles in 2005 and has since exhibited in London, Chile, Australia, USA and New Zealand. She is a Lecturer at the University of Auckland and lives in New Zealand.
 

International Participants

Why Gather? Symposium, Melbourne (2008)

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Image Credit: Vasilios Devletoglou, 2008

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