ROSL Scholars Programme

Madiha Aijaz works with photographs, film, and fiction. Her practice is concerned with how people experience pleasure, privacy and entertainment in changing, often fractured urban spaces. She has been photographing railroads, traveling fairs, devotional towns and public libraries to read into found situations and conversations which embrace failure and yet continue to offer resistance. She is also interested in what the camera often accords – the simultaneous occurrence of veracity and theatricality in its reproduction of events and scenes.

Aijaz has shown in Pakistan and internationally and is currently developing a documentary feature on traveling fairs and performers in Pakistan with co-director Maheen Zia. The film has received support from Locarno’s Open Doors Programme and the IDFA Bertha Fund. Her book on the Hindu temples in Pakistan was published in 2014 (Call to Conscience, Abbasi, Aijaz, Niyogi Books, New Delhi).

Aijaz is an Assistant Professor at the Indus Valley School of Art and Architecture, Karachi and holds an MFA in Photography from Parsons as the recipient of the Fulbright Scholarship.

Liverpool Biennial presents the UK biennial of contemporary art. It takes place across the city in public places, unused buildings and galleries. The Biennial is underpinned by a programme of research, education, residencies and commissions. Founded in 1998, Liverpool Biennial has commissioned 305 new artworks and presented work by over 450 artists from around the world.

Liverpool Biennial 2018 takes place from 14 July – 28 October. Aijaz will also exhibit at the first Karachi Biennial between 22 October and 5 November 2017 and at The Tetley, Leeds, later in 2018.

www.madihaaijaz.com

http://www.biennial.com/2018/exhibition/artists/madiha-aijaz

Stephanie Hier was born in Toronto, Canada, in 1992 and is currently based between Toronto and New York. Recent exhibitions include: Part and Parcel, Downs and Ross, New York, 2017; Be true to your teeth and they won’t be false to you, NEOCHROME, Turin, 2017; Bone Dry, ThreeFourThreeFour, New York, 2016, Here’s the catch, Johannes Vogt Gallery, New York, 2015; Pot Shop, Ed Varie, New York, 2014

Hier’s work recognises that nothing sits in isolation, ideas and objects are emboldened by their neighbour and relationships constructed by context and surrounding, an idea emphasised by the internet, where all exists and is readily available in a single, level entity. It is within this flatness of possibility that Hier’s practice emerges: paintings that fold in imagery and symbols from a multitude of sources. Her use of contemporary cultural symbolism, such as temporary tattoos or cartoon hands, evokes the idea of the everyday and mass produced. The use of this content alongside skilled, traditional brushwork, opens up the relationships between images, art and painting.

Hier’s work speaks directly to the labour of artists and specifically the canon of painting, by depicting and displaying pertinent materials and tools used in the making of art, while also pointing a finger (both literally and figuratively) to all 21st Century image consumers. Her choice in materials, imagery, tools and references epitomises the visual world as it currently exists and the painter’s relationship to it.

David Dale Gallery and Studios is a non-profit contemporary art space based in the east end of Glasgow.

Established in 2009, David Dale Gallery and Studios promotes pioneering contemporary visual art through the commissioning and year round programming of new work and projects by early career international and UK based artists. Maintaining a commitment to providing opportunities and supporting the development of artists, curators and writers, David Dale Gallery and Studios intend to encourage professional development, education and community participation whilst delivering our core aim of presenting outstanding contemporary visual art. Additionally, the organisation operates an affordable artist studios facility, for the production and development of new work by emerging artists.

Hier will have a solo exhibition at David Dale Gallery in 2018.

http://www.stephaniehier.com/

http://www.daviddalegallery.co.uk/

“I am a lightworker and creative director born in Johannesburg. As a product of the fabled rainbow nation, in 2013 I was selected by the Mail & Guardian as one of the Top 200 Young South Africans.” Sekhukhuni studied Visual Arts at the University of Johannesburg and began working with the South African artist group CUSSGROUP. He makes art objects for a living through his studio practice; a visual culture bank and research gang called Open Time Coven, which investigates the roles emergent technologies play on culture and researches on repressed African spiritual philosophies. In 2014, working with set design, music and video, he presented his first solo exhibition at the Whatiftheworld Gallery, Cape Town. He has participated in group exhibitions in South Africa and abroad including the Stevenson Gallery (Johannesburg), Centre Pompidou (Paris), The Museum of Modern Art (Warsaw) and the Musee d’ART Moderne de la Ville de Paris.

NTU is an agency concerned with the spiritual futures of technology. Founded in 2015 by tech healers Bogosi Sekhukhuni, Nolan Oswald Dennis and Tabita Rezaire, NTU seeks to enhance intersubjective virtual user possibilities by providing decolonial therapies for the digital age. Drawing from African spiritual philosophies, NTU embrace the interdependency of the organic, spititual and technological realm to restore energetic imbalances. NTU presented Nervous Conditioner, a network prototype at Post African Futures exhibition in Johannesburg and collaborated with Saith Technologies for their first solo show commissioned by 89+ for the Co-Workers: Network as Artist exhibition at the Museum of Modern Art Paris.

Sekhukhuni and NTU presented an exhibition entitled UBULAWU at Auto Italia in London between 29 April and 11 June 2017. This was the collectives first solo exhibition in the UK. UBULAWU drew on the collective’s ongoing research project NTUSAVE and continued their engagement with Ubulawu – a sacred collection of plants used in traditional Southern African spiritual practice – and their phytochemical properties.

http://bogosisekhukhuni.tumblr.com/

UBULAWU in Auto Italia website

Review of UBULAWU on aqnb

Review of UBULAWU on bubblegumclub.co.za

Jessica Zhan Mei Yu is a writer and a Creative Writing PhD student at the University of Melbourne. She was selected as one of Melbourne Writers Festival’s 30 under 30 in 2015. Her work has been published in The Best Australian Poems, Overland, Cordite, The Lifted Brow, Award Winning Australian Writing, The Saturday Paper and more. She is currently working on her PhD thesis as well as her first novel. She has spoken and performed at Melbourne Writers Festival, Emerging Writers Festival, Digital Writers Festival and on ABC Radio and Triple R. She has received a Glenfern Fellowship and a Wheeler Centre Hot Desk Fellowship. She was awarded Best Fiction at the Express Media Awards in 2014, received second prize in the John Marsden Prize for Young Writers 2011 and was the Victorian recipient of the Taronga Poetry Prize in 2008.

Jessica Yu ‘s project at Rhubaba You hardboiled      I softboiled took place between 29 July and 27 August 2017. The project brought together the voices of Jessica, poet Sam Riviere, editor Claire Walsh, artists Valerie Norris and Rosalind Nashashibi and writer and multimedia artist Masha Tupitsyn. Presented as part of Edinburgh Art Festival, You hardboiled       I softboiled consisted of an in-gallery press, an exhibition, two p urpose built street-facing display cases and a one-off broadcast.

http://www.jessicazmyu.com/

Review on thisistomorrow.info

Tahi Moore is currently based in Auckland, New Zealand. He graduated from Elam School of Fine Arts, University of Auckland. He produces installations across a range of media including video, sculpture, painting and performance. Moore’s video works reference philosophy, literature, film and popular culture. His works have been shown in London, Los Angeles, Auckland, Melbourne and Lyon. Recent solo exhibitions include at Gertrude Contemporary, Melbourne, and Auto Noir, Artspace, Auckland, both 2014; and recent group exhibitions include Tahi Moore / John Skoog, Hopkinson Mossman, Auckland, 2014.

Moore presented a solo exhibition at The Grundy in Blackpool between 26 August and 23 December 2017. The exhibition, entitled, Kim Wilde’s Heart of Darkness was Moore’s first UK show. His work involves video, sculpture and text, constructing narratives that create associations which first appear unconnected but taken as a whole invite a deep and fertile new imaginative realm. The title Kim Wilde’s Heart of Darkness refers to Kim Wilde’s 1981 song ‘Cambodia’ – both a heart breaking story of an air force wife who loses her husband in the Vietnam War and typical, synthy 80s pop tune.

http://hopkinsonmossman.com/artist/?artist=Tahi+Moore&bio

Tahi Moore at the Grundy!

Bianca Baldi’s installations stem from an image making practice where borrowed and lost narratives are fashioned incorporating film, photography and collage. She grew up in KwaZulu Natal, South Africa and studied at the Michaelis School of Fine Art, University of Cape Town, followed by postgraduate studies at the Städelschule in Frankfurt am Main and IUAV University of Venice. Her most recent solo exhibition was Zero Latitude at the Goethe Institut, Johannesburg (2014). Baldi’s work has featured in recent group exhibitions at Kunstverein Braunschweig, Germany (2015); Videobrasil São Paulo, Brazil (2015); KZNSA, Durban, South Africa (2015); Frankfurter Kunstverein, Frankfurt (2015); and 8th Berlin Biennale of Contemporary Art, Berlin, Germany (2014).

“AV Festival is especially interested in how Baldi’s archival research based practice questions historical and colonial narratives. We are excited to be working with ROSL and Hospitalfield on Baldi’s first residency and public project in the UK.” Rebecca Shatwell, Director, AV Festival

AV Festival is a leading international Festival of contemporary visual art, film and music, based in Newcastle upon Tyne. A biennial event, the Festival is thematically curated to engage audiences with current ideas across contemporary artistic practice, politics and society. The 2014 edition of the Festival attracted over 80,000 visits to its programme of 12 exhibitions, 40 film screenings, 10 concerts and 10 new commissions.

Baldi has conducted site visits and research with AV Festival and did an artist talk event as part of the 2016 edition of the festival. She is working towards a public project in 2018 which takes its starting point from research she has conducted into Seaton Delaval Hall, a Vanbrugh-designed manor house in South East Northumberland. Drawn to the history of the Delaval family and their extravagant lifestyle, Baldi’s research focuses on this building constructed on the geographic benefits of coal, which fueled the industrial development of the area.

http://www.biancabaldi.net/

http://www.avfestival.co.uk/programme/2016/events-exhibitions/artist-talk-bianca-baldi

Image: Prologue to Livro de Todo o Universo (2015) Video still HD video colour sound 1,40 min. Courtesy and © Bianca Baldi.

Dineo Seshee Bopape is an artist living and working in South Africa. Dineo’s work brings together painting, drawing, video, performance and sculpture tackling themes such as sex, gender, speculation, and particularly, psychology. Recent exhibitions and screenings include: We need the memories of all our members, Hordaland Kunstenter, Bergen, Norway (2015); diagno: tocolo, M.1 Hohenlockstedt, Germany (2015) and The Film Will Always Be With You: South African Artists On Screen, Tate Modern, London (2015). She has a forthcoming exhibition at Hayward Gallery, London (2015).

Osei Bonsu is a British-Ghanaian independent curator and writer based in London. His writing has been included in a number of museum and exhibition catalogues including the 56th Venice Biennial Exhibition and Milan EXPO “Arts and Food” at La Triennale di Milano. He is the founding director of CRANE, and has developed a number of projects focused on international art, including “Pangea II: New Art from Africa and Latin America” (Saatchi Gallery, 2015) and 1-54 Art Fair (2013 – 14).

“Working with ROSL and Hospitalfield has allowed us to have a very strong working relationship with both Dineo Seshee Bopape and Osei Bonsu. We are looking forward to the project unfolding over the next year and are thrilled that a new work by Dineo will be part of our first year’s programme, when the galleries at Collective’s new home in the City Observatory Complex on Calton Hill are open to the public for the first time.” – Kate Gray, Director, Collective

Collective is a contemporary visual art organisation that delivers an exciting and ambitious programme of new exhibitions, commissions and off-site projects. Collective produces major new work by Scotland based and international artists who are at a pivotal stage in their development.

Collective was established in 1984 to support new and emergent artists and exhibit their work in Edinburgh. In 2013 Collective moved to Calton Hill to redevelop the City Observatory Complex with a vision to become a new kind of City Observatory for Edinburgh, a space in which practitioners, producers and publics can meet, then, debate, reflect upon the past and take action.

Bopape is working on a project which will be presented during the first year’s programme at Collective’s City Observatory Complex in 2018. In 2017 she won the Standard Bank Young Artists Award and the Future Generation Art Prize.

http://seshee.blogspot.co.uk/

http://www.collectivegallery.net/

Tamara Henderson is an artist from Sackville who lives and works in Stockholm and Vancouver.  She studied at NSCAD and Städelschule, Frankfurt am Main and she holds a Master’s from the Royal Institute of Art in Stockholm. Henderson frequently works collaboratively and has been included in a number of exhibitions both on her own and as part of a duo or group.  She recently exhibited in 2014 in two-person show Sans Tete au Monde at Kunsthall Stavanger, Norway, and in a solo exhibition at Rodeo, London.  Her work has also been exhibited A1C Gallery, St. John’s, Canada at Western Front, the Walter Phillips Gallery, Kunstverein Nürnberg and Documenta 13. In 2013 Henderson was shortlisted for the Sobey Art Award.

“We’re excited to be working with Tamara Henderson, an artist whose mode of practice incorporates instinctive and intuitive production relating to anthropomorphic sculpture, the space between dream and reality, and how that relates to the subconscious, which makes her a perfect candidate for a residency, particularly in a place like Hospitalfield, where the enigmatic surroundings and influence can be incorporated into the work, and shape the project.” Glasgow International

Glasgow International is a world-renowned biennial festival of contemporary art. The seventh edition happened from 8th – 25th April 2016 and was curated and co-ordinated by Director, Sarah McCrory.

The festival showcases Glasgow as a unique, major centre for the production and presentation of contemporary visual art. Taking place in various venues and locations across the city, including Glasgow’s major art spaces and cultural institutions, the Festival will be comprised of an ambitious programme which includes exhibitions, events, talks, performances and projects by international and Glasgow-based artists.

The outcome of Henderson’s project was a large scale solo exhibition at the Mitchell Library as part of Glasgow International 2016 called Season’s End. The work was later presented at RedCat in California. The research for these works focused around past and present totems, seasonal change, pagan gods and goddesses, fairies and scarecrows.  A central figure was of the garden photographer with a lofty body of plants, wood and fabric, who captured memories using a pinhole camera apparatus.

“While she stands she remembers; while she remembers she photographs; her nervous system is a system of flash-bulbs.”  Tamara Henderson

http://rodeo-gallery.com/artists/tamara-henderson/

http://glasgowinternational.org/

Review of Season’s End in The Scotsman

https://www.redcat.org/exhibition/tamara-henderson-seasons-end-panting-healer

Canada – selected with the Edinburgh Arts Festival

Julie Favreau’s practice, located at the crossroads of visual art and choreography, is based on inventing gestures out of objects (sculptures) or, conversely, on inventing sculptures out of gestures. Her projects take on different forms, such as installation, video, sculpture, performance, and photography. In 2012, Favreau received the Claudine and Stephen Bronfman Fellowship in Contemporary Art and was long listed for the Sobey Art Award.

Favreau presented a solo exhibition including a new video work entitled She century at the Scottish National Gallery of Modern Art, Modern Two as part of the Edinburgh Art Festival in 2015. She century has at its core an elastic rope, from which Favreau builds a richly ambiguous narrative centred on an isolated female figure. Part hunter, part magician, Favreau’s female protagonist conjures an invisible parallel world with her rope. She century was developed with Caroline Dubois, Pierre-Yves Martel (music), Simon Plouffe (sound), Shu Lorimer (camera) and Daniel Warren (production).

http://www.juliefavreau.com/

http://www.edinburghartfestival.com/

Favreau’s project features on page 7 of this PDF programme for Edinburgh Art Festival 2015

Singapore – selected with Camden Arts  Centre

Song-Ming Ang is based in Berlin and Singapore. He graduated from Goldsmiths College, London with an MA Aural & Visual Cultures in 2009 following a BA in English Literature at the National University of Singapore. Our relationships to making and listening to music are key to Ang’s approach, with musical instruments being made and deconstructed in video pieces like Parts and Labour, 2012; and shared experience of listening to music being part of his event-based projects like Guilty Pleasures, 2007 and ongoing. Recent projects include at 14^th Istanbul Biennial: Saltwater; and a group exhibition Ritornello, at Darb 1718 in Cairo in 2015. Since 2010 he has undertaken residencies in Künstlerhaus Bethanien, Germany; ARCUS Project, Japan and Gertrude Contemporary, Australia.

Song Ming Ang presented a solo exhibition and event series Do-It-Yourself at Camden Arts Centre in 2015. The project focused on Ang’s interest in music and its relationship to the amateur. Alongside screenings, workshops, performances and talks, Ang presented Music Manuscript (2013-), an ongoing series of works using music manuscript paper as a basis for creating visual compositions, and a selection of his films.

http://www.circadiansongs.com/

https://www.camdenartscentre.org/whats-on/view/sma

Trinidad & Tobago – selected with CCA, Glasgow

Adele Todd studied in the United States graduating from Pratt Institute New York with a BFA in Graphic Design in 1991. Looking at heavy societal issues, using thread in the traditional art of embroidery, is at the heart of the work of Adele Todd. She also practices Performance. From the islands of Trinidad and Tobago, Todd’s work has been seen internationally at two Beijing Biennales, and in America at the group show for contemporary Caribbean Art, Rockstone & Bootheel, among others.

Todd exhibited as part of the three-person show Spirit Levels at the Centre for Contemporary Art in Glasgow between 26 July and 7 September 2014. Todd’s work in the exhibition were ones which employed domestic materials and techniques such as thread, embroidery and felt. The works were grounded in specific social concerns, such as the stereotyping of both boys and girls coming-of-age in Trinidadian culture.

http://adeletodd.wordpress.com/

Sexypinkon.tumblr.com

Review of Spirit Levels in The List

http://www.cca-glasgow.com/archive/tony-cruz-remy-jungerman–adele-todd–spirit-levels

South Africa – selected with Iniva, London

Lerato Shadi is a South African artist who lives in Berlin, Germany. She completed a BFA in Fine Art from the University of Johannesburg and is currently studying for an MFA from Kunsthochschule Berlin Weissensee. The prevailing themes in Shadi’s work are a performative investigation into transformation, or transition, through performance from absence to presence, from subject to object, and vice versa. She uses elements such as concentration, breath, duration and span to establish an exploration of the performer in space and time. Knitting, installation, video and sound are some of the media Shadi has utilised. An additional and intrinsic element to her work is the titling, mainly in her mother tongue Setswana, which plays on the politics of inclusion and exclusion. In 2010 she had a solo exhibition Mosako Wa Seipone at GoetheonMain in Johannesburg. From 2010 to 2012 she was a member of the Bag Factory artist studios in Fordsburg, Johannesburg. In 2012 her work was featured at the Dak’art Biennale in Senegal and in the III Moscow International Biennale. She is a fellow of Sommerakademie 2013 (Zentrum Paul Klee).

Lerato Shadi presented a solo window performance and installation at Iniva in London between 9 and 16 December 2014 and took part in a in-conversation event on 12 December 2014. The project, entitled Makhuba, saw Shadi use her own body to investigate ‘the politics of transformation, or transition, from absence to presence, subject to object, inclusion, exclusion and vice versa‘. Makhuba was a companion piece to Seipone, a work performed in Berlin and Johannesburg in 2012, where she wrote about her past, and on alternate days she created and erased words. The new work focused on the future. She conjured a future for herself connected to society, placing herself in the world; writing and erasing on consecutive days.

http://www.lerato-shadi.net

http://www.iniva.org/

Pakistan – selected with GENERATORprojects, Dundee

Mehreen Murtaza is an artist who works in a variety of media based in Lahore, Pakistan. She graduated with a Batchelor of Fine Art from Beaconhouse National University, Lahore in 2008. By manipulating the viewer to create confusion, Murtaza presents everyday objects as well as references to texts, painting and architecture. Pompous writings and Utopian constructivist designs are juxtaposed with trivial objects. Her artworks bear strong political references and the possibility or the dream of the annulment of a (historically or socially) fixed identity is a constant focal point. In 2013 Murtaza has exhibited in We have Arrived Nowhere, 2^nd Transnational Pavilion, 55^thBiennale di Venezia and has forthcoming projects with The Studio Museum, New York, USA; Experimenter, Kolkata, India; and a solo show Transmission From A Missing Satellite as part of Frame, Frieze London.

Murtaza was part of a three-person exhibition, To Sail Beyond the Sunset, curated by GENERATORprojects in Dundee between 22 November and 21 December 2014. In this exhibition Murtaza recreated the office of Nobel Prize winning scientist Abdus Salam’s office circa 1970. Through a series of sound works the audience were invited to listen to voice recordings of the scientist’s voice speaking from another dimension. Taking on the most fantastical possibilities of quantum theory, Murtaza explores the notion of quantum communication: the ability to communicate with the future via a manipulation of quantum wave/particle duality.

www.mehreenmurtaza.com

To Sail Beyond the Sunset exhibition info

Video preview of To Sail Beyond the Sunset on artinscotland.tv

http://generatorprojects.co.uk/