Ruang MES 56 is a non-profit institution which was established in Yogyakarta in 2002 by a group of artists, and function itself as a production laboratory and idea dissemination of photo-based art, emphasizing on exploratory and experimental approaches, conceptually and contextually. The mission is to develop contemporary art discourse and visual culture, and also to optimize the art networking within the Southeast Asian region through several programs and activities such as residency/discussion, exhibition and interdisciplinary art projects.
Martina Copley is an artist, curator and writer interested in different modalities of practice and the annotative space. Working in film and sound, drawing and installation, she is researching a PhD of Fine Arts at the Victorian College of the Arts, University of Melbourne. Martina has significant experience as an independent curator of contemporary art and gallery manager in public, commercial and artist-run contexts. In 2001 she was arts ambassador for the Australian Pavilion of the Venice Biennale and curated WALK, a national touring exhibition with NETS Victoria in 2009. She was the founding curator of MAILBOX an independent public art space in Melbourne CBD, established in 2006. Martina lectures at LaTrobe College of Art + Design in Melbourne and is the gallery coordinator at BLINDSIDE Art Space.
Gabrielle de Vietri is a Melbourne-based artist with a concept-driven, socially-engaged collaborative practice. Her work has taken form as pedagogical systems, community events, interactive public performances, documents, invented languages, fictional historical insertions, lectures and gardens. She has carried out projects in non-traditional locations, and held exhibitions in major Australian institutions and internationally in public spaces, galleries and museums. Gabrielle is a current Sidney Myer Creative Fellow. She is co-director with Will Foster of A Centre for Everything, a curated series of events, meals, workshops and performances that activate collective political and creative engagement.
Channon Goodwin is the current Director of Bus Projects. Prior to this position, he worked as Program Coordinator – Visual Arts at Metro Arts, Brisbane (2009-2012) and Project Assistant, Exhibition Management at Queensland Art Gallery | Gallery of Modern Art (2007-2008). Channon was a founding Co-Director (2007-2011) and Chair (2011-2012) of the Board of Boxcopy, Brisbane. His recent projects include: ‘Put Up a Signal’ (residency and exhibition project at MES56 in Yogyakarta, Indonesia) ‘Thank you very much’ and ‘Surface Noise’ (Bus Projects), ‘1769 – 1782’ (Museum of Brisbane), ‘The Knowledge’ (Singapore residency supported by 2011 Next Wave and Asialink), ‘Simple Pleasures’ (2010 Next Wave Festival) and ‘Grid North’ (The Block, Queensland University of Technology). He holds a Bachelor of Fine Art (Visual Art) with Honours from Queensland University of Technology, and has shown his work locally and nationally in group and solo exhibitions.
Eugenia Lim works across video, performance and installation to explore the formation of nationalism and stereotypes with a critical but humorous eye. She invents personas to explore alienation and belonging in a globalised world. Her work has been exhibited internationally at festivals and venues including the Tate Modern, Dark MOFO, Melbourne Festival, Next Wave, GOMA, ACMI, Asia TOPA, Bus Projects, HUN Gallery NY, firstdraft, Artereal Gallery, FACT Liverpool and EXiS Seoul. She has been artist-in-residence with the Experimental Television Centre NY, Bundanon Trust, 4A Beijing Studio with Shen Shaomin and the Robin Boyd Foundation. Artistic community and the intersection between art and society inform Lim’s wider collaborations: she co-directed the inaugural Channels Festival (2013), is a board member at Next Wave, was founding editor of Assemble Papers (2011–2016) and co-founded temporal art collective Tape Projects (2007–2013).
Kade McDonald is an independent arts and cultural management consultant for remote Indigenous art centres across the country. He is engaged directly by communities and acts on behalf of the Association of Northern Kimberley and Arnhem Aboriginal Artists (ANKAAA) – the peak agency for more than 5,000 artists in the Top End and Kimberley regions of Australia.
He is the founding director of Hanging Valley, a curatorial collective and gallery that aims to explore and promote contemporary Indigenous visual culture in a variety of locations and experience platforms. Kade is the co-curator of Madayin a major touring exhibition of Indigenous artefacts housed in American institutions in collaboration with the Kluge-Ruhe Museum in Virginia and is the primary curator for the Deborah and Dennis Scholl collection in Miami.
Kade McDonald was the coordinator of Buku-Larrnggay Mulka art centre, in the remote community of Yirrkala, in Northeast Arnhem Land NT for six years and was the founding director of Bus Projects, an artist run initiative, in Melbourne until 2005 when he handed over the directors roll to pursue other business opportunities.
I work with video to look at the intersection of natural and social history. Working often around urban waterways I use studies of plants, insects, microbes and rubbish to examine often overlooked elements of the environment that can tell us important things about how we are enmeshed within ecosystems. In 2017 I have had two exhibition in the CLIMARTE festival whilst in 2016 I gave performance lectures in Sweden and Norway. Over the last couple of years, I’ve had exhibitions at home as well as in Tokyo, Stockholm and Shanghai and been part of the Spatial Dialogues Australian Research Council project on water in the Asia Pacific region. I work as an Associate Professor at RMIT University’s School of Art.
LO Shih Tung, member of OCAC (Open Contemporary Art Center). he is currently active at the projects, such as ThaiTai – A Measure of Understanding, THAITAI FEVER in 2012-2013 and CO- Temporary : Southeast Asia - Taiwan Forum and Exchange Program on Arts and Culture in 2016. In recent years LO has personally been participating in regional art programs around South East Asia counties, such as 2014 Beyond Pressure Public Art Festival in Myanmar, 2014 Project Glocal Penang and 2015 DA+C Festival in Malaysia and 2016-2017 365 Days : Life Muse in Thailand. In 2014 LO gained the grant of Overseas Arts Travel from The National Culture and Arts Foundation (NCAF) and preceded his research with local art spaces and organisations in Indonesia, Philippines and Thailand. LO Shih Tung was also the director of artist-run space OCAC from 2010 to 2013.
Frances is a New Zealand born Tongan, of Vava’u and Nuku’alofa descent.
Graduating with a degree in fashion design, Frances worked in the fashion and film industries in New Zealand before migrating to Melbourne. She has dedicated the last nine years to living and working with remote Indigenous communities.
Inspired by early cultural influences and her work with Indigenous communities, Frances constantly refines and evolves her craft, extending her creative practice to include wearable art, print and spoken word. Her works have featured in numerous exhibitions across Australia and New Zealand and have been added to permanent collections internationally.