GWENDOLINE CHO-NING KAM received her Bachelor of Arts in music from The Chinese University of Hong Kong in 2010, majoring in piano performance. Later that same year, she obtained the Licentiate of Trinity College of Music London with distinction. Aside from performing solo piano works, Kam also enjoys taking part in two-piano performances. In 2015, she established Le Duo with Dr Chris Guan-qing Wu, planning to have piano duo concert tour round China in 2017. Despite learning western music since young, Kam is also an enthusiast of Chinese Opera, especially kunqu.
You are here
Shambhavi Kaul’s cinematic constructions conjure uncanny, science-fictive non-places. Described as creating “zones of compression and dispersion,” her work utilizes strategies of montage and recirculation, inviting an affective response while simultaneously measuring our capacity to know what we encounter.
Sanjay Kak is an independent documentary film-maker whose recent work reflects his interests in ecology, alternatives and resistance politics. His films Jashn-e-Azadi (How We Celebrate Freedom, 2007, about the conflict in Kashmir), Words on Water (2002, about the struggle against the Narmada dams in central India), and In the Forest Hangs A Bridge (1999, about the making of a 1000 ft bridge of cane and bamboo in north east India) have been widely screened both in India and abroad.
Avijit Mukul Kishore is a cameraperson and film maker based in Mumbai, who works closely with video artists and documentary filmmakers. He grew up in Delhi and is a graduate in history from Hindu college. During this period, he worked with Feisal Alkazi’s Music Theatre Workshop, as well as working for programmes aimed at children and adolescents on Doordarshan, the Indian state TV channel. After a course of cinematography at the Film and Television Institute of India (FTII) in Pune, he came to Mumbai. His films have been shown at international film festivals and won critical acclaim.
Geeta Kapur (b.1943) is a Delhi-based critic and curator. She studied at the University of Delhi, New York University and Royal College of Art, London.
Sonia Khurana’s art practice centers around the poetics of inner experience, and the polemics of being in the world. Working equally with lens-based media, the moving image and with performance, she often stages encounters with spaces, cities and people. She continuously reconsiders the space of the political, played out through states of strangeness, alienation, displacement and embodiment.