Annie Albagli’s work explores new ways to witness a landscape and its relationship to human and nonhuman worlds by examining the cultural contexts from which they are born and the layers of manipulation that shape them. Her work has been shown nationally at such venues including the Headlands Center for the Arts, YBCA, the Corcoran Gallery of Art, and the Art Museum of the Americas and internationally, at Art Prospect in St. Petersburg, Russia, Trash Festival in Bishkek Kyrgyzstan, and Beita Gallery in Jerusalem. Her videos have been screened as part of the Imagined Biennials Project at the Tate Modern, the Bavarian Film Festival, ZWICKL in Schwandorf, Germany, and Artist Television Access in San Francisco, CA. She has participated in residencies throughout the U.S. and internationally including Djerassi, This Will Take Time, CEC Artslink Back Apartment Residency in St. Petersburg, Russia, Oberpfälzer Künstlerhaus in Schwandorf, Germany, and Art East in Bishkek, Kyrgyzstan.

Annie has contributed to various artists’ land projects such as AZ West, Mildred’s Lane, and Salmon Creek Farm. Between 2017-18, Albagli was a YBCA Truth Fellow. She is a co-founder and editor of the publication, WHIZ WORLD, and former Co-Director of the Royal Nonesuch Gallery. She is currently an Affiliate Artist in residence at the Headlands Center for the Arts and a visiting Artist at the Sierra Nevada College MFA-IA program.

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Luisa Caldwell is a multi-disciplinary artist whose projects range from mixed-media art pieces on paper to architecturally based installations. The work reflects her interests in patterns as cultural tropes and the upcycling of materials.

Luisa’s latest solo exhibitions appeared at Smack Mellon and Humanities Gallery at Long Island University in Brooklyn. Her recent residencies include Polenovo AIR in Tula, Russia, Guild House at Guild Hall in East Hampton NY, and Back Apartment Residency in St. Petersburg in 2019. During a follow up Back Apartment Residency, Luisa collaborated with the St. Petersburg-based artist Zhenya Machneva. Their shared interests in traditional arts drew attention to the disappearance of antique stained glass from residential buildings and their replacement with cheap plastic frames and glass. They collaborated on an immersive installation to inform and encourage the public to resist the destruction of the cities’ beauty and history.

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A researcher, artist, and science fiction writer, Anastasia Kizilova began her artistic career in 2001 as a student at the Stieglitz St. Petersburg State Academy of Art and Industry. In 2013, she presented the project The Artist’s Uniform, the aim of which was to interact with the participants of the professional art system, and in 2015 she co-organized the horizontal initiative, Flying Cooperation, which unites multi-skilled young artists, who were born in the Post-Soviet space (Belarus, Russia, Ukraine).

Since 2016, Anastasia has been collected an archive of unrealized artists’ ideas entitled Found Project: authors share their ideas for free so that other people who are in need of ideas can realize them. She currently works in the field of environmental communication, focusing on post-humanist and non-humanist ways of interacting by bringing together theoretical approaches such as queer-ecology, cyberfeminism, bio-anarchism, and practical methods such as performative creation of an interspecific collective body.

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Tara Catherine Pandeya is a second-generation dancer, cultural activist, choreographer, scholar and bridge-building artist, dedicated to the promotion of dance from the Central Asian Silk Road region. She uses embodiment practices through dance as a healing tool to empower. Tara’s work aims to support a rebalancing of our written historical record by privileging ephemeral knowledge (dance, kinesthetic and the oral) to provide a more direct, accessible, and inclusive way of knowledge sharing inclusive of marginalized groups and matrilineal storytelling. She creates dance works which evoke beauty, magical surrealism and wonder, inviting curiosity and a questioning of social norms through art.  

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Diana Shpungin is a Latvian-born artist based in Brooklyn whose work includes drawing, sculpture, installation, hand-drawn animation, video and sound. She has exhibited her work at the Brooklyn Museum of Art; Institute of Contemporary Art, Palm Beach, Marella Arte Contemporenea in Milan and others. Reviews of her work have appeared in publications such as Artforum, New York Magazine, The Village Voice, and The New York Times.

Diana intended to study collective memory and its functions through existing and destroyed architecture in St. Petersburg. She hoped to use this research to create a public art project with community involvement for the 2018 Art Prospect Festival. This new public project built on a recent large scale project Drawing Of A House (Triptych), which was a monumental, participatory work for SiTE:LAB in partnership with Habitat for Humanity and the City of Grand Rapids in the US.

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Charlotte Diana Thrane is a sculptor who orchestrates meetings between materials, objects and spaces, exploring the tension between opposing forces such as density & lightness, softness & hardness. Since 2011, she has created a number of large-scale, site-specific art works in cities and landscapes. She has exhibited in solo and group shows in Denmark, UK, France, Austria, Russia, USA, Italy and Sweden and has received numerous awards and grants.

For her Back Apartment Residency, Charlotte planned to create a color palette of walls in the city that had been painted over in order to cover former tagging and graffiti. The walls would not be brought back to their previous condition; instead, new abstract wall paintings would appear. The project represented a new way for Thrane to think about site-specificity and the mobility of art works.

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Natalia Tikhonova is a multidisciplinary artist, curator and media-researcher. She acquired her first education in theoretical physics, and after that in the field of art in Roerich Art College and School for young artists at Pro Arte Foundation.

Her work has been exhibited in Russia and abroad, including the Ural Industrial Biennale and Moscow International Biennale for Young Art. Natalia is an active participant in the Russian art scene and has organized many curatorial projects at the intersection of arts, technology and community-based art, including, Radio Hopes and Dreams: Moscow Edition! for Garage Museum, ArtGar(b)age Coop. and Spravochnik, which she conducted with the support of Northern branches of NCCA.

In 2019 Natalia received her MA in curatorial studies from Smolny/Bard College and successfully defended her thesis based on her research on online-platforms as a hybrid form of art.  Natalia also works with media about art and activism. She is a contributor and co-organizer of Spaika.media and “procartistination” tg channel, and a resident of the 2020/2021 Studio program of Garage Museum of Contemporary Art. 

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Nadezhda Valetskaia is a member of the Nadenka Creative Association established in 2014. This feminist art group of five artists includes Anastasia Makarenko, Maria Rybka, Maria Alexandrova, Alena Isakhanyan, all alumni of the School for Engaged Art “Chto Delat”, St. Petersburg.  She creates textile objects, video art, performances and public art, holds talks and seminars, as well as feminism awareness events and recycling workshops.  Nadezhda is interested in collectivity, sisterhood, art-activism, craftivism, self-education, learning and unlearning, gender studies and other artists.

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