STELARC / BUNSHIN: Split Body Multilateral Research Lab

We are launching a new Art Science lab consisting of artists, researchers, and cultural professionals from the Asia-Pacific region mainly including Australia, Japan, Korea and Indonesia, which might expand to other Asia-Pacific countries in the future. Through the creative practice of Stelarc, a leading Australian performance artist who continues to have a profound influence on artists and researchers in various countries, we will hold multinational and cross-disciplinary idea-sharing, discussion, and talk sessions to develop the basis for future Art Science research projects, exhibitions, performances, workshops, and other projects related to the same theme. The Research Lab Program is approximately an one-year networking platform that will serve as a remote / physical laboratory for the participants to gain inspirations for their daily practice / research as well as to co-create a new cultural and scientific narrative across those Asia-Pacific countries.

The participants are selected by the organizer and will be possibly invited by the other participating members after researching the candidates who have a direct influence or are deeply inspired by Stelarc’s works. This lab project will also contribute to connecting with other researchers / artists from Asia-Pacific regions who have been influenced by Stelarc and have collaborated with him.

The participants in the lab will conduct further research on the theme and will create a collective writings /booklet (digital and physical) for distribution as an outcome of this lab program. 

▶️Reservation of Digital Booklet (to be published after March 2026) *free download for a specific period of time

Why is it initiated in Japan? – Stelarc was born in Cyprus and soon after he became an Australian citizen. In 1970, he came to Japan for the World Expo Osaka and resided in Yokohama,Japan from that time to the late 1980s. Living and working internationally as an artist based in Japan for 19 years, his prominent robotic arm work “Third Hand” was created in collaboration with the local Japanese robotics engineers.That was an epoch-making event in the Art & Science scene and also indicated the further aesthetic and technological development of Media Art and Bio Art after that time. The scientists from the following generations have been referring to Stelarc’s works like “Third Hand” until now and their research often has a great influence by the artist’s practice. We can rediscover this Art-Science feedback loop through his 50 years career.

 

“Bunshin” in Japanese, as represented in this lab, means other self, separated self or alter ego and its central motifs are autoscopy, internal other being, twins, “other existence” , which can be also translated into “Split Body” which Stelarc describes as an interesting research theme and possible future embodiment of artistic practice. “Split Body” is a physical / mental status that can be experienced through the artist / human body , partly involuntary and partly agent-driven, in the artist’s words, a fusion of Fractal Flesh (physical body) and Phantom Flesh (avatar).  

The idea of “Bunshin” or “Split Body” or relevant, physical / virtual experiences are frequently seen in the ancient myths , like those of different local villages, districts and in any other countries’ folk tales which sometimes narrate the foundation of the country or the lands and even sustain the local identities.

On the other hand, when it comes to science fields, it has been a long researched topic, future solutions , even a challenged issue in the technologically developed society.

Augmented human, enhancement of physical abilities using robotics are often associated with Posthuman topics though, considering the drastic evolution of these scientific fields and the possible fact that those research findings will go to the market in the very near future, we hope to work beyond the ongoing Posthuman perspective.

Through this research and exchange program,  we hope to develop a platform for artists , researchers, curators in the coming generations and build a new narrative in the Art and Science fields.

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セッション１　「Cybernetic being Meetup vol.9  – スプリット・ボディは「分身」なのか？- 」

 

Participants:

“Performing Bodies, Innate Technologies”

Are split bodies ‘duplicates’? This session introduces Stelarc’s performance concept, view of the body, and interdisciplinary practices and ideas in the fields of art and science. It also features panels from various countries to conduct new thought experiments from various perspectives, including life sciences, human augmentation, media art, and bio art.

Stelarc

Stelarc is an Australian performance artist, who has lived in Japan for 19 years. His projects and performances explore alternate anatomical architectures, interrogating issues of embodiment, agency, identity and the post-human. Stelarc’s works incorporate Prosthetics, Robotics, Medical Imaging and Biotechnology.

Between 1973-1975 he made 3 films of the inside of his body. Between 1976-1988 he completed 27 body suspensions with insertions into his skin. He has performed with a Third Hand, a Stomach Sculpture and Exoskeleton, a 6-legged walking robot.  Fractal Flesh, Ping Body and Parasite are internet performances that explore remote and involuntary choreography via a muscle stimulation system. He is surgically constructing and stem-cell growing an ear on his arm that will be electronically augmented and internet enabled. For the 2020 Adelaide Biennial of Australian Art he exhibited and performed with a 9m long 4m high Reclining StickMan robot with online interactivity. His recent projects and performances in 2022 include Anthropomorphic Machine, Melbourne, Human / Code Ensemble, Yokohama and StickMan / miniStickMan, Melbourne. In 2023,  Corporeal Counterpoint at Keio Media Design, Yokohama,  Sculpting Sound, Krakow, and in 2024,  “KYOSHIN” Sonic Resonance at CCBT, Shibuya, Tokyo, followed by the UNESCO Creative Cities of Media Art Global Forum “공진”,G.MAP, Gwangju, South Korea.

Researcher: Kouta Minamizawa  (Keio Media Design)

Professor, Keio University Graduate School of Media Design (KMD)

Project Manager, Project Cybernetic being, JST Moonshot R&D Program

KMD Embodied Media Project  https://www.embodiedmedia.org

JST Moonshot | Project Cybernetic being  https://cybernetic-being.org

Haptic Design Project   http://hapticdesign.org

After receiving his PhD. in Information Science and Technology from the University of Tokyo in 2010, he joined KMD and directs KMD Embodied Media Project, where conducts research and social deployment of embodied media that transfer, enhance, and create human experiences with digital technologies. His research expertise includes Haptics,  Embodied Interaction, Virtual Reality, and Telexistence. He also promotes activities on Haptic design as well as serves as a project manager of the Cybernetic being project under the Japan government’s Moonshot R&D program.

Researcher: Hideo Iwassaki (Waseda University)

Director of metaPhorest (bioaesthetics platform), Professor, Waseda University

metaPhorest: https://metaphorest.org/en/about/

Biologist and artist. Director of metaPhorest (bioaesthetics platform), Professor, Waseda University. He is interested in the complicated relationship among scientific, philosophical, cultural, historical and aesthetic views of life. In 2007 he founded metaPhorest, an interdisciplinary art/science platform, where both artists and biologists share space for science and art simultaneously. He has also studied molecular microbiology and chronobiology, and is a co-founder of the Japanese synthetic biology society (Japanese Society for Cell Synthesis Research). He has received the Excellent Award of the Japan Media Art Festival, Research Awards from Japanese Chronobiology Society and Japanese Society for Microbial Genomics, etc.

Researcher : Tomoko Shimizu ( Tokyo University of the Arts )

Professor at  the Graduate School of Global Arts, Tokyo University of the Arts

https://www.shimizu.geidai.ac.jp/about

Professor at the Graduate School of Global Arts, Tokyo University of the Arts. Her areas of specialization include cultural theory and media studies. Focusing on the intersections of art and technology, her research engages with themes such as animal, gender, the body, and posthumanism. She holds a Ph.D. in Literature from the Doctoral Program in Literature and Linguistics at the University of Tsukuba. She previously held teaching and research positions at Yamanashi University and the University of Tsukuba, and served as a visiting scholar at the Reischauer Institute of Japanese Studies, Harvard University (Fulbright Fellow), and at Freie Universität Berlin. She is the author of Bunka to Bouryoku (Culture and Violence: The Unravelling Union Jack) Getsuyosha 2013, and Dizuni to Doubutsu (Disney and Animals: Breaking the Spell of Magic Kingdom) Chikuma Shobo 2021. Her co-translation works include: Notes Toward a Performative Theory of Assembly by Judith Butler, Declaration by Antonio Negri and Michael Hart, and Surveillance after September 11 by David Lyon.

Stelarc is an Australian performance artist, who has lived in Japan for 19 years. His projects and performances explore alternate anatomical architectures, interrogating issues of embodiment, agency, identity and the post-human. Stelarc’s works incorporate Prosthetics, Robotics, Medical Imaging and Biotechnology.

Between 1973-1975 he made 3 films of the inside of his body. Between 1976-1988 he completed 27 body suspensions with insertions into his skin. He has performed with a Third Hand, a Stomach Sculpture and Exoskeleton, a 6-legged walking robot.  Fractal Flesh, Ping Body and Parasite are internet performances that explore remote and involuntary choreography via a muscle stimulation system. He is surgically constructing and stem-cell growing an ear on his arm that will be electronically augmented and internet enabled. For the 2020 Adelaide Biennial of Australian Art he exhibited and performed with a 9m long 4m high Reclining StickMan robot with online interactivity. His recent projects and performances in 2022 include Anthropomorphic Machine, Melbourne, Human / Code Ensemble, Yokohama and StickMan / miniStickMan, Melbourne. In 2023,  Corporeal Counterpoint at Keio Media Design, Yokohama,  Sculpting Sound, Krakow, and in 2024,  “KYOSHIN” Sonic Resonance at CCBT, Shibuya, Tokyo, followed by the UNESCO Creative Cities of Media Art Global Forum “공진”,G.MAP, Gwangju, South Korea.

Researcher: Kouta Minamizawa  (Keio Media Design)

Professor, Keio University Graduate School of Media Design (KMD)

Project Manager, Project Cybernetic being, JST Moonshot R&D Program

KMD Embodied Media Project  https://www.embodiedmedia.org

JST Moonshot | Project Cybernetic being  https://cybernetic-being.org

Haptic Design Project   http://hapticdesign.org

After receiving his PhD. in Information Science and Technology from the University of Tokyo in 2010, he joined KMD and directs KMD Embodied Media Project, where conducts research and social deployment of embodied media that transfer, enhance, and create human experiences with digital technologies. His research expertise includes Haptics,  Embodied Interaction, Virtual Reality, and Telexistence. He also promotes activities on Haptic design as well as serves as a project manager of the Cybernetic being project under the Japan government’s Moonshot R&D program.

Researcher: Hideo Iwassaki (Waseda University)

Director of metaPhorest (bioaesthetics platform), Professor, Waseda University

metaPhorest: https://metaphorest.org/en/about/

Biologist and artist. Director of metaPhorest (bioaesthetics platform), Professor, Waseda University. He is interested in the complicated relationship among scientific, philosophical, cultural, historical and aesthetic views of life. In 2007 he founded metaPhorest, an interdisciplinary art/science platform, where both artists and biologists share space for science and art simultaneously. He has also studied molecular microbiology and chronobiology, and is a co-founder of the Japanese synthetic biology society (Japanese Society for Cell Synthesis Research). He has received the Excellent Award of the Japan Media Art Festival, Research Awards from Japanese Chronobiology Society and Japanese Society for Microbial Genomics, etc.

Researcher : Tomoko Shimizu ( Tokyo University of the Arts )

Professor at  the Graduate School of Global Arts, Tokyo University of the Arts

https://www.shimizu.geidai.ac.jp/about

Professor at the Graduate School of Global Arts, Tokyo University of the Arts. Her areas of specialization include cultural theory and media studies. Focusing on the intersections of art and technology, her research engages with themes such as animal, gender, the body, and posthumanism. She holds a Ph.D. in Literature from the Doctoral Program in Literature and Linguistics at the University of Tsukuba. She previously held teaching and research positions at Yamanashi University and the University of Tsukuba, and served as a visiting scholar at the Reischauer Institute of Japanese Studies, Harvard University (Fulbright Fellow), and at Freie Universität Berlin. She is the author of Bunka to Bouryoku (Culture and Violence: The Unravelling Union Jack) Getsuyosha 2013, and Dizuni to Doubutsu (Disney and Animals: Breaking the Spell of Magic Kingdom) Chikuma Shobo 2021. Her co-translation works include: Notes Toward a Performative Theory of Assembly by Judith Butler, Declaration by Antonio Negri and Michael Hart, and Surveillance after September 11 by David Lyon.

セッション2 　「アート＆サイエンスの新たな地平〜2050年の国際展〜」

 

Participants:

 

‘New Horizons in Art & Science: International Exhibition in 2050’

The world is undergoing drastic changes in terms of geopolitics and climate change. With the rapid advancement of technology and AI, the issues, themes, and methods of expression in the field of art and science are also changing daily. In an era where human existence and creativity are once again being put to the test, and looking toward the future of 2050, what are the priority themes that countries and fields should address? What should the structure of international exhibitions and cross-disciplinary projects in the art and science field be? This session will feature panel discussions from Thailand, Indonesia, South Korea, Australia, and Japan, sharing practical examples from diverse backgrounds.

Anna Davis

Anna Davis is a curator and researcher of contemporary art with over 20 years’ experience. As Curator at the Museum of Contemporary Art Australia, she is a leading advocate for the arts, shaping and presenting the museum’s artistic program, developing exhibitions and commissions, and contributing to the growth and display of its permanent collection. Anna has led major exhibition projects and commissions with artists including Tarek Atoui, Zheng Bo, Daniel Boyd, Yuko Mohri, Marguerite Humeau, Moon Kyungwon & Joonho Jeon, Patricia Piccinini, Stelarc and Lu Yang. Her exhibitions have been presented at institutions such as the Museum of Modern and Contemporary Art (MMCA) Korea, Christchurch Art Gallery Te Puna o Waiwhetū, Aotearoa New Zealand, The Art Gallery of New South Wales, Perth Institute of Contemporary Arts (PICA), and TarraWarra Museum of Art, Victoria.

Anna’s research focuses on the intersections of art, technology, and future ecologies, encouraging critical thinking around these connections. Her curatorial practice emphasises creating new platforms for artists to present experimental work and fostering interdisciplinary dialogue with diverse audiences. In 2022, she was one of five co-curators of rīvus: the 23rd Biennale of Sydney, which highlighted non-human perspectives through a series of conceptual wetlands across the city. In 2015/16, she co-curated New Romance: Art and the Posthuman and was co-director of Energies in the Arts, a multidisciplinary research project presented in conjunction with her award-winning exhibition, Energies: Haines & Hinterding.

Anna holds a PhD in Media Arts from the University of New South Wales and is a frequent presenter on contemporary art. Her writing contributes significantly to the field, and she has edited and authored numerous exhibition catalogues and artist monographs, including Jenny Watson: The Fabric of Fantasy (2017), Claire Healy & Sean Cordeiro (2012), Sun Xun (2018), and most recently, Nicholas Mangan: A World Undone (2024), co-edited with Anneke Jaspers and published by MCA Australia and Lenz Press, Milan.

Pat Pataranutaporn, Ph.D. is an assistant professor and a researcher at the Massachusetts Institute of Technology (MIT). He serves as a co-director of the Cyborg Psychology research group at the MIT Media Lab and also the Advancing Humans with AI (AHA) research program Research Program. His research lies at the intersection of AI and human-computer interaction, where he develops and studies AI systems that support human flourishing.

Pataranutaporn’s research contributions have been published in numerous peer-reviewed journals and conferences, such as Nature Machine Intelligence, The New England Journal of Medicine AI, ACM SIGCHI, ACM IUI, ACM SIGGRAPH, IEEE, and NeurIPS. His work has been highlighted by the United Nations AI for Good forum, and has been featured in MIT Tech Review, the Guardian, New York Times, Washington Post, Forbes, the Atlantic, Scientific American, Wall Street Journal, National Geographic, and more. Pataranutaporn’s work has also been honored as one of TIME’s “Best Inventions of 2023” and was included in Fast Company’s “World Changing Ideas” in 2023 and 2025.

Pataranutaporn has been awarded fellowships and grants by multiple research agencies and corporations, including NASA, OpenAI, MIT J-WEL, KBTG, Bose, MQDC, and NTT Data. He has also collaborated with researchers from both academia and industry, including researchers from Stanford Medicine, Harvard, Mass General Brigham, UCSB, UCLA, UC Irvine, Microsoft Research, OpenAI, NTT Data, and more.

 

Pat’s projects have been exhibited at the MIT Museum (Massachusetts), Asia Pacific Triennial (Queensland Art Gallery, Australia), The Art Gallery of Western Australia (Australia) MAXXI – National Museum of 21st Century Art (Italy), Bangkok Art Biennale (Thailand), Bangkok City Gallery (Thailand), National Museum of Singapore (Singapore), Essex Peabody Museum (USA), London Design Festival (UK), Transmediale Festival (Germany), National Taiwan Science Education Center (Taiwan), IDEA Museum (Arizona), Mesa Arts Center (Arizona), Autodesk Gallery (California), SIGGRAPH Asia (Tokyo), Ars Electronica (Virtual) and more. Pat also serve as the co-creator and writer for the Netflix sci-fi anthology series “Tomorrow and i” premiered in 2024.

Kawita Vatanajyankur has gained international recognition since graduating with a BA in Fine Art from RMIT University in 2011. In 2015, she was a Finalist in the Jaguar Asia Pacific Tech Art Prize. Two years later, her work was included in Islands in the Stream in Venice, held alongside the 57th Venice Biennale, and she was selected to present at both the Asia Triennale of Performing Arts at Melbourne Arts Centre and the Asian Art Biennial in Taiwan.

In 2018, Vatanajyankur participated in the inaugural Bangkok Art Biennale, followed by her inclusion in Absurdity in Paradise at the Fridericianum Museum, Kassel. The following year, she presented her largest museum exhibition to date, Foul Play, at the Albright-Knox Art Gallery in New York.

In 2021, her works featured in Collecting Entanglements and Embodied Histories at Maiiam Contemporary Art Museum (Chiang Mai) and Hamburger Bahnhof (Berlin), as well as in Balance at Hamburger Bahnhof. That year, she also joined the third Bangkok Art Biennale (Chaos and Calm) and exhibited in Fun Feminism at Kunstmuseum Basel (Switzerland) and The Uncanny World at the Museum of Contemporary Art Busan (Korea).

In 2023, Vatanajyankur presented a solo booth with Nova Contemporary in the Discovery section of Art Basel Hong Kong. In 2024, she exhibited in The Spirits of Maritime Crossing, an official collateral exhibition of the Venice Biennale, and was among the selected artists for the 11th Asia Pacific Triennale (APT11) in Brisbane, Australia.

Vatanajyankur has exhibited extensively across Australia, Asia, Europe, and the United States. Her works are represented in major public collections, including the National Collection of Thailand, Queensland Gallery of Modern Art (QAGOMA), Singapore Art Museum, JUT Art Museum (Taiwan), M Woods Museum (China), Dunedin Public Art Gallery (New Zealand), Maiiam Contemporary Art Museum (Thailand), DIB Contemporary Art Museum (Thailand), and the Museum of Contemporary Art (MOCA, Thailand), as well as numerous university and private collections worldwide. She is represented by Nova Contemporary, Bangkok.

Abigail Bernal is Associate Curator, Asian Art at the Queensland Art Gallery | Gallery of Modern Art (QAGOMA). As part of the lead curatorial team for QAGOMA’s flagship exhibition, the Asia Pacific Triennial of Contemporary Art, she has contributed to seven editions, developing major commissions and partnerships with artists and communities across Southeast, Central, and West Asia. Her practice explores the intersections of contemporary, customary, and vernacular art, with a focus on global Indigenous perspectives. Selected exhibitions include Mindanao and the Sulu Archipelago: Roots and Currents (2024-25), I Can Spin Skies (2024), Unfinished Business: The Art of Gordon Bennett (2020), and Kalpa Vriksha: Indigenous and Contemporary Art of India (2015). She publishes across catalogues, journals, and online platforms, with recent texts in the Asia Pacific Art Papers, Art Republik Vietnam, and The Asian Arts Society of Australia (TAASA) Review. Upcoming exhibitions include APT12 and The God of Small Things: Faith and Popular Culture.

Full name : Irene Agrivina Widyaningrum  [1976]

URL : http://honf.org

Resume/CV : http://bit.ly/IRENEAGRIVINARESUME

Portfolio : http://bit.ly/portfolioireneagrivina

Irene Agrivina is a technologist, artist, curator, educator, and advocate for open systems based in Indonesia. She is a founding member and current director of the House of Natural Fiber (HONF), an arts, science, and technology laboratory established in Yogyakarta in 1998 during the social and political unrest against Suharto’s authoritarian regime. In 2013, she co-established XXLab, an all-female collective dedicated to arts, science, and open technology, whose initiative SOYA C(O)U(L)TURE received the [the next idea] voestalpine Art and Technology Grant from Ars Electronica in 2015. Her works have been presented worldwide, and she frequently gives workshops on DIY (Do-It-Yourself) and DIWO (Do-It-With-Others) culture, promoting collaboration and open knowledge sharing. She has also served as a mentor for CAREC (Cultural & Artistic Responses to Environmental Change), a programme by the Prince Claus Fund. In 2019, she was recognised by Asialink as one of six pioneering women from Southeast Asia and Australia, highlighting her role as a leader at the intersection of art, technology, and social change.

Jeffi Manzani is a Bandung based new media artist since 2017. Jeffi Manzani specifically digs deep into the realm of the internet and the gamification which include the broad spectrum of the art and gaming world. As an experimentation approach, Jeffi Manzani aims to open up new territories within the grey area between art and design, tradition and novelty, as well as the interdisciplinary approach of the new media art.  

His work explores the despair and disappointment of growing up in a so-called developing country that feels like it’s regressing. In response, Jeffi Manzani imagines new digital realms or virtual worlds offering escape, opportunity, and the potential to rebuild life beyond physical limitations. Inspired by Stelarc’s exploration of the post-humanist body particularly his Split Body, Fractal Flesh, and Phantom Flesh projects. He approaches the internet not only as a nervous system for alternative existence but also as my aesthetic draws from gamification and post-humanist thought, envisioning bodies extended through in-game items, fragmented gaming scenes, and disfiguring game or toy characters.

Currently, his ongoing research investigates how we might infuse digital beings with soul, spirit, or DNA—using the internet as both infrastructure and lifeblood. He questions whether our own biology, even our blood, could one day be translated into algorithmic form, enabling new modes of existence beyond the flesh.

Anna Davis is a curator and researcher of contemporary art with over 20 years’ experience. As Curator at the Museum of Contemporary Art Australia, she is a leading advocate for the arts, shaping and presenting the museum’s artistic program, developing exhibitions and commissions, and contributing to the growth and display of its permanent collection. Anna has led major exhibition projects and commissions with artists including Tarek Atoui, Zheng Bo, Daniel Boyd, Yuko Mohri, Marguerite Humeau, Moon Kyungwon & Joonho Jeon, Patricia Piccinini, Stelarc and Lu Yang. Her exhibitions have been presented at institutions such as the Museum of Modern and Contemporary Art (MMCA) Korea, Christchurch Art Gallery Te Puna o Waiwhetū, Aotearoa New Zealand, The Art Gallery of New South Wales, Perth Institute of Contemporary Arts (PICA), and TarraWarra Museum of Art, Victoria.

Anna’s research focuses on the intersections of art, technology, and future ecologies, encouraging critical thinking around these connections. Her curatorial practice emphasises creating new platforms for artists to present experimental work and fostering interdisciplinary dialogue with diverse audiences. In 2022, she was one of five co-curators of rīvus: the 23rd Biennale of Sydney, which highlighted non-human perspectives through a series of conceptual wetlands across the city. In 2015/16, she co-curated New Romance: Art and the Posthuman and was co-director of Energies in the Arts, a multidisciplinary research project presented in conjunction with her award-winning exhibition, Energies: Haines & Hinterding.

Anna holds a PhD in Media Arts from the University of New South Wales and is a frequent presenter on contemporary art. Her writing contributes significantly to the field, and she has edited and authored numerous exhibition catalogues and artist monographs, including Jenny Watson: The Fabric of Fantasy (2017), Claire Healy & Sean Cordeiro (2012), Sun Xun (2018), and most recently, Nicholas Mangan: A World Undone (2024), co-edited with Anneke Jaspers and published by MCA Australia and Lenz Press, Milan.

Pat Pataranutaporn, Ph.D. is an assistant professor and a researcher at the Massachusetts Institute of Technology (MIT). He serves as a co-director of the Cyborg Psychology research group at the MIT Media Lab and also the Advancing Humans with AI (AHA) research program Research Program. His research lies at the intersection of AI and human-computer interaction, where he develops and studies AI systems that support human flourishing.

Pataranutaporn’s research contributions have been published in numerous peer-reviewed journals and conferences, such as Nature Machine Intelligence, The New England Journal of Medicine AI, ACM SIGCHI, ACM IUI, ACM SIGGRAPH, IEEE, and NeurIPS. His work has been highlighted by the United Nations AI for Good forum, and has been featured in MIT Tech Review, the Guardian, New York Times, Washington Post, Forbes, the Atlantic, Scientific American, Wall Street Journal, National Geographic, and more. Pataranutaporn’s work has also been honored as one of TIME’s “Best Inventions of 2023” and was included in Fast Company’s “World Changing Ideas” in 2023 and 2025.

Pataranutaporn has been awarded fellowships and grants by multiple research agencies and corporations, including NASA, OpenAI, MIT J-WEL, KBTG, Bose, MQDC, and NTT Data. He has also collaborated with researchers from both academia and industry, including researchers from Stanford Medicine, Harvard, Mass General Brigham, UCSB, UCLA, UC Irvine, Microsoft Research, OpenAI, NTT Data, and more.

 

Pat’s projects have been exhibited at the MIT Museum (Massachusetts), Asia Pacific Triennial (Queensland Art Gallery, Australia), The Art Gallery of Western Australia (Australia) MAXXI – National Museum of 21st Century Art (Italy), Bangkok Art Biennale (Thailand), Bangkok City Gallery (Thailand), National Museum of Singapore (Singapore), Essex Peabody Museum (USA), London Design Festival (UK), Transmediale Festival (Germany), National Taiwan Science Education Center (Taiwan), IDEA Museum (Arizona), Mesa Arts Center (Arizona), Autodesk Gallery (California), SIGGRAPH Asia (Tokyo), Ars Electronica (Virtual) and more. Pat also serve as the co-creator and writer for the Netflix sci-fi anthology series “Tomorrow and i” premiered in 2024.

Kawita Vatanajyankur has gained international recognition since graduating with a BA in Fine Art from RMIT University in 2011. In 2015, she was a Finalist in the Jaguar Asia Pacific Tech Art Prize. Two years later, her work was included in Islands in the Stream in Venice, held alongside the 57th Venice Biennale, and she was selected to present at both the Asia Triennale of Performing Arts at Melbourne Arts Centre and the Asian Art Biennial in Taiwan.

In 2018, Vatanajyankur participated in the inaugural Bangkok Art Biennale, followed by her inclusion in Absurdity in Paradise at the Fridericianum Museum, Kassel. The following year, she presented her largest museum exhibition to date, Foul Play, at the Albright-Knox Art Gallery in New York.

In 2021, her works featured in Collecting Entanglements and Embodied Histories at Maiiam Contemporary Art Museum (Chiang Mai) and Hamburger Bahnhof (Berlin), as well as in Balance at Hamburger Bahnhof. That year, she also joined the third Bangkok Art Biennale (Chaos and Calm) and exhibited in Fun Feminism at Kunstmuseum Basel (Switzerland) and The Uncanny World at the Museum of Contemporary Art Busan (Korea).

In 2023, Vatanajyankur presented a solo booth with Nova Contemporary in the Discovery section of Art Basel Hong Kong. In 2024, she exhibited in The Spirits of Maritime Crossing, an official collateral exhibition of the Venice Biennale, and was among the selected artists for the 11th Asia Pacific Triennale (APT11) in Brisbane, Australia.

Vatanajyankur has exhibited extensively across Australia, Asia, Europe, and the United States. Her works are represented in major public collections, including the National Collection of Thailand, Queensland Gallery of Modern Art (QAGOMA), Singapore Art Museum, JUT Art Museum (Taiwan), M Woods Museum (China), Dunedin Public Art Gallery (New Zealand), Maiiam Contemporary Art Museum (Thailand), DIB Contemporary Art Museum (Thailand), and the Museum of Contemporary Art (MOCA, Thailand), as well as numerous university and private collections worldwide. She is represented by Nova Contemporary, Bangkok.

Abigail Bernal is Associate Curator, Asian Art at the Queensland Art Gallery | Gallery of Modern Art (QAGOMA). As part of the lead curatorial team for QAGOMA’s flagship exhibition, the Asia Pacific Triennial of Contemporary Art, she has contributed to seven editions, developing major commissions and partnerships with artists and communities across Southeast, Central, and West Asia. Her practice explores the intersections of contemporary, customary, and vernacular art, with a focus on global Indigenous perspectives. Selected exhibitions include Mindanao and the Sulu Archipelago: Roots and Currents (2024-25), I Can Spin Skies (2024), Unfinished Business: The Art of Gordon Bennett (2020), and Kalpa Vriksha: Indigenous and Contemporary Art of India (2015). She publishes across catalogues, journals, and online platforms, with recent texts in the Asia Pacific Art Papers, Art Republik Vietnam, and The Asian Arts Society of Australia (TAASA) Review. Upcoming exhibitions include APT12 and The God of Small Things: Faith and Popular Culture.

Full name : Irene Agrivina Widyaningrum  [1976]

URL : http://honf.org

Resume/CV : http://bit.ly/IRENEAGRIVINARESUME

Portfolio : http://bit.ly/portfolioireneagrivina

Irene Agrivina is a technologist, artist, curator, educator, and advocate for open systems based in Indonesia. She is a founding member and current director of the House of Natural Fiber (HONF), an arts, science, and technology laboratory established in Yogyakarta in 1998 during the social and political unrest against Suharto’s authoritarian regime. In 2013, she co-established XXLab, an all-female collective dedicated to arts, science, and open technology, whose initiative SOYA C(O)U(L)TURE received the [the next idea] voestalpine Art and Technology Grant from Ars Electronica in 2015. Her works have been presented worldwide, and she frequently gives workshops on DIY (Do-It-Yourself) and DIWO (Do-It-With-Others) culture, promoting collaboration and open knowledge sharing. She has also served as a mentor for CAREC (Cultural & Artistic Responses to Environmental Change), a programme by the Prince Claus Fund. In 2019, she was recognised by Asialink as one of six pioneering women from Southeast Asia and Australia, highlighting her role as a leader at the intersection of art, technology, and social change.

Jeffi Manzani is a Bandung based new media artist since 2017. Jeffi Manzani specifically digs deep into the realm of the internet and the gamification which include the broad spectrum of the art and gaming world. As an experimentation approach, Jeffi Manzani aims to open up new territories within the grey area between art and design, tradition and novelty, as well as the interdisciplinary approach of the new media art.  

His work explores the despair and disappointment of growing up in a so-called developing country that feels like it’s regressing. In response, Jeffi Manzani imagines new digital realms or virtual worlds offering escape, opportunity, and the potential to rebuild life beyond physical limitations. Inspired by Stelarc’s exploration of the post-humanist body particularly his Split Body, Fractal Flesh, and Phantom Flesh projects. He approaches the internet not only as a nervous system for alternative existence but also as my aesthetic draws from gamification and post-humanist thought, envisioning bodies extended through in-game items, fragmented gaming scenes, and disfiguring game or toy characters.

Currently, his ongoing research investigates how we might infuse digital beings with soul, spirit, or DNA—using the internet as both infrastructure and lifeblood. He questions whether our own biology, even our blood, could one day be translated into algorithmic form, enabling new modes of existence beyond the flesh.