Esvin Alarcón Lam is a Guatemala-based artist whose projects create spaces for critical and emotional engagement with the past. In his recent works, Alarcón Lam focuses on his Chinese ancestry to shed new light on history from a queer perspective. Drawing from his family’s immigration history, he explores the architecture and material culture in Central America that can be traced to the Chinese diaspora, highlighting community-oriented ways of dealing with memory. Through paintings, textile works, and installations, he deconstructs national symbols and traditional notions of identity, designing alternative forms of political affiliation that go beyond nation-state narratives.

Irwan Ahmett and Tita Salina are self-taught artist duo based in Jakarta. Their initial work is to place the imagination through performative intervention in the midst of chaotic public space of megapolitan Jakarta, which faces the dilemma of uncontrolled urbanization and pollution. The development of networks in art, activist, and scientific circles has encouraged their artistic practice to progress toward the more profound and deeper circumstances. They are currently working on a long-term project related to geopolitical turmoil in the Ring of Fire-Pacific Rim, the most prone region to natural disasters as well as traumatic consequences which are caused by persistent ideological violence.

Born in Fujian, China, Cai Kunyu holds both bachelor’s and master’s degrees from the Beijing Film Academy and has directed numerous theatrical feature films. His practice explores the integration of social issues within commercial genre cinema, and his films consistently incorporate elements of his Fujian hometown to varying degrees.

John Clang is a visual artist whose practice often straddles the dual realities of global cities, unfettered by the confines of time and geography. A double-sight navigator of a world in constant flux, he absorbs seemingly mundane and banal external stimuli and conveys his internal observations and ruminations through the mediums of photography, film and metaphysical performance.

Stephanie Comilang is a Filipina-Canadian artist living and working in Berlin. Her documentary-based works create narratives that look at how our understandings of mobility, capital and labour on a global scale are shaped through various cultural and social factors.

José Miguel Covarrubias Duclaud (1904—1957) was a Mexican artist as well as a researcher. One of the most multifaceted figures in Mexico’s cultural history, he worked as a caricaturist, draftsman, illustrator, theatrical designer, and painter, and, through largely self-taught and empirical training, authored significant anthropological and ethnological studies. He also made contributions to museology and, during a brief period as a public official in the early 1950s, promoted experimentation and creativity in Mexican modern dance.

Taloi Havini (Nakas Tribe, Hakö people) was born in Arawa, Autonomous Region of Bougainville and is currently based in Brisbane, Australia. She employs a research practice informed by her matrilineal ties to her land and communities in Bougainville. This manifests in works created using a range of media, including photography, audio, video, sculpture, immersive installation, and print. She curates and collaborates across multi-art platforms using archives, working with communities and developing commissions locally and internationally. Knowledge production, transmission, inheritance, mapping, and representation are central themes in Havini’s work where she examines these in relation to land, architecture, and place.

Hoo Fan Chon is a visual artist based in Penang. His research-driven projects are often set in local geographies and concern class aspiration, cultural identity, informal histories, and colonial legacy. By reframing everyday life with irony and wry humour, his works observe the oscillations and assimilations between social classes, the official and the informal, the highbrow and the lowbrow. His practice aims to “mengataskan yang kampung, kampungkan yang atas,” which can be translated as, “to make fancy the village, to make village the fancy.”

Steeped in numerous Eastern and Western cultural references ranging from art history to theatre and from cinema to music to philosophy, Ho Tzu Nyen’s works blend mythical narratives and historical facts to mobilise different understandings of history, its writing and its transmission. The central theme of his œuvre is a long-term investigation of the plurality of cultural identities in Southeast Asia. This observation as to the history of this region of the world is reflected in his pieces which weave together different regimes of knowledge, narratives and representations. From documentary research to fantasy, his work combines archival images, animation and film in installations that are often immersive and theatrical.

Han Ishu is a Shanghai-born, Tokyo-based artist working in various mediums including video, installation, photography, and performance to examine the subjective nature of identity and difference as inscribed in the collective and the individual. Much of his work is derived from his personal experiences, from moving to Japan as a child to his life in Tokyo today. Using objects, his own body, and the bodies of others, he alludes to ideologies and societal norms inscribed in our gaze and our everyday behavior. By utilizing a poetic visual language that is often laced with humor, his work provides an imaginative sphere to negotiate those forces.

Arka Kinari is a seventy-ton sailing ship and floating cultural platform co-founded by Nova Ruth and Grey Filastine. Since its transformation into a sailing ship, Arka Kinari has traveled from Rotterdam through the Panama Canal to Indonesia, spreading a message of sustainability, promoting resilience to climate change and re-engagement with the sea. Nova Ruth Setyaningtyas is a live artist, musician, and community organizer from Malang, East Java, whose work centers on the environment and women’s voices. Grey Filastine creates sound, video, and performances that probe ecological conflict and imagine alternative futures.

Dawn Ng is a multidisciplinary visual artist who works across a diverse range of mediums, motifs, and large-scale installations. Her practice investigates concepts of time, memory, nostalgia, and temporality. In her most significant and ongoing body of work Into Air, Ng incorporates ice—the ultimate ephemeral material in the tropical climate of her native country—to articulate time’s shifts and nuances, through a series of paintings, films, photographic prints, light boxes, and performance. Often characterized by visual and emotive connections to landscape and geology, Ng’s work explores time’s transience through markmaking in a resplendence of color, texture, and detail.

Bhenji Ra is an Australian Filipina artist currently based between Manila and Gadigal land of the Eora Nation (Sydney, Australia). Her practice spans dance, choreography, video, installation, and community activation. Grounded in transfeminist, intergenerational, and intercultural methodologies, her work engages with erased and overlooked narratives of queer and trans stories within history, proposing decolonial and fugitive modes of collective becoming. Guided by her ancestral and queer genealogies, Ra creates expansive tapestries of ritual, archival inquiry, and collective action that emerge from the intersections of her personal, cultural, and communal life.

Joshua Serafin is a multi-disciplinary artist who combines dance, performance, visual arts, and choreography. Their works deal with questions about identity, transmigration, queer politics and representation, states of being, and ways of inhabiting the body. Their cosmology of works creates new forms of rituals, and embodiment, based on queer ecologies. Whether performing on stage, inside the museum, or through video and photography, Serafin’s artistic process is an intense sociological exorcism of Filipino identity with the hybridity of western ideologies; unpacking the historical violence of its feudal contemporary society and its dehumanising normality.

Tan Jing lives and works between Jingdezhen and Shenzhen. Tan’s practice spans sculpture, installation, and moving image, often combining unconventional materials to explore the intersections of emotion, desire, and materiality. Her installations integrate olfactory substances, textiles, glass, and biological materials to reveal their affective potential. Drawing on personal memoirs, historical archives, folklore, mythology, and fantastical narratives, Tan creates immersive environments where scent, material, and space evoke memory, longing, and layered stories. Her work investigates how overlooked sensory experiences, particularly olfaction, function as conduits for cultural transmission and reflection, transforming familiar materials and spaces into sensorially rich encounters.

Wantanee Siripattananuntakul is a Bangkok-based multimedia artist working across spatial and time-based forms. Her practice explores the intersections between historical memory and interspecies perception, and how different forms of attention reveal structures normally overlooked by humans. In her recent work, she operates at the intersection of physics, interspecies perception, and the cosmological forces sensed by other species. For over a decade, she has developed a long-term collaboration with her African Grey parrot, Beuys, whose perceptual logic has become central to her research. She is currently expanding her practice into questions of orientation, gravity, and multispecies understandings of time and environment.

Ming Wong is a Singapore-born, Berlin-based artist working with performance, video, photography, and installation to uncover the slippages that haunt ideas of “authenticity” and “originality.” Through a re-reading of world cinema and popular culture artefacts, his artistic research and practice explore the politics of representation and how culture, gender and identity are constructed, reproduced and circulated.

Singaporean visual artist Robert Zhao Renhui works chiefly with photography but often adopts a multi-disciplinary approach, presenting images together with documents and objects in the form of textual and media analysis, video and photography projects. His artistic practice investigates man’s relationship with nature, utilizing convincing narratives to invoke doubts in its audience towards the concept of truth and its portrayal.

Payne Zhu probes into different economic systems and works in between the rheology of finance, competing bodies and the flooding of images. Aspiring to become an exile from within, Zhu manages to create an alterative economics. Often taking unconventional moving images as a point of departure, Zhu’s works celebrate the unmatchable nature of the subject through the mismatch of different technological media.