Biographies

Thelma Cappello

Xinyi Cheng (b. 1989, Wuhan, China) lives and works in Paris. She studied painting at Maryland Institute College of Art (USA) and attended Rijksakademie van beeldende kun­sten (NL). Her solo exhi­bi­tions include: Harnessing the Power of Wind, Antenna Space, Shanghai, 2018; The hands of a barber, they give in, Galerie Balice Hertling, Paris, 2017, Swimming Hole, Practice, New York, 2015. Recent group exhi­bi­tions include: Noise! Frans Hals, Otherwise, Frans Hals Museum, Haarlem, 2018; Painting Now and Forever, Part III, Greene Naftali Gallery, Matthew Marks Gallery, New York, 2018; Scraggly Beard Grandpa, Capsule, Shanghai, 2017.

Xinyi Cheng, Coiffeur, 2017, huile sur lin, 80 × 140 cm. Courtesy de l’artiste et galerie Balice-Hertling, Paris.

Nathanaëlle Herbelin (b. 1989, Israel) is a painter living and working in Paris. In her research, exclu­sively made of paint­ings of her envi­ron­ment, Herbelin builds bridges between the per­sonal and the polit­ical. She holds a mas­ters degree from the Paris School of Fine Arts (ENSBA, 2016) and was a guest artist stu­dent at Cooper Union (New York, USA, 2015). Her work has been shown at Bonnevalle (Noisy-le-Sec, France, solo exhi­bi­tion, 2018), In Box (Brussels, Belgium, 2018), the Rennes Museum of Fine Arts(France, 2018), Collection Lambert (Avignon, France, 2017), and Fondation d’entreprise Ricard (Paris, France, 2017). She is cur­rently rep­re­sented by the Jousse Entreprise Gallery (Paris).

Nathanaëlle Herbelin, Arad, 2018, 130 x 143 cm, huile sur toile. Courtesy de l’artiste.

Liverpool Black Women Filmmakers are a col­lec­tive of young film­makers who came together to make films in October 2017. The col­lec­tive is inspired by the work of anti-racist/wom­anist/fem­i­nist his­to­ries of Liverpool such as the Womens’ IndependenT Cinema House (Witch), Black Witch and Liverpool Black Media Group. They are cur­rently working on the devel­op­ment of a second short film. Current mem­bers are Hannah, Muntaz and Yasmin.

Rehana Zaman is an artist based in London. She works pre­dom­i­nantly with moving image and per­for­mance to examine how social dynamics are pro­duced and per­formed. Her work speaks to the entan­gle­ment of per­sonal expe­ri­ence and social life where inti­macy is framed against the hos­tility of state leg­is­la­tion, surveil­lance and con­trol. She was the recip­ient of a British Council research grant with Museo de Art Carrillo Gil, Mexico City (2015) and a Gasworks International Fellowship to Beirut (2013). Recent and upcoming solo exhi­bi­tions include Kochi-Muziris Biennale 2018, Kerala, India, Liverpool Biennial 2018, Liverpool, UK, Serpentine Projects, London, UK (2018); Berwick Film and Media Arts Festival (2018), CCA, Glasgow, UK (2018); and Material Art Fair IV, Mexico City, Mexico (2017). Her films and instal­la­tions have been shown at Oberhausen Film Festival, Winterthur fes­tival, Switzerland and ICA and Whitechapel, London. In 2017 Zaman was awarded the Paul Hamlyn Award for Artists.

Liverpool Black Women Filmmakers & Rehana Zaman, How Does an Invisible Boy Disappear?, 2018, vidéo. Courtesy de l’artiste.

Adrian Mabileau Ebrahimi Tajadod (b. 1991, France) lives and works in Paris. He is grad­u­ated from the Fine Arts School of Angers (ESBA) and then from the Paris-Cergy School of Fine Arts (ENSAPC, 2017). He spent a lonely child­hood in the French county of Vendée, a time period during which that he sur­rounded him­self with his dogs, day­dreaming and surfing the Internet at a time it was nascent tool but not yet a mas­sive con­sumer good.
On the basis of fun facts and items selected from his everyday life, Adrian Mabileau Ebrahimi Tajadod cre­ates skits using domestic mate­rials (painted card­boards, paper-mache, pot­tery) ; mate­rials easy to use and trans­form but also having a sym­bolic impor­tance. His instal­la­tions aim to be fun and emo­tional things reflecting exal­ta­tions and desires’ artist. He refers to Italian Quattrocento, Ancient Greece, Persia as well as online games like Age of Empires and also clearly con­tem­po­rary homo­sexual everyday life.

Adrian Mabileau Ebrahimi Tajadod, Strip-Tears, 2017, sculpture, colonne rotative, carton, papier blanc laminé, céramique, peinture, acrylique, résine, tissu Dior™, 157 x 112 cm.

Georgia Lucas-Going (b.1988 Luton) is cur­rently Artist in res­i­dence at the Alexander McQueen stu­dios in London and Wysing Arts centre, Cambridge with the col­lec­tive ‘FORMERLY CALLED’. She has also been recently selected for Deptford X 2018 pro­gramme as well receiving the Berenice Goodwin prize for per­for­mance. She will be attending the Rijksakademie as of 2019 and has exhib­ited inter­na­tion­ally as well as at the ICA and Tate Modern, London, UK.

Georgia Lucas-Going, DAD, 2017, performance durationelle, sa dernière chaise. Courtesy de l’artiste.

Dala Nasser (b.1990) is a Beirut based artist cen­tering her prac­tice around ques­tions of mate­rial and pro­cess, pro­ducing works that respond to their phys­ical, and con­tex­tual com­po­nents, evolving autonomously over time. Having received her BFA in Fine Arts with focus in painting from UCL’s Slade School of Arts in London in 2016, she was awarded the Boise Travel Scholarship and the Sursock Museum in Beirut’s 32nd Salon d’Automne Emerging Artist Prize. Her work was fea­tured in Sharjah Biennial 13 ACT II curated by Hicham Khalidi, and at Victoria Miro London’s cross-gen­er­a­tional female abstract painters’ exhi­bi­tion enti­tled Surface Work.

Dala Nasser, Sans titre (détail), 2018, sumac, menthe, charbon, latex liquide, habillage d’échafaudage, résine, 190 x 130 cm. Courtesy de l’artiste.

Kameelah Janan Rasheed (b. 1985, East Palo Alto, CA and based in Brooklyn, NY) is a learner seeking to make her thinking vis­ible through an ecosystem of iter­a­tive pro­jects such as “ar­chi­tec­turally-scaled col­lages,” (Frieze, Winter 2018), poems/poetic ges­tures/words in the prox­imity of poems, long-form essays, pub­li­ca­tions, large-scale public works, dig­ital archives, teaching, cur­riculum devel­op­ment, lec­ture per­for­mances, stand-up comedy, and other forms yet to be deter­mined. Her past work has been pre­sented at the 2017 Venice Biennale, Contemporary Art Gallery of Vancouver, New Museum of Contemporary Art, Brooklyn Museum, The Kitchen, Portland Institute of Contemporary Art, Institute of Contemporary Art - Philadelphia, Printed Matter, Jack Shainman Gallery, Studio Museum in Harlem, Brooklyn Museum, Bronx Museum, Queens Museum, Schomburg Center for Research in Black Culture, Brooklyn Academy of Music, and else­where. Rasheed is on the fac­ulty of the MFA Fine Arts pro­gram at the School of Visual Arts and also works full-time as a social studies cur­riculum devel­oper for New York public schools. She holds a BA in Public Policy and Africana Studies from Pomona College (2006) and an M.A in Secondary Social Studies Education from Stanford University (2008).

Hamid Shams (1990, Tehran, Iran) lives and works in Paris. He is cur­rently com­pleting his degree at the National School for Decorative Arts (ENSAD, Paris, 2019). He holds a Bachelor in Visual Arts from the Paris 8 University in Saint-Denis (2017). Shams makes use of pho­to­graphic tech­niques and sculp­tural instal­la­tions to create envi­ron­ments where rela­tion­ships of dom­i­na­tion and sub­mis­sion unfold. In Iran, his prac­tice focused on pho­tog­raphy and the moving image, while he was studying engi­neering. Shams was part of Artagon 2018 (Pantin, France). His work has been shown at Cinema Galeries (Brussels, Belgium), Synesthésie (Saint-Denis, France), Médiathèque André Malraux (Strasbourg, France), Silk Road Gallery (Tehran, Iran) and LP Art Space (Chongqing, China).

Hamid Shams, Comfort Zone, 2018, cuir, fausse fourrure, chaine en métal, impression directe sur aluminium brossé, impression jet d’encre sur papier photographique, dimensions variables. Vue d’installation, Artagon (Pantin, France), 2018. Courtesy de l’artiste.

Patrick Staff is an artist based in London, UK and Los Angeles, USA. In film instal­la­tions, per­for­mances, and new-media works, Staff cites the var­ious ways in which the queer body is embodied, inter­preted, and reg­u­lated. Staff received their BA in Fine Art and Contemporary Critical Studies from Goldsmiths, University of London in 2009. Their work has been exhib­ited at the Museum of Contemporary Art, Los Angeles, USA (2017); New Museum, New York, USA (2017); Art Space, Sydney (2016); Spike Island, Bristol, UK (2016); and Chisenhale Gallery, London, UK (2015). They received the Paul Hamlyn Award for Visual Artists (2015).

Patrick Staff, extraits de depollute, 2018, vidéo, 16mm. Courtesy de l’artiste.