SUBASH THEBE LIMBU (b. 1981, Dharan)

    Subash Thebe Limbu is a Yakthung (Limbu) artist from Eastern Nepal. He works with sound, film, music, performance, painting and podcasts. Ladhamba Tayem; Future Continuous imagines futures where Indigenous people’s actions and existence is in the space-time continuum. Through the conversation between two indigenous people from very different timelines – a Yakthung warrior from the 18th century and an indigenous time traveler from the distant future – the film asks the viewer to investigate their own potential role in the space-time continuum in searching for the possible futures to strive for, while reminding of the fight against colonialism and struggles to overcome. The work plays with the idea of time as not something rigid but ductile or weavable, which in turn paves the way for questions like how we might want to weave the future.


    Zike He is a media artist whose recent projects are developed with research ranging from digital space and machine learning to infrastructure and deep time, and with the exploration of their shapes in daily life. Random Access is a mode of reading and writing datum (as in random access memory, RAM) where any arbitrary address can be accessed in equal time no matter where it is located. It also refers to how we process memory, especially in the time interwoven deeply with digital technology. As a speculative hypothesis of the experience in the Cloud World, the film is set in Guiyang, a mountainous and cloudy city, where many big data infrastructures locate, including the first iCloud data center in Asia and the host of FAST (Five hundred meter Aperture Spherical Telescope). The story follows a fictional narrative that happens on the second day after the city’s central data center unexpectedly crashes and reboots.


    Riar Rizaldi, who was born in Bandung, works as an artist and filmmaker whose Fossilis is an oneiric cinema, a phantasmal science-fiction prognosis, an essay film and a tale of the verdant inferno of technological legacy, resonating the complexity of electronic waste in the 21st century of Asia where most of the discarded electronics in the planet is dumped and buried. With live-action sets built from waste materials, scenes from flea market of cannibalization parts, 3D assets and environment from abandoned projects, and AI images generated from unused images from a personal dataset, Fossilis is not just a narrative and representation on ewaste but also engages in the process of film production that involves both digital and physical waste objects as means of artistic practice.


    Su Hui-Yu, who was born in Taipei, explores the connection between mass media, pop culture, memories of martial law and the post-colonial history of Taiwan and East Asia. His work The Space Warriors and the Digigrave combines fantasies and folk tales that hint at nationalism, Confucianism and chauvinistic values, based on a unique experience of the collective memory of the island nation during the martial law era. Using nowadays open-source AI tools combining with traditional film skills, Su wants either metaphysically or technically providing a solution of reconciliation for those who’s still struggling with the nations, identities, genders, morals, and ideologies.


    zzyw is an art and research collective formed by Yang Wang and Zhenzhen Qi in New York in 2017. It produces software applications, simulations and text as instruments to examine the cultural, political and educational imprints of computation.
    Other Spring critically investigates the societal implications of computational mediation, automation, and artificial intelligence (AI). The project explores the potential of “heretic computing” (Alexander R. Galloway, 2020) to challenge the monolithic idea of efficiency and precision that characterizes our contemporary information society. Set in a speculative future where an all-seeing, algorithm-driven network UNO (Universal Network Observer) dominates, Other Spring reflects on the urgency of privacy, agency, and individuality in our increasingly interconnected world, encouraging dialogue for a more humane relationship with technology.


The ELEKTRA Virtual Museum (EVM)

Hyundai Motor Group Vision Hall

The 5th VH AWARD Virtual Ceremony

  • Aaron Seeto

    Director, Museum MACAN

    Aaron Seeto is the Director of Museum of Modern and Contemporary Art in Nusantara (Museum MACAN). He has experience with working to advance the goals of contemporary arts organizations and curating significant exhibitions for artists from Asia to Pacific regions.

    Seeto was formerly a Curatorial Manager of Asian and Pacific Art, at Queensland Art Gallery | Gallery of Modern Art in Brisbane, Australia where he led the curatorial team at the eighth Asia Pacific Triennial of Contemporary Art (APT8) in 2015. For eight years prior, he was the Director of Sydney’s 4A Centre for Contemporary Asian Art.

  • Martin Honzik

    CCO, Ars Electronica Linz (Chief Curatorial Officer) Managing Director of Ars Electronica Festival, Prix, and Exhibitions, Linz, Austria

    Martin Honzik is an artist CCO of Ars Electronica Linz, and Managing Director of the Ars Electronica’s Festival, Prix and Export. He studied visual experimental design at Linz Art University (graduated in 2001) and completed the master’s program in culture & media management at the University of Linz and ICCM Salzburg (graduated in 2003). Besides being independent Artist in several art projects, he joined the staff of the Ars Electronica Future Lab as a researcher, in 2001, where, until 2005, his responsibilities included exhibition design, art in architecture, interface design, event design and project management. Since 2006, Martin Honzik has been Managing Director of the Ars Electronica Festival, the Prix Ars Electronica, the Exhibitions in the Ars Electronica Center and Ars Electronica Export. He has been curating a considerable amount of international Exhibitions in the context of Art, Science and Technology. Since 2021 he became CCO (Chief-Curatorial-Officer) of Ars Electronica Linz.

  • Roderick Schrock

    Curator, Executive Director of Eyebeam

    Roderick Schrock is an arts organizer and curator. As a non-profit leader, he specializes in building institutional capacity and conceives and implements programs that elevate artists’ works in society. As the executive director of Eyebeam, he guides its focus to realign societal relationships with emergent technologies. Additionally, he is the host of Informer, a podcast featuring conversations with artists, technologists, and thinkers.

    He has been an active practitioner in the arts, living and working in Japan and continuing studies in the Netherlands. He has written extensively for anthologies, periodicals, and other publications. As a digital and sound artist, Schrock has been commissioned by Meet the Composer, the American Music Center, The Netherlands America Foundation, and Ostrava New Music Days, among others. He received an MFA from Mills College in Oakland.

    He currently teaches in the Curatorial Practice MA Program at the School of Visual Arts and has taught at the Studio for Electro-Instrumental Music (STEIM), California College of the Arts, and New York University’s Interactive Telecommunications Program. He sits on the Netherlands America Foundation Cultural Committee, and was a founding board member of Art+Feminism. He regularly juries and nominates for national and international art awards.


    Senior Curator, International Art (Hyundai Tate Research Centre: Transnational), Tate Modern

    Lee works on exhibitions, acquisitions and collection displays at Tate Modern as Senior Curator, International art, and heads a major research initiative Hyundai Tate Research Centre: Transnational. She curated Nam June Paik at Tate Modern in 2019 with Rudolf Frieling, which was on tour to institutions in Europe, USA, and Asia until early 2022. She has also curated several collection exhibitions and displays at Tate Modern, including A Year in Art: Australia 1992 (2021-23), CAMP: From Gulf to Gulf to Gulf (2019-20) and Xiao Lu and Niki de Saint Phalle (2018-19). Lee was previously Exhibitions & Displays Curator at Tate Liverpool and curated a number of exhibitions and collection displays including Doug Aitken: The Source and Thresholds (2012-13, as part of Liverpool Biennial).

    Lee is the Artistic Director of the 14th Gwangju Biennale, which opens in April 2023. She also served as the Commissioner and Curator of the Korean Pavilion at the 56th Venice Biennale (2015). Lee has convened and participated in several international symposiums and conferences at the Tate and internationally, including From Alexandria to Tokyo: Art, Colonialism and Entangled Histories (Digital conference with Mori Art Museum, Tokyo, 2020), Axis of Solidarity: Landmarks, Platforms, Futures (Tate Modern, 2019), and Territories Disrupted: Asian Art after 1989 (National Museum of Modern and Contemporary Art Korea, 2017). She has also written and lectured widely on modern and contemporary art, and her publications include Nam June Paik (with Rudolf Frieling, exhibition catalogue, Tate Publishing, 2019) and MOON Kyungwon & JEON Joonho (exhibition catalogue, Korean Pavilion, Venice Biennale, 2015).

  • Yukiko Shikata

    Curator/critic based in Tokyo

    President of AICA (International Association of Art Critics) Japan, Artistic Director of <Forest for Dialogue and Creativity>. Visiting professor at Tama Art University and Tokyo Zokei University, lecturer at Musashino Art University, Institute of Advanced Media Arts and Sciences (IAMAS) and the Postgraduate School of Kokugakuin University. Her activities traverse existing fields by focusing on <Information flows>.

    In parallel, working as a curator of Cannon ARTLAB (1990-2001), Mori Art Museum (2002-2004), senior curator of NTT InterCommunication Center[ICC] (2004-2010), as an independent curator, realized many experimental exhibitions and projects. Recents works include SIAF 2014 (Associate Curator), KENPOKU ART 2016 (Curator). Works in 2020 including the Symposium of AICA Japan (Chairperson), MMFS 2020 (Director), <Forking PiraGene> (Co-curator, C-Lab Taipei). Works in 2021 including the Forum ‘Information as a form of ‘ (Kyoto Prefecture), ‘EIR’ (Energies in Rural) (Co-curator, Aomori Contemporary Art Centre + Liminaria, Italy, ongoing), ‘Forum Spirits as Energy|Stone, Water, Forest and Human’ (General Incorporated Association Dialogue Place). Juror of many international competitions, many co-publications. Essay series ‘Ecosophic Future’ at HILLS LIFE. yukikoshikata.com