Ching Ching Cheng was born in Taiwan and immigrated to the United States in 2002. She received her MFA from Art Center College of Design. Ching had co-curated an exhibition “The Language of Perpetual Conditions” at California State University Los Angeles in 2016. Ching exhibited at LACMA Rental and Sales Gallery, Chinese American Museum, Craft and Folk Art Museum, 21c Museum, DTLA ArtCenter, colleges, universities and art fairs through out the United States, and also had solo exhibitions in Taiwan and China. She attended an artist-in-residency program at 943 Studio in Kunming, China in 2011. She taught lectures and workshops at colleges, Universities, museums, non-profit organizations, and private art centers. She received grants in 2011, in 2015 from art and cultural center in Taiwan, and in 2018 from the city of Los Angeles Department of Cultural Affairs. Ching currently lives and works in Altadena, California. 

Julie Béna’s work is made up of an eclectic set of references, combining contemporary and ancient literature, high and low art, humor and seriousness, parallel times and spaces. Comprising sculpture, installation, film, and performance, her work seems to often float in an infinite vacuum, unfolding against a fictional backdrop where everything is possible

Béna had solo exhibitions at Kunstverein Bielefeld (2020); Kunstraum, London (2020); Jeu de Paume, Paris (2019); CAPC musée d’art contemporain, Bordeaux (2019); the Amparo Museum, Puebla, Mexico (2019); and CAC Passerelle, Brest, FR (2017). Her work has recently been exhibited at the Biennale de Rennes, FR; Fondation Louis Vuitton, Paris, FR; Polansky Gallery, Brno, CZ; 1646, The Hague, NL; C art C Madrid, ES; Bozar, Brussels, BE; Kadist Art Foundation, Paris and San Francisco; Protocinema, Istanbul, TR, and Chapter NY, New York, US. Béna has staged numerous performances, including at the Centre Pompidou, Paris, FR; ICA, London, UK; M Leuven, BE; Palais de Tokyo, Paris, FR; and Performa NY, US.

Béna took part in a number of residencies, including at Fonderie Darling, Montreal, CA; Futura, Prague, CZ; ISCP, New York, US; Moly Sabata, Sablons, FR; CCF, Surabaya; Rupert, Vilnius, LT.

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Catherine Biocca was born in Rome, Italy 1984 where she got her BA in Political Sciences at the Luiss University 2006. She studied fine arts at the Academy in Düsseldorf, where she got her BA and MA in 2010 and 2013. 

2014-2015 she was a resident at the Rijksakademie van beeldende Kunsten in Amsterdam. She currently lives and works in Berlin and Rome. She received multiple grants and prices, some of the most recent include the Arbeitsstipendium des berliner Senats 2021, AAresidency Auswertiges Amt 2020, scholarship of the Ursula Wanders Fundation 2019, Rose Residency MAMBO Bologna 2019, Hans- Purrmann Förderpreis 2018.

Her work was shown in several international institutional shows, such as the 3rd animation Biennial Shenzhen, Kunstverein Nürnberg and Kunstmuseum LOK St Gallen. She is represented by the Berlin based Gallery PSM and the London based gallery Greengrassi.

Sofía Córdova (b. 1985, Carolina, Puerto Rico; based in Oakland) makes work that considers  sci-fi as alternative history, dance music's liberatory potential, the internet, colonial contamination, mystical objects, and extinction and mutation as evolution within the matrix of class, gender, race, late capitalism and its technologies. Recent works have included performance, video, music, sculpture, taxidermy, and installation.  She is one half of the music duo, XUXA SANTAMARIA. In addition to discrete projects, performances, and albums the duo collectively scores all of her video and performance work.

Her work has been exhibited and performed nationally and internationally at SFMOMA, the ASU Museum, The Berkeley Art Museum, the Vincent Price Museum and was featured in 2018’s Bay Area Now at San Francisco’s YBCA.  The same is part of Pier 24’s, Kadist’s  and The Whitney Museum’s permanent collections. She has recently participated in residencies at Eyebeam, New York, Headlands Center for the Arts, Sausalito, Mills College Museum, Oakland, and the ASU Museum in Phoenix and composed and choreographed performances for the SF Arts Commission, Merce Cunningham Trust and Soundwave Biennial. She is a recipient of a Creative Work Fund and has been the subject of a First Look feature in Art in America.

Julie Grosche (b.1986, France) lives and works between the US and France and is a graduate from ENSA Dijon. Her video work convenes group dynamics where individuals ask existential questions. Chants and mantras exult as the only technology that connects characters to each other and demand a revision of the power structure. Her work has appeared internationally, most recently she has shown at Sajetta.com; Villa du Parc, Annemasse; Like a little disaster, Italy; Ditch Projects, Eugene, OR; Galerie Escougnou Cetraro, Paris; Favorite Goods, Los Angeles, CA; Emerson-Dorsch, Miami, FL; L’Atelier KSR, Berlin, Germany; Era VI VII VI, New York, NY; SPACES, Cleveland, OH. She co-founded PMgalerie in Berlin, Bcc an itinerant curatorial platform and ASMBLY a school prototype. As a curator she has produced exhibitions internationally: Sajetta.com; Like a Little Disaster, Palignano a Mare, Italy; Based in Berlin, Berlin, Germany; Reference Gallery, Richmond, VA; and Oslo10, Basel, Switzerland. She adjuncts at Virginia Commonwealth University and at George Mason University.

Faith Holland

Faith Holland is an artist, curator, and educator whose multimedia practice focuses on gender, intimacy, and technology. She has exhibited at venues such as The Whitney Museum of American Art (New York), NRW Forum (Düsseldorf), Fotografisk Center (Copenhagen), Boulder Museum of Contemporary Art (Boulder), Human Resources (Los Angeles), and DAM Gallery (Berlin). Her work has been written about in Artforum, The New York Times, The New Yorker, The Sunday Times UK, Elephant, Hyperallergic, Broadly, and The Observer. She has been a NYFA Fellowship Finalist in Digital/Electronic Art, an artist-in-residence at Jamaica Center for Arts and Learning and Harvestworks, and a finalist for Fotomuseum Winterthur’s Post-Photography Prototyping Prize. She opened Hard/Soft, her third solo exhibition with TRANSFER, online and offline in 2020 as well as Touchscreen at L’Unique in Caen, France. She is the recipient of a 2021 New York State Council on the Arts grant.

Hildegard Holland Watter

Hildegard Holland Watter, she is a collaborative baby who works across performance, drawing, and installation. She performed as part of Faith Holland Hard/Soft installation at Spring/Break Art Show New York 2020 and produced a performance-video work for Vicarious Touching, the online version of the exhibition at TRANSFER.

Monika Horčicová (1988) was born in Prague and currently resides in Brno. She graduated at the Faculty of Fine Arts at Brno University of Technology , Department of Figurative Sculpture. She has held several solo exhibitions throughout the Czech Republic and has been part of many group exhibitions throughout the world, including New York, Paris, Switzerland and London.

Czech artist Monika Horčicová creates complex sculptures using 3D printing technology and polyester resin. The conceptual skeletal structures seem amazingly real, as if these mechanisms would actually have a functional purpose. What is most striking, in this regard, is the anatomical precision of a totally new and harmonious human-like form. Some of the works are also very dynamic and the repetitive cycles that they are based on give the impression of a wheel, for example, in a surreal interpretation of a once familiar object.

The themes approached by the artist are a metaphor for death and life, a reflection on mortality and perhaps immortality, resulting from an unceasing interest in the human body and its multiple possibilities of representation.

Rory Scott is a multidisciplinary artist, whose work is recognized for its use of patterns, glitter and for its likeness to the Universe. Through both digital and handmade means, Scott explores the ideas of impermanence, the passage of time and the impacts of technology upon the evolution of humanity. Through recorded thoughts, sounds and use of retro sci-fi imagery, her work confronts and reconciles the passage of time by juxtaposing the old with the new. The prominence of patterns in her work, draws parallels between the existence of patterns in nature and in the rhythm of our thoughts and lives. Illustrating repetition creates form over time.

Flavia Visconte’s works merge video essays, video installations, and photography. 

Her investigation focuses on the posthuman condition from a glance influenced by the internet and digital culture. She seeks to reflect the influence of techno-patriarchy in body technologies and in the creation of sexualized devices that contribute to increasing the perception of women as objects.

In her recent work, she researches the impact of reproductive technologies and how they become a battleground for interaction between gender, technology, and power structures.

She currently coordinates Acéfala Web Residency, an online residency for visual artists organized by Acéfala Galería in Buenos Aires. This residency increases the possibility of experimenting with digital technologies and exploring the singularities of web-based exhibitions as site-specific events.

Her works have been exhibited in numerous group exhibitions and festivals, in Buenos Aires, Miami, New York, and London.

She lives and works in Buenos Aires, Argentina.