Zach Blas (b. Point Pleasant, West Virginia, USA) is an artist, filmmaker, and writer whose practice spans moving image, computation, theory, performance, and science fiction.

Blas engages the materiality of digital technologies while also drawing out the philosophies and imaginaries lurking in artificial intelligence, biometric recognition, predictive policing, airport security, the internet, and biological warfare. The Doors (2019) is an immersive environment that imagines a new psychedelic age fueled by AI, nootropics, and tech culture. SANCTUM (2018) is a sex dungeon-cum-detention center that recasts security and surveillance through BDSM. A film installation, Contra-Internet: Jubilee 2033 (2018) follows author Ayn Rand on an acid trip, in which she bares witness to a dystopian future of the internet. im here to learn so :)))))) (2017), a four-channel video installation and collaboration with Jemima Wyman, resurrects Microsoft AI Tay to consider the gendered politics of pattern recognition and machine learning. Facial Weaponization Suite (2011-14) consists of amorphous masks that demand opacity against biometric facial recognition systems.

Blas has exhibited, lectured, and held screenings at venues internationally, including the de Young Museum, Tate Modern, Walker Art Center, 2018 Gwangju Biennale, the 68th Berlin International Film Festival, Matadero Madrid, Los Angeles County Museum of Art, Art in General, Gasworks, Van Abbemuseum, Institute of Contemporary Arts Singapore, e-flux, Whitechapel Gallery, ZKM Center for Art and Media, and Museo Universitario Arte Contemporáneo. His practice has been supported by a Creative Capital award in Emerging Fields, the Arts Council England, Edith-Russ-Haus für Medienkunst, and the UK Arts and Humanities Research Council.

His work is in the collections of Museo Universitario Arte Contemporáneo, National Museum of Modern and Contemporary Art, Korea, and Whitney Museum of American Art. Blas’s practice been written about and featured in Artforum, Frieze, ArtReview, BBC, The Guardian, and The New York Times.

Blas’s writings can be found in the collections You Are Here: Art After the Internet, Documentary Across Disciplines, Queer: Documents of Contemporary Art, as well as e-flux journal and various exhibition catalogues. With Melody Jue and Jennifer Rhee, he is co-editor of the anthology Informatics of Domination, forthcoming from Duke University Press. His artist monograph Unknown Ideals is available from Sternberg Press and MIT Press.

Blas holds a PhD from the Graduate Program in Literature at Duke University and an MFA from Design Media Arts at UCLA. From 2015 to 2021, Blas was a Lecturer in the Department of Visual Cultures at Goldsmiths, University of London.

Erdem Taşdelen is a visual artist based in Toronto. His practice is rooted in conceptualism and involves a range of media, including installation, video, sound, and artist books. His diverse projects bring structures of power into question within the context of culturally learned behaviours. He often draws from unique historical narratives to address the complexities of current socio-political issues. His work has been shown in numerous exhibitions internationally, at venues including Mercer Union, Toronto; Blackwood Gallery, Mississauga (2020); Contemporary Art Gallery, Vancouver; Museum für Gegenwartskunst Siegen (2019); VOX Centre de l’image contemporaine, Montreal (2018); Pera Museum, Istanbul; Museum für Neue Kunst, Freiburg (2016); Stacion CCA, Kosovo (2015); Kunstverein Hannover; ARTER, Istanbul; Haus Konstruktiv, Zurich; and MAK, Vienna (2013). He has been awarded the Joseph S. Stauffer Prize in Visual Arts by the Canada Council for the Arts (2016), the Charles Pachter Prize for Emerging Artists by the Hnatyshyn Foundation (2014), and was long-listed for the Sobey Art Award in 2019.

Jenine Marsh (b. 1984 Calgary CA; lives in Toronto CA) has exhibited her sculpture and installation work widely in galleries and institutions such as the Kitchener-Waterloo Art Gallery (2025); Buffalo Institute for Contemporary Art (2025); the Goldfarb Art Gallery, Toronto (2024); Ensemble, New York (2024); Prairie, Chicago (2024); Ashley, Berlin (2024); the Morris and Helen Belkin Art Gallery, Vancouver (2024); Gianni Manhattan, Vienna (2023); Union Pacific, London (2023); Cooper Cole, Toronto (2023); Joe Project, Montreal (2023); Night Gallery, Los Angeles (2022); Essex Flowers, New York (2020); Franz Kaka, Toronto (2019); Centre Clark, Montreal (2019); Palais de Tokyo, Paris (2019), Entrée Gallery, Bergen (2018), and Lulu, Mexico City (2015). She has served as artist in residence at the Banff Centre for the Arts (2009, 2010 and 2022), at AiR Bergen at USF Verftet, Bergen (2018); Rupert, Vilnius (2017); and the Vermont Studio Center, Johnson (2011). Marsh’s work has received funding from the Canada Council for the Arts, Partners in Art, the Chalmers Arts Fellowship, the Toronto Arts Council, and the Ontario Arts Council. Her work is represented by Cooper Cole Gallery, Toronto. 

www.jeninemarsh.com

Katie Lyle’s work addresses themes of temporality and action through acts of accrual and erasure, reworking textured surfaces to define a nest of images that emphasize a layered quality of meaning. This process creates a methodology for learning through making that extends to her collaborative performative work with dance artist Shelby Wright, where forms and gestures are built and rebuilt in an iterative, relational approach between dancing bodies. 

Lyle’s current research investigates practices of painting conservation—past and present—and considers how the discipline reconfigures a painting’s relationship to materiality and value. Borrowing from treatments used for conservation of fresco and easel painting, she will address losses, lacuna, and patching as sites for retelling and shaping narrative in real time. By allowing these techniques of care and touch to act as sites for defining new forms of narrative and compositional structures in her work 

Lyle is an artist working across painting, drawing and performance. Selected presentations include; NADA House, Governors Island, New York presented by Franz Kaka; The School of Art Gallery at the University of Manitoba; La Datcha, Berlin; Franz Kaka, Toronto; Susan Hobbs Gallery, Toronto; Erin Stump Projects, Toronto; Daniel Faria Gallery, Toronto; Projet Pangée, Montreal; The MacIntosh Gallery, London, ON; 67 Steps, Los Angeles; Oakville Galleries; the Nanaimo Art Gallery. Lyle has worked collaboratively with Toronto based dancer Shelby Wright since 2014. Selected presentations of their co-authored work include: the Toronto Biennale, SummerWorks Festival, and the Canadian Art Foundation. Lyle is based in Toronto