Chien-Wen Lin (b. 1987, Taipei) is a Taiwanese photographer, director, and DJ. He holds an MPS in Fashion Photography from SVA (New York) and studied Communication Design at Shih Chien University in Taiwan. After graduating, he returned to Taipei and co-founded MW Studio TW with fellow photographer Manbo in 2017. His fashion and editorial work has appeared in Vogue TW, Marie Claire, MilkX TW, Milk HK, and Numéro China, often incorporating everyday materials and subcultural imagery drawn from Taiwan's underground electronic music scene, where he is also active as a DJ.

Influenced by Paris Is Burning and 1980s New York Ballroom culture, Lin's work explores queerness, fluid identity, and the marginalization of Taiwan's LGBTQ+ community — finding beauty in what mainstream society treats as peripheral. During the pandemic, unable to travel, he turned this lens inward on Taiwan itself, closely observing people, events, and objects that stand outside the mainstream.

His practice unfolds cumulatively over time, with images later reshuffled and recontextualized for exhibitions and publications. Two ongoing series mark 2019 as a turning point: Fringe Taiwan, documenting Taiwan's contemporary queer scene since then, and All Stories Begin from Chaos, which reorganizes his pre-2019 archive to trace the roots of his photographic practice.

Manbo Key (born 1986 in Taichung, Taiwan) is one of Taiwan’s most explosive contemporary visual artists, curators, and the founder of the queer platform "Homo Pleasure." Centered on an Asian queer perspective, his work bridges fashion photography, experimental video, and underground music scenes, earning him invitations to international exhibitions and residencies in Taipei, Tokyo, Germany, and Copenhagen.

Raised in a Hakka family in Dongshi, Taichung, Key was brought up by his adoptive grandmother. During his youth, he discovered a box of self-recorded homosexual videotapes in his father’s room labeled "Home Pleasure"—a shocking revelation that became the defining turning point of his artistic career. By making these intimate archives public, he confronts physical desire and sexuality head-on, deconstructing the binary between "family" and "sex." This breakthrough work, Father’s Videotapes, won the First Prize at the 2019 Taipei Art Awards, leading to a landmark solo exhibition at the Taipei Fine Arts Museum in 2022.

Key views curating and nightlife as collective queer practices, weaving contemporary art, fashion aesthetics, and party culture into spaces that serve as sanctuaries for the queer community. In an age dominated by social media fiction, his vibrant imagery and honest lens capture the lived realities of queer generations, embodying the fluidity, diversity, and vital urge for authenticity in contemporary Taiwanese society.

Luo Jr-Shin's practice begins with a curiosity toward materials — clay, resin, chemicals, food, scent — those unstable, perishable, often overlooked substances and the particular energy they carry. He is preoccupied with how matter carries and transforms meaning as it intersects with and passes through: a tomato seedling germinating in sewage sludge, one golden liquid becoming another golden liquid—matter continuously passing through, metabolizing, renaming itself. This transformative logic extends to his sustained attention to particular spaces—sites where the body and desire become visible, where matter and people lay themselves bare to one another, and where the line between public and private is itself negotiated.
His practice spans large-scale installation, sculpture, theatre, and spatial design, with a recent and pronounced shift toward constructing the very space in which a work exists. He co-founded the queer collective HomoPleasure with close collaborators, using parties, exhibitions, publications, and performances as modes of practice. He occasionally writes, treating writing as sketches for his own practice, or portraits of other artists.

With a background in product design, I create tools, games, documentation and participatory platforms/performances that invite people to imagine and discuss social issues that shape our futures. My projects often unfold as open-ended, evolving structures, where moments of gathering, negotiation, and play become forms of shared authorship. Co-founder of Homopleasure, a Taiwan-based queer collective promoting queer Asian visibility through art and underground culture.

Betty Apple is an avant-garde Generation Y artist from Taiwan. Her artistic practice is influenced by rave, subculture, avant-garde theatre, new media film, and post-internet art. She performs her conceptual ideas in different formats, such as electronic music composition, sound art performance, live art, DJ, art rave, and more, and intentionally embodies her creative concept of ‘body politics’.She was recently invited to perform at Melbourne Fringe Festival (2021); Santarcangelo Festival 2050 (2021); CTM Festival, Berlin (2021); Museum of Old and New Art FOMA, Tasmania (2021);, Nuit Blanche Taipei (2020); Biennale Jogja (2019); Flaneur Festival in Berlin (2019), Bergen Assembly (2019); Playfreely Music Festival, Singapore (2018); and Taipei Art Festival (2018–2020). She received her BA in theatre and MA in new media art at the Taipei National University of the Arts.

Luke George is a multidisciplinary artist creating work across performance and installation. Luke was born in remote lutruwita/Tasmania and resides on Wurundjeri Country in Naarm/Melbourne. Luke works with rope, tension, suspension and release, to examine the dynamics in how people interact and relate to each other, and to their environment. Luke is interested in ‘safe spaces’ that allow for care as well as risk. Luke’s artistic practice is informed by queer politics and spaces, whereby people are neither singular nor isolated; bodies of difference can intersect, practice mutual listening, take responsibility for themselves and one another. Luke presents work across Australia, Asia, Europe and North America, including at the Venice Biennale, National Galleries of Victoria and Singapore, Performance Space, Carriageworks, and Arts Centre Melbourne. Luke has been recipient of Fellowships from Creative Australia and the Chloe Monroe Foundation, and is a studio artist at Collingwood Yards.

Born Magandjin (Brisbane), 1991, Australia

Brontë is an Artist/Creatrix. Birthing new worlds both literally and artistically is the spine of her practice. Much of her work correlates the treatment of the earth to the treatment of our bodies, specifically othered/ oppressed bodies, Femme bodies. Within Brontë’s work which she describes as “dreamscapes” both Joy and Revolution are always holding hands. These dreamscapes explore what could be; melding and infiltrating what is. Hannah embraces multiple mediums including video, text work, textiles, photography and soundscapes, and combines these to create visually distinctive works with a kaleidoscopic lense.

Recently Brontë has included holistic, spiritual and physical healers as consultants for much of her work. These new bodies of work explore the five senses and their ability to shift the audience's energy. Aiming to both ground and lift audiences through the experiences depicted in her pieces. Bronte often leans into her Femme camp tool kit to alleviate the heaviness of much that is depicted. Always showing that in vulnerability lies strength. Brontë’s work has begun unpacking intergenerational spiritual knowledge, which she feels is just the beginning of a new chapter. Her work deeply centers on exploring healing practices utilising the elements of the earth and expanding beyond the white box. Much of this chapter is influenced by her practice as a birthing Doula, Party Curator and DJ.

Jazz Money is an internationally renowned poet and artist. They are the author of the multi-award-winning poetry collections how to make a basket (2021) and mark the dawn (2024), and the illustrated children's book The Frog’s First Song (2025). Jazz’s first feature film WINHANGANHA (2023) was commissioned by the National Film and Sound Archive and has toured globally. As a visual artist, Jazz works with poetics to create immersive storied spaces. A proud queer Wiradjuri person, their writing and art has been presented, performed and published around the world.

Justin Talplacido Shoulder, known as Phasmahammer, is a shape-shifting artist working across performance, sculpture, video and collective events, creating hybrid human-machine-more-than-human bodies through hand-crafted costumes and prosthetics in pursuit of a "Future Folklore," with performance and shared ceremony as communal medicine.

They co-founded The Glitter Militia with partner Matthew Stegh, running twelve years of events including the LGBTQIA+ artist ball Monsta Gras (2008–2020), and co-direct Club Ate with Bhenji Ra, exploring Filipinx heritage and queer/trans community through balls, fundraisers and the film series Ex Nilalang (2014–2017) and Ang Idol Ko (2022), shown at APT/GOMA, the Barbican and as a Singapore Art Museum Prize finalist.

Their theatre and visual art work spans gallery, nightclub and theatre contexts internationally, including a Palais de Tokyo residency (2019), the Prague Quadrennial (2019), and the touring work Carrion (Sydney, Melbourne, Texas, Jakarta, Denmark, Hamburg, UK, Montreal). Recent commissions include NIRIN at the Sydney Biennale, The National at AGNSW, and Anito, co-commissioned by Rising Festival, Sydney Festival and MONA (2023). In 2024, Club Ate received the Creative Australia Inspire Award.

Living and working on the land of the Gadigal people (Sydney, Australia) Samia Sayed is a contemporary artist, writer and producer whose practice embodies text through performance, interrogating and revising notions of religion, culture, and gender. Using poetry and her big, fat, strong body, she disrupts traditional storytelling structures and challenges spatial dynamics between performer and audience.

In 2025, Sayed was awarded the Parramatta Artists’ Studios Creative Fellowship and received an Arts Projects for Individuals and Groups grant from Creative Australia. She is also the recipient of the inaugural Performance Space Experimental Fellowship (2024) and participated in the (re)situate Biennale program (2024).

She has presented work at major institutions including the Art Gallery of New South Wales for Monumental (Working Title) (2023), The Alex for The Front Room (2023), and Carriageworks for FEAST (2022). Her work has featured in exhibitions such as Softcore (2023, Carriageworks), CHAMPS (2023, Granville Arts Centre), Last dance with you, Samia (2022, West Space Offsite), a heavy weight stitched (2022, Fisher’s Ghost Art Prize, Campbelltown Arts Centre), and Sports Show (2020, PARI).

Beyond institutional presentations, Sayed has undertaken text-based performance residencies at Campbelltown Arts Centre (2023), Artspace (2022), and Firstdraft (2021). Her performances have featured in public programs including Day for Night (2023, Carriageworks), All Ears: A Listening Party (2023, Campbelltown Arts Centre), and Studio Stories(2022, Parramatta Artists’ Studios).

Rooted in experimentation, improvisation, and critical inquiry, her practice continues to challenge perceptions, invite dialogue, and propose new ways of experiencing text and body in space.

Miranda July is a filmmaker, artist, and writer whose novel All Fours was a New York Times bestseller and a finalist for the National Book Award, the Women's Prize, and the Carol Shields Prize for Fiction. She is a Guggenheim Fellow and was named one of TIME's "100 Most Influential People of 2025." Her other books include The First Bad Man and No One Belongs Here More Than You, winner of the Frank O'Connor International Short Story Award.

July wrote, directed, and starred in Me and You and Everyone We Know (Camera d'Or, Cannes; Special Jury Prize, Sundance) and The Future, and most recently directed Kajillionaire (2020). Her art works include Learning to Love You More (with Harrell Fletcher, now in SFMOMA's collection), the Venice Biennale sculpture garden Eleven Heavy Things, and the messaging app Somebody. In 2024, Fondazione Prada Osservatorio in Milan presented her first solo show, curated by Mia Locks. Raised in Berkeley, she lives in Los Angeles.

Barbara Hammer (1939–2019) was a pioneering American filmmaker whose groundbreaking work over four decades helped define lesbian and feminist experimental cinema. Born in Hollywood and trained at UCLA, she made her first film in the early 1970s after coming out as a lesbian at 30, going on to create more than 100 films exploring female sexuality, queer identity, and the body.

Her landmark feature Nitrate Kisses (1992) was nominated for the Grand Jury Prize at Sundance and won the Polar Bear Award at the Berlin International Film Festival. Even after an ovarian cancer diagnosis in 2006, Hammer remained prolific, producing seven more films, publishing a memoir, and mounting retrospectives at MoMA, Tate Modern, the Jeu de Paume, and the Hammer Museum. Her final work, Evidentiary Bodies, premiered posthumously at the Wexner Center for the Arts in 2019.

Hammer's work is held in the permanent collections of MoMA, the Centre Pompidou, and the Whitney Museum of American Art, among others. She also established two ongoing awards supporting queer experimental filmmakers.

Garden Reflexxx is the creative studio of artists Jen Atherton and André Shannon. Dubbed Australia’s “picture provocateurs” (The Guardian), their practice spans film, video, and expanded cinema, operating across production, collaboration, and curation.

They co-host the ongoing radio program Movies, Movies, Movies on FBi 94.5, and have appeared as critics across broadcast and print, including ABC’s The Mix, Berlin Critics’ Week, Flickerfest, and The Guardian.

Their sold-out debut book Eyes Wide Open was published by No More Poetry in 2025.

Over the past decade, Claudia Nicholson’s multidisciplinary practice has examined her relationship to Colombia and, more broadly, the Latin American region, in an ongoing negotiation of geographic, cultural, and temporal distance. These interests constitute a material exploration of kinship, memory and the struggle against forgetting– in both conscious and unconscious terms. The context for her politics of memory is the geographic and psychic slippage of living in the settler colony of Australia, having been adopted from Colombia. She examines the possibilities of reconstituting myself in Australia through material exploration of photography, painting, installation, performance and video.

In her recent exhibition, 'If The Mountain Is Burning, Let It Burn', Nicholson drew from her archive of over two hundred photographs of Colombia and her life in Australia to develop a new body of photographic work. This is part of an ongoing practice of re-examining and deconstructing her personal archive anew. In the developing process of analogue photography, the image appears slowly and can rapidly disappear again through overexposure. The varied yet rhythmic nature of her photographs reflect her interest in the workings of memory. Focused on an attempt to catch the image, her artwork obscures and fractures the image further.

EO Gill (b. 1986) is a moving-image artist and curator. Gill’s work explores how gender is produced and represented in cinema historically. Most recently, Gill has presented works at Sydney Film Festival, SYRUP Contemporary and Bangkok Experimental Film Festival. Gill was born and raised on Ngunnawal Country, Canberra and lives on Gadigal land in Sydney. They are currently an artist-in-residence at Artspace.