shortlist 2022

Liz rosenfeld (USA/DE)

Liz Rosenfeld is a Berlin based interdisciplinary-artist and educator who works with the mediums of film/video, live performance and experimental discursive writing practices. Liz explores the sustainability of emotional and political ecologies, cruising methodologies, and past/future histories in regard to the ways in which memory is queered. Liz's moving image and performance work approaches flesh as a non-binary collaborative material, specifically focussing on the potentiality of physical abundance and excess, regarding questions connected to the responsibility and privilege of taking up space. Departing from the personal, Liz's writing is rooted in questions that contend with how queer ontologies are rooted in variant hypocritical desire(s).

Liz received an MFA in Performance from the School of the Art Institute of Chicago in 2005, followed by an MA from The Department of Performance Studies at New York University in 2007. Liz was the 2017 Goethe-Institut artist in residence at LUX Moving Image in London. Liz’s films are represented by Video Data Bank and LUX Moving Image. Liz's films and performances have shown in various international museums and venues including 2022 Berlinale International Film Festival, Berlinische Galerie, Mapa Teatro, Sophiensæle, The Hebbel am Ufer Theatre, The Gorki Theatre, Arts Admin, Galerie Emanuel Layr, The Tate Modern, The Hammer Museum, The Leslie Lohman Museum,The Barbican Centre, The CAC-Glasgow, Tramway, The Stedelijk Museum, The C/O Gallery, and The Deutsches Historisches Museum.

River Lin (TW)

River Lin is a performance artist working across the contexts of visual art, dance and queer culture through making, researching, and curating. He stages live works in gallery settings as choreography, installations, encounters or situations to speculate notions of heteronormative construction, social engagement and performativity of mediums.

River’s work has been presented by the Centre Pompidou, Palais de Tokyo, Lafayette Anticipations, Centre National de la Danse (Paris), KANAL Centre Pompidou (Brussels), ANTI Contemporary Art Festival (Kuopio), Live Art Development Agency (London), M+ Museum (Hong Kong), Rockbund Art Museum (Shanghai), Asia Contemporary Art Week (New York/Dubai), Serendipity Arts Festival (Goa), 2016 Taipei Biennial, Taiwan Contemporary Culture Lab, Tokyo Real Underground Festival, and Liveworks Festival (Sydney) among others.

Born in 1984 in Taiwan, River lives and works between Paris and Taipei.

Latai Taumoepeau (AU / To)

Latai Taumoepeau makes live-art-work. Her faivā (body-centred practice) is from her homelands, the Island Kingdom of Tonga and her birthplace Sydney, land of the Gadigal. She mimicked, trained and un-learned dance, in multiple institutions of learning, beginning with her village, a suburban church hall, the club and a university.

Her faivā (performing art) centres Tongan philosophies of relational vā (space) and tā (time); cross-pollinating ancient and everyday temporal practice to make visible the impact of climate crisis in the Pacific. She conducts urgent environmental movements and actions to assist transformation in Oceania.

Latai engages in the socio-political landscape of Australia with sensibilities in race, class & the female body politic; committed to bringing the voice of unseen communities to the frangipani-less foreground. Latai has presented and exhibited across borders, countries, and coastines. Her works are held in private and public collections including written publications.

Latai was recently awarded a 2022 Sidney Myer Creative Fellowship and the Australia Council of the Arts Fellowship in the Emerging and Experimental Arts category. She is also a recipient of the Prague Quadrennial - Excellence in Performance Design Award in 2019.

In the near future Latai will return to her ancestral home and continue the ultimate faivā of deep sea voyaging and celestial navigation before she becomes ancestor.

Zinzi Minott (UK)

Zinzi Minott’s work focuses on the relationship between dance, bodies and politics. Zinzi  explores how dance is perceived through the prisms of race, Queer culture, gender and class. She is specifically interested in the place of Black women’s body within the form.

As a dancer and filmmaker, she seeks to complicate the boundaries of dance seeing her live performance, filmic explorations and objects a different, but connected manifestations of dance and body based outcomes and enquiry.

Zinzi  is interested in ideas of broken narrative, disturbed lineage, and how the use of the glitch can help us to consider notions of racism one experiences through the span of a Black life. She is specifically interested in telling Caribbean stories and highlighting the histories of those enslaved and the resulting migration of the Windrush Generation.