Alexander Burenkov is an independent contemporary art curator, writer and art director, curator of special projects of Strelka Institute for Media, Architecture and Design. Formerly he was the curator at the V-A-C Foundation (2013–2016), chief curator at the experimental project space ISSMAG gallery (2016–2017) and chief specialist of the Regional Development Directorate of the National Center for Contemporary Art (ROSIZO-NCCA) (2017–2018). Recipient of Russia's Innovation Art Prize (2017) as the Curator of the Year for the exhibition «Planned obsolescence» at Miltronic body/digital gym center, in the framework of the parallel program of the V Moscow International Biennale for Young Art, 2016.

He has lectured in many art institutions and festivals like FutureEverything (Manchester, UK), Art Athina (Athens), Cyberfest (St. Petersburg), Microsoft Art Week, NCCA Moscow, Strelka Institute for Media, Architecture and Design, Garage museum of contemporary art, The Pushkin State Museum of Fine Arts, Rodchenko Art School, ICA Moscow, «Art&Science Day» of Skolkovo Institute, RMA business school to name just a few. Burenkov writes on contemporary art and visual culture in various periodicals and has contributed to numerous publications (Aroundart, Colta, Afisha, Moscow Art Magazine, Lookatme, Calvert Journal, Dialogue of Arts, Strelka Magazine etc).

www.sashaburenkov.com

Polina Kanis is a videoartist. She has graduated from the Rodchenko Art School, Moscow, in 2011, the same year in which she was awarded the Kandinsky Prize in the category Best Young Artist for her video "Eggs" (2010). In 2016 Kanis received the Sergey Kuryokhin Award in the category Media Object for her film "The Pool" (2015). Her work has been featured in numerous solo and group exhibitions, including the parallel program of Manifesta 10, and the 2015 edition of the Ural Industrial Biennial of Contemporary Art. As of January 2017 Kanis is part of the residency program at the Rijksakademie van beeldende kunsten in Amsterdam.

Polina Kanis has consistently reconsidered the boundaries between film, photography and performance. Kanis' early videos saw the artist perform different roles, such as that of a teacher, or a fitness instructor for pensioners. Her subsequent works, however, bear witness to a shift towards a more cinematic mode of moving image production with Kanis now working behind the camera. Marked by a distinct tension between the scenario depicted and the world that lies beyond the frame, Kanis' works show how hierarchical systems of power bring about shifts and perversions in relationships between individuals.

https://www.polinakanis.com/

Lawrence Lek is an artist and filmmaker working in the fields of virtual reality and simulation. He creates site-specific virtual worlds and speculative films using game software, 3D animation, installation and performance. Often rendering fictional or nonhuman artists within alternate versions of real places, his work reflects the impact of the virtual on the politics of creativity.
His recent projects include: 2065, K11 Art Space, Hong Kong (2018); Nøtel (with Kode9), Stroom Den Haag, The Hague, Netherlands (2018); Play Station, Art Night and the Whitechapel Gallery, London (2017); Hyperpavilion, Arsenale Nord, Venice (2017); The New Normal, UCCA, Beijing (2017); Glasgow International, Tramway, Glasgow (2016); SeMA Biennale Mediacity Seoul, Seoul Museum of Art, Seoul (2016); Missed Connections, Julia Stoschek Collection, Dusseldorf (2016); Secret Surface, KW Institute for Contemporary Art, Berlin (2016). Lek received the 2017 Jerwood/FVU Award and the 2015 Dazed Emerging Artist Award, and is represented by Sadie Coles HQ, London.

www.lawrencelek.com