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Tamás Kaszás (b. 1976, Dunaújváros, HU) is a graduate of the Intermedia Department of the Hungarian Academy of Fine Arts in Budapest, having works part of several public collections, such as Tate Modern in London, Ludwig Museum in Budapest, a.o. His approach is usually based on theoretical research pertaining to political activism (in the form of anarchist, squat and green movements), having worked in different collaborations over the years, mainly with Anikó Loránt (Ex-artists’ collective) and Krisztián Kristóf (the Randomroutines).

Currently, Tamás Kaszás is concerned with developing an economical and ecological art practice, using mostly cheap or recycled materials and employing do-it-yourself techniques to design easy-to-make structures. Drawing from the economy of lack defining Eastern Europe’s recent history and from a future beyond ecological and technological collapse, Tamás explores possibilities for collectivity and autonomy by constructing fictional anthropologies based on folk science. In his practice, art becomes the carrier of a practical skill set for future survival and sustainability.

The title of the work shown at Template #6, ‘Every Practice Brings a Territory Into Existence’ is borrowed from The Invisible Committee’s anarchist tract The Coming Insurrection. Tamás stages the modernist store front belonging to S.C. Nufărul S.A. — an old Romanian dry cleaning company — by creating a fictional account of its potential uses. The premonitory signs of this new instance transform the space into a node for social complicities and solidarities, a visual aid in understanding the power of self-organisation to breach rigid functions of urban design.

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Jessica Twitchell (b.1983 in Mellrichstadt, DE) is an artist based in Cologne. She graduated in 2011 from the State Academy of Fine Arts Karlsruhe under Prof. Harald Klingelhöller and as of 2016 is part of the curatorial board of Simultanhalle Cologne.

In her practice, Jessica uses traditional materials such as plaster, cement, wood, textile or cardboard, as well as casting processes and different printing techniques to produce sculptural and architectural objects with repetitive, mirroring and self-similar patterns. Beyond a theoretical investigation and practical usage of everyday objects, Jessica sharply observes their surface, which becomes the access point to understanding objects` inherent logic and shifting functions.

For her work at #209, Jessica Twitchell extracts, reiterates and tiles surfaces of different objects, which she then posters onto a double of a kiosk`s outer shell. Template #209 is hosted within a structure reminiscent of an upscaled pop-up book, a multi-faceted kiosk situated at the corner of an L-shaped block of flats. These coordinates determine the first line of the opening act in Jessica’s staging of #209, namely a rephrasing of what is already there, generating a serialized unfolding of the space within itself.

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Gvantsa Jishkariani (b.1991 in Rustavi, GE) is an artist based in Tbilisi. She studied architecture at the Tbilisi State Academy of Art and inclusive mediation at CCA (Center of Contemporary Art) in Tbilisi.

In 2013 she co-founded the first online platform covering the Georgian contemporary art and design scene (gargar.ge). Gvantsa is the founder of Patara Gallery, a project space located in an underpass shop in Tbilisi, as well as the co-founder of the first window–display gallery in Tbilisi focused on showcasing video art, the why not gallery. In 2017 she won the Tsinandali Award, the only award dedicated to young visual artists, writers and scientists in Georgia, supported by the president himself.

Her work addresses first and foremost the topics of expectations, beliefs and taste, specifically taste as the materialization of culture. Through her installations, videos and sculptures, Gvantsa wanders through traditional notions of cultural identity and plays them out poetically. She is further interested in how social media, ancient superstitions and surplus imagery, often associated with kitsch, influence the everyday; how emotion is triggered and how memory, views and personality are shaped.

For her work at Template #46 Gvantsa reflects on the effects of human migration by drawing parallels to birds’ seasonal movement. Taking cues from the practices of birdwatching and anthropology, she reconstructs images and fabricates artefacts that are as disparate as they are telling of what is left behind at the end of mass directional movement: negative or interstitial spaces.

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Andreea Peterfi (b.1991 in Bucharest, RO) is an artist currently living and working in Rotterdam. She began her studies in Bucharest at the photography and video department and continued within the graphic design department of the Gerrit Rietveld Academy in Amsterdam, where she graduated in 2016. With a background rooted in photography and graphic design, she uses both as blueprints for her projects.

In 2017 Andreea was a resident at Stichting Kaus Australis, where she further developed her ongoing research into ways of documenting, collecting and deconstructing events and narratives, in order to reshuffle them back into language based games, books or installations.

Andreea employs a study of language as her primary subject, which she often restructures and calls into play. For her work at Template #17, she applies graphic design principles and photography criteria in order to document and record props left behind at the end of a temporal scene – where unintended public sculptures and short-lived framing of spaces showcase brief glitches in the urban fabric.

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