Open Call for Projects 2022/23

Alphabetical Index

Julio Aguirre — Dos Mundos — 2018
Sarah Al-Fulaij — Planned Views — 2014
E. Andrade-Guerrero — Baile Folklórico — 2018
Yara Antoun — Coffee Patterns — 2019
Carolina Arciniegas — Hinter Gittern — 2014
Tracy Bassil — Urbic — 2017
Josh Blankfield— Bathe — 2020
Alexander Breyley — Putin’s Russia — 2014
Johanna Buehler — Try To Trace The Tracks — 2018
Sean Burgess — Genomics — 2017
Ronja Burkard & Noemi Thommen — Flip Your Destiny — 2019
Candice Cantu — Techgrow — 2016
Daniel Cardoza — Celestine Revelations — 2016
Li Wen Chang — Shan Hai Ching — 2014
Li Chung Chang — Zen — 2014
Karis Cheng — The Arc Geos — 2014
Leung Chi Kwan — . / O — 2014
Taylor Childers — Suburban Midwest — 2014
Lucia Delgado — Emotional Planets — 2018
Jose Diaz — Endangered Animals — 2017
Roxana Dominguez — Inequality of Urban Space — 2016
Chloe Maria El Khoueiri — Soothing Sounds — 2019
Camille Espinas — Curiosité Killed Die Katze — 2018
Cole Finch — Changing Cities — 2017
Stefan Fitze & Maxim Staehelin — Earports — 2019
Farida Foda — GLITCHE — 2020
Angelina Foos — Slavic Ghosts & Creature — 2018
Andrea Sara Gallo — Shaping Language — 2019
Andrea Gilbert — Changing Animals — 2017
Grace Gossen — Gender Identity — 2016
Patricia Grabowicz — Chews a character — 2018
Livia Graf — Hydropower — 2018
Sophie Green — Flight Paths and Motion — 2014
Name Haksar & Dolder — Labyrinth — 2018
Lisa Hartmann — Form – Museum — 2018
Lam Hau Yi — Strokes from Nature — 2014
Zhu He — Chinese Cuisine — 2014
Fiona Hügi — Twice a Day — 2019
Caleb Hui — Wonderland — 2014
Imhof & Krenmayr — The PET Proof of Identity — 2018
Lukas Jäger — We Woke Up Like This — 2019
Raafia Jessa — /ˈlo.kwiː/ — 2016
Vivien Jirschik & Nico Liebig — 45 Mobile-Unlock-Symbols — 2019
Luise Kalkbrenner — Lost In Light — 2018
Ramzi Khalife — Between Western and Middle-Eastern Sound Waves — 2019
Chloe Koo — Hanbok — 2014
Ayaha Kato — In Your Hands — 2020
Onur Köroglu — Melting Glaciers — 2019
Yoko Kristiansen — Watching You — 2016
Christian Kuhn — The Phaistos Tale — 2014
Chieh-Ting Lee — Living With Gods — 2016
Jiyoon Lee — In The Beginning — 2014
Mirjam Leppers — The Sixth Day — 2014
Winnie Liu Wai Ling — The Song Geos — 2014
Huy Long — Pho — 2014
Daniela M. Casado — Motherland — 2014
Sergio Mantilla= — Visual Slang — 2014
Lena Meier — Deltas in Danger — 2014
Kellee Morgado — Gender Expression — 2016
Christina Möser — St. Peter — 2014
Ghida Nadar — 3al Lebnene — 2019
Helen Nerio — Urban Connectivity — 2016
Salomé Anna Neuhaus — Monoculture — 2018
Mathew Oakes — Urban Sprawling — 2016
Valentina Os — Herbal Tradition — 2014
Chika Oshima — Metaphor — 2020
Celine Pereira — Human Database — 2018
Caleb Peters — Self-Identification — 2019
Valentina Pherson — Rak’ah — 2014
Alex Pillow — Roll of the Dice — 2020
Tsang Po Fan — 45 Compositions — 2014
Darlington Prescott — Mission to Mars — 2014
Ali Razzak — Screen Scrying — 2020
Michèle Rietzl — Macronutrient Pyramids — 2018
Julien Rondez — Jura Skyline — 2018
Camila Ruiz — Migration Fragments — 2018
Nicole Salazar — Beginner's Mind — 2018
Isaac Sanchez — AI Generated Language — 2018
Katjetan Som — Circular Font System — 2019
Yukino Sasada — The Charm of Twist — 2020
Kayla Stellwagen — Swiss Heights — 2019
Rebecca Stork Under Cover — 2019
Alisa Strub — Space Junk — 2019
YaHsin Sung — Jasmine Tea —2019
Annatina Themis — Mushroom Match-Up — 2019
Alex Thrift — Another World — 2018
Vinci To — Hong Kong Style — 2014
Karen Trachsel — Rounded Biographies — 2019
Thi Tran — Uniqueness — 2016
Ricardo Vega — Chile stamp — 2014
Maria Camilla Vegas — Metamorphose — 2014
Linda Walter — Naturalis Terminus — 2018
Kayla Wong — Monsters — 2014
Luca Wunderlin — Go Viral — 2019
Kanny Yeung — Once Upon A Time — 2014
Vincent Yiu — A Kind of Writing — 2014
Aslin Yu-Heng Lin — LGBT in Taiwan — 2016
Chisaki Yuki — Frozen Lives — 2020
Aushuho Z — ‘ 字 — 2014
Wenting Zhang — Analog Machines — 2014

Group Projects

Assra Tajbhai, Fatima Mohammed, Bham Nikita Govender, and Ssanyu Sematimba — Unity in Diversity — 2017

Bryton Scott, Muhammed Modhien, and Deirdre Okumu — The Code of Gumboot — 2018

Chandelle Wilsnagh, Mmatshepo Simelane, Ashir Ajudhiya, and Dobyl Malubane — The Navigators — 2018

Danielle Rouillard, Marcel Sadowski, Siane Power, and Jessica Donner — Self Destruction — 2016

Dominique Stiekema, Eva-Marie Dinwoodie, and Chante Kimmie — The Butterfly Effect — 2018

Kimberly Gosling, Birgitta Le Roux, Kaylynne Thompson and Zanele Mkhwanazi — Jozi Spots — 2016

Nicole Potgieter, Claudia Rodrigues, Zaid Shaik, and Awakhe Sithebe — The 21st Century Culture — 2018

Sarisha Padayachy, Mikaela Elkon, Caleb Pillay, Zeenat Tilly, and Tyler de Klerk — Genggai Climate Change — 2017

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Shan Hai Ching — Li Wen Chang

March 7, 2014March 28, 2018

Shan Hai Ching

The Shan Hai Ching symbols represent the Chinese gods which were introduced in a classic Chinese text of the same name. It can be translated as “The Classic of Mountains and Seas” and introduces a variety of early geography and myth. Versions of the text have existed since the 4th century BC. The ancient Chinese appreciated and worshiped nature and used these texts to translate them into gods and other figures. The symbols mimic Chinese stamps in order to depict the identity of the gods and their omnipotence.

Shan Hai Ching — Li Wen Chang

Shan Hai Ching

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