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#hatched2017 #magaesberg #showreel #video #womenfilmakers ZAKI Women in Sink At “ Fifi’s ”, a hair salon owned by a Christian Arab in Haifa, Iris Zaki installs a minimalist film set over the sink, where she converses with the clients she’s shampooing. She thus paints an unexpected choral portrait of this space that provides temporary freedom, where women share their differences and a community of views on politics, history and love. 7 mn excerpt/ 36 minutes, 2017 www.facebook.com/Women.in.Sink ESTHER JOHNSON Yalda Esther Johnson (MA Royal College of Art) is an artist and filmmaker working at the intersection of artist moving image and documentary. “Do you love me?”, “Yes”, he said, and then… A colourful musical journey into the narrative of a woman’s tangled past, with magical glimpses of her present world and hopes for a liberated future. http://blanchepictures.com/yalda/ Video, 15’, 2007 JUMANA HOKAN Vessel Jumana Hokan is a Syrian/British artist whose current practice involves creating varied interdisciplinary interventions that present narratives, which may question, challenge or state issues on fractured cultural and sexual identities and how they can effect a person’s relationship with memory, nostalgia and the construction of a poetic image. 12 minute excerpt 2013 www.jumanahokan.com MARIA KAPAJEVA Test Shooting This video continues my explorations of an absurdity of stereotypes about female sexuality and attractiveness and women’s objectification, which I started in my work ‘I Am Usual Woman’. This video is the result of this test done with no a prior rehearsal. Video, 2016, 11 minutes [email protected] Instagram: @mkapajeva www.mariakapajeva.com MITA VAGHELA ‘UltraSound’ I am a British born Indian artist with a practice that is concerned with human behaviour and perceptions. ‘UltraSound’ is the culmination of my research into why my culture reveres sons to daughters. The letter that I read in the video was found in a prominent Indian magazine, and acknowledges the work that is being done to change mindsets among Indian people. Video, 4 mins, 2012 http://mitavaghela.wixsite.com/mitavaghela NASREEN SHAIK In Transi

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#hatched2017 #magaesberg #conversation #women #iwd2017 #oxfordinternationalwomenfestival #abortion #sexselectiveabortions #india MITA VAGHELA ‘UltraSound’ I am a British born Indian artist with a practice that is concerned with human behaviour and perceptions. I am interested in the blur between religion and tradition and am currently considering the value of a Hindu woman within Indian culture​​​​​​​​​​​​​​​. ‘UltraSound’ is the culmination of my research into why my culture reveres sons to daughters. I considered ancient scriptures and anecdotal accounts (including my own), to try to understand why daughters are unwanted. The practice of the gender selective abortion has been widely used for more than two decades, resulting in a skewed gender ratio in India. This has now led to the trafficking and slavery for an increasing number of the remaining precious girls. The letter that I read in the video was found in a prominent Indian magazine, and acknowledges the work that is being done to change mindsets among Indian people. Video, 4 mins, 2012 http://mitavaghela.wixsite.com/mitavaghela

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#hatched2017 #magaesberg #conversation #northwallartscentre #iwf #oxfordinternationalwomenfestival #janewafer JANE WAFER ‘VESSEL One’, ’THERE IS NO BEGINNING, THERE IS NO End’, ’ALUMOSOMA’, ’FERROSOMA’,’HYPERBOLE’# Jane Wafer is an Oxford-based artist specialising in sculpture and installation. Her recent sculptures challenge and subvert ‘soft’ techniques such as knitting and crocheting, which are often undervalued as women’s work or dismissed as hobbyist crafts. She uses hard, industrial materials like steel and aluminium wire and frequently employs mathematics to determine their form, for example, using the Fibonacci sequence to dictate the number of rows and stitches used. This has produced a variety of organic, delicate sculptures, more hole than substance, and echoing natural structures as diverse as flowers, horns and sea creatures. The artist has recently moved towards more vessel-like forms, constructing them using a variation of random weaving, a basket-making technique. She lived in Swaziland for several years where, as in many developing countries, women’s crafts were a source of income as well as providing goods for use in the home. Her latest wire vessels have taken on the scale and form of the large, round pots made by Swazi women for brewing beer. However, the artist’s vessels are clearly leaky and non-functional, divorced from their origins. Jane Wafer graduated from Oxford Brookes University in 2009 with a first class degree in Fine Art. She also holds a doctorate in biology, reflecting a life-long interest in the natural sciences that continues to influence her artistic practice. The artist has exhibited in outdoor and gallery venues in the UK, and in 2010 was invited to stage a show in Italy. In 2014, she was given a month-long residency at the RHS Gardens, Wisley. Last year her work could be seen in Metallic at Burghley Sculpture Garden, Stamford. ‘Vessel One’, iron, 60cm diameter, 2016, NFS ‘There is no beginning, there is no end’, stainless steel, 45 x 35 x 30 cm (l x w x h), 2016, £300 ‘Alumosoma’, aluminium, 44 x 40 x 25 cm (l x w x h), 2014, NFS ‘Ferrosoma', stainless steel, 80 x 15 cm (extended length x diameter at the wides

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MAGA ESBERG It (’s a) girl! For HATCHED 2017 Esberg researched major London Museums and Galleries looking for women’s presence as subject and as artists. In the shops’ postcard sections, among hundreds of images of women produced by men artists, she found reproductions of sculpture, drawing, painting, photography and mixed media spanning over 200 years by about 40 women artists. Tracey Emin, Marlene Dumas, Barbara Hepworth, Georgia O’Keefe, Leigh Seiner, Meredith Frampton, Gillian Wearing, Jacqueline Wilson, Pauline Boty, Rink Dijkstra, Sarah Lucas, Alice Neel, Gillian Wearing, Vanessa Bell, Babette Mangle, Jessica Ennis-Hill, Rosemary Trockel, Dorothea Lange, Viviane Sassen, Lynette Yiadom-Boakye, Minna Keene, Ruth Bartlett, Angela Garcia, Dame Laura Knight, Cassandra Austen, Olive Edis, Maggi Hambling, Corinne Day, Paula Modersohn-Becker, Nan Goldin, Cindy Sherman, Marisol, Anna Zinkeisen, Joe Tilson, Julie Blackmon, Louise Bourgeois, Linda McCartney, the Guerilla Girls, Barbara Kruger, Clarisse D’Arcilomes and Eve Arnold’s works were represented in these institutions at the end of 2016; a handful of artists were found in several places. With It (’s a) girl! Esberg juxtaposes texts by contemporary and historical writers with a snapshot of the current art establishment. During a performance the public is invited to make a contribution to the installation piece and to question what is it like to be a woman (artist) now. Maga Esberg is an artist and curator. She set up HATCHED in 2015 as a platform to develop, make and promote work addressing women’s issues to respond to the political and social climate. Esberg has an MA in Photography from the Royal College of Art in London and her work has been exhibited recently at ‘L’ éloge du voyage lent 2016’, HATCHED 2016 at Freud’s Oxford, RCA Secrets 2015, Brighton Photo Fringe 2014. Since 2013 she has been an artist in residence at Wytham woods, Oxford. Performers, postcards, texts, ready made frames - various sizes, 2017, NFS www.magaesberg.com blog: http://positiveimageswomen2015.tumblr.com instagram: #magaesberg and #womeninphoto #hatched2017 #northwallartscentre

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MAGA ESBERG It (’s a) girl! For HATCHED 2017 Esberg researched major London Museums and Galleries looking for women’s presence as subject and as artists. In the shops’ postcard sections, among hundreds of images of women produced by men artists, she found reproductions of sculpture, drawing, painting, photography and mixed media spanning over 200 years by about 40 women artists. Tracey Emin, Marlene Dumas, Barbara Hepworth, Georgia O’Keefe, Leigh Seiner, Meredith Frampton, Gillian Wearing, Jacqueline Wilson, Pauline Boty, Rink Dijkstra, Sarah Lucas, Alice Neel, Gillian Wearing, Vanessa Bell, Babette Mangle, Jessica Ennis-Hill, Rosemary Trockel, Dorothea Lange, Viviane Sassen, Lynette Yiadom-Boakye, Minna Keene, Ruth Bartlett, Angela Garcia, Dame Laura Knight, Cassandra Austen, Olive Edis, Maggi Hambling, Corinne Day, Paula Modersohn-Becker, Nan Goldin, Cindy Sherman, Marisol, Anna Zinkeisen, Joe Tilson, Julie Blackmon, Louise Bourgeois, Linda McCartney, the Guerilla Girls, Barbara Kruger, Clarisse D’Arcilomes and Eve Arnold’s works were represented in these institutions at the end of 2016; a handful of artists were found in several places. With It (’s a) girl! Esberg juxtaposes texts by contemporary and historical writers with a snapshot of the current art establishment. During a performance the public is invited to make a contribution to the installation piece and to question what is it like to be a woman (artist) now. Maga Esberg is an artist and curator. She set up HATCHED in 2015 as a platform to develop, make and promote work addressing women’s issues to respond to the political and social climate. Esberg has an MA in Photography from the Royal College of Art in London and her work has been exhibited recently at ‘L’ éloge du voyage lent 2016’, HATCHED 2016 at Freud’s Oxford, RCA Secrets 2015, Brighton Photo Fringe 2014. Since 2013 she has been an artist in residence at Wytham woods, Oxford. Performers, postcards, texts, ready made frames - various sizes, 2017, NFS www.magaesberg.com blog: http://positiveimageswomen2015.tumblr.com instagram: #magaesberg and #womeninphoto #hatched2017 #northwallartscentre #oxford #

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#hatched2017 #womeninphoto #magaesberg #iwd2017 #oxfordinternationalwomenfestival #downsyndrome #shiftingperspectives #pregnancy #birth #babies #fionayaronfield #motherhood MARIA KAPAJEVA ‘I Am Usual Woman’ This work is my artistic investigation on women’s role in cross-cultural marriage and fantasies both Russian women and Western men have about the women’s’ role in it. Exploring ‘Russian Brides’ phenomenon I am interested to question the relevance of traditions and old values nowadays taking into consideration the new opportunities the globalisation can offer. Quilt is stitched with a pattern called Double Wedding Rings. The pattern was traditionally used in the United States and Great Britain for a trousseau quilt made by bride’s female relatives. The used photographs were found on the ‘Russian Brides’ matrimonial websites as instructions with ‘the best samples’ of how women should be photographed for the best matchmaking. There is no instructions or sample photos exist for men on these websites. This is accompanied by a video piece ‘Test Shooting’. Maria Kapajeva is an artist from Estonia who works and lives in London. Her work has been shown internationally including the shows at One Fest Goa (India/2016), Brighton Photo Fringe (UK/2016), Tartu Art Museum (Estonia/2015), Auckland Photography Festival (New Zealand/2014) and Harn Art Museum (USA/2014). In 2016 she was awarded Gasworks & Triangle Network Fellowship to go to Kooshk Art Residency in Iran and participate in The Second International Artists’ Workshop organised by Rybon Art Center. Her multicultural background drives her practice to mine a diverse spectrum of cultural identity and gender issues within historical and contemporary contexts. She works with stories and histories she finds in archival photographs, old family albums or on flea markets. She deals with political and social issues of the past and questions how they form the present of people, whose stories got forgotten or about to disappear. Using photography as a start point, Maria works with video and installations, which often contains of found objects or unique pieces she creates with photography, various printing or stitching t

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#hatched2017 #magaesberg #nortwallartscentre #oxford #iwd2017 #oxfordinternationalwomenfestival. ‘Abstract’ Nasreen Shaikh Jamal Al Lail is the founder of Variant Space an art collective that creates a place where Muslim women can express their experiences artistically. Nasreen’s background in Photography (BA) and Photographic Studies (MA) have given her the ability to interact with the fields in-depth. Her work has been exhibited in England and Saudi Arabia; it focuses on themes of self-identity and the concept of ‘flux’ in a globalised world. The ideas of culture, gender, religion and politics are interlaced subtly in her work. For Nasreen, it is about giving access to the collective unconscious, memories and ‘selves’ as seen through the lens of her subjective/objective gaze. Ultimately, Nasreen sees her as way of life in art, not just a snapshot of a distant thought or endeavour. Her work forces us to ask: who am I and what can I become ? Pilgrimage is always a personal experience which involves intimate feelings of change. The transformative effects of pilgrimage are celebrated in many cultures and form an integral part of the religious-mythic construct. Clarity and overcoming are, in my personal experience, the most important part of any pilgrimage. This is what I attempt to represent in the photo-series. The black dots covering the face represent lack of clarity, impurity and distress. As the pilgrimage progresses, these dots are quarterly removed, leaving the face to emerge from behind the original opaque image. The images, therefore, serve as no more than a representation of the intangible effects of pilgrimage. Abstract is is accompanied by a video piece ‘In Transit’ Mixed Media Photography , A2 x 6, September 2011, NFS [email protected] www.nasreenjml.com

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#51%RememberHer #oxfordinternationalwomenfestival #iwd2017 #magaesberg #towergallery #womensmarch #womeninphoto #