Madoka Furuhashi experiments in temporary work discontinuance lie on a spectrum of sculptural, performative and symbolic demonstrations that intervene in existing chains of work and industrial cycles. Influenced by the method of archaeological and anthropological studies, her practice tests the physical result of partial suspension of work as a material source of knowledge. Through this she explores concepts of labour and the body, and how these entities are materialised in the system of contemporaneous production.

El nadir was developed during the artist’s field research in the Central Valley of Oaxaca. The installation includes a group of clay figure fragments from San Agustin Yatareni, which were made by following the processes of clay mining and brick making. The set of fragments was the accidental outcome of casting a mixture of clay and sweat from workwear left behind by workings during their breaks. Casting in the enclosure of these garments sculpts the body through its absence. This materialisation gives labour a physical state for interpretation. The casts allowed the artist to index the often anonymous activity of industrial production in the natural formation of sedimentary minerals.

Hou I-Ting explores female labor condition under social and economic systems. Through her practice, She expands the field of discussion of the body to address its agency in the social sphere and insinuates itself in historical narratives. Hou's works focus on transforming labor processes into the performance of a culture action to unveil their high degree of intensity, or to reveal a regulated body movement that skilled labourers such as embroiderers are engaged in.

Assemblage of flawlessness investigates the patterns of industrial labour by looking at factory assembly lines as a form of collective work as well as by performing the fictional model of atypical employment that refers to the parallel conditions of art production. Focusing on the history of female labour has been a crucial discourse for the artist, a context to portray a never-fading image of labour in a rapidly changing society. For Assemblage of flawlessness the artist collaborates with multiple workers to produce her work both on and off site.Through this it questions how much the body reveals under the influence of the political economy of the art system.

Huang Po-Chih’s practice revolves around his family circumstances and history that have led him to issues of agriculture, manufacturing, production and consumption. Through text-based works and installations, he reassembles the fragmented historical and cultural contexts of his personal experiences. Daily consumer goods or events appear as “counterfeits”, with the aim of exploring how the “art (products or events)” can initiate new meanings and definitions within a social complex.

Five Hundred Lemon Trees began with the act of planting through which the artist created a space for both collective participation and personal realisation. A “subscription campaign” followed, allowing donors to become “collaborators.” After two years, each received a bottle of lemon spirits concocted by the artist. As it has developed, the project has incorporated donation, production and consumption into its narrative context, merging creator, producer (farmer-distiller), artwork and viewer into a single entity. Rather than reflecting the reality of society, it has produced an alternative one: a kind of cultural production and value created by the working class.

Valentina Jager’s practice unfolds in the borders between writing, sculpture making and performance. More than working around a fixed subject, her work explores the interests on perception of time and space, the ephemeral, and seeking an economy of materials and the use of imagination. In Jager’s research about, with, and around language she uses her own experience or else's words and actions as material and resource for the work.

Everyone pays is based on the idea that all languages have a particular value system, one inherent to themselves for which each word has a specific linguistic connotation inside its own structure, and one other, subject to external desires: the political and economical considerations of speech and the linguistic capital value that favors certain dominant languages and discourages others.
When translating, there is a set of trading rules for the exchange. Translation is a negotiation, first to the degree of what is worth to have translated to multiple languages and second in the same act of trying to embody some one else words, something intangible, in a very different order of thought.

MOTOS NINJA’s work creates from the outside and the inside with humor as a strategy of critique. The landscape’s transformation from the object and from the incidence of the body as an object, presentation and representation, the absurd. An attempt to demonstrate the mechanisms with which we communicate within contemporary art’s circle; to mock upon the readings, to modify them from the whimsical, to get rid of their speculative value, to strip away the ideas and transform them to generate wider readings but without loosing sight of our own context. To approach irony as a device to generate critical thinking of the scene and life itself.

Nicolas Poggi is a researcher and an artist. He engages with several practices to fuse them into theatrical acts, dealing with them from humor and critique to transform scenic spaces and to create a personal language. His works have been exhibited in Argentina, Mexico and France. The relational practice is a research endeavor that Poggi develops with different artists.

Ricardo R. Rojas is a performer and a researcher on movement. His work deals with the virtuous body. To give virtue to a body, the body by virtue of something, an idea, a system. The body by virtue of memory, memory as a movement detonator. To expand this sense from an interdisciplinary practice.

Ana G. Zambrano is a choreographer, a performer and a teacher. Through an interdisciplinary approach, she projects a view engaged with the bodily and the choreographic. Her research is based on the discussion upon the concept of the ideal theatrical body, its limits and possibilities; the specific relation between bodies and the relation body/object. Faced with the necessity of finding a common language between choreography, dance, performance, and theater, Zambrano carries out her work as a choreographer independently.

What is unseen proposes a scenic method to exhibit an abstract conception of movement, a sequence of images where objects and people are delineated by themselves, resulting in truth and exactitude, a return towards familiar surroundings. MOTOS NINJA built a choreographic dialogue in conversation with the expectation, with those things that could be but never are, with the absurd, with making possible-visible the impossible-invisible. What is unseen shows the error and the trial, it defines itself as it becomes, a scene that composes and decomposes as many times is needed. It is an experience that enters into the sphere of affection reográfico en conversación con la expectativa, con eso que puede llegar a ser y nunca sucede, con el absurdo, con hacer posible- visible, lo imposible-invisible. “Lo que no se ve”  expone el error y la prueba, se define mientras se hace, una escena que se compone y descompone cuantas veces sea necesario. Es una experiencia que entra en la esfera de las afecciones en donde de pronto nuestra propia presencia es diluida,no así nuestra forma de ejecución.

Chantal Peñalosa’s research-based practice stems from small gestures and interventions in everyday life, which are meant to expound upon notions of labour, waiting and delay. Repetition is a crucial element in her process, functioning as an allusion to the absurdity, weathering, and alienating effects of work. For Peñalosa repeating actions evoke latent states in which dialogue appears unilateral and suspended in time.

Making time intends to explore the method to production of time. As we all know, since Pliny the Elder art has been focused—to a certain extent—on making things seem what they aren’t.
This project aims to register the way in which objects move from one state to another, they become others without giving away what they are, they acquire another value and grow old before our eyes through a series of technical rudiments.

Yu Cheng-Ta’s works mainly in video and moving image with performances that usually adapting a playful approach to language in his works. His practice deals with the interstitial gaps and humorous misunderstandings that arise when different languages and cultures collide. By focusing on the verbal and body language of the performers and interviewees, Yu investigates differences between culture, language and identity.

Tell Me What You Want is about the exchanges of gazes, desires, friendship, and wanting between a traveler and an exotic culture. In this project, the artist arranges four mockumentaries: “Malate”, “David”, “Joara”, and “The Shop”, which are intertwined and yet independent from one another. Each film symbolises products derived from various peoples, cultures and viewpoints. The title “Tell Me What You Want” is a local greeting referring to the transactional structure of street life. The artist incorporated such negotiations into the production of the film so that the different relationships and processes become tangled up in reality, social networks, and diverse desires found in Manila.