(born 1974) is a contemporary artist whose works explore multiple mediums including abstract painting, video, photography and photogram, glass sculpture, and silver.
Her past exhibits include “The VOCA 2008: the Vision of Contemporary Art” (The Ueno Royal Museum of Art, 2008), “Flowing, Drifting” (Gallery Atos, 2008), and “ART IS MY LIFE” (Okinawa Prefectural Museum of Art, 2012).Her first book of photography Paradigm
is forthcoming from las barcas Publishing in 2015.
CHIKAKO YAMASHIRO (born 1976) is a contemporary artist who has been known for her videos and films, performance artworks, paintings, and sculptures.
She has exhibited her works in “The Woman of the Butcher Shop” (NAM Project 18, Mori Museum of Art, 2012), “Women In-between: Asian Women Artists 1984-2012” (2012), “The New Snapshot: Contemporary Japanese Photography vol.9—Radiant Moments” (Tokyo Museum of Photography, 2010), “Yebisu International Festival for Arts and Alternative Visions” (2009, Tokyo Metropolitan Museum of Photography), “Okinawa, Prism: 1872-2008” (The National Museum of Modern Art, 2008).
She now also runs her film production company Suijo No Hito (People on the Water) with filmmaker Atsushi Sunagawa.
KIYOKO SAKATA (born 1972) is a contemporary artist who works with installations, video, painting, and poetry.
Her past exhibits include “Nigata Creation” (Nigata Municipal Museum of Art, 2014), “Women In-Between: Asian Women Artists 1984-2012” (2012), and “Okinawa, Prism” (The National Museum of Modern Art, 2008).
She is also a founding member of the art website Compass and runs her own alternative art space KIYOKOSAKATA Studio.HP
KAORI NAKASONE (born 1979) is a photographer and founding editor-in-chief of las barcas.
Her past exhibits of photography include “Hitotsubo Exhibition” (Recruit Ginza, 2006) and “Squint of Okinawa” (Photographers’ Gallery, 2007). She was also an editor of LP
, a photography quarterly (2008~2010) and has written essays on photography and film.
YUMIKO OKADA (born 1982) is an independent curator who works in and across Okinawa, Tokyo, and Cuba. She served as the chief manager of Maejima Art Center in Naha (2005~2009) and now runs an art caravan project Cimarcus with Haruka Hama.
She curated “Okinwa Art Action!” (Okinawa Prefectural Museum of Art,2011), “Takao Kawaguchi: A Perfect Life in Okinawa” (Espace Création de Uehara, 2011), and “Cuba Insularidad: Abel Barroso y Sandra Ramos” (Camp Talganie Art Farm, 2013).
HARUKA HAMA is a coordinator for the Yamagata International Documentary Film Festival (YIDFF) and a staff member of Cinematrix, a film distribution company in Tokyo. At the YIDFF, she curated “Okinawa—Nexus of Borders: Ryukyu Reflections” (2003), “Islands / I Lands—Cinemas in Exile” (2009), and “Islands / I Lands, NOW—Vista de Cuba” (2011).
In addition to being an co-organizer of the art caravan project Cimarcus with Yumiko OKADA, she is also the producer of Go Takamine’s new feature film Queer Fish, which is to be completed in 2015.
Tetsu Oyakawa (born 1973) is a novelist. He currently lives in Naha.
Mayumo Inoue (born 1975) attended UC Berkeley and USC, taught at the University of the Ryukyus (2008-2012), and is now an associate professor of comparative literature and English in the Graduate School of Language and Society at Hitotsubashi University.
Mayumo’s work explores the intersection of literature and film, postcolonial studies, and aesthetic theories (of Nancy, Adorno, Deleuze et al) in the context of imperialisms and their memories in East Asia and Asia/America.
His publications in English include “Theresa Hak Kyung Cha’s ‘Phantomnation’: Cinematic Specters and Spectral Collectivity in Dictée and Appatatus.” Criticism: A Quarterly for Literature and the Arts. Vol. 56, No. 1, 2014.
The link to the essay is here.
Ikuo Shinjo (born 1967) is a professor at the University of the Ryukyus and has been a leading figure in the fields of gender and sexuality studies, Japanese-language literature, and film studies in Japan. Shinjo has published five books to date: Scheming Okinawan Literature: Language, Body, and Memory in Conflict (2003), An Okinawa to Come: A Critique of Okinawa in Representation (2007), Listening to Okinawa (2010),The Touch of Gaze (co-authored with photographer Ryudai Takano), and A Circuit of Wound Called Okinawa (2014).
His essay “The Political Formation of Homoerotics and the Cold War: The Battle of Gazes at and from Okinawa” is translated into English and collected in Transpacific Imaginations: Rethinking Boundary, Culture and Society (eds. Naoki Sakai and Hyon Joo Yoo [Singapore: World Scientific Publishing, 2012]).