Yeon Sung (she/her/hers) is an artist-researcher based in Rotterdam and South Korea. As a child of a generation traumatized by Japanese colonial occupation, her artistic practice is centered on the critical examination of colonial dynamics at the intersection of sociopolitics, environment, and technology through the lens of non-human beings. Weaving a non-Eurocentric narrative with DO-IT-YOURSELF (DIY) tactics using accessible technology and bodily engagement, she experiments with performative practices as a decolonial method that challenges dominant power structures and democratizes art for audiences of all economic and social statuses.

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Chelsea Kim’s residency in Prague began with the statement, "But cycling in Prague doesn’t make sense!" Rather than promoting cycling’s typical benefits, she focused on a critical barrier: inadequate infrastructure. Inspired by AutoMat’s research identifying problematic cycling routes, Chelsea envisioned an interactive installation where participants could experience these challenges firsthand by pedalling a stationary bike, visualising the difficulties cyclists face.

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Irene Mélix journey started in her hometown, Dresden, all the way to Katowice, using her bike as more than just a mode of transport: By biking instead of using other kinds of transport she focused on exploring cycling as a way to navigate historical and social landscapes while promoting sustainable urban practices. Using her bike as a vehicle for both travel and research, Mélix engaged deeply with Katowice, uncovering layers of its history and culture and culminating in the creation of custom-designed flags, or ‘sztandary,’ that symbolised her journey and findings.

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Aru Ray Tormann participated in the CYCLE UP! residency program in Bratislava, immersing themself in the city’s cycling culture and exploring the concept of ‘Cyclotopia.’ With a focus on cycling as both a practical and symbolic act, Tormann engaged the local community, looking at how Bratislava’s cycling culture can be both lived and imagined.

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During her month-long residency at TYPA in Tartu, Jana delved into the vibrant cycling culture of Estonia. This residency provided a platform to connect, collaborate, and experiment, aiming to engage the public in artistic projects that highlighted the importance of cycling while putting an important focus on sustainability. Most of her art supplies were sourced from TYPA's recycling bins or second-hand stores, and the entire workshop minimised waste, using only paper tape and recycled cardboard. The materials were gathered and reused wherever possible, demonstrating how artistic production and eco-conscious practices can align.

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