Karly Bergmann was the 2016 DePaul University Awardee of the Edes Foundation Prize.
Bergmann received her BFA in Dramaturgy/Theatre Criticism from The Theatre School at DePaul University where she also received The Louise de Marillac Women of Spirit and Action Award. She found shadow puppetry when an old overhead projector was discovered in her closet, and has since been captivated by the enchanting effect the medium has on an audience and the visual dramaturgy inherent to the work.
Bergmann’s shadow puppetry reimagines the folk tale for a modern
audience. She has adapted The Green Ribbon (The Wretched Nobles Film Screening “Best of 2015” pick), Tatterhood (The Dollhouse Female Filmmaker Festival), and created shadow projections for the world premiere of the musical The Mountain Digby (MCL Chicago). Bergmann’s work has been performed at Constellation, The Den Theatre, and in DIY venues around Chicago. She is proud to have worked with Manual Cinema, National Cool Theater and the art festival 2nd Floor Rear.
During her Edes Year, Karly furthered her studies in shadow puppetry by attending festivals and workshops across Italy. These included the the Incanti Festival in Turin and an intensive international shadow puppet workshop held annually by Teatro Gioco Vita in Piacenza. The Edes Prize also supported the creation of a weekly shadow puppet GIF and monthly street performances in Rome.
Francisco Castillo Trigueros was the 2015 University of Chicago Awardee of the Edes Foundation Prize.
Francisco is a composer and performer of contemporary and electronic music from Mexico City residing in Chicago. As a composer he has received numerous distinctions such as the BMI Student Composer Award, the Nouvel Ensemble Moderne Young Composer’s Forum Jury prize, two honorable mentions in the Morton Gould Young Composer Awards, and four nominations for the Gaudeamus Music Prize. As a performer of electronic music, Francisco is part of Collect/Project, a trio with flutist Shanna Gutierrez, and vocalist Frauke Aulbert. He has also performed with ensembles and soloists such as Ensemble Dal Niente, the Spektral Quartet, Fonema Consort, Claire Chase, and Ryan Muncy, and with the prestigious Mexican dance company Delfos Danza Contemporanea.
Francisco recently received a Ph.D at the University of Chicago, where he served as Computer Music Studio Manager for three years, and is currently teaching Digital Music Composition at Columbia College Chicago, and Theory and Composition at the New Music School. His mentors include Augusta Read Thomas, Shulamit Ran, and Howard Sandroff, among others. Current projects include Xilitla, a large-scale multimedia song cycle funded by the Edes Prize, a new piece for harpist Ben Melsky, and the music for a videodance by Delfos Danza Contemporanea.
German-born conductor Erina Yashima has been recently appointed répétiteur with conducting duties of the Pfalztheater Kaiserslautern. Previously, she was the music director of the Freies Studentenorchester Rostock (2013-2015). In 2013 she was given the Award of outstanding excellence by the Musikakademie Rheinsberg for the opera production she conducted there in 2013. Her guest conducting experiences include a collaboration with El Sistema in Venezuela, where she conducted two youth orchestras (May 2015).
Yashima was active participant of Riccardo Muti’s Italian Opera Academy at the Ravenna Festival and of masterclasses given by Bernard Haitink (Lucerne Festival) and Gianluigi Gelmetti (Accademia Musicale Chigiana). In 2015 she was selected as one of the top three finalists at the workshop INTERAKTION des Kritischen Orchesters by members of professional orchestras such as Berlin Philharmonic and Staatskapelle Berlin.
As pre-college piano student of Bernd Goetzke Ms. Yashima started her musical studies at the Institute for the Early Advancement of the Musically Highly Gifted (IFF) in Hannover where she got her first conducting lessons at the age of 14. After studying conducting in Freiburg with Scott Sandmeier and in Vienna with Mark Stringer, she is completing her studies in conducting at the Hanns Eisler School of Music Berlin under the guidance of Christian Ehwald and Hans-Dieter Baum.
The orchestras that Yashima conducted include the Konzerthausorchester Berlin, Württembergische Philharmonie Reutlingen, Stuttgarter Kammerorchester, Brandenburgisches Staatsorchester Frankfurt (Oder), Neubrandenburger Philharmonie, Brandenburger Symphoniker, Südwestdeutsches Kammerorchester Pforzheim, Kurpfälzisches Kammerorchester Mannheim, North Czech Philharmonic Teplice, Orchestra Sinfonica di Sanremo and New Music ensembles of the NDR Radiophilharmonie Hannover.
Aaron Hughes was the 2014 Northwestern University Awardee of the Edes Foundation Prize.
He is an artist, activist, teacher, and Iraq War veteran whose work seeks out poetics, connections, and moments of beauty, in order to construct new languages and meanings out of personal and collective traumas. He uses these new languages and meanings to create projects that deconstruct systems of dehumanization and oppression. He works with a variety of art, activist, and veteran organizations and projects including: Iraq Veterans Against the War, National Veterans Art Museum, Justseeds Artists’ Cooperative, Warrior Writers Project, Dirty Canteen, and Center for Artistic Activism.
During the Edes Prize award year, Aaron focused on his ongoing Tea Project that utilizes the space created when someone sits, sips, and reflects over a cup of tea to offers counter-narratives that disrupt the numbing effects of war, detention, and dehumanization.
Shane Ward was the 2013 University of Chicago Awardee of the Edes Foundation Prize.
Shane is an American artist who lives and works in Chicago. His work is dedicated to themes of war and romance, capital and masculinity, violence and emancipation, surface luster and value. Shane is after the relationship between the grave and the monument, the mine and jewelry box, the wound and the mend. Of late, he has thought of this as a sustained inquiry into the nature of victory, its relationship to liberty, and its ultimate fragility.
Shane earned his MFA from the University of Chicago in 2012. He currently teaches in the Sculpture Department at the School of the Art Institute of Chicago.
Shannon Matesky was the 2012 DePaul Awardee of the Edes Foundation Prize.
Shannon hails from Berkeley, California where she began as one of the youngest poetry slam champions in the Bay Area, at age 14. Shannon has since been apart of Brave New Voices College Tour, the final season of HBO’s Def Poetry Jam, and numerous stages across the country as a poet and actress. She has performed with many talents such as Talib Kweli, Marc Bamuthi Joseph, Danny Hoch, Rachel McKibbens, George Watsky, Rafael Casal and countless others. Shannon also features in the award winning documentary 2nd Verse: The Rebirth of Poetry (Corduroy Media) and is author of her first solo play She Think She Grown.
An alumni of Depaul University’s Theatre School, Shannon holds a BFA in Acting. Some of her theatrical credits include, A Raisin in the Sun (Merle Reskin), Electricidad (Merle Reskin), Welcome to Arroyo’s (ATC), Chicagoland and Hit The Wall (The Inconvenience), Sonnets for An Old Century (UrbanTheatre Co.), Sophocles: Seven Sicknesses (The Hypocrites) and The March (Steppenwolf Theatre). Shannon also assisted Chuck Smith in directing Race by David Mamet at the Goodman Theatre. Shannon is signed with Paonessa Talent Agency.
Shannon is also an activist and teacher that encourages forward movement toward enlightenment of consciousness. She works independently to develop curriculums that fit the demands of the current youth culture. Shannon has worked for organizations such as Young Chicago Authors, Youth Speaks, Step-Up Women’s Network, Kuumba Lynx and others, aiding young adults in technical and life skills.
Cameron Crawford was the 2011 Northwestern University Awardee of the Edes Foundation Prize.
He lives and works in New York. His writing has been included in Blast Counterblast (Mercer Union/WhiteWalls), Manual for Treason for the 2011 Sharjah Biennial, and the 2012 Whitney Biennial catalogue. His artwork has been exhibited in galleries and institutions throughout the United States, including the 2012 Whitney Biennial.
Nadav Assor was the 2010 School of the Art Institute of Chicago Awardee of the Edes Foundation Prize.
Nadav’s work performatively mediates cities, bodies and personal narratives via lo-fi reenactments of appropriated military-industrial technologies, examining technological mediation as an essential and transformative human condition. Nadav has exhibited internationally in festivals, music venues, museums and galleries in North America, Israel, Europe and Asia. Some recent venues for his work include ISEA Vancouver, Transmediale Festival in Berlin, European Media Arts Festival, the Soundwave Biennial in San Francisco, Residency Unlimited NYC, Spectrum NYC, Hyde Park Art Center in Chicago, the Koffler Center in Toronto, Julie M Gallery Tel Aviv, Xuzhou Museum, China, and many others. Assor’s work has been featured in publications such as Art Forum, Art Monthly, Haaretz, ArtAsiaPacific, the Creators Project, Motherboard, and more. Nadav holds an MFA as a Full Merit Fellow in Art & Technology from the School of the Art Institute of Chicago (2010). He is among the 2011 awardees of the Israeli Ministry of Culture’s Young Artist awards. Since 2012, Nadav has been an Assistant Professor of Expanded Media and a Fellow at the Ammerman Center for Art & Technology in Connecticut College.
Cut Stories, his Edes year project, is an installation in which 8 monitors of varying sizes serve as one semi-circular, layered screen, displaying any of six short, true personal narratives covering a range of subjects, from an intimate night conversation in Brasil ending with a man running through the fog holding a severed cow leg, to an American sex scene involving fractured bones and religion, to other tales of surgeries, injuries and car accidents: all transgressions into the participants invisible personal spaces.
The visitor to the installation enters a darkened space in which a panorama of faces is spread over the arc of monitors. It is a constantly panning image shot from the center of a circle of seated participants: most are listening to the story being told by one of them.
Beyond these, in the shadows is the Apparatus: another circle of people, all holding cameras of every type, documenting the event, rotating, contracting and expanding around the inner circle in a dance of mediation. This seemingly continuous image of seated people is actually comprised of adjacent windows into consecutive points of time within the single, constantly panning video: these are tiled next to each other so as to create the illusion of continuous space. The effect of this is that only the central monitor is showing the current, audio-synced, real time. The others are showing adjacent participants at moments that are increasingly further away from the present, towards either the future (left) or the past (right).