Finding synergies in international transdisciplinary collaboration

‘Bodies-Machines-Publics’ explores how bodies, technology and public space intertwine. The project is a two-year multi-sited collaborative initiative between the glocal (global and local) network of NAVE (Chile), Khoj Studios (India), Immersive Arts Space/ZHdK (Zurich, Switzerland) and Kornhausforum (Bern, Switzerland). ‘Bodies-Machines-Publics’ is an inquiry which has emerged from the urgency to understand how evolving technologies transform and reorganize what it means to be human, to inhabit gender, caste and other socio-ecological formations, in the 2020s and beyond, globally. ‘Bodies-Machines-Publics’ aims to show how new forms of artistic-based research can play a crucial role in expanding critical discourse around the interaction of the body and technology in our contemporary society. The project provides time and space for artists and creators to develop prototypes and works exploring the sensitive body and technical mediation in relation to public space.

‘Mangrove Ecologies’ is a growing artistic research initiative and digital platform exploring the ecological, cultural, and political imaginaries of mangrove systems. Initiated in 2024 by kuchanua (Switzerland), Lamu Youth Alliance (Kenya) and Planishere (Switzerland) together with artists, curators, and research institutions in Kenya and Switzerland, the project approaches mangroves not only as biotopes, but as living metaphors—for interconnectedness, adaptability, and rooted transformation. The project navigates questions of place, identity, and planetary entanglement through transdisciplinary practices that bridge sound, visual storytelling, archival fragments, and speculative reflection. It draws inspiration from mangrove ecosystems—spaces where land and sea merge, where roots traverse borders, and where life thrives in flux. 

‘Plankton Ecosystems’ is an art-science programme by the EcoArtLab in collaboration with the European Research Institute (ERI, Turin), the Environmental Physics Group (ETH, Zurich), Kunsthaus Biel Centre d’art Bienne and Kunstmuseum St. Gallen. The programme seeks to understand plankton diversity and its role in climate change from a non-anthropocentric perspective. Its focus is on community science technologies, collaborative art formats, and experiential learning about marine ecology and ocean literacy, while exploring the connections and interactions between different bodies of water.  

Pooja Sood, Director of Khoj Studios, on behalf of ‘BODIES-MACHINES-PUBLICS’

Our partnership grew through exchanges facilitated by Pro Helvetia, New Delhi. During a research visit to Switzerland, a colleague and I met several people, organisations, curators, and artists. I was especially drawn to the kind of research Chris Salter was leading at the Immersive Arts Space at ZHdK, and I shared our project with him and our interest in collaborating. 

Earlier in 2022, Jennifer McColl, Director of NAVE in Chile, visited Khoj for a performance art project titled Body as Barometer. She had also met Chris and expressed an interest in working with him. Since she was also considering applying for this proposal, it felt like a good idea to imagine an exchange, even though NAVE’s focus is primarily on performance art. Given Khoj’s interest in performance practices, and Chris’s openness to working with both of us, the idea of bringing three organisations together took shape. Chris also suggested involving a non-university partner from Switzerland such as Kornhausforum, and then we developed the proposal that eventually became ‘BODIES-MACHINES-PUBLICS’. 

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Nora Naji, Co-founder of kuchanua, on behalf of ‘Mangrove Ecologies’

The central partnership for the Synergies project ‘Life Between Ebb and Flow: Mangrove Ecologies’ was formed between three organisations: Lamu Youth Alliance, Planisphere, and kuchanua. 

Lamu Youth Alliance, based in Lamu, Kenya, was our core local partner. The collaboration with them grew out of an initial engagement they had with the University of Basel, where I participated in a joint research project. In addition, Tabea Zwimpfer (kachanua) was already familiar with their work through her own professional engagement in Kenya in the field of environmental protection. This shared awareness and trust in their community-based approach made them an ideal partner for anchoring the project locally.  

Planisphere is a network-driven cultural agency based in Switzerland that develops and implements transdisciplinary projects at the intersection of culture, technology, and entrepreneurship. 

As kuchanua, we initiated the dialogue by reaching out to both Lamu Youth Alliance and Planisphere to share our initial concept for the project. We presented the idea of exploring mangrove ecologies through interdisciplinary collaboration and asked whether they would be interested in working together and they both responded with enthusiasm. 

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Yvonne Schmidt, Head of EcoArtLab, on behalf of ‘Plankton Ecosystems’

The main partnership between visual artist Riikka Tauriainen and marine scientist Marta Musso (Italy/DTU Aqua, Copenhagen) began in 2022, rooted in a shared interest in participatory and collective learning within ecological art-science. They met during an earlier collaboration and soon realised they wanted to continue working together. The idea for the Study Group on Relational Ecologies emerged from a desire to expand this dialogue and invite practitioners from other disciplines. 

They brought together a group of six individuals working in areas such as visual anthropology, feminist political ecology, ecofeminist activism, and visual arts to participate in the discussion. The group was formed through a more intuitive and open process, without prior collaborations among members. Despite the different disciplinary perspectives and professional positions, the group found common ground in their artistic interests and research contexts. The challenges they face often overlap, and the study group has become a space for bridging disciplinary knowledge and fostering shared methodologies. 

‘BODIES-MACHINES-PUBLICS’ 

At Khoj, we had already begun exploring the intersections of art and technology through a couple of earlier iterations, so our conversations with Chris Salter felt like a natural continuation of this inquiry. With Chris being a researcher, academic, and artist himself, who deeply engages with art and technology, the conversations led us to think more deeply about how technology operates within artistic processes, not only as a tool but also as something that can be reimagined and questioned through art. 

At the same time, Jennifer McColl and NAVE were interested in similar questions, from the perspective of performance and live arts. The potential for learning and exchange felt immense. Khoj, as a primarily visual arts organisation, and NAVE as a performing arts centre, both shared a desire to engage with technology as a connective thread across practices. Chris’s Immersive Arts Space at ZHdK, with its community of artists, designers, thinkers, and PhD students, also provided an ideal environment for experimentation and cross-pollination. 

The idea was to bring together these distinct geographies and practices, enabling artists to circulate between our organisations while also sharing their research and outcomes more widely. We had initially hoped to host a larger seminar with all the international participants, but unfortunately did not receive enough funding for this, so we decided to focus primarily on establishing the exchange through residencies. Alongside this, Khoj has been developing a seminar and exhibition situated in our local context which allows us to continue deepening these conversations.  

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‘Mangrove Ecologies’ 

The initial idea and overall conceptual framework for ‘Life Between Ebb and Flow: Mangrove Ecologies’ was developed by kuchanua. From the very beginning, the process was intentionally open and iterative, guided by a methodology that emphasised dialogue, reflection, and co-creation. In the early brainstorming phase, we engaged in discussions with a range of organisations and institutions to exchange perspectives, and further define the project’s relevance. This included conversations and calls with several research partners, such as Critical Urbanisms (University of Basel) and the EPFL + ECAL Lab, who provided valuable input on both the thematic focus and methodological design. 

Once an initial framework was articulated, we shared the concept with our future core partners—Lamu Youth Alliance and Planisphere. Both partners responded with strong interest and contributed with some final feedback, helping to refine and ground the project in both Kenya and Switzerland. 

The development process was therefore less about finalising a fixed plan from the outset, and more about building a flexible, process-oriented framework that could hold diverse perspectives and adapt through collaboration. This approach ensured that the project not only connected Kenya and Switzerland through art, science, ecology, and cultural exchange, but also reflected the strengths, expertise, and visions of all partners involved. 

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‘Plankton Ecosystems’ 

The concept was developed through conversations around relational ecologies and the need for intimate, sustained formats of exchange. Rather than approaching research as an isolated practice, we envisioned a space where methodologies and perspectives could be shared and shaped collectively. The Study Group on Relational Ecology was designed as a space for mutual learning, reflection, and imagination. It also served as a preparatory format for the following residencies and workshops, which were developed in collaboration with our main partners: the European Research Institute in Turin, DTU Aqua in Copenhagen, ETH Zürich, Kunsthaus Biel / Centre d’art Bienne, Kunstmuseum St. Gallen, and many others. Guest contributors enriched the dialogue along the way, bringing valuable perspectives from their respective fields. 

‘BODIES-MACHINES-PUBLICS’ 

Strangely, the most significant challenges we encountered during the exchange was navigating visas, particularly between Chile and India, where the geographical distance made travel difficult. At the same time, this very challenge of working across three distinct geographies also became one of the project’s greatest strengths. It has created rare opportunities for artists to travel between regions that are not often connected such as South Asia and South America, which was deeply enriching for everyone involved. We are especially excited about welcoming an artist from Chile to Khoj soon. 

Khoj has always been committed to fostering exchanges within the Global South while also being open to collaborations with the Global North. This partnership created a strong Global South voice while also enabling artists from Switzerland to experience working in very different local contexts, such as those in India and Chile. The combination of these perspectives and practices has been one of the most rewarding aspects of the collaboration. 

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‘Mangrove Ecologies’ 

One of the key dynamics we had to navigate was the adaptive process management required for a project of this nature. Instead of following a fixed roadmap, ‘Mangrove Ecologies’ evolved in response to changing local contexts, emerging needs, and new opportunities. This required flexibility, care, and a spirit of co-creation from all partners involved.  

We also encountered cultural differences and local working dynamics in Lamu, where it was important to remain attentive to context-specific realities. For example, aligning activities with the rhythm of Ramadan and ensuring inclusive community engagement required ongoing sensitivity, dialogue, and adjustments.  

At the same time, the project highlighted the rewards of long-term, cross-cultural, and interdisciplinary collaboration. The most significant outcomes included the building of lasting relationships and personal connections across continents, as well as the immersive experiences that enabled artists, researchers, and community members to gain new understandings and perspectives. This has generated continued exchange beyond the project itself, opening new entry points for further collaborations and critical thinking about ecological and cultural interdependencies. 

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‘Plankton Ecosystems’ 

Navigating different disciplinary languages and expectations required openness, trust, and patience, especially in balancing structure with emergent processes. One challenge was maintaining continuity across diverse schedules and geographies. Yet these dynamics became part of the collaborative learning process. 

The rewards of long-term, cross-cultural collaboration are essential. The group has fostered connections, expanded and transformed our practices, and created a ground for new methodologies. It has deepened our understanding of each other’s work and reshaped how we engage with our research subjects and environments. The Think Tank in June 2024 and the upcoming exhibition opening on 16 November, as well as the public event on 29 November 2025 at Kunsthaus Biel/Centre d’art Bienne, are examples of how these exchanges continue to evolve and resonate beyond the group. Importantly, the Study Group on Relational Ecology has decided to continue working together in future.