Grace Herbert

Hailing from lutruwita/Tasmania, in Australia, Grace Herbert is a curator, facilitator, consultant, writer and artist. Her curatorial practice has grown from years working with community and independent arts organisations, where she delivered many ambitious projects on shoestring budgets. As Senior Curator for Melbourne’s RISING Festival, Grace has curated some of the festival’s major projects and helped to facilitate the growing and changing face of the organisation since its inception in 2019. Grace’s curatorial approach centres on removing boundaries to art making, viewing and participation, supporting artists to create ambitious new work and encouraging cross-disciplinary collaboration.

Saeborg

Saeborg is a Japanese artist known for her performances wearing latex body suits and cartoon-like installations. Her exaggerated, poppy and ‘kawaii’ characters and spaces are not just that – they also offer critical reflections on identity, gender, biopolitics and animal welfare.

Animal Golf invites players to swap a traditional putter for a strap-on latex animal tail—fox, kangaroo, squirrel, and more—and use their bodies to play. A chaotic soundtrack of humans making animal noises marks a timed play period and turns the putting green into an absurd performance space. Players are asked to treat their tails as extensions of their own bodies, prompting empathy and a playful rethinking of the human-animal divide. Animal Golf extends Saeborg’s ongoing critique of consumer culture and the systems through which bodies—both animal and human—are disciplined, commodified, and controlled.

Delaine Le Bas

Artist Delaine Le Bas (b. 1965, Worthing) lives and works in Worthing, West Sussex. In Spring 2026, the Whitworth Art Gallery, Manchester, presented Un-Fair-Ground, a solo exhibition of Delaine Le Bas. In 2024, she was nominated for the Turner Prize, which was presented at the Tate Britain, London. She was nominated for her exhibition at Succession, Vienna, Incipit Vita Nova. In July 2026, she will have her first exhibition with Maureen Paley, Leap.

She was one of sixteen artists who formed Paradise Lost at the First Roma Pavilion at the Venice Biennale, 2007. In 2015, she created the ongoing installation and performance work Romani Embassy. Her works were shown in Prague Biennale in 2005 & 2007, the Venice Biennale in 2007, 2017, and 2023, the Gwangju Biennale in 2012, Critical Contemplations at Tate Modern in 2017, and the ANTI Athens Biennale in 2018.

The scenography, sculptural furniture, figures and performative elements of Delaine Le Bas’ installation works are supported by furniture designer and maker of objects, Lincoln Cato. Delaine is represented by Maureen Paley.

Square peg, round hole. NO! materialises a familiar metaphor—one Le Bas says captures how she feels navigating a system from which she is often excluded. The “square ball” is both a linguistic paradox and an unruly, unpredictable playing companion. It invites players to reflect on the experiences of the Romani Sinti community and other marginalised peoples. At the same time, it levels the playing field, forcing skilled golfers to embrace uncertainty and adapt their strategies.

Danielle Brathwaite-Shirley

Danielle Brathwaite-Shirley is a London and Berlin-based artist and game designer whose practice prioritises active engagement. Working predominantly in animation, sound, performance and video game development, the artist’s practice focuses on intertwining lived experience with fiction to imaginatively retell and archive the stories of Black Trans people, creating participatory spaces to envision more inclusive futures. Recent solo exhibitions include, at Serpentine North, London (2025); LAS Foundation, Halle am Berghain, Berlin (2024); Fundació Joan Miró, Barcelona (2024); Studio Voltaire, London (2024) and Centre d’Art Contemporain Genève (2024)

For ENOUGH IS ENOUGH, Danielle creates space for the audience to use the room as a method of expressing their opinions and leaving a mark for the next group coming through. Each play through the course will be completely different depending on where the objects have been placed in the room and on what instruction the ball lands on. The game is then not only about reaching the goal but also about shifting the space itself.