- Mounira al Solh (Lebanon)
A Lebanese artist working between video, installation, writing, photography, and painting, Al Solh has addressed in her work issues related to Lebanese immigrants as well as Lebanese socio-political and religious conflicts. Her approach is not documentary but fictional, even fantastic. While transforming dramatic situations into ironic ones, she makes conscious periodic parallels between socio-political issues and aesthetics. Al Solh frequently appropriates other artworks and often metamorphoses into characters and fictional artists. Her video installation As If I Don’t Fit There was part of the exhibition titled Forward at the first Lebanese Pavilion at the Venice Biennale (2007) and at Be(com)ing Dutch (2008) at the Van Abbe Museum (Eindhoven). In 2011, she had a large-scale solo exhibition at the Stedelijk Museum Bureau (Amsterdam). Other recent exhibitions include Dinosaurs (2012), The Ungovernables: the 2nd New Museum Triennial (2012), Manifesta 8 (2010), and The Future of Tradition – The Tradition of Future (2010) at Haus Der Kunst (Munich).Copresented with grunt gallery
- Chumpon & Chantawipa Apisuk (Thailand)
Apisuk is a founder of Concrete House, an art and community space and the only performance art venue in Thailand. He is also founder and director of Asiatopia, an International Performance Art Festival in Thailand. In 2004, he was nominated as coordinator of Silabha, a cultural program of the 15th International AIDS Conference in Bangkok and is known for his activism in HIV/AIDS, Human Rights, and democracy issues. Chantawipa Apisuk is the founder of the Empower Foundation, an organization that advocates for the rights of sex workers in Thailand. The collaborative projects and initiatives created by the couple blur the boundaries between art, performance, and activism.Copresented with LIVE Biennial and Gallery Gachet
- Walter Benjamin (Germany)
Walter Benjamin was an important philosopher and art theoretician best known for his work Art in the Age of Mechanical Reproduction (1935). Many years after his tragic death (1940) he reappeared in public with the lecture Mondrian ’63 -‘96 organized 1986 by the Marxist Center in Ljubljana. The same lecture was filmed in English in 1987 and broadcasted on the Belgrade television. Since then he has has given interviews and published several articles on museums and art history. In September 2011 “Walter Benjamin” appeared in public with the lecture The Unmaking of Art held in Chinese at the Times Museum in Guangzhou. The same lecture, this time in English, was presented at the Arnolfini in Bristol.
- Matei Bejenaru (Romania)
Matei Bejenaru is an artist and founder of the Periferic Biennial in Iași, Romania. Established in 1997 as a performance festival, Periferic transformed into an international artist-run contemporary art biennial defined as a platform for discussions on the historical, socio-political, and cultural contexts of the city. With a group of artists and philosophers from Iași, Bejenaru founded the Vector Association in 2001, a contemporary art institution that supported the local emerging art scene to become locally and internationally visible. Matei Bejenaru is also member of the editorial staff of Vector – art and culture in context magazine, a publication that analyzes the regional, artistic, and cultural situation of the South East European countries, in the process of transition, as well as the Middle East.
As an artist, Matei Bejenaru examines the way globalization affects postcommunist life. His work has been exhibited at many venues worldwide including the second edition of the Tirana Biennial, Thyssen-Bornemisza Contemporary Art (Vienna), Tate Modern London – Level 2 Gallery (2007), Taipei Biennial (2008), and the Western Front Vancouver (2011), among others. Bejenaru’s conversation with Livia Pancu and Kristina Lee Podesva was published by Fillip in Institutions by Artists: Volume 1.
- Anne Bertrand (Canada)
Bertrand is currently director of ARCA, and has been active in the not-for-profit art world for the past twenty years. From 2004 to 2012, she was the artistic coordinator of Skol, a Montréal based artist-run centre that supports emerging and research-driven artistic practices that explore the intersection between politics and aesthetics in the public sphere. Her tenure at Skol was marked by an organizational approach adapted to the support of interdisciplinary art practices and their ever evolving modes of dissemination, with projects such as the Unknown Artist, the Erratic School, Teasing the Furtive, Embracing the Archive, and of Promiscuous Infrastructures. She was also instrumental in supporting the consolidation of Apprendre/Learn, the educational program at Skol. Bertrand has also been involved with Artexte Information Centre and is a founding member of Viva! Action Art, a performance art biennial organized by a collective of artist-run centres located in the Montréal region since 2006. Bertrand received her degree in Visual Arts from the University of Ottawa, after obtaining a degree in Classical Studies. Since 2010, she has engaged in a metaphorical circumnavigation of Montréal and Laval, the two largest islands of the Hochelaga Archipelago, taking the long way around self-discovery, knowledge, and self-representation.
- Vincent Bonin (Canada)
A Montreal-based independent critic and curator, Bonin has developed multi-faceted and wide-ranging projects including Documentary Protocols (1967-1975), an exhibition and publication presented by the Leonard and Bina Ellen Art Gallery at Concordia University from 2007 to 2008 that examined the administrative ethos in artistic practices of the 1960s and 1970s in Canada. He is currently co-curator of “Materializing “Six Years”: Lucy R. Lippard and the Emergence of Conceptual Art at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum and co-curator of the Montreal section of the traveling exhibition Traffic: Conceptual Art in Canada 1965-1980. Among his expertise and research interests are conceptual art practices of the 1960s and 1970s, the social meaning of archives, and the refashioning of the documentary genre in the field of contemporary art. Bonin is the author of “Here, Bad News Arrives Too Late…Years Too Late,” published by Fillip in Institutions by Artists: Volume 1.
- AA Bronson (Canada/USA)
AA Bronson is an artist living and working in New York City and Fire Island Pines. In the Sixties, he left university with a group of friends to found a group of alternative institutions: a free school, a free store, a commune, and an underground newspaper. This led him into an adventure with gestalt therapy, radical education, and independent publishing. In 1969 he formed the artists’ group General Idea with Felix Partz and Jorge Zontal and for the next 25 years they lived and worked together to produce the living artwork of their being together, undertaking over 100 solo exhibitions, and countless group shows and temporary public art projects. They were known for their magazine FILE (1972-1989), their unrelenting production of low-cost multiples, and their early involvement in artist-run culture, punk, queer theory, AIDS activism, and other manifestations of the other. In 1974 they founded Art Metropole, Toronto, a distribution centre and archive for artists’ books, audio, video, and multiples, which they conceived as the shop and archive for their Gesamtkunstwerk: The 1984 Miss General Idea Pavillion, a kind of meta-museum. AA Bronson directed Art Metropole from 1974 through 1986, leading him to write “The Humiliation of the Bureaucrat,” one of the canonical texts on Canadian artist-run culture.Copresented with Fillip
From 1987 through 1994, General Idea focused their work on the subject of AIDS. Since his partners died in 1994, AA has produced work focused on the subject of death, grieving, and healing, most recently his performance series Invocation of the Queer Spirits.
From 2004 to 2010 he was the Director of Printed Matter, Inc. in New York City, founding the annual NY Art Book Fair in 2005, of which he is now Director. He also founded and co-directs the Institute for Art, Religion, and Social Justice at Union Theological Seminary. He has taught at UCLA, the University of Toronto, and the Yale School of Art, but he dreams of founding AA Bronson’s School for Young Shamans, and a return to his roots in radical education.
AA Bronson’s work is dominated by the practice of collaboration and consensus. From his beginnings in a free school and commune, through his 25 years as one of the artists of General Idea, in his deep involvement with founding and developing collaborative and social structures such as Art Metropole, the NY Art Book Fair, and AA Bronson’s School for Young Shamans, and through his current collaborations with younger generations, he has focused on the politics of decision-making and on living life radically as social sculpture.
- Tania Bruguera (Cuba/USA)
Bruguera is a political and interdisciplinary artist from Havana, Cuba. Her work has been included at Documenta XI and in several biennales such as Venice, Johannesburg, Sao Paolo, Shanghai, Havana, and Site Santa Fe. She has shown in numerous museums including the New Museum of Contemporary Art (New York), the Museum of Contemporary Art (Chicago), Boijmans van Beuningen Museum (Rotterdam), Museum für Moderne Kunst (Frankfurt a Main), Helsinki Art Museum, Whitechapel Art Gallery (London), Museo Nacional de Bellas Artes (Buenos Aires), Kunsthalle Wien (Vienna), Stedelijk Museum von Actuele Kunst (Ghent), and the Institute of International Visual Art among others. She has lectured extensively and internationally at the New School (New York), the School of the Art Institute (Chicago), the Royal College of Art (London), and the Museum of Modern Art (New York). She is the founder / director of Arte de Conducta, the first performance studies program in Latin America, hosted by Instituto Superior de Arte in Havana and is faculty at the University of Chicago. Her most recent project, Immigrant Movement International, presented by Creative Time and the Queens Museum of Art, is a long-term art project in the form of an artist initiated socio-political movement. Bruguera will spend a year operating a flexible community space in the multinational and transnational neighbourhood of Corona, Queens, which will serve as the movement’s headquarters.
- Julia Bryan-Wilson (USA)
Julia Bryan-Wilson is Associate Professor of Modern and Contemporary Art at the University of California, Berkeley, where in 2012-2013 she will be the Acting Director of the UC Berkeley Arts Research Center. Her teaching interests include theories of artistic labour, conceptualism in the Americas, the visual culture of the nuclear age, and craft histories. She is the author of Art Workers: Radical Practice in the Vietnam War Era (University of California, 2009). A widely published critic and author, Bryan-Wilson focuses on collaborative practices, feminist and queer makers, and the contested intersection of art and activism. She has contributed essays to exhibition catalogues on Laylah Ali, Ida Applebroog, Francesca Woodman, and counterculture in the U.S. West. Forthcoming publications include an essay on Yvonne Rainer for October, a critical account of artists “performing” labour in TDR: The Drama Review, and a consideration of sex work and/as art work in differences: A Journal of Feminist Critical Studies. She is currently working on a book about the politics of handmaking since 1970.
- Brad Butler and Karen Mirza (United Kingdom)
Based in the UK, Mirza and Butler organize The Museum of Non Participation, which proposes a museum as a conceptual (geo)political construct of gesture, image, and thresholds of language. The Museum of Non Participation was conceived during the Pakistani Lawyers movement in Islamabad – protests Mirza and Butler witnessed through the windows of the National Art Gallery – and developed over an eighteen-month period. As part of the project, the artists have worked with street vendors, Urdu translators, architects, estate agents, housing activists, lawyers, hairdressers, filmmakers, wedding photographers, newspaper printers, artists, and writers to create spaces for dialogue and exchange. The Museum of Non Participation first appeared as an English/Urdu language class in September 2008, traveling from the Oxford House community centre in Bethnal Green to a space behind Yaseen’s Hairdressers on the Bethnal Green Road, and then to a public performance at the Guernica room in the Whitechapel Gallery. The project has variously taken the form of film, an Urdu/English language exchange, street interventions, a radio show, and performances. Mirza and Butler’s practice is based on collaboration and dialogue and manifests itself in a multi-layered practice of filmmaking, drawing, installation, photography, performance, publishing, and curating. Their work is engaged with challenging and interrogating terms such as participation, collaboration, the social turn as well as the traditional roles of the artist as producer and the audience as recipient, positing the project as a future model for a nomadic, flexible, and adaptable “museum.”Copresented with VIVO Media Arts Centre
- Jennifer Cane (Canada)
Cane is a curator and writer based in Vancouver. She has curated exhibitions such as The Wild so Close at the Or Gallery, the online exhibition Arcadian Arrow, and the touring film screening The World Anew. An upcoming exhibition for the Yukon Arts Centre, Sleep of Reason, investigates historical and contemporary notions of the “artist as dreamer”. Her research interests centre around authenticity, social history, as well as labour and leisure culture. She holds an MA in Critical and Curatorial Studies from the University of British Columbia and a BFA in Art History from Concordia University in Montréal.Copresented with Cineworks
- Biljana Ciric (China)
Ciric is currently working as an independent curator based in Shanghai. She was formerly the director of the Curatorial Department at the Shanghai Duolun Museum of Modern Art and the China networking curator for the 2006 Singapore Biennale. Her ongoing project Migration Addicts was presented at the 52nd Venice Biennale’s (2007) Collateral Events and in the Shenzhen/Hong Kong Bi-city Biennale of Urbanism and Architecture. Her exhibition projects include Strategies from Within – Contemporary Art Practices in Vietnam and Cambodia at Ke Center of Contemporary Arts (Shanghai) and a major retrospective of Yoko Ono at the Ke Center and Guangdong Museum of Art (Guangzhou). Ciric was the curator of the public art project intrude 366 (2008) and History in Making: Shanghai 1979-2009, 30 Year Retrospective of Shanghai Contemporary Culture (2009). Her recent projects include Contemporaneity – Contemporary Art of Indonesia (2010), which was presented at MoCA (Shanghai) and Body as a Museum at Tensta Konsthall (Stockholm). Her project Institution for the Future (2011) at the Asia Triennial (Manchester) showcased artists’ collectives and small, independent, para-institutions from various Asian countries actively engaged with their local arts scenes and who contribute to the development of an arts infrastructure in their regions.Copresented with Yishu Journal of Contemporary Chinese Art
- Christopher Cozier (Trinidad)
Christopher Cozier is an artist, writer, and curator living and working in Trinidad. He is also a member of the editorial collective of Small Axe: A Caribbean Journal of Criticism and edits the on-line “sxspace” of the journal, which looks at visual production. His artwork has been exhibited at the 7th Havana Biennial, the Brooklyn Museum, the Stenersen Museum (Oslo), the Chicago Cultural Centre, the Trienal Poli/Gráfica de San Juan: América Latina y el Caribe, the Biennial of Cuenca, Real Art Ways (Hartford), and TATE Liverpool. He was co-curator of Paramaribo Span (2010) as well as co-editor of its blog and book. He was the co-curator of Wrestling with the Image (2011) at the Museum of the Americas (Washington DC). With architect Sean Leonard, writer and editor Nicholas Laughlin, and musician Sheldon Holder, Cozier co-directs Alice Yard, at once a physical space, a collaborative network, and an ongoing conversation about contemporary art and creativity in the Caribbean. Since 2006, Alice Yard has hosted numerous artists’ projects, performances, musical events, readings, discussions, and film screenings. Creative projects within Alice Yard’s physical and virtual neighbourhood include the e-magazine Draconian Switch, covering contemporary art and design in Trinidad; and the Caribbean Review of Books.Co-presented with SFU's Vancity Office of Community Engagement
- Tim Dallett and Adam Kelly (Canada)
In 2007, Dallett and Kelly co-founded The Artifact Institute to study and intervene in the processes by which artifacts undergo changes in use, value, and meaning. To fulfill this mandate, the Artifact Institute conducts research, acquires and collects artifacts, provides technical services, creates exhibits and displays, makes public presentations, and produces and disseminates publications. The Artifact Institute uses artistic, institutional, and activist methods and practices to address the relationship of artifacts to their aesthetic, technical, and social contexts.
Dallett studied art history at the University of Toronto and architecture at Carleton University before receiving an MFA in Fine and Media Arts from the Nova Scotia College of Art and Design (NSCAD). He has worked as an artist, curator, artistic director, writer, editor, technician, and project manager for collectives, artist-run centres, media arts centres, art galleries, and non-profit organizations in Ontario, Nova Scotia, New Brunswick, Saskatchewan, and Quebec. He currently lives in Montreal.
Adam Kelly is an artist, technician, programmer, educator, and community activist. He received a BFA from NSCAD and an electronics technician diploma from the Nova Scotia Community College. He was a founding member of the Halifax Scavenger Society, a loosely knit group engaged in various activities surrounding the practice of urban scavenging. He is currently the broadcast technician at CKDU-FM, the electronics lab technician at the Centre for Art Tapes, and an instructor at NSCAD in electronics, mechanics, and programming. He lives in Halifax, Nova Scotia.
- Jeff Derksen (Canada)
Derksen is a Vancouver and Vienna-based poet and founding member of the Kootenay School of Writing and Artspeak Gallery. His books of poetry include Down Time, Dwell, and Transnational Muscle Cars with a new book The Vestiges (forthcoming). His book of essays, Annihilated Time: poetry and other politics will be followed by a compilation of essays on art and urbanism, After Euphoria (JRP Ringier). Derksen’s writing on art has been included in publications from Fillip, the Secession, MACRO (Rome), Vancouver Art Gallery, Artspeak Gallery, Documenta xii, Camera Austria, Landesgalerie Linz (Austria), Malta Contemporary Art, and the Berlage Institute. With Sabine Bitter and Helmut Weber, he is a member of the research collective Urban Subjects whose recent edited book works include Autogestion, or Henri Lefebvre in New Belgrade, Momentarily: Learning from Mega-events (with Bik Van der Pol and Alissa Firth-Eagland) and writing on self-managed urbanism in Caracas (published in Waking Up from the Nightmare of Participation co-edited by Markus Miessen and Valerie Kolowratnik ). In 2012, Derksen will take the position of editor at West Coast Line magazine and Line Books. Formerly a research fellow at the Center for Place, Culture and Politics at the City University of New York, he is currently an Associate Professor in the English Department at Simon Fraser University.
- Sean Dockray (USA)
Dockray is an artist and a founding director of Telic Arts Exchange, a non-profit arts organization providing critical engagement with new media and culture. Dockray initiated The Public School and AAAARG.ORG, platforms for the free exchange of intellectual property and self-directed pedagogy. He also co-organized an itinerant seminar in Berlin, There is nothing less passive than the act of fleeing (2010), in collaboration with Caleb Waldorf and Fiona Whitton and continued their work together as The Public School in Encuentro Internacional de Medellín (2011). Dockray has recently participated in Speak, memory (2010) at the Townhouse Gallery (Cairo), the Second World Congress of Free Artists in Aarhus, a commission for Fillip at the 2010 New York Art Book fair, the 29th São Paulo Biennial, Properties of the Autonomous Archive (Bombay), the exhibition Shadowboxing at the Royal College of Art (London), and The Unbound Book: Reading and Publishing in the Digital Age conference in the Netherlands. Dockray’s writing has been published in Cabinet, Bidoun, X-TRA, Volume, and Fillip.With assistance from The Canada Council Visiting Foreign Artists Program
- Chris Fitzpatrick (USA)
Fitzpatrick is artistic director at Objectif Exhibitions in Antwerp. Prior to this position, he independently organized exhibitions and events for venues including Palazzo Ducale (Genova), Proyectos Monclova (Mexico City), the Oakland Museum of California (Oakland), and Yerba Buena Center for the Arts (San Francisco). In 2011, Fitzpatrick co-curated the Present Future section of Artissima 18 (Turin). His writing and interviews have been taped to the feet of carrier pigeons and featured in a variety of publications, including Fillip, Nero, Pazmaker, Mousse, the Baltic Notebooks of Anthony Blunt, as well as exhibition catalogues and books.
- Dirk Fleischmann (Germany)
Fleischmann is an artist based in Frankfurt and Seoul, where he is currently teaching at Cheongju University. His work has been presented in international exhibitions and institutions such as Manifesta 4 (2002), the Musée d’art contemporain de Lyon, the Busan Museum of Art Gasworks Gallery (London), the alternative space pool (Seoul), and the Leeum Samsung Museum of Art (Seoul). He has presented projects at Portikus (Frankfurt), Hebbel am Ufer (Berlin), Festival Bom (Seoul), and Museum für moderne Kunst (Frankfurt). Fleischmann has received numerous distinctions and honours, including awards from the Hessische Kulturstiftung and the Stiftung Kunstfonds grant. In 2009, Fleischmann received the Arts & Ecology Residency at ZKM Island in Second Life; a special project by Centre for Art and Media, Karlsruhe (ZKM) and the Royal Society Of The Arts, London (RSA). As a visual artist, he has been creating a business conglomerate since 1997 in which his art inhabits economic forms and becomes embedded into given capitalist structures. His art projects intend to and do create financial profit, which he has continuously re-invested into future projects.Emily Carr University of Art + Design in partnership with the Goethe Institut
- Claire Fontaine (France)
Claire Fontaine is a Paris-based collective artist founded in 2004, working in neon, video, sculpture, painting, and text. Claire Fontaine’s practice can be described as an ongoing interrogation of political impotence and the crisis of singularity, which seems to define contemporary art today. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a “readymade artist” and began to elaborate a version of neo-conceptual art that often looks like other people’s work. But if the artist herself is the subjective equivalent of a urinal or a Brillo box – as displaced, deprived of its use value, and exchangeable as the products she makes — there is always the possibility of what she calls the “human strike.” Claire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation. She grows up among the ruins of the notion of authorship, experimenting with collective protocols of production, détournements, and the production of various devices for the sharing of intellectual and private property. Exhibitions include P.I.G.S., MUSAC Contemporary Art Museum of Castilla y León (León), Future Tense, El Museo Tamayo Arte Contemporáneo (Mexico City); Economies, MOCA (Miami), After Marx April, After Mao June, Aspen Art Museum, and Claire Fontaine: The Exhibition Formerly Known as Passengers, CCA Wattis (San Francisco). Claire Fontaine is represented by Reena Spaulings Fine Art (New York), T293 (Naples), Galerie Neu (Berlin), and Galerie Chantal Crousel / Air de Paris (Paris).SFU Woodward's Audain Gallery in partnership with Consulat général de France à Vancouver
- Andrea Francke (United Kingdom)
The Piracy Project is an international publishing and exhibition vehicle exploring the philosophical, legal, and practical implications of cultural piracy and creative modes of reproduction. With a series of talks from guest speakers, workshops, and an open call for pirated book works the project aims to develop a critical and creative platform for issues raised by acts of cultural piracy. The Piracy Project is run by Andrea Francke and Eva Weinmayr as part of AND publishing’s program. Francke was awarded the Red Mansion Prize in 2011 and is currently developing Invisible spaces of parenthood – A collection of pragmatic propositions for a better future a forthcoming show at The Showroom in London.Copresented with 221A
- Corinn Gerber (Canada)
Gerber is currently the Executive Director of Art Metropole, an artist-run centre founded in 1974 in Toronto by the artists´ collective General Idea. Art Metropole fosters dynamic structures of artist-initiated publishing in any media, especially those formats pre-disposed to the sharing and circulation of ideas. Gerber has co-founded Passenger Books, publishing between Berlin, Istanbul, Montréal, and Zürich (among others) since 2005. Recent publications include mark, Before the Curtain, Avant le rideau (2011) and Danna Vajda, New Directions in Curatorial Practices (2008). Passenger Books will launch the publication A Play to be Played Indoors or Out: This Book is a Classroom during the conference.Copresented with Project Space
- Bastien Gilbert (Canada)
Bastien Gilbert is the Executive Director of the Regroupement des centres d’artistes autogérés du Québec (RCAAQ) and has worked as a cultural administrator for more than 25 years, after having been a paleontologist and a teacher. He was instrumental in the founding of the Conseil de la culture de la région du Saguenay-Lac-Saint-Jean in 1978, and of the Conseil de la culture de Montréal in 2003. In 1986, he cofounded the RCAAQ and has been its Executive Director for the last 11 years. He is a member of the Board for ESSE, arts + opinions magazine and was critical to the establishment of the Conférence des collectifs et centres d’artistes autogérés du Canada (ARCCC/CCCAA) in 2004 and of the Canadian Coalition for the arts in 2005. Since its founding in 1986, the RCAAQ has served as a meeting point of a network of some seventy artist-run centres from Quebec. It represents an interest community of over 2,250 professional artists and cultural workers. Each year, this network produces over 900 activities including exhibitions, performances, publications, symposiums, and so on. The RCAAQ offers to its members a program of continuing professional education, a publication promotion service, an information portal (rcaaq.org), and it just opened a bookstore FORMATS (formatsbookstore.org) (in French librairieformats.org) at the 2-22 building in Montreal.
- Sam Gould (USA)
Gould is co-founder of Red76, a collaborative art practice initiated in Portland, Oregon in 2000. He is the acting editor of Red76’s publication, the Journal of Radical Shimming, as well as full-time visiting faculty within the Text and Image Arts Department at the School of the Museum of Fine Arts Boston. Red76’s initiatives utilize overlooked histories and common shared occurrences as a means of creating a framework in which to construct their public inquiries. Social histories, collaborative research, parallel politics, free media, alternative educational constructs, gatherings, masking, and public dialogue play a continuing and vital role within the methodology and concepts of Red76’s work. Along with producing many independent initiatives on street corners, in laundromats and bars, Red76 have engaged in projects commissioned by the Institute of Contemporary Art Philadelphia, the Drawing Center (New York), the Yerba Buena Center for the Arts (San Francisco), the Lower Manhattan Cultural Council, Printed Matter, Creative Time (New York), the Douglas F. Cooley Memorial Gallery at Reed College (Portland, OR), Smart Museum at the University of Chicago, 01 San Jose, SF MoMA, Rhizome/New Museum (New York), and, The Walker Arts Center (Minneapolis), US Department of State, and the Bronx Museum of Art among others.Copresented with Unit/Pitt
- Louise Hervé and Chloé Maillet (France)
As the I.I.I.I (International Institute for Important Items), Hervé and Maillet create performance-lectures that blend and draw from multiple sources, including science fiction, genre movies, autonomous objects, academic discourse, and anecdotes. Their work, In which the Diorama is set on Fire (2011), has been presented at FRAC Champagne Ardenne (Reims), and other projects at the Palais de Tokyo, the Musée d’art Moderne de la Ville de Paris, and Centre Pompidou. Current projects include an exhibition for Synagogue de Delme, Kunstverein Braunschweig, and Kunsthaus Glarus. I.I.I.I is represented by Marcelle Alix in Paris. Hervé holds a MA and DNSEP from l’Ecole Nationale Supérieure d’Arts de Cergy while Maillet holds a PhD in Anthropological History from l’Ecole des Hautes Etudes en Sciences Sociales in Paris.Contemporary Art Gallery in partnership with Consulat général de France à Vancouver
- Candice Hopkins (Canada)
Hopkins is the Elizabeth Simonfay Curatorial Resident, Indigenous Art, at the National Gallery of Canada and is the former director and curator of the exhibitions program at the Western Front in Vancouver. Her recent curatorial projects include Close Encounters: The Next 500 Years (2011), a multi-venue exhibition in Winnipeg co-curated with Steve Loft, Jenny Western, and Lee-Ann Martin; Recipes for an Encounter (2010), co-curated with Berin Golonu for Dorsky Gallery (New York), and Restaging the Encounter, 2011 edition of Nuit Blanche (Toronto). Hopkins has an MA from the Center for Curatorial Studies and Art in Contemporary Culture at Bard College, where she was awarded the Ramapo Curatorial Prize for the exhibition Every Stone Tells a Story: The Performance Work of David Hammons and Jimmie Durham (2004). Her writing has appeared in texts published by MIT Press, BlackDog Publishing, Revolver, New York University, Fillip, Banff Centre Press, and National Museum of the American Indian, among others. Hopkins has lectured at venues including the Witte de With, Tate Modern, Dakar Biennale, Tate Britain, University of British Columbia, and University of Victoria.
- Jakob Jakobsen (Denmark)
Jakobsen is an artist, organizer, and activist. Along with Henriette Heise he is co-founder of the Copenhagen Free University (CFU), which opened in May 2001 in their apartment. Jakobsen is also a co-founder of the artist run TV-station tvtv and has participated in exhibitions and projects all over the world. In 2011, Trauma 1–11: Stories about the Copenhagen Free University and the Surrounding Society in the Last Ten Years (an exhibition at the Museet fur Samtidskunst in Roskilde, Denmark) explored CFU’s six years of collective learning and the mechanisms of political control increasingly encroaching upon educational systems. The Free University was an artist-run institution dedicated to the production of critical consciousness and poetic language from 2001 to 2007.Copresented with The Western Front
- Virginija Januškeviciute (Lithuania)
Virginija Januškeviciute is currently a curator at the Contemporary Art Centre (CAC) in Vilnius, Lithuania. She is also one of the founders of the Baltic Notebooks of Anthony Blunt, an editorial initiative aimed to mediate, generate, and suggest real events; the contributions by artists and writers are mainly published online at www.blunt.cc and in an accumulating paper edition. Januškevičiute is a graduate of the Curatorial Programme of de Appel arts centre in Amsterdam.Copresented with The Western Front
- Marie-Josée Jean (Canada)
Marie-Josée Jean will present a new work entitled The Unmaking of Art on behalf of “Walter Benjamin,” an anonymous artist from the former Yugoslavia known for projects such as Mondrian ’63-‘96 (1987), a 25 minute video featuring a Walter Benjamin impostor lecturing on the value of Mondrian copies in English with Serbo-Croatian subtitles. Previous iterations of The Unmaking of Art include a performance in Chinese at the Guangdong Times Museum (Guangzhou) and in English at the Arnolfini (Bristol).
Marie-Josée Jean is Director of VOX, a Montreal-based centre for the presentation of the contemporary image. She is also an instructor in Art History at Université du Québec à Montréal. Jean was General and Artistic Director of the 6th and 7th editions of le Mois de la Photo in Montréal, entitled: Le Souci du document (1999) and Le Pouvoir de l’image (2001). Her exhibitions have been presented across Quebec and in Europe, notably at the Santa Monica Art Centre in Barcelona, the Nederlands Foto Institute (Rotterdam), Casino Luxembourg: Forum d’art contemporain as well as the Tinglado Contemporary Art Centre (Tarragona). She is the author of multiple essays on photography and contemporary art and editor of a variety of publications.
- Ola Khalidi and Diala Khasawnih (Jordan)
Along with Samah Hijawi, Khalidi and Khasawnih are core members of the collective Makan, an independent contemporary art space based in Amman, Jordan. Founded in 2003 by Khalidi, Makan encourages experimentation in concepts and production. Among its projects are an artist exchange and residency program, local and international workshops, exhibitions, performances, and screenings. Khalidi is currently an MA candidate in Curatorial Practice at the California College of the Arts in San Francisco while Khasawnih is an artist who is probably experimenting with yet another version of okra stew in San Francisco. Khalidi and Khasawnih are co-authors of “Gastronomica Makan: An Ongoing Conversation” published by Fillip in Institutions by Artists: Volume 1.With assistance from The Canada Council Visiting Foreign Artists Program
- Laiwan (Canada)
Laiwan is an artist, writer, and educator recognized for her interdisciplinary practice based in poetics, improvisation, and philosophy. Born in Zimbabwe of Chinese parents, she immigrated to Canada in 1977 to leave the war in Rhodesia. She initiated the OR Gallery (1983) and the First Vancouver Lesbian Film Festival (1988). Recipient of the Vancouver Queer Media Artist Award (2008) and of numerous arts awards over the years, Laiwan exhibits in group and solo shows, curates projects in Canada, the US, and Zimbabwe, publishes in a variety of anthologies and journals, and is an activist in queer and feminist community organizing. Her cross-disciplinary projects investigate epistemology, technology and viral mobility such as with the interactive website “Call Numbers: The Library Recordings,” and projects for “PDA for your PDA: Public Display of Affection for your Personal Digital Assistant” exploring the performativity of texts to build communal musicality, poetics, and lyricism. She also premiered her performative rock band “LaiwanKwanKage” (2011) with collaborators Vanessa Kwan and Eileen Kage to explore improvisation and somatic intelligence. Her work was featured in the Vancouver Art Gallery’s exhibitions How Soon Is Now: Contemporary Art From Here (2009), Everything, Everyday (2010), and in c.1983 (2012) at Presentation House Gallery. Laiwan teaches in the MFA in Interdisciplinary Arts Program at Goddard College in Washington State, USA, and is current Chair of the Board of Directors at grunt gallery.
- Deirdre Logue and Allyson Mitchell (Canada)
Deirdre Logue and Allyson Mitchell are artists and co-founders of FAG Feminist Art Gallery. Operating out of the couple’s converted garage in Toronto, FAG’s mission is to grow sustainable feminist art, a mandate reinforced by their inaugural exhibition featuring the work of queer artist Elisha Lim. Logue and Mitchell have aligned development and artistic goals in order to operate FAG on its own terms. Their alternative funding system resists the reliance on government or corporate cash, favouring instead a network of feminist community contributors. FAG’s micro-funding program DAG has supported a variety of art projects, among them, Les Blues, a group dedicated to increasing the visibility and histories of queer people of colour and Colour Me Dragg. Recent talks (BRAGS) have included a focus on international artist Zanele Muholi and NAG, their angry letter writing campaign, which took the Toronto International Film Festival to task for their racist and misogynist list of “100 essential films of all time”. Recent media exhibitions include the presentation of art porn hybrid Community Action Center by AL Steiner and AK Burns and a focus on the UK based Cinenova collection as animated by local activists and artists. Logue is currently the Development Director at Vtape and Mitchell works as Assistant Professor in the School of Women’s Studies at York University. Both have prolific international art practices.Copresented with Access Gallery
- Jaleh Mansoor (Canada/USA)
Mansoor is an Assistant Professor at the University of British Columbia. She received her PhD at Columbia University and has previously taught at SUNY Purchase, Barnard College, Columbia University, and Ohio University. Having worked on materialist abstraction in the context of Marshall Plan Italy, she is interested in complicating the discourse on abstraction, totality, universality, labour, and mere life in contemporaneity. Her areas of teaching and research include modernism, critical theory, historiography, and critical curatorial studies. She works as a critic for Artforum and is a frequent contributor to October, Texte Zur Kunst, and, more recently, The Journal of Aesthetics and Protest. Mansoor wishes to occupy and dilate the relationship (and tension) between activism and scholarship. She has written many catalog essays, including on Blinky Palermo and Agnes Martin. She has also produced monographic studies on, among others, Piero Manzoni, Ed Ruscha, and Mona Hatoum. She co-edited Communities of Sense: Rethinking Aesthetics and Politics (2010). Her current work addresses formal and procedural violence in the work of Alberto Burri, Lucio Fontana, and Piero Manzoni and another on Mere Life in the work of Santiago Sierra.
- Gabriel Menotti (Brazil)
Menotti is an independent critic and curator engaged in different forms of cinema and grassroots practices. He has previously organized pirate movie screenings, remix film festivals, videogame championships, porn screenplay workshops, installations with super8 film projectors, generative art exhibitions, and academic conferences. Menotti holds a Masters in Communication and Semiotics from the Catholic University of São Paulo and a PhD in Media & Communications from Goldsmiths, University of London. His exhibition projects and installations are an inherent part of his research activity and have been presented in numerous venues throughout the world including the Artivistic Festival (Montreal); Medialab Prado’s Interactivos?! (Madrid); the 16th International Symposium of Electronic Arts (Dortmund, Essen, and Duisburg); the 29th São Paulo Art Biennial; and Rencontres Internationales Paris/Berlin/Madrid. Cine Falcatrua (Portuguese for “Cine Hoax”) is a project that aims to rethink the culture industry along the borderline between cinema’s hyper-authorized environment and the fluid operations of new media. Among other projects, Cine Falcatrua is responsible for the Low Resolution Festival, the world’s first competitive festival for internet videos in real movie theatres; the Short[CUT]’s Festival, whose programme was entirely defined by the projectionists, on the fly; and the Really Free Movie Exhibitions, composed only of free works licensed in copyleft, creative commons, or GFDL.Co-presented with New Forms Festival and W2 Media Arts Centre
- Jonathan Middleton (Canada)
Middleton is an artist and curator based in Vancouver. His practice employs methodologies of comedy and institutional practices to explore interests in language and politics. His work has been exhibited in Vancouver at the Contemporary Art Gallery, Western Front, Or Gallery, and Tracey Lawrence Gallery, and in film festivals across North America. Between 1999 and 2005, he served as co-curator, then director/curator of the Western Front Exhibitions Program and has curated and co-curated projects in Montreal, Seattle, Hong Kong, Berlin, Melbourne, and Cultus Lake. Middleton was a founding member of the Projectile Publishing Society and its more recent art periodical Fillip, and continues to serve as chair of the society’s board of directors. Middleton has also served on the boards of Artspeak, the Pacific Association of Artist-run Centres (PAARC), and the Artist-run Centres and Collectives Conference (ARCA). He was founding editor/manager of the online artist-run resource site ArcPost.ca, and co-founder of the Strathcona neighbourhood art space, The Bodgers’ and Kludger’s Co-operative Art Parlour. In 2007, Middleton was appointed director/curator of the Or Gallery and in 2010 established the gallery’s Berlin satellite space, Or Gallery Berlin.
- Gabi Ngcobo (South Africa)
A curator, educator, and artist, Ngcobo is also founder of the Johannesburg-based independent platform, the Center for Historical Reenactments (CHR). CHR employs citations, transversal research processes, subversion, and mediation; approaches that seek to promote dialogue between artistic practices in order to reveal how certain histories are formed or formulated, repeated, universalized, and preserved within these practices. CHR recognizes historical reenactments as providing spaces for the politicization of histories within artistic contexts. CHR engages local (South African) and international practitioners through events, presentations, and seminars that critique presentation models, as well as raise questions about the political potentials in artistic interpretations of histories. Recent CHR projects include PASS-AGES: references & footnotes (2010) at the old Pass Office (Johannesburg) and the ongoing Xenoglossia, a research project, which recently travelled to the 11th Lyon Biennale (2011), and Na Ku Randza a series of site specific public interventions in collaboration with the Goethe Institut, Johannesburg.Copresented with Artspeak
- John O'Brian (Canada)
John O’Brian is Professor of Art History and Faculty Associate at the Peter Wall Institute for Advanced Studies at the University of British Columbia. Writing extensively on modern art history, theory, and criticism, he has published more than a dozen books and sixty articles. As the Brenda & David McLean Chair in Canadian Studies (2008-2011), he explored the engagement of photography during the atomic era in Canada as part of a larger project on nuclear photography in North America and Japan entitled Camera Atomica, also the title of a forthcoming exhibition he is preparing for the Art Gallery of Ontario. A related book, Atomic Postcards: Radioactive Messages from the Cold War, co-authored with Jeremy Borsos, was published in 2011. Among O’Brian’s publications are Beyond Wilderness: The Group of Seven, Canadian Identity, and Contemporary Art (co-edited with Peter White), Ruthless Hedonism: The American Reception of Matisse, Voices of Fire: Art, Rage, Power, and the State (co-edited with Bruce Barber and Serge Guilbaut), Degas to Matisse, and David Milne and the Modern Tradition of Painting. He is also the editor of the four-volume edition of Clement Greenberg: The Collected Essays and Criticism. He is co–founder of the Vancouver Art Forum Society, which published Collapse, a journal of which he was an editor until 2002. In 2009, he was elected a Fellow of the Royal Society of Canada. In 2011, he received the Thakore Award in Human Rights and Peace Studies from Simon Fraser University and an honorary doctorate from Trinity College at the University of Toronto.
- Isabelle Pauwels (Canada)
Isabelle Pauwels is a Vancouver-based artist working in video, performance, and installation often engaging in themes of alienation, secrecy, and scandal. Pauwels’ work explores how narrative structures shape our emotional and moral experience. Her interests include hybrid cultural forms, prosumer production, the early history of television and film, and narratives of colonial-era exploration. She has exhibited locally and internationally in solo and group shows at the Contemporary Art Gallery (Vancouver), Henry Art Gallery (Seattle), Power Plant (Toronto), Signal (Malmo), and Witte de With (Rotterdam). In 2007, she won the VIVA award. She is represented by Catriona Jeffries Gallery (Vancouver).
- Post Brothers (USA)
Post Brothers is a critical enterprise that includes Matthew Post, an independent curator and writer currently working from an elevator in Oakland, California. Post has an MA in Curatorial Practice from the California College of the Arts in San Francisco and a BFA from Emily Carr Institute in Vancouver, Canada. Post Brothers’ recent curatorial projects include What Happened To The Other Dollar?, at Proyectos Monclova (Mexico City), Nina Beier: What Follows Will Follow II, at Yerba Buena Center for the Arts (San Francisco), SC13, a 6 month long shifting exhibition of objects in a showcase in the San Francisco Antique and Design Mall, Exercises In Seeing, an exhibition featuring over 30 local and international artist projects held completely in the dark at Queens’ Nails Projects (San Francisco), The Secret of the Ninth Planet, at Queen’s Nails Projects, Galeria de la Raza, and Photo Epicenter (San Francisco), and Manly Deeds, Womanly Words: Border Crossing in the Old Line State, a guerrilla American Civil War reenactment drag show on a public ferry for Jens Hoffmann’s Americana series at the CCA Wattis Institute of Contemporary Arts (San Francisco). Post has lectured in Vilnius, Vienna, Mexico City, and regularly in the San Francisco Bay area. Post Brothers’ essays and articles have been published in Spike Art Quarterly, Fillip, Nero, Kaleidoscope, Mousse, Pazmaker, the Baltic Notebooks of Anthony Blunt, ArtSlant, Curating Now, Woo, and Snowball, as well as numerous artist publications and exhibition catalogues.
- Peta Rake (Australia)
Peta Rake is a writer and curator based in Brisbane, Australia and San Francisco, California. Rake is currently in Curatorial Research at The Banff Centre. Recently, she has assisted in the cataloguing of Steven Leiber Archive, San Francisco, a collection of artists’ books, ephemera, multiples, editions, Mail Art, Conceptual Art, Fluxus, Posters, and Prints. She is a 2012 graduate of the Masters in Curatorial Practice Program at California College of the Arts and Co-Editor of the catalogue On Apology, which she co-curated for the CCA Wattis Institute for Contemporary Art in San Francisco. In addition to the Wattis Institute, she has curated exhibitions at the Luggage Store Gallery (San Francisco), Playspace (San Francisco), and Live Worms Gallery (San Francisco). Her writing has appeared in Fillip, San Francisco Arts Quarterly, ElevenEleven Journal, and Maximillian. Along with Jessica O’Farrell, she is co-author of twocurators.tumblr.com.
- Al Razutis (Canada)
Active since the late 1960s, Razutis is a multimedia artist, educator, and innovator in motion-picture film and video, stereoscopic 3D video, holographic technologies and arts, and web-digital graphics for websites and virtual reality. In 1981, the filmmaker, along with Susan Ditta, Director of the Canadian Images Festival; David Bierk, manager of the screening space; and Ian McLachlin, a member of the Cineworks board, was charged with “Violation of the Theatres Act” for exhibiting a film that “had not been approved by the Board of Censors” of Canada. Then a fledgling organization, Cineworks organized a national tour of its films (including A Message From Our Sponsor) and boycotted any exhibition house that censored any one of the films included in its touring program. Continuing a categorical anti-censorship tradition initiated by the filmmakers of the National Gallery’s Series IV, Cineworks’ anti-censorship campaign underscores the pivotal role artist-run coalitions have played in the establishment and enforcement of legal standards and codes within a larger social context. Copresented with Cineworks
- Skeena Reece (Canada)
Skeena Reece, Tsimshian/Gitksan and Cree, is a multi-disciplinary artist whose work includes performance art, spoken word, ‘sacred clowning’, writing, singing, and video art. She often uses humour and satire along with direct engagement of her body to address difficult subjects relating to race, class, leadership, political landscapes, culture, and love. She has exhibited locally and internationally in solo and group shows at Modern Fuel (Kingston) 17th Biennale of Sydney, Nuit Blanche (Toronto) (2009), LIVE Biennale (Vancouver), the Museum of Anthropology at UBC (Vancouver), and the National Museum of the American Indian (Washington, DC). Reece is based on Vancouver Island, on the west coast of Canada.
- Patricia Reed (Canada/Germany)
Reed is an artist and writer based in Berlin. She received her BFA from Concordia University and her MA from the European Graduate School. Reed has participated in residency programs at CCA Kitakyushu (Japan), Akademie Schloss Solitude (Stuttgart), and AIR Laboratory Ujazdowski Castle (Warsaw), among others. As an artist, she has taken part in exhibitions and projects such as Metrospective, Program (Berlin), Flagpole, Plateforme (Paris), Territories of the In/Human, Württembergischer Kunstverein (Stuttgart), M6.1 Contract of Discord with IDEA magazine (Cluj), Los Angeles Contemporary Exhibitions (with Markus Miessen), Airs de Paris, Centre Pompidou (with Bruno Latour), and White House Redux, Storefront for Art and Architecture (New York). As a writer, she has contributed feature articles, interviews, and reviews for Art Papers, C Magazine, Fillip, and Framework: The Finnish Art Review, and most recently, essays in Cognitive Architecture: From Bio-politics to Noo-Politics (eds. D. Hauptmann and W. Neidich), Waking Up from the Nightmare of Participation (eds. M. Miessen and N. Kolowratnik), A Joy Forever. The Political Economy Of Social Creativity (pub. in Polish, eds. J. Sowa.), and The Archive as a Productive Space of Conflict (eds. M. Miessen).
- Scott Rogers and Justin Patterson (Canada)
Rogers and Patterson are artists active in the Arbour Lake Sghool (ALS) founded in 2003 in Calgary. A stage for the creation and display of artistic and critical projects that explore and engage its suburban setting, ALS is run by a loose association of artists, athletes, musicians, trades-people, and students including Rogers and Patterson, Andrew and John Frosst, Wayne Garrett, Ben Jacques, and Stacey Watson. Activities of ALS “excite, entertain, and often serve as comic interludes in the not-so-secret game of suburban one-upmanship.” Rogers is currently studying at the Staedelschule (Frankfurt) and is an MFA candidate at the Glasgow School of Art. He has exhibited nationally and internationally including at The Soap Factory (Minneapolis), the Art Gallery of Alberta (Edmonton), the Southern Alberta Art Gallery (Lethbridge), the Liverpool John Moores University Gallery (Liverpool), and the National Glass Centre (Sunderland). Patterson is a Vancouver-based artist. He received his BFA from the University of Calgary and is active in the art and music scenes of Calgary and Vancouver. He has exhibited his work through the Arbour Lake Sghool including at Toronto Free Gallery, The Art Gallery of Peel, The Art Gallery of Calgary, and The Red Deer Museum and Art Gallery.
- Gregory Sholette (USA)
Gregory Sholette is a New York-based artist, writer, and founding member of the artists’ collectives Political Art Documentation/Distribution (PAD/D: 1980-1988), and REPOhistory (1989-2000). A graduate of Cooper Union (BFA 1979), the University of California, San Diego (MFA 1995), and the Whitney Independent Studies Program in Critical Theory, his publications include Dark Matter: Art and Politics in an Age of Enterprise Culture (Pluto Press, 2011); Collectivism After Modernism: The Art of Social Imagination after 1945 (with Blake Stimson for University of Minnesota, 2007); and The Interventionists: A Users Manual for the Creative Disruption of Everyday Life (with Nato Thompson for MassMoCA/MIT Press, 2004, 2006, 2008), as well as a special issue of the journal Third Text co-edited with theorist Gene Ray on the theme “Whither Tactical Media.” Sholette’s recent exhibitions include Imaginary Archive (for the Tulca Festival in Galway, Ireland 2011, and for Enjoy Public Art Gallery in Wellington, New Zealand 2010); a contribution to Temporary Services Market Place for Creative Time’s Living as Form (2011); a two-person exhibition at the Santa Fe Art Institute in New Mexico (2011), and the installation Mole Light: God is Truth, Light his Shadow for Plato’s Cave, Brooklyn, New York (2010). Sholette is an Assistant Professor of Sculpture at Queens College: City University of New York (CUNY), has taught classes at Harvard, Cooper Union, New York University, and Colgate University, and teaches an annual seminar in theory and social practice for the CCC post-graduate research program at Geneva University of Art and Design.With assistance from The Canada Council Visiting Foreign Artists Program
- Pelin Tan (USA)
Tan is an academic, writer, and curator based in Istanbul involved in research-based artistic and architectural projects that focus on urban conflict and territorial politics, gift economy, the condition of labour, and mixed methods in research. She was a research/curatorial resident at IASPIS (Stockholm) and GeoAir (Tbilisi) and has worked as a guest curator at Witte de With (Rotterdam). Tan has curated Knut Asdam and Radical Aesthetics at DEPO (Istanbul), Energy Room – an archive of public art at santralistanbul as well as Innocent Act, StudyoKAHEM, an architectural research project at the 10th Istanbul Biennial. After receiving her PhD in Art History, Tan worked on her postdoc on the methodology of artistic research with Ute Meta Bauer at the MIT Program in Art, Culture and Technology. She has contributed to and edited numerous publications and is Editor of Muhtelif magazine and advisory editor of ArtMargin and NOON, the Journal of Contemporary Art and Visual Culture of the Gwangju Biennial Foundation. She is currently an Assistant Professor in the New Media department at Kadir Has University in Istanbul and, with Anton Vidokle, is a program adviser to Institutions by Artists.Copresented with Emily Carr University of Art + Design
- Claire Tancons (USA)
Tancons is a curator, writer, and researcher whose work focuses on carnival, public ceremonial culture, and protest movements. She was the associate curator for Prospect.1 and Contemporary Arts Center, both in New Orleans (2007-9), a curator for the 7th Gwangju Biennale (2008), a guest curator for CAPE09 (2009), and is the currently the curatorial director for the Harlem Biennale. In 2012-13, she will guest curate a project at Göteborgs Konsthall addressing the mythology of Sweden’s national identity against the backdrop of the seemingly antagonistic emerging phenomena of anti-immigrant demonstrations and multicultural carnivals. Tancons holds an MA in Museum Studies from the École du Louvre in Paris (1999) and an MA in Art History from the Courtauld Institute in London (2000). She is a former curatorial fellow of the Whitney Museum Independent Study Program (2001) and the Walker Art Center (2003). She has been the recipient of various research, travel, and production grants including from the Foundation for Arts Initiatives (2007 and 2009), the Andy Warhol Foundation (2008), and the Prince Claus Fund (2009). She was recently nominated as an Executive Member of the Global Board of Contemporary Art for the Alice Awards. She lives between New Orleans and New York.Co-presented with SFU's Vancity Office of Community Engagement
- Slavs and Tatars (Eurasia)
Slavs and Tatars is a faction of polemics and intimacies devoted to an area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia. The collective’s work spans several media, disciplines, and a broad spectrum of cultural registers (high and low). Slavs and Tatars has published Kidnapping Mountains (Book Works, 2009), Love Me, Love Me Not: Changed Names (onestar press, 2010), Molla Nasreddin: the magazine that would’ve, could’ve, should’ve (JRP Ringier, 2011), Not Moscow Not Mecca (Revolver/Secession, 2012) and Khhhhhhh (Mousse/Moravia Gallery). Their work has been exhibited at Salt, Istanbul, Tate Modern, the 10th Sharjah, 8th Mercosul, and 3rd Thessaloniki Biennials. After devoting the past five years primarily to two cycles of work, namely, a celebration of complexity in the Caucasus (Kidnapping Mountains, Molla Nasreddin, Hymns of No Resistance) and the unlikely heritage between Poland and Iran (Friendship of Nations: Polish Shi’ite Showbiz, 79.89.09, A Monobrow Manifesto), Slavs and Tatars have begun work on their third cycle, The Faculty of Substitution, on mystical protest and the revolutionary role of the sacred and syncretic. The new cycle of work includes contributions to group exhibitions — Reverse Joy at the GfZK, Leipzig, PrayWay at the New Museum Triennial, and Régions d’Être at the Asia Pacific Triennial–as well as solo engagements with Not Moscow Not Mecca at the Secession, Vienna, Khhhhhhh at Moravia Gallery, Brno , Beyonsense at MoMA, NY and, Künstlerhaus Stuttgart.
- Anton Vidokle (USA)
Vidokle is an artist, writer, and founding director of e-flux. As an artist, his work has been exhibited in the Venice Biennale, Lyon Biennial, Dakar Biennale, Lodz Biennale, and at Tate Modern (London), Moderna Galerija (Ljubljana), Musée d’art Modern de la Ville de Paris, Museo Carrillo Gil (Mexico City), UCLA Hammer (Los Angeles), ICA (Boston), Haus Der Kunst (Munich), and MOMA P.S.1 (New York), among others. With Julieta Aranda, he organized e-flux video rental, which travelled to numerous institutions including Portikus (Frankfurt), Kunst-Werke (Berlin), Extra City (Antwerp), Carpenter Center at Harvard University, (Cambridge, MA), and others. With e-flux, Vidokle has produced numerous projects including The Next Documenta Should Be Curated By An Artist, Do it, the Utopia Station poster project, An Image Bank for Everyday Revolutionary Life, and Martha Rosler Library. He was also a co-curator for Manifesta 6, whose project was cancelled in 2006. In response to the cancellation, Vidokle set up an independent project in Berlin known as unitednationsplaza — a twelve-month free school involving more than a hundred artists, writers, philosophers, and diverse audiences in a program of seminars, lectures, screenings, book presentations, and other projects. With Pelin Tan, Vidokle is a program adviser to Institutions by Artists.With assistance from The Canada Council Visiting Foreign Artists Program
- Eva Weinmayr (Germany)
Weinmayr is a London-based artist known for work on Art in Ruins, the now defunct London-based art collective whose practice formed around iconoclastic efforts targeting the politics and economics of the art world. By enacting a reconstructed history of Art in Ruins through the use of non-actors and informal, improvised staging, Weinmayr has created occasions for the re-consideration of presumably forgotten or neglected events and ensembles. Weinmayr’s selected recent exhibitions include projects at MOT International (London), the 5th Berlin Biennale, Yama (Istanbul), Contemporary Art Museum St Louis, Kunstverein Wolfsburg, Revolver Showroom (Frankfurt), and Kunstraum Munich. Invested in the behaviour of written and spoken language, Weinmayr’s work addresses systems for immediate communication and ranges from interactive readings and performances to publications and films as well as gallery based installations and activities. She has published several artists’ books and is the co-director of AND Publishing, a platform that explores print on demand technologies and publishes conceptually driven artists’ books. Together with Andrea Francke she is running The Piracy Project as part of AND Publishing’s programme.Copresented with Fillip
- Pauline J. Yao (China)
Yao is an independent writer, curator and educator based in Hong Kong and Beijing where she co-founded the nonprofit art space Arrow Factory in 2008. A contributor to Artforum, e-flux Journal, Frieze and the Chinese language publications Artco Monthly and Contemporary Art and Investment, she also serves on the editorial board of Yishu Journal of Contemporary Chinese Art and was the inaugural recipient of the Chinese Contemporary Art Award – Art Critic Award in 2007. A member of the curatorial team of the Shenzhen Hong Kong Bi-City Biennale of Architecture and Urbanism in 2009, she has curated projects at the Luggage Store, San Francisco, Osage Art and Ideas, Hong Kong and Taipei Contemporary Art Center, Taipei, Taiwan. Before relocating to Asia, Yao served as the Assistant Curator of Chinese Art at the Asian Art Museum of San Francisco. She is the author of In Production Mode: Contemporary Art in China (CCAA/Timezone 8 Books, 2008) and co-edited 3 Years: Arrow Factory (Sternberg Press, 2011).Copresented with Emily Carr University of Art + Design