Brett Bloom + Bonnie Fortune
Imani Jacqueline Brown
Aaron Walker & Chris Reeves
Caitlin Berrigan works across performance, video, sculpture, text and public choreographies to engage with the intimate and embodied dimensions of power, politics, and capitalism. Her current body of work, Treatise on Imaginary Explosions, is a cosmology of episodic pseudo-science fiction videos, sculptures, costumes, and drawings. The series follows an affiliation of transfeminist geologists as they operate in communication with the desires of the mineral earth for radical, planetary transformation. Recent projects include Unfinished State, an exhibition and artist’s book published by Archive Books addressing post-conflict landscapes, affective geographies, speculative real estate and speculative fiction between Berlin and Beirut.
Berrigan has created special commissions for the Whitney Museum of American Art, Harvard Carpenter Center, and the deCordova Museum. Her work has shown at Storefront for Art & Architecture, Hammer Museum, Anthology Film Archives, LACMA, and Goldsmith’s London. She has received grants and fellowships from the Akademie Schloss Solitude, Humboldt Foundation, Skowhegan, Graham Foundation, PROGRAM for Art & Architecture Berlin, and the Wassaic Project. She holds a Master's in visual art from MIT and a B.A. from Hampshire College. She is a professor of emerging media at NYU Tisch Photography & Imaging and an affiliate of the NYU Tandon School of Engineering Technology, Culture and Society.
Brett Bloom + Bonnie Fortune Bloom
Brett Bloom and Bonnie Fortune Bloom are long time collaborators. Working together in various capacities since 2006, their work focuses on themes of ecology, sustainability, land, and community economics. They are deeply invested in exploring the intersection of culture and ecology insisting that artists have an essential role in the global shift from lives based on a petroleum continuum to more resilient, healing, and supportive ways of being in direct relationship to landscapes. Projects organized by Bloom and Bloom include the Library of Radiant Optimism for Let’s Remake the World, the Alphabet of the Anthropocene, and making Deep Maps of Petro-Subjectivity and the social-ecology of a conservation organization.
Since moving back to the Midwest, to NE Indiana, the Blooms have gotten deeply involved with the strong restoration ecology work being done in the region. They are currently completing a year long collaboration with ACRES Land Trust, an organization that protects 7000 acres of land across 150 properties, which will result in a ‘deep-map’ made for the organization.
In their own practices, Brett is a co-founder of the group Temporary Services and their publishing imprint Half Letter Press. He co-organizes Breakdown Break Down Camps where participants can work to de-industrialize their sense of self and prepare for the great turning that is underway. Bonnie collaborates with Trade Test Site in an ongoing exploration of alternative economies. Their 2016 publication series Your Money or Your Life - feminist perspectives on economy # 1-4 reprinted essays by feminist economic scholars and documented trade based art projects, exploring the intersection of labor, culture, and economy. In 2015, Bonnie published Edge Effects: Art & Ecology in the Nordic Countries—a series of interviews documenting art and ecology practices and projects in Scandinavian countries, presenting research in her then adopted home.
https://temporaryservices.org/served/ + http://www.bonniefortune.info
Imani Jacqueline Brown
Imani Jacqueline Brown is a New Orleans native, artist, activist, researcher, writer and designer. Her work attempts to expose the layers of oppression, injustice, resistance, and refusal that make up the aggregate of our society's foundation stones.
Imani currently works as Director of Programs at Antenna, New Orleans, and is a co-founder of Blights Out. She is a core member of Occupy Museums, an artist/activist collective formed in 2011 during Occupy Wall Street to challenge and dismantle the Cultural Industrial Complex, which commodifies and financializes art and culture. Occupy Museums’ project, “Debtfair”, was featured in the 2017 Whitney Biennial at the Whitney Museum of American Art, New York. In 2015, Imani traveled to COP 21 to help establish the international Museum Liberation Movement as part of #FossilFreeCulture. She initiated and serves as Artistic Director of Fossil Free Fest in New Orleans.
Alison Burstein is an independent curator. She has staged exhibitions at NURTUREart (Brooklyn, NY), Knockdown Center (Queens, NY) and the Museum of Jurassic Technology (Los Angeles, CA). In previous roles as Program Director at Recess and as a member of the education departments at MoMA, the Guggenheim Museum, and the Brooklyn Museum, she organized a wide array of artist projects, public programs, performances, and experimental classes. Alison is a master’s student in art history at Columbia University, and she is at work on a thesis project that proposes a genealogy of non-traditional arts institutions as connected to the practices of institutional critique.
During her residency at The Luminary, Alison will focus on the question: How can an institution learn about its audience(s)? Taking the visitor-feedback survey as the paradigmatic institutional form for collecting quantitative and qualitative audience data, Alison will develop a series of public workshops and think tanks that aim to reimagine this evaluation tool. The intended result is a collectively generated, experimental survey format that moves away from unidirectional questioning (institutions asking visitors) to instead incorporate and intermingle the curiosities of individuals representing all entry points into the art institution—from the makers to the administrators to the viewers.
Paul Druecke is an artist based in Milwaukee, WI. Druecke's projects have recently focused on what he refers to as public inscription—the way individuals and groups write themselves into the landscape and, more generally, the flow of time. His work was included in the 2014 Whitney Biennial. A co-authored discussion of his work is anthologized in Blackwell and Wiley's Companion to Public Art (2016). Druecke's “Social Event Archive” (1997 - 2007) was exhibited at Milwaukee Art Museum in 2017 in conjunction the project's 20th Anniversary. The influential project foreshadowed social media's now common blurring of private and public history.
Druecke's site-specific sculptures have been commissioned by Marlborough Chelsea —“96th Street Aperture” (NYC 2014); Lynden Sculpture Garden—“Garden Path” (Milwaukee 2014); The Suburban—“Angelique Roy's Passage” in conjunction the Terrain Biennial (Milwaukee 2015); and Sculpture Milwaukee—“Shoreline Repast” (Milwaukee 2017). Druecke has published two books with Green Gallery Press, Life and Death on the Bluffs (2014), and The Last Days of John Budgen Jr. (2010). His work has been featured in Camera Austria and InterReview, and written about in Artforum, Art in America, Artnet.com, and Metropolis.com.
Droitcour is a writer, translator, curator, and associate editor at Art in America. Recent projects include editing “The Animated Reader: Poetry of Surround Audience,” a poetry anthology that accompanied “Surround Audience,” the New Museum’s 2015 triennial, and Klaus eBooks, a digital imprint for artists’ books published by New York’s Klaus von Nichtssagend Gallery. Previous criticism has spanned from artforum.com, The New Inquiry and Rhizome, to an ongoing critical engagement with Yelp.
Sonya Dyer is an artist, writer and occasional curator from London and has contributed to numerous publications including Frieze, Contemporary &, a-n online and Petunia. Her research-based, post-medium practice utilizes dialogical platforms, reproductive technologies and moving image. Her practice currently manifests itself through the …And Beyond Institute for Future Research, a peripatetic, performative think tank concerned with the creation of possible futures.
Recent projects include The Claudia Jones Space Station (BALTIC Centre for Contemporary Art and The NewBridge Project, Newcastle, UK), Into the Future (Primary, Nottingham, UK), At the Intersections (Nottingham Contemporary, UK), Platform: In the Making and The Paul Robeson Research Station, (both Site Gallery, Sheffield, UK). Resendencies and fellowships include Bemis Center for Contemporary Arts (2016), Wysing Arts Centre (2017) and the Whitney Museum of American Art: Independent Study Program (2011 - 12)
Taraneh Fazeli is a curator, researcher, and educator from New York City. Her practice, emerging from institutional critique and radical pedagogy, engages art as a site for prefigurative politics, critical discourse, and somatic healing. For the past fifteen years she has investigated what it means to do institutional critique from within arts organizations, be it when re-imagining long-form arts publishing online as a Contributing Editor to Triple Canopy or as Managing Director of the meta-institution e-flux, where she oversaw publications such as art-agenda and organized exhibitions with artists including Raqs Media Collective, Martha Rosler, Allan Sekula, and Mladen Stilinović. Subsequently, as a freelance curator, she’s continued organizing configurations of objects and experiences to explore the relationships of groups, bodies, and objects within various social and political systems and institutional bodies.
Fazeli is the 2018 curator-in-residence at Bemis Center for Contemporary Art (Omaha, Nebraska), where she will curate three shows. The first, a new version of the ongoing project, “Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying,” investigates how care for the body in states of debility and disability (and particularly its temporalities) can help us to re-imagine collectivity as existence under capitalism and interwoven forces of oppression becomes impossible; the second will look at voice, as acoustic material and vehicle for representation; the third will be a group show on cultural rituals of justice in extraterritorial spaces. Prior to her time at Bemis, she was curator-in-residence at the Jan Van Eyck Academie (2017) critic-in-residence at the Museum of Fine Art Houston’s Core Program (2015-17). Fazeli is a member of Canaries, a collective of artists with auto-immune diseases, and Pedagogy Group, a collective of socially-engaged art educators.
Sam Gould was the co-founder and editor of Red76, an expanded publication that materialized in Portland, Oregon, in the early 2000s. Instrumentalizing ideas around publication as an act of public making, Gould's work manifests publics through the implementation of ad-hoc educational structures and discursive gatherings. While these actions are often situated in what is called “public space,”—such as street corners, laundromats, taverns, and the like—the pedagogy of their construction is meant to call into question the relationships, codes, and hierarchies embedded within these landscapes from one incident of publication to the next.
Gould has taught within the graduate department for social practice at the California College of the Arts, Minneapolis College of Art and Design and the School of the Museum of Fine Arts, Boston. He has written, as well as lectured extensively within the United States and abroad, on issues of sociality, education, and encountering the political within daily life. His most current platform, Beyond Repair, functions as a site of questioning within the 9th Ward of Minneapolis. Beyond Repair is a publication of Tools in Common, the expanded publishing house of which Gould is the founder and editor.
Kimi Hanauer is an artist, writer, and cultural organizer originally from Tel Aviv and based in Baltimore, MD. Kimi is the founder and co-mobilizer of Press Press, an interdisciplinary publishing studio that aims to shift and deepen the understanding of voices, identities, and narratives that have been suppressed or misrepresented by the mainstream. In her practice, she is dedicated to two primary goals: first, cultivating models and methodologies that can serve as utopian alternatives to our current realities, and second, developing networks and spaces that can translate these alternatives into concrete experiences. Currently, as an artist-in-residence at the George Peabody Library, she is researching the racialized notions of the “American citizen” and the “immigrant,” and their relation to contemporary forms of white supremacy. Her work has been exhibited internationally and is held in the collection of the Whitney Museum of American Art. Kimi received a BFA from the Maryland Institute College of Art in 2015.
Allison Lacher is a visual artist and organizer. Her work has been exhibited at venues that include Utah Museum of Contemporary Art (UT), PDX Contemporary Art (OR), CUAC Contemporary (UT), Center for Contemporary Art (LA), Future Tenant at Carnegie Mellon University (PA), and Grounds for Sculpture (NJ). She has received Artist Residency awards from ACRE, Spiro Arts, Vermont Studio Center, the Prairie Center of the Arts, and was an Artist-inResidence with Signal Fire on US/Mexico borderlands. She was a 2014-2015 Curatorial Resident with HATCH Projects at the Chicago Artists Coalition and is a previous recipient of the Illinois Arts Council Artist Fellowship Award.
Allison Co-Directs DEMO Project, an artist-run and contemporary project gallery in Springfield. She is the Visual Arts Gallery Manager and an Adjunct Professor at the University of Illinois Springfield.
Lucy Lopez is a curator, writer, and editor, currently Associate Researcher at Eastside Projects, Birmingham, and PhD candidate at Birmingham School of Art, 2016-19. She is curator in residence at Grand Union, Birmingham, 2018-19. She was previously Curator of Exhibitions and Research at BAK, basis voor actuele kunst, Utrecht. She holds an MFA in curating from Goldsmiths, University of London. Her research focuses on the intersection of practices of instituting, structures of governance, and social, political organisation. Selected projects include: Ways of Learning, co-curated with Kim McAleese and Sean Elder, Grand Union, 2018; Policy Show, Eastside Projects, 2017; Nicoline van Harskamp, Englishes, BAK, 2016; Instituting for the Contemporary, BAK, 2016; Unstated (or Living Without Approval), co-curated with Maria Hlavajova, BAK, 2016; at continental margins (propositions), Jupiter Woods, 2015; biotic/abiotic, co-curated with Hanna Laura Kaljo, The Gallery Apart, Rome, 2014. Recently, her writing has been included in Temporary Art Review, Art and the Public Sphere Journal and in the Publication FORMER WEST, MIT Press.
Chris Reeves & Aaron Walker
Chris Reeves and Aaron Walker are educators, artists, and critics. Their publications, art objects, curatorial projects, performances, and writings deal with the generative possibilities of utopian efforts, including their residency project on the “The Portsmouth Sinfonia” - a pedagogical experiment and open-entry orchestra founded in 1970 by a group of students at the Portsmouth School of Art in Portsmouth, England.
Their work centers on poetic approaches towards history, elided and non, as a means of alternative - and ideally further reaching - pedagogies. Recent and forthcoming projects have been featured at the Hyde Park Art Center, Gallery 400, Roots & Culture, Compound Yellow, Pulaski Park Field House, Mana Contemporary, Skylab Gallery (Columbus), The Contemporary Arts Center (Cincinnati), Atelier Recto Verso (Reims, France), Wave Pool (Cincinnati), and in publications by Temporary Services’ imprint Half Letter Press.
Chris Reeves is a PhD candidate at the University of Chicago at Illinois and is a staff arts critic for New City. His essays have been included in such publications as Incite Journal and Emergency Index by Ugly Duckling Press.
Aaron Walker is an artist, curator and organizer living in Chicago, Illinois. He has been a founding member of a handful of artist-run projects throughout the Midwest and is currently a programmer at Chicago’s “rough and ready” micro-cinema, The Nightingale.
Matt Siegle is a Los Angeles-based mixed-media artist. His work explores the
natural world and the frontier, often through site-generated practices. Exhibitions and performances include: Park View (LA), YEARS (Copenhagen), NADA Miami Beach (Miami), SUNDAY Art Fair (London), Kunsthal 44 Møen (Denmark), Artists Space (NY), Night Club (Chicago), Arturo Bandini (LA), Et al (San Francisco), Honor Fraser (LA), PACT Zollverein (Essen), NADA Hudson (NY), Pacific Standard Time (LA), and Anthony Greaney (Boston). Siegle’s practice includes writing on performance, and in 2017 he co-published an anthology on contemporary art and the Grateful Dead, distributed by D.A.P. From 2013-16 he co-ran metro pcs, an artist-project gallery in Chinatown, LA (www.metropcs.la).
Tereza Stejskalová is a critic and curator based in Prague, Czech Republic. Between 2012-2015 she worked as an art editor of A2 Cultural Biweekly/A2larm, a magazine and an online daily newspaper devoted to culture and politics. Since 2015 she has been working as a curator at tranzit.cz. She has contributed numerous texts to books, catalogues, art magazines and web sites (e.g. http://politicalcritique.org/, http://kaleidoscope.media/). In 2014 she received Věra Jirousová Award for established art critics. She has curated exhibitions at Tranzitdisplay, Prague; Studio of Young Artists, Budapest or Kunsthalle Bratislava. Together with Barbora Kleinhamplová she published a book of interviews Who is an Artist? (2015). Most recently, she has been working towards the Feminist (Art) Institution, a six month program that attempts to arrive at a general set of principles that might define a feminist art institution.
Nicholas Wylie is an arts organizer interested in systems of direct democracy and cooperative models, and the ways in which arts organizations can model egalitarian enlightenment in form and practice. Wylie currently serves as the Associate Director of Southern Exposure, a longstanding independent space in the Bay Area. He was a founder/Co-Director of ACRE (Artists’ Cooperative Residency and Exhibitions), Founding Artistic Director of Mana Contemporary (Chicago), and a co-founder of Harold Arts.
Yan Xing is known for his multi-component, interdisciplinary projects that combine diverse media such as performance, video, photography, installation and painting. Yan Xing has built a complex, compelling body of work that reflects critically on how history is manufactured today.
Yan Xing has exhibited and performed extensively, at venues such as the Kunsthalle Basel; Stedelijk Museum Amsterdam; Rubell Family Collection, Miami, FL; Asian Art Museum, San Francisco, CA; Eli and Edythe Broad Art Museum, Michigan State University, East Lansing, MI; Ullens Center for Contemporary Art, Beijing; Chinese Arts Centre, Manchester; Contemporary Arts Museum Houston, TX; Kadist Art Foundation, San Francisco, CA; Tenuta Dello Scompiglio, Capannori; Espacio de Arte Contemporáneo, Montevideo; Musée d’Art Contemporain du Val-de-Marne, Vitry-sur-Seine; Institut d’Art Contemporain, Villeurbanne; Tromsø Kunstforening; Power Station of Art, Shanghai; China Central Academy of Fine Arts Museum, Beijing; Iberia Center for Contemporary Art, Beijing. His works have been featured at 7th Shenzhen Sculpture Biennale (2012); 3rd Moscow International Biennale for Young Art (2012) and 3rd Ural Industrial Biennial of Contemporary Art (2015), among others.
In 2013, Yan Xing initiated and founded the Honourable East India Institute (HEII, www.heii.no), a new academic organization designed to research and reexamine the achievements as well as the failures of scholarship in Far Eastern Studies. Yan Xing is also a co-founder of the artist collective, COMPANY.
Yan Xing has lectured at the University of the Arts Helsinki, Helsinki; the Metropolitan Museum of Art, New York, NY; and the China Academy of Art, Hangzhou, among others. In 2016–2017, he was a Visiting Artist in the Department of Sculpture of the Yale School of Art. Yan Xing currently lives and works in Los Angeles and Beijing.