Sondra Perry's videos and performances foreground the tools of digital production as a way to critically reflect on new technologies of representation and to remobilize their potential. She lives and works in Perth Amboy, New Jersey.
Exhibitions include The Kitchen, New York; ICA Philadelphia; Henie Onstad Kunstsenter, Oslo; 2015 Greater New York exhibition at MoMA/PS1; Seattle Art Museum; Institute for New Connotative Action, Seattle; Miriam & Ira D. Wallach Art Gallery, New York; and Arlington Arts Center, Arlington VA.
In 2014 Sondra Perry was Guest Lecturer at the School of Visual Arts, New York. Perry has participated in residencies at the Skowhegan School of Painting and Sculpture, Vermont Studio Center, Ox-bow, the Experimental Television Center, and the CORE program at the Museum of Fine Arts, Houston. She was recently awarded the Gwendolyn Knight and Jacob Lawrence Prize for a solo show at the Seattle Art Museum.
Claire Fontaine is a Paris-based collective artist, founded in 2004. 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. 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.
Recent shows include, Arbeit Macht Kapital, Kubus, Städtische Galerie im Lenbachhaus und Kunstbau, München, They Hate Us For Our Freedom, Contemporary Art Museum St. Louis, Lucky In The Misfortune, Masion Descartes, Institut Français des Pays-Bas, Amsterdam, Feux de Détresse, Galerie Chantal Crousel, Paris et Claire Fontaine, The Exhibition Formerly Known as Passengers, 2.10, CCA Wattis Institute for Contemporary Arts, San Franscisco. Claire Fontaine is represented by Reena Spaulings Fine Art, New York, T293, Napoli, Galerie Neu, Berlin and Galerie Chantal Crousel / Air de Paris, Paris.
Suhail Malik is a writer and currently Visiting Faculty at CCS, Bard College. Malik holds a Readership in Critical Studies at Goldsmiths, London, where he is Programme Co-Director of the MFA Fine Art.
Recent publications include: “Tainted Love: Art’s Ethos and Capitalization” (with Andrea Phillips) in Art and Its Commercial Markets (2012); “Image – Nonimage – War” in Ekfrase (2012); “Just When You Thought It Was Safe to Participate Again— Communism, Its Recurring Nightmare” in Waking Up From the Nightmare of Participation (2011), “Why Art? The Primacy of Audience” Global Art Forum, Dubai (2011); “The Wrong of Contemporary Art: Aesthetics and Political Indeterminacy” (with Andrea Phillips) in Reading Rancière (2011); “Educations Sentimental and Unsentimental: Repositioning the Politics of Art and Education” in Redhook Journal (2011); “Screw (Down) The Debt: Neoliberalism and the Politics of Austerity” in Mute (2010); “You Are Here” for Manifesta 8 (2010).
manuel arturo abreu (Santo Domingo) is a poet and artist from the Bronx, currently living and making in a garage in Southeast Portland. They work with text, ephemeral sculpture, and photography. Recent and forthcoming work is included in Apogee Journal, SFMoMA Open Space, Poor Claudia, Vetch, Rhizome, As It Stands LA, the NON Quarterly publication, NewHive, and more. They co-facilitate home school, a free pop-up art school in Portland. They wrote List of Consonants (Bottlecap Press, 2015) and transtrender (Quimérica Books, 2017).
OEI is a Stockholm based magazine for extra-disciplinary spaces and de-disciplinizing moments, ¬ experimental forms of thinking, montages between poetry, art, philosophy, film, and documents; editorial enunciations, aesthetic technologies, non-affirmative writing, and alternative historiographies. OEI was founded in 1999 and has published 70 issues. OEI editor was initiated in 2002 and has published some 80 books of investigative poetry, aesthetic documents, artist’s books, theoretical and poetological texts etc., and has collaborated with many international institutions such as the Moderna Museet, Stockholm, and the 30th Bienal de São Paulo. Connected to OEI is also since 2012 the micro-gallery OEI Colour Project. OEI is run by Jonas (J) Magnusson and Cecilia Grönberg.
John Riepenhoff founded the Green Gallery in Milwaukee in 2004, when he was twenty-two; his cousin Jake Palmert joined him in 2009. Over the past several years, Riepenhoff has merged his roles as artist and gallerist. His recent exhibitions and curatorial projects have been presented at the 2017 Whitney Biennial; Marlborough Chelsea, and Swiss Institute, New York, NY; Tate Modern, London; Crystal Bridges, Bentonville, AR; 356 Mission Rd, Los Angeles, CA; Poor Farm, WI; Lynden Sculpture Garden, Inova, and The Suburban, Milwaukee, WI; Minneapolis Institute of Art, MN; and Atlanta Contemporary Art Center, GA.
He also continues a program of the John Riepenhoff Experience at various locations around the world, most recently at Night Gallery, Los Angeles, CA and Misako and Rosen, Tokyo. He was the 2015 Milwaukee Arts Board Artist of the Year, co-chairs Friends of Blue Dress Park, founded Milwaukee's first Beer Endowment for artist-run organizations, runs The Oven at The Open in Milwaukee, and sits on the board of Riverwest Radio.
PDP, a transdisciplinary think tank embedded in [Miami’s Design District] is a site for collective thought, discourse, knowledge exchange, and production. The projects that PDP undertakes question the ways in which [Miami]’s image, financial capital, and information flows generate new “creative” business models, neighborhood redevelopments, and high-end retail centers, all of which exploit a particular mode of [relaxed tropicality].
Natalia Zuluaga is a curator and researcher based in Miami, Florida. She is currently the Artistic Director at ArtCenter South Florida and co-runs [NAME] Publications. Between 2007-2012 she managed the exhibition and publishing initiatives for the Cisneros Fontanals Art Foundation. Zuluaga holds an M.A. from CCS, Bard College (2015).
Patricia Margarita Hernandez is a curator, researcher, and producer of contemporary art, who is dedicated to unconventional theoretical and practical methodologies that circumvent traditional art formats. Hernandez received her M.A. at the CCS, Bard College in May 2016. She co-founded and directed the end/SPRING BREAK (2009-2015).
Alexandria Eregbu is a conceptual artist and multi-disciplinary deviant. Her practice often takes shape in the form of maker, curator, and educator. Led by the spirit of inquiry and desire— Alexandria's work interrogates soul urgency and seeks to restore balance amongst past familial, ancestral, and collective traumas, with the intent of guiding a more vibrant and harmonious future.
Most notably, Alexandria was a recipient of the 3Arts Award in 2016. She has participated in a range of exhibitions and fellowships including: Artist in Residence with The Center for AfroFuturist Studies in Iowa City, and the Stony Island Arts Bank (2016); Curatorial Fellow with ICI's Curatorial Intensive in New Orleans (2017); and Artist Resident at Camargo Foundation (2018). Her work has been highlighted in Hyperallergic, AFROPUNK, VAM Magazine, Time Out Chicago, Bad At Sports, and listed in Newcity's "Breakout Artists: Chicago's Next Generation of Image Makers." She received her BFA in Performance and Fiber + Materials Studies from the School of the Art Institute of Chicago in 2013.
Beatriz Santiago Muñoz lives and works in San Juan, Puerto Rico. Santiago Muñoz’s work arises out of long periods of observation and documentation, in which the camera is present as an object with social implications and as an instrument mediating aesthetic thought. Her films frequently start out as research into specific social structures, individuals or events, which she transforms into performance and moving image. Santiago Muñoz’s recent work has been concerned with post-military land, Haitian poetics, and feminist speculative fictions.
Recent exhibitions include: Song, Strategy, Sign at the New Museum, A Universe of Fragile Mirrors at the Pérez Art Museum of Miami, 2017 Whitney Biennial, MATRULLA, Institute for New Connotative Action, Seattle; Sala de Arte Público Siqueiros, México City; Post- Military Cinema, Glasgow International. Her work is included in public and private collections such as the Solomon Guggenheim Museum, Kadist and the Bronx Museum. She is also co-founder of Beta-Local, an arts oganization in San Juan, Puerto Rico. She is a 2015 Creative Capital Visual Arts Grantee and a 2016 USA Fellow.
Dorothée Dupuis is a French curator, writer and editor based in Mexico City since 2012. Dupuis is founder and editor of Terremoto, and co-director of Petunia magazine. Dupuis is a dedicated feminist, her curatorial practice and writings seek to expose, question and challenge power structures in the field of art. She was director of Triangle France in Marseille from 2007 to 2012. In Mexico, she curated exhibitions and projects at Lodos (Mexico City), Parallel Oaxaca (Oaxaca), IFAL Casa de Francia (Mexico City) and PAOS (Guadalajara).
She is a regular contributor of Frieze (UK), Flash Art (IT) and Crash (FR). In Mexico her writing has appeared in Terremoto, Harper’s Bazaar, I-D, Vice and ANIMAL. Her writing has also been published in several exhibition catalogs and publications including: ArtReview (UK), Frieze (UK), Kaleidoscope (IT), Metropolis M (NL), Mousse (IT) and Spike (DE), among others.
Past Visiting Artists to the Low-Residency MFA in Visual Arts program.