2015 Participants

Lawrence Abu Hamdan is a multi-media artist with a background in DIY music. In 2015, he was the Armory Show commissioned artist and participated in the New Museum Triennial. The artist’s forensic audio investigations are made as part of Forensic Architecture research project at Goldsmiths College, University of London, where he is also a PhD candidate and associate lecturer. Recent exhibitions include solo shows at institutions such as The Showroom, London; Casco, Utrecht; Beirut, Cairo; and forthcoming at Kunsthalle St Gallen and the Museum of Modern Art, New York.

Anne Barlow is Director of Art in General, New York where she most recently launched its International Collaborations program and the What Now? symposium, and curated exhibitions with Marwa Arsanios, Basim Magdy, Jill Magid, Shezad Dawood, Meriç Algün Ringborg, Anetta Mona Chisa and Lucia Tkácová. Barlow was formerly Curator of Education and Media Programs at the New Museum, New York, where she organized numerous exhibitions and initiated and developed its Museum as Hub program. She has published with the Henry Moore Institute, Leeds; The Pew Center for Arts & Heritage, Philadelphia; the New Museum; and Tate Modern, London, among others, and has lectured or moderated talks at organizations including ArteEast, New York; Centre for Contemporary Art, Warsaw; MUMOK, Vienna; IASPIS, Stockholm; and the Sharjah Art Foundation. Barlow was Curator of Tactics for the Here and Now, the 5th Bucharest International Biennial for Contemporary Art, Bucharest, Romania, 2012, and Co-Curator of the Latvian Pavilion at the 55th Venice Biennale, 2013.

Bigert & Bergström are an artist and filmmaker duo based in Stockholm. Their films and artworks have been shown in institutions worldwide—including Moderna Museet, Stockholm; Hamburger Bahnhof, Berlin; ICA, London; and Mori Art Museum, Tokyo—and included in the Venice Biennale, the Moscow Biennial, and the Singapore Biennial, among other exhibitions. They are currently working on a trilogy of short films that examine the public statement as a performative act. Moments of Silence (2014) is the first film in the series, and will be followed by Important Message to the Public (2015) and Explosion of Speech (2016).

Rich Blint is Associate Director of Columbia University School of the Arts, Office of Community Outreach and Education, and Research Affiliate and Adjunct Assistant Professor in the Institute for Research in African American Studies at Columbia. He is co-editor (with Douglas Field) of a special issue of African American Review on James Baldwin (Winter 2013); contributing editor of The James Baldwin Review; co-curator (with Ian Cofre) of the exhibition Bigger Than Shadows; and curator of the exhibition series Built Environments, an initiative conceived to engage contemporary issues in fine art concerning aesthetics, value, difference, and public space. Blint earned his Ph.D. in the Program in American Studies at NYU and sits on the boards of Vanderbilt University’s Issues in Critical Investigation: The African Diaspora, and CLAGS: The Center for LGBQT Studies at the Graduate and University Center, CUNY.

Grégory Castéra served as co-director of Les Laboratoires d’Aubervilliers from 2010 to 2012. During this period, he conducted various projects on discourse formation within artistic practices, giving rise to publishing projects, shows, events, and exhibitions. He is co-author of the Encyclopédie de la Parole (Encyclopedia of Spoken Words), an ongoing collaborative inquiry into the formal properties of speech initiated in 2007. From 2010 to 2014, to explore the notion of an ecology of art, he developed Ecologies, a research-based inquiry focused on the various modes of existence of works of art (including spoken words). In 2013, with Sandra Terdjman, he co-founded Council, an art-agency that composes artistic, scientific, and political practices. One of its inquiries, Tacet, addresses hearing through the deaf community’s relation to sound.

Christoph Cox is Professor of Philosophy at Hampshire College and visiting faculty at the Center for Curatorial Studies, Bard College. He is the author of Sonic Flux: Sound, Art, and Metaphysics (forthcoming) and Nietzsche: Naturalism and Interpretation (California, 1999) and co-editor of Realism Materialism Art (Sternberg, 2015) and Audio Culture: Readings in Modern Music (Continuum, 2004). The recipient of an Arts Writers Grant from Creative Capital/Warhol Foundation, Cox is editor-at-large at Cabinet magazine. His writing has appeared in October, Artforum, Journal of the History of Philosophy, The Wire, Journal of Visual Culture, Organised Sound, The Review of Metaphysics, and elsewhere. He has curated exhibitions at the Contemporary Arts Museum Houston, The Kitchen, New Langton Arts, and G Fine Art Gallery.

Joshua Craze is a writer and an Assistant Professor at the University of Chicago. He was a UNESCO-Aschberg artist laureate in creative writing in 2014. He has published work in The Washington Monthly, the Guardian, the Institute of War and Peace Reporting and elsewhere, and he has exhibited his writing on redacted documents at the New Museum. He has also worked in South Sudan as a researcher for Small Arms Survey and Human Rights Watch.

ESTAR(SER): The Esthetical Society for Transcendental and Applied Realization (now incorporating the Society of Esthetic Realizers) is an established body of independent scholars, amateurs, and interested parties who work collectively to recover, scrutinize, and (where relevant) draw attention to the historicity of “The Order of the Third Bird.” Associated researchers sift the historical record for evidences of Bird-like attentional practices, and present their findings to critical readers. In this ongoing project the ESTAR(SER) community is fortunate to be in possession of an extensive body of source materials—known as “The W Cache”—which appears to have been assembled by an aspiring historian of the Order seeking to write a comprehensive history of its activities. He or she did not succeed, but bequeathed to the Society a diverse archive. The academicians of ESTAR(SER) have made it their business, over the years, to publish critical editions of these primary sources, materials that see print in the Proceedings of ESTAR(SER). Offprints and other communiqués can be found at: www.estarser.net

Seeta Peña Gangadharan is a Senior Research Fellow at the New America Foundation’s Open Technology Institute (OTI). Her work lies at the intersection of technology, civil society, and communication policy. She focuses on the nature of digital inequalities, data and discrimination, social dynamics of technology adoption, communication rights, and media justice. Since joining OTI in July 2011, she has written and spoken widely about digital inclusion, privacy, surveillance, and data profiling of marginalized populations. Her work has identified privacy and surveillance norms and practices among members of underserved groups and exposed the lack of privacy and surveillance knowledge among frontline staff at digital literacy organizations. She has also compared current-day data profiling to pre-digital examples of surveillance of poor people and communities of color. With colleagues, she looked at individuals reliant on public Internet access and the challenges they face in adopting end-user solutions to improve privacy and security.

Lauren van Haaften-Schick is a curator, writer, and artist working towards a PhD in Art History at Cornell University studying the intersection of art and law, and histories of artists’ labor, economic, and property rights. Her research focuses on Seth Siegelaub and Robert Projansky’s The Artists’ Reserved Rights Transfer and Sale Agreement from 1971, and its origins and legacies in artistic, political, and juridical spheres. Exhibitions include Canceled: Alternative Manifestations & Productive Failures at The Center for Book Arts, NY, Smith College, MA, and others (2012-14), and Non-Participation at The Luminary, MO, and the Art League Houston (2014-15). Recent publications, workshops, and lectures include Cariou v. Prince: Toward a Theory of Aesthetic-Judicial Judgments (with Sergio Muñoz Sarmiento) in the Texas A&M Law Review, Valuing Labor in the Arts at the Arts Research Center, UC Berkeley, and Conceptual to Legal: The Siegelaub-Projansky Agreement at the Law, Culture, and the Humanities conference, Georgetown University.

James Hudspeth conducted undergraduate studies at Harvard College and received PhD and MD degrees from Harvard Medical School. Following postdoctoral work at the Karolinska Hospital in Stockholm, he served on the faculties of the California Institute of Technology, the University of California, San Francisco, and the University of Texas Southwestern Medical Center. After joining Howard Hughes Medical Institute, Hudspeth moved to The Rockefeller University, where he is the F. M. Kirby Professor and Head of the Laboratory of Sensory Neuroscience. Dr. Hudspeth conducts research on hair cells, the sensory receptors of the inner ear. He and his colleagues are especially interested in the active process that sensitizes the ear, sharpens its frequency selectivity, and broadens its dynamic range. They also investigate the replacement of hair cells as a potential therapy for hearing loss. Hudspeth is a member of the National Academy of Sciences and the American Academy of Arts and Sciences.

Iman Issa is an artist based in Cairo and New York. Recent group and solo exhibitions include the Perez Art Museum, 12th Sharjah Biennial, 8th Berlin Biennial, MuHKA, Antwerp, Tensta Konsthall, Spånga, New Museum, New York, KW Institute of Contemporary Art, Berlin, Sculpture Center, New York, and the Contemporary Image Collective in Cairo. Books include Thirty-three Stories about Reasonable Characters in Familiar Places published by the SculptureCenter (2011) and Common Elements published by Glasgow Sculpture Studios (2015). Awards include the HNF-MACBA Award (2012) and the Abraaj Group Art Prize (2013). Issa teaches at the Cooper Union School of Art.

Carin Kuoni (M.A. University of Zurich; B.A. Sorbonne) is Director of the Vera List Center for Art and Politics at The New School. From 1998 to 2003, she was Director of Exhibitions at Independent Curators International, from 1992 to 1997 Director of The Swiss Institute in New York. She is a founding member of the artists’ collective REPOhistory (1989-2000) and has curated and co-curated numerous transdisciplinary exhibitions on issues such as contemporary Native American identity and colonial, 19th century portraiture (Red River Crossings, Swiss Institute); democratic, participatory processes (OURS: Democracy in the Age of Branding, Parsons The New School for Design); artistic and social networks (The Grand Tour, Swiss Institute, #searchunderoccupy, Parsons); or agency (The Puppet Show, ICA Philadelphia et al). Kuoni is editor or co-editor of anthologies such as Energy Plan for the Western Man: Joseph Beuys in America, Words of Wisdom: A Curator’s Vade Mecum, Considering Forgiveness, and Speculation, Now.

Brian Larkin writes about the history of media technologies in Nigeria. He has explored a series of questions around aesthetics, piracy, Islam and media, and the global circulation of cultural forms. He is particularly interested in the infrastructures that organize media, how media operate, and also how they breakdown and fail. Larkin has written on topics as diverse as the building of cinema theatres, loudspeakers on mosques and churches, pirated cassettes, and distortive radios and generators. He is the author of Signal and Noise: Infrastructure, Media and Urban Culture in Nigeria (Duke, 2008) and the co-editor of Media Worlds: Anthropology on New Terrain (California, 2000).

Shannon Mattern is an Associate Professor in the School of Media Studies at The New School. Her research and teaching address relationships between the forms and materialities of media and the spaces (architectural, urban, conceptual) they create and inhabit. She writes about libraries and archives, media companies’ headquarters, place branding, public design projects, urban media art, media acoustics, media infrastructures, and material texts. She is the author of The New Downtown Library: Designing with Communities (2007) and Deep Mapping the Media City (2015), both published by the University of Minnesota Press; and she is a columnist for Places, a journal covering architecture, landscape, and urbanism. You can find her at wordsinspace.net.

Naeem Mohaiemen works on projects on borders, wars, and belonging within Bangladesh’s two postcolonial markers (1947 and 1971). In 2014, a survey show and publication, Prisoners of Shothik Itihash (Correct History), brought these projects together at Kunsthalle Basel. He also researches the 1970s revolutionary left in the project The Young Man Was. Chapters include the films United Red Army (2011), about a 1977 plane hijack; Afsan’s Long Day (2014), which twinned a case of mistaken identity with the afterlives of Rote Armee Fraktion; and Last Man in Dhaka Central (2015), about a Dutch man arrested after the 1975 military uprisings, which will premiere at the Venice Biennial. Historian Afsan Chowdhury (the namesake of the 2014 film) has bracketed Mohaiemen, Mukherjee, D’Costa, Siddiqi, and Saikia as a “second wave of history writing” about Bangladesh. Naeem is a Ph.D. student in Historical Anthropology at Columbia University and a 2014 Guggenheim Fellow (film).

Beatriz Santiago Muñoz is an artist and a co-founder of Beta-Local, an artist-run space in San Juan, Puerto Rico. Her 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 through 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 speculative futures. Recent exhibitions include: La Cabeza Mató a To- dos, TEORética, San José, Costa Rica; MATRULLA, Sala de Arte Público Siqueiros, México City; Under the Same Sun, Guggenheim Museum of Art; Post-Military Cinema, Glasgow International; and The Black Cave, Gasworks, London. She is a recipient of a 2015 Creative Capital Visual Arts Award. Her work is in the collections of the Solomon Guggenheim Museum and Bronx Museum as well as other private and public collections.

Julie Beth Napolin is Assistant Professor of Digital Humanities at The New School, a musician, and radio producer. She received a PhD in Rhetoric from the University of California, Berkeley. Her work participates in the fields of sound studies, literary modernism, and aesthetic philosophy, asking what practices and philosophies of listening can tell us about the novel as form. She served as Associate Editor of Digital Yoknapatawpha and is writing a book manuscript on sound, race, and memory in the works of Conrad and Faulkner titled The Fact of Resonance.

Mendi + Keith Obadike are interdisciplinary artists who make art, music, and literature. Their intermedia work has been commissioned by The NY African Film Festival and Electronic Arts Intermix, Rhizome/The New Museum, Yale University, Whitechapel Art Gallery (London), and The Whitney Museum of American Art, among other institutions. Their major works include the sound installation American Cypher; the sound installation African Metropole; The Sour Thunder, an Internet Opera (Yale/Bridge Records); Crosstalk: American Speech Music (Bridge Records); Black.Net.Art Actions, a suite of new media artworks including Blackness for Sale (republished in re:skin on M.I.T Press); Phonotype (Ramapo), a book & CD of media artworks; and a poetry collection, Armor and Flesh (Lotus Press). They have contributed sounds/music to projects by a wide range of artists, including loops for soul singer D’Angelo’s first album and a score for playwright Anna Deavere Smith at the Lincoln Center Institute. Mendi + Keith Obadike were invited to develop their first “opera-masquerade” by writer Toni Morrison at her Princeton Atelier. This project, Four Electric Ghosts, was later commissioned by the Kitchen and listed in Artforum’s Best of the Year. Other honors include the Rockefeller New Media Arts Fellowship, the Pick Laudati Award for Digital Art, the New York Foundation for the Arts Fellowship in Fiction, and the Vectors Fellowship from USC. Their music and sound works have been featured on New York and Chicago public radio, as well as on Juniradio (104.5) in Berlin. Keith Obadike received a BA in Art from North Carolina Central University and an MFA in Sound Design from Yale University. He is Associate Professor in the College of Arts and Communication at William Paterson University and serves as an art advisor for the Times Square Alliance. Mendi Obadike received a BA in English from Spelman College and a PhD in Literature from Duke University. After working as a Cotsen Postdoctoral Fellow at Princeton University, she became a poetry editor at Fence magazine and Assistant Professor in the Department of Humanities and Media Studies at Pratt Institute. Upcoming projects include a collaboration with Urban Bushwomen on their new work Walking with Trane and a commissioned series of public artworks in Chicago created from the archives of the Center for Black Music Research at Columbia College to complete Mendi + Keith Obadike’s third American History Intermedia Suite, Free Phase.

Laurie Jo Reynolds is an artist and policy advocate. She was the organizer for Tamms Year Ten, a grassroots campaign to close the notorious state supermax prison in Tamms, Illinois, shuttered in 2013 by Governor Pat Quinn. As a 2010 Soros Justice Fellow, Reynolds researched best practices to stop sexual abuse and reduce recidivism, creating functional and dialogical art to support policy change. She recently produced work for Citizen Culture: Art and Architecture Shape Policy, Santa Monica Museum of Art; A Proximity of Consciousness, Sullivan Galleries, Chicago; and Museum of Arte Útil, Van Abbemuseum, Eindhoven, Netherlands. Reynolds is the recipient of a Creative Capital grant, a Blade of Grass fellowship and the Lenore Annenberg Prize for Art and Social Change. In 2014, she was on the staff of Governor Quinn’s re-election campaign. She is now Assistant Professor of Public Arts, Social Justice, and Culture at the University of Illinois at Chicago.

Mohammad Salemy is an independent NYC/Vancouver-based critic and curator from Iran. He has curated exhibitions at the Koerner Gallery and AMS Gallery at the University of British Columbia, as well as the Satellite Gallery and Dadabase. He co-curated the exhibition Faces at the Morris and Helen Belkin Art Gallery. In 2014, He organized the Incredible Machines conference in Vancouver. Salemy holds a masters degree in Critical and Curatorial Studies from the University of British Columbia. Salemy is an organizer with The New Centre for Research & Practice, where he oversees the Art & Curatorial Program.

Wato Tsereteli is an artist, curator and creative administrator. He studied Film in Tbilisi and obtained an MA from the Department of Photography at the Royal Academy of Fine Arts in Antwerp (Belgium). Tsereteli’s artistic works are two, three, and four-dimensional objects with well-structured spatial organization. He has curated the international art exhibition Appendix and multiple exhibitions and projects in and outside Georgia. In 2010, he established the Center of Contemporary Art Tbilisi. The center serves as an educational, research, and exhibition platform for artists and art professionals. The Center of Contemporary Art Tbilisi has organized numerous exhibitions and presentations of local and inter- national artists. In 2012, Tsereteli initiated the Tbilisi Triennial – a long-term project focused on education and research.

Kade L. Twist is an interdisciplinary artist working with video, sound, interactive media, text and installation environments. Twist’s work combines re-imagined tribal stories with geopolitical narratives to examine the unresolved tensions between market-driven systems, consumerism and American Indian cultural self-determination. Twist is one of the co-founders of Postcommodity, an interdisciplinary artist collective. On October 9-12, 2015, Postcommodity will stage Repellent Fence, a 2 mile long land installation intersecting the US/Mexican border near Douglas, AZ and Agua Prieta, Mexico. In addition to his art practice, Twist is also a public affairs consultant specializing in American Indian health care, technology and community development. Twist received his MFA in Intermedia from the Herberger Institute School of Art at Arizona State University. He is an enrolled member of the Cherokee Nation of Oklahoma.