2017 Participants

Dineo Seshee Bopape, born in 1981, in Polokwane, is an artist who lives and works in Johannesburg, South Africa. Her work has been featured in solo exhibitions at the Palais de Tokyo, Paris (2016), Hayward Gallery, London (2015); Hordaland Kunstsenter, Bergen, Norway (2015); August House, Johannesburg (2014); Stevenson Gallery, Cape Town (2013, 2011); Mart House Gallery, Amsterdam (2010); and Art Berlin Contemporary, Berlin (2010). Her work has also been included in group exhibitions at the Marrakech Biennale 6, Marrakech (2016); Bienial de São Paulo, São Paulo (2016); Tate Modern, London (2015); Center for Visual Art, Denver, CO (2015); Institute of Contemporary Arts, London (2015); The Jewish Museum, New York (2015); Institute of Contemporary Art, Philadelphia (2014); Tropenmuseum, Amsterdam (2014); Biennale de Lyon, Lyon, France (2013); and Bétonsalon—Centre d’art et de recherche, Paris (2012).


Juanli Carrión, born in 1982, is an artist who lives and works in Brooklyn. Solo and group exhibitions include the Contemporary Art Museum of the Basque Country ARTIUM, Centro Parraga, La Casa Encendida, and La Panera Art Center (Spain); Art Institute of Chicago, Abrons Art Center, and Whitebox (USA); Ex-Teresa Museum, San Luís Potosi Center for the Arts and MUPO (Mexico); The Royal West of England Academy (UK), Museum of Contemporary Art (Peru), and the National Museum of Art (Trinidad & Tobago). Carrión has been in residency at Espaço Fonte in Brazil, LMCC and ISCP in New York, Nagoya University in Japan, ADM in Mexico, and Kuona Trust in Kenya. In 2012, he was awarded the Visual Arts Prize Generación 2012 by Caja Madrid Foundation, Spain. In 2014, he started Outer Seed Shadow (OSS), a series of public interventions in the form of geopolitical gardens commissioned by NYC Parks, La Nau, and La Conservera Contemporary Art Center, among others.


Ieva Epnere, born in 1977, is an artist who lives and works in Riga, Latvia. Recent solo shows include Pyramiden and other stories, Zacheta Project Room, Warsaw, Poland (2015); A No-Man’s Land, An Everyman’s Land, kim? Contemporary Art Centre, Riga and Liepaja Museum, Liepaja, Latvia (2015); Waiting Room, Contretype, Brussels (2015); Galerie des Hospices, Canet-en-Roussillon, France (2014). Group exhibitions include Contemporary Landscape, Art Festival Cēsis 2016, Latvia (2016); 62nd International Short Film Festival, Oberhausen, Germany (2016); Identity: Behind the Curtain of Uncertainty, National Art Museum of Ukraine (2016); Something eerie, Signal – Center for Contemporary Art, Malmö, Sweden (2016); BRUXELLES à l’infini, Centre Wallonie-Bruxelles à Paris, France (2016); SALON DER ANGST, Kunsthalle Wien, Vienna, Austria (2013). Epnere is a Fall 2016 resident at the International Studio & Curatorial Program in New York.


Postcommodity is an interdisciplinary arts collective comprised of Raven Chacon, Cristóbal Martínez, and Kade L. Twist. Postcommodity’s art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial and multiethnic colonizing force that is defining the 21st Century through ever increasing velocities and complex forms of violence. The collective has been exhibited nationally and internationally, including: Contour the 5th Biennial of the Moving Image in Mechelen, BE; Nuit Blanche, Toronto, CA; 18th Biennale of Sydney in Sydney, AUS; Scottsdale Museum of Contemporary Art in Scottsdale, AZ; 2017 Whitney Biennial, New York, NY; Art in General, New York, NY; documenta14, Athens, GR and Kassel, DE; and their historic land art installation Repellent Fence at the U.S./Mexico border near Douglas, AZ and Agua Prieta, SON.


Raven Chacon is a Navajo composer of chamber music, a performer of experimental noise music, and an installation artist.  He performs regularly as a solo artist as well as with numerous ensembles in the Southwest USA, and is also a member of the American Indian arts collective Postcommodity. As an educator, Chacon has served as composer-in-residence for the Native American Composer Apprentice Project (NACAP) since 2004, teaching string quartet composition to hundreds of American Indian high school students living on reservations in the Southwest U.S. Under his instruction, this project was awarded the National Arts and Humanities Youth Program Award from The President’s Committee on the Arts and the Humanities in 2011. Chacon has presented his work in different contexts at Vancouver Art Gallery, ABC No Rio, REDCAT, La Biennale di Venezia – Biennale Musica, Musée d’art Contemporain de Montréal, San Francisco Electronic Music Festival, Chaco Canyon, Ende Tymes Festival, 18th Biennale of Sydney, and The Kennedy Center among other traditional and non-traditional venues.


Cristóbal Martínez is an artist and publishing Liberal Arts and Sciences scholar. He founded the artist-hacker performance ensemble Radio Healer in 2003. As a solo and collaborative artist, Cristóbal positions metaphors to mediate complications within sites of dromological, spatial, social, cultural, political, ecological, and economic anxiety. Martínez often aestheticizes complexity to engage publics in co-international generative inquiry and deliberation for recovering and connecting knowledge. By creating work that engages human dilemmas, taboos, and contradictions, he intends to catalyze opportunities for publics to experiences transformations that move beyond the instinct to simplify. Martínez describes his work as spreading brujerías and curandereias–—aesthetic experiences that reveal the vexing nature of our complex memories, amnesias, behaviors, beliefs, assumptions, choices, and relationships. Cristóbal has exhibited work in prominent national and international exhibitions and festivals including the 18th Biennale of Sydney, Sundance Film Festival, Adelaide International, Scottsdale Museum of Contemporary Art, Museum of Modern Art, and Museum of Contemporary Art Chicago.


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. Mr. Twist is the founder of Postcommodity, an interdisciplinary artist collective. With his individual work and the collective Postcommodity, Twist has exhibited work nationally and internationally. Mr. Twist is a US Artist Klein Fellow for Visual Arts. Postcommodity have been the recipients of grants from the Harpo Foundation, Joan Mitchell Foundation, Art Matters, Creative Capital and the Native Arts and Cultures Foundation. 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.


Don’t Follow the Wind is an inaccessible exhibition inside of the restricted Fukushima exclusion zone, a radioactive evacuated area surrounding the Dai-ichi Nuclear Power Plant. The zone was established in the wake of the 2011 disaster that contaminated the area, separating residents from their homes, land, and community. New commissions by artists Meiro Koizumi, Trevor Paglen, Kota Takeuchi, Ahmet Ögüt, Taryn Simon, Jorge Otero-Pailos, and Nikolaus Hirsch are installed at sites around Fukushima lent by former residents. As the exclusion zone remains inaccessible to the public, the exhibition is ongoing, but largely invisible—a condition akin to radiation itself—only to be viewed in the future, if and when it becomes safe once again for the residents to return. The exhibition opened on March 11, 2015, but there is no clear timeline for public access to the sites, which could take several years, decades, or a duration that stretches beyond our lifetime.


Chim-Pom is an artist collective founded in 2005 in Tokyo, Japan. The members are Ryuta Ushiro, Yasutaka Hayashi, Ellie, Masataka Okada, Motomu Inaoka, and Toshinori Mizuno. In 2015, they opened their artist-run space, Garter, in Tokyo to curate and showcase work by many of their contemporaries. They also initiated and co-organized an international exhibition Don’t Follow the Wind launched on March 11, 2015 inside the nuclear exclusion zone in Fukushima. Chim-Pom has been the subject of many solo and group exhibitions, including the 20th Biennale of Sydney (2016); MoMA PS1 (2014 and 2011); Saatchi Gallery (2015); the 9th Shanghai Biennale (2012); and the 29th São Paulo Biennial (2010). The group received the Prudential Eye Awards in 2015 under the categories Best Emerging Artist Using Digital/Video and Best Emerging Artist of the Year, as well as the Re-Act: New Art Competition 2007 Award at the Hiroshima City Museum of Contemporary Art.


Eva and Franco Mattes, both born in 1976, are a duo of artists based in New York City. Operating under the pseudonym 0100101110101101.org, they are pioneers of Net Art. Their controversial interventions, often bordering on illegality, challenge dominant power structures, including the hierarchical status of the art world, and explore the impact of technology in modern society. Eva and Franco Mattes are co-curators and artists of Don’t Follow the Wind.


Kota Takeuchi, born in 1982, is a Tokyo- and Fukushima-based artist interested in how we physically view and perform images of public scenery, social events, and their memory. He works across painting, film, video, internet and sculpture, between the gallery and public space. Takeuchi is renowned as the representative of the Finger Pointing Worker, whose webcam performance in response to the Fukushima Daiichi nuclear power plant disaster has become an iconic image of the event. His recent work explores the loop of digital image capture investigating relationships between media and social memory by revisiting historical monuments and modern industrial legacies.


Ksenia Golubovich is a writer, essayist and translator, and teaches the philosophy of literature at the Moscow School of New Cinema. She is the head of jury for the Piatigorslky prize for intellectual prose and author of a novel, Wishes Granted; a travelogue, Serbian Parables; and a book of poems, Personae. She has translated numerous works of philosophy and prose, including Bruce Chatwin’s In Patagonia and V. S. Naipaul’s Middle Passage. She has written articles and reviews on modern philosophy, photography, literature, cinema, and museums. She lives in Moscow.


Evangelos Kotsioris is a New York-based architect and architectural historian whose research interests center on the intersections of architecture with science, technology and media. He is currently completing PhD dissertation, entitled “Komp’iuter Architecture(s): 195X-198X,” which composes an architectural history of computerization during the Cold War by focusing on the introduction, dissemination and use of the digital electronic computer in the Soviet Union and the Eastern Bloc between the late 1950s and the early 1980s. Kotsioris graduated with first class honors from the School of Architecture of the Aristotle University of Thessaloniki (2009), studied as an exchange student at the Faculty of Architecture of TU Delft (2007) and earned his post-professional Master in Architecture II from the Harvard Graduate School of Design (2011). In 2013 he was an SAH travelling fellow in Russia with the project “Capturing Moscow’s Disappearing Architectural Heritage from the Avant-Garde to Post-WWII Modernism,” and In 2015 he was a research resident at the CCA in Montreal.


Aaron Levy works with artists, communities, and institutions to develop cultural projects that encourage inclusiveness, advocacy, and the sharing of knowledge about health and well-being. He is the Executive Director and Chief Curator of Slought Foundation, as well as Senior Lecturer in the Departments of History of Art and English at the University of Pennsylvania. At the School of Social Policy and Practice he is the Director of the Health Ecologies Lab and Co-Director of the Arts and Social Justice Initiative, and Strategic Advisor for Health and Humanities Initiatives at Penn Medicine. He has curated exhibitions such as Into the Open, the US representation at the Venice Biennale for Architecture; the Perpetual Peace Project at the International Peace Institute at the United Nations; Mixplace Studio with People’s Emergency Center; and a range of other projects with individuals such as Werner Herzog, Agnès Varda, Ai Weiwei, Cecil Balmond, and Antanas Mockus.


Oleg Nikiforov is the Editor-in-Chief of LOGOS Publishers, a Moscow-based publishing house focusing on the humanities since 1997, and the coordinator of LETTERRA, an intellectual platform and cultural program. His works focus on cold-war phenomenon, immateriality in architecture, and questions of architectural representation.


Xenia Vytuleva is an architectural historian, theorist, and curator. Her works focus on cold-war phenomenon, immateriality in architecture, and questions of architectural representation. At present, she has an research appointment at the Center of History of Knowledge at ETH Zurich. Previously, she was teaching at the Graduate School of Architecture Planning and Preservation at Columbia University in New York. She has curated a number of exhibitions including: “Music on Bones” in Recycle at MAXXI Museum in Rome, and Experimental Preservation at the 2014 Venice Biennale. She is the recipient of various grants and awards, including from the Graham Foundation for the project “Secret Spaces of the Cold War.” Vytuleva is currently working on a manuscript entitled the “Aesthetics of Uncertainty in Contemporary Artistic Practices” and a project entitled North Trans-National. At Slought, she co-curated the project Straying; Diary of a Cold Universe.


Duane Linklater is Omaskêko Ininiwak from Moose Cree First Nation whose practice is concerned in part with the exploration of the physical and theoretical structures of the museum in relation to the current and historical conditions of Indigenous people and their objects and forms. Linklater holds a Master of Fine Arts (2012) from the Milton Avery Graduate School of Arts at Bard College, New York, and holds bachelor’s degrees in Fine Arts (2005) and Native Studies (2003) from the University of Alberta, Edmonton, Canada. His work has been exhibited at prominent organizations nationally and internationally, including the Vancouver Art Gallery (Canada); Family Business Gallery (New York); Te Tuhi Centre for Arts Auckland (New Zealand); City Arts Centre in Edinburgh (Scotland); Institute of Contemporary Arts (Philadelphia); Utah Museum of Fine Arts (Salt Lake City); and more recently at the the SeMa Biennale (Seoul) and at 80WSE Gallery (New York). Linklater was the recipient of the 2016 Canada Council for the Arts Victor Martyn Lynch-Staunton Award for Media Art; and the 2013 Sobey Art Award, an annual prize given to an artist under 40.


Bryan Cockrell is an educator, anthropologist, musician, and metalworker interested in sound as a means of constructing power and in technology as performance. He is currently a Curatorial Research Fellow at the Metropolitan Museum of Art, where he works on the interpretation of metalwork from Central and South America. At Dumbarton Oaks Research Library and Collection, he worked on a major catalogue of archaeological materials from Central America and Colombia. Though much of his career has been in the technical analysis of archaeological materials, he now focuses on centering people before objects in the work he does, considering archaeology and academia more broadly through the lens of extraction. Bryan Cockrell also participates in the People’s Education Initiative in New York and, earlier, took part in the Prison University Project in California.


Malik Gaines is a writer and artist, a member of the performance group My Barbarian, and Assistant Professor of Performance Studies, New York University, Tisch School of the Arts. His work deals with performance practice and theory, black representation, and queer social tactics. Gaines’s book Black Performance on the Outskirts of the Left: A History of the Impossible (2017, NYU Press) traces a transnational circulation of political ideas through performances of the sixties and beyond. Since 2000, Gaines has performed and exhibited with collaborators Jade Gordon and Alexandro Segade as the group My Barbarian, in venues including MoMA, LACMA, SFMoMA, De Appel, El Matadero, Museo El Eco, Townhouse Gallery, and many others. Their work uses musical/theatrical and critical techniques to playfully act out social difficulties. Gaines also performs solo, and with other collaborative groups including Courtesy the Artists and A.R.M.


Alan Michelson is a New York-based, Mohawk artist whose work addresses intersections of place, history, and identity in multilayered, multimedia installations. With a diverse career as an artist and lecturer, Michelson has participated in numerous exhibitions including Sakahàn: International Indigenous Art, National Gallery of Canada (2013), the 5th Moscow Biennale (2013), and the18th Biennale of Sydney (2012) and his work is currently featured in The Western: An Epic in Art and Film at the Denver Art Museum. Michelson is the recipient of several awards, most recently the Macgeorge Fellowship at the University of Melbourne, Australia. His work is in the permanent collections of the National Gallery of Canada, Ottawa, and the National Museum of the American Indian, Washington, DC. Michelson’s practice includes public art, and present projects include Mantle, a permanent public monument commissioned by the Commonwealth of Virginia honoring Virginia’s Indian nations. Past work includes projects with the Public Art Fund, Inc., REPOhistory, and the U.S. General Services Administration, the commission for which he received the 2010 GSA Design Award and 2010 Public Art Network Year in Review. Michelson is co-founder and co-organizer, with the Vera List Center for Art and Politics at the New School, of the Indigenous New York initiative.


Nicholas Mirzoeff is a visual activist, working at the intersection of politics, race and global/visual culture. His book The Right to Look: A Counterhistory of Visuality (2011) won the Anne Friedberg Award for Innovative Scholarship from the Society of Cinema and Media Studies in 2013. His most recent book How To See The World was published by Pelican in the UK (2015) and by Basic Books in the US (2016). It has been translated into eight languages and was a New Scientist Top Ten Book of the Year for 2015. A series of short films based on the book is in production. His new project, The Appearance of Black Lives Matter was published as a free e-book, and is forthcoming as a limited edition print book with artwork by Carl Pope and a poem by Karen Pope, both by NAME Publications, Miami. The second part of the Black Lives Matter project has considered climate change and the Earth System crisis as produced by white supremacy and intersectional with decoloniality. To complete the trilogy, he is now “sounding” spaces of whiteness and terror in Turner, Picasso and Warhol. Mirzoeff is a Professor of Media, Culture and Communication at NYU.


Jackson Polys is a visual artist who seeks to dissolve artificial boundaries between perceptions of traditional Native art forms, practices, and contemporary life, and whose practice reflects inquiry into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, and has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, also engaging with museums seeking replacements for works that were repatriated, before pursuing his undergraduate education in New York. As Stephen Paul Jackson he obtained a BA in Art History and Visual Arts from Columbia University in 2013, and now holds an MFA in Visual Arts from Columbia University (2015). He is recipient of an NACF Mentor Artist Fellowship in 2017, and Advisor to Indigenous New York, the collaborative program initiative co-founded by Mohawk artist Alan Michelson and the Vera List Center for Art and Politics.


Maya Valladares is an artist and educator whose work fuses traditional handwork techniques with social engagement. Situated within an anthropological understanding of textiles as objects that carry embedded information, her work engages with themes of labor, exchange, knowledge transmission, and language. She has worked as a Museum Educator at the Brooklyn Museum and the Metropolitan Museum, and currently works as the Facilities Manager for Fashion and Textiles at the Parson’s Making Center. Maya received her BFA from the Rhode Island School of Design and her MA from Hunter College.


Freya Powell received an MFA from Hunter College, New York, NY (2012) and a BA from Bard College, Annandale-On-Hudson, NY (2006). Her work has been exhibited in solo shows at Arts Santa Monica, Barcelona, Spain (2014) and Emerson Dorsch, Miami, FL (2013). She has participated in group shows at institutions including EFA Project Space, New York, NY (2016), Queens Museum, Corona, NY (2016), Socrates Sculpture Park, Long Island City, NY (2015), the International Center of Photography Library, New York, NY (2014), #1 Cartagena: the First International Biennale of Art, Cartagena de India, Colombia (2014), and the Bronx Museum, Bronx, NY (2013). Her work is in the collections of the New York Public Library; Bard College; the School of the Art Institute of Chicago; and Hunter College.