Across their works they probe a contemporary landscape marked by seemingly perpetual crisis and an endless ‘present’, one that is shaped by a politics of desire and disaster.

They have been developing a body of work that questions this suspension of the present and searches for ways in which an altogether different imaginary and language can emerge that is not bound within colonial/capitalist narrative and discourse. In their projects, they find themselves excavating, activating and inventing incidental narratives, figures, gestures and sites as material for re-imagining the possibilities of the present. Often reflecting on ideas of non-linearity in the form of returns, amnesia and deja vu, and in the process unfolding the slippages between actuality and projection (fiction, myth, wish), what is and what could be. Largely their approach has been one of sampling materials both existing and self-authored in the form of sound, image, text, objects and recasting them into altogether new ‘scripts’. The result is a practice that investigates the political, visceral, material possibilities of sound, image, text and site, taking on the form of multi-media installations and live sound/image performances.

She also organized Leigh’s critically acclaimed solo exhibition at The Kitchen, “You Don’t Know Where Her Mouth Has Been,” 2012, and Funk, God Jazz and Medicine: Black Radical Brooklyn with Creative Time & Weeksville Heritage Center in 2014.

As Director of Culture and Art at the Open Society Foundations, Bumbray spearheaded the development of the foundations’ first global program dedicated to advancing diverse artistic practices and strengthening locally led cultural spaces around the world. Under her leadership, Open Society Foundations became one of the leading arts funders focused on the Global South and supporting socially engaged artists and cultural producers in diverse disciplines.

Bumbray is also a Bessie-nominated choreographer whose practice draws from traditional African American vernacular and folk forms. She is a 2019 United States Artist Fellow and an Inaugural Civic Practice Artist in Residence at the Metropolitan Museum of Art. A graduate of Oberlin College, Bumbray also has an MA in Africana Studies from New York University. Her writing on contemporary art, cultural studies, and comparative literature is published in journals and exhibition catalogues

He created and implemented Revival Field (1990), a pioneer in the field of "green remediation," the use of plants to remove toxic, heavy metals from the soil. From 1995-1998 he formed the collective the GALA Committee that produced In the Name of the Place a public art project conducted on American prime-time television.

Chin is one of the artists featured in the first year of the ongoing PBS Series Art of the 21^st Century. In 2017 his film, 9-11/9-11, won the Pedro Sienna Award for Animation in Chile. His ongoing Fundred Project addresses childhood lead-poisoning through art- making. In 2018 he presented Unmoored and Wake in Times Square, New York City, creating a visual portal into a future of rising waters, and his 40-year-survey exhibition at the Queens Museum, NYC, was named the best art exhibition of 2018 by Hyperallergic. He is the recipient of many awards, grants, and honorary degrees, including the MacArthur Fellowship, 2019, and election to the The American Academy of Arts and Letters, 2021.

Megan Cope has held solo exhibitions at the Sydney Opera House, Sydney; UNSW Galleries, School of Design and Art, Sydney; The Australian Print Workshop, Melbourne; The Australian Centre for Photography, Sydney.

Cope’s work has featured in several notable international exhibitions, including There Goes The Neighbourhood! Vera List Centre, New York; We, On The Rising Wave, Busan Biennale, South Korea; Reclaim the Earth, Palais de Tokyo, Paris, France; Embodied Knowledge: Queensland Contemporary Art, Queensland Art Gallery, Brisbane as well as the TarraWarra Biennial (2021), The NGV Triennial (2020) and the Adelaide Biennial of Australian Art: Monster Theatres (2020). Cope’s works are held in both National and International collections including The National Gallery of Victoria, Queensland Art Gallery | Gallery of Modern Art, Brisbane, The National Gallery Australia, Canberra, Musées de la Civilisation: Canada, and more.

Significant Public art commissions include What Becomes of the Clouds (2022) at 80 Anne Street, Brisbane, After the Flood (2020) at James Cook University, Townsville, Weelam Ngalut/Our Place (2018) at Monash University, Clayfield, Transcendence (2015) at Museum Victoria and You Are, Here Now (2015) at the Australian Catholic University, Victoria.

Megan Cope is a member of Aboriginal art collective proppaNOW (recipients of the 2022-2024 Jane Lombard Prize for Arts and Social Justice) and is represented by Milani Gallery, Brisbane

Taking this corporal approach as a core, Darıcıoğlu is interested in chronopolitics and necropolitics from a perspective focusing and centralising on marginalised bodies' vulnerability and strength. She* works on Queer appropriation methodologies of the past and the present from a non-Western perspective and develops corporal strategies to address minority groups' histories excluded from hegemonic history.

With western dominant logics and moral *codes* circulating inherent violence, they explore their contact with the boundless timeless rupture of an adjacent entity–CHAOS FORCE, an inbetween-outside form that conjures subversive actions and disruptive building as materializations and residues of blackness, improvisation, celebration, rhythm, disorder, vernacular & colloquial speech, /dark/noise, and mythologies.

Through using streams of collected field recordings, video/film documents, mapping, and real-time mythological fabrication, Deal explores dialectics and borders, blackness as creative destruction, STATE and authoritative paradigms, ancestral/undead knowledge, and systems as they intersect with language and relation to our local communities and geographies.

Deal has shown work with Protocinema & Protodispatch (2022 & 2023), Fleisher-Ollman gallery (PHL), Brick Theater (NYC), Vox Populi (PHL), Fleisher Art Memorial (PHL), Grizzly Grizzly (PHIL), Bartram’s Gardens (PHL), & Grizzly-Grizzly (PHL), No Tomorrow underground (ATL) amongst others. This past summer, Deal toured around the United States for their debut album and performance work GOGO UNDERWORLD, performing in Atlanta, Georgia; New Orleans, LA; San Francisco, CA; Brooklyn, New York; and Philadelphia and was recently a 2022 fellow at Amant Foundation in New York. They have been included in published prints such as the Titled House Review Spring 2021 issue and Grizzly Grizzly: In Dialogue.

He is currently a Cultural Researcher, and also a Research Professor at the Creative Enterprise Leadership International Graduate Program at Pratt Institute. In 2020, Ekejiuba founded The Drill, an art non-profit dedicated to building a sustainable African art ecosystem by providing early/mid-career African art practitioners with the necessary tools for sustainable practices.

She often draws on Hindu and Buddhist iconography and South Asian forms such as Kalighat and Madhubani, and is currently negotiating her relationship to these images with the rise of right-wing fundamentalism in India. Ganesh’s queer feminist cosmology, particularly within her exploration of comics and mythmaking, offer emancipatory narratives drawn from the same collectively held visual culture (mass-mediated, vernacular, graphic) she dissects above.

Ganesh holds a BA in Art-Semiotics and Comparative Literature from Brown University and an MFA from Columbia University. She has exhibited widely across continents, and her work is held in prominent public collections such as the Smithsonian Museum of American Art, the Museum of Modern Art, San Jose Museum of Art, & Kiran Nadar Museum of Art, among many others. Her work will be on view at the Whitney Museum as part of the upcoming exhibition ‘Inheritance’ curated by Rujeko Hockley, from June 28 through February 2024.

Protomorphisms, Galerie Gisela Capitain, Cologne (2022); Redes de Conversión, Galería 80m2 Livia Benavides, Lima (2021); 34th Bienal de Sao Paulo Faz escuro mas eu canto (2020); Spectres of Reference, OCMA (Orange County Museum of Arts), California (2019); Botanical readings: Erythroxylum coca, Proyecto AMIL, Lima (2019); Lines of Divergence, Galerie Gisela Capitain, Cologne (2018); Native States at MALBA, Buenos Aires (2017); Botanical Insurgencies: Phaseolus Lunatus at SAPS (Sala de Arte Público Siqueiros), Mexico city (2017); Smoke Architecture at 80m2 Livia Benavides, Lima (2015); Toma de tierra at Casado Santapau, Madrid (2015); Los Suelos, MATE (Museo Mario Testino), Lima (2014); Paisaje Antrópico, Max Wigram Gallery, London (2012); a solo project at Middlesborough Institute of Modern Art (2012); El Porvenir, Mimmo Scognamiglio Arte Contemporanea, Milan (2011). Her recent group exhibitions include: Puntos y Almendras por Círculos en Ojos, Galería Nordenhake, Mexico City (2022); Rethinking Nature, Madre Museum, Naples (2021); Imaginarios Comúnes, Vol. I, Museo de Arte Lima -MALI, Lima (2021); 34th Bienal de Sao Paulo, Faz escuro mas eu canto, Sao Paulo (2021); Normal Exceptions: Contemporary Art in Mexico, Jumex Museum, Mexico City (2021); La Diosa Verde, Museo de Arte de Zapopan, Guadalajara (2021); Tense Conditions, Staatsgalerie Stuttgart (2021); Infinite Games, Capitain Petzel Gallery, Berlin (2021).

Karakaya received his bachelor of arts in Philosophy from Boğaziçi University. He is currently studying for a master's degree in Directing in Film and Drama program at Kadir Has University in Istanbul.

Guangzhou Triennial, Cairo Biennial (2008); Singapore Biennial (2011), Kiev Biennale (2012), Thessaloniki Biennale (2013); Sao Paulo and Gwangju Biennial (2014).

Her works included in the collections of Nationalgalerie Hamburger Bahnhof, Berlin, Museum of Contemporary Art Chicago, Museum of Modern Art Warsaw, Musée d’Art Moderne de la Ville de Paris, MUMOK, Museum Moderner Kunst Stiftung Ludwig Vienna, Tate Modern London, Guggenheim Museum New York, Van Abbe Museum Eindhoven, Istanbul Modern among others.

Gülsün Karamustafa has received the Prince Claus Award from the Netherlands in

2014 and the Roswitha Haftmann Prize from Switzerland in 2021.

From 2020 to 2022, she was an editor and contributor at TransitoryWhite, an online publication dedicated to artistic production, activism, theory and research from post-Socialist and post-Soviet territories. Between 2022 and 2023, she was a Curatorial Assistant at White Columns, where she organized the online exhibition A Shapeshifter with a Heavenly Secret. In 2023, she curated the film program 'Saodat Ismailova: To Share a Dream with a River' at the e-flux Screening Room. Currently, she serves as the Archives & Library Manager at e-flux.

Her survey exhibition of Carl Cheng’s genre-defying practice opens in Austin in Fall 2024.

Prior to her current role she was the Dorothy and Stephen R. Weber (CHE ’60) Senior Curator at the Institute of Contemporary Art, University of Pennsylvania (ICA). During her eleven years at ICA she originated numerous exhibitions, publications, public programs, and online initiatives with artists including Linda Goode Bryant, Ane Graff, Barbara Kasten, Michelle Lopez, Nathalie Du Pasquier, Sondra Perry, Suki Seokyeong Kang, and Trevor Shimizu. Previously she held positions in the Carnegie Museum of Art’s Hillman Photography Initiative, the Wallis Annenberg Photography Department at the Los Angeles County Museum of Art (LACMA), the Roski School of Fine Arts at the University of Southern California (USC), and The Metropolitan Museum of Art, New York.

Nurtured by the power of inclusiveness and variety, it is an art field born from the need for change by focusing on the fluidity of identity and gender.

Leigh describes her work as auto-ethnographic, and her salt-glazed ceramic and bronze sculptures often employ forms traditionally associated with African art.

Her performance-influenced installations create spaces where historical precedent and self-determination commingle. “I am charting a history of change and adaptation,” the artist has written, “through objects and gesture and the unstoppable forward movement of Black women.” Simone Leigh was born in Chicago in 1967 and first began exhibiting her work in the early-2000s. She has had one-person museum exhibitions at the Guggenheim Museum, New York; The Tate Gallery, London; the Studio Museum in Harlem; and the Hammer Museum in LosAngeles among others. In 2014 she presented “The Free People’s Medical Clinic” in theBedford-Stuyvesant neighborhood in Brooklyn, New York, a project commissioned by CreativeTime. Her work was included in the 2012 and 2019 Biennial exhibitions at the Whitney Museumof American Art, New York. Leigh is the first artist to be commissioned for the High LinePlinth; her monumental sculpture Brick House was unveiled in April 2019. Leigh represented theUnited States at the 59thInternational Art Exhibition of La Biennale di Venezia (2022); herexhibition, “Simone Leigh: Sovereignty,” is currently on view in the United States Pavilion.Leigh’s work is also included in the central exhibition, “The Milk of Dreams,” for which she wasawarded the Golden Lion for Best Participant.

It speaks from amateur cultures, pop political culture, sound territories, nature and technology, incorporating the possibilities and mistakes of the rehearsals, and narrative forms considered dysfunctional. Her work has been shown in And we learn to keep the soil wet CARA, NY, 2023; 13th Gwangju Biennale. Minds Rising Spirits Tuning 2021; Art Encounters Biennial, Timișoara, Romania 2019; Kunstinstituut Melly (solo), Rotterdam; El ruido de las cosas al caer , FRAC Provence Alpes Côte d'Azur, Marseille 2017; Immortality for all, Savvy Contemporary , Berlin 2016; Frío en Colombia, Luis Caballero prize (solo), Archivo General de la Nación, Bogotá 2015; Ir para Volver, 12 Bienal de Cuenca, Cuenca 2014; ¿Tierra de Nadie?, Centro Cultural Montehermoso, Vitoria-Gasteiz 2011; AUTO-KINO! presented by Phil Collins, Temporäre Kunsthalle, Berlin 2009; Historias Colaterales, Centro Cultural de España, Guatemala 2008; I Still Believe in Miracles – part I, Musée d’Art Moderne de la Ville de Paris 2005.

Peru; Spanish Culture Center of Buenos Aires (CCBBA), Buenos Aires, Argentina; The Drawing Center, New York, United States; Museum of Art of Lima (MALI), Lima, Peru; Macro Museum | Museo d’Arte Contemporanea di Roma, Rome, Italy; National Museum, Lima, Peru; The Museum of Arts and Design, New York, United States; Museum of the Bank of the Republic, Bogotá, Colombia; The Fondazione Cassa di Risparmio di Modena, Bologna, Italy; The Drawing Room, London, United Kingdom; Museum of Fine Arts, Mexico City, Mexico; the Bronx Museum, New York, United States; and Museum of Fine Arts, Boston, United States. His work has also been included in the Havana Biennial, the IX and the XIV Bienials de Cuenca, the 6th edition of (S) Files Biennial in El Museo del Barrio, New York and 2010 Greater New York and MomaP.S.1, amongst others.He has received numerous residences grants and awards from various institutions, including the Rockefeller Foundation, the MACRO Museo d’Arte Contemporanea, Rome, Italy; the Foundation for Contemporary Arts, New York; NYFA, New York; Art Matters, New York; Kiosko, Santa Cruz, Bolivia; La Curtiduria art center in Oaxaca, Mexico and Ministerio de Cultura del Perú, Lima, Peru.

actions and sculptural gestures. (Robinson) is incredibly committed to their craft, from BLIXEL: The (Re)Stock Image Project, a photographic repository featuring people of unambiguously African descent, to the #WHITEMANINMYPOCKET, in which the artist carried a small, corporate-clad, plastic figure as a talismanic reminder that “whiteness is an idea not restricted to phenotype, gender, orientation, or nationality."

Similarly, (Robinson)’s work seeks to help their audience reevaluate their place in the hierarchy of gender, race, and exploitation. In 2018, (Robinson) won the Florida Prize in Contemporary Art, presented by The Orlando Museum of Art and underwritten by Gail and Michael Winn. Her sculptural work has been exhibited at Pioneer Works, the Museum of Contemporary African Diasporan Arts, the Brooklyn Academy of Music, The Flaten Museum at St. Olaf College, and the 60 Wall Street Gallery of Deutsche Bank. Her sculpture, Commemorative Headdress of Her Journey Beyond Heaven, was acquired by the Smithsonian Museum of African American History and Culture for its permanent collection in 2014. A contributor to the Huffington Post, Modern Painters, and the Opinion section of The New York Times, (Robinson) won an Emerging Artist Grant from the Rema Hort Mann Foundation in 2015, and a Creative Capital Award for Emerging Fields in 2016. They will also be featured in the forthcoming catalogue for the exhibition, The Culture: Hip Hop and Contemporary Art in the 21st Century, at the Baltimore Museum of Art.

She co-created the Creative Writing Program for the University of Puerto Rico, and founded and directed The Word/ Festival de la Palabra (2010-2009) . Mayra Santos –Febres in currently the Principal Investigator for the development of University of Puerto Rico’s Afro Diasporic and Race Studies Program, awarded with a Mellon Foundation grant for academic diversification.

As a writer, Mayra Santos-Febres has won the Letras de Oro Award (Spain, 1994) the Radio France Juan Rulfo Award ( 1998), the Premio Primavera Award, Spain ( 201) for her novel Nuestra Señora de la Noche and the John Simon Guggenheim Fellowship (2015) as well as the Rockefeller Bellagio Center Residency (2018) and the Prix Nationale de Litterature de l’ Academie de Pharmacie in Paris, France for La amante de Gardel (2019). She has published the poetry collections Anamú y manigua (1990) , El orden escapado (1991), Boat People (1994), Tercer Mundo (2004), Lecciones de renuncia (2021), Huracanada (2018). Her publications in short stories include Pez de vidrio y otros cuentos (1998), El cuerpo correcto (2004), y Mujeres violentas (2023). She has also published the novels Sirena Selena vestida de pena (2001), Cualquier miércoles soy tuya (2002) , Fe en disfraz (2009), Nuestra Señora de la noche (2006) y La amante de Gardel (2015) and the essay Tratado de Medicina Natural para Hombres Melancólicos (2011) y Sobre piel y papel (2009).Her literary work has been translated into French, English, Italian, Rumanian, Korean, Portuguese and Icelandic.

She is the author of 咸濕 Salty Wet, a chapbook published by Inpatient Press in 2019, and the artist book sequel, Too Salty Too Wet 更咸更濕, published through Speculative Place Press in 2020. Her writing has been published in Film Quarterly, October, and elsewhere. Sia’s artworks have been exhibited at Artists Space (New York), Kunstverein für die Rheinlande und Westfalen (Düsseldorf), and elsewhere. She received the George C. Lin Emerging Filmmaker Award in 2021. In addition to her artistic practice, Sia is the founder of the experimental project space Speculative Place and a film producer, serving as the executive producer for Adam Khalil and Bayley Sweitzer’s EMPTY METAL (2018), and executive producer of Adam Khalil and Zack Khalil’s forthcoming documentary AANIKOOBIJIGAN [ANCESTOR / GREAT-GRANDPARENT / GREAT-GRANDCHILD].

Emilie’s research interests include Asian and Hong Kong documentary, independent and alternative cinema, moving image studies and archive, image politics, media archaeology and digital culture. Emilie started her career as a cultural journalist, her writing is now published extensively on media across Hong Kong, Taiwan and China. A firm believer in the creation of publics and knowledge-mapping via public discourse and engagement, she has participated in a wide range of roles, including as board member of Videotage, a leading Hong Kong-based institution promoting video and new media art; member of the Floating Projects Collective, an independent experimental site of collaborative-individuated art practices; editor of Cinezen, a pan-Chinese film criticism online platform. She has also curated various kinds of art and film programmes which celebrates research-based curation and offers a cross-border and insightful approaches, such as Performative Doc, Hong Kong Retrospective Documentary Film Festival: From 80s to 1997 and Docuthon.

Her poetic methodology explores the myriad technologies of knowing, from scientific to intuitional, indigenous and alchemical processes. Outer space is often used as a place from which to navigate alien distances and earthly intimacy, rewiring ideas of nativism, nationality, nihilism and cultural flight.

Her inspirations include the ancient Stoics and contemporary literature, travel diaries and ancient diagrams. By manipulating semiotic flows, she creates conditions for the observation of microstructures of social and geopoetic time. In the face of extinction, her work insists on resurgence. Soin has performed and exhibited at The Art Institute of Chicago; the Serpentine Galleries, London; Dhaka Art Summit, Dhaka; Somerset House, London; HKW, Berlin. She won the India Foundation for the Arts Award and the Frieze Artist Award.

not limited to abstraction, collective speculation, appropriation, and anonymity. He is a Ph.D. candidate at the College of Fine Arts in Hamburg (HFBK) and works as an assistant curator at Protocinema.

His recent work Blue Island (2022), blends documentary and fiction, won the Best Documentary at Hot Docs Canadian international documentary film festival.