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Bios english | español a.b.c.d.e.f.g.h.i.j.k.l.m.n.o.pp.q.r.s.t.u.v.w.x.y.z.
Ala Plástica is an arts and environmental organization based in La Plata, Argentina that develops public and interventionist art projects. Their main concern is linking ways of thinking and working in the arts to the development of active projects in social and environmental arenas. Since 1991 Ala Plástica has developed a range of non-conventional artworks, focused on local and regional problems, and in close contact and collaboration with other artists, scientists and environmental groups. Ala Plástica works bio-regionally, within the nation of Argentina, as well as internationally. www.alaplastica.org.ar Gloria Enedina Alvarez , Chicana poet, community based artist/activist, literary translator, curator, mentor to generations of Latina artists, and creative writing teacher in L.A. Her published works include books of poetry, La Excusa/The Excuse and Emerging en un Mar de Olanes , and a CD spoken word anthology, Centerground . Her work is included in several anthologies and journals. She has published, performed and received awards in the U.S., Latin America, and Europe. Her collaborations with Peter Sellars, Esa Pekka Salonen, La Phil, and John Adams include plays and librettos produced in L.A., N.Y. and Europe, including Los Biombos, Cuento de un Soldado and El Niño. Maritza Alvarez co-founded Womyn Image Makers in 1999 out of her personal desire to create a safe space where justifying her stories and techniques did not take priority over creativity. Maritza was honored to become part of the collective that allowed her to collaborate with queer womyn of color filmmakers who like her came from community activists backgrounds. WIM has been the ideal space for Maritza to share, develop and materialize her creative vision without compromising their spirit. In 2004, Maritza wrote, produced and shot Pura Lengua, which was accepted to the 2005 Sundance Film Festival. Maritza also shot WIM's Viernes Girl , Lagrimas de Café, and co-shot Aqui Estamos Y No Nos Vamos. Since, Maritza continues to freelance as an independent, cinematographer working on several films and documentaries written and directed by womyn of color. Her interests are to work on well developed, and impactful stories that come from the heart and share a insightful messages. Additionally, when time permits, Maritza continues to write and enjoy the pleasures of still photography. For more info please visit http://web.mac.com/m13visions Rodrigo Araujo is an artist, graphic designer, VJ, and founding member of BijaRi. An Atlas is a traveling exhibition of artists working with “radical cartography,” a practice that uses
Cara Baldwin is a feminist artist, editor, media activist, educator and author. A 2001 graduate of CalArts MFA program and recipient of the Soros Foundation Open Society Grant for the establishment Links to selected collective and community-based art and media projects include: www.theoctobersurprise.org; http://la.indymedia.org; www.journalofaestheticsandprotest.org/ BijaRi (São Paulo, Brazil) Formed in 1996 by architects and artists, BijaRi is a center for Denise Bratton (bio forthcoming) Alfredo Brillembourg was born in New York in 1961. He received his Bachelor of Art and Architecture in 1984, and in 1986 his Master of Science in Architectural Design from Columbia University. In 1992 he received a second architecture degree from The Central University of Venezuela and began his independent practice in Architecture. In 1993, he founded the Urban Think Tank in Caracas, Venezuela. Since 1994, he is a member of the Venezuelan Architects and Engineers Association and has been a guest professor at the University José Maria Vargas, the University Simon Bolivar and at the Central University in Venezuela. Since 2000, he has been a regular guest at studio juries in The Graduate School of Architecture and Planning, Columbia University and The Cooper Union School for the Advancement of Science and Art. He has lectured on architecture at conferences in Boston, Berlin, Caracas, Miami and Switzerland. Ava Bromberg is a writer, spacemaker, and student of cities. Her research, curatorial work, and activism concern public space, public art, the social environment of cities, and just development. She is co-founder of the research and exhibition initiative In the Field and of Mess Hall, an experimental cultural center in Chicago. As In the Field, Ms. Bromberg collaborates on research, publications, and exhibitions about how people and communities transform their environments to better suit their needs and desires. She co-edited Belltown Paradise / Making Their Own Plans and is working on another publication, UNHOUSED: Creative responses to homelessness and innovation at the margins of affordability. Ms. Bromberg is currently a doctoral student the UCLA Department of Urban Planning where she is managing editor of the department's journal, Critical Planning . See www.spa.ucla.edu/critplan for current and previous issues. For more information on Belltown Paradise / Making Their Own Plans please see http://www.press.uchicago.edu/cgi-bin/hfs.cgi/00/170348.ctl. Also see www.messhall.org and http://www.inthefield.info . Nicholas Brown is an artist, researcher and erstwhile timber framer and natural builder. His interests include: critical spatial practice (the relationship between spatial theory and critical practice); critical race theory (esp. whiteness studies and spatial aspects of racial formation); the intersections of indigenous and Latino/a history, politics, and geographies; border theory; social movements, public memory, and activist art practice. Nicholas is currently a PhD student in the cultural landscape studies program at the University of Illinois at Urbana-Champaign, where he also received an MFA in Studio Art in 2005. Additional information is available at: www.walkinginplace.org/, and http://criticalspatialpractice.blogspot.com/. Butchlalis de Panochtitlan are a multimedia performance ensemble from Los Angeles that explore the gray areas of identities, practices, desires vis-a-vis communities and neighborhoods these subjects claim and are claimed by. Butchlalis de Panochtitlan is Mari Garcia, Raquel Gutierrez and Claudia Rodriguez. BdP explore identity and its consequence while mapping the city we live in on the brown female masculine bodies we walk in, as we perform ourselves, each other, imagined characters and caricatures. Caracas Urban Think Tank is a Latin American non-profit NGO research laboratory led by Alfredo Brillembourg and Hubert Klumpner. The Think Tank was represented in the World Forum and the Human Habitat Conference (global urban settlements, sustainable growth and redevelopment), and received sponsorship from the World Bank Development Marketplace Organization. Their 2005 project titled CARACASCASE studied the deep-rooted changes of urban realities that are visible in the explosive growth of mega cities. This was a pilot project for the understanding of alternative design ideas concerning realities beyond urban planning and infrastructure in cities. As traditional planning methods had been largely incapable of addressing the needs of the citizens on an appropriate bandwidth, the Urban Think Tank explored a different method of planning that is able to taken on challenges from the scale of a house to a whole borough. The team identified and proposed design strategies for the contemporary city where private rather than public values are coming to the forefront and must be guided to produce a heterogeneous city life for all inhabitants. Raúl Cárdenas Osuna [bio forthcoming] Gilles Clément is a landscape architect, designer, and writer. Born in France, he completed his studies in horticultural engineering at the École Nationale Supérieure du Paysage (ENSP) in Versailles in 1967, and later earned a degree in landscape design from the same school. Clément has designed numerous public and private parks and gardens in Europe and Asia, including the gardens of the Jean Nouvel designed Musée du quai Branly (2000), Grande Arche gardens at La Défense (1994), and Parc André Citroën (1992) in Paris; the gardens of the Domaine de Rayol (1988) and the Château de Blois (1987). In addition to his practical research, he has written the books Manifeste du Tiers paysage (2004), Le jardin en mouvement (2001), Le jardin planétaire (1999), and Thomas et le voyageur (1997), among others. Irina Contreras is a maker of sorts from video to writing (most recently published in the anthology Nobody Passes) to public performance. She received her BFA from Otis College Teddy Cruz is a Guatemalan-born architect (1962), whose work dwells at the border between San Diego, California and Tijuana, Mexico, where he has been developing a practice and pedagogy that emerge out of the particularities of this bicultural territory. Teddy Cruz has been recognized internationally in collaboration with community-based nonprofit organizations such as Casa Familiar for its work on housing and its relationship to an urban policy more inclusive of social and cultural programs for the city. He obtained a Masters in Design Studies from Harvard University and the Rome Prize in Architecture from the American Academy in Rome. His work has been exhibited internationally, including ‘Archilab' in Orleans, France, the Architectural Biennials of Rotterdam and Lisbon and most recently at the San Francisco Art Institute and the San Diego Museum of Contemporary Art. In 2004-05 he was the first recipient of the James Stirling Memorial Lecture On The City Prize, by the Canadian Center of Architecture and the London School of Economics, and is currently an associate professor in public culture and urbanism in the Visual Arts Department at UCSD in San Diego. Carmen Cuenca (bio forthcoming) Lieven De Cauter (°1959) studied Philosophy and History of Art. He teaches philosophy of culture in several art schools and universities: currently at the department of Architecture of the Leuven University, the media school RITS and the dance school P.A.R.T.S. (Brussels) and the postgraduate school for architecture, Berlage Institute (Rotterdam). He published several books: on contemporary art, experience and modernity, on Walter Benjamin and more recently on architecture, the city and politics. Besides this he published a collection of poems and columns, statements, pamphlets and opinion piece in newspapers and on the web. His latest book is The Capsular Civilisation. On the city in the age of fear (2004). He was initiator of the B Russell s Tribunal on ‘the Project for the New American Century' and its responsibilities in the invasion of Iraq ( www.brusselstribunal.org ). He is also co-founder of the ‘Platform for Liberty of Expression', that fights antiterrorism legislation and recent attacks on free speech and activism in Belgium. Sandra de la Loza is an artist, educator and founder of the Pocho Research Society (PRS), Ariel Devincenzo was born in Buenos Aires in 1977. Near the end of 2000 he began to work in the artists' movement Etcétera… that had its laboratories (a theater, art studio, darkroom, and library) in what had once been the home and printing press of the surrealist artists Juan Andralis (1924-1994), en the old neighborhood of Abasto in Buenos Aires. Along with the other poets in the group, he gave life to the “Friday tertulias,” nighttime poetry gatherings that continued for more than two year in the house's sumptuous library that they had restored and organized. The process of collective creation has always allowed him to move toward other disciplines, such as performance and the visual arts. As a member of Etcétera… he has participated in various exhibitions and colloquia-- Argentina as well as internationally. His work has been published in magazines, catalogues, and online, and he has been invited to participate in many readings and festivals. In 2006 Devincenzo was selected by the Buenos Aires National Cultural Fund for the publication of his first book of poetry, Lo que queda del mono [What is left of the monkey] that brings together previously published and unpublished texts from 1997-2000. This same year he entered a competition organized by the Thistle Poetic Collective [Colectivo Poético Cardo] and his work was selected to be included in a forthcoming anthology of poetry by Hispano-American writers. Maria Adela Diaz was born in Guatemala, 1973, were she studied graphic design and launched her art career. Utilizing her body as a medium, she works with nature and its unexpected behavior to convey her objections to political deception, patriarchal societies, and discriminatory philosophies. By using the body and nature to convey her message, she sends a poignant message to observers, forcing them to question life and its influences, Andrea Dietz, a former Design Corps VISTA and a recent graduate of Rice School of
Kirsten Dufour is a visual artist who lives in Copenhagen, Denmark. She works with a number of different groups that all attempt to unite artistic and political practice. One of these groups is YNKB (Outer Norrebro Cultural Bureau), an artist group project founded in fall 2001 that is active in a local area of Copenhagen. YNKB has shown internationally in the Museum of Contemporary Art and Design, Costa Rica; 2003 Prague Biennal; Utopia Station (with Martha Rosler); 2003 Venice Biennial; Arsenale; and in the seminar and exhibition “Headquaters” at the Baltimore Museum of Contemporary Art, Maryland (2005-6). In August 2002 Dufour began LET THEM SPEAK NOW, an archive of video interviews with feminist artists and activists of different generations from the 1970s to the present. The project is created together with artists in Denmark, the U.S., the United Kingdom, Switzerland, and France. The archive was presented at the Forde exhibition space in Geneva in 2004 as part of the exhibition Revolt, She Said (2004); at the 98 års –anniversary at the Art Academy´s Exhibitionspace Q in Copenhagen (2003); “One Step Forwards, Two Steps Back” in Armenia, Erevan, (200 5) ; and most recently at La Criée Contemporary Art Center in Rennes, France (2006). Another of Dufour's feminist works is Women in black poster to www.Women.dk.2003. In November 2003 Dufour co-organized the 5 millionpeacemarch project, an art initiative that included the exhibitions Let´s talk while we walk 1 at Overgaden Contemporary Art Space, Danish Art Council, Copenhagen (2004); Lets talk while we walk 4 at Espace in Beirut, (2004); 5 million peacemarch skulptur , Vrå udstillingen, Vrå Kunsthøjskole with FTA (2004); and YNKB's Lets talk while we walk3 ” at Spacemakers in Lothringen Dreizehn, München (2004); MixDialoque ”Cinema” project in Bethlehem, Palestine, March (2007). Dufour was involved in several socio-aesthetic projects at the end of the 1960s, including The Canon Club group, whose members organized the performative exhibition 7 Women Images in March 1970. This project was shown in Mothers of Invention (2004) and WACK! Art and the Feminist Revolution at the Geffen Contemporary at MOCA, Los Angeles (2007). Dufour has been a guest professor at The Royal Danish Academy of Fine Arts in Copenhagen and a visiting artist at Otis College of Art and Design in Los Angeles, in conjunction with a Danish Contemporary Art Foundation residency. In 2001 she founded an Open Academy department at Valand Art Academy in Gothenburg, Sweden. Dufour's artist's books include: TTA. Løgstør 1975-1987 (text and documentation in collaboration with Finn Thybo Andersen); City flowers of the world, a video art project from 38 countries (1995-2005); Art Radio Talks , art on street level from five different cities in the Baltic countries (1998-2000); Martha Rosler talks , the publication from the “Tea for 2000” seminar n Copenhagen (2000); And the YNKB tema book That a whole town can turn criminal with Finn Thybo Andersen, SAAS, and Hygum Museum (2005). Dufour's publications, articles, and CD include: “Art as Activism - Activism as Art,” The Review of Education, Pedagogy & Cultural Studies 24.1-2 (January-June 2002); “How Can Critical Space Be Maintained,” Planet 22 (spring 2002); “Maintaining Critical Spaces in Urban Societies Today: How Artists Operate - A Report from an Activist Artist Kirsten Dufour,” Focas: Forum on Contemporary Art and Society , Singapore: 2002; YBKB Tema 1-6, Copenhagen (2002-03); Tea for 2000 Seminar: Elke Krystufek, Mary Beth Edelson, Martha Rosler, Nancy Buchanan , CD rom, Copenhagen: 2000. “What do we know about solidarity? Learning from a feminist exhibition in 1970, 7 woman images”. UDSIGT Feministiske strategier I Dansk Billedkunst (November 2004). Dufour has curated: Art on Street Level: How to Succeed , Copenhagen, 2000 (in collaboration with the Danish Contemporary Art Foundation); the conference “Kunstfragt – Artfreight,” YNKB, Copenhagen 2003; and Minority Report: Challenging Intolerance in Contemporary Denmark, upcoming at different locations in the city of Aarhus, Denmark, fall 2004 (in collaboration with Trine Rytter Andersen, Tone O. Nielsen and Anja Raithel). Dufour's online projects include: www.planet.net. www.YNKB.dk. www.minority-report.dk, www.5millionpeacemarch.org, www.jordforbindelse.dbskane.org, www.Women2003.dk, and www.tv-tv.dk. Etcétera… was formed in 1997 by a group of visual artists, poets, puppeteers, and actors, most of whom were under 20 at the time. They all shared the intention of bringing art Etcétera... Towards the end of 1997, several artists, most around 20 years of age and who were just beginning to work in poetry, theatre, the visual arts, and music, all began to feel a desire to form a group, to be part of a movement, a movement which would bring them into contact with other social spheres and would bring art to the streets, into the spaces of social conflict, thereby moving these social conflicts into areas where they had been previously silenced (i.e., cultural institutions, the mass media, or the spectacles created by the culture industry). Etcétera... was born as a response to a specific political moment and to a need to forge a generational identity. As well, it was a reaction against the culture that was being created by neoliberalism, which had risen to power during the 1990s. Two experiences profoundly marked our identity. First, in the winter of 1998 we looked for an abandoned house to squat to serve as studio space and as a meeting place. Thanks to “objective chance,” we found the old print shop where the surrealist Juan Andralis (1924-1994), who during the 1950s had been a part of Breton's group in Paris, had lived and established a press after returning to Buenos Aires. In this enormous house (located in the Abasto area of the city) we lived and started an art space, a theater, and a library, which led us, as a group, towards dis-education and autonomous practices. That magical encounter with surrealism allowed us to become self-educated and independent, filled with ideas of linking art and life, whether it was spiritually, in dreams, or in the social and political spheres. The other experience that marked us (in terms of our generation) was our participation with H.I.J.O.S. in the creation of the escraches. In this experience, we saw that the fight for memory and justice created the possibility of constructing a new space for social change, wherein neighbors, students, artists, and political organizations could exchange strategies, hopes, and desires. This space served as a kind of breeding ground for new forms of militancy. It's necessary, now more than ever, to re-affirm certain of our ideas/ideals, especially since a decade later and even after enormous changes to Argentine society, the economic system continues to be the same. There are still innumerable injustices and inequalities, which make it so some are inside while others remain outside , such that “cultural hunger” continues to exist, that dreams are the province only of the most privileged, that art is only for the few, that only now are the crimes that the military dictatorship committed over 30 years ago being addressed. How many tires will we have to burn to secure justice for the crimes of the present? The chess pieces are immobile and although the movement still continues to try to set the streets afire, we know there are many spaces where we will install poetic barricades or institutions where we will run through the hallways drooling. Exploitation continues exploiting behind the latest installment of confusions while we once again expectorate the unconscious. Those who before cowered in their holes terrified of being escrached are now the honorable candidates of the present. What will be today of our pro-vocations? Etcétera… we will fight and shout: Incite the expansion of creativity like a virus, infecting the mass mind and inundating everyday life with intensity. That the liberation of unconscious poetic forces unleash new subjectivities producing new objectifications, forms of art and science not yet imagined. That homes should be small theaters and buildings should be designed like sculptures. That metaphor must rule reality and scatter poetry into every nook and cranny of life like an emancipating elixir. Internacional Errorista/ Errorist International was one of the actions planned in order to protest the visit of George W. Bush and the Summit of the Americas in Mar del Plata. Several different actions, protests, cultural interventions, recitals, etc. were undertaken. Etcétera ... We began to think about what our action would be in this context. Our discussion lead us to focus on the very Steve Fagin, the recipient of several NEA grants, is Professor of Visual Arts at the University of California, San Diego. He has produced a series of feature length videos including: The Amazing Voyage of Gustave Flaubert and Raymond Roussel , The Machine That Killed Bad People and TropiCola . They have featured prominently at museums and international festivals and have been screened on Bravo International in Latin America, Canal + in Europe and PBS in the United States. His work has been featured at a retrospective at the Museum of Modern Art, New York and is the subject of a book from Duke University Press, Talkin' With Your Mouth Full: Conversations with the Videos of Steve Fagin . Recently, the Museum of Modern Art and the Whitney Museum of American Art featured his work at shows on the art of the 20th Century. His most recent work is Oliver Kahn , (2003, 55 minutes). Named after the Bayern Munich goalkeeper who lead the German national team in the World Cup last year in Japan and Korea, this piece is loosely based on the 1958 one-act play by Samuel Beckett, Krapp's Last Tape , in which an old man plays back audio tapes he recorded while young and reconsiders his early passions and ambitions. Fagin's Oliver Kahn uses soccer matches, Hollywood movies and personal reverie to reflect on how one recounts a life. Fagin, an ardent soccer aficionado, says, “this piece is about Leeds United, Johan Cruyff, and Bayern Munich, but done through a lens more inspired by Samuel Beckett than Franz Beckenbauer.” It is published in a book/DVD deluxe edition by Onestar Press, Paris. Several of his previous pieces were selected for the Art of the Twentieth Century shows at both The Whitney Museum of American Art and the Museum of Modern Art, New York. Currently he is working as commissioning editor of Spare Parts, a division of the Haudenschild Foundation for whom he is creative consultant. He is co- producing with Eloisa Haudenschild under Spare Parts projects on China and the former Soviet Union, Strange Bedfellows , The West Bank , Decolonizing Architecture and directing still another on the integration of new technologies into a book form, The Last Book . Further information on these projects can be found at www.haudenschildgarage.com . For more information on Steve's work, please visit: http://stevefagin.net Frente 3 de Fevereiro [February 3 rd Front] is a research and artistic intervention group concerned with racism in Brazilian society. The group's goal is to create a new understanding and contextualize the fragmented information the general population receives via mass media. The group's artistic interventions create new forms of protest pertaining to racial issues. New strategies are required to think and to act in a constantly changing reality permeated by cultural transformations on a diverse scale. Frente 3 de Fevereiro connects with the artistic legacy of generations that thought out new ways to interact with urban space in light of the history of the Afro-Brazilian struggle and resistance. www.frente3defevereiro.com.br
Regina José Galindo , a monograph about Galindo's work, was recently published by Vanilla Edizioni and PrometeoGallery. Galindo's poetry appears in numerous poetry anthologies and journals, and she is the author of Personal e Intransmisible , a collection of poetry published in 1999 by Coloquia, Guatemala. She is represented by PrometeoGallery in Italy and Pari Nadimi Gallery in Canada. Felipe Teixeira Gonçalves is a student of International Relations at the University of Sao Paulo, focusing on International Political Economy. He has participated actively in the Student Movement and projects by University Extension collaborating with social movements. He researches and works on questions of racism in Brazilian society by way of urban interactions as a member of the collective Frente 3 de Fevereiro. Aurora Guerrero was born and raised in San Francisco Bay Area by Mexican immigrant parents. She received her B.A. in Psychology and Chicano Studies from UC Berkeley, then obtained an M.F.A. in film directing at Cal Arts. Aurora has directed award winning short films, including Pura Lengua and Viernes Girl . Based on the strength of her first feature length script, Mosquita Y Mari , Aurora was awarded the 2005 Sundance Ford Fellowship, the 2005 Paul Robeson Development Grant, and was selected to participate in the 2006 Tribeca Film Festival All Access Program. Her accomplishments as an emerging writer/director recently earned her a slot in Filmmaker Magazine's “25 New Faces To Watch in Independent Film.” Aurora assisted director Patricia Cardoso on her debut feature Real Women Have Curves , which won the Audience Award at Sundance in 2002. She is also a filmmaking member of New York based Chica Luna Productions, Inc. Colin Gunckel is a Ph.D candidate in Cinema and Media Studies at UCLA, and is currently completing his dissertation on the exhibition and reception of Mexican cinema in Los Angeles. His work on exploitation genres in Latin American cinema will be published in the forthcoming Duke University Press anthology Sleaze Artists and the journal Velvet Light Trap . Colin also works in Arts Projects at the UCLA Chicano Studies Research Center, as a developmental editor for both the A Ver: Revisioning Art History and The Chicano Archives series. In addition, he is also currently the programming director for the Latin American Cinemateca of Los Angeles. Nancy Garín Guzmán (born in Valparaiso, Chile, 1972) is a journalist and art historian who studied in the Andres Bello University and the Catholic University in Santiago, Chile. Since 2002 she has been a member of the collective Etcétera, and has participated in various international exhibits, talks and conferences. In 1999 she was part of the journalistic Eloisa Haudenschild is a collector and an active supporter of contemporary Chinese and Latin American art. She is a member of international boards and president of inSite, a network of contemporary art programs and commissioned projects within the border region of San Diego and Tijuana, from 1996-1999 and 2001 to the present. In 2003, she founded the haudenschildGarage , a cultural platform that stands somewhere between a salon and an alternative space, the goal of which is to be a home away from home for cultural experimentation, play and conversation. The garage hosts symposia, lectures, and film screenings, and routinely collaborates with international institutions, alternative spaces & emerging artists. Whether residency, dialogue or artist commission, the garage hopes to provide a permissive context for opinion and production. The haudenschildGarage hosts FUEL4TALKS, a series of small format interviews with take-out food selected by the guest of honor. Past FUEL4TALKS include Leslie Thornton, Martha Rosler, Orchard New York, Eduardo Abaroa, and Slavoj Zizek. Larger events, GARAGE TALKS, have included Michael Krichman, Derrick Cartwright, Lauri Firstenberg, Yvonne Venegas, Joshua Kun, Walid Raad, Asia Art Now with curator Mami Kataoka, Norman Bryson, Doryun Chong, & Yukie Kamiya, the panel Alternative Universes: Emerging Artists' Spaces , inSite_05 Conversations , and The Political Equator , a 3 day event in collaboration with the University of California, San Diego, inSite_05, and Casa Familiar, featuring Hou Hanru, Pi Li, Andrew Ross, Teddy Cruz, Steve Fagin, and Eyal Weisman, among others. This event presented the World Premiere of Cao Fei's video Whose Utopia . The haudenschildGarage 's artist-in-residence program has included Tom Zummer, Shi Yong, and Yang Zhenzhong. All three residencies produced new works. In addition to the residence program, the haudenschild Garage works directly with artists through GARAGE PROJECTS. In 2006 the haudenschild Garage collaborated with the New Chinatown Barbershop to bring eight graffiti artists together to create a work in the garage's Los Angeles space. In 2007, New York artist Lisa Tan traveled to Buenos Aires to complete her Recoleta grave rubbings and Los Angeles based artist, Karla Diaz, visited the 2007 Prague Biennale to create a mural with artist Mario Ybarra Jr. Her personal experiences of the city and her project were posted daily on the haudenschild Garage 's BLOG. Critic Matthew Schum traveled to the Istanbul Biennial and reviewed the exhibition through BLOG postings. This project will culminate in an interview with the biennial's organizing curator, Hou Hanru, at the garage. Please visit the website and blog for more information about the events: www.haudenschildgarage.com Marc Herbst works at the sloppy nexus of performance art, sculpture and active social theory. His current interest is working toward creating and incorporating counter-hegemonic culture. He is a co- Robert Herbst is an interdisiciplinary artist whose visual art, writing, curation and publishing endeavors explore counter-constitutive realities. An MFA graduate from Cal Arts, Robby has taught classes and workshops at Hampshire College, New College (SF) El Camino College and USC. He is on the Advisory Council of Sundown Schoolhouse, an experimental pre/post graduate program based in LA. He is a founding editor of the Journal of Aesthetics and Protest as well as the Los Angeles Independent Media Center. Recently he: co-edited the book Failure! Experiments in Aesthetic and Social Practices (Journal of Aesthetics and Protest Press); in collaboration with Calarts Community Partners wrote the prospectus for an international conference to bring together artists whose creative practices involve collaborating with at risk youth; curated the exhibition Street Signs and Solar Ovens at the Los Angeles Craft and Folk Art Museum. Ariana Hernandez-Reguant is an assistant professor of media studies at UCSD communication department. A native of Barcelona (Spain) and former resident of Washington, DC, and Havana (Cuba), she is a cultural anthropologist concerned with the dynamics between restrictive policies and artistic subjectivity. She has written and published about Afrocentric consciousness and racial segregation in Washington DC, and, more widely, on arts and culture in Havana-- including the formation of alternative public spheres around racialized and sexualized music and performance, the emergence of artistic elites linked to differentiated approaches to labor and property, and the work of music producers as s kind of performative curatorship. Her current research on the "productive imagination" focuses on inventions in socialist Cuba, and zeroes in on the sentimental narratives surrounding the creation of award-winning local-use artifacts, regardless of their patenting potential or practical applicability. This project will hopefully result in a collaborative ethnographic intervention in Havana. She is involved in activist work against music censorship (freemuse.org), and serves on the board of the Border Council on Arts and Culture (COFAC101.org), a non-profit organization building artistic networks across the Southern California and Baja regions. Jessica Hoffmann is a writer/editor and activist. She is a member of the editorial and publishing collective behind make/shift, and her writing has appeared in numerous publications, including ColorLines, The NewStandard and the anthologies We Don't Need Another Wave: Dispatches from the Next Generation of Feminists and Nobody Passes: Rejecting the Rules of Gender and Conformity. She is also active with Resource Generation, an organization that supports and challenges young radicals and progressives who have class privilege to align their resources with their social-change values. International Errorist 1. Errorism : Concept and action are based on the idea that "error" is reality's principle of order. Errorism & Politics Errorism & Sexuality Errorism & Language errorism & (t)errorism WE ARE ALL ERRORISTS! internacionalerrorist@yahoo.com.ar Jenny Jaramillo (b. 1966) received a degree in fine arts from the Universidad Central in Quito, Ecuador. From 1998-2000 she was the artist in residence at the Rijksakademie van Beeldende Kunsten [Royal Academy of Visual Arts] in Amsterdam, with a fellowship she received in 1998 from the Dutch Ministry of Foreign Relations (BUZA/DCO/IC). She has also participated as an artist in residence in the international program for RAIN PROJECT, “Open Circle,” in Mumbai, India (2000); in the Irish Modern Art Museum in Dublin (1997); and in “Fine Arts Work Center” in Provincetown (1994). She represented Ecuador in the 2004 Cuenca International Biennial; in the sixth Havana Biennial (1997); and in the Estandartes International Biennial, “ES 2000,” in Tijuana. She has also been invited to participate in the following exhibitions and collective projects: Políticas de la diferencia: Arte Iberoamericano de fin de siglo, exposición itinerante por algunos países de América Latina [Politics of Difference: Ibero-American Art at the End of the Century]; Salón de Arte Contemporáneo en Cochabamba-Bolivia [Contemporary Art Salon in Cochabamba, Bolivia]; Primer encuentro internacional de Performance en Santiago de Chile [First international meeting on performance art in Santiago, Chile]; and “Space for Artist”, a public art project in Amsterdam. Her artistic production complements her work teaching art in several universities in Ecuador.
Based in Los Angeles California, the Journal of Aesthetics and Protest forwards political and cultural change by focusing on how art, media, activism, and rhetoric effectively function Just space(s), organized by Ava Bromberg and Nicholas Brown . The projects in this exhibition reflect the renewed recognition that space matters to cutting edge activist practices and to artists whose work pursues similar goals of social justice. A spatial frame By transforming LACE, in part, into a learning environment, Just Space(s) seeks to explore alternatives to the reactionary politics that tend to dominate our conceptions of justice-- and limit our abilities to actually implement it. The specificity that spatial analyses provide may help us evolve from a society with highly developed modes of reacting to injustices and aspirations for a purely abstract concept of justice, to one that arrives at the particular expression of what a just version of our society will be like, and the means to secure it for all. In other words, it aims not merely to show what is unjust about our world, but to inspire visitors to consider what the active production of just space(s) might look like. Most importantly, it asks a crucial question: How do we move from injustice to justice exactly where we stand – in our neighborhoods and our institutions, at the level of the body, the home, the street corner, the city, the region, the network, the supranational trade agreement and every space within, between, and beyond? www.justspaces.org Maria Karlsson was born in Sweden just a couple of months before the march from Selma to Montgomery. She grew up in the social democratic Sweden of the 1970s. She works with subversive relation-based interactions and actions. In her work with the emergency group SOS (Society of Orgonotic Streaming), she offered manicure and pedicure therapies to Los Angeles Police Department officers. On another occasion she attempted to sell a designer lamp outside the entrance to an art institution while communicating solely with written signage. Maria received a degree in fine arts from the Royal Danish Art Academy in 1998 and an MFA from CalArts (1999). Bill Kelley, Jr. is a Los Angeles based educator and independent curator and critic. He received his Master¹s degree in 19th Century Colonial Art Studies from the University of New Mexico, Albuquerque in 2001. He currently teaches19th century and contemporary Latin American art history at California State University, Los Angeles and UC Riverside. He is also the former Director and current Editorial Advisor of LatinArt.com, an online journal focusing on Latin American and Latino art. Kelley is currently pursuing a Ph.D. in Contemporary Theory and Criticism from the University of California, San Diego. His current research focuses on contemporary collaborative art practices. Most recently he was juror for the IX Cuenca Biennial, 2007 where he also presented the collaborative project Public Space and its alternatives in communication media . His most recent curatorial project includes a solo exhibition of Venezuelan artist Alexander Apóstol's recent photographs and videos at Los Angeles Contemporary Exhibitions (LACE), September through December, 2006. Grant Kester is an Associate Professor of Art History in the Visual Arts Department at UCSD. His research focuses on socially-engaged art practice and the visual culture of American reform movements. His publications include Art, Activism and Oppositionality: Essays from Afterimage (Duke University Press, 1998), Conversation Pieces: Community and Communication in Modern Art (University of California Press, 2004) and Groundworks: Environmental Collaboration in Contemporary Art (Carnegie Mellon University, 2005). His current book project is The One and the Many: Agency and Identity in Contemporary Collaborative Art. Hubert Klumpner was born in Salzburg, Austria in 1965. He graduated in 1993 from the University of Applied Arts in Vienna in the Master Class of Prof. Hans Hollein. He recieved a Masters of Science in Architecture and Urban Design Degree from Columbia University (New York). Since 1997, he has been a member of the German Chamber of Architects. He has lectured at institutions in Europe, North and South America and taught at the Academy of Applied Arts in Vienna, the International Summer Academy in Salzburg, and has been a guest professor at the Universidad Central de Venezuela (UCV). Since 2001 he has been the urbanism consultant of the International Program for Social and Cultural Development in Latin America (OEA and UNESCO). In 1998 he joined Alfredo Brillembourg as principal of the Urban Think Tank in Caracas. Suzanne Lacy is an artist and writer whose work includes large-scale public performances and installations, photographs and text on issues of social justice and equity. She is Chair of the new Master's in Fine Arts: Public Practice at Otis College of Art and Design in Los Angeles. Lacy is a proponent of audience engagement and artists' roles in shaping the public agenda. She lectures widely, has published over 60 articles, exhibited internationally, and been reviewed in the L.A. Times, th e New York Times, Art in America , and numerous books. Her fellowships include the Guggenheim Foundation, The Surdna Foundation, and the National Endowment for the Arts. Her book, Mapping the Terrain: New Genre Public Art (1995), was responsible for coining the term and articulating the practice. Most recently Lacy completed a 5-year community development art project in a small town in rural Appalachia, a performance with teens in Taipei, and is working on three new projects for Los Angeles in Spring 2007. Recent awards include the Henry Moore Fellowship in Great Britain. She is working on a collection of essays for Duke University Press and a book describing her ten-year projects with youth and civic sectors in Oakland, California with the On the Edge research programme at Gray's College of Art in Aberdeen, Scotland. Daniel Lima holds a Bachelors degree in Visual Arts from the University of São Paulo's School of Communications and Arts. Since 1994 he has developed multimedia research that explores urban space and design. In his trajectory of interventions and interferences in the São Paulo metropolis he utilizes visual-sculptural elements to engender unexpected situations that potentially disrupt urban everyday life. As part of collective projects, he currently develops research related to media, racial issues and educational processes with two different groups: Frente 3 de Fevereiro and Política do Impossível [Politics of the Impossible]. La Lleca is an artist-social intervention (founded in 2004) that takes place within the prison system of Mexico City. The project grew of out a series of critiques of the political and social situation in Mexico City and the new-found role of the idea of "insecurity." La Lleca is not simply an attempt to develop a critique of the prison system in Mexico, but rather it's an attempt to develop methods of intervening into it and for generating collaborative knowledges about it. It is an attempt to change the institutional space a specific prison in Mexico City, its functioning, and the power relations that structure it both on a micro- and macro-level, while, at the same time, providing a physical and psyche space for the development of various workshops, relationships, and projects in collaboration with members of La Lleca. www.lalleca.net LOUDmouth is made by and for feminists of all genders. We refuse to leave our ethnicities, sexual identities or any other part of ourselves at the door. The mission of LOUDmouth is to provide an alternative to mainstream media by exploring and expanding on feminist thought, art and action via journalism, personal stories, poetry, critical analysis, fiction, art and more. We publish the work of emerging and experienced writers and artists and consider ourselves a part of global movements feminism(s), independent media and social justice. Lui Velazquez is a space for contemporary art based in Tijuana city, Mexico. Since it opened its doors in the year 2005, it has been characterized by generating dialogues among different disciplines, practices, artists, producers, curators, and publics about contemporary issues from a critical perspective. This space is one of the independent platforms in the transborder region of Tijuana (Mexico) and San Diego (U.S.A.). Lui Velazquez was founded in articulating the concepts of connection and exchange, to develop projects, exhibitions, forums, workshops and talks with local and international artists. www.luivelazquez.org Make/shift magazine creates and documents contemporary feminist culture and action by publishing journalism, critical analysis, and visual and text art. Committed to antiracist, transnational, and queer perspectives, make/shift embraces the multiple and shifting identities of feminist communities. We know there's exciting work being done in various spaces and forms by people seriously and playfully resisting and creating alternatives to systematic oppression. Make/shift exists to represent, participate in, critique, provoke, and inspire more of that good work. The Los Angeles-based editing and publishing collective behind make/shift is Stephanie Abraham, Jessica Hoffmann, and Daria Yudacufski. Mónica Mayer (México, 1954) is a visual artist whose artistic practice aims to understand and affect systems--from the patriarchal to the artistic. Her work deals with memory and interaction. In 1983 she Elize Mazadiego recently received her Master’s degree in Latin American Studies at the University of California, Los Angeles (UCLA). She is currently a PhD candidate in Art History, Theory and Criticism at the University of California, San Diego (UCSD) where she is focusing on the construction of postmodern identities in the context of contemporary Latin American performance and photography. Elize continues to research and develop the archives of two Chicano photographers through the Chicano Studies Research Center at UCLA. In addition, she is writing the first work on Chicano artist Oscar Castillo for the Chicano Archives Series. Carla Melo has recently joined the faculty of Arizona State University's Doctoral program on Theater and Performance of the Americas. She received her PhD from the Critical Studies Program at UCLA's Theater department. She is also a performance artist with an interdisciplinary background that merges theater, visual arts, and dance. Her main scholarly interests are performance as urban intervention, the phenomenology and semiotics of the performing body and the performance space, as well as how these interests dialogue with social movements and Brazilian cultural production. Her dissertation explores the intersections of activism and performative praxis in the context of the organized struggle for housing and urban reform. Carla is the co-founder of Corpus Delicti Butoh Performance Lab, a group of 'movers' whose performative protest has been highly visible -- on the streets, shopping malls, cemeteries, theaters and galleries of Los Angeles (since the U.S. invasion and occupation of Iraq). See www.corpusbutoh.org. Dalila Paola Mendez is a first generation born in Los Angeles and raised by a Guatemalan and Salvadoran mother, grandmother and aunt. These women and her long line of ancestors have guided her in her life's journey. She graduated from USC with a B.A. in International Relations, and then went on to teach elementary school. After talks with her students about doing what they love when they grow up, she left teaching to pursue her artwork full-time. In 2001, she worked as the personal assistant and set decorator to acclaimed production designer Brigitte Broch on Real Women Have Curves . Her work with Oscar winner Brigitte Broch continued onto Mexico City where they collaborated on La Hija del Canibal (Lucia, Lucia) . Dalila feels that her mentorship with Brigitte has been a blessing. Dalila is the production designer on Pura Lengua and Viernes Girl , and is set to collaborate on Claudia Mercado's Lagrimas de Café this winter. Most recently she was awarded a scholarship through CSU Summer Arts to paint and exhibit in Florence, Italy. While Dalila is not doing her film work she exhibits and sells her photography, paintings and farms at Proyecto Jardin in Boyle Heights. Claudia A. Mercado is an independent filmmaker as well as a community cultural art activist. Born and raised in North East Los Angeles, California, her most recent endeavor involved co-programming AQUI ESTAMOS Y NO NOS VAMOS: Protecting Self-Sustainable Communities, for the 2006 Los Angeles Latino International Film Festival. There, she premiered her latest project a short documentary on the South Central Farmers called Aqui Estamos Y No Nos Vamos . In 2005, she was awarded the inaugural Women In Film/General Motors Latina New Filmmaker Grant. She was also Assistant to the Director on Margaret Cho's recent feature film, Bam Bam and Celeste . Additionally, Claudia is co-founder of Womyn Image Makers, where her contributions have included script consultant/camera loader on Pura Lengua and script supervisor on Viernes Girl . Currently, Claudia is in pre-production on an experimental short, Lagrimas de Café (Tears of Coffee) . Claudia graduated from U.C. Berkeley with a B.A. in Film Studies and studied at the California Institute of the Arts in Valencia within the MFA program in Film and Video. Markus Miessen is a London-based architect, curator, and writer, editor of The Violence of Participation (Sternberg Press, 2007), co-editor of With/Without – Spatial Products, Practices and Politics in the Middle East (Bidoun, 2007, with The Mothers of East Los Angeles (MELA) was formed in 1984 when a group of women living in the Boyle Heights neighborhood organized in an effort to stop the construction of a prison in their neighborhood. After numerous protests, hearings, and public meetings, they defeated the state's prison initiative and contributed to the adoption of a law that prohibited the construction of state prisons in Los Angeles County. The Mothers continued to work collectively as MELA, an environmental justice public interest organization that has become a model of multiracial community organizing. The organization's stated mission is “to protect the environment and public health, defend the interests of the East Los Angeles community, and achieve justice for communities of color and working-class communities.” MELA has helped to protect Los Angeles communities from serious threats to environmental and public health, such as an effort to build a garbage incinerator in East L.A. that would have burned 1,600 tons of trash daily and plans to build an oil pipeline that would have run underneath the East Los Angeles Junior High School. The Mothers are currently organizing a coalition to oppose the licensing of a power plant in the city of Vernon. Taisha Paggett is the newest member of Ultra-red, joining in 2007 for the group's follow-up to the SILENT|LISTEN performance project. An accomplished dancer and choreographer, Paggett has performed extensively in New York and Los Angeles, dancing in the works of David Roussève, Victoria Marks, Cheng-Chieh Yu, and Yvonne Rainer. She has also collaborated with visual artist Ashley Hunt. In 2007, Paggett co-organized the Community HIV/AIDS Mobilization Project's May 2007 forum on women and AIDS activism, "'Women Don't Get AIDS, We Just Die From It' Women and the Fight Against AIDS." John Palmesino is an architect and urbanist, born in Switzerland. He established, together with Ann-Sofi Rönnskog, Territorial Agency. Territorial Agency is an independent organisation that innovatively promotes and works for sustainable territorial transformations. Territorial Agency works to strengthen the capacity of local and international communities in comprehensive spatial transformation management. Its projects channel available spatial resources towards the development of their full potential. Territorial Agency works for the establishment of instruments and methods for ensuring higher architectural and urban quality in the contemporary territories. Territorial Agency's work builds on wide stakeholder networks. It combines analysis, projects, advocacy and action. Territorial Agency is currently designing the integrated vision for the future of the Markermeer, in the Netherlands, as commissioned by the Dutch Ministry for Water and Public Works, Rijkswaterstaat. John Palmesino is the initiator of the multidisciplinary research project ‘Neutrality,' which investigates the relations between the processes of construction of the inhabited space and the forms of polity in the 21st Century. The project analyses the modalities of operation of the clusters of introverted and almost self-referential institutional, economical, political, military, and cultural innovation spaces and enclosed knowledge circuits that appear to be the critical hallmarks of today's city and cultural climate. John Palmesino is in charge of the Master course at the Research Architecture Centre, Goldsmiths, University of London, where he is also conducting research for his PhD on neutrality as a modality of transformation and control of the contemporary inhabited space. Head of research at ETH Zurich, Studio Basel / Contemporary City Institute , from 2003 to 2007. ETH Studio Basel is a research platform for the investigation of the transformation patterns of the city of the 21st Centrury that was established by the Pritzker Prize-winning architects Jacques Herzog and Pierre de Meuron. Palmesino has led the Institute's research on a series of international cities, also working in conjunction with the Harvard School of Design. He managed the publication of the research project ‘Switzerland–An Urban Portrait', (Birkhäuser, 2005). He also co-curated the Institute's participation at the 10th Architecture Biennale in Venice. He co-founded multiplicity , an international research network that explores contemporary territorial transformations. The Milan-based organisation deals with contemporary urbanism, representations of inhabited landscape transformation, visual arts, and general culture. multiplicity is a multidisciplinary network of architects, urbanists, social scientists, photographers, filmmakers, and visual artists. Its main projects include USE Uncertain states of Europe (Mutations, Milan Triennial), SOLID SEA (documenta11), Border Devices (Venice Biennial), The Road Map (KW Berlin). Palmesino is author of several territorial research studies. His publications pay particular attention to the transformations in the general European context, especially the Swiss urban structure. His research focuses on the representation of self-organisation processes in the construction of the contemporary urban condition. He is on the International Advisory Board for Sustainable Development of Mexico City. He has lectured widely in Europe, Japan, Australia, and the US. He teaches at Goldsmiths, University of London, and he has previously taught at ETH Zurich, EPFL Lausanne, Royal Academy of Arts Copenhagen, Politecnico di Milano, IUAV Venezia, University of Genova, and at the Harvard School of Design with Jacques Herzog and Pierre de Meuron. He is co-author of ‘USE- Uncertain states of Europe' (Milan 2003); ‘MUTATIONS', (Barcelona 2000); ‘Lessico Postfordista- Scenari della mutazione', (Milan 2001); and he has published several essays and articles in major architecture and urban magazines. Kyong Park is an associate professor of Public Culture at Department of Visual Arts in University of California San Diego, USA, and was the founding director of Centrala Foundation for Future Cities in Rotterdam [2005], a co-curator of Europe Lost and Found , a project on future geography of Europe, and a founding member of Lost Highway , a mass expedition through nine cities in the Western Balkans. He was the editor of Urban Ecology: Detroit and Beyond [2005], a co-curator for Shrinking Cities in Berlin [2002-2004], the founding director of International Center for Urban Ecology in Detroit [1999-2001], a curator of Kwangju Biennale in South Korea [1997], a Loeb Fellow at Harvard University [1996], and the founder/director of StoreFront for Art and Architecture in New York [1982-98]. The Pocho Research Society is a collective of artists, activists and rasquache historians Dont Rhine co-founded Ultra-red in 1994. In addition to serving as the collective's Art Director, Rhine also curates Ultra-red's online fair-use record label, Public Record (www.publicrec.org). Rhine has participated in a variety of social movements including ACT UP Los Angeles, Clean Needles Now, Pride at Work/American Federation of Labor and Congress of Industrial Organizations, and recently, CHAMP (Community HIV/AIDS Mobilization Project). An artist, composer and writer, Rhine currently teaches at the Vermont College of Fine Art in Montpelier. Rhine's work seeks to develop a theory and practice of sound-art informed by conceptual art and popular education. Pilar Riaño-Alcalá 's research, teaching, community/pedagogical work, and writing bordercross Latin and North America. She is an anthropologist and communicator whose research focuses on the cultural dimensions of violence and the politics of memory, witnessing and reconciliation in "unstable" societies. Her methodologies, grounded in feminist practice and critical ethnographic inquiry, emphasize social praxis and the use of visual arts and interactive methods as means to recognize the participants as interlocutors. She is the author of Dwellers of Memory: Youth and Violence in Medellin, Colombia (1985-2000). New York: Transaction Publishers, 2006 and the editor of Arte, memoria y violencia. Reflexiones sobre la ciudad . (Art, Memory and Violence. Reflections on the city). Medellin: Corporacion Region, 2003. Native Angelino James Rojas is an planning advocate that understands the landuse complexities of Latino Urbanism in Los Angeles. Mr. Rojas' interest in urban issues stems in part from his experiences living in Europe, first in Germany and Italy where he spent four years with the U.S. Army. Later, he served in the Peace Corps for three years in Budapest, Hungary organizing eastern European non-government organizations' ( NGO s) work on sustainable transportation. James Rojas is one of the few nationally recognized urban planners to examine U.S. Latino cultural influences on urban design. He holds a Master of City Planning and a Master of Science of Architecture Studies from the Massachusetts Institute of Technology. His influential thesis on the Latino built environment has been widely cited. For the past 14 years Mr. Rojas has lectured extensively at universities, planning conferences, secondary schools, and grassroots community meetings on the impact of Latino populations on land use and transportation. A resident of the historic downtown Los Angeles, Mr. Rojas recently organized the Downtown Residents Association and founded the innovative Gallery 727, a leading downtown art gallery dedicated to highlighting and documenting LA's urban landscape to new audiences. Growing out of his research and writing on Latino land use, Mr. Rojas founded the Latino Urban Forum ( LUF ) in Los Angeles, dedicated to understanding and improving the built environment of Latino communities. LUF has recruited successful professionals to lend their knowledge and influence to innovate and address the issues of the underserved, and often underprivileged, Latino communities of Los Angeles. To date, over 300 volunteer architects, urban planners, public administrators, and lawyers have led the LUF to develop strategies and to provide technical expertise on numerous critical infrastructure and land-use issues in the Latino community. LUF publishes a weekly calendar of cultural and planning activities for over 700 national academic and media organizations, including the New York Times , the Los Angeles Times , La Opinion , M.I.T., Harvard University, and the University of California, Los Angeles, in addition to scores of local community organizers. LUF's projects also include the Evergreen Cemetery jogging path, an urban recreational space that transformed 1.5 miles of city sidewalk in the Boyle Heights community of Los Angeles into a rubberized jogging path that is now used by over 1,000 people daily, and the Northeast Open Space Coalition ( NELAO/S ), which helps residents in northeast Los Angeles preserve the natural beauty of their hillside communities. LUF was part of the Chinatown Alliance that fought to create the 32-acre Los Angeles Historic state park at a former industrial site alongside the Los Angeles River. For the past four years, LUF has organized a tour of nacimientos (nativities) erected in the front yards of eastside homes. Alessandra Santos is a Brazilian artist, teacher, translator, and scholar. She received a B.A. in Comparative Literature from UC Berkeley, and a Ph.D. in Hispanic Languages and Literatures from UCLA. Her research examines appropriations and the artistic implications of production and consumption. Her main interests are critical theory and cultural criticism, social justice, utopia, resistance, and interactions between literature and the other arts. She is presently writing about censorship and art, and the dialogue between Brazil and other minority countries. She was a Faculty Fellow at UCLA in 2006-2007, where she taught several courses on Brazilian literature and culture; and currently is a Postdoctoral Fellow at the University of British Columbia, Vancouver. She is also a member of Corpus Delicti Butoh Performance Lab, an activist Los Angeles-based performance group. Emily Scott is an interdisciplinary artist and educator whose work, within and outside of academia, explores intersections between art, geography, and the environment. She is currently a doctoral candidate in Art History at UCLA, developing a dissertation on landscape-based art from the 1960s and early 1970s. From 2005-2007, she was a Teaching Fellow for the UCLA Institute of the Environment, for which she designed an undergraduate seminar on contemporary art that engages environment-related sciences and politics. In 2005, she co-organized Field Works: Art/Geography , a two-day symposium at the Hammer Museum that brought together practitioners from art, architecture, and geography to present original (field)works and address emerging relations between geographical science and artistic production. A strong believer in the value of collaboration, she has been a core member of the Los Angeles Urban Rangers since its founding in 2004. During the 2007-2008 academic year, she will be a Predoctoral Fellow at the Smithsonian American Art Museum in Washington DC as well as a Switzer Environmental Fellow. The Los Angeles Urban Rangers [laurbanrangers.org] is an interdisciplinary collective that offers site-specific programming in and about Los Angeles and its everyday built environments/urban ecologies. Appropriating the persona of the archetypal park ranger, the Los Angeles Urban Rangers is comprised of local artists, historians, geographers, designers, and others who aim, with both wit and a healthy dose of sincerity, to facilitate creative, critical, head-on, oblique, and crisscrossed investigations into this sprawling metropolis. Past projects include Malibu Public Beaches , a series of safaris that explored public beach access (2007); Interstate Road Trip Specialist Field Kit, Public Programs and Billboard , a set of participatory tools for cross-country road expeditions (2006) ; One Strip After Another: Camouflage and Display on Hollywood Boulevard , a guided hike along LA's most legendary drag (2005-2006); The Urban Picturesque, or Lure of Empty Lots , a campfire program delivered at a vacant lot in Echo Park (2005); and a series of public talks on freeway landscaping, urban foraging, alleyway geographies, toxic tourism, sustainable architecture, and other topics local for the gardenLAb experiment exhibition at Art Center College of Design (2004). Their Interstate piece was recently named one of the most innovative public artworks of 2006 in the Americans for the Arts' Public Art Network Year in Review. Robert Sember joined Ultra-red in 2005 for the collective's AIDS performance project SILENT|LISTEN. Sember brings his background in performance studies to numerous HIV/AIDS community interventions in New York, Brazil and South Africa. His international perspective on the pandemic informs his work in public policy as well as collaborations with artists and curators around the world. Sember has lectured widely on the intersections between art, activism and public health including in the Department of World Arts and Cultures at UCLA and the Mailman School of Public Health at Columbia University. Elena Shtromberg is a doctoral candidate in the Department of Art History at UCLA. Her scholarship in the field of contemporary Latin American art attends to questions of gender, ethnic, and political identity. She has taught courses on Latin American Art of the Twentieth Century at UCLA. Currently she is completing her dissertation entitled: “Conceptual Encounters: Art and Information in Brazil, 1968-1978,” investigating artist's use of performance, video art, and visual poetry during the military dictatorship. The dissertation posits that the politicized variant of conceptualism that emerged in Brazil was influenced by the need for artists to seek out alternative modes of communication. Her main areas of research include contemporary Brazilian art as well as art from the U.S.-Mexico border region. Lesley Stern is Professor and Chair of Visual Arts at the University of California, San Diego. She is writing a book called Gardening in a Strange Land which takes as central the tropes of foreign and domestic, native and exotic, migration and immigration as mapped across the terrain of gardening and politics. She is the author of The Scorsese Connection and The Smoking Book and co-editor of Falling for You: Essays on Cinema and Performance . She has published widely in areas of film, performance, photography, art and cultural studies and also writes fiction. Since 2001 Jennifer Flores Sternad has been doing research on militant art practice, focusing on the work of Latina/o artists in the U.S. and artists and media collectives in Latin America. She received a Bachelor's degree in Literature from Harvard University. Upon graduating, she spent a year in The collaborative group Tercerunquinto started in 1996 at the Visual Arts School of Universidad Autónoma de Nuevo León. In the group's initial stages the number of its members varied. They explored different media --from mural painting to video and performance—and, at that time, some of the Tercerunquinto members also worked in collaboration with the CAXA collective, a group that elaborated work on the streets and other public spaces. Since 1998, Tercerunquinto has had three permanent members: Julio Castro, Gabriel Cázares and Rolando Flores. Under this scheme Tercerunquinto created its first work entitled Pared (Wall), a wall of concrete and blocks built across an access door between two exhibition spaces. Starting from this project, Tercerunquinto has developed works that insert themselves both in private and public spaces, not only questioning these spaces' very limits, but also disarticulating all of the elements that support these systems and dismantling the logical order of their relations. In its projects, Tercerunquinto also seeks to discuss the boundaries that surround any system's constitution –being architectonic or urban-- and pursuing its personal, social, cultural or political implications and effects. In Bf15+Pared (1999), the wall that divided the gallery from the neighbor's property was extended beyond this property's limits invading both sidewalk and street. Espacio Público en la Roger Tator (2002) consisted on the negotiation of some fallow gallery space to be used by the audience. This was accomplished through the demolition of a wall that faced the street. Casas-Habitación (2000-) series was comprised by interventions of simple execution, in which the main motivation was to explore concepts of neighborhood, coexistence and property among others concepts that relate to the domestic space while thinking in the social dimension in which the piece was inscribed. In 16 mts2 para cultivo (2002-) Tercerunquinto proposed that in the garden of the Strub family's summer house --located in the farming region of Miermaigne, France-- a 4x4 mts space was to be utilized to grow any seed planted in that region, in every specific season (wheat, colza, barley, and so on.) This project integrated this small piece of land and its owners to the economic activities of that region. In December of 2002, for Mexico: Sensitive Negotiations –-a parallel exhibition to Art Basel Miami Beach in the Mexican Cultural Institute–- the wall that delimited the cultural institute's exhibition space from the consulate offices was demolished. Entitled, Integración del Consulado General de México en Miami a la Exposición México: Sensitive Negotiations [Integration of the General Consulate of Mexico in Miami to the exhibition Mexico Sensitive Negotiations ] the intrusion allowed a space, which regularly functions for consular paperwork and procedures, to become part of the exhibition housing some of the artworks and allowing a free passage between the two spaces. Torolab: Founded in 1995 by Raúl Cárdenas Osuna in Tijuana B.C., México As public artist and co-editor of the Journal of Aesthetics and Protest, a Los Angeles based magazine project, Christina Ulke attempts to create cultural alternatives to oppression and war. How do radicalized communities remember their histories and dreams? How can diverse collectivities speak together? How can we act in solidarity across class? Over the past seven years, Ulke has established several collectively-run cultural self-institutions in Los Angeles, including la-indymedia, c-level, and the Journal of Aesthetics and Protest . She is currently working on a monument to the Chicana environmental justice movement in East-LA to be installed in an area park. Her public art practice revolves around questions of the postindustrial and neo-liberal city, the deconstruction of normalized urban hegemonies and the articulation of a local ecology. She has taught and lectured at schools in California and Germany, including UCSD, UCLA, CalArts, the Bauhaus University Weimar and USC. Founded in 1994 by two AIDS activists, sound art collective Ultra-red occupy the border Ulises Unda (1970) is currently a professor in the Universidad Central in Ecuador where he teaches courses in painting and Latin American Art. He previously taught courses in Mixed Media at the Universidad San Francisco in Quito. Unda recently curated an exhibition on contemporary art in Ecuador for the Banco Central and he is currently preparing a report on the state of emerging art in Ecuador for the Comisión Ecuménica de Proyectos. His artistic work, which is traversed by representations of marginal cultures and subalternity, has received both national and international recognition. He was an artist in residence at the Rijksakademie in Amsterdam from 1999-2000, he received national prizes in Ecuador in 2002 and 2007, and he has participated in various international exhibitions since 1992. Unda is co-founder of RedLap (Red Latinoamericana de Arte y Performance [Latinamerican art and performance network]) and of Laboratorio Uno, a workshop on interdisciplinary practices at the Universidad Andina Simón Bolívar. He received a Bachelor's degree in Art from the Universidad Central del Ecuador (1995) and a Master's degree in Cultural Studies with an honorable mention in Communication from the Universidad Andina Simón Bolívar (2005).
Srdjan Jovanovic Weiss (b.1967, Serbia) is an architect and founder of NAO (Normal Architecture
Brian Whitener is a critic, translator and writer based in Oakland, CA and Mexico City. He's an editor at Displaced Editions (a contemporary poetics press) and La Gasolinera (a press focused on contemporary art and critical theory). Recent work includes a book with the La Lleca collective, an edited anthology of essays about the Los Grupos movement, and a forthcoming translation from Colectivo Situaciones, a Buenos Aires-based militant research group. Felipe Zuñiga (Mexico City, b. 1978) Visual artist, independent art promoter, and art facilitator. Zuñiga lives and works between Tijuana, Mexico, and San Diego, U.S.A. He is part of the artist-run space, Lui Velazquez, which organizes exhibitions, art residencies, and cultural events in the city of Tijuana. Currently he is a candidate to obtain an M.F.A. degree in Visual Arts at the University of |
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Regina José Galindo 
production of the exhibit titled Los Toros de Picasso in the National Fine Arts Museum in Santiago as well as in Ex It of the Japanese artist Yoko Ono in the Museum of Contemporary Art and the Museum of Salvador Allende in Santiago. Since 2004 she has been part of a research group whose focus in Argentine visual artists and the Communist party from 1968-1970. This project is directed by the art historian Ana Longoni and supported by the University of Buenos Aires and the Gino Germani Research Institute in the Social Sciences College of Social Sciences in the University of Buenos Aires. From 2003 to 2004 Nancy Garín Guzmán was responsible for the CEDINCI Documentation Center of Buenos Aires' Visual Archive. During 2004 she participated in a colloquium entitled Crisis as Laboratory in the conference Berlin - Buenos Aires , organized by the governments of the city of Buenos Aires and Berlin. She also participated in workshops in different cultural and social centers in Belgium and France as well as in a workshop and video screening in the Museum of Contemporary Art in Santiago, Chile. During the same year she worked as a press assistant of Agregado in the Cultural Embassy of Chile in Colombia during the Pablo Neruda centennial celebrations. She has coordinated various activities and conferences such as the one carried out by the Spanish theorist Marcelo Expósito along with Argentine artists' collectives, GAC Grupo de Arte Callejero [Street Art Group] and Etcétera...in various institutions, museums and galleries in Santiago and Valparaiso, Chile. Permanent collaborator for different sections related to culture and politics of the Newspaper Diario La Nación de Chile, and the magazines: Revista Patrimonio Cultural , Solidaritat y Junge Welt from Germany, María de las Naciones Unidas and e-misférica . She contributed to the catalog of ExArgentina - La Normalidad and the international exhibit by the same name and in the production of the retrospective exhibition Etcétera...Etcétera in the Cultural Center Recoleta. 
California, San Diego. His installations and videos have been shown in Mexico as well as internationally in venues such as the Zacheta National Gallery of Art in Warsaw, Poland; El Centro Cultural Español (CCE) in Miami, Florida; the Consulate General of Mexico in Los Angeles, California; and Casa del Lago, Mexico City, among others. He has coordinated several art education projects in Mexico City such as Aprendiendo a través del arte A.C. (2002-2003), the Mexican branch of an international art education program, tailored for different social groups, developed by the Solomon R. Guggenheim Museum of New York; the child education program for La Fundación- Colección Jumex (2003-2004), one of the more important corporate collections of contemporary art in Latin America; and Proyecto Meteoro, a project designed to provide art education and artistic training to homeless kids and teenagers in Mexico City, directed by Mexican artist Claudia Fernández, and sponsored by Belgium-Mexican artist Francis Alÿs as well as several institutions in Mexico.