Gen Adachi / Khalid Albaih / Serafín Álvarez / Aoyama | Meguro Gallery / ARCUS / Masaru Araki, Okayama University / Taka Atsugi / Oliver Beer / Pauline Boudry, Renate Lorenz / Federica Buzzi / Yin-Ju Chen / Daiwa Anglo-Japanese Foundation / Guy Debord / Vincent W.J. van Gerven Oei / James T. Hong / IM Heung-soon / Thomas Hirshhorn / Mikhail Karikis /Kawakami Laboratory / Makoto Kinoshita / Yuki Kobayashi / Lawrence Lek / Matthieu Lelièvre / LUX / Tomoyoshi Murayama / Akiyoshi Nita / Yen Noh / Eiji Oguma, Keio University / Tatsuo Okada / Toki Okamoto / Yoshua Okón / Yoko Ono / Koichiro Osaka / The Otolith Group / Luke Caspar Pearson / Raymond Pettibon / Prokino / Sanya Labour Welfare Hall Action Committee / Sanya Production and Screening Committee / Mateusz Sapija / Mitsuo Sato / SCAI The Bathhouse / Tomoko Shimizu / Santiago Sierra / Kristin Surak / Swiss Embassy, Tokyo / Rirkrit Tiravanija / Anton Vidokle / Kyoichi Yamaoka / Masamu Yanase / Héctor Zamora and more.
Gen Adachi is an art historian and critic specializing in the history of art and cartoons of Modern Japan. Adachi completed his Ph.D. at Tokyo University of the Arts in 2008. From 2010 to 2013, he was a Post-doctoral fellow of Japan Society for Promotion of Science. He also served as a visiting fellow at the Research Centre for Transnational Art, Identity and Nation (TrAIN), University of the Arts London, supported by a grant from the Japanese Government Overseas Study Program for Artists. His book Zen'ei no Idenshi (Memes of the Japanese Avant-garde: From Anarchism to Postwar Art), was published by Brucke in 2012.
Khalid Albaih is a Sudanese artist and political cartoonist, currently living and working in Doha, Qatar, where he has been based since 1990. He publishes his cartoons on social media under "Khartoum!", a word play on cartoon and Khartoum, the capital of Sudan. Albaih has published his cartoons widely in international publications including The Atlantic, PRI, and NPR, in addition to his published written social and political commentary in publications such as The Guardian and Al Jazeera. His work has been exhibited in several group and solo exhibitions (organised by Sharjah Art Foundation, Harvard Center of Middle Eastern Studies, Rhode Island School of Design and Arab American National Museum, amongst others). He is also the founder of @DohaFashionFridays and Co-founder of Khartoum Contemporary Center.
Serafín Álvarez (1985, León, Spain)his work focuses on popular media depictions of subjective experiences mediated by technological and scientific developments. His most recent projects develop heterogeneous approaches to various aspects of science fiction, especially how concepts associated with otherness and the journey into the unknown are represented in contemporary audiovisual media such as cinema and video games. He has shown his work in CA2M (Móstoles), CAC (Vilnius), Junefirst Gallery (Berlin), MACBA (Barcelona), MUSAC (León), La Panera (Lleida) and Trafó (Budapest) amongst others.
Aoyama | Meguro Gallery forests are forests that form as corridors along rivers or wetlands and project into landscapes that are otherwise only sparsely treed such as savannas, grasslands, or deserts. Gallery forests are able to exist where the surrounding landscape does not support forests for a number of reasons. The riparian zones in which they grow offer greater protection from fire which would kill tree seedlings. In addition, the alluvial soils of the gallery habitat are often of higher fertility and better drainage than the soils of the surrounding landscape and have a more reliable water supply at depth. As a result, the boundary between gallery forest and the surrounding woodland or grassland is usually abrupt, with the ecotone being only a few metres wide. Gallery forests have shrunk in extent worldwide as a result of human activities, including domestic livestock's preventing tree seedling establishment and the construction of dams and weirs causing flooding or interfering with natural stream flow. In addition to these disturbances, gallery forests are also threatened by many of the same processes that threaten savannas.
Taka Atsugi (1907, Isesaki -1998, Yokosuka, Japan) was a documentary screenwriter and a social activist for women’s movement and peace front. After the disbandment of the Proletarian Film League of Japan (Prokino, 1930-34), she translated to Japanese Paul Rotha’s Documentary Film(1935), a comprehensive film history and theory guide, to be published in 1937. At Photo Chemical Laboratory (P.C.L.), her main role was screenwriting for documentary shorts, and produced amongst others Record of a Kindergarten Teacher (Dir. Mizuki Soya, 1942); and Factory Changeover (Dir. Kenjiro Morinaga, 1944). She spent her lifetime involved with left-wing causes, with her films manifesting a particular focus on issues of gender, geopolitical conflicts and social injustice. Her 1975 documentary We Keep Watching – Nuclear Base in Yokosuka (Dir. Hideo Arai, 1975) won The Gold Dove at DOK Leipzig (then International Leipzig Festival for Documentary and Animated Film), and Prize of The Soviet Peace Committee, Moscow International Film Festival (both in 1975). Atsugi graduated from The Department of English Literature, The Faculty of Humanities, Japan Women’s University, Tokyo.
Oliver Beer (b. 1985, Kent, UK) explores the properties of sound in relation to space and vision through shared emotions and perceptions. His diverse practice includes sculpture, installation and film projects, with a focus on the relationship between the human voice and architecture. His work has been exhibited at Palais de Tokyo, Paris; Centre Pompidou, Paris; MoMA PS1, New York; Lyon Biennale, Lyon; Modern Art Oxford, Oxford; WIELS, Brussels; Foundation Hermès, Paris, Tokyo, Seoul; and Foundation Louis Vuitton, Paris, amongst others. Beer holds a BA in Contemporary Music from the Academy of Contemporary Music, a BFA in Fine Art from the Ruskin School of Drawing and Fine Art, University of Oxford, and studied Theory of Cinema as a postgraduate at the Sorbonne Nouvelle, Paris III. He lives and works in Paris and Kent, United Kingdom.
Pauline Boudry / Renate Lorenz
(b. 1972, Laus- anne/Berlin, b. 1963, Berlin) live in Berlin and have worked together since 2007. They produce film installations that step in and out of suppressed or illegible moments, staging the actions of individuals and groups living — indeed thriving — in defiance of normality, law and economics. They produce performances for the camera, which upset normative historical narratives, as figures across time are staged, projected and layered. Their work Opaque (2014), with performance by Werner Hirsch and Ginger Brooks Takahashi premiered at Berlinale in February 2015 (Forum Expanded), and was shown at Kunsthalle Vienna, Kunsthalle Zürich and Nottingham Contemporary. Previous works include To Valerie Solanas and Marilyn Monroe, In Recognition of their Desperation (2013), based on the eponymous 1970 score by avant-garde feminist composer Pauline Oliveros. It had its premiere exhibition as part of their solo show at Badischer Kunstverein, Karlsruhe (2013); and Museum of Modern Art, New York (2014). Toxic (2012), with performances by Werner Hirsch and Ginger Brooks Takahashi, commissioned for "Intense Proximity", Paris La Triennial (2012;No Future, No Past, commissioned by Andrea Thal for the Swiss off-site project, "Chewing The Scenery", Venice Biennale (2011).
Recent retrospectives and solo exhibitions include: "Two video works", Van Abbe Museum, Eindhoven, 2015; "In Memoriam of Identity", Nottingham Contemporary, Nottingham, 2015; "Loving, Repeating", Kunsthalle Vienna, 2015; "Portrait of an Eye", Kunstalle Zürich, 2015; "Patriarchal Poetry", Badischer Kunstverein, 2013; "Aftershow", CAPC, Bordeaux, 2013; "Toxic Play in Two Acts", South London Gallery, 2012; "Contagieux! Rapports contre la normality?", Centre d' Art Contemporain, Geneve, 2011.
Their work has been written about by writers and critics including Gregg Bordowitz, Laura Guy, Antke Engel, Nana Adusei-Poku and Mathias Danbolt. They just published the catalogue I Want, with Sternberg Press, 2016, Aftershow with Sternberg Press, 2014 as well as Temporal Drag, by Hatje Cantz in 2011. www.boudry-lorenz.de
Federica Buzzi is a curator and writer, her current research integrates architecture with contemporary art to interrupt mono-disciplinary discourse and advance the understanding of these fields towards their relationship with general culture. Trained in architecture at the Polytechnic University of Milan, she continued her studies with the Curating Contemporary Art MA at the Royal College of Art where she graduated in 2016. Her areas of interest encompass urbanism, spatial theory and gender studies. In 2017, Buzzi was invited to stay in Tokyo as a resident curator at Asakusa.
Yin-Ju Chen Chen's primary medium is video, but her works also includes photos, installations and drawings. In the past few years she has focused on the function of power in human society, nationalism, racism, totalitarianism, collective thinking or collective (un)conscious. Her recent projects also engage in the relations between cosmos and human behavior. She has participated in many important international exhibitions and film festivals, such as Liverpool Biennial, Liverpool, 2016; 66th Berlin Film Festival, Berlin, 2016; 20th Biennial of Sydney, Sydney, 2016; Shanghai Biennial, Shanghai, 2014; "A Journal of the Plague Year", Para/Site Hong Kong, 2013; Taipei Biennial, Taipei, 2012; International Film Festival Rotterdam, Rotterdam, 2011. From 2010-2011, Chen was a resident artist at the Rijksakademie van beeldende kunsten in Amsterdam, the Netherlands.
Guy Debord (1931–1994) was a French revolutionary theorist, filmmaker, member of the Letterist International (1952-72), and founding member of the Situationist International (SI, 1957-72). He was also an author of La société du spectacle and produced six films in his lifetime.
Vincent W.J. van Gerven Oei is a philosopher, organizer and LGTBQ activist. He studied composition, linguistics, conceptual art, and philosophy. He is editor in chief of the Ideological Guide to the Venice Biennale and an advisor to the New World Summit.
James T. Hong is a filmmaker and artist based in Taiwan. He has produced works about Heidegger, Spinoza, Japanese biological warfare, the Opium Wars, and racism. His latest documentary about disputed territory in East Asia screened at the 2016 Berlin International Film Festival and the Guggenheim Museum in New York. He is currently researching the concept of morality in East Asia and recently presented a new experimental work about Nietzsche and metempsychosis, Nietzsche Reincarnated as a Chinese Woman, at the 2016 Taipei Biennial.
IM Heung-soon (1969, South Korea) is a visual artist and cinema director based in Seoul. Since his early works on his working-class family, he has explored the lives of people who are marginalized in social, political, capitalist, and national contexts. His political yet emotional works are embodied through different visual mediums such as photography, installations, cinema and public art and community art. His second feature film, Factory Complex (2014), was awarded the Silver Lion at the 56th Venice Biennale 2015. His works have been exhibited, among others, at the Pompidou Centre, Paris, 2016; Lincoln Center, New York, 2016; angels barcelona, 2015; Tate Modern, London, 2015; The National Art Center, Tokyo, 2015; Sharjah Biennale, 2015; and MoMA PS1, New York, 2015.
Thomas Hirschhorn (b.1957, Bern) studied at the Schule für Gestaltung in Zürich, and moved to Paris in 1984 where he began his collaboration with Grapus, a group of politically committed graphic artists. Today he is widely known for his energetic installations using common materials such as cardboard, foil, duct tape, and plastic wrap as capitalist revolt against consumer culture. He has been participated in Documenta11 (Kassel, 2002), the Carnegie International (Pittsburgh, 2008), and Manifesta 10 (St. Petersburg, 2014); and represented the Swiss Pavillion at the 54th Venice Biennale (2014). His work is in the collection of MoMA (New York), Musée National d'Art Moderne (Paris), and Tate Modern (London), amongst others. Hirschhorn received the Marcel Duchamp Prize (2000), Joseph Beuys Preis für Forschung (2004), and the Kurt Schwitters Prize (2011).
Mikhail Karikis (b. 1975, Thessaloniki, Greece) is a sound/visual artist and a performer who explores the properties of sound and its relations to human experience and collective memory. Through collaborative acts of imagining, recalling and in particular voicing and hearing, the artist withdraws social and geo-political contexts and gives shapes to people’s lives and professional identities using the voice as a ‘sculptural material.’ In 2014 Karikis’s work was shown in 2014 alone at "Listening," Hayward Gallery, London; "Mediacity Seoul," Seoul Museum of Art, Seoul; 19th Biennale of Sydney, Sydney; "Assembly," Tate Britain, London; and "Inside," Palais de Tokyo, Paris. Other notable exhibitions include; Aichi Triennale, Nagoya, 2013; Manifesta 9, Genk, 2013; and Danish Pavilion at 54th Venice Biennale, Venice, 2011. In 2015, he was shortlisted for the Daiwa Foundation Art Prize, London and is selected for the current edition of the British Art Show, the survey exhibition of leading contemporary art from the UK. Karikis studied architecture at the Bartlett School, and completed his MA and PhD at the Slade School of Art (UCL), London. He lives and works in London. http://www.mikhailkarikis.com/
Kawakami Laboratory at Kurashiki University of Science and the Arts, Okayama, organizes exhibition series "Education, Education and Education (EEE)." EEE encourages the students to assimilate artists’ practices and to engage the artists’ critical discourses as the impetuses to analyse how each established artist develop their ideas into artworks through exhibitions. Its past collaborators are Professor John Baldessari, Ryan Gander, Yoshua Okon and Whitney McVeigh. EEE has been supported by the Japanese Ministry of Culture since 2013.
Makoto Kinoshita is Professor of French Literature at University of Hyogo, Japan, and Japanese translator of Guy Debord's prolific writings. He published Japanese translations of Guy Debord's writings including: La société du spectacle, 1993 (originally 1967); Commentaires sur la société du spectacle, 2000 (originally 1988); Oeuvres cinématographiques completes, 1999 (originally 1985), amongst others. Kinoshita currently lives in Kobe, Hyogo.
Yuki Kobayashi (b.1990, Tokyo) is an artist whose action-based performance seek to reveal the authenticity of the human condition, working with the spontaneous to discover the invisible. Questioning both power and restrictive social codes towards a more uncertain world of freedom and equality. He recently made a tribute performance to Yoko Ono at White Cube, London, 2015. Kobayashi holds an MA from the Royal College of Art, London. He lives and works in Tokyo and London.
Lawrence Lek (1982, Frankfurt, Germany) is a London-based artist working with computer gaming technology: he creates speculative worlds and site-specific simulations using gaming software, video, installation and performance. Often based on real places, his digital environments reflect the impact of the virtual on our perception of reality. His work has been featured in recent exhibitions at Tramway, as part of Glasgow International 2016; Seoul Museum of Art, as part of Seoul Mediacity Biennial 2016, KW Institut, Berlin, Germany; Cubitt Gallery, London; Wysing Arts Centre, Cambridge and the Delfina Foundation, London. He is recipient of the Jerwood/FVU Awards 2016, the Tenderflix/Tenderpixel Artist Video Award and the 2015 Dazed Emerging Artist Award.
Matthieu Lelièvre (b. 1978, Paris, France) is an art historian, curator and head of collections for museums and galleries in Paris and Berlin. In Berlin, he co-founded and worked with several associations, private galleries and museums including Galerie KunstBüroBerlin, MARS, Hamish Morrison Galerie and Berlinische Gallery, amongst others. Since 2010, he has taken led the Drawing Cabinet of the Musée des Arts Décoratifs. Besides his independent curatorship focusing on emerging artists, of which his expertise led him to join several boards, he has held the position of associate curator at the Galerie Thaddaeus Ropac since 2012. Lelièvre graduated from the Ecole du Louvre and the French Institut National du Patrimoine. He lives and works in Paris, France.
TAkiyoshi Nita (b.1993, Hiroshima) is a contemporary dancer, and a recent returnee from performing arts school "p.a.r.t.s." in Brussels. He has been performing and choreographing in Impulz Tanz 2016 (Vienna), CND Camping 2015 (Paris), Indonesia Dance Festival 2016 (Jakarta), Its Festival 2016 (Amsterdam), Yokohama Dance Collection EX 2012 (Yokohama). He established a collective group "tenn work" with Funimme Someya for organizing their thoughts and choreographs but also connecting choreographers and supporting their project as an intellectual platform.
TYen Noh (b.1983, Daegu) takes language and translation as her themes in producing installation and speech-performance, both of which relevantly face each other in a space. Her major projects include "Aveugle Voix", das weisse haus, Vienna, Austria, 2016; and "Voice Over Three, Part I: The First Letter", Heiligenkreuzhof, Vienna, Austria, 2014. She holds an MFA from the University of Applied Arts Vienna. Noh lives and works in Vienna.
Eiji Oguma (1962, Tokyo) is a documentary filmmaker, a guitarist, a Japanese historical sociologist and Professor at Keio University. Oguma received his PhD from Tokyo University in 1998 after working for Iwanami Shuppan, a giant publishing company in Japan. Since 1997, he has been on the faculty at Keio University, where he was named a full professor in 2007. Oguma has written extensively on postwar social and political histories, and issues of Japanese nationalism. In 2015, Oguma directed Tell the Prime Minister, a documentary on anti-nuclear protests in the aftermath of the 2011 Tohoku earthquake and tsunami.
Yoshua Okón (b.1970, Mexico City) is known for his near-sociological experiments executed for the camera, which blur the distinctions of staged situations, documentation, and improvisation. His practice explores communal and national boundaries, and questions the issues of labor, as well as authority and its legitimacy in an geo-political event. He received a MFA from University of California, Los Angeles in 2002. Okón’s work has been shown internationally and his past exhibitions include "Mexico City: an exhibition about the exchange rates between bodies and values," curated by Klaus Biesenbach, PS1, MoMA, NY, and Kunstwerke, Berlin, 2002; "Adaptive Behavior," curated by Trevor Smith, Dan Cameron and Yukie Kamiya, New Museum, NY, 2004; "Laughing in a Foreign Language," curated by Simon Critchley and Mami Kataoka, Hayward Gallery, London, 2008; "Burning Down the House," the 10th Gwangju Biennale curated by Jessica Morgan, Gwangju, 2014. This year, Okón’s is participating "What People Do For Money," Manifesta 11 curated by Christian Jankowski, Zurich. His work is placed in the permanent collection of Tate Modern, LACMA, Colección Jumex and MUAC, among others.
Yoko Ono (b.1933, Tokyo) is a multimedia and performance artist, singer, songwriter, and peace activist. Ono’s artistic formats have varied from visual art, music, film, performance, and poetry. She is often associated with Fluxus and the early Conceptual art of the 1960s and as a precursor to the Feminist art. She has staged performances worldwide including Cut Piece (1965) and participatory projects such as Wish Tree (1981-). Her recent exhibitions include: "Yoko Ono: One Woman Show, 1960–1971" at Museum of Modern Art, New York, 2015; "YOKO ONO: FROM MY WINDOW" at Museum of Contemporary Art Tokyo, 2015; "Y E S YOKO ONO", organized by the Japan Society in New York which traveled to 6 cities in North America, 2000- 2002, and Asia, including 5 cities in Japan (Tokyo Metropolitan Art Museum, Hiroshima Contemporary Art Museum, Mito Art Center, etc.), 2003-2004. In 2009, Ono participated in the Venice Biennale and received the Golden Lion award for Lifetime Achievement. She has released music albums including: "Yoko Ono/Plastic OnoBand", 1970; and "Double Fantasy", 1980, with John Lennon which won the 1981 Album of the Year at the 24th Annual Grammy Awards. She studied Philosophy at Gakushuin University, Tokyo; and Music at Sarah Lawrence College, New York. Ono lives and works in New York.
Koichiro Osaka (b. 1979, Hokkaido, Japan) is a curator at SCAI The Bathhouse, and the director of Asakusa, a 40-square-meter venue for curatorial collaborations and artistic practices. Osaka is a lecturer at Okayama University and Kurashiki University of Science and the Arts, Okayama. After studying human science at Waseda University, he worked in Bankok for a private corporation and the educational sector. In 2004, he moved to London to develop his interest in economics and social policy which led him to consider contemporary art as a platform for social and cultural discussion. From 2011-13, he worked as an independent writer in London and Berlin. Osaka holds a BA in Curation, Criticism and Communications from Central Saint Martins College of Art and Design, University of the Arts, London. He lives and works in Tokyo, Japan.
Luke Caspar Pearson is an academic, designer and writer based in London where he is a Lecturer in Architecture at the Bartlett School of Architecture, UCL. He is a founder of the research practice You+Pea and the co-founder and editor of the international conference and publication Drawing Futures. Luke's work interrogates the boundaries of architecture, representation and technology and his current research explores the relationship between videogame spaces and architectural design practice which forms the basis of his PhD studies. His research has been featured in publications such as Architect's Sketchbooks, Architectural Research Quarterly, Offramp, Interstices, The RIBA Journal and CLOG:Sci-Fi.
Raymond Pettibon (b.1957, Tuscan) covers a wide spectrum of American high and low culture, from the deviations of marginal youth to art history, religion, politics, and sexuality. Since his early career in the 1970’s Southern California punk-rock culture with his brother’s band "Blag Flag," Pettibon has forged his own genre of artistic commentary through the distribution of album covers, comics, concert flyers, t-shirts and fanzines. His work has been exhibited at the Renaissance Society, University of Chicago, 1998; Whitney Museum of American Art, N.Y., 2005; Kunsthalle Wien, Vienna, 2006; and is in the collection of Centre Pompidou, MoMA New York, SFMOMA, Tate Gallery, amongst others. Pettibon received a degree in economics from University of California, Los Angeles in 1977.
Prokino (Proletarian Film League of Japan 1929-34) was a left-wing film organization associated with the Proletarian Arts movement in Japan. Primarily using small gauge films such as 16mm film and 9.5mm, it recorded demonstrations and workers' lives and showed them in organized events at factories and mines, using mobile projection devices. It also published its own journals "Proletarian Film". Its production varies from documentaries and newsreels to fiction and animated films. Prokino was eventually suppressed by the police under the Peace Preservation Law, but many former members became prominent figures in the Japanese documentary and fiction film industries. Members include: Akira Iwasaki, Taka Atsugi, Kan Inoue, Genju Sasaki, Tet- suo Kitagawa, Shinsaku Namiki, Keiji Matsuzaki, Sotoji Kimura, Setsuo Noto, Katsuzo Shino, Satsuo Yamamoto, Mitsuo Seo, Yoshitsugu Tanaka, Hikaru Yamanouchi (Sozo Okada), Kozo Ueno, Koto Kon, amongst others.
Mitsuo Sato (1947, Niigata - 1984, Tokyo) was a documentary filmmaker and an activist involved in Zenkyoto (All-Campus Joint Struggle League) and arrested in the 1969 Yasuda Hall incident at the University of Tokyo. Sato soon entered the movie circle under the influence by Saito Ryuho. In 1983, Sato met the members of Sanya Laborers' support group at the rally of the East Asia Anti-Japan Armed Front. From 1983 to 84, he fought with Sanya community and formed "Manifesto Film" in 1984 to start shooting a film. In December that year, Sato was assassinated at the age of 37 by Eiki Tsutsui, a right-wing member of the Nishido group.
Tomoko Shimizu (born in Aichi, Japan) is an Associate Professor, Graduate School of Humanities and Social Sciences, University of Tsukuba. She received MA in Sociology and Cultural Studies at Birmingham University, and PhD from the Graduate School of Literature and Language Studies, University of Tsukuba. Between 2010 to 2011, she was a Visiting Researcher (Fulbright Researcher) at Reischauer Institute of Japanese Studies at Harvard University. She has been teaching at University of Tsukuba since 2006. Shimizu is an author of Culture and Violence: The Unravelling Union Jack (Getsuyo-sha, 2013): and a co-author of Labour and Ideology (Horinouchi-Shuppan, 2015). The publications she translated include: Judith Butler's The Psychic Life of Power: Theories in Subjection (Getsuyo-sha, 2012); Giving an Account of Oneself: A Critique of Ethical Violence (Getsuyo-sha, 2008); Declaration (NHK Books, 2013) by Antonio Negri and Michael Hardt; Surveillance after September 11 (Akashi-Shoten, 2004) by David Lyon, amongst many others. Shimizu lives in Tokyo.
Santiago Sierra (b.1966, Madrid) addresses structures of power that operate in our everyday existence. His work intervenes into theoretical structures exposing situations of exploitation and marginalization, famously hiring underprivileged individuals who, in exchange for money, are willing to undertake pointless or unpleasant tasks. Recent solo exhibitions include Laboratory, Mexico City, 2015; Kunsthalle Tübingen, Germany, 2013; Reykjavik Art Museum, 2012; CAC Malaga 2006. His work is included in the collection of Tate Britain, Museum of Contemporary Art, Helsinki, Daimler Contemporary amongst others. Sierra studied at the Academy of San Carlos, the National Autonomous University of Mexico, Mexico City.
Kristin Surak is an Associate Professor of Politics at SOAS, University of London and a past Richard B. Fisher Member of the Institute for Advanced Study, Princeton. Her research focuses on international migration, nationalism, culture, and political sociology.
Rikrit Tiravanija (b.1961, Buenos Aires) is a contemporary artist whose works concern the individual’s experience of the communal, where he often invites viewers to socialise and inhabit the space. His solo exhibitions have been shown at public institutions including: Reiña Sofia, Madrid, 1994; Museum of Modern Art, New York, 1997; Los Angeles County Museum of Art, 1999; Serpentine Gallery, London, 2005; Kunsthalle Fridericianum, Kassel, 2009; Palais de Tokyo, Paris, 2012; and Brooklyn Museum, New York, 2017. He has participated in numerous bienniales including Venice Biennale, 1999, 2003 and 2015; Whitney Biennial, 1995 and 2005; Liverpool Biennial, 2002 and 2004; São Paulo Bienal, 2006; Gwangju Biennale, 2012; Sharjah Biennal, 2015. In Japan, he had individual exhibitions at Sumida River Project, Asahi Beer, Tokyo, 2002; Opera City Gallery, Tokyo, 2002; CCA Kitakyushu, 2001; amongst others. He is recognized with numerous awards such as Gordon Matta Clark Foundation Award, Lucelia Artist Award, and Hugo Boss Prize. He received his MFA from the School of the Art Institute of Chicago. He is currently on the faculty in the School of Visual Arts at Columbia University, New York. Tiravanija lives and works in New York, Berlin, and Chiang Mai.
Kyoichi Yamaoka (Hokkaido, 1940 - 1985, Tokyo) was a filmmaker and a labor union activist. Grown up in the Showa Coal Mine in Northern Japan, he moved to Sanya, Tokyo in 1968 and joined the Tokyo Day-labor Union (Toho Labor). Following the "6.9 Struggle Society", he played a leading role in forming Hiyatoi-Zenkyo (The National Day-labor Union Association) in 1982. He took over the production of a documentary film after the assassination of filmmaker Masato Sato and completed the film in December, 1985. After the film's premier in January, 1986, Yamaoka was shot to death by the Yakuza member of the Koncho family at the age of Year 45.
Héctor Zamora (b. 1974, Mexico City, Mexico) is an installation artist known for his playful intervention in public spaces instigating the visitors with readymade objects in expanding plurality. His work often articulates the physical characteristics of a specific urban environment or a cityscape to subvert mundane situations in direct views and access by local communities. Zamora has participated in numerous exhibitions worldwide including "Resisting the Present: Mexico 2000/2012," Musée d’Art Moderne de la Ville de Paris, France, 2012; "Art Unlimited," Messe Basel, Basel, 2012; "32° Panorama da arte Brasileria," São Paulo, 2011; Liverpool Biennial, Liverpool and Aichi Triennale, Nagoya, 2010; 53rd Venice Biennial, Italy, 2009; 27th São Paulo Biennial, Brazil; 9th Havana Biennial, Cuba, 2006; Busan Biennale, Seoul; and "Eco: Arte Mexicano Contemporáneo," Reina Sofía, Madrid, 2005. Zamora holds a BFA in graphic design from Universidad Autónoma Metropolitana-Xochimilco, Mexico City. He currently lives and works in São Paulo, Brazil. http://www.lsd.com.mx/