Central to Aranda’s practice are her involvement with circulation mechanisms and the idea of a “poetics of circulation”; her interest on science-fiction, space travel and zones of friction; the possibility of a politicized subjectivity through the perception and use of time, and the notion of power over the imaginary. Julieta Aranda’s work spans installation, video, and print media, with a special interest in the creation and manipulation of artistic exchange and the subversion of traditional notions of commerce through art making. As an editor of e-flux journal, and co-director of the online platform e-flux together with Anton Vidokle, Julieta Aranda has developed the projects Time/Bank, Pawnshop, and e-flux video rental, all of which started in the e-flux storefront in New York, and have travelled to many venues worldwide. In addition to her many gallery exhibitions, Julieta Aranda's work has been exhibited internationally, in venues such as PAM – Public Art Munich (2018), Museum of Contemporary Art, Detroit (2017), CAP Bordeaux (2018), Der Tank, Basel (2016), Guggenheim Museum (2015, 2009), 56th Venice Biennale (2015), Kunsthalle Fridericianum, Kassel (2015), 8th Berlin Biennale (2014), Berardo Museum, Lisbon (2014), Witte de With (2013 and 2010), Museo d’Arte Contemporanea Villa Croce, Genova (2013), MACRO Roma (2012) Documenta 13 (2012), N.B.K. (2012), Gwangju Biennial (2012), 54th Venice Biennial (2011), Istanbul Biennial (2011), Portikus, Frankfurt (2011), New Museum NY (2010), Kunstverein Arnsberg (2010), MOCA Miami (2009), Museum of Contemporary Art, Chicago (2007), 2nd Moscow Biennial (2007) MUSAC, Spain (2010 and 2006), and VII Havanna Biennial; amongst many others.
Artist/Filmmaker Kevin Jerome Everson (b.1965) was born and raised in Mansfield Ohio He has a MFA from Ohio University and a BFA from the University of Akron. He is currently a Professor of Art at the University of Virginia in Charlottesville Virginia. He has made nine feature length films and over one-hundred and thirty short films including Tonsler Park (2017), The Island of Saint Matthews (2013), Erie (2010), Quality Control (2011), Ten Five in the Grass (2012), Ears, Nose and Throat (2016), Spicebush (2005), Stone (2013), Pictures From Dorothy (2004), Century (2013), Fe26 (2014), Sound That 20014), Sugarcoated Arsenic (2013) with Claudrena Harold, Emergency Needs (2007) and the eight-hour long film Park Lanes (2015). He also has two DVD box sets of his films called Broad Daylight and Other Times and I Really Hear Something: Quality Control and Other Films with a catalog distributed by Video Data Bank.
Everson’s films and artwork have been widely shown at venues including Sundance Film Festival, Berlin Film Festival, International Film Festival Rotterdam, Oberhausen Film Festival, Venice International Film Festival, Toronto International Film Festival, New York Film Festival, Ann Arbor Film Festival, The Museum of Modern Art in New York, the Whitney Museum of American Art in New York, The Tate Modern in London, Whitechapel Gallery in London, National Gallery in Washington DC and Centre Pompidou in Paris. The work has also been recognized through awards and fellowships such as Guggenheim Fellowship, an Alpert Award, a Creative Capital Fellowship, an NEA Fellowship, Ohio Arts Council Fellowships, and an American Academy in Rome Prize.
Everson is represented by Picture Palace Pictures New York and Andrew Kreps Gallery New York.
Fritz Haeg‘s work has included animal architecture, crocheted rugs, domestic gatherings, edible gardens, educational environments, preserved foods, public dances, sculptural knitwear, temporary encampments, urban parades, wild landscapes, and occasionally buildings for people. These projects have been produced by, and exhibited at, art institutions and museums around the word, including the Walker Art Center, the Museum of Modern Art, the Hammer Museum, the Liverpool Biennial, Tate Modern, SALT Beyoğlu, and the 2008 Whitney Biennial. Haeg moved from Los Angeles to California's Mendocino Coast in 2014 with the purchase of the 1970’s commune Salmon Creek Farm. It starts a new chapter as a commune-farm-homestead-sanctuary-school hybrid, a long-term art project formed by many hands.
Lyle Ashton Harris (b. 1965) has cultivated a diverse artistic practice ranging from photographic media, collage, installation and performance. His work explores intersections between the personal and the political, examining the impact of ethnicity, gender and desire on the contemporary social and cultural dynamic. Known for his self-portraits and use of pop culture icons (such as Billie Holiday and Michael Jackson), Harris teases the viewers’ perceptions and expectations, resignifying cultural cursors and recalibrating the familiar with the extraordinary. Harris has exhibited work widely, including at The Solomon R. Guggenheim Museum (New York) and The Whitney Museum of American Art (New York) among many others, as well as at international biennials (São Paulo, 2016; Busan, 2008; Venice, 2007; Seville, 2006; Gwangju, 2000). His work is represented in the permanent collections of major museums, most recently The Museum of Modern Art, New York. In 2014 Harris joined the Board of Trustees of the American Academy in Rome and was recipient of the David C. Driskell Prize by the High Museum of Art (Atlanta, Georgia, U.S.A.). In 2016 he was awarded the John Simon Guggenheim Memorial Foundation Fellowship and was appointed a trustee of the Tiffany Foundation. Having studied at Wesleyan University, the California Institute of the Arts, and the Whitney Museum of American Art Independent Study Program, Harris is currently an Associate Professor of Art and Art Education at New York University.
Fred Moten teaches and conducts research in black studies, performance studies and poetics. He is author of consent not to be a single being, In the Break: The Aesthetics of the Black Radical Tradition, Hughson’s Tavern, B. Jenkins, The Feel Trio, The Little Edges, The Service Porch and co-author, with Stefano Harney, of The Undercommons: Fugitive Planning and Black Study and A Poetics of the Undercommons, and, with Wu Tsang, of Who touched me? Moten works in the Department of Performance Studies at New York University.
Anicka Yi lives and works in New York City. Recent institutional solo exhibitions of her work include the Solomon R. Guggenheim Museum, New York; Fridericianum, Kassel; Kunsthalle Basel; List Visual Arts Center, Cambridge, Massachusetts; The Kitchen, New York; and The Cleveland Museum of Art. Her work has also been included in group exhibitions at the 2016 Okayama Art Summit, Japan; the National Museum for Women in the Arts, Washington, D.C.; the 11th Gwangju Biennale; the 13th Fellbach Triennial, Germany; Fundação de Serralves, Portugal; Taipei Biennial 2014; 12th Biennale de Lyon; Museum of Contemporary Art, North Miami; Museum fur Gegenwartskunst, Basel; and Sculpture Center, New York, among other galleries and institutions. In 2011, she received The Louis Comfort Tiffany Foundation Award. In October she was awarded the 2016 Hugo Boss Prize and will present a solo exhibition at Solomon R. Guggenheim Museum, New York in April 2017. Yi’s work is included in several public collections including the Solomon R. Guggenheim Museum, New York; Museum of Modern Art, New York; Aïshti Foundation, Jal el Dib, Lebanon; the Dikeou Collection, Denver; the Cleveland Museum of Art; Fondation d’entreprise Galeries Lafayette, Paris; the Julia Stoscheck Collection, Düsseldorf; the Los Angeles Country Museum of Art; the Rubell Family Collection; and the Whitney Museum of American Art. Yi has screened her film, The Flavor Genome, at the International Film Festival of Rotterdam in 2017. She is represented by 47 Canal, New York.