Summer 2020 Visiting Artists
FlucT: Monica Mirabile and Sigrid Lauren
FlucT is the collaborative work of Sigrid Lauren and Monica Mirabile. Creating original soundscapes linking a manipulated pop music psychosis with violently intimate dance, their compositions become projections aimed at exposing authorities of control in the United States. While transcending the strict boundaries and traditions of dance, music, installation, and performance art FlucT’s works critique against capitalist society and what they see as its byproducts: rape culture, elitism, and psychosis, among others..
Established in 2010, Lauren and Mirabile create duets, video installation, original scores, sculpture, and choreography. They have performed and exhibited at the Guggenheim, The Broad Museum, Miami Art Basel, SIGNAL, Queens Museum and Andrea Rosen Gallery. Their large-scale choreographed productions have included a multiplicity of performing artists, dancers, non-dancers and technicians (‘is it god or am i dog’, UpwardFacingControlTableTop’ and ‘Bigger Than You’) and they frequently collaborate with musicians including SOPHIE and PicturePlane, as well as founded Otion Front Studio, a performance and dance space in Brooklyn, New York.
Janine Antoni
Janine Antoni is known for her unusual processes. Her body is both her tool for making and the source from which her meaning arises. Antoni’s early work transformed materials like chocolate and soap and used everyday activities like bathing, eating, and sleeping as sculptural processes. She carefully articulates her relationship to the world, giving rise to emotional states that are felt in and through the senses. In each piece, no matter the medium or image, a conveyed physicality speaks directly to the viewer’s body.
Antoni’s work has been exhibited nationally and internationally, including documenta14, at the Fridericianum, Kassel, the Venice Biennale, the Whitney Biennial, the Johannesburg Biennial, the Istanbul Biennial, the Kwangju Biennial, the Prospect.1 Biennial in New Orleans and the SITE Santa Fe Biennial. Antoni’s work is included in the collections of the National Gallery of Art, Washington, DC; Museum of Modern Art, New York; The Whitney Museum of American Art, New York; The Israel Museum, Jerusalem; Guggenheim Museum, New York; The San Francisco Museum of Modern Art, San Francisco; Art Institute of Chicago, Chicago; Hirshhorn Museum and Sculpture Garden, Washington, DC; Magasin 3 Stockholm Konsthall, Stockholm; Sammlung Goetz, Munich; Astrup Fearnley Museet for Moderne Kunst, Oslo; and The Museum of Contemporary Art, Los Angeles.
Antoni is the recipient of several prestigious awards, including the Irish Museum of Modern Art/Glen Dimplex Artist Award in 1996, a John D. and Catherine T. MacArthur Fellowship in 1998, the Joan Mitchell Painting and Sculpture Award in 1998, the New Media Award, the Larry Aldrich Foundation Fellowship in 2011, The John Simon Guggenheim Memorial Foundation Fellowship in 2011, a 2012 Creative Capital Artist Grant, and Anonymous Was A Woman Grant in 2014. In 2016, Antoni collaborated with Anna Halprin and Stephen Petronio on Ally, an exhibition presented by The Fabric Workshop and Museum, Philadelphia, with major support from the Pew Center for Arts & Heritage.
Native Art Department International: Maria Hupfield and Jason Lujan
Native Art Department International is a collaborative long-term project created and administered by the wife-and-husband pair of artists Maria Hupfield and Jason Lujan. Together they curate group exhibitions in which they sometimes show and occasionally make work together as a way to counter the pigeonholing of contemporary art by Native Americans and people of First Nations descent. Native Art Department International's collaborative work focuses on communications platforms and art-world systems of support while at the same time functioning as emancipation from essentialism and identity based artwork. The work can take diverse forms, such as curated exhibitions, video screenings, panel talks, collective art making, and an online presence, however all activities contain an undercurrent of positive progress through cooperation and non-competition.
Based in Toronto,ON, Maria Hupfield is an interdisciplinary artist and a member of the Anishinaabek Nation from Wasauksing First Nation, Ontario, Canada. Her recent traveling solo exhibition The One Who Keeps on Giving opened the 30th anniversary season of The Power Plant Contemporary Art Gallery, Toronto in partnership with Galerie de l’UQAM, Montréal; Mount Saint Vincent University Art Gallery, Halifax; and Canadian Cultural Centre, Paris. She is the first Indigenous artist in residence at ISCP in Brooklyn, and her solo exhibition at the Heard Museum in Phoenix, Arizona, opened in December 2019. Hupfield was awarded the Hnatyshyn Foundation prize for outstanding achievement by a Canadian mid-career artist (2018). Maria Hupfield teaches at University of Toronto Mississauga.
Jason Lujan is originally from Marfa, Texas. His multidisciplinary work sidesteps labels of Native American identity to focus on transnational experiences and aesthetics. Lujan has recently exhibited at the Heard Museum, Phoenix, Arizona; National Museum of the American Indian, New York, NY; Curitiba Biennial, Brazil; and I Bienal Continental de Artes Indígenas Contemporáneas at the Museo Nacional de Culturas Populares in Mexico City, Mexico. He curates and co-organizes exhibitions and is a board chair at the New York City arts nonprofit ABC No Rio.
Torkwase Dyson
Though working in multiple forms Dyson describes herself as a painter whose compositions address the continuity of movement, climate change, infrastructure, and architecture. For Dyson these subjects in relationship to each other produce abstractions that explore the history and future of black spatial liberation strategies and environmental racism. Dyson considers spatial relations an urgent question both historically and in the present day. Through abstract paintings, Dyson grapples with ways space is perceived and negotiated particularly by black and brown bodies. Explorations of how the body unifies, balances, and arranges itself to move through natural and built environments become both expressive and discursive structures within the work.
In the spring of 2020 Torkwase Dyson was featured in a solo exhibition Black Compositional Thought/15 Paintings for the Plantationocene at the New Orleans Museum of Art. In 2019 Dyson had a solo exhibition at the Pace Gallery in New York as well as a solo exhibition, I Can Drink the Distance, on view at The Cooper Union, New York. Dyson’s work was also presented at the Sharjah Biennial. In addition to participating in group exhibitions at the Smithsonian National Museum of African Art, Washington, D.C., Whitney Museum of American Art, New York, The Museum of Modern Art, New York, and California African American Museum, Los Angeles, Dyson has had solo exhibitions and installations at Colby College Museum of Art, Waterville, Maine, Graham Foundation for Advanced Studies in the Fine Arts, Chicago, Schuylkill Center for Environmental Education, Philadelphia, and Suzanne Lemberg Usdan Gallery, Bennington College, Vermont. Dyson is a lecturer at the Yale University School of Art.
Rosa Barba
Rosa Barba is an artist and filmmaker who balances conceptualism with a distinctly personal vision in her work. She merges films, sculptures, installations, live-performances, text pieces, and publications that are grounded in the material and conceptual qualities of cinema. Questions of composition, physicality of form and plasticity play an important role in the perception of her work. She interrogates the industry of cinema with respect to various forms of staging by inviting the viewers to participate in her cultural observations. This happens through shifting of gesture, genre, information and documents, that she takes often out of the context in which they are normally seen and reshapes and represents them anew. Her film works are situated between experimental documentary and fictional narrative, and are indeterminately situated in time. They often focus on natural landscapes and man-made interventions into the environment and probe into the relationship of historical record, personal anecdote, and filmic representation, creating spaces of memory and uncertainty, more legible as reassuring myth than the unstable reality they represent.
Barba’s work has been exhibited at prestigious institutions and biennials worldwide. Her solo exhibitions include: Parra & Romero, Madrid, Spain (2020); Arter, Istanbul, Turkey (2020); CCA Kitakyushu, Kitakyushu (2019); Kunsthalle Bremen, Bremen (2018); Remai Modern, Saskatoon (2018); Tabakalera, International Centre for Contemporary Culture, San Sebastián (2018); Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid (2017); Pirelli HangarBicocca, Milan (2017); Vienna Secession, Vienna (2017); Malmö Konsthall, Malmö (2017); CAPC musée d’art contemporain de Bordeaux (2016-2017); Schirn Kunsthalle Frankfurt (2016); Albertinum, Dresden (2015) and at the MIT List Visual Arts Center, Cambridge, MA (2015). Most recently Barba participated in 32nd Sao Paulo Biennial, 53rd and 56th Biennale di Venezia: Making Worlds (2009; curated by Daniel Birnbaum) and All the World’s Futures (2015; curated by Okwui Enwezor); 8th Berlin Biennale for Contemporary Art (2014); 19th Biennale of Sydney (2014); Performa, New York City (2013); International Biennial of Contemporary Art of Cartagena de Indias, Colombia (2014); Liverpool Biennale (2010).
Barba’s work is part of numerous public and private collections and has been widely published, most recently, in the monographic books Rosa Barba: From Source to Poem (2017; published by Hatje Cantz) and Rosa Barba: The Color Out of Space (2016; published by MIT List Visual Arts Center/Dancing Foxes). Rosa Barba was awarded various prizes, amongst others the International Prize for Contemporary Art (PIAC) by the Fondation Prince Pierre de Monaco (2016).
Barba completed her PhD: “On the Anarchic Organization of Cinematic Spaces: Evoking Spaces beyond Cinema” at the Malmö Faculty of Fine and Performing Arts, Lund University in 2018. She has been a visiting professor at MIT, ACT (Program in Art, Culture and Technology), in Cambridge, Massachusetts. Barba holds a professorship in Fine Arts at the University of the Arts, Bremen and is MFAST program’s partner in the student exchange with the University of the Arts, Bremen.
Kristin Hileman
Kristen Hileman is an Independent Curator based in Baltimore and currently in residency at The Delaware Contemporary, Wilmington. She served as Head of The Baltimore Museum of Art’s Department of Contemporary Art from 2009 through 2019, where she oversaw the reinstallation of the museum’s renovated contemporary wing in 2012, initiated numerous acquisitions to diversify the collection, and presented exhibitions featuring an array of artists, among them the Guerrilla Girls, Njideka Akunyili Crosby, Mary Reid Kelley and Patrick Kelley, Sarah Oppenheimer, Dario Robleto, Anri Sala, and Tomas Saraceno. Her most recent BMA projects included Meleko Mokgosi: Acts of Resistance, Lizzie Fitch / Ryan Trecartin, DIS: A Good Crisis and John Waters: Indecent Exposure, a large-scale retrospective of that influential cultural figure’s visual arts career. Throughout her time at the BMA, Hileman foreground artists with ties to Baltimore including Seth Adelsberger, Maren Hassinger, Sharon Hayes, Jimmy Joe Roche, Sterling Ruby, and Sara VanDerBeek. Jo Smail: Flying with Remnant Wing, her survey of the career of the distinguished painter and Maryland Institute College of Art professor, opened at the BMA in spring 2020.
From 2001 through 2009, Hileman worked at the Smithsonian Institution’s Hirshhorn Museum and Sculpture Garden, Washington, D.C., where she organized the first full career retrospective of Anne Truitt, bringing new attention to the important DC-based abstractionist. At the Hirshhorn, Hileman also co-curated the international film and video exhibition The Cinema Effect: Realisms and led projects featuring John Baldessari, Cai Guo-Qiang, Cyprien Gaillard, Mario Garcia Torres, Oliver Herring, Jim Hodges, and Wolfgang Tillmans. She has taught at Johns Hopkins University, George Washington University, and the Corcoran College of Art and Design and is a frequent visiting critic and lecturer at colleges and universities.
