Institutional Garbage: Zippora Elders

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Zippora Elders, Webcamcurator, 2015, Photo Booth videos

Zippora Elders,  Movie on 2015-08-31 at 14.42 CURATORIALDUTIES MONDAYMORNING, 2015, Photo Booth video, 19 secs.

Zippora Elders,  Movie on 2015-09-01 at 13.16 BACKUP HOW ARE YOU ASKS INTERN (nevermind your aura destroying our computers, let’s have sushi for lunch)

Zippora Elders, Movie on 2015-09-03 at 12.42 BACKUP WEBCAMCURATOR, 2015, Photo Booth video, 25 secs.


Zippora Elders,  Movie on 2015-09-04 at 19.54 #2 CURATORIALDUTIES FRIDAYNIGHT, 2015, Photo Booth video, 20 secs.


Zippora Elders, Movie on 2015-09-07 at 12.48 CURATORIALDUTIESCURATORMUSTBEBEAUTIFUL, 2015, Photo Booth video, 14 secs.


Zippora Elders, Movie on 2015-10-06 at 17.31 CURATORIALDUTIESWITBALANS (white male in the back should be more visible), 2015, Photo Booth video, 32 secs.


Zippora Elders, Movie on 2015-11-08 at 00.25 BACKUPCURATORIALFEEDBACK (artists call these “performances”, but you think I’m just playing stupid), 2015, Photo Booth video, 41 secs.


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Institutional Garbage: Tricia Van Eck

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Tricia Van Eck, Alchemy and Curation, 2016

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Institutional Garbage: Kevin Blake (manuscript)

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Kevin Blake,  A Prosthetic Tongue With A Natural Curl, 2015


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Institutional Garbage: Brit Barton

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Brit Barton, The Consolation Prize (in parts), 2016, Digital Installation


Brit Barton, The Introduction (The Proposal), 2016


Brit Barton, Untitled (Vantage Points), 2016



Brit Barton, The Questions (The Answers), 2016



Brit Barton, Permission Email_001, 2016



Brit Barton, Permission Email_002, 2016



Brit Barton, Permission Email_003, 2016


Brit Barton, Permission Email_004, 2016



Brit Barton, Permission Email_005, 2016



Brit Barton, Untitled (Receipt), 2016



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Institutional Garbage: Contributor Bios

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Institutional Garbage Contributors

I will write this biography using 165 words but will not discover this number until it is complete. From this point forward he will be speaking in third person. Alberto Aguilar is a Chicago-based aartist and was born there as well. Aguilar’s creative practice often incorporates whatever materials are at hand as well as exchanges with his family, other aartists, and people he encounters. His work bridges media from painting and sculpture to video, installation, performance, and sound and has been exhibited at Chicago’s Museum of Contemporary AArt, the Queens Museum, Crystal Bridges Museum of American AArt, the Nelson-Atkins Museum of AArt, the Minneapolis Institute of AArt and the AArt Institute of Chicago. He holds a BFA and an MFA from the School of the AArt Institute of Chicago and currently teaches at Harold Washington College one of the City Colleges of Chicago. In order to create slight confusion, he has added an extra letter A wherever the word aart appears in this bio.

David Alaya-Alfonso is an artist, curator and researcher based in Los Angeles. He is a Teaching Fellow in the Histories of Art, Media and Design at Art Center College of Design and Editor in Chief for {{em_rgencia}, a peer-reviewed journal on contemporary art. Ayala-Alfonso has published books and articles on interface theory, Latin American art history, artist-run spaces, performance studies, visual studies, urban sociology, anthropology of education and artistic interventions in the public realm. He is also an occasional collaborator for different academic publications as a writer and a translator. Recent work as part of the art collective 0,29 and as a curator has been featured in South London Gallery, the David Rockefeller Center at Harvard University, the BMW Guggenheim Lab, Concordia University in Montreal, Columbia College in Chicago, Centro Cultural La Moneda in Santiago, and Banco de la Republica in Bogota. He has been awarded the Fulbright Grant, the AICAD post-graduate Teaching Fellowship, the ICI-Dedalus Award for Curatorial Research and the Early-concept Grant for Exploratory Research at SAIC. Ayala-Alfonso holds a MA in Visual and Critical Studies from the School of the Art Institute of Chicago and a Specialization in Art Education from the National University of Colombia.

Obe Alkema is a poet, visual artist, critic, editor, blogger and artistic entrepreneur.

Lise Haller Baggesen left her native Denmark in 1992 to study painting at the AKI in Enschede and the Rijksakademie in Amsterdam. She received the Prince Bernhard’s Prize in 2000, and the Dutch Royal Award For Modern Painting in 2003. In 2008 she relocated to Chicago with her family. She completed her MA in Visual and Critical Studies at the School of the art Institute in 2013, for which she received a SAIC VCS Fellowship Award. In 2015 she was nominated for The Joan Mitchell Foundation’s Emerging Artist Grant. In the meantime, her work evolved from a traditional painting practice toward a hybrid practice including curating, writing and installation work. She has exhibited internationally, including The Contemporary Austin (TX), The Elisabeth Foundation and A.I.R. Gallery (NY) MCA Chicago (IL), Overgaden (DK), Württembergischem Kunstverein (D), MoMu Antwerpen (B) The Hague Municipial Museum (NL) and Théatre de la Ville de Paris (F). Her writing has appeared in Bad at Sports, Chicago Artist Writers, and Third Rail Quarterly. Curatorial projects include an SAIC 2012 MFA Thesis Show Curatorial Fellowship, and Mutualisms, for which she and Kirsten Leenaars received a Propeller Award. In 2014 she curated the series 3AM Maternal for Vox Populi(Philadelphia PA). She and Yvette Brackman are currently co-curating “Poor and Needy” for the Great Poor Farm Experiment 2016, in Manawa (WI). This exhibition will travel to Denmark in 2017. Her first book Mothernism was co-published by Green Lantern Press and Poor Farm Press in 2014. Since then, the book and installation has travelled the US and Europe. In 2015/16 it was shown at to The Elmhurst Art Museum Biennial (IL), The Elisabeth Foundation (NY). A.I.R. Gallery (NY) and The Contemporary Austin (TX), and also served as “mother-ship” for the academic conference Mapping the Maternal: Art, Ethics and the Anthropcene at the University of Alberta, in Edmonton, Canada. It was reviewed in Art21, KQED, Canadian Art, Hyperallergic and ArtForum.
Her new body of work HATORADE RETROGRADE is currently on show at Threewalls (Chicago, IL) It was received with a Critic’s Pick in Artforum and will travel to The Suburban (Milwaukee, WI) in fall/winter 2016/2017.

Mara Baker is a Chicago-based interdisciplinary artist and educator. She is a graduate of Cranbrook Academy of Art (MFA, 2007) and The School of the Art Institute of Chicago (BFA, 2005). Baker’s work has been exhibited nationally and internationally at venues such as The Hyde Park Art Center (Chicago), The Soap Factory (Minneapolis), Luminary Arts Center (St. Louis), Ferencvarosi Pincegallery, (Budapest) and The Annex Art Center, (Toronto). Other notable recent projects include: a solo exhibition, Two Forward, One Back, at 65 Grand, Chicago IL, Currents New Media Festival (Santa Fe, New Mexico); and Interstice a group show at (308 at 156 Project Art Space, New York, NY) curated by Rachel Adams and Rob Green projects, LA. Baker is Assistant Professor of Foundations and Drawing at the College of Dupage in Glen Ellyn, IL.

Brit Barton is an interdisciplinary artist, regularly moving between performance, video, sound, text, collage, and drawing. Her work often explores power and suggestion, framing notions of sensation, time, perception and architectures. She is currently co-curating a forthcoming video series, in collaboration with artist Morganne Wakefield. A 2016 graduate of the MFA program at the University of Chicago, she graduated with a BFA in photography at Texas State University in 2011, and was a member of Hyde Park Art Center’s Center Program in 2013. She was recently awarded the first Visual Arts Fellowship at the Arts Club of Chicago and a Post-MFA Fellowship at the University of Chicago.

Britton Bertran is the Director at Carrie Secrist Gallery in Chicago. He is also a Chicago-based independent curator, Instructor at The School of the Art Institute of Chicago in the Arts Administration and Policy Department. Previous positions held include Fellows Program Officer for United States Artists and Educational Programs Manager at Urban Gateways, a non-profit Art Education organization. He also owned 40000, a contemporary art gallery in the West Loop and was the Visual Art Consultant for the Richard H. Driehaus Foundation. Prior curatorial projects include New Icon at the Loyola University Museum of Art and Artists Run Chicago at the Hyde Park Art Center.  Britton earned an MA in Arts Administration from The School of the Art Institute of Chicago and a BA in Studio Art and Art History from Hobart College.

Kevin Blake is an artist and writer working in Chicago, IL. He holds a BFA and MA from The School of the Art Institute of Chicago as well as an MFA from the Art Institute of Boston at Lesley University. Kevin’s writing has appeared in such publications as Art and Beyond, Bad at Sports, New City, and The Painter’s Table.  

Fiep van Bodegom lives in Amsterdam and writes literary criticism, essays and fiction.

Daniel Borzutzky’s books and chapbooks include, among others, The Performance of Becoming Human (2016), In the Murmurs of the Rotten Carcass Economy (2015), Bedtime Stories for the End of the World! (2015), Data Bodies (2013), The Book of Interfering Bodies (2011), and The Ecstasy of Capitulation (2007). He has translated Raúl Zurita’s The Country of Planks (2015) and Song for his Disappeared Love (2010), and Jaime Luis Huenún’s Port Trakl (2008). His work has been supported by the Illinois Arts Council, the National Endowment for the Arts, and the Pen/Heim Translation Fund. He lives in Chicago.

Lauded as a Breakout Artist in New City and ARC Magazine, artist/scholar Rashayla Marie Brown (RMB) manages a living studio practice across an extensive list of cultural production modes. Exploiting the role of the artist as both an agent and an object of desire, her work spans camera-based image-making; performance and social engagement/disruption; curation and installation; and theoretical writings infused with subjectivity and spirituality. A lifelong nomad who has moved 24 times, her journey as a professional artist began as a radio DJ and poet performing research in London, England and as founder of the family-owned design company, Selah Vibe, Inc., in Atlanta, GA. RMB currently serves as the inaugural Director of Student Affairs for Diversity and Inclusion at the School of the Art Institute of Chicago (SAIC), fostering queer Afrofeminist narratives across institutions. RMB holds degrees from Yale University and SAIC, advised by Paul Gilroy and Barbara DeGenevieve respectively. Her work has been commissioned by the Museum of Contemporary Art, Chicago; Museum of Contemporary Photography, Chicago; and Yale University, New Haven, CT. Her work has shown at the Gene Siskel Film Center, Chicago, IL; Monique Meloche Gallery, Chicago, IL; Calumet Gallery, New York, NY; University of Pennsylvania, Philadelphia, PA; Museum of the African Diaspora, San Francisco, CA; Centro Cultural Costaricense Norteamericano, San Jose, Costa Rica; and other venues. She has received numerous awards, including Chicago Artist Coalition’s BOLT Residency, the Archibald Motley Fund, the Roger Brown Residency, and the Yale Mellon Research Grant. Her work and words have been featured and published in Art Forum, Chicago Magazine, Blouin Modern Painters, Hyperallergic, Nka: Journal of Contemporary African Art, the Radical Presence catalog, and the cover of the Chicago Reader. RMB’s essay “Open Letter to My Fellow Young Artists and Scholars on the Margins: A Tribute to Terry Adkins” was shared over 4K times online as of 2016.

Isaiah Dufort is assistant director of an arts education non-profit in the San Francisco Bay Area. 

Patrick Durgin is a poet-critic, book artist, editor, educator, and curator. He co-curates the Annual Festival of Poets Theater with Devin King, in Chicago. His most recent artist book or “printed object” is called Zenith and was published by the Green Lantern Press. His books include The Route (with Jen Hofer) and PQRS. He is editing the Ordinance series for Kenning Editions.

Zippora Elders is a curator based in Amsterdam and Artistic Director at Fort bij Vijfhuizen, Centre for Art and Heritage in The Netherlands. She studied art history, heritage and curatorial practice at the University of Amsterdam and the VU University, where she specialized in visual art of the 20th and 21st centuries, network culture and visual culture. In addition she was a curator-in-training at the Stedelijk Museum Amsterdam where she worked on collections and exhibitions like Kazimir Malevich and the Russian Avant-Garde and Stedelijk at Trouw: Contemporary Art Club which included work by a.o. Tracey Emin, Cyprien Gaillard, Camille Henrot, Sarah Morris, Hannah Perry and Elizabeth Price. The past years Elders has worked as a curator at Foam museum for photography and written for several art institutions, magazines and blogs. She collaborated with international institutions, organizations and galleries, and initiated several group shows as well as solo exhibitions with a.o. Nobuyoshi Araki, Roe Ethridge, Katy Grannan, Momo Okabe and Bruno Zhu. Moreover she is an advisor for the Mondriaan Fund on residencies, established talent, museums and project spaces. Her current research revolves around the representation of man and nature – the construction of image, internet and advertising aesthetics, and questioning (established) systems.

Every house has a door was formed in 2008 by Lin Hixson, director, and Matthew Goulish, dramaturge, to convene diverse, inter-generational project-specific teams of specialists, including emerging as well as internationally recognized artists. Drawn to historically or critically neglected subjects, Every house has created 5 performance works and curated or co-produced performance-related projects in many media. The company is based in Chicago and has toured internationally.

Lucia Fabio is an independent curator based in Los Angeles, CA. Selected projects include FUCK! Loss, desire, pleasure at ONE National Gay and Lesbian Archives and In Search of an Exit (or Eight Characters in a Parlor) at Heritage Square Museum. From 2007-2009 she was the director of mini dutch, an apartment gallery in Chicago. She has returned to running a domestic exhibition space by recently launching The Homer Project in her 1910 California bungalow where artists are free to use the entire property to consider issues of viewing and notions of diurnal rhythms. She also shares her home with a small clowder of cats.

João Florêncio is a lecturer in History of Modern and Contemporary Art and Visual Culture at the University of Exeter, UK. His interdisciplinary research navigates the intersections of visual culture and performance with queer theory, geohumanities, and posthumanism in an attempt to rethink embodiment and the visual vis-à-vis the philosophical and political problems surrounding “human”/”nonhuman”/”subhuman” divides in Western thought. João is currently Principal Investigator in “Rock/Body,” an international cross-disciplinary research network investigating the human body as an interfacial zone between bio- and geo-logics. He is also interested in articulations of sex, sexuality and gender in performance and visual culture, particularly the ways in which themes of disease, infection, risk, and non-normative sexual practices bring the non-/in-/sub-human to bear on the production of the Self and its circulation in contemporary visual ecologies.

Rami George is an interdisciplinary artist based in Chicago. They continue to be motivated by missing histories and political narratives.

Maarten van der Graaff published two books of poetry: Vluchtautogedichten (2013) and Dood werk (2015). In 2014, Vluchtautogedichten was awarded the C. Buddingh’ Prize for the best Dutch-language debut collection.

Stevie Greco lives and works in New York City.

David Hall writes in sentences and often works with materials already charged with significance. He received an MFA from The School of the Art Institute of Chicago. 

Jeanine Hofland (1983, NL) is founder of the former gallery and current “traveling” platform Jeanine Hofland. She studied “intermediality” at the Vrije Universiteit Amsterdam (2007), and has previously worked at Lost&Found, Galerie Juliette Jongma  and Expodium (project space) alongside her work as a freelance writer and art advisor.

We are Christian Kuras and Duncan MacKenzie. We have been collaborating on art projects since 2003. Christian Kuras lives in suburban Manchester, England. His work has been shown and published across Canada, the United States and Europe. And… Holy shit it’s Duncan MacKenzie! He’s an artist, pundit, educator and a founding member/producer of Bad at Sports. His works have appeared in galleries all over the world including Canada, Australia, The United States of America, New Zealand, Estonia and England. His work has been discussed in Flash Art, Art Forum, the New York Times, Time Out and many other venues. He is the author of over 250 interviews and has worked with such people as Rodney Graham, Kerry James Marshall, Francesco Bonami, Luc Tuymans, James Elkins, Julie Ault, Carol Becker, James Rondeau, Jeff Wall, and Gavin Turk. He currently enjoys a posting as an Assistant Professor in Art + Design at Columbia College Chicago.

Born in Sultan Kudarat, Renan Laru-an is a researcher, curator, and the founding director of Philippine-based DiscLab | Research and Criticism. He has been the 2016 Encura curator-in-residence at Hangar Barcelona and the incoming Re-Directing: East curator-in-residence at the Centre for Contemporary Art Ujazdowski Castle in Warsaw. Ongoing and recent projects include From Bandung to Berlin (with Brigitta Isabella), Lightning Studies: CTCCCs, and Herding Islands, Rats, and the Anthropocene. He completed psychology at the University of the Philippines-Diliman and is a member of SYNAPSE – The International Curators’ Network at Haus der Kulturen der Welt in Berlin.

La Keisha Leek is a Chicago-based arts administrator and curator. From 2012-2015, she was the Executive Administrator and Special Projects Manager to Theaster Gates. She recently participated in Independent Curators International’s Curatorial Intensive in Dakar, Senegal and currently provides project management services for civic engagement programming of The Chicago Community Trust, including a year and a half-long national centennial project for Pulitzer Prize winning poet Gwendolyn Brooks. She was a 2014-2015 HATCH Projects Curatorial Resident, which led to a 2016 Curatorial Fellowship co-partnered with the Gaylord & Dorothy Donnelley Foundation.  She received a BA in Art History from Columbia College Chicago.

Sofia Lemos is a Berlin-based researcher and public programmer. Lemos has been involved in the organization of exhibitions in various non-for-profit institutions including PRAXES (Berlin), and The David Roberts Art Foundation (London). Previously, she worked as a researcher at MACBA (Barcelona). Her professional focuses lie at the intersection of artists’ moving image and the history of science. She is research coordinator for the artist Tomás Saraceno, and assistant editor at the art publication Drawing Room Confessions. Lemos is a recent graduate from the Independent Studies Program (PEI), MACBA where she studied under the tutelage of Paul B. Preciado and is a member of SYNAPSE–International Curators’ Network of the Haus der Kulturen der Welt (Berlin). She has contributed to several publications and journals including …ment, Archis/Volume, The Funambulist, Thresholds, Near East and PLAT.

Jane Lewty is the author of two poetry collections, In One Form To Find Another, (forthcoming from Cleveland State University Press Poetry Center in 2017) and Bravura Cool (1913 Press: 2013). She is the co-editor of two academic essay collections Broadcasting Modernism (University of Florida Press: 2010) and Pornotopias: Image, Apocalypse, Desire (Litteraria Pragensia: 2008).

Jill Magi is an artist, writer, and educator working in text, image, and textile. She is the author of over five books, the most recent of which is LABOR (Nightboat 2014). In spring 2015 Jill wrote weekly for Jacket2 on “a textile poetics,” and other recent essays have appeared in The Force of What’s Possible: Accessibility and the Avant-garde, The Racial Imaginary, and The Eco-Language Reader. She has held residencies with the Lower Manhattan Cultural Council, the Textile Arts Center Brooklyn, and has exhibited visual work at apexart, Pace University, the Brooklyn Arts Council Gallery, and Arcade Six Gallery Columbia College. The New York University Abu Dhabi Project Space gallery mounted a solo exhibition of her work in 2015. She teaches textiles, poetry, and art electives at NYUAD where she joined the faculty in 2013.

Nam Chi Nguyễn studied philosophy. She currently writes on the idea of an aesthetic community and the possibility of drawing up poetic protest.

Anthony Romero and Josh Rios are educators, artists, and cultural critics. Their performances, curatorial projects, installations, writings, and screenings deal with the key experiences of being US citizens of Mexican origin. Broadly speaking, their practice centers on elided histories, Chicanx visual culture, and the larger themes of US-Mexico relations. Their performances and projects have been most recently featured at the Art Institute of Chicago, the University of Illinois at Chicago, Texas State University, Andrea Meislin Gallery, Harold Washington College, and Stony Island Arts Bank. Upcoming projects include a collaborative exhibition at Universidad Autónoma del Estado de México featuring the sketches and archive of Chicanx SF progenitor Ernest Hogan.

Rowland Saifi  grew up in Brazil and Arkansas before attending Naropa University and the School of the Art Institute of Chicago. He is the author of Lit Windows and the novellas The Minotaur’s Daughter and Karner Blue Estates. His work has appeared in Fact-Simile, Marginalia, Bombay Gin, Livestock Review, Newfound Journal, and Kneejerk Magazine. He is currently a Ph.D. candidate at the University of Denver in Colorado.

Michal Samama creates body-based art, incorporating movement, everyday objects, sound, text and site-specific practices. Her work moves between the theater, the gallery and the public space, exploring the different dynamics by which these spaces are capable of ‘framing’ art. She recently presented works at Theatre de la Ville in Paris, ASPECT RATIO Gallery in Chicago, Intima-Dance and Curtain Up Festivals in Tel Aviv and was commissioned by The Chocolate Factory Theater in New York. In Chicago, her work has been presented at Julius Caesar Gallery, EXPO CHICAGO 2014, 6018 North Gallery, Rapid Pulse Festival 2014 and TBSO3 at Defibrillator Gallery, Out of Site 2015, Mana Contemporary, Links Hall, TRITRIANGLE and Northwestern University. In New York she presented her work at New York Live Arts, Movement Research at Judson Church, Performance Mix Festival, Dixon Place, Joyce SoHo, CPR, Chez Bushwick, Priska C. Juschka Gallery, AUNTS and the 92nd Street Y, where she also curated Sunday At Three in January 2012.

Suzanne Scanlon is the author of two novels, Promising Young Women and Her 37th Year, An Index. Her fiction has won The Iowa Review Fiction Award, and appeared in publications including Hobart, DIAGRAM, Electric Literature, MAKE, and BOMB Magazine. Her fiction has recently been anthologized in A Kind of Compass, Stories on Distance, edited by Belinda McKeon, Tramp Press and in The &NOW Awards 3, The Best Innovative Writing, Volume 3, Northwestern University Press.Her nonfiction has appeared in Essay Daily, Bust, The American Scholar, and The Millions, the latter receiving a Critical Hit Award from Electric Literature. She writes about theater for Time Out Chicago and the Chicago Reader.

Naqeeb Stevens was born in Los Angeles, CA and currently lives in Chicago, IL. He attended Rutgers University in New Brunswick, NJ and the University of Iowa. He was a participant at the Skowhegan School of Painting and Sculpture and most recently a resident in The Center Program at the Hyde Park Art Center.

Tina Tahir is a Chicago-based artist who works in a variety of media. Her work explores the concept of impermanence. Tahir’s temporal installations were shown, amongst others, at Gallery 400, the Hyde Park Art Center, Threewalls, Ballroom Projects, all in Chicago, Paul Watkins Gallery, Winona, University of Wisconsin-La Crosse, and SCA Contemporary Art & Artlab, Albuquerque. She received an MFA in Studio from the University of Illinois at Chicago and an MA in Visual and Critical Studies from the School of the Art Institute of Chicago. Tahir was the recipient of the ArtSlant Prize 2015 Second Prize.

Tricia Van Eck is Artistic Director and Founder of 6108North, which empowers artists to work together and with audiences to nurture creativity, build community, and enhance Chicago’s quality of life. Named after its physical address in Edgewater, 6018North is also itinerant and presents shows around Chicago, nationally, and internationally — in France, Germany, and India — to connect Chicago artists with local and international audiences. 6018North was an Affiliate Partner of the Chicago Architecture Biennial and its presentation of Every House Has A Door’s Caesar’s Bridge at Comfort Station was listed as Best Visual Art of 2015 by the Chicago Tribune. 6018North consistently receives accolades from local and international press but remains a kind of hidden gem for intimate encounters with artists and their work. Currently on view at 6018North are Chapel and Its Elemental, which fill the dilapidated mansion with artist’s installations. Previously Van Eck worked 13 years as a curator at Museum of Contemporary Art, Chicago organizing more than 70 exhibitions and programs much of which were audience engaged, interactive, or extended the MCA’s reach into the community such as Interactions: A Four Month Series of Artist and Audience Activations as a companion to Without You I Am Nothing: Art and Its Audience; Jan Tichy’s Project Cabrini Green; Theaster Gates: Temple Exercises; Tino Sehgal’s Kiss; Here/Not There; and Hide and Seek: An Out of Gallery Experience. She curated the MCA Chicago presentations of various traveling exhibitions such as Buckminster Fuller: Starting with the Universe and curated numerous exhibitions of Chicago artists including Mapping the Self and Kerry James Marshall: One True Thing Meditations on Black Aesthetics, as well as many artists’ book shows and UBS 12 x 12: New Artists/New Work exhibitions, which showcased the work of emerging Chicago artists.

Vincent van Velsen  is a writer, critic and curator with a background in art and architectural history. He regularly writes for individual artists, magazines and institutions, among which Metropolis M, Stedelijk Museum Amsterdam and the Rijksakademie, Amsterdam. He curated exhibitions for Castrum Peregrini, Framer Framed (both Amsterdam) and the VBCN (Association of Corporate Art Collections Netherlands). He is a member of the programming commission of residency Kunsthuis SYB, Beetsterzwaag and a member of the board of De Appel Arts Centre, Amsterdam. Furthermore, Van Velsen is an editor at We Are Public and Platform BK; and currently a resident at the Jan van Eyck Academy, Maastricht.

Anna Martine Whitehead is an artist and writer interrogating the poetics of space, time, and loss at the limits of performance. With an MFA in Social Practice from California College of the Arts, they have shown work throughout the United States and in Canada and Sweden. Martine has also collaborated with or made significant contributions to the work of Keith Hennessy, Jefferson Pinder, taisha paggett, Jesse Hewit, and Julien Previeux. They write about black performance in the contemporary art world and have contributed chapters to several texts on queer dance, performance, and social practice. Martine is the author of TREASURE | My Black Rupture. Learn more at 

Mia You was born in South Korea, raised in the U.S. and currently lives in the Netherlands. Her poetry book I, Too, Dislike It has just been published by 1913 Press.