Diane Borsato is an artist and Associate Professor of Experimental Studio at the University of Guelph. In her projects she has worked closely with various other practitioners including artists, dancers, and amateur naturalists. She has exhibited the Art Gallery of Ontario, The Power Plant, the AGYU, the Art Museum at the University of Toronto, the Walter Philips Gallery at the Banff Centre for the Arts, the Vancouver Art Gallery, the National Art Centre and in galleries and museums in the US, France, The Netherlands, Germany, Mexico, Taiwan and Japan.
Pauline Boudry/Renate Lorenz have been working together in Berlin since 2007. They produce installations that choreograph the tension between visibility and opacity. Their films capture performances in front of the camera, often starting with a song, a picture, a film, or a score from the near past. They upset normative historical narratives and conventions of spectatorship, as figures and actions across time are staged, layered, and re-imagined. Their performers are choreographers, artists, and musicians with whom they are having a long-term conversation about the conditions of performance, the violent history of visibility, the pathologization of bodies, but also about companionship, glamour, and resistance. Boudry/Lorenz’s most recent work, Moving Backwards, premiered in 2019 at the Swiss Pavillion of the 58th Venice Biennale. Recent solo exhibitions have included Ongoing experiments with strangeness, Julia Stoschek Collection (Berlin, 2019); Telepathic Improvisation at the Centre culturel suisse (Paris, 2018); and Everybody talks about the weather…, Participant Inc. (New York, 2017) and the Contemporary Arts Museum Houston (Houston, 2017). Their work has been written about by writers and critics including Andre Lepecki, Mason Leaver-Yap, Gregg Bordowitz, Antke Engel, Nana Adusei-Poku, Mathias Danbolt, Ellen Feiss, and Laura Guy.
Claire Cunningham is a performer and creator of multi-disciplinary performance based in Glasgow, Scotland. She is currently Factory Artist with Tanzhaus nrw Düsseldorf (Germany) and a Work Place Artist at The Place (London). One of the UK’s most acclaimed and internationally renowned disabled artists, Cunningham’s work is often rooted in the study and use/misuse of her crutches and the exploration of the potential of her own specific physicality with a conscious rejection of traditional dance techniques (developed for non-disabled bodies). This runs alongside a deep interest in the lived experience of disability and its implications, not only as a choreographer, but also in terms of societal notions of knowledge, value, connection, and interdependence. A self-identifying disabled artist, Cunningham’s work combines multiple art forms and ranges from the intimate solo show ME (Mobile/Evolution) (2009), to the large ensemble work 12 made for Candoco Dance Company. In 2014, she created a new solo, Give Me a Reason to Live, inspired by the work of Dutch medieval painter Hieronymus Bosch and the role of beggars/cripples in his work, and the full-length show Guide Gods. She is a former Artist-in-Residence at the Women of the World Festival at the Southbank Centre (London) and of the Ulster Bank Belfast Festival at Queens. In 2016, she was Artist-in-Residence with Perth International Arts Festival (Australia) and Associate Artist at Tramway (Glasgow). Since 2016, Claire has been touring The Way You Look (at me) Tonight, a duet with Jess Curtis, which has been presented around the world to critical acclaim. In July 2019, Claire premiered a new ensemble work, Thank You Very Much, at Manchester International Festival.
My Barbarian is an art collective made up of Malik Gaines, Jade Gordon, and Alexandro Segade. Our work uses performance to play with social difficulties, theatricalize historic problems, and imagine ways of being together. We make plays, masks, videos, drawings, music, installations, texts, events, puppets, and paintings. We have presented work in many museums, including MoMA, MoCA LA, and SFMoMA, and in festivals, galleries, and public spaces. In addition to projects at the New Museum and the Studio Museum in Harlem (New York), we have had solo exhibitions at Participant Inc. (New York); the Hammer Museum and Human Resources (Los Angeles); Museo El Eco (Mexico City); Gallery 400 (Chicago); and Yaffo 23 (Jerusalem). We were included in two Performa Biennials, two California Biennials, the Biennale de Montréal, and the Whitney Biennial. We have received awards from the Foundation for Contemporary Art, Creative Capital, Art Matters, and the City of Los Angeles. We are represented by Susanne Vielmetter Los Angeles Projects. My Barbarian originated in Los Angeles in 2000 and today its members are based in LA and New York.
Brendan Fernandes (b. 1979, Nairobi, Kenya) is an internationally recognized Canadian artist working at the intersection of dance and visual arts. Currently based out of Chicago, Brendan’s projects address issues of race, queer culture, migration, protest, and other forms of collective movement. Always looking to create new spaces and new forms of agency, Brendan’s projects take on hybrid forms: part Ballet, part queer dance hall, part political protest … always rooted in collaboration and fostering solidarity. Brendan is a graduate of the Whitney Independent Study Program (2007) and a recipient of a Robert Rauschenberg Fellowship (2014). In 2010, he was shortlisted for the Sobey Art Award, and he is currently the recipient of a 2017 Canada Council New Chapter grant. His projects have been shown at the Solomon R. Guggenheim Museum (New York); the Museum of Modern Art (New York); The Getty Museum (Los Angeles); the National Gallery of Canada (Ottawa); and the Musée d’art contemporain (Montreal), among a great many others. He is currently Artist-in-Residence and Faculty at Northwestern University and represented by Monique Meloche Gallery in Chicago. Upcoming projects in 2019 include performances and solo presentations at the Solomon R. Guggenheim (New York); The Whitney Biennial (New York); the Smithsonian Museum of American Art (Washington); the Museum of Contemporary Art (Chicago); and the Noguchi Museum (New York).
Every Ocean Hughes (EOH), formerly known as Emily Roysdon, is an interdisciplinary artist and writer. EOH’s recent projects take the form of performance, photographic installations, printmaking, text, video, and curating. EOH has been the subject of solo exhibitions at Kunsthalle Lissabon (Lisbon, 2017); Secession (Vienna, 2015); PARTICIPANT INC (New York, 2015); Art in General (New York, 2011); and the Berkeley Art Museum (Berkeley, 2010). EOH has received commissions for new work from Tate Modern (London, 2012, 2017); the Stedelijk Museum Amsterdam (Amsterdam, 2013–14); Portland Institute of Contemporary Art (Portland, 2013–14); and The Kitchen (New York, 2010). EOH’s work was featured in the 11th Gwangju Biennale, (South Korea, 2016); the Biennale of Sydney (2014); Future Generation Art Prize at the 55th Venice Biennale (2013); the Whitney Biennial (New York, 2010); Manifesta 8, (Murcia, Spain, 2010); Greater New York, MoMA/PS1 (New York, 2010); and The Generational Triennial, New Museum (New York, 2009).