Theorist and Professor of Art History at the University of California, San Diego
Grant Kester is Professor of Art History at the University of California, San Diego and the editor of FIELD: A Journal of Socially Engaged Art Criticism. Kester is one of the leading figures in the emerging critical dialogue around participatory, collaborative or “dialogical” art practices. His publications include Art, Activism and Oppositionality: Essays from Afterimage (Duke University Press, 1998), Conversation Pieces: Community and Communication in Modern Art (University of California Press, 2004) and The One and the Many: Contemporary Collaborative Art in a Global Context (Duke University Press, 2011). He is currently completing work on Collective Situations: Dialogues in Contemporary Latin American Art 1995-2010 with Bill Kelley, Jr. (under contract with Duke University Press).
Artist and Graduate Public Practice Founding Chair at Otis College of Art and Design in Los Angeles, California
Suzanne Lacy is a visual artist whose prolific career includes performances, video and photographic installation, critical writing and public practices in communities. She is best known as one of the Los Angeles performance artists who was active in the Seventies and shaped an emergent art of social engagement. Her work ranges from intimate, graphic body explorations to large-scale public performances involving literally hundreds of performers and thousands of audience members. Her work has been reviewed in The Village Voice, Artforum, L.A. Times, the New York Times, Art in America, and in numerous books and periodicals. She lectures widely, has published over 70 texts of critical commentary, and has exhibited in The Museum of Contemporary Art in Los Angeles, The New Museum and P.S. 1 in New York, and The Bilbao Museum in Spain. Her scores of fellowships include the Guggenheim Foundation, The Henry Moore Foundation, and The National Endowment for the Arts. Her book, Mapping the Terrain: New Genre Public Art (1995), now in its third printing and available in both English and Chinese languages, was responsible for coining the term and articulating the practice. Leaving Art: Performances, Politics and Publics, the collected essays of Suzanne Lacy, was published in 2010 by Duke University Press; a monograph Suzanne Lacy: Space Between, by Sharon Irish, was published in 2010 by University of Minnesota Press. Lacy is founding chair of the MFA in Public Practice at the Otis College of Art and Design.
Image: Suzanne Lacy with the Rape Map at LAPD headquarters, January 2012. Courtesy Neda Moridpour.
Doctor of History and Theory of Art (UBA);
CONICET – University of Buenos Aires
Ana Longoni is a writer, researcher of CONICET (Consejo Nacional de Investigaciones Científicas y Técnicas – National Scientific and Technical Research Council, Argentina), and professor at Universidad de Buenos Aires (UBA). She received a B.A. in Literature and a Ph.D. in Arts from the Universidad de Buenos Aires, where she currently lectures in undergraduate and post-graduate courses. She also teaches at the Programa de Estudios Independientes (Independent Studies Program) of Museu d’Art Contemporani de Barcelona (MACBA) and other universities.
She has published, alone or in collaboration, among others: Del Di Tella a Tucumán Arde [From the Di Tella Institute to Tucumán Arde] (Buenos Aires, El cielo por asalto, 2000; and Eudeba, 2008), Traiciones [Treasons] (Buenos Aires, Norma, 2007), El Siluetazo [The Silhouttes] (Buenos Aires, Adriana Hidalgo, 2008), Roberto Jacoby, El deseo nace del derrumbe [Desire Rises from Collapse] (Barcelona, La Central, 2011), Leandro Katz (Buenos Aires, Fundación Espigas-Fundación Telefónica, 2013), and Vanguardia y revolución [Avant-garde and Revolution] (Buenos Aires, Ariel 2014). As a playwright, she has written “La Chira” [The Wound] (2003) and “Árboles” [Trees] (2006). She is also an active member, since its foundation in 2007, of the Red Conceptualismos del Sur (Southern Conceptualisms Network). As curator, she coordinated the exhibitions Desire Rises from Collapse (2011) and Losing the Human Form (2012), both at the Reina Sofía Museum (Madrid).
Archivos en uso: http://www.archivosenuso.org/
Image courtesy Gianni Mestichelli, 2014.
Artistic Director and CEO of the Liverpool Biennial – The UK Biennial of International Contemporary Art
From 2001-2011, Sally Tallant was Head of Programmes at the Serpentine Gallery, London where she was responsible for the development and delivery of an integrated programme of Exhibitions, Architecture, Education and Public Programmes. She has curated exhibitions in a wide range of contexts including the Hayward Gallery, Serpentine Gallery, Hospitals, Schools as well as public commissions. She has developed commissioning programmes for artists in a range of contexts and developed long-term projects including The Edgware Road Project, Skills Exchange and Disassembly. She has also curated performances, sound events, film programmes and conferences including initiating the Park Nights series in the Serpentine Gallery Pavilions and co-curating the Serpentine Gallery Marathon series with Hans Ulrich Obrist. She is a regular contributor to conferences nationally and internationally. She is a Trustee of Metal, and Advisory Board Member of Open Arts Archive (Open University), a Board Member of the International Biennial Association and a member of the London Regional Council for the Arts Council of England.
Art Writer, Curator and Professor at the European School of Visual Arts
Stephen Wright is a Paris-based art writer and teaches the practice of theory at the European School of Visual Arts (eesi.eu). His writing has focused primarily on the politics of usership, particularly in contexts of collaborative, extradisciplinary practices with variable coefficients of art. Independent curator, he has organized a dozen exhibitions and activations, including “Escapologies” (Graz, 2012), “Situation Z” (Marseille, 2011), “Plausible Artworlds” (with Basekamp, Philadelphia, 2010), “Recomposing Desire” (Beirut, 2008), “Rumor as Media” (Istanbul, 2007), “Dataesthetics” (Zagreb, 2006), “In Absentia” (Brest, 2005), “The Future of the Reciprocal Readymade” (New York, 2004) and “Bodies’ incurable memory” (Paris, 2000) — which, focusing on practices with deliberately impaired coefficients of artistic visibility, raise the prospect of an art without objecthood, authorship or spectatorship. He is a founding user of the collective blog n.e.w.s. and the international platform IDEA-Z. As an art theorist, his research deals above all with the ongoing usological turn, and current forms of contemporary escapology, in the fields of art and epistemology, examining the conditions of possibility and use of practices which have deliberately withdrawn from the event horizon, necessitating a fundamental reconsideration and repurposing of the conceptual architecture and vocabulary inherited from modernity. In 2013, he published Toward a Lexicon of Usership. Born in 1963 in Vancouver, Canada, he lives and works in Paris.