Damali Abrams is a New York City-based artist. She received her BA at New York University and her MFA at Vermont College of Fine Arts. Damali was a 2009-10 A.I.R. Gallery Fellowship recipient. Her work has been shown in New York, New Jersey, Philadelphia, Memphis, Savannah, New Orleans, Denver, and Miami. In New York City, her work has been exhibited at The Museum of Contemporary African Diasporan Art (MoCADA), A.I.R. Gallery, JCAL, Rush Arts Gallery, The Point, The Schomburg Center for Research in Black Culture, and BRIC Rotunda Gallery, among others. Her work was included in the 2013 Bienal at El Museo del Barrio. She has presented her work or taught workshops at BMCC (Borough of Manhattan Community College), SUNY Purchase, Barbados Community College, NYU Polytechnic School of Engineering, Hunter College School of Social Work, and Syracuse University’s 601 Tully. In 2013 she attended a dual residency with Fresh Milk in Barbados and Groundation Grenada. Damali was one of the 2014 artists in residence at The Center for Book Arts and last year completed an apexart International Fellowship in Seoul, South Korea. This past year Damali has been an artist-in-residence at LMCC’s Governors Island Process Space, as well as a participant in the Whitney Museum’s Independent Study Program.
- That Old Black Magic (Happiness Spell #1), 2016, installation, video and mixed media collage
- That Old Black Magic (Happiness Spell #1), 2016, installation detail, video and mixed media collage
Michelle Dizon is an artist, filmmaker, writer, theorist, and educator based in Los Angeles, California. Born in the United States as part of the Philippine diaspora, Dizon’s life experience has been shaped by the politics of migration across the Pacific Rim. The violence of imperialism and the intimate spaces of resistance within globalization form central pivots in her work which take the form of multi-channel video installations, expanded cinema performances, essay films, photographs, discursive events, pedagogical platforms, and writing. Dizon has exhibited and lectured internationally at venues such as the Center for Women’s Studies (Zagreb, Croatia), Caixaforum (Barcelona, Spain), Copenhagen International Documentary Film Festival (Copenhagen, Denmark), Jeu de Paume (Paris, France), IASPIS (Stockholm, Sweden), Metropolitan Museum of Art (Manila, Philippines), Sumaryo Art Space (Jakarta, Indonesia), Vargas Museum (Manila, Philippines), Para/site Art Space (Hong Kong, China), Queens Museum (Queens, United States), Los Angeles County Museum of Art (Los Angeles, United States) and the Yerba Buena Center for the Arts (San Francisco, United States).
Dizon is the founder of at land’s edge, an experimental platform for visual research and catalyst for decolonial thought and action. She has taught courses on documentary, visuality, postcoloniality, globalization, war, feminism, and ecology at the California Institute of the Arts and served as co-chair and core faculty in the Visual Art program at the Vermont College of Fine Arts. She earned an MFA in Art with specialization in Interdisciplinary Studio at the University of California, Los Angeles, and a Ph.D. in Rhetoric with designated emphases in Film and Women, Gender, and Sexuality from the University of California, Berkeley.
- Perpetual Peace, Production Still, 2012
- Perpetual Peace, Installation at University Art Galleries, UC Irvine, 2016
Jane Jin Kaisen.
Jane Jin Kaisen is a visual artist born in South Korea and adopted to Denmark in 1980. She lives in Copenhagen. Her research-based art projects take the form of film, video installation, performance, and writing. Working with multi-layered narratives in between documentary, fiction and performativity, she explores ways of contouring silenced histories, intertwined personal and collective memories and embodied experiences of difference.
Recent projects include Apertures½Specters½Rifts (2016) concerning transnational women’s movements and haunting effects of the Cold War, Loving Belinda (2015), a mockumentary project addressing transnational adoption in Scandinavia, Reiterations of Dissent (2011), a multi-channel video installation framed around the Jeju April Third Uprising and Massacre in Korea, and The Woman, The Orphan, and The Tiger (2010), a film that contours transgenerational gendered effects of militarism and colonialism.
Kaisen received her arts education from the University of California Los Angeles, the Whitney Independent Study Program, and The Royal Danish Academy of Fine Arts where she is currently a PhD candidate in artistic research. She is co-founder of the artist collective UFOlab (Unidentified Foreign Object LABoratory), member of the exhibition collective Orientity Exhibition and co-initiator of the artist unit itinerant_incisions.
tammy ko Robinson.
tammy ko Robinson is an artist-researcher with interests in decoloniality and the stewardship of airwaves, land, and water. Her body of work that includes participation in the widely exhibited Video Machete collective and recently spans her remigration to South Korea includes video, installation, and archive creation. Concurrently, her writings on art and culture have appeared in The Hankyoreh, Pressian, article, SPACE Magazine, Asia-Pacific Journal, ArtAsiaPacific, KoreAm, and Flash Art. Formerly faculty of the School of the Art Institute Chicago and San Francisco Art Institute, she now serves as an Associate Professor at Hanyang University teaching courses in cinema, virtualities and new media. For the past two years she had served as a Senior Researcher, Asia and Migration, Asia Culture Center 2015-present cocreating and exhibiting an archive on display until 2017 that highlights seven taxonomies in a curricula of freedom written by Asians in migration in order to trace unprecedented interethnic solidarities and correspondences across what has emerged as restructured global finance cities in the Pacific dating from 1968 to the present day, Chicago, Manila, San Francisco, Taipei and Seoul. Since 2012, ko Robinson also has served as a consultant for the KARMHA project that has built a permanent collection of adoptee history with the Emigration History Museum and serves as co-editor of the book and open source online archiving platform set to launch
in the fall of 2016z
Her proposal to work with the following community partners: Dreaming Tree, the Thai Workers Collective in Korea, Migrante, DiscLab, and the Office of Culture and Design stems from research activity cultivated together in the past 18 months regarding a “pattern language” regarding the right to not move, the right to play, and the right to sunshine. As one of the artist facilitators I will be laying out a network facilitating a multiply localized understanding of contemporaneity and ever refining contemporary art praxis as architects, writers, graphic designers, and filmmakers working to expand the circulation of freedom-seeking material cultures across Asia.
Sample includes invitation letter to work with DiscLab in Lucban, Philippines, and material of a symposia I recently programmed for ACC, Gwangju, South Korea.