They have been developing a body of work that questions this suspension of the present and searches for ways in which an altogether different imaginary and language can emerge that is not bound within colonial/capitalist narrative and discourse. In their projects, they find themselves excavating, activating and inventing incidental narratives, figures, gestures and sites as material for re-imagining the possibilities of the present. Often reflecting on ideas of non-linearity in the form of returns, amnesia and deja vu, and in the process unfolding the slippages between actuality and projection (fiction, myth, wish), what is and what could be. Largely their approach has been one of sampling materials both existing and self-authored in the form of sound, image, text, objects and recasting them into altogether new ‘scripts’. The result is a practice that investigates the political, visceral, material possibilities of sound, image, text and site, taking on the form of multi-media installations and live sound/image performances.

As Director of Culture and Art at the Open Society Foundations, Bumbray spearheaded the development of the foundations’ first global program dedicated to advancing diverse artistic practices and strengthening locally led cultural spaces around the world. Under her leadership, Open Society Foundations became one of the leading arts funders focused on the Global South and supporting socially engaged artists and cultural producers in diverse disciplines.

Bumbray is also a Bessie-nominated choreographer whose practice draws from traditional African American vernacular and folk forms. She is a 2019 United States Artist Fellow and an Inaugural Civic Practice Artist in Residence at the Metropolitan Museum of Art. A graduate of Oberlin College, Bumbray also has an MA in Africana Studies from New York University. Her writing on contemporary art, cultural studies, and comparative literature is published in journals and exhibition catalogues

Chin is one of the artists featured in the first year of the ongoing PBS Series Art of the 21^st Century. In 2017 his film, 9-11/9-11, won the Pedro Sienna Award for Animation in Chile. His ongoing Fundred Project addresses childhood lead-poisoning through art- making. In 2018 he presented Unmoored and Wake in Times Square, New York City, creating a visual portal into a future of rising waters, and his 40-year-survey exhibition at the Queens Museum, NYC, was named the best art exhibition of 2018 by Hyperallergic. He is the recipient of many awards, grants, and honorary degrees, including the MacArthur Fellowship, 2019, and election to the The American Academy of Arts and Letters, 2021.

Taking this corporal approach as a core, Darıcıoğlu is interested in chronopolitics and necropolitics from a perspective focusing and centralising on marginalised bodies' vulnerability and strength. She* works on Queer appropriation methodologies of the past and the present from a non-Western perspective and develops corporal strategies to address minority groups' histories excluded from hegemonic history.

Through using streams of collected field recordings, video/film documents, mapping, and real-time mythological fabrication, Deal explores dialectics and borders, blackness as creative destruction, STATE and authoritative paradigms, ancestral/undead knowledge, and systems as they intersect with language and relation to our local communities and geographies.

Deal has shown work with Protocinema & Protodispatch (2022 & 2023), Fleisher-Ollman gallery (PHL), Brick Theater (NYC), Vox Populi (PHL), Fleisher Art Memorial (PHL), Grizzly Grizzly (PHIL), Bartram’s Gardens (PHL), & Grizzly-Grizzly (PHL), No Tomorrow underground (ATL) amongst others. This past summer, Deal toured around the United States for their debut album and performance work GOGO UNDERWORLD, performing in Atlanta, Georgia; New Orleans, LA; San Francisco, CA; Brooklyn, New York; and Philadelphia and was recently a 2022 fellow at Amant Foundation in New York. They have been included in published prints such as the Titled House Review Spring 2021 issue and Grizzly Grizzly: In Dialogue.

Ganesh holds a BA in Art-Semiotics and Comparative Literature from Brown University, and an MFA from Columbia University. She has exhibited widely across continents, and her work is held in prominent public collections such as the Smithsonian Museum of American Art, the Museum of Modern Art, San Jose Museum of Art, & Kiran Nadar Museum of Art, among many others. Her work will be on view at the Whitney Museum as part of the upcoming exhibition ‘Inheritance’ curated by Rujeko Hockley, from June 28 through February 2024.

California (2019); Botanical readings: Erythroxylum coca, Proyecto AMIL, Lima (2019); Lines of Divergence, Galerie Gisela Capitain, Cologne (2018); Native States at MALBA, Buenos Aires (2017); Botanical Insurgencies: Phaseolus Lunatus at SAPS (Sala de Arte Público Siqueiros), Mexico city (2017); Smoke Architecture at 80m2 Livia Benavides, Lima (2015); Toma de tierra at Casado Santapau, Madrid (2015); Los Suelos, MATE (Museo Mario Testino), Lima (2014); Paisaje Antrópico, Max Wigram Gallery, London (2012); a solo project at Middlesborough Institute of Modern Art (2012); El Porvenir, Mimmo Scognamiglio Arte Contemporanea, Milan (2011). Her recent group exhibitions include: Puntos y Almendras por Círculos en Ojos, Galería Nordenhake, Mexico City (2022); Rethinking Nature, Madre Museum, Naples (2021); Imaginarios Comúnes, Vol. I, Museo de Arte Lima -MALI, Lima (2021); 34th Bienal de Sao Paulo, Faz escuro mas eu canto, Sao Paulo (2021); Normal Exceptions: Contemporary Art in Mexico, Jumex Museum, Mexico City (2021); La Diosa Verde, Museo de Arte de Zapopan, Guadalajara (2021); Tense Conditions, Staatsgalerie Stuttgart (2021); Infinite Games, Capitain Petzel Gallery, Berlin (2021).

Karakaya received his bachelor of arts in Philosophy from Boğaziçi University. He is currently studying for a master's degree in Directing in Film and Drama program at Kadir Has University in Istanbul.

Her performance-influenced installations create spaces where historical precedent and self-determination commingle. “I am charting a history of change and adaptation,” the artist has written, “through objects and gesture and the unstoppable forward movement of Black women.” Simone Leigh was born in Chicago in 1967 and first began exhibiting her work in the early-2000s. She has had one-person museum exhibitions at the Guggenheim Museum, New York; The Tate Gallery, London; the Studio Museum in Harlem; and the Hammer Museum in LosAngeles among others. In 2014 she presented “The Free People’s Medical Clinic” in theBedford-Stuyvesant neighborhood in Brooklyn, New York, a project commissioned by CreativeTime. Her work was included in the 2012 and 2019 Biennial exhibitions at the Whitney Museumof American Art, New York. Leigh is the first artist to be commissioned for the High LinePlinth; her monumental sculpture Brick House was unveiled in April 2019. Leigh represented theUnited States at the 59thInternational Art Exhibition of La Biennale di Venezia (2022); herexhibition, “Simone Leigh: Sovereignty,” is currently on view in the United States Pavilion.Leigh’s work is also included in the central exhibition, “The Milk of Dreams,” for which she wasawarded the Golden Lion for Best Participant.

Peru; Spanish Culture Center of Buenos Aires (CCBBA), Buenos Aires, Argentina; The Drawing Center, New York, United States; Museum of Art of Lima (MALI), Lima, Peru; Macro Museum | Museo d’Arte Contemporanea di Roma, Rome, Italy; National Museum, Lima, Peru; The Museum of Arts and Design, New York, United States; Museum of the Bank of the Republic, Bogotá, Colombia; The Fondazione Cassa di Risparmio di Modena, Bologna, Italy; The Drawing Room, London, United Kingdom; Museum of Fine Arts, Mexico City, Mexico; the Bronx Museum, New York, United States; and Museum of Fine Arts, Boston, United States. His work has also been included in the Havana Biennial, the IX and the XIV Bienials de Cuenca, the 6th edition of (S) Files Biennial in El Museo del Barrio, New York and 2010 Greater New York and MomaP.S.1, amongst others.He has received numerous residences grants and awards from various institutions, including the Rockefeller Foundation, the MACRO Museo d’Arte Contemporanea, Rome, Italy; the Foundation for Contemporary Arts, New York; NYFA, New York; Art Matters, New York; Kiosko, Santa Cruz, Bolivia; La Curtiduria art center in Oaxaca, Mexico and Ministerio de Cultura del Perú, Lima, Peru.

She is the author of 咸濕 Salty Wet, a chapbook published by Inpatient Press in 2019, and the artist book sequel, Too Salty Too Wet 更咸更濕, published through Speculative Place Press in 2020. Her writing has been published in Film Quarterly, October, and elsewhere. Sia’s artworks have been exhibited at Artists Space (New York), Kunstverein für die Rheinlande und Westfalen (Düsseldorf), and elsewhere. She received the George C. Lin Emerging Filmmaker Award in 2021. In addition to her artistic practice, Sia is the founder of the experimental project space Speculative Place and a film producer, serving as the executive producer for Adam Khalil and Bayley Sweitzer’s EMPTY METAL (2018), and executive producer of Adam Khalil and Zack Khalil’s forthcoming documentary AANIKOOBIJIGAN [ANCESTOR / GREAT-GRANDPARENT / GREAT-GRANDCHILD].

Emilie’s research interests include Asian and Hong Kong documentary, independent and alternative cinema, moving image studies and archive, image politics, media archaeology and digital culture. Emilie started her career as a cultural journalist, her writing is now published extensively on media across Hong Kong, Taiwan and China. A firm believer in the creation of publics and knowledge-mapping via public discourse and engagement, she has participated in a wide range of roles, including as board member of Videotage, a leading Hong Kong-based institution promoting video and new media art; member of the Floating Projects Collective, an independent experimental site of collaborative-individuated art practices; editor of Cinezen, a pan-Chinese film criticism online platform. She has also curated various kinds of art and film programmes which celebrates research-based curation and offers a cross-border and insightful approaches, such as Performative Doc, Hong Kong Retrospective Documentary Film Festival: From 80s to 1997 and Docuthon.