Javier Calvo was born in 1981 in San José, Costa Rica where he lives and works. He has had solo shows at the Museum of Art and Contemporary Design, with his exhibitions Dislocal and Autonomías in Kiosko Gallery, Santa Cruz de la Sierra, Bolivia. His works have been on display in Central America, the United States, Brasil, Mexico, Australia, Brazil, China, Egypt, Iceland, Holland, Germany, Czech Republic, Paraguay, among others. In the group exhibition, Video Sur, Palais de Tokyo, París, France. Bienal de Curitiba, Curitiba, Brazil. Video Art in Latin America, Pacific Standard Time: LA/LA Latin American and Latino Art in LA, LAXART, Los Ángeles, USA. The other day we walked down Wallstreet, Sies + Höke, in Düsseldorf, Germany, 2017. Perspectivas Latinas #18, Städtisches Galerie Wolfsburg, Wolfsburg, Germany. X Biennial of the Central American Isthmus, Old United Fruit Company Building, Limón, Costa Rica, 2016. Ensamble sin Órganos, The Wilfredo Lam Center of Contemporary Art, Habana, Cuba, 2016. International Biennial of Asuncion, Asuncion, Paraguay, 2015. No One Belongs Here More Than You, Despacio, San José, Costa Rica, 2016. XXXL Pontevedra Art Biennial “Utrópicos”, Pontevedra Museum, Spain, 2010. “New Fantasies”, Teor/éTica, San José, Costa Rica, 2013. He recently won the National Hall of Visual Arts prize, San José, Costa Rica, 2017. National Award J. Aquileo Echeverría in visual arts, 2013. Unique Award, “Inquieta imagen” 7th edition, Museum of Art and Contemporary Design, 2013. FONCA scholarship for Ibero-American and Caribbean artists, 2014. Selected to represent Costa Rica in the Ninth Visual Art Biennial of the Central American Isthmus. Prize, Valoarte VIII Edition, San José, Costa Rica, 2009. His work can be found in collections such as Fundation TEOR/ética, Museum of Art and Contemporary Design, Museum of Costa Rican Art, San José, Costa Rica. Random Institute, Zurich, Switzerland and Städtische Galerie Wolfsburg, Germany.
Susana Pilar was born in Cuba in 1984. From 2011 to 2013 she made a Postgraduate studies in New Media, Karlsruhe University of Arts and Design (HfG) with DAAD Scholarship, Germany. From 1998 until 2008 she studied in the Fine Arts Academy “San Alejandro” and the High Institute of Arts (ISA) in Havana, Cuba. This year she was artist in residency of CAD+SR 2019-20 Research Fellowship, and Guest Professor at the Hungarian University of Fine Arts, Budapest, Hungary, with the Peter and Irene Ludwig Foundation Grant. She had as well the CIFO Grants & Commissions Program Award, Miami, US, 2019; AIR of the Academy of Fine Arts of Vienna, Austria, 2017; Apexart Fellowship, New York, US, 2016; KulturKontakt, Vienna, Austria, 2013; MAP Residency in ARTEZ and B93, Enschede, The Netherlands, 2010-2011; the Darling Foundry in Montreal, 2009 and others. Among group shows and international venues she took part we can mention the 6th Lubumbashi Biennale, République Démocratique du Congo (2019); 13 Havana Biennale, Cuba (2019); Resilience and Resistance in African Diaspora, New Museum of African Civilizations, Dakar, Senegal (2018); 56th Venice Biennale, Cuban Pavilion, Italy (2015); 1st Martinique Biennale (2013); Prome encuentro Bienal Arte Contemporaneo di Caribe, Aruba (2012); III Biennale Arts Actuels Réunion, Reunion island (2011) and the 7th Gwangju Biennale in South Korea (2008).
kimura byol-nathalie lemoine
kimura byol-nathalie lemoine (키무라 별 – 나타리 르뫈 – 木村 ビヨル – ナタリー レムワンー) is a conceptual multimedia feminist artist who works on identities (diaspora, ethnicity, colorism, post-colonialism, immigration, gender), and expresses it with calligraphy, paintings, digital images, poems, videos and collaborations. kimura*lemoine’s work has been exhibited, screened, published and supported nationally and internationally. As curator, has developed projects that give voice and visibility to minorities. kimura*lemoine, as a Korean-born adoptee, is co-founder of Euro-Korean League (1991, Belgium), EKL-Korea Branch (1994, S/Korea), K.O.A (Korean Overseas Adoptee, 1996, Korea), KameleonZ (1996-1996, S/Korea), KimLeePark (1998, S/Korea) G.O.A’L (1998, S/Korea), O.K.A.Y.-Books (2001-2008, S/Korea-Canada), Orientity (2004-2007, worldwide), N.O.K.I.A.A. (Network of Korean International Adoptee Artists, 2010), A.Q.A (Asians/Autochtones/Afro-descendants Queer Adoptees, 2015), and zer latest contributions to the inter-racial adoptee community is the website A.C.A (adoptees cultural archives, 2015) to document the history of adoptee’s culture through media and arts, and K.A.R.M.A (2018, Korea). As an artist, kimura*lemoine received grants from M.A.I., Regard sur Montréal (CAM, NFB, ACIC), and Prize PowerHouse from Gallery La Centrale, a 2018 CALQ Grant for zer writing essay project ’88 etc. In 2020, kimura*lemoine completed Adoption 30 years after (with ACIC-ONF/NFB), exhibited at Dazibao (Jan.-Mar., 2020, Montreal) and coordinates the ‘ConnexiOnze‘ project with the support of CCA. The book 88 etc (Je me souviens) will be released November 2020.
Thanushka Yakupitiyage is a Sri Lankan-born, Thailand-raised, Brooklyn-based multidisciplinary artist, DJ, cultural organizer and activist. Yakupitiyage's art incorporates sound production and storytelling. She is also known by her DJ name Ushka where she's known for traversing genres across electronic club and bass music. She has performed across the U.S., Mexico, and Canada—including at institutions such as Brooklyn Museum, MoMA PS1, American Museum of Natural History, Rubin Museum, The Shed, Toronto’s Harbourfront Centre, and Montreal’s PHI Foundation. Thanushka has been a staple in NYC’s queer nightlife, having run the iBomba party for six years and djing parties such as Papi Juice, Gush, Ragga, Yellow Jackets Collective’s Lunar New Year, Montreal’s Moonshine party, and more. In 2018-2019, she was the artist-in-residence at the A/P/A Institute at NYU and she produced her first museum show in NYC in 2019, an audiovisual film about migration entitled MigrantScape, with an experimental DJ performance as part of The Shed’s Open Call. Thanushka is also a climate justice and immigrant rights organizer. You can follow her on Twitter or Instagram at @ty_ushka.
MigrantScape incorporates Thanushka's interests in storytelling and sound production in a film about the experiences of four immigrants to the United States. In this documentary-style piece about the lives of four people of differing immigration statuses living in New York and El Paso, the piece contends with the individuals' relationship to America's immigration system and increased border militarization. MigrantScape calls on viewers to reflect on the personal tolls that a restrictive, fear-based system creates. The piece is accompanied by archival research and interviews available at migrantscape.com.
Marigold Santos pursues an interdisciplinary art practice involving drawn, painted and printed works, as well as sculpture, animation and sound. When she first immigrated to Canada, she lost touch with her culture. But now, identity is what empowers her. Santos’s interest lies in transformation, as she reflects on fleeting childhood memories and her family’s immigration to Canada as an autobiographical point of departure. Experiences as history, fragmented into memory and retold as personal myth are negotiated through the act of drawing but also operate as narrative. This is the realm of play in which Santos situates her work. Notions of attachment/separation and being grounded or uprooted ultimately relate back to investigations of “self” and “home” and are explored through an invented temporality (wherein the artist looks forward, sideways, and upside-down while simultaneously looking backward into a history never physically lived) manifesting in conceptual hybrids and multiple, distributed selves. In these recent works, imagery arises from the otherworldly; figures mobilize and embrace growth, transience and a self in process. The works provide loopholes as points of entry, which make the viewer aware of the contradictions that dwell within but do not seek to ameliorate awkwardness or discomfort. Santos draws her imagery from ambiguity and a lack of absolutes, resulting in a visual narrative that is disjointed, accumulative and plural. It has become Santos’s personal language for storytelling, a language that continues to change and evolve, that is constantly being defined by the relationship of one image to the next, and that embraces precariousness.