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Hamra Abbas,
2010

Hamra Abbas’s work draws upon widely accepted traditions, often in a playful manner. By appropriating culturally loaded imagery and iconography, and transforming them into new works that can be experienced spatially and temporally, she creates new platforms from which to view notions of cultural ownership, tradition, exchange and power. Hamra Abbas is the 2011 winner of the Abraaj Capital Art Prize, she was awarded a Jury prize at the Sharjah Biennial 9: Provisions for the Future. Her work is included in Aluminium, 4th International Biennial of Contemporary Art, Baku, Azerbaijan, the International Artist’s Workshop of the 2nd Thessaloniki Biennial and the 2nd International Incheon Women Artists Biennale, Korea (2009). Her work was included in the Guangzou Triennial (2008), the 10th Istanbul Biennial (2007), the Biennale of Sydney (2006), and the Cetinje Biennial, (2004).

Abbas’ work has been exhibited at V&A Museum, London, ARTIUM de Álava, Vitoria-Gasteiz, Spain, ifa Gallery, Berlin; and the Manchester Art Gallery, UK. Her work Read is currently at display at the Royal Ontario Museum, Toronto. She is also part of the exhibition Hanging Fire at Asia Society Museum, New York; and Everyday Miracles (Extended) at Walter and McBean Galleries, San Francisco Art Institute and at REDCAT, LA. She has been awarded residencies and scholarships by institutions such as Vermont Studio Center, the Triangle Arts Trust, VASL and DAAD. Hamra received her BFA and MA in Visual Arts at the National College of Arts, Lahore before going on to the Universitaet der Kuenste in Berlin in 2004 where she received the Meisterschueler. She is one of the 2011 winners of the Abraaj Capital Art Prize. Hamra Abbas lives and works between Boston and Islamabad, but is currently based in New York.



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Iñigo Manglano-Ovalle,
2004, 2010

Iñigo Manglano-Ovalle (b. 1961, Madrid, Spain) received a B.A. from Williams College in Williamstown, MA, and an M.F.A. from The School of The Art Institute of Chicago. His noted film trilogy Le Baiser/The Kiss (1999), Climate (2000), and In Ordinary Time (2001) focuses on the architecture of Mies van der Rohe and the implications of Modernism. Solo exhibitions include: The Art Institute of Chicago; The Krefeld Suite, Museum Haus Esters and Haus Lange, Krefend, Germany; El Museo de Arte Contemporáneo de Monterrey and Museo Tamayo Arte Contemporaneo, Mexico City; Barcelona Pavilion, Fundación Mies van der Rohe, Barcelona, Spain; and Museum of Contemporary Art, Chicago, among others.

Group exhibitions include: Bienal de São Paulo, São Paulo, Brazil; InSITE, San Diego; Tempo, Museum of Modern Art, New York; Moving Pictures, Solomon R. Guggenheim Museum, New York and Guggenheim Museum, Bilbao, Spain; The Whitney Biennial, Whitney Museum of American Art, New York; Liverpool Biennial, Liverpool, England, and Documenta 12, Kassel, Germany. He has received a National Endowment for the Arts fellowship, the Media Arts Award from the Wexner Center for the Arts, the John D. and Catherine T. MacArthur Foundation Fellowship, and a John Simon Guggenheim Foundation Fellowship.



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Dave McKenzie,
2005

Dave McKenzie works in a variety of media and is known for his playful, conceptual approach to themes such as artistic identity, racial identity, generosity, and the everyday. He attended the
Skowhegan School of Painting and Sculpture in 2000. Recent solo exhibitions include “Screen Doors on Submarines”, REDCAT, Los Angeles; “Momentum 8: Dave McKenzie”, The Institute of Contemporary Art Boston, Boston; “Tomorrow will be Better”, Small A Projects, Portland; “Haven’t Seen You in a Minute”, Gallery 40000, Chicago; McKenzie’s work was included in “Prospect.1 New Orleans”, and in group exhibitions at the RISD Museum, Providence; the New Museum, New York; the Indianapolis Museum of Art, Indianapolis, in “Black is, Black Ain’t”, The Renaissance Society at the University at the University of Chicago, Chicago; “30 Seconds off an Inch”, The Studio Museum in Harlem, New York; The Kitchen, New York, and at Brooklyn Museum of Art, Brooklyn.



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Renée Green,
2003, 2010

Renée Green’s work engages with investigations into circuits of relation and exchange over time, the gaps and shifts in what survives in public and private memories, as well as what has been imagined and invented. Green also focuses on the effects of a changing transcultural sphere on what can now be made and thought. Her exhibitions, videos, and films have been seen throughout the world in museums, galleries, biennials, and festivals. Some of these include solo exhibitions at Portikus, Frankfurt; Centro Cultural de Belem, Lisbon; Fundacio Antoni Tapies, Barcelona; Contemporary Arts Center, Cincinnati; Vienna Secession, Stichting de Appel, Amsterdam; and the Museum of Contemporary Art, Los Angeles. Other venues include Documenta XI, Johannesburg Biennial, Kwangju Biennale, Whitney Museum of American Art Biennial, Aperto, Museum of Contemporary Art (Chicago), the Louisiana Museum of Art (Copenhagen), Institute of Contemporary Art (London), Centre Georges Pompidou (Paris), MACBA (Barcelona), Museum Ludwig (Cologne), UCLA Hammer Museum (Los Angeles).



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Sergio Torres-Torres,
2010

Sergio Torres-Torres received his MFA from the University of California, Los Angeles, and was awarded a post-graduate residency at the Core Program in Houston. He has exhibited work in solo and group exhibitions at venues such as Sixteen:One Gallery, Santa Monica, CA; Atelier als Supermedium, The Hague, Netherlands; Phantom Galleries, Los Angeles, CA; MAK Center, Los Angeles, CA; Postartum, Long Beach, CA; and Charim Klocker Gallery, Vienna, Austria.



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Paul Ramirez Jonas,
2011

Paul Ramírez Jonas’ selected solo exhibitions include Pinacoteca do Estado, Sao Paulo, Brazil; The Aldrich Contemporary Art Museum, Ridgefield, Connecticut; The Jack S. Blanton Museum of Art, Austin, Texas; a survey at Ikon Gallery (UK) and Cornerhouse (UK); Alexander Gray Gallery (NYC); Roger Björkholmen (Sweden); Nara Roesler Gallery (Brazil); and Postmasters Gallery (NYC). He has been included in group exhibitions at P.S.1 (NYC); The Whitechapel (UK); Irish Museum of Modern Art (Ireland); The New Museum (NYC); and Kunsthaus Zurich (Switzerland). He has participated in the Johannesburg Biennale; the Seoul Biennial, the Shanghai Biennial; the 28th Sao Paulo Biennial; the 53rd Venice Biennial and the 7th Bienal do Mercosul, Porto Alegre, Brazil. In 2010 his Key to the City project was presented by Creative Timewith cooperation with the City of New York.

http://www.paulramirezjonas.com/selected/new_index.php,


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Elijah Burgher,
2011

Elijah Burgher makes colored pencil drawings that utilize ideas from magick and the occult to address sexuality, sub-cultural formation and the history of abstraction. He has exhibited in solo and two-person exhibitions at Western Exhibitions in Chicago, IL, 2nd Floor Projects in San Francisco, Shane Campbell Gallery in Oak Park, IL, and Lump in Raleigh, NC. Burgher received his MFA from the School of the Art Institute of Chicago and BA from Sarah Lawrence College in Bronxeville, NY. He lives and works in Chicago.



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Judd Morrissey,
2011

Mark Jeffery and Judd Morrissey are a collaboration merging live performance and digital literary practices. The work, which is visual, textual and choreographic, evolves through context-specific research and practice and always considers the constraints of a given venue or occasion. Site-responsive concerns extend beyond the exhibition space to include local communities and online textual activity happening in proximity to an event. A given piece is a body of material that may have no singular fixed form but is alternately or simultaneously presented as large-scale public projection, internet art, durational live installation, or a performance of fixed length.

Jeffery and Morrissey have presented throughout the US, UK, and Europe with recent venues including the Cathedral Quarter in the city of Lincoln, UK (commissioned performance distributed throughout multiple outdoor sites), Hyde Park Art Center (Chicago), Museum of ContemporaryArt Chicago, Center of Contemporary Culture Barcelona, Bergen Art Museum, House of World Cultures (Berlin), Chicago Cultural Center, and the Ontological-Hysteric Theater in NYC. Both artists teach at the School of the Art Institute of Chicago and were members of the seminal international performance collective Goat Island.



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Mark Jeffery,
2011

Mark Jeffery and Judd Morrissey are a collaboration merging live performance and digital literary practices. The work, which is visual, textual and choreographic, evolves through context-specific research and practice and always considers the constraints of a given venue or occasion. Site-responsive concerns extend beyond the exhibition space to include local communities and online textual activity happening in proximity to an event. A given piece is a body of material that may have no singular fixed form but is alternately or simultaneously presented as large-scale public projection, internet art, durational live installation, or a performance of fixed length.
Jeffery and Morrissey have presented throughout the US, UK, and Europe with recent venues including the Cathedral Quarter in the city of Lincoln, UK (commissioned performance distributed throughout multiple outdoor sites), Hyde Park Art Center (Chicago), Museum of ContemporaryArt Chicago, Center of Contemporary Culture Barcelona, Bergen ArtMuseum, House of World Cultures (Berlin), Chicago Cultural Center, andthe Ontological-Hysteric Theater in NYC. Both artists teach at the School of the Art Institute of Chicago and were members of the seminal international performance collective Goat Island.

http://www.markjefferyartist.org/collaboration.html,


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Awkward x 2,
2011

Awkward x 2 is a collaboration between two painters, Rebecca Norton and Jeremy Gilbert-Rolfe. We began to work together in the summer of 2010 and our show at the Suburban, opening on October 29th, will be Awkward’s first solo show. Awkward’s chief interest is painting, but we also want to explore new ways in which to talk about art and further collaborations into areas outside of art as such that might nonetheless inform what we do. We’re interested in beauty, the involuntary, pleasure and complexity and in what results from two people working on the same thing in a field where works have traditionally been associated with individual subjectivities. Rebecca Norton received her MFA from Art Center College of Design in Pasadena in 2010, Jeremy Gilbert-Rolfe received his from Florida State University in 1970. She is from Kentucky, he is from Kent.



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