Category Archives: Collaborative

Hana van der Kolk

Hana van der Kolk makes body-centric performances, events, videos, drawings, and writing that investigate community/collaboration and how thought shapes somatic life, how the body shapes thinking, and how being thoughtfully engaged bodies might destabilize our notions of gender, race, sex, work, nature, and politics.

Based in Los Angeles from 2005-10 Hana is currently based in Troy, NY. Hana is a contributing facilitator of communityLAB, an initiative that empowers individuals to step into roles as change agents, coalition build, and make positive change within their communities, and co-hosts the bi-monthly queer dance party/community fundraiser, Polly. Hana also maintains a private practice in sexual healing that draws from elements of massage, BDSM, meditation, and The Internal Family Systems. 

Her performance projects have been presented in a variety of places including Kule (Berlin), REDCAT (Los Angeles), Cariddi Mills (North Adams, MA), The Hammer Museum (Los Angeles), Human Resources (Los Angeles), Williams College Museum of Art (Williamstown, MA), BCA (Boston, MA), Space Gallery (Portland, ME), PAM (Los Angeles, CA), 51 3rd (Troy), and n/a (Oakland, CA). She has taught dance/performance internationally including at Williams College (MA), The School for New Dance Development (Amsterdam), Torteaturn (Stockholm), The University of Tallinn (Estonia), Colgate University (Hamilton, NY), and Marlboro College (VT). Hana has collaborated with numerous artists and activists including Asher Woodworth, Coral Short, Layard Thompson, Jesse Aron Green, Emily Mast, Hana Lee Erdman, Tove Sahlin, Jane Pickett, Joy Mariama Smith, Winnie Ho, Jason Martin, Jack Magai, Senem Pirler, Margit Galanter, Shanna Goldman, and Ellen Foster, and is currently involved in an ongoing collaboration with Tomislav Feller. She holds an MFA in Dance from UCLA and is greatly influenced by her work with Deborah Hay, Guillermo Gomez Pena, and the Body Weather Laboratory. 

Learn more about her work in the following links; Somewhere, as well as deepbodyglitter, and The Apprenticeship Project and Between Us (a project with students of Colgate University)

The books e mentioned in the interview were; Autobiography of Red by Anne Carson, Bluets by Maggie Nelson, Urban Tantra by Barbara Carrellas and Object Oriented Feminism edited by Katherine Behar

Anne-Marie Oliver / Barry Sanders


Anne-Marie Oliver & Barry Sanders

Anne-Marie Oliver is a cultural theorist, photographer, and documentarian, whose projects occur at the intersection of art, religion, politics, and technology. Her work can be found in Critical Inquiry, Partisan Review, The International Journal of Comparative Sociology, and Public Culture, the Bulletin of the Center for Transnational Cultural Studies, the University Museum, the University of Pennsylvania, as well as Salon, The New Republic, and Le Monde diplomatique. She spent many years doing fieldwork and research in the Middle East, collecting and documenting the art, political ephemera, and underground media of the first intifada—work supported by the H.F. Guggenheim Foundation and, later, Harvard’s Center for Middle Eastern Studies. The result of that research was published by Oxford University Press in 2004 as The Road to Martyrs’ Square (with Paul F. Steinberg), and was a Quill Award nominee. She has given lectures at Columbia, Princeton, Stanford, the Carnegie Council for Ethics in International Affairs, the Muriel Gardiner Seminar on Psychoanalysis and the Humanities at Yale, Tufts, USC, and Harvard; and has appeared as a discussant on CNN, National Public Radio, the BBC, MSNBC, Air America, and Fresh Air with Terry Gross. Her current projects address the role of art and aesthetics in the 21st century, particularly in relation to invisible catastrophe; surveillance, proto-surveillance, and the experience of time; and notions of the intervention. She has carried out various art projects, individual and collective, at the Portland Institute for Contemporary Art’s TBA Festival, PDX Contemporary Art, and galleryHOMELAND, among others, and, in 2011, closed out the Visiting Artist Lecture Series at the Mason Gross School of Art at Rutgers. In 2013, she curated the show Infinity Device with Barry Sanders at the Historic Maddox Building in Portland, Oregon. She has taught at MIT, Georgia Tech, and the Hebrew University of Jerusalem, and has served as a guest critic at CalArts, the Tisch School of the Arts, NYU, and the University of the Arts London, among others. Along with Barry Sanders, she founded the MA in Critical Theory and Creative Research Program at the Hallie Ford School of Graduate Studies, Pacific Northwest College of Art, and now directs the Oregon Institute for Creative Research/E4 (Ethics, Æsthetics, Ecology, Education), a new school and research institute.

Barry Sanders’ projects occur increasingly at the intersection of art and activism, and include The Green Zone: The Environmental Costs of Militarism, which Project Censored named one of the top-ten censored stories of 2009, and “Over These Prison Walls,” which invites collaborations between artists and incarcerated youth. He has twice been nominated for the Pulitzer Prize and is the author of fourteen books and over fifty essays and articles, including Sudden Glory: A Brief History of Laughter, Alienable Rights: The Exclusion of African-Americans in a White-Man’s Land, 1619-2000 (with Francis Adams), ABC: The Alphabetization of the Popular Mind (with Ivan Illich), The Private Death of Public Discourse, and A Is for Ox: The Collapse of Literacy and the Rise of Violence in an Electronic Age. His book-art projects include a collaboration with printmaker Michael Woodcock, Fourteen Ninety Two or Three, which won Honorable Mention in the Carl Hertzog Awards Competition for Excellence in Book Design, while his 2002 essay for Cabinet, “Bang the Keys Softly: Type-Writers and Their Dis-Contents,” has been reprinted in Courier (University Art Museum, SUNY) as well as Ghost in the Machine (New Museum). He has given presentations at the Los Angeles County Museum of Art (with Ivan Illich); the J. Paul Getty Museum; and the Portland Art Museum, among many others, and in 2013, curated the show Infinity Device with Anne-Marie Oliver at the Historic Maddox Building in Portland, Oregon. He was the first to occupy the Gold Chair at Pitzer College, where he taught, among other things, the history of ideas and medieval church iconography. Along with Anne-Marie Oliver, he founded the MA in Critical Theory and Creative Research Program at the Hallie Ford School of Graduate Studies, Pacific Northwest College of Art, and now directs the Oregon Institute for Creative Research/E4 (Ethics, Æsthetics, Ecology, Education), a new school and research institute.


Atta Kim, Caldera


CT+CR Collective 2016, 4755.8 (Casting Our Glances across These Shores towards Fukushima-Daiichi on the 5th Anniversary of the Pacific Disaster)

Ben Kinsley


Janks Archive Collection Event, Kaunas, Lithuania, 2016

Ben Kinsley’s projects have ranged from choreographing a neighborhood intervention into Google Street View, directing surprise theatrical performances inside the homes of strangers, organizing a paranormal concert series, staging a royal protest, investigating feline utopia, collecting put-down jokes from around the world, and planting a buried treasure in the streets of Mexico City (yet to be found).

His work has been exhibited internationally at venues such as: Cleveland Museum of Art; Museum of Contemporary Art (MOCA) Cleveland; Bureau for Open Culture; Mattress Factory Museum, Pittsburgh; Flux Space, Philadelphia; Katonah Museum of Art, NY; Green on Red Gallery, Dublin; Centro di Cultura Contemporanea Strozzina, Florence; La Galería de Comercio, Mexico City; Catalyst Arts, Belfast; and ZKM Museum of Contemporary Art, Karlsruhe. He has participated in numerous artist residency programs including the Skowhegan School of Painting and Sculpture; Bemis Center for Contemporary Arts; Skaftfell Art Center, Iceland; Askeaton Contemporary Arts, Ireland; and Platform, Finland.

In April 2016 he will be exhibiting the Janks Archive project as part of the Queens International at the Queens Museum in NYC.


“Seems like you don’t have all your Moomins in the Valley.” Banner made from reflective fabric. Janks Archive Kiosk, Vaasa, Finland, 2015


“Cast and Crew” of Omaha Anticks. 2010


“To The Garden of Remembrance.” Engraved granite. Points of Departure, Askeaton, Ireland, 2012

David Liss

unnamed[4]David Liss is Artistic Director and Curator of the Museum of Contemporary Art, Toronto, Canada, since December 2000. Arriving from Montreal with a vision to create a permanent museum for contemporary art in Canada’s largest city, Liss evolved MOCA from modest beginnings in the Toronto suburb of North York, re-locating the museum to Queen St. West in 2005. Through innovative exhibitions, extensive publications and multi-disciplinary platforms, over the course of a 10-year lease on Queen St. he has developed MOCA into an important cultural venue in Toronto, in Canada and beyond.

Most recently he has established a greatly expanded and permanent home for the museum in the iconic Tower Automotive Building in Toronto’s west end where MOCA is poised to make significant contributions to Canadian and global arts and culture.

In addition to establishing MOCA as a permanent institution he has curated and organized numerous exhibitions at MOCA, and for other institutions, in Canada and abroad.

From April 1995 until November 2000 he was Director/Curator of the Gallery of the Saidye Bronfman Centre for the Arts in Montreal.

He holds a BFA (1987), from Concordia University in Montreal, and between 1994 and 1996 he regularly contributed art reviews to the Montreal Gazette.

Since the mid-1980s he has organized, produced and curated numerous solo and group exhibitions of contemporary art, in addition to overseeing related publications, educational programs, performances, events, and travelling exhibitions and projects in Canada and internationally.

He is a member of the Canadian Association of Museum Directors Organization (CAMDO), a contributing editor to Canadian Art magazine and Adjunct Professor at York University in Toronto. He is also a practicing artist in drawing, watercolor and photography.


MOCCA on Queen St. West, 2005 – 2015

2015-04-13 20.58.47

MOCA Toronto’s new location, scheduled to open in Spring of 2017


Current MOCA Toronto project: Solid States by Toronto artist An Te Liu, at the Toronto Sculpture Garden

Mary Anna Pomonis

Morning Star Evening Star Performance Proposal at the Louvre, 2016

Morning Star Evening Star Performance Proposal at the Louvre, 2016

Mary Anna Pomonis is a Los Angeles Based Teaching Artist whose projects have encompassed varying forms, including performance, painting, writing, curating, and social practice. She teaches at Cal Arts in the Teaching Artists Institute, as well as at Cal State University, San Bernardino, and Hoover High School in Glendale, California. She is a founding member of the Association of Hysteric Curators and co-editor, with Annie Buckley, of Radical Actions: From Teaching Artists to Social Practice. Her latest show at Charlie James Gallery, “Rosette,” is dedicated to her mentor and recent Guggenheim recipient, Sabina Ott.

Mouawaud's Magic Section, 2011, The Beacon Arts Building

Mouawaud’s Magic Section, 2011, The Beacon Arts Building

The Association of Hysteric Curators

The Association of Hysteric Curators

Marjolijn Dijkman

credit Cedric Verhelst

Portrait by Cedric Verhelst, 2015

Marjolijn Dijkman (1978, NL) is based in Brussels (BE) and a tutor at the Fine Art Department of the MFA St. Joost in Den Bosch (NL) since 2009.

Parallel to her individual art practice she co-founded Enough Room for Space (ERforS) together with Maarten Vanden Eynde in 2005. ERforS is an artist run organisation initiating experimental research projects and exhibitions.

The ERforS HQ providing guest accommodation and a collaborative work space, does not conform to the logic of an institutional space, but aims to create a fluid space where life and work intertwine.

Solo exhibitions include: LUNÄ, fig.-2, ICA, London, UK (2015); Theatrum Orbis Terrarum, West Space, Melbourne, AU (2015); History Rising, Wisbech Museum / Norwich Castle Museum and Art Gallery (2013-2014); Theatrum Orbis Terrarum, IKON Gallery, Birmingham & Spike Island, Bristol, UK (2011); MATRIX 234 at BAM/ PFA, Berkeley, US (2010).
Group exhibitions include: Global Imaginations, Museum De Lakenhal, Leiden, NL (2015); El Theatro del Mundo, Museo Tamayo Art Contemporáneo, Mexico City, MX (2014); Ja Natuurlijk, Gemeente Museum, The Hague, NL (2013); On Geometry and Speculation, Higher Atlas, 4th Marrakech Biennial, MO (2012); Portscapes, Boijmans van Beuningen Museum, Rotterdam, NL (2010); Screaming and Hearing, 7th Mercosul Biennial Porto Alegre, BR (2009); The Order of Things, MuHKA, Antwerp, BE (2008); 8th Sharjah Biennial ‘Still life, Art, Ecology and the Politics of Change’, UE (2007).

erfors plakaat finished

Enough Room for Space HQ, Drogenbos, Belgium

LUNA M. Dijkman

LUNÄ, installation view at Spike Island, Bristol, UK, 2011

Marjorie Coverley Luesebrink

coverleyheadshotM.D. Coverley [Marjorie Coverley Luesebrink] is a hypermedia fiction writer.  She also works as educator, curator, editor, critic, and journalist.

As M.D. Coverley, she has been writing digital-born fiction since 1995.  Her full-length interactive, electronic novel, Califia, is available on CD-ROM from Eastgate Systems (2000).  Her hypermedia novel, Egypt: The Book of Going Forth by Day, was published as an artist’s book (electronic) in 2006.  A selection of web hypermedia short stories, Fingerprints on Digital Glass, is available on her website. Coverley’s current works-in-progress include Tin Towns and Other Excel Fictions, a series of narratives constructed with spreadsheets (The 2015 Fukushima Pinup Calendar is part of this collection), Tarim Tapestry, and Hours of the Night (a PowerPoint poem with Stephanie Strickland).

Coverley’s web short stories, poems, and essays have appeared in The Iowa Review Web, BeeHive, Artifacts, Cauldron & Net, The Blue Moon Review, electronic book review, Riding the Meridian, Salt Hill, New River, Currents in Electronic Literacy, Bunk, Poems That Go, Enterzone, The Salt River Review, Aileron, Blast 5 (Alt X Publications), Room Without Walls, and frAme.  She also produced the online and real time collaborative drama, “M is for Nottingham?” for the 2002 trAce Incubation Convention.


Coverley has read/exhibited nationally and internationally: Library of Congress, Hammer Museum, Guggenheim Museum NY, the Digital Center for the Arts at UCLA, Brown University, Museum of Post-Digital Cultures (Switzerland), Squaw Valley Writer’s Conference, Chicago School of the Arts, trAce, Beyond Baroque, Hugo House Seattle, Downtown Campus Library University of West Virginia, Newport Beach Public Library CA, Boston Lite Show (Boston Cyberarts Festival), ELO Visionary Landscapes Conference Media Arts Show, Aldeburgh Poetry Festival UK, Bibliothèque nationale de France (National Library of France), Digital Humanities Summer Institute (Victoria), Future For Word Multimedia Exhibition (Seattle Poetry Festival), Doheney Library USC, Arts Santa Monica Barcelona.

Because the field of Electronic Literature is still emerging, many practitioners have participated in several elements of field-building.  Luesebrink is a founding board member and past president of the Electronic Literature Organization.  She has written non-fiction and critical articles about e-lit, and has curated several online collections of works.  She has worked as editor for The Blue Moon Review, Inflect, Riding the Meridian, and Word Circuits.



George M. Haddad, aka Cousin George


George Haddad aka Cousin George, Watercolor on Paper, Til Friwald

George M. Haddad, aka Cousin George is a New York based Singer/Songwriter and founder of Wall Street Refugee Studios (WSRS). 

Cuz G & T no logoGeorge’s mission is to combine Contemporary Art, Music and Design in ways that have not been done before.  An avid art collector, George began collaborating with various artists to create both music videos and art. For example the video done with Richard Dupont for the song “One Hit Wonder” combines artifacts of artists that have one hit and produces a  Dupont “garbage bag sculpture” in lucite that weighs 70lbs. George has written over 200 songs and is currently producing them with Tony Salvatore and Rich Pagano (of The Fab Faux fame).  In addition to art and music, George has recently designed a bronze table with artist Aaron Spangler.  

Learn more on his website – Cousin George.

Kate Stryker and Lucas Millard for Oomh

Kalup Linzy and Nate Lowman 

David Johnston


David Johnston, self-portrait

David Johnston founded Accept & Proceed with an aim to produce clear, simple, purposeful design. He has cultivated an enviable roster of clients for Accept & Proceed who now create global work for amongst others; Google, Nike, and Rapha.

Having studied design at Central Saint Martins and with a career spanning Europe, David has worked for the Overland Group and branding giants including Interbrand and Newell & Sorrell. David finally ended up working as Creative Designer at the Nike HQ in Hilversum before setting up Accept & Proceed in2007.

Accept & Proceed

We are a design agency working across print, screen and spaces. Our projects involve working together with like-minded organisations and individuals; those who represent and influence culture. We work with some of the Worlds most influential brands. Our work is flawlessly executed and obsessively inventive. Our aim is to extract hidden beauty, and create appropriately challenging design time and time again.

Learn more; Accept and Proceed Shop, or on Twitter and Instagram.


Ten Years of Light A controlled experiment in data, discipline and design. An exhibition of twenty Light Calendars; A1 silk-screened artworks which document our ten-year study of light and dark. London, November 2015.

Screen Shot 2015-12-11 at 6.12.37 PM

Nike NTC, Brand mark and Identity design. 2010.

Sara Caples and Everardo Jefferson

Popper Family ArchivesEverardo Jefferson and Sara Caples co-founded Caples Jefferson Architects in 1987.

Their firm specializes in community-based civic, educational, and cultural buildings. Noted for projects such as Queens Theatre and Weeksville Heritage Center, Caples Jefferson Architects has won numerous distinctions including AIA national and chapter awards, multiple NOMA national awards for Excellence in Architecture, a New York City Art Commission award, an Historic Districts Council Design Award, and multiple Municipal Arts Society MASterworks Awards.

In 1998, Caples and Jefferson were Emerging Voices of the Architectural League; in 2009, they were New York City’s MWBE of the Year; in 2012, they were the New York State AIA Firm of the Year.

Their work has been featured in a wide range of publications including Architect, Architectural Record, The Architect’s Newspaper, The New York Times, and Oculus; Everardo Jefferson and Sara Caples co-edited the New Mix issue of AD. They have served as visiting professors at Syracuse, University of Miami, CCNY, and Yale.


Queens Theatre


Weeksville Heritage Center

Ed Woodham

Ed Woodham photo_Numb

Ed Woodham (Photo by Victoria O’Neill)

A visual and performance artist, puppeteer, and curator, Ed Woodham employs humor, irony, subtle detournement, and a striking visual style in order to encourage greater consideration of–and provoke deeper critical engagement with–the urban environment. As founder and director of the arts collective 800 East in Atlanta Georgia (1990-98), he brought an artistic perspective to civic engagement, turning a derelict post-industrial space into a community arts center, reviving and sustaining both an artistic collective and the local neighborhood in the process. In 2005 Woodham created Art in Odd Places (AiOP) to present visual and performance art to reclaim public spaces in New York City and beyond. Woodham is a member of the faculty at NYU Hemispheric Institute for EMERGENYC teaching workshops in politically based public performances and at School of Visual Arts in NYC for City as Site: Public Art as Social Intervention.

Learn more on his website here.

Ed Woodham_Danger Deep Water

Ed Woodham, Danger Deep Water, 2014; Lloyd Park, London (photo by Shahin Shahablou)

AiOP_pictures-009 (2)

Leah Harper, Free Compliments, Art in Odd Places 2014: FREE (photo courtesy of artist)

Sans Façon

BlancCharlesandTristanSurteesIn 2001, artist Tristan Surtees and architect Charles Blanc, established the collaborative Arts practice Sans façon. Over the last 14 years, Sans façon has continued to explore the relationship between people and places through their art projects. They work internationally on projects ranging from ephemeral performances and permanent pieces in public spaces, to developing and implementing strategies involving artists in the rethinking and re-qualification of specific places.

The majority of their work renews awareness and tempts interaction with the surroundings and is developed in close collaboration with communities, organizations and individuals including City councils, scholars, theatre companies, architects and composers. They like to see the role of the artist and of art as a catalyst in a process of raising questions and inviting one to look and think differently. They aim to create work that can be valued, not solely as product but for what it reveals, what allows to be seen, enjoyed and thought about.

In 2011, Sans façon moved to Calgary to establish WATERSHED+, a city-wide program for the City of Calgary to renew the relationship between citizens and watershed. Its guiding motive is to embed, not so much the artist, as their creative process within Water Services core activities and the Calgary watershed. Artists and artistic practices are participating as members on infrastructure design teams, contributing to project design, development of events, community education and communication to enhance the public’s perception of the natural and man made watershed, generating an emotional connection for Calgarians.

WATERSHED+ is held internationally as an example of best practice in integrated arts practice.

For more information, see their website here.


Fire Hydrant Fountans


Limelight: Saturday Night