Interview

Jazmín López (Buenos Aires, Argentina). She is a filmmaker, a visual artist, and a professor. She graduated from the Universidad del Cine in Buenos Aires. She has also an MFA in Visual Arts from NYU and MFA in Visual Arts from Universidad Torcuato Di Tella. She participated in the WhitneyISP program. Her work is represented by Ruth Benzacar art gallery and has been featured in venues like Fondation Pernod Ricard, San Jose Museum, OCAT, Tabacalera, Kadist, Istanbul Biennial and KW. Her films had participated in festivals like: Orizonti oficial competition Venezia Biennial, Rotterdam Film Fest, Viennale, New Directors New Films at MoMA and Lincoln Center, Centre George Pompidou and KW institute Berlin, among many other world Film Festivals and featured in Variety and New York Times.

She has taught a Master Class in École Nationale Supérieure des Beaux-Arts de Lyon and was part of the Jury in the 33 FID Marseille. She works as professor for NYU and as an assistant professor of Boris Groys. She worked as a full faculty professor at Universidad del cine, Buenos Aires.

The book mentioned in the interview is In Praise of Love, Book by Alain Badiou.

Gracelee has attended twenty residencies in the US and abroad and opened her second solo show in New York at Postmasters in June 2022, her third at Heroes Gallery in September 2022. She is currently an Assistant Professor of Sculpture at the University at Albany, SUNY. Recent exhibitions include Marinaro Gallery (New York, NY), Postmasters Gallery (New York, NY), Atlanta Contemporary (Atlanta, GA), Kavi Gupta Gallery (Chicago, IL), HEADLINE Gallery (Vancouver, Canada), and more. She has installed large-scale outdoor sculptures at the Upstate Immersive (Poughkeepsie, NY), Wave Hill (Bronx, NY), Museum of Museums (Seattle, WA), Franconia Sculpture Park (Shafer, MN), Mary Sky (Hancock, VT), and others. In 2017 she returned from 15 months as a Visiting Professor in the Multidisciplinary Department of Art at Chiang Mai University and assistant to artist Araya Rasdjarmrearnsook on a Luce Scholars Fellowship. She is a member of the collective MATERIAL GIRLS, a recipient of the 2021-22 Individual Artist DEC Grant, a 2019 Jerome Fellow at Franconia Sculpture Park, a 2016-17 Luce Scholars Fellow, a recipient of the 2015 UMLAUF Prize, 2013 Eyes Got It Prize, and the 2011-12 Ella Fountain Pratt Emerging Artist Grant. Press for her work includes The New Yorker, ArtNet, Hyperallergic, Artspace, Beautiful/Decay, and MAAKE Magazine, among others. She is an enthusiastic dancer, a lifelong horsewoman, and an aspiring indoor gardener.

Jeff Gibson is an Australian-born artist and occasional critic who has worked in a variety of media and contexts—photography, collage, video, prints, posters, banners, and books for galleries and public spaces. Gibson moved to New York in 1998 to work for Artforum magazine, where he has been the managing editor since 2004. Since arriving in New York, he has exhibited on the Panasonic Astrovision screen in Times Square as part of Creative Time’s “59th Minute” program and mounted solo shows at the New York Academy of Sciences, Stephan Stoyanov, and Theodore. In 2011, two of the artist’s videos were projected onto the facade of the Everson Museum of Art in Syracuse, New York, as part of a curated series presented by Light Work and the Urban Video Project.

His video Metapoetaestheticism was exhibited in the 2014 Whitney Biennial. In 2016, Gibson produced a billboard, titled Armagarden, for the I-70 Sign Show, a curated program of artworks occupying advertising sites on the Missouri interstate. Gibson’s work was also included in the “Digital Infinity” section of the 2018 Front International: Cleveland Triennial for Contemporary Art. And in June of this year, the Griffith University Art Museum in Brisbane, Australia, staged a survey show of Gibson’s art, titled “Countertypes,” featuring a selection of works spanning 1980 to the present.

Vusi Beauchamp (b. 1979) studied printmaking and painting at the Tshwane University of Technology and Graphic Design at Damelin in Pretoria, South Africa.

Beauchamp’s provocative iconography employs popular culture, satire and stereotypes in service of a visual political commentary. His somewhat controversial works are meant to comment on social issues, politics and current events in South Africa, though they easily relate to the dissatisfaction felt by many international communities with regards to their political and economic leaders. Beauchamp seeks to examine the South African government currently embattled within itself, the disconnect it displays with its people, and the tense social climate under years of viral threat, mired in misinformation and heightened insecurities over corruption. Predominantly a painter, Beauchamp creates his works on canvas by using various methods, including spray painting and stenciling, with mediums such as crayons, charcoal, oil sticks and acrylic paint. His works on paper similarly use a variety of materials and techniques, often incorporating multiple layers to create the final image.

Beauchamp’s most recent solo exhibitions include The Cult of One, Part II at David Krut Projects, New York (2022) and The Cult of One at David Krut Projects, Johannesburg (2022). The exhibitions are a continuum of his ongoing Paradyse of the Damned series, which has been shown at the Borderline Art Space in Iași, Romania (2019); the Johannesburg Art Gallery in Johannesburg, South Africa (2018); and the Pretoria Art Museum in Pretoria, South Africa (2015).

Lucia Buricelli is a photographer from Venice, Italy, based between New York City and Milan. In her work, Buricelli is interested in exploring everyday life in all its forms: interactions between people, animals that live in urban environments, objects that have fallen to the ground, and self-portraits. Ultimately, Buricelli is interested in documenting different aspects of urban daily life. Her clients include The New York Times, Vogue, Time, Vice, among others.

New Collectors is an art gallery that primarily features work by emerging artists. The gallery was founded on the premise that the art world is inherently difficult to penetrate, and there need to be more approachable ways for people to explore and buy artwork. The types of exhibitions have ranged widely in the gallery’s first year; there have been shows with students from the School of Visual Arts MFA program, shows curated from open calls, and even exhibitions that utilize augmented reality to display NFTs. The gallery hopes to bring light to new ways of exhibiting while continuing to foster the careers of the artists it represents.