Lara Almarcegui (Spanish, born 1972) is a widely acclaimed visual artist who has built a practice around investigating the material aspects of land and urban space. For over twenty years, the Rotterdam-based artist has been visiting different cities to identify abandoned, unused, or forgotten plots of land, examining the processes of contemporary transformations brought by social, political, and economic changes. She conducted relevant research on these lands and brought them to light through photography, publications, and installations. In recent years, Almarcegui’s attention has turned towards construction sites, in particular the composite materials used to construct new buildings and the cyclical relationship between land and architecture. Almarcegui has completed commissions for numerous international biennials and represented Spain in the Spanish Pavilion of the 55th Venice Biennale (2013).
May Fung (Hong Kong, born 1952) is one of the most important moving image artists working in Hong Kong today. She has been an influential voice in experimental practice in the city for over three decades, with a body of work that is interwoven with history and politics. In 1985, with Ellen Pau, Wong Chi-fai, and Comyn Mo, Fung co-founded Videotage, a Hong Kong collective that supports experimental video and new media work. Her moving image practice encompasses theatre and installations, reflecting the influence of her long-standing relationship with Hong Kong experimental theatre company Zuni Icosahedron. In addition to her art practice, she is active as an art educator.
Lee Bul (Korean, born 1964) is an internationally renowned artist who has made versatile contributions to contemporary art. Living and working in Seoul, she creates performances, sculptures, and installations to explore issues of gender and sexuality, questioning patriarchal authority by revealing ideologies that permeate our cultural and political spheres. Academically trained in sculpture, Lee appeared on the art scene in the late 1980s as a performance artist and turned her attention to sculptures by the mid-1990s. Crafted from materials such as metal, silicone, and crystal beads, her recent sculptural works often draw inspiration from the futuristic visions of nineteenth- and twentieth-century utopian thinkers and architects. Mid-career retrospectives of her work have been mounted by the Mori Art Museum, Tokyo (2012) and the Hayward Gallery, London (2018).
Ana Mendieta (American, born Cuba. 1948–1985) is a globally celebrated artist who created work in Cuba, Mexico, Italy, and the United States. Drawing largely from her history of being displaced from her native Cuba, her wide-ranging works—including performances, photographs, sculptures, paintings, and films—speak uniquely to themes such as feminism, humanity, identity, mortality, place, and belonging. In 1978, Mendieta relocated to New York and joined the A.I.R. Gallery, the first all-female artists’ cooperative gallery in the US. Known for pushing sexual, religious, and political boundaries, Mendieta’s works brought art into closer contact with the social realities of her time and remain profoundly influential. Mendieta has been the subject of several posthumous career survey exhibitions organised by the New Museum of Contemporary Art (1987), the Hirshhorn Museum and Sculpture Garden (2004), and the Art Institute of Chicago (2011). More recently, her films have been showcased at the Katherine E. Nash Gallery of the University of Minnesota and the Jeu de Paume, Paris.
Charlotte Posenenske (German, 1930–1985) is a pioneering sculptor whose artistic contributions have been lasting and far-reaching. Posenenske became inspired by the American Minimalism movement during visits to New York in the early 1960s and developed a penchant for industrial materials and processes. She displayed her works in highly democratic ways, allowing her sculptures to be rearranged to fit different spaces. This revolutionary approach introduces ideas of variability and cooperation, forging an exceptional connection between Minimalist art and participatory practices. In 1968, Posenenske left the art world and worked as a sociologist specialising in labour relations until her death. Several posthumous exhibitions of Posenenske’s career have been mounted, including a major touring retrospective currently on view at Dia:Beacon, New York.