Lorna Brown is a Vancouver-based visual artist, curator, writer and editor. Brown is a founding member of Other Sights for Artists’ Projects, and is an ongoing member of the Other Sights Producer team. She was the Director/Curator of Artspeak Gallery from 1999 to 2004, an artist-run centre focusing on the relationship between visual art and writing. Between 2015 and 2022, she was Acting Director/Curator at the Belkin, curating exhibition series such as Beginning With the Seventies that explored the relationship between art, archives and activism. Brown has exhibited her work internationally since 1984, and has taught at Simon Fraser University and Emily Carr University of Art and Design where she received an honorary doctorate of letters in 2015. Awards include the Vancouver Institute for the Visual Arts Award (1996) and the Canada Council Paris Studio Award (2000). Her work is in the collections of the Belkin, SFU Galleries, the National Gallery of Canada, the BC Arts Council, the Surrey Art Gallery and the Canada Council Art Bank.

Born in London to Colombian parents, Carolina Caycedo (London, b.1978) is an artist involved in territorial resistance, solidarity economies sustained through community projects and housing as a human right. Contributing to the construction of environmental historical memory as a way of preventing violence against human and non-human entities, her work generates debate about the futures of shared resources, environmental justice, just energy transition and cultural biodiversity. Since 2012 she has developed Be Dammed, a body of work that focuses on communities affected by extractivist industries, such as the construction of dams and the privatization of water. Upcoming solo museum shows include Muzeum Sztuki (Łódź), Orange County Museum of Art (California) and ICA (Boston). In 2019 her work has been included in the 45 Salón Nacional de Artistas Colombia, the Chicago Architecture Biennial and Film Sector of Art Basel. She is an active member of the Los Angeles Tenants Union and the Rios VivosColombia social movement.

Nelly César (Mexican, b. 1986) is an interdisciplinary artist exploring sculpture, installation and drawing in connection to performance. Her multifaceted experimental projects work to propose alternative ways of experiencing art, and to build stronger and more diverse artistic communities. César attempts to decolonize artistic and urban territories by reclaiming spaces and creating self-organizing structures outside of hegemonic economic and social systems. César’s commitment to constructing alternatives to institutional traditions is central to her work as the creative director and co-founder of Pandeo, an independent cultural centre in Mexico City. Pandeo creates new ways of thinking about public space and feminist practices, focusing on the interpersonal and affective interactions between the arts, audiences and creators. César is also a founding member of Prras!, an art and editorial project engaging with issues of labour, economy and professionalization for women in the arts.Her work has been shown in Mexico, Canada, Argentina, Hungary, France and the US, and is included in the Museo de Mujeres Artistas Mexicana and in Archiva: Masterpieces of Mexican Feminist Art by Mónica Mayer. César received her MFA from the University of British Columbia.

Guadalupe Martinez (Argentinian, b. 1980) holds a BFA from IUNA (Buenos Aires, Argentina) and an MFA from University of British Columbia, in Vancouver. Her research in space and materiality, performance and pedagogy function as means to develop forms of somatic activism, healing, and embodied interventions through radical presence. Martinez is an active participant and creator of CUERPO, an ongoing research, collaboration and mentorship process articulated through performance. Most recently, in conjunction with Or Gallery, CUERPO took the form of a series of embodiment workshops which culminated in a public performance at Cathedral Square in downtown Vancouver (2019). Martinez has shown at the Vancouver Art Gallery’s FUSE, Griffin Art Projects, VIVO Media Arts Centre, Latitude 53 (Edmonton), Access Gallery, the Apartment, Satellite Gallery, and grunt gallery.

Teresa Montoya (Diné, b. 1984) is a social scientist and media maker trained in socio-cultural anthropology, critical Indigenous studies and filmmaking. Drawing from Diné oral histories as well as ethnographic and archival practice, Montoya’s research and media production focuses on legacies of environmental contamination and settler colonialism in relation to contemporary issues of tribal jurisdiction and regulatory politics in the Indigenous Southwest. Her photographic and film work has been shown and published internationally, including in the Ethnographic Terminalia curatorial collective and Anthropology Now. In addition to her art practice, she has curatorial and education experience in various institutions, including the Peabody Essex Museum, the National Museum of the American Indian, and the Indian Arts Research Center at the School for Advanced Research, Santa Fe. She holds a PhD in Cultural Anthropology from New York University with a filmmaking certificate in Culture and Media. Montoya is a Provost’s Postdoctoral Fellow in the Department of Anthropology at the University of Chicago where she teaches courses in Native American and Indigenous Studies.

Anne Riley is a multidisciplinary artist living as an uninvited Slavey Dene/German guest from Fort Nelson First Nation on the unceded territories of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh and Sel̓íl̓witulh Nations. Her work explores different ways of being and becoming, touch and Indigeneity. Riley received her BFA from the University of Texas at Austin in 2012 and has exhibited across the United States and Canada. From 2018 to 2020, she worked on a public art project commissioned by the City of Vancouver with her collaborator, T’uy’t’tanat Cease Wyss. Riley and Wyss’s project, A Constellation of Remediation, consisted of Indigenous remediation gardens planted throughout the city. Riley and Wyss were longlisted for the 2021 Sobey Art Award. Since this project, Riley participated in the Drift: Art and Dark Matter residency and exhibition, creating works that consider the possibilities of making and being beyond the confines of Western institutions and extractive processes.

Genevieve Robertson (Canadian, b. 1984) is an interdisciplinary artist with a background in environmental studies. Her drawings are often comprised of found organic materials collected on-site, and map a visceral and long-term engagement with specific regions. Through recent research in the Kootenays, the Salish Sea and the Fraser and Columbia rivers, she has engaged with the complexities that emerge when relating to land and water in a time of large-scale industrial exploitation and climate precarity. Her process-based studio work is rooted in inquisitive conversation, long-term place-based exploration and being out on the shoreline. Robertson has shown at venues including at the Libby Leshgold Gallery at Emily Carr University of Art and Design, the Pensacola Museum (Florida), Touchstones Museum (Nelson), Or Gallery (Vancouver), the New Gallery (Calgary) and Walter Phillips Gallery, Banff Centre. She holds an MFA from Emily Carr University (2016) and a BFA from NSCAD University (2009).  

Susan Schuppli (Swiss-Canadian, b. 1967) is an artist and researcher based in London whose work examines material evidence from war and conflict to environmental disasters. In particular she investigates the challenges that contaminated environments pose for making truth claims that turn on the legal question of direct causality. Her artistic process involves working directly with scientists and lawyers, often bringing different materials and perspectives together to create new critical vantage points or to produce a counter narrative. Creative projects have been exhibited throughout Europe, Asia, Canada, and the US.She has published widely in media and politics and received the ICP Infinity Award for Critical Writing and Research in 2016. Her book, MATERIAL WITNESS: Media • Forensics • Evidence,will be published by MIT Press in 2020. Schuppli holds a PhD in Cultural Studies and Research Architecture from Goldsmiths University of London, and participated in the Whitney Independent Study Program after completing her MFA at the University of California San Diego. Currently, she is the Director of the Centre for Research Architecture and Board Chair of Forensic Architecture at Goldsmiths.

Susan Schuppli (Swiss-Canadian, b. 1967) is an artist and researcher based in London whose work examines material evidence from war and conflict to environmental disasters. In particular she investigates the challenges that contaminated environments pose for making truth claims that turn on the legal question of direct causality. Her artistic process involves working directly with scientists and lawyers, often bringing different materials and perspectives together to create new critical vantage points or to produce a counter narrative. Creative projects have been exhibited throughout Europe, Asia, Canada, and the US.She has published widely in media and politics and received the ICP Infinity Award for Critical Writing and Research in 2016. Her book, MATERIAL WITNESS: Media • Forensics • Evidence,will be published by MIT Press in 2020. Schuppli holds a PhD in Cultural Studies and Research Architecture from Goldsmiths University of London, and participated in the Whitney Independent Study Program after completing her MFA at the University of California San Diego. Currently, she is the Director of the Centre for Research Architecture and Board Chair of Forensic Architecture at Goldsmiths.