Do Ho Suh is an internationally renowned Korean artist. Suh constructs site-specific installations and meticulously crafted sculptures that question boundaries of identity, conventional notions of scale, and space in both its physical and metaphorical manifestation.

Suh studied oriental painting at Seoul National University in the 1980s, and in 1991 he moved to the United States to study painting at the Rhode Island School of Design and sculpture at Yale University School of Art. He settled in New York in 1997, where he lived and worked until relocating to London in 2010. He currently maintains studios in London, Seoul, and New York.

Suh represented South Korea at the 49th Venice Biennale in 2001 with his iconic work Some/One, constructed of military dog tags exploring individual and collective identity. Solo exhibitions of his work have been presented internationally, including at the Whitney Museum of American Art at Philip Morris, New York, 2001; Seattle Art Museum, Seattle, 2002; Serpentine Gallery, London, 2002; Artsonje Center, Seoul, 2003; the Fabric Workshop and Museum, Philadelphia, 2005; Storefront for Art and Architecture, New York, 2010; DAAD Galerie, Berlin, 2011; Singapore Tyler Print Institute, Singapore, 2011; Leeum, Samsung Museum of Art, Seoul, 2012; Hiroshima City Museum of Contemporary Art, Hiroshima, 2012; 21st Century Museum of Contemporary Art, Kanazawa, 2012–13; National Museum of Modern and Contemporary Art, Seoul, 2013; The Contemporary Austin, Austin, 2014; and the Museum of Contemporary Art, Cleveland, Ohio, 2015.

Suh’s work has been prominently featured in major group exhibitions and biennials worldwide, including the Istanbul Biennial, Turkey, 2003; Psycho Buildings, Hayward Gallery, London, 2008; Your Bright Future, Los Angeles County Museum of Art, Los Angeles, and Museum of Fine Arts, Houston, 2009; Liverpool Biennial, 2010; Venice Architecture Biennale, 2010; Gwangju Biennale, 2012; Museum of Contemporary Art, Chicago, 2013; Center for Contemporary Art, Beijing, 2014; Hammer Museum, Los Angeles, 2015; and Mori Art Museum, Tokyo, 2015. His work is included in numerous museum collections worldwide, including the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Los Angeles County Museum of Art, Los Angeles; Tate Modern, London; Leeum Samsung Museum, Seoul; Artsonje Center, Seoul; Museum of Contemporary Art, Tokyo; Mori Art Museum, Tokyo; and the 21st Century Museum of Contemporary Art, Kanazawa, among many others.

Lek Borja is an interdisciplinary artist and poet based in Los Angeles, CA. Her writings have appeared in US and international journals: Lantern Review, San Francisco Press’s Lady Jane Miscellany, REM Magazine, and Society for Curious Thought, among others. Her chapbook of experimental poetry, Android, was acquired by the Yale University Library for their special collections and is available at Plan B Press. She has exhibited or will be exhibiting her art works in Los Angeles and out-of-state galleries: the Loft at Liz’s, the Hi-Lite, and FrontierSpace. She can be contacted at www.lekborjastudio.com.

Lek Borja is an interdisciplinary artist and poet based in Los Angeles, CA. Her writings have appeared in US and international journals: Lantern Review, San Francisco Press’s Lady Jane Miscellany, REM Magazine, and Society for Curious Thought, among others. Her chapbook of experimental poetry, Android, was acquired by the Yale University Library for their special collections and is available at Plan B Press. She has exhibited or will be exhibiting her art works in Los Angeles and out-of-state galleries: the Loft at Liz’s, the Hi-Lite, and FrontierSpace. She can be contacted at www.lekborjastudio.com.

Lek Borja is an interdisciplinary artist and poet based in Los Angeles, CA. Her writings have appeared in US and international journals: Lantern Review, San Francisco Press’s Lady Jane Miscellany, REM Magazine, and Society for Curious Thought, among others. Her chapbook of experimental poetry, Android, was acquired by the Yale University Library for their special collections and is available at Plan B Press. She has exhibited or will be exhibiting her art works in Los Angeles and out-of-state galleries: the Loft at Liz’s, the Hi-Lite, and FrontierSpace. She can be contacted at www.lekborjastudio.com.

Lek Borja is an interdisciplinary artist and poet based in Los Angeles, CA. Her writings have appeared in US and international journals: Lantern Review, San Francisco Press’s Lady Jane Miscellany, REM Magazine, and Society for Curious Thought, among others. Her chapbook of experimental poetry, Android, was acquired by the Yale University Library for their special collections and is available at Plan B Press. She has exhibited or will be exhibiting her art works in Los Angeles and out-of-state galleries: the Loft at Liz’s, the Hi-Lite, and FrontierSpace. She can be contacted at www.lekborjastudio.com.

Lek Borja is an interdisciplinary artist and poet based in Los Angeles, CA. Her writings have appeared in US and international journals: Lantern Review, San Francisco Press’s Lady Jane Miscellany, REM Magazine, and Society for Curious Thought, among others. Her chapbook of experimental poetry, Android, was acquired by the Yale University Library for their special collections and is available at Plan B Press. She has exhibited or will be exhibiting her art works in Los Angeles and out-of-state galleries: the Loft at Liz’s, the Hi-Lite, and FrontierSpace. She can be contacted at www.lekborjastudio.com.

Since 2001, Lin + Lam (Lana Lin and Lan Thao Lam) have produced multi-disciplinary research-based projects that address subjects such as immigration, sites of residual trauma, propaganda, democratization, militarism, national identity, and historical memory. Inspired by a particular site, historical incident, or political issue, their research takes the form of interviews, archival materials, site visits, and found objects. Their collaboration brings into conversation their divergent individual strengths. Lam's architectural training informs her work with materials, scale, and space, and Lin's experimental film background guides her attention to the formal capacities of moving image media. Emerging from the interrelation between current events and historical residues, their work offers a phenomenological context for understanding how the past impinges upon the present, and how the present shapes the ways we contend with the past. Their work takes place across a range of speeds, often requesting that viewers spend time with it and challenging them to be alert to things that might bypass them, from quotidian detritus to political regime change. Their recent collaborations have engaged social spaces where they put into question the politics of identity and cultural translation. These projects strive to speak alongside identities that travel across or between recognized categories. Lin + Lam approach their art practice as a means of negotiating difference, the difference in racial, gender, economic, and social status between themselves and a particular community and the differences inherent within the community itself. Involving themselves in an interrogative relation with their objects and areas of inquiry, they hope to foster productive interchanges between diverse and unlikely interlocutors. This may mean bringing together anachronistic sources, enacting counter-archival practices, or combining the personal with the political. The environments the artists construct or the events that they stage, whether physical or psychic, invite viewers and participants to contemplate the imbrication of history, power, desire, and memory.

Since 2001, Lin + Lam (Lana Lin and Lan Thao Lam) have produced multi-disciplinary research-based projects that address subjects such as immigration, sites of residual trauma, propaganda, democratization, militarism, national identity, and historical memory. Inspired by a particular site, historical incident, or political issue, their research takes the form of interviews, archival materials, site visits, and found objects. Their collaboration brings into conversation their divergent individual strengths. Lam's architectural training informs her work with materials, scale, and space, and Lin's experimental film background guides her attention to the formal capacities of moving image media. Emerging from the interrelation between current events and historical residues, their work offers a phenomenological context for understanding how the past impinges upon the present, and how the present shapes the ways we contend with the past. Their work takes place across a range of speeds, often requesting that viewers spend time with it and challenging them to be alert to things that might bypass them, from quotidian detritus to political regime change. Their recent collaborations have engaged social spaces where they put into question the politics of identity and cultural translation. These projects strive to speak alongside identities that travel across or between recognized categories. Lin + Lam approach their art practice as a means of negotiating difference, the difference in racial, gender, economic, and social status between themselves and a particular community and the differences inherent within the community itself. Involving themselves in an interrogative relation with their objects and areas of inquiry, they hope to foster productive interchanges between diverse and unlikely interlocutors. This may mean bringing together anachronistic sources, enacting counter-archival practices, or combining the personal with the political. The environments the artists construct or the events that they stage, whether physical or psychic, invite viewers and participants to contemplate the imbrication of history, power, desire, and memory.

Clare Counihan earned her M.A. and Ph.D. in English Language and Literature from the University of Michigan, Ann Arbor, and her B.A. in English Literature from Duke University. Her research focuses on contemporary southern African experimental literature and the relationship between narrative form and national belonging for unbeloved subjects. She is also deeply interested in food: eating it, cooking it, understanding the ways it reflects and mediates our identities and interactions.

Sarita Echavez See was born in New York City but raised as an "embassy brat" moving from city to city around the world. She received her B.A. from the University of California, Berkeley, where she first became involved with U.S. women of color politics, especially the arts and culture movement. She obtained her Ph.D. in English and Comparative Literature at Columbia University. While studying in New York City, she met the Filipino American artists and writers who inspired and continue to inspire her teaching and scholarship. In 2013, she joined the faculty of the University of California, Riverside, where she is an associate professor of Media and Cultural Studies. She previously taught at Williams College, the University of Michigan, Ann Arbor, and the University of California, Davis. Her research and teaching interests include Asian American and Filipino American cultural critique, postcolonial and empire studies, narrative, and theories of gender and sexuality. She is the author of the book-length study The Decolonized Eye: Filipino American Art and Performance (University of Minnesota Press, 2009), in which she argues that contemporary Filipino American forms of aesthetic and performative abstraction powerfully expose and indict the history of American imperialism as itself a form of abstraction. She is at work on the book-length project “Against Accumulation,” which is a study of the politics of accumulation in the American museum and university and of the politics of anti-accumulation in Filipino American theatre, writing, and visual art. She was one of the core organizers of the 2011 conference "Critical Ethnic Studies and the Future of Genocide" held at the University of California, Riverside, and she has served as a member of the working board of the Critical Ethnic Studies Association. In her work with the Center for Art and Thought and its focus on the contemporary medium of the digital, she envisions CA+T to be a transnational venue for more meaningful, reciprocal encounters between artists and scholars, and she is committed to fostering new forms of literacy, rather than tutelage, and to the transformation, rather than the mere transmission and replication, of knowledge.

Sita Kuratomi Bhaumik is conceptual artist working with craft and food to tell the stories of migration. Sita holds a B.A. in Studio Art from Scripps College, and an M.F.A. in interdisciplinary art and an M.A. in Visual and Critical Studies from California College of the Arts. Raised in Los Angeles and based in Oakland, she is Indian and Japanese Colombian American. Sita has exhibited and collaborated in the US, Holland, Ireland, Hong Kong, and Mexico. Her projects include installing curry powder in a European castle, importing artisan goods over the US-Mexico border, and leading workshops about food, migration, and memory in Hong Kong. Her most recent project, Estamos contra el muro | We are against the wall, involved the collaborative construction of a border wall made entirely of piñatas. The East Bay Express described it as "the most joyous political critique of the year."
 
Sita is also a co-founder of the People's Kitchen Collective (PKC), who were named in 2016's Yerba Buena Center for the Arts’ YBCA 100 list. They are recipients of the Center for Asian American Media’s (CAAM) Advocate Award and were awarded support by the Kenneth Rainin Foundation Open Spaces Program. PKC recently exhibited with For Freedoms, the first artist-run super PAC at Jack Shainman Gallery in New York and at the Smithsonian Asian Pacific American Center's Crosslines pop-up museum. The goal of The People's Kitchen is to not only fill our stomachs but also nourish our souls, feed our minds and fuel a movement.
 
See also peopleskitchencollective.com.

Photo credit: Rachyel Magana