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.

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.

Dr. Jonathan Corpus Ong is Assistant Professor in Sociology at Hong Kong Baptist University. He received his Ph.D. in Sociology from the University of Cambridge in 2011. Jonathan has published his work on media and migration, media ethics, and mediated political participation in Media, Culture & Society, Television & New Media, and Communication, Culture & Critique. He was the first Graduate Student Representative of the Popular Communication Division of the International Communication Association. His first book The Poverty of Television is forthcoming from Anthem Press. In July 2013, he joins the University of Leicester (UK) as Lecturer in Media and Communications.

Jason was born in 1981, in Quezon City, The Philippines. He is presently a final year Institute of Communication Studies  Ph.D. Scholar at the University of Leeds, UK; he is also a Lecturer in Media Studies and the Program Coordinator of the Master’s in  Journalism program at the Department of Communication, Ateneo de Manila University, The Philippines. He was previously an Association of Southeast Asian Nations Research Fellow at the Asia Research Institute, National University of Singapore and a consultant of the Communication for Governance and Accountability Program of The World Bank. His scholarly works include articles in the internationally peer-reviewed journals Media, Culture and Society (forthcoming), New Media and Society, and Southeast Asia Research; an entry in the Encyclopaedia of Social Networking; and a chapter in the book Changing Media, Changing Societies (Asian Media Information and Communication Centre, 2009). His present research interests are on social and mediational approaches to migration, multiculturalism, and politics.

Gina Osterloh investigates operations of mimesis and perception through photography, video, and performance. Her photographs depict constructed life-size room environments activated through still performances, papier-mâché models, and cardboard cutouts. Recent projects include a documentary with New Vision, a blind massage therapist cooperative in Manila, Philippines. The piece investigates perception and identity through the lens of blindness. Current exhibitions include This is Not America: Resistance, Protest and Poetics, Arizona State University Museum; Demolition Women, curated by Commonwealth & Council, Chapman University. Solo exhibitions include Anonymous Front, Yerba Buena Center for the Arts, San Francisco; Group Dynamic and Improper Light, Los Angeles Contemporary Exhibitions; and Body Prop, Silverlens, Manila. Reviews of her work appear in Art in America, Art Asia Pacific, Art Monthly Australia, Art Forum, Art on Paper and Art Practical. Osterloh's first monograph, Group Dynamic, is available through RAM publications.

Osterloh is currently Visiting Assistant Professor of Photography and Integrated Media at Otterbein University. She has also taught graduate and undergraduate courses in interdisciplinary critique, photography, lighting techniques, and digital media at the California State University of Fullerton and of Long Beach, the New York Film Academy, the University of Redlands, and the San Francisco Art Institute.

Dr. Jonathan Corpus Ong is Assistant Professor in Sociology at Hong Kong Baptist University. He received his Ph.D. in Sociology from the University of Cambridge in 2011. Jonathan has published his work on media and migration, media ethics, and mediated political participation in Media, Culture & Society, Television & New Media, and Communication, Culture & Critique. He was the first Graduate Student Representative of the Popular Communication Division of the International Communication Association. His first book The Poverty of Television is forthcoming from Anthem Press. In July 2013, he joins the University of Leicester (UK) as Lecturer in Media and Communications.

Jason was born in 1981, in Quezon City, The Philippines. He is presently a final year Institute of Communication Studies  Ph.D. Scholar at the University of Leeds, UK; he is also a Lecturer in Media Studies and the Program Coordinator of the Master’s in  Journalism program at the Department of Communication, Ateneo de Manila University, The Philippines. He was previously an Association of Southeast Asian Nations Research Fellow at the Asia Research Institute, National University of Singapore and a consultant of the Communication for Governance and Accountability Program of The World Bank. His scholarly works include articles in the internationally peer-reviewed journals Media, Culture and Society (forthcoming), New Media and Society, and Southeast Asia Research; an entry in the Encyclopaedia of Social Networking; and a chapter in the book Changing Media, Changing Societies (Asian Media Information and Communication Centre, 2009). His present research interests are on social and mediational approaches to migration, multiculturalism, and politics.

Kang Seung Lee is a multidisciplinary artist who was born in South Korea and now lives and works in Los Angeles, CA.

Kang has had solo and group exhibitions at Centro Cultural Border, Mexico City; the Weatherspoon Art Museum at the University of North Carolina, Greensboro; and the Museo Casa de Leon Trotzky, Mexico City; among many others. He is currently pursuing an M.F.A. at the California Institute of the Arts.

Recent projects include 12 Selfies (2014), Untitled Needlepoint project (2013), and the Hill (2013).

Profile image: "untitled (me as aunt george)" by Kang Seung Lee. 

Kang Seung Lee is a multidisciplinary artist who was born in South Korea and now lives and works in Los Angeles, CA.

Kang has had solo and group exhibitions at Centro Cultural Border, Mexico City; the Weatherspoon Art Museum at the University of North Carolina, Greensboro; and the Museo Casa de Leon Trotzky, Mexico City; among many others. He is currently pursuing an M.F.A. at the California Institute of the Arts.

Recent projects include 12 Selfies (2014), Untitled Needlepoint project (2013), and the Hill (2013).

Profile image: "untitled (me as aunt george)" by Kang Seung Lee. 

Lordy Rodriguez was born in the Philippines, raised in Louisiana and Texas, and currently lives in Hayward, California. He obtained his B.F.A. from the School of Visual Arts in New York and his M.F.A. from Stanford University. For several years he has been working on a series of ink drawings that reinterpret the United States of America as delineated by geographic, civic and state boundaries. These handmade maps, drawn in fine Technicolor detail, represent his take on the ideal reconfiguration of our [U.S.] country. His recent exhibitions include "The Map is Not the Territory" at the Hosfelt gallery New York, New York (2011); “Surface Depths” at Nevada Art Museum (2009); “States of America” at the Austin Museum of Art (2009); “Optimism in the Age of Global War” at the 10^th Annual Istanbul Biennial, Istanbul, Turkey (2007); “The California Biennial” at the Orange County Museum of Art, Newport Beach, California (2006); “Perspectives,” as part of “25: A Quarter Century of New Art” at the Contemporary Arts Museum in Houston, Texas (2004); and “Dessins et des autres” at Galerie Anne de Villepoix in Paris, France (2004).

Lordy Rodriguez was born in the Philippines, raised in Louisiana and Texas, and currently lives in Hayward, California. He obtained his B.F.A. from the School of Visual Arts in New York and his M.F.A. from Stanford University. For several years he has been working on a series of ink drawings that reinterpret the United States of America as delineated by geographic, civic and state boundaries. These handmade maps, drawn in fine Technicolor detail, represent his take on the ideal reconfiguration of our [U.S.] country. His recent exhibitions include "The Map is Not the Territory" at the Hosfelt gallery New York, New York (2011); “Surface Depths” at Nevada Art Museum (2009); “States of America” at the Austin Museum of Art (2009); “Optimism in the Age of Global War” at the 10^th Annual Istanbul Biennial, Istanbul, Turkey (2007); “The California Biennial” at the Orange County Museum of Art, Newport Beach, California (2006); “Perspectives,” as part of “25: A Quarter Century of New Art” at the Contemporary Arts Museum in Houston, Texas (2004); and “Dessins et des autres” at Galerie Anne de Villepoix in Paris, France (2004).

Rolando B. Tolentino is Dean of the University of the Philippines College of Mass Communication and faculty of the University of the Philippines Film Institute.  He has taught at Osaka University and the National University of Singapore, has been a Distinguished Visitor at the University of California, Berkeley, and at the University of California, Los Angeles Southeast Asian Studies Consortium, and a recipient of the Obermann Summer Research Fellowship.  He is the author of National/Transnational: Subject Formation and Media in and on the Philippines (Ateneo University Press, 2001), and the editor of positions’ special issue “Vaginal Economy: Cinema and Sexuality in the Post-Marcos Post-Brocka Philippines” ( 2011), and Geopolitics of the Visible: Essays on Philippine Film Cultures (Ateneo University Press, 2002).  He is a member of the Manunuri ng Pelikulang Pilipino (Filipino Film Critics Group) and chairs the Congress of Teachers and Educators for Nationalism and Democracy (CONTEND-UP).

Photograph by Piya Constantino.