Christian Palestinian Archive: A Project by Dor Guez

Exhibition and Programs

Christian Palestinian Archive: The James Gallery A Project by Dor Guez The Graduate Center, CUNY

365 Fifth Avenue at 35th Street The Graduate Center

centerforthehumanities.org/james-gallery

Apr 8–Jun 4, 2016 Exhibition and Programs

Introduction landscape into a sea of shadows. While Guez fixes his camera to produce a static “post- A golden sunset against a beach in present- card” image of the beach as a site of day Jaffa serves as a deceptively idyllic recreation and leisure, this image is simulta- backdrop for Dor Guez’s film Sabir (2010). neously reframed by Samira’s story, not For about twenty minutes, we see shadows only as a site from her past but from where of individuals partaking in everyday acti- she is estranged in the present. vities against the slowly setting sun: children The story of Samira Monayer is central run home for dinner, couples hold hands to this presentation in the James Gallery, on a romantic stroll, and joggers venture out where it serves as an entry point to Guez’s for evening exercise while surfers ride the artistic practice and the inspiration for the last waves before the sun’s rays drop below Christian Palestinian Archive. This digital the horizon. These shadows are more archive was founded by Guez in 2009 after significant than the charming vignettes they he discovered a suitcase under his grand- appear to be at first glance. Their peace- parents’ bed filled with old photographs ful appearances belie a turbulent history and other personal documents. Organizing and precarious reality of contemporary life these materials into albums proved insuf- in —a discrepancy revealed by the ficient, as the photographs’ personal, film’s narrator, a Palestinian woman named historical, and material significance was Samira Monayer. We never see Samira in the hampered by the rigidly linear book format. film, but we hear her story: her childhood Following this failed experiment, Guez’s in Jaffa and her family’s expulsion in 1948 grandmother, Samira, gave him permission during the Palestinian exodus from land to scan and upload the documents. Guez’s claimed by Israel (known as al-, “the solution marked the beginning of the catastrophe”),1 their global dispersal to CPA and a turning point in his artistic prac- Lydd (), Amman, Cyprus, Cairo, and tice. Much more than a digitized family London, and eventually, Samira’s life in the album, today the CPA contains thousands new Israeli society. of images from Christian Palestinian com- The title of the film, Sabir, which derives munities across the world. Unlike other from the Latin to know, is a Mediterranean archives, the CPA is not invested in material pidgin language combining elements of conservation, and all photographs are French, Italian, Portuguese, Spanish, Arabic, returned to their owners after being Hebrew, Turkish, and Greek. Widely spoken scanned. Open calls have been held since among seafarers and travelers between 2009 from to London to São Paulo, the eleventh and nineteenth centuries, it with a new open call to be held in New York refers to a time in which the linguistic and over the course of Guez’s project at The cultural borders of the region were fluid, Graduate Center. informed by personal experiences and con- Christian make up a very nections. Guez appropriates this term small percentage of the population in Israel- to refer to many displaced Palestinians who today: less than 2% of Israel, 1% have learned multiple languages while adap- of the , and .5% of the .2 ting to life in the post-1948 diaspora. Over Despite their small numbers in those terri- the crash of waves against the shore, tories, they represent hundreds of thousands Samira—in her native Arabic—recalls her in a diaspora stretched across the Middle childhood, when she could walk just one East, Europe, and the Americas.3 The CPA is hundred steps from her home to the Medi- at its heart a participatory project, explor- terranean, and contemplates the 1948 ing stories of the community members who war and its aftermath in Hebrew. Guez, wish to participate. Christian Palestinians however, visually and metaphorically com- have frequently been marginalized in plicates this binary between memory and historical accounts of the region, and Guez’s history as the setting sun over the Jaffa initiative addresses this omission. Yet this beach transforms the contemporary Israeli process of writing history against the grain

3 The James Gallery is not exclusively on the level of content for scanograms based on photographs includ- Guez. His constant but subtle refusal to fall ed in the CPA. The original photographs, into the easy traps of predetermined nar- dating from 1938–1958, portray important ratives and reductive identity politics is best events in the lives of Samira and her family understood through the formal tensions of before and after the declaration of the his artwork, which self-reflexively push state of Israel. After Jaffa was taken by mil- the limits of representation and authorship. itary force in 1948, the family fled about “Scanogram” is the term Guez uses for seventeen miles southeast to Lydd, a city re- the works that result from his digital ma- vered in Christianity as the burial site of nipulation of scans from previously existing Saint George. The Israeli military conquered visual materials. Loose historical prece- Lydd just a few months later and marched dents for this process are the early twenti- most of the Palestinian occupants to the eth century photogram experiments of Jordanian border. Only 1,030 out of more than László Moholy-Nagy, Man Ray, and Christian 20,000 Palestinians stayed in the city, Schad, who placed existing, often mundane, including Samira.5 Jewish immigrants quickly objects on photosensitive paper and ex- filled the abandoned houses, and the city was posed them to light, in the process creating given the Hebrew name Lod. The remaining abstracted and frequently surreal compo- Palestinian population was restricted to sitions visually akin to x-rays. By producing an area, which became known as the “Lod a photograph without a camera, these Ghetto.” Several of Guez’s scanograms doc- artists circumvented the supposedly “nat- ument Samira’s wedding in the Lod Ghetto ural” relationship between referent and on July 13, 1949, exactly one year after image, forcing the viewer to question the the invasion of the city. veracity of mimetic representation. Rather Accounts of the events in Lydd in 1948 than photosensitive paper, Guez uses scan- vary widely among historians as the Israeli ning machines as his medium. Since most government continues to downplay its scanners are automatically designed to role in the violent Palestinian exodus from smooth aberrations and imperfections, Guez Lydd and its neighboring city of Ramla.6 relies on scanners of different commercial By recovering the visual and material traces qualities for different layers: each layer is of this time and place, and making them selected to highlight a different aspect of the publicly available, it can be argued that Guez original document, such as composition, enters his scanograms as evidence in this color, and physical condition. The layers are ongoing debate over the historical record. combined into one high-resolution digital This testimonial potential of the scanogram, image that is often printed on a large hinted at in Scanogram #1, is more evident scale, magnifying the details of the original in 40 Days (2012), a series documenting composition. Guez’s new digital image vandalism of the Christian cemetery in Lydd, paradoxically emphasizes the original pho- where Samira’s family is buried. Samira’s tograph’s material history as an object of husband, Jacob, snapped the original historical evidence. The original document’s photographs to initiate a police investigation tears, creases, and evidence of handling into the desecration of the graves. Failing over time meld with the composition to pro- to find those responsible for the vandalism, duce a work that sits on the cusp between police returned the photographs, after which digital and material, image and object. they were kept in a kitchen drawer and In this project Guez’s focus on Christian exposed to heat and condensation, causing Palestinians within Israel hones in on a the photographs to congeal to each other unique and complex experience difficult over time. Separating the photographs later to represent and therefore ripe for his self- caused them to tear at the edges, leaving reflexive aesthetic strategy: the uncanny ghostly streaks. The resulting scanograms condition of being a “present-absentee” ex- document both the desecration of the iled on one’s own land.4 Scanogram #1 Christian graves and the human remains (2010) is a series of fifteen black and white contained therein, and the destruction

4 Christian Palestinian Archive: A Project by Dor Guez of the photographs themselves as an object 1. Whereas most of Israel’s Jewish citizens refer to the of discarded evidence. Their large format, 1948 war as the War of Independence, Palestinians which emphasizes the physical damage refer to the war and its aftermath as the Nakba, or “catastrophe.” With the establishment of the State of of the photograph, simultaneously abstracts Israel, nearly three-quarters of a million Palestinians the original composition and draws atten- were exiled. tion to the multiple levels of real and meta- 2. “FACTBOX - Christians in Israel, West Bank and phorical violence the image represents. Gaza,” Reuters UK, May 10, 2009 (accessed February Guez is astutely aware that evidence can 16, 2016). never be self-evident, but, like history, is 3. William Safran, “Diasporas in Modern Societies: Myths of Homeland and Return,” Diaspora, Volume 1, always constructed. In other words, evid- Number 1, Spring 1991: 83–99. ence must be made legible to systems of 4. “Present-absentee” is the official term used to power in order for it to be recognized as designate Palestinians who remained in the country legally admissible. These photographs were after 1948, but whose land and property were deemed insufficient by the Israeli authori- confiscated and handed over to the state. The ties. Guez’s scanograms subtly critique this Absentee Property Law of 1950 grants to the State of Israel the assets of those Palestinians deported circuitous system of representation and the from it in the 1948 war. Israel’s expulsion of Palestinian unstable category of evidence while also ac- civilians in 1948, the confiscation of their property, knowledging and taking part in recognition and the denial of their right to return after the war are for Christian Palestinians and their stories. actions forbidden by the Geneva Convention (IV) (Sa)Mira (2009) is a film in which relative to the Protection of Civilian Persons in Time of Samira’s granddaughter (also named Sami- War. Geneva, August 12, 1949, articles 49 and 53 (see http://www.icrc.org/ihl.nsf/FULL/380?Open ra) relates a moment of discrimination in Document, accessed 6/3/12). the restaurant where she works 5. Haim Yacobi, The Jewish-Arab City: Spatio-Politics as a waitress. After customers complain in a Mixed Community. London: Routledge, 2009: 32, 61. about her Arab name, Samira’s boss 6. For a detailed overview of the forced Palestinian requests she change it to Mira, a name that exodus in Lydd and Ramla in 1948, see , can “pass” as Jewish-Israeli. Samira is The Birth of the Palestinian Refugee Problem Revisited. London: Cambridge University Press, 2nd asked to repeat this experience many times edition, 2004. by Guez, who remains just outside the cam- era’s frame. Like her grandmother’s story in Sabir, Samira’s traumatic moment takes some time to be fully revealed. While at first joking about the experience, over the process of telling and re-telling her story, she becomes acutely aware of the message of this seemingly minor act of discrimina- tion—that in order to properly assimilate into Israeli society she must conceal her ethnic identity. The stories that Guez tells in this presentation at the James Gallery are both deeply personal and noticeably always in- complete. They remain the traces of a history of a family and a community. Always careful to avoid the easy story or the complete picture, in these works Guez continuously and self-reflexively flips rep- resentation and narrative, much in the same way he sometimes reverses photographs to show the marks and personal inscriptions usually hidden from view. —Chelsea Haines

5 The James Gallery Checklist

1. Dor Guez, Scanogram #1, 2010. Series of manipulated readymades, archival inkjet prints, 23 1/2 x 29 1/2 inches each. (See next page for individual captions.)

2. Dor Guez, (Sa)Mira, 2009, video, 13:53 minutes. 4 3. Dor Guez, 40 Days, 2012. Series of 3 manipulated readymades, archival inkjet prints, 81 x 59 inches each.

4. Dor Guez, Sabir, 2010, video, 19:37 minutes.

5. Resource room for Christian Palestinian Archive (CPA).

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6 Christian Palestinian Archive: A Project by Dor Guez m k j i h f d b a

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Captions Dor Guez, Scanogram #1, 2010 a. Image 01. Georgette Monayer, Samira’s h. Image 08. Samira, Lod Ghetto, a year older sister, with a friend holding her from after 1948. behind, Jaffa, 1938. i. Image 09. Samira in her wedding gown, the b. Image 02. Group photo of the engineering first Christian wedding in Lod after 1948. departments for the cities of Tel Aviv and Jaffa, including Jacob, Samira’s future j. Image 12. Moneer’s wedding, Cairo, 1954. husband, 1940. k. Image 13. The wedding of Samira’s c. Image 03. Jubran, Samira’s older brother, younger sister, Jaclyn, 1957. outside and around his family’s estate in Jaffa, 1941. l. Image 11. Samira pregnant and Lod during the “Great Snow,” 1950. d. Image 04. Studio photo of Jacob, Tel Aviv, 1942. m. Image 14. Nasser’s wedding, Lod, 1957. e. Image 06. Nasser and Moneer, Samira’s n. Image 15. Georgette with her family, older brothers, Jaffa, 1947. Cyprus, 1958. f. Image 07. Samira, Jaffa, early 1948. g. Image 05. Samira (on the left) with her classmates, the Christian Orthodox Girls School, Jaffa, 1945.

7 The James Gallery Mon, Mar 21, 6:30–8:30pm Thu, Apr 7, 6–8pm Lecture Opening Reception

The Influence of Arab Christian Palestinian Lands on Textile Archive: A Project by Arts during the Dor Guez

Renaissance Dor Guez, artist; Chelsea Haines, The Ph.D. Program in Art History, The Graduate Jennifer Ball, Art History, Brooklyn College Center, CUNY. and The Graduate Center, CUNY; Hanan Karaman Munayyer, Palestinian Heritage Artist Dor Guez founded the Christian Foundation. Palestinian Archive (CPA) in 2009 after he discovered a suitcase under his grand- Before the Renaissance, Arab material parents’ bed filled with old photographs. goods—including textiles, ceramics, and At the James Gallery, Guez presents a body glass—were more sophisticated than of artworks that stem from that finding. their European counterparts. Beginning in The story of his grandmother, Samira the 11th century, the Crusaders became Monayer, is mediated through a series of aware of this region, followed by explorers videos and digitally manipulated archival and tradesmen who exchanged both ob- materials the artist calls “scanograms.” jects and ideas. Over time, Europeans This story begins with her childhood in Jaffa assimilated Arab techniques, motives and and expulsion in 1948 during the Palestinian aesthetics. Through research on Palest- exodus from land seized by Israel (known inian textiles and embroidery, Hanan K. as al-Nakba, “the catastrophe”). The narra- Munayyer surveys the history of material tive continues with her family’s dispersal arts in Arab Lands. She will show photos to Lydd (Lod), Amman, Cyprus, Cairo, and of textiles and embroidery and a couple of London and, eventually, Samira’s life in costumes from her collection will be in Israeli society. Christian Palestinian Archive: display for closer observation. Professor A Project by Dor Guez is curated by Jennifer Ball will be the discussant. Chelsea Haines, Presidential Research Fellow, The Center for the Humanities. C198 The James Gallery Co-sponsored by the Mediating the Archive Mellon Seminar in Public Engagement and Collaborative Co-sponsored by the Mediating the Archive Mellon Research in the Humanities, The Ph.D. Program in Art Seminar in Public Engagement and Collaborative History, and The Middle East and Middle East Ameri- Research in the Humanities, The Middle East and can Center at The Graduate Center, CUNY. Middle East American Center, and the Ph.D. Program in Art History at The Graduate Center, CUNY, and supported in part by Artis Foundation for Contempo- rary Art.

8 Christian Palestinian Archive: A Project by Dor Guez Fri, Apr 8, 4–6pm Tue, Apr 12, 2:30–8pm Conversation Conference Archives and Art, Race, and Fluidity Counter-Archives: in Dominican Republic A Roundtable and Haiti

Dor Guez, artist; Chelsea Haines, The Ph.D. Diógenes Abreu, artist and writer; Herman Program in Art History The Graduate Cen- Bennett, History, The Graduate Center, ter, CUNY; Susan Meiselas, artist; Debashree CUNY; Vladimir Cybil Charlier, artist; Abigail Mukherjee, Modern South Asian Studies, Lapin Dardashti, The Ph.D. Program in Art Columbia University. History, The Graduate Center, CUNY; Edouard Duval-Carrié, artist; Scherezade While much scholarship has been devoted Garcia, artist; Charo Oquet, artist; Edward to the idea of the archive as a discursive J. Sullivan, Art History, New York Univer- apparatus that tracks, regulates, and disci- sity; Judy Sund, Art History, The Graduate plines bodies, scholars and artists alike Center, CUNY; Jean-Marie Thédoat, Ge- are now investigating how the format of the ography, Université d’Etat d’Haiti; Tashima archive can be utilized as a tool for advancing Thomas, The Ph.D. Program in Art social justice and community empower- History, Rutgers University. ment. In recent years the “counter-archive” has developed as a term to describe a range This symposium explores the historical of artistic, activist, community-based or relationship of the Dominican Republic and otherwise non-official visual archives that Haiti and their diasporas, with a particular reveal underrepresented and formerly un- emphasis on migration, race, and the visual documented histories. This discussion arts. Composed of visual artists, community brings together artists, curators, and schol- members, performers, and scholars, the ars on the occasion of Christian Palestinian event addresses the past and present rela- Archive: A Project by Dor Guez in the James tionship of Haiti and the Dominican Republic Gallery to discuss the role of photography from an anthropological, literary, and art and the status of the archive in understand- historical perspective. Scholars and artists ing memory and establishing history. will explore the revision of Hispañola’s flawed historical narrative, which constructed C197 Eurocentric racial hierarchies in the early 20th century in the Dominican Republic. Co-sponsored by the Mediating the Archive Mellon Seminar in Public Engagement and Collaborative Research in the Humanities and The Ph.D. Program Martin E. Segal Theatre in Art History at The Graduate Center, CUNY. Co-sponsored by the Institute for Research on the African Diaspora in the Americas and the Caribbean (IRADAC), Advanced Research Collaborative (ARC), The Ph.D. Program in Art History, and the Doctoral Students’ Council.

9 The James Gallery Thu, Apr 14 & 28, May 19 & 26, 12–3pm Fri, Apr 15, 9am–7:30pm Open Call Conference

Christian Palestinian Mediating the Archive: Archive: Open Call A Conference on

Chelsea Haines, The Ph.D. Program in Art Moving Images and History, The Graduate Center, CUNY. Social Histories Christian Palestinian Archive (CPA) is a growing collection of scans of archival doc- Sara E. Bakerman, University of Southern uments, documenting the personal his- California; Snowden Becker, University tories of Christian Palestinian communities of California, Los Angeles; Swagato worldwide. The CPA was founded in 2009 Chakravorty, Yale University; Clarence by Dor Guez, and today includes thousands Elie-Rivera, photographer; David Fresko, of scans of historical images. Unlike other The New School; Bobbito García, Filmmaker, archives, the CPA is not engaged in material Natalie Greenberg, Concordia Univesity; conservation, and all “original” photo- David Han, York University; Soyi Kim, Uni- graphs are sent to their owners after being versity of Minnesota; Laura LaPlaca, scanned and added to the archive. On se- Northwestern University; Geli Mademli, lect Thursdays in April and May, an open call University of Amsterdam; Justin McKinney, will be held in the James Gallery for mem- independent scholar; Mike Phillips, Compar- bers of Christian Palestinian communities to ative Literature, The Graduate Center, submit their photographs and materials CUNY; Guadalupe Rosales, artist; for the archive. All sessions will be led by Magdalena Sagardia, Hispanic and Luso- Chelsea Haines, curator of Christian Pales- Brazilian Literatures and Languages, The tinian Archive: A Project by Dor Guez. Graduate Center, CUNY; Simona Schneider, University of California, Berkeley; Travis L. If you are unable to attend an open call but Wagner, University of South Carolina; Alison would like to contribute to the archive, Wielgus, University of Wisconsin-Superio. please contact christianpalestinianarchive@ gmail.com Film and media objects have complex after- lives, circulating via shifting paths of The James Gallery exchange. Their apparent ephemerality can serve to mask their temporal and geo- Co-sponsored by the Mediating the Archive Mellon graphical situatedness, particularly in the Seminar in Public Engagement and Collaborative Research in the Humanities at The Graduate Center, current processes of globalization and CUNY. digitization. This conference will explore dif- ferent modes of archival intervention, with an eye toward excavating histories that have been obscured, forgotten, or suppressed.

C203/4202

Co-sponsored by the Cinema Studies Group, the Film Studies Certificate Program, and the Mediating the Archive Mellon Seminar for Public Engagement and Collaborative Research.

10 Christian Palestinian Archive: A Project by Dor Guez Wed, Apr 20, 6:30–8:30pm Wed, May 11, 6:30–8:30pm Lecture Lecture

Defining the Present, The Imperial Condition Archiving the Past of Photography in

Mitra Abbaspour, The Ph.D. Program in Art Palestine: Archives, History, The Graduate Center, CUNY. Looting, and the Figure In her talk “Defining the Present, Archiving of the Infiltrator the Past,” curator and art historian Mitra Abbaspour maps the relationship between Ariella Azoulay, Comparative Literature and contemporary artists’ use of historic photo- Modern Culture and Media, Brown Univer- graph archives and the history told by sity; Susan Buck-Morss, Political Philosophy, the pictures themselves. A doctoral candi- The Graduate Center, CUNY. date in Art History at The Graduate Center, CUNY, Abbaspour is completing her dis- A vast treasure of books, documents, and sertation, a study of photograph archives photographs looted from Palestinians in dedicated to Armenian, Kurdish, and 1948 became part of the Israeli archives es- pan-Arab practices. This study considers tablished or reorganized after the founding the ways in which photograph archives of the Israeli state. But this did not remain call on the history of the medium to a single past event. Looting has been one represent modernity in the Middle East. of the acts by which Israeli sovereignty has been performed as the ongoing project C198 of partition of populations into distinct, dif- ferentiated groups, whereby violence Co-sponsored by the Mediating the Archive Mellon Seminar in Public Engagement and Collaborative among the two groups is both the pretext Research in the Humanities, The Ph.D. Program and the effect. Using the archive as a in Art History, and The Middle East and Middle East medium for the performance of national American Center at The Graduate Center, CUNY. sovereignty, Azoulay will refute the Schmit- tian conceptualization of sovereignty as power that hinges on brief, singular mo- ments of decision. Rather than the full control of the archive that Schmitt’s conc- eptualization implies, she will conceptualize the archive as the ongoing struggle over sovereignty that takes place in and through it. This lecture will be followed by a discus- sion with Professor Susan Buck-Morss.

Elebash Recital Hall

Co-sponsored by the Mediating the Archive Mellon Seminar in Public Engagement and Collaborative Research and The Ph.D. program, Art History at The Graduate Center, CUNY.

11 The James Gallery Dor Guez (b. Jerusalem) is an artist and a The Amie and Tony James Gallery brings scholar who lives in Jaffa. Guez’s work has artists and scholars into public dialogue been the subject of over twenty-five solo on topics of mutual concern. Located exhibitions, including in 2015 at the Museum in midtown Manhattan at the nexus of the of Contemporary Art Detroit, CCA Tel Aviv, academy, contemporary art, and the city, and the ICA London. Past solo exhibitions the gallery is dedicated to exhibitions have been held at Artpace, San Antonio; as a form of advanced research embedded KW Institute for Contemporary Art, Berlin in the scholarly work of The Graduate Center (with catalogue by DISTANZ Verlag); across multiple disciplines. The gallery The Mosaic Rooms, London (with catalogue creates and presents artwork to the public in by A.M. Qattan Foundation); Rose Art a variety of formats. While some exhibitions Museum Boston (with catalogue by New remain on view for extended contemplation, England Press); and Tel Aviv Museum of other activities such as performances, Art. Guez’s work has been in the 12th workshops, reading groups, roundtable Istanbul Biennial; 3rd Moscow Biennale; discussion, salons and screenings have a Biennale Benin, Cotonou; 17th and 18th short duration. The gallery works with International Contemporary Art Festival, scholars, students, artists and the public Videobrasil, São Paulo; and exhibitions to explore working methods that may at MAXXI Museum, ; Palais de Tokyo, lie outside usual disciplinary boundaries. Paris; and Tokyo Metropolitan Museum of Photography, among others. Guez is Head The Center for Humanities encourages of the Photography Department at the collaborative and creative work in the Bezalel School of Art and Design, Jerusalem. Humanities at CUNY and in the intellectual communities it serves through seminars, This project is supported by Artis conferences, publications and exhibitions Foundation for Contemporary Art. that inspire sustained and engaged conversation and change inside and Special thanks to Koby Barhad, Talya Gitin, outside the academy. Vardit Gross, Amy Herzog, Mohamad Hodeib, Yael Reinharz, Benjamin Young, and Dvir Gallery, Tel Aviv/, and Carlier Gebauer Gallery, Berlin.

Exhibition Curator: Chelsea Haines James Gallery Curator: Katherine Carl James Gallery Exhibitions Coordinator: Jennifer Wilkinson James Gallery Graduate Assistants: Elizabeth Donato and Alexei Grinenko

Design: MTWTF

12 Christian Palestinian Archive: A Project by Dor Guez

Mar 21 Jennifer Ball The James Hanan Karaman Munayyer Gallery Apr 7 Dor Guez Chelsea Haines Apr 8 Dor Guez ​ Chelsea Haines Susan Meiselas ​ Debashree Mukherjee Apr 12 Diógenes Abreu ​ Herman Bennett Vladimir Cybil Charlier Abigail Lapin Dardashti Edouard Duval-Carrié Scherezade Garcia Charo Oquet Edward J. Sullivan Judy Sund Jean-Marie Thédoat Tashima Thomas ​ Apr 14 & 28 Archive Open Call Apr 15 Sara E. Bakerman Snowden Becker Swagato Chakravorty Clarence Elie-Rivera David Fresko Bobbito García Natalie Greenberg David Han Soyi Kim Laura LaPlaca Geli Mademli Justin McKinney Mike Phillips Guadalupe Rosales Magdalena Sagardia Simona Schneider Travis L. Wagner Alison Wielgus Apr 20 Mitra Abbaspour May 11 Ariella Azoulay Susan Buck-Morss May 19 & 26 Archive Open Call