Wanda Nanibush is an Anishinaabe-kwe image and word warrior, curator, and community organizer. She is the Curator of Indigenous art and co-head of the Indigenous & Canadian Art department at the Art Gallery of Ontario. Currently her exhibition Rebecca Belmore, Facing the Monumental is touring nationally and internationally. She has a master’s in visual studies from the University of Toronto and has taught graduate courses on Indigenous history and politics at the University of Toronto and OCADU. Nanibush is currently writing a book called Violence No More: The Rise of Indigenous Women and finishing a film on Indigenous resistance.
Brook Andrew is an interdisciplinary artist who examines dominant narratives, often relating to colonialism and the restitution of cultural objects to their original communities. Through museum and archival research and interventions, he aims to offer alternate versions of forgotten histories; illustrating different means for interpreting history in the world today. Apart from drawing inspiration from vernacular objects and the archive he travels internationally to work with communities and various private and public collections to tease out new interpretations.
Most recently Brook presented Ahy-kon-uh-klas-tik,an interrogation of the Van Abbemuseum archives in Holland, which re-imagines a different world timeline alongside his own archive curated by Nick Aikens. In 2017 he also created an intervention into the collection of the Musée d'ethnographie de Genève, Switzerland; and The Right to Offend is Sacredopened at the National Gallery of Victoria, a 25-year reflection on his practice. Across October and November 2017, Brook will complete a Smithsonian Artist Research Fellowship, with the Smithsonian Institute, USA; and in 2018 present What’s Left Behind, a new commission for SUPERPOSITION: Art of Equilibrium and Engagementat the 21st Biennale of Sydney.
His recent research includes an ambitious international comparative three-year Federal Government Australian Research Council grant titled Representation, Remembrance and the Memorial. The project is designed to respond to the repeated high-level calls for a national memorial to Aboriginal loss and the frontier wars: www.rr.memorial.
Brook is currently the Artistic Director for the 22nd Biennale of Sydney opening March 2020, which is the 250 year anniversary that Captain James Cook claimed to have discovered Australia for the British monarch.
Oswaldo Maciá was born in the Caribbean city of Cartagena de Indias, Colombia. He lives and works in the UK and USA. Maciá creates olfactory-acoustic sculptures that have been exhibited all over the world. His work is held in international collections, including Tate Britain and Daros Latinamerica.
His sculptures have been included in numerous large-scale periodic exhibitions and solo presentations across four continents. As he states in his manifesto, Maciá seeks to stimulate questions and counter received opinion. In 2015 Maciá won a major public commission for the city of Bogotá selected by an international jury. Scenario in Construction is the first public sound sculpture of in the southern hemisphere. In 1976 he attended the School of Fine Arts in Cartagena at the age of 16, graduating in 1980.
In 1982 he moved to the capital Bogotá to study advertising at Jorge Tadeo Lozano University, and left after five semesters to become a full-time artist. Maciá taught Fine Art at Jorge Tadeo Lozano University from 1985 before moving to Barcelona in 1989, where he studied Mural Painting at Llotja School of Fine Art. In 1990 Maciá moved to London, where he continues to run a studio.
He studied BA in Sculpture between 1990 and 1993 at Guildhall University followed in 1994 by Masters in Fine Art at Goldsmiths College, University of London. In the 1990s his work featured in solo exhibitions in London venues at the forefront of defining installation art, including the Museum of Installation and Clove Gallery, and group exhibitions such as Ideal Standard Summertime at Lisson Gallery.