Carolina Caycedo was born in London to Colombian parents and currently lives and works in Los Angeles. She transcends institutional spaces to work in the social realm, where she participates in movements of territorial resistance, solidarity economies, and housing as a human right. Caycedo’s artistic practice has a collective dimension to it in which performances, drawings, photographs and videos are not just an end result, but rather part of the artist’s process of research and acting. Through work that investigates relationships of movement, assimilation and resistance, representation and control, she addresses contexts, groups and communities that are affected by developmental projects, like the constructions of dams, the privatization of water, and its consequences on riverside communities.

She has developed publicly engaged projects in Bogota, Quezon City, Toronto, Madrid, Sao Paulo, Lisbon, San Juan, New York, San Francisco, Paris, Mexico DF, Tijuana,  and London. Her work has been exhibited worldwide with solo shows at Vienna Secession; Intermediae-Matadero, Madrid; Agnes B Gallery, Paris; Alianza Francesa, Bogotá; Hordaland Kunstsenter, Bergen; 18th Street Arts Center, Santa Monica; and DAAD Gallery, Berlin. She has participated in international biennials including Sao Paulo (2016); Berlin (2014); Paris Triennial (2013); New Museum (2011); Havana (2009); Whitney (2006); Venice (2003) and Istanbul (2001). In 2012, Caycedo was a DAAD Artist-in-Berlin resident. She has received funding from Creative Capital, California Community Foundation, Los Angeles Department of Cultural Affairs, Harpo Foundation, Art Matters, Colombian Culture Ministry, Arts Council UK, and Prince Claus Fund.
 

Macarena Gómez-Barris is Chairperson of the Department of Social Science and Cultural Studies and Director of the Global South Center at Pratt Institute, New York City. She is the author of three books including The Extractive Zone: Social Ecologies and Decolonial Perspectives that theorizes social life, art, and decolonial praxis through five extractive scenes of ruinous capitalism upon Indigenous territories (Duke University Press, 2017). Gómez-Barris is also the author of Beyond the Pink Tide: Art and Political Undercurrents in the Americas (2018), Where Memory Dwells: Culture and State Violence in Chile (2009), and co-editor with Herman Gray of Towards a Sociology of a Trace (2010). She has published numerous articles and essays in art catalogues as well as peer reviewed journals, including writing on the work of Julie Mehretu, Laura Aguilar, Carolina Caycedo, Regina José Galindo, Cecilia Vicuña, Francisco Huichaqueo, and Patricio Guzmán. Gómez-Barris was a Fulbright fellow at Sociology and Gender Department in FLACSO Ecuador, Quito.

Anne Riley is a multidisciplinary artist based in Vancouver. Her work explores different ways of being and becoming, touch, and indigeneity. Riley is Cree and Slavey Dene from Fort Nelson First Nation and received her BFA from the University of Texas, Austin. She has exhibited both in the United States and Canada. Recently, her public art project with indigenous artist T'uy't'tanat-Cease Wyss, A Constellation of Remediation (2017-2019), was commissioned by the City of Vancouver for the Artist-Initiated Projects. The two-year project will consist of four Indigenous Remediation Gardens planted on vacant gas station lots throughout the city.

Genevieve Robertson is a drawing-based interdisciplinary artist with a background in environmental studies. Her practice explores the material around the body and under the feet: water, oil, wind, silt, flora, fauna and mineral. 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 on 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. Her work is informed by a personal and intergenerational history of resource labour in remote forestry camps on the West Coast of British Columbia. Robertson holds an MFA from Emily Carr University of Art + Design, Vancouver and a BFA from Nova Scotia College of Art and Design University, Halifax; and has participated in numerous art residencies internationally. Robertson has exhibited her artwork in venues including the Libby Leshgold Gallery, Vancouver; The Pensacola Museum; Nanaimo Art Gallery; Touchstones Museum, Nelson; Or Gallery, Vancouver; The New Gallery, Calgary; and the James May Gallery, Algoma. Robertson presently resides in Nelson where she serves as Executive Director for Oxygen Arts Centre.
 

T'uy't'tanat-Cease Wyss (Skwxwu7mesh/Sto:Lo/Irish Metis/Hawaiian/Swiss) is an interdisciplinary artist who works with new media, performance, and interdisciplinary arts. She is a community engaged and public artist with works that range over twenty-five years and focus on sustainability, Coast Salish cultural elements and themes of ethnobotany and digital media technology. Wyss is an emerging weaver focusing on a textiles art practice through Coast Salish weaving techniques in wool and cedar. She is exploring how Polynesian weaving and interactive art and design can be brought together in her interdisciplinary art practice. The artist also helped to build and currently stewards an indigenous community garden in the village of Xemelchts’n [also known as the Capilano Reserve, North Vancouver].

Wyss recently worked on an app that launched through Presentation House, Vancouver (now Polygon Gallery, Vancouver) that focused on the “Cultural Crossings” between her community and the non-indigenous communities that co-exist in North and West Vancouver.  Other publications include herbariums with grade 7 students, focusing on indigenous plants of the Pacific Northwest Coast (Contemporary Art Gallery, Vancouver, 2017); a short story on her early life with her family looking at fish camp stories for Sustenance (Anvil Press, Vancouver, 2017); and a collaborative project titled Journey to Kaho’olawe (grunt gallery, Vancouver, 2017) with German artist Hans Winkler. Wyss is a member of the Aboriginal Writers Collective West Coast, as well as the Ya-Howt Indigenous Women’s Permaculture Cohort and lives in East Vancouver. She is a beekeeper and community engaged gardener, decolonizing through indigenous women and permaculture.