Mauricio Arango, born in Bogotá, Colombia, lives and works in New York. He is an alumnus of the Independent Study Program at the Whitney Museum and has participated in residencies at the International Academy of Fine Arts in Salzburg, Austria; the MacDowell Colony in Peterborough, New Hampshire; and El Museo del Barrio in New York City. He earned his MFA from the University of Minnesota. His films have been screened widely at art and film festivals including most recently New Directors/New Films at the Film Society of Lincoln Center and The Museum of Modern Art, New York Ciy; Kino Der Kunst, Munich; VideoBrasil, São Paulo; Rencontres Internationales, Paris; and IndieLisboa, Lisbon. He has received awards from the Foundation For Contemporary Art, New York; RivieraLab Coproduction Fund, Mexico; Secretary of Culture, Colombia; Filmmakers Fund, Rooftop Films, New York; Matt Robert Arts, London; Bush Foundation for the Arts, Saint Paul, USA; and the Jerome Foundation, New York, among others.
Park Chan-kyong is an artist and a filmmaker based in Seoul. His subjects range from the Cold War to traditional Korean religious culture, from “media-oriented memory” to “history reconstruction.” He was artistic director of SeMA Biennale Mediacity Seoul 2014. He has produced the media-based works Sets (2000), Power Passage (2004), Flying (2005), Sindoan (2008), Radiance (2010), Anyang Paradise City (2011), Night Fishing (2011, co-directed with Park Chan-wook) and Manshin (2013). His works have been exhibited throughout the world, in venues such as Gwangju Biennale in Korea, De Appel in Amsterdam, RedCat Gallery in Los Angeles, Kunstverein in Frankfurt, and many others. He has won various prizes including Hermès Korea Misulsang (2004), Golden Bear Prize for short films at the Berlin International Film Festival (2011), and Best Korean Film for the Jeonju International Film Festival (2011).
Hank Glassman is Associate Professor of East Asian Languages and Cultures at Haverford College, where he has taught since 2001. His research is on religion in medieval Japan, especially as represented in vernacular literature and visual culture. Glassman has published work on the history of burial and graves, on Buddhist icons, and on didactic fiction. He is the author of The Face of Jizo: Image and Cult in Medieval Japan (Hawai’i, 2012) and numerous articles. He is currently engaged in research on a project tracing the history of stone grave markers in Japan.
Marianne Nicolson (‘Tayagila’ogwa) is an artist of Scottish and Dzawada’enuxw First Nations descent. The Dzawada’enuxw People are a member tribe of the Kwakwaka’wakw Nations of the Pacific Northwest Coast. Her training encompasses both traditional Kwakwaka’wakw forms and culture and Western European-based art practice. Her work engages with issues of Aboriginal histories and politics and arises from a passionate involvement in cultural revitalization and sustainability. She has completed a Bachelor of Fine Arts at Emily Carr University of Art and Design and has received a Masters in Fine Arts, a Masters in Linguistics and Anthropology, and a PhD in Linguistics and Anthropology from the University of Victoria. She has exhibited her artwork internationally as a painter, photographer, and installation artist and has published a number of scholarly essays and articles.
Liz Park, born in Seoul, Korea, is a curator and writer currently based in Pittsburgh as Associate Curator of Carnegie International 2018. Her international work as curator includes exhibitions at the Western Front in Vancouver, the Kitchen in New York, the Institute of Contemporary Art at the University of Pennsylvania in Philadelphia, and Seoul Art Space_Geumcheon in Seoul. Her writing has been published by Afterall Online, ArtAsiaPacific, Performa Magazine, Fillip, Yishu: A Journal of Contemporary Chinese Art, Pluto Press, and Ryerson University Press, among others. In 2011–2012, Park was Helena Rubinstein Fellow in the Curatorial Program at the Whitney Museum’s Independent Study Program, and in 2013-2015, she was Whitney-Lauder Curatorial Fellow at the Institute of Contemporary Art in Philadelphia.
I would like to extend my sincere gratitude to the artists Mauricio Arango, Marianne Nicolson, and Park Chan-kyong for their generous participation. This project would not have been possible without the knowledgeable staff and faculty at Haverford College: I am grateful to Matthew Callinan, Vicky Funari, Hank Glassman, Kelly Jung, Laura McGrane, David Moore, John Muse, Rebecca Raber, Deborah Roberts, Sebastianna Skalisky, James Weissinger, Emily Cronin, and the staffs of Haverford College’s Hurford Center for the Arts and Humanities, Cantor Fitzgerald Gallery, IITS, and Audio Visual Services for bringing their expertise to every discussion and every aspect of the exhibition. My repeat engagement with the designers Luke Bulman and Camille Sacha Salvador of Luke Bulman — Office is a testament to the high degree of creative work and professionalism they consistently demonstrate. Thanks to Lucia Thomé and Greg Biché for their expert assistance with the exhibition installation. And a special thank you goes to Anthony Elms for sending me many oblique ghostly messages. Finally, I dedicate this project to my late grandmother Jung Eon Nyon, and my nieces Jean Oh and Dana Choi.
— Liz Park