Zain Alam

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Zain Alam For Love, From the Law 2017 Audio/video 3:27 Premiered on Vice/Noisey Photo c/o Ilana Milner (

Zain Alam is an artist whose work explores the life of minorities and marginalized groups—particularly at moments of self-preservation, assimilation, and cultural innovation. Described as “a unique intersection, merging the cinematic formality of Bollywood and geometric repetition of Islamic art,” his recording project Humeysha has been covered by Vice, Fader, and Village Voice. His work has been supported by ArtCenter/South Florida, Harvard University, and the South Asian American Digital Archive. His writings on art and religion have been published in Miami Rail, Buzzfeed, and The New Yorker. His practice explores how borrowing technologies are transforming—and reinforcing—traditional ideas of creativity. Through sampling, remix, and synthesis techniques, he charts intimate relationships with older artwork and archival material to ask what it means to borrow. His work challenges notions of “authenticity” and the “auteur” in artistic production by pointing towards a new ethical understanding that differentiates assemblage from appropriation, especially in new forms like global music and open-source technology. His projects are guided by a search for fresh, responsible approaches to borrowing that revitalize our understandings of inheritance, influence, and genealogy. Alam began composing music while researching the dispersion of my family after the 1947 Partition of India and Pakistan. The following year he returned to India as an American India Foundation William J. Clinton Fellow working as an oral historian for the 1947 Partition Archive. He composed his debut album Humeysha while recording hundreds of hours of ethnography and found sound, collecting stories from survivors of the Partition. The songs and stories written from that time reflect a lifelong search to find sonic affinities between the many cultures that make up a diaspora. His forays in video began with his audio-visual project “Lavaan,” commissioned by SAADA in 2016 as part of the “Where We Belong: Artists in the Archive” program. The work was screened in SAADA workshops held in various cities to commemorate the anniversary of the Oak Creek massacre and fostered conversation on memory, archives, and xenophobia. As an artist-in-residence with Bruce High Quality Foundation (BHQF) and ArtCenter/South Florida, Alam developed new forms of solo performance and began a multi-disciplinary project on the ethics of sampling in music. It has since grown to include a set of essays, a musical composition, and an installation built with a sculptor inverting instruments to destabilize our present, dis-enchanted ways of hearing. Raised in Kennesaw, GA and presently based in Boston and Brooklyn, Alam is the 2017-2018 Artist-in-Residence at Harvard’s Science, Religion, and Culture Program.  

Farnaz Fatemi

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Farnaz Fatemi is an Iranian-American poet, editor and writing teacher. Her current work investigates her own experience of Iran (specifically, Iranian women) as it encounters a received iconography from popular and political culture. Farnaz’s poetry and prose appears or is forthcoming in Grist, Catamaran Literary Reader, Crab Orchard Review, Tupelo Quarterly, Delaware Poetry Review, the anthologies Let Me Tell You Where I’ve Been: New Writing by Women of the Iranian Diaspora and In Plein Air, and elsewhere. She has been awarded residencies from PLAYA, Marble House Project, I-Park Foundation, and Djerassi, and honored by the International Literary Awards (Center for Women Writers), Poets on the Verge (Litquake SF), and Best of the Net Nonfiction. She is a member of the Squaw Valley Community of Writers.  Farnaz taught Writing at the University of California, Santa Cruz, from 1997-2018.

Eric Ramos Guerrero

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Eric Ramos Guerrero Lean Like A Camaro 2016 graphite and ink on paper 14"x20" first shown at the Drawing Center in 2016

Eric Ramos Guerrero’s practice is rooted in the landscapes of suburbia, notions of borders and the tropical spaces of western expansion. He received his BFA fromThe School of the Art Institute of Chicago and an MFA from Columbia University. His work has been exhibited internationally most notably at the Drawing Center, El Museo Del Barrio, PS 122, ICP New York, Museum of Contemporary Art Vojvodina, Green Papaya Philippines and The Inside-Out Museum Beijing.  

Raja Feather Kelly

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Raja Feather Kelly’s Choreography includes Another Fucking Warhol Production (The Kitchen), Andy Warhol's Bleu Movie (BAM Fisher), Andy Warhol’s TROPICO (Danspace Project), Andy Warhol’s DRELLA, I Love You Faye Driscoll (The invisible Dog), and Andy Warhol’s 15: Color Me, Warhol; (Dixon Place). Off-Broadway credits include choreography for Brenden Jacobs-Jenkins’ EVERYBODY directed by Lila Neugabauer (Signature Theater), Susan-Lori Parks’ The Death of The Last Black Man in the Whole Entire World directed by Lilieana Blain-Cruz (Signature Theater, Nominated for 2017 Lucielle Lortel Award), Funnyhouse of a Negro; written by Adrienne Kennedy directed by Lila Neugebauer (Signature Theater, Nominated for 2017 Lucielle Lortel Award), Daaimah Mubashshir ’s EVERYDAY AFROPLAY(JACK) and Richard Allen and Taran Gray’s FREEDOM RIDERS: THE CIVIL RIGHTS MUSICAL (Acorn Theatre) Directed by Whitney White. Raja was born in Fort Hood, Texas, and is the first and only choreographer to dedicate the entirety of his company’s work to Andy Warhol and the development of popular culture over the last thirty years. Kelly can be seen in the work of Reggie Wilson/Fist and Heel Performance Group, Keely Garfield and Kota Yamazaki. He has formerly been a company member with David Dorfman Dance, Kyle Abraham/Abraham.In.Motion, Christopher Williams Dance, Zoe | Juniper, Colleen Thomas and Dancers. Honors include a 2018-19 Carthorse Fellowship at the Buran Theatre, a 2017 Princess Grace Award for a Fellowship in Choreography, a 2017 Bessie Schoenberg Fellow at the Yard on Martha's Vineyard, the 2016 Solange MacArthur Award for New Choreography, a 2016 NYFA Choreography Fellow, a Jerome Foundation Travel and Study Grant, a 2016 Dancemapolitan Commissioned Choreographer, a 2015 Dixon Place Dance Artist in Residence, a LMCC Workspace Residency Recipient. He has been the Guest ChoreographerBates Dace Festival, Princeton University, University of Maryland College Park, University of Florida, University of Utah, and Middlebury College; the Harkness Choreographer in Residence at Hunter College; a 2009 Dance Web Scholar; Has received 2 Foundation for Contemporary Arts Emergency Grants. He received his BA in both Dance (with honors, concentration in Choreography and Performance) and English (with honors, concentration in Poetry) from Connecticut College.

Lyle Kash

Lyle Kash_gloves off // T4T_HDVideoStill_2017

Lyle Kash_gloves off // T4T_HDVideoStill_2017

Lyle lives with his little red dog in Los Angeles. He is an MFA Film/Video student at the California Institute of the Arts. He is the writer/director of X: Death & Bowling in Los Angeles, a narrative feature with an almost entirely trans cast, which enters production in September 2018. In addition to his filmmaking work, he is a cocktail wizard, long-distance runner, avid reader, and passionate friend.

Christian Berman and Marisa Adesman

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Christian Ruiz Berman "Mirage for Kokichi" Acrylic on panel 5"x7" 2017

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Marisa Adesman was born and raised in Roslyn, New York. She recently graduated from the Rhode Island School of Design with a Masters of Fine Arts in Painting. In 2013, she received a Bachelors of Fine Arts degree from the Sam Fox School of Design & Visual Arts at Washington University in St. Louis, where she majored in painting and psychology. Marisa graduated magna cum laude from WashU and received the Hazel H. Huntsinger Memorial Prize in Painting. She also attended Yale University’s Summer School of Art in Norfolk, Connecticut in 2012 and Columbia University’s Advanced Painting Intensive in 2013. Marisa is currently the artist in residence at the Hub-Bub program hosted by the Chapman Cultural Center in Spartanburg, SC. Christian And Marisa are collaborating during this residency.

I was born in Mexico City in 1982. I have a BA from Duke University, and later completed a masters degree in landscape architecture at the Rhode Island School of Design. I’m currently completing my MFA in painting, also at RISD. I have worked in environmental conservation, landscape architecture, art education, and public art. If life is a vast broth of chaotic acts and tangled reactions, making art is how I chart my way through the soup. Because I was forcefully removed from my homeland of Mexico and from much of my family at a young age, I became accustomed to localizing my identity within a precarious juncture of memory, fact and fiction. My work draws from personal histories of migration and adaptation, and I’m interested in the emotional and communicative power of the image. While I consider myself essentially non-religious, I am fascinated by the role of visual representations and symbols in mystical and shamanic practice, and have recently become quite interested in the intersections between contemporary philosophy and eastern/buddhist tradition. I consider my work meditative in that it strives to dissect and understand the components of my experience and of my cultural and aesthetic legacy in a way that might give a greater understanding of the whole. While I use symbols, architectures, and snippets of stories that are deeply personal and autobiographical, I want my paintings to embody a shared experience. The ability for the viewer to live their own life inside my work is extremely important to me, as is the work’s potential to inspire new narratives. The 20th century Indian philosopher J. Krisnamurti speaks about the importance of what he terms “joyful discontent.” This concept involves the abandonment of a quest for stability and security, which he deems are forms of premature death. I try to approach painting as someone that is always discontented, not with my station or success, but joyfully discontent because of a desire to know more, to learn more, to see more. I am also deeply influenced by the current writings of feminist philosophers like Karen Barad and Donna Haraway, who strive to build an ontology and worldview that privileges intra-actions and entanglements between things and systems rather than a reality built upon discrete objects and hierarchical actions. Barad writes about describing reality as an apparatus, in which each person, animal, relationship, and mechanism is an essential component of the present moment. She writes about the tentacular and woven nature of agency, as well as about humanity’s need for new symbols and figures that better reflect our current knowledge of quantum physics and the nature of reality and the mind. If there is a need for new symbols, new words, new ways of seeing things, how can I add to the conversation as a painter?  


Simmi Aujla

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Simmi Aujla is an Indian-American speculative fiction writer. She studied genre fiction at the VONA / Voices of Our Nation workshop in 2017, and is a 2018 fellow at the San Francisco Writers' Grotto, participating in a program that provides emerging writers with workspace and support in the publication process. Her current work-in-progress is a collection of short stories featuring female protagonists in a near-future Bay Area. Simmi is a Brown alum and former journalist, with experience at Politico, the Wall Street Journal, and the Associated Press. Keep up with her at  


Gabriela Álvarez

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Gabriela Álvarez-canoas plantain and collards and mushroom

Gabriela Álvarez is a chef and founder of Liberation Cuisine. She began cooking after studying public health in academia for several years. The kitchen became her way to tackle inequalities in the food system, while maintaining a focus on individual agency. Her own relationship with food has served as a declaration of self-worthiness in a world that diminishes brown bodies as well as a point of connection to her Puerto Rican ancestry. Her menus are an exploration of her own identities and a reflection of the communities and collectives with whom she collaborates. Chef Gabriela Álvarez cooks in spaces of self-determination, healing, community celebration, and cultural preservation. In 2014 she founded Liberation Cuisine with the intention of nourishing movements for social change with sustainable ingredients and practices. She has cooked for Soul Fire Farm’s Black and Latinx Farmer Immersion Programs as well as Harriet’s Apothecary Healing Villages, Bedstuy Pride, and Race Forward's Racial Justice Trainings. Gabriela is known to co-create food experiences with other artists, healers, activists and chefs. For example, she offered nourishment as part of an all-day healing experience at the opening of The Caribbean Center African Diaspora Institute in October 2016. Gabriela collaborated with two other women of color chefs to cook for the 2016 Holyoke Food Justice Conference. In 2017 she hosted a multi-sensory pop-up dining experience for three nights at Once Upon A Tart. Gabriela teaches cooking classes dedicated to food as resiliency and honoring traditional food preparations.