(un)disciplinary tactics: Beatriz da Costa
curated by Daniela Lieja Quintanar
September 12, 2024 – February 28, 2025
as part of PST ART: Art and Science Collide
- A Preemptive Study: from public amateurism to community science, an ongoing study group
Deadline for sign up is March 6, 2022
- The life and artistic practice of Beatriz da Costa, a roundtable discussion with Robert F. Nideffer, Antoinette LaFarge, and others
March 27, 2022 1pm to 3pm
- Oil Drilling in Los Angeles, a talk with Bhavna Shamasunder and Sandy Navarro from L.A. Grit Media
June 5, 2022 1pm to 3pm
- A Preemptive Study: from tactical biopolitics to the cost of life, an ongoing study group
Deadline for sign up is August 14, 2022
- Part II of A Preemptive Study: from tactical biopolitics to the cost of life, a discussion with Kavita Philip
October 30, 2022 1-3pm
- Artist Leslie Garcia performance and talk at Fulcrum Arts x LACE, in conversation with Curator Daniela Lieja Quintanar
March 19, 2023 , 1-3pm at the Cinelounge
Daniela Lieja Quintanar is Chief Curator and Director of Programming at REDCAT Gallery (former Chief Curator and Director of Programming at LACE Los Angeles Contemporary Exhibitions). She works between Los Angeles and Mexico, emphasizing contemporary art and curatorial practices that explore the politics and social issues of everyday life. In 2018, Lieja Quintanar was awarded the Warhol Foundation Curatorial Research Fellowship. She was part of the curatorial team of MexiCali Biennial 2018-19. She served as Project Coordinator and Contributing Curatorial Advisor for Below the Underground: Renegade Art and Action in the 1990s Mexico at the Armory Center for the Arts in Pasadena, Getty PST:LA/LA initiative. In 2016, she worked with artist Teresa Margolles for her contribution La Sombra to the Public Art Biennial CURRENT: LA Water. She organized with LACE La Pista de Baile by Colectivo am, as part of the Getty/REDCAT PST: Live Art LA/LA Performance Festival. Lieja Quintanar curated Intergalactix: against isolation/contra el aislamiento (2021), Unraveling Collective Forms (2019); CAVERNOUS: Young Joon Kwak & Mutant Salon (2018) and Emory Douglas: Bold Visual Language (2018 co-curated with Essence Harden); home away from by Jimena Sarno (2017), El Teatro Campesino (1965-1975), (2017 co-curated with Samantha Gregg) at LACE. Lieja Quintanar holds a BA in Ciencias de la Cultura from the Universidad del Claustro de Sor Juana, Mexico City, and an MA in Art and Curatorial Practices in the Public Sphere from the University of Southern California.
Ana Briz is a researcher, writer, and curator in Los Angeles, the traditional, ancestral, and unceded territory of the Tongva peoples. In 2021, she joined the LACE team as curatorial assistant to (un)disciplinary tactics. Her research is situated in the field of performance, art, and visual culture in the United States with an emphasis on queer, feminist, and anti-racist work by BIPOC in California. She is broadly interested in issues of displacement, gentrification, mourning, and resistance in contemporary art and culture. The abolitionist imaginary informs her curatorial practice and research interests. Briz is currently a Ph.D. candidate in American Studies and Ethnicity at the University of Southern California and holds an M.A. in Curatorial Practices and the Public Sphere from the University of Southern California and a B.A. in Art History from Florida International University.
Robert F. Nideffer holds a Ph.D. in Sociology (1994) and an MFA in Computer Arts (1997), from the University of California, Santa Barbara. From 1998-2013 he was a Professor of Art at the University of California, Irvine, where he held a courtesy appointment in the Department of Informatics within the School of Information and Computer Science. He was made a tenured Associate Professor in 2002, and Full Professor in 2008. In 1999 he founded the Game Culture and Technology Lab, which went on to raise over $5,000,000 in sponsored research grants with a variety of academic, federal, and international partners. In 2005 he created an interdisciplinary undergraduate program in Game Culture and Technology. From 2005-2007 Nideffer was Co-Director, and from 2007-2009 Director, of the Art Computation Engineering (ACE) Graduate program, housed between the School of the Arts, the School of Information and Computer Science, and the School of Engineering. His work has been exhibited at a variety of national and international venues including the Museo Nacional Centro de Arte in Spain; the Laguna Art Museum in Laguna Beach, California; the Museum of Modern Art in New York, and the 2002 Whitney Biennial. He has lectured extensively both inside and outside the academy, and his projects have been discussed in major media outlets including books, journal articles, television, the internet, film and radio. In 2013 he joined Rensselaer Polytechnic Institute (RPI) where he served as Head of the Department of Arts until 2018.
Andrew McNeely is a writer, editor, curator, and a curatorial advisor to (un)disciplinary tactics. Andrew’s curating focuses on aesthetics, the philosophy of race, and spatial and environmental politics. His recent exhibition at LACE, A NonHuman Horizon (2019), investigates the articulation of racial identity in the work of three generations of environmentalist artists. He also curated Restless Debris (2016) at UCI’s UAG, which highlights the collective attachments to superfund sites often found in communities of color. Since 2018, Andrew has stewarded the Community Reading Group (CRG), a collective that is dedicated to verbalizing the limits of community and the duties of common life. CRG is organized by Olivia Leiter, Michael Berlin, Joy / Jade, Hailey Loman, and Zach Whitworth.
Christiane Paul has written extensively on new media arts, lectured internationally on art and technology and is the recipient of the Thoma Foundation’s 2016 Arts Writing Award in Digital Art. Her recent books are A Companion to Digital Art (Wiley Blackwell, 2016); Digital Art (Thames and Hudson, 3rd revised edition, 2015) Context Providers – Conditions of Meaning in Media Arts (Intellect, 2011; Chinese edition, 2012), co-edited with Margot Lovejoy and Victoria Vesna; and New Media in the White Cube and Beyond (UC Press, 2008). As Adjunct Curator of Digital Art at the Whitney Museum of American Art, she curated several exhibitions—including Cory Arcangel: Pro Tools (2011), Profiling (2007), Data Dynamics (2001) and the net art selection for the 2002 Whitney Biennial—and is responsible for artport, the Whitney Museum’s website devoted to Internet art. Other recent curatorial work includes Programmed: Rules, Codes, and Choreographies in Art 1965 – 2018 (Whitney Museum, 2018-19), Little Sister (is watching you, too) (Pratt Manhattan Gallery, NYC, 2015); What Lies Beneath (Borusan Contemporary, Istanbul, 2015); The Public Private (Kellen Gallery, The New School, Feb. 7 – April 17, 2013), Eduardo Kac: Biotopes, Lagoglyphs and Transgenic Works (Rio de Janeiro, Brazil, 2010); Biennale Quadrilaterale (Rijeka, Croatia, 2009-10); Feedforward – The Angel of History (co-curated with Steve Dietz; Laboral Center for Art and Industrial Creation, Gijon, Spain, Oct. 2009); and INDAF Digital Art Festival (Incheon, Korea, Aug. 2009). Dr. Paul has previously taught in the MFA computer arts department at the School of Visual Arts in New York (1999-2008); the Digital+Media Department of the Rhode Island School of Design (2005-08); the San Francisco Art Institute and the Center of New Media at the University of California at Berkeley (2008).
Kavita Philip is a historian of science and culture, and the President’s Excellence Chair in Network Cultures and a Professor of English at the University of British Columbia (UBC) Department of English Language and Literatures. She is author of Civilizing Natures (Rutgers University Press), and co-editor of five volumes curating interdisciplinary work in radical history, political science, art, activism, gender, technology studies, and public policy. Previously Philip taught as Professor in History at the University of California, Irvine. She was also an affiliated Faculty in Informatics, and the Director and co-founder (with Du Bois scholar Dr. Nahum Chandler) of the research group in Science, Technology and Race. During her time at UC Irvine, she also served as the Director of the Critical Theory Institute, Director of the Graduate Feminist Emphasis, and Director of Graduate Studies in History. Philip holds a Ph.D. in Science and Technology Studies from Cornell, an M.A. in History and Philosophy of Science and Technology from Cornell, an M.S. in Physics from the University of Iowa, and a B.Sc. in Physics (with Chemistry and Mathematics minors) from Stella Maris College (University of Madras, India).
Brooke Singer engages technoscience as an artist, educator, nonspecialist and collaborator. Her work lives “on” and “off” line in the form of websites, workshops, photographs, maps, installations, public art and performances that often involves participation in pursuit of social change. She is Associate Professor of New Media at Purchase College, State University of New York, a former fellow at Eyebeam Art + Technology Center (2010-11), co-founder of the art, technology and activist group Preemptive Media (2002-2008) and co-founder of La Casita Verde (2013-). From 2018-2020 she was a research affiliate with the Groffman Research Group, Environmental Sciences Initiative, Advanced Scientific Research Center at The Graduate Center, CUNY. She has exhibited nationally and internationally at institutions such as MoMA/PS1, Warhol Museum of Art, The Banff Centre, Neuberger Museum of Art, Diverseworks and Matadero Madrid. She has been in residence at New York Hall of Science, Marble House Project, Headlands Center for the Arts, Helsinki International Artist Programme, among others. Her writing has been published in Big Data and Society, Radical History Review and Brooklyn Rail. She is in the collections of the Whitney Museum of American Art, Microsoft and Melva Bucksbaum and Raymond Learsy.
Media Archaeologist/Media Advisor
Leslie García works developing electronic art and digital media projects. She explores the process of fusion between art and technology. Cofounder of the bioart collective Interspecifics (Mexico City) 2013-present, cofounder of the electronic media collective DreamAddictive (Tijuana B.C.) 2003-2010, and member of Astrovandalists in Mexico City 2011-2018. Associate researcher at the Nano Laboratory Nucleus of the Escola de Belas Artes (UFRJ) in Rio de Janeiro, 2012-2015. In 2015-2016, she worked as an artistic researcher in the media department of the Bauhaus University in Weimar Germany. Member of National System of Art Creators (SNCA) in the specialty of new technologies 2022-2025.
Claire Pentecost is an artist and writer who researches the living matters of the unified multi-dimensional being that animates the critical zone of our planet. Her soil-erg project of 2012 considered the material of soil as the basis for an alternative econimic system. Pentecost’s work is driven by research and inspired by questions of form. She advocates for the role of the amateur in the production and interpretation of knowledge, while a longstanding interest in nature and artificiality predicates her recent responses to anthropogenic climate change. Pentecost has exhibited work nationally and internationally at dOCUMENTA (13), Kassel, Germany; 13th Istanbul Biennial; White Chapel, London; 3rd Mongolian Land Art Biennial; MCA Chicago; MSU Broad Museum; Museum of Contemporary Photography, Chicago; Higher Pictures, New York; Corcoran Museum, Washington, DC; Milwaukee Art Museum; Transmediale 05, Berlin; and American Fine Arts, New York; and many others. Pentecost is currently a Professor of Photography at The School of the Art Institute of Chicago.
Steve Kurtz PhD, Professor Emeritus of Art at the State University of New York, is a founding member of the internationally acclaimed art and theater group Critical Art Ensemble (CAE). Founded in 1987 by Steven Kurtz and Steve Barnes, CAE is an award-winning collective of artists of various specializations dedicated to exploring the intersections between art, technology, political activism, and critical theory. The collective has written 8 books, and its writings have been translated into 18 languages. CAE book projects include: The Electronic Disturbance (1994), Electronic Civil Disobedience & Other Unpopular Ideas (1996), Flesh Machine: Cyborgs, Designer Babies, & New Eugenic Consciousness (1998), Digital Resistance: Explorations in Tactical Media (2001), Molecular Invasion (2002), Marching Plague (2006), Disturbances (2012), and Aesthetics, Necropolitics, and Environmental Struggle (2018).
Antoinette LaFarge is an artist and writer whose visual work has taken form as computer-mediated performance, programmed installations, and digital prints. Recent art projects include Deep Earth (2021) and Burning Time (2018). Recent books include Sting in the Tale: Art, Hoax, and Provocation (DoppelHouse Press, 2021) and Louise Brigham and the Early History of Sustainable Furniture Design (Palgrave Macmillan 2019). Her writing and artwork have appeared in Art Journal, Wired, Leonardo, Ada, the Southern Quarterly, the MOSF Journal of Science Fiction, and elsewhere, as well as in anthologies from MIT Press, Oxford University Press, and other international presses. She is a longtime contributor to Wikipedia, where she focuses on closing gaps in the coverage of women and people of color. She is a professor of new media art at UC Irvine.
Bhavna Shamasunder is Associate Professor and Chair in the Urban and Environmental Policy Department and co-chair of the Public Health Program at Occidental College. She teaches and conducts research on environmental health and justice with a focus on the disparate and cumulative burdens faced by poor communities of color. Her active research projects include health impacts from neighborhood oil drilling in Los Angeles; the “environmental injustice of beauty” that considers health disparities for women of color from synthetic chemicals in consumer products; and the types of information (i.e. economic, public health, etc..) used by diverse immigrant communities in decisions to lighten skin and/or use skin lightening products. Her work has been supported by the National Institute of Environmental Health Sciences, the California Breast Cancer Research Program, and the National Science Foundation. She received her doctorate from the University of California, Berkeley in the Department of Environmental Science, Policy, and Management.
Sandy Navarro is a lifelong resident of Historic South Central Los Angeles, whose firsthand experience of living in a disenfranchised community galvanized her commitment to social justice work. In 2014, Sandy joined the staff of Esperanza Community Housing, overseeing multiple community-led beautification projects and health-driven collaborations throughout South Los Angeles. While at Esperanza, Sandy managed the environmental justice campaign, People Not Pozos (People Not Oil Wells), served on the Stand Together Against Neighborhood Oil Drilling (STAND LA) coalition, and led local youth leaders in the formation of the South Central Youth Leadership Coalition. In 2017, Sandy launched, L.A. Grit Media, an agency dedicated to working collaboratively with organizations, researchers, and public health groups to produce community-driven media and advance community-based research. Sandy has produced educational videos, designed health literacy intervention materials, and created art exhibitions for Esperanza Community Housing, Occidental College, USC Environmental Health Centers, Iris Cantor-UCLA Women’s Health Center, and the Los Angeles County Department of Public Health. A graphic designer, videographer, and Community Health Promoter, Sandy Navarro utilizes her skills to bring visibility to the social issues in her community.
This exhibition is made possible with support from Getty through its PST ART: Art & Science Collide initiative.