Gerry Bibby
Last Call was an exhibition that just closed in Berlin at the gallery Silberkuppe. It was the most recent exhibition of artworks by Gerry Bibby. Seven works made up the show. Four of them were sculptures, One of which was also a screen print, another print combination was also hung, another was a collage, and One work behaved as a platform for a performance by Nine readers called Congress (Two thousand and Twelve). All of the works were made recently but some revised/re-purposed older content made public in other places such as the Kunsthalle Bremen or at The Serpentine, London, and many used found material. Text, often the artist’s own, played a major role. Gerry has employed similar techniques for quite some time. He was born in Melbourne in Nineteen Seventy-Seven.

Gregg Bordowitz is an artist and writer. For the past three years, Bordowitz turned his attention to performance. Testing Some Beliefs is an improvisational lecture that he delivered at Iceberg Projects (Chicago), Murray Guy (New York), Temple Gallery (Philadelphia), and the Modern Art Museum of Fort Worth (Texas). He wrote and directed Sex Mitigating Death: On Discourse and Drives: A Meditative Poem, presented March 18th, 2011, at the Tate Modern, London. He also directed and wrote an opera titled The History of Sexuality Volume One By Michel Foucault: An Opera, which premiered October 1 and 2, 2010 at Tanzquartier Wien, Austria. His most recent book, General Idea: Imagevirus, was published by Afterall Books in 2010. A collection of his writings — titled The AIDS Crisis Is Ridiculous and Other Writings 1986-2003 — was published by MIT Press in the fall of 2004. For this book, Bordowitz received the 2006 Frank Jewitt Mather Award from the College Art Association. In addition, he has received a Rockefeller Intercultural Arts Fellowship and a John Simon Guggenheim Memorial Fellowship, among other grants and awards. His films, including Fast Trip Long Drop (1993), A Cloud In Trousers (1995), The Suicide (1996), and Habit (2001) have been widely shown in festivals, museums, movie theaters, and broadcast internationally. Professor Bordowitz teaches in the Film, Video, New Media, and Animation Department at the School of the Art Institute of Chicago, and he is on the faculty of the Whitney Museum Independent Study Program.

Jacob Korczynski is an independent curator based in Toronto. He was a participant in de Appel Curatorial Programme 2010/2011, where he co-curated the exhibition Fluiten in het Donker and co-edited the accompanying publication. He has curated projects for the Dunlop Art Gallery, SAW Gallery, Vtape, and Gallery TPW amongst others, and his writing has appeared in Prefix Photo, Border Crossings, C Magazine and Fillip.

Louise Lawler lives and works in New York. Lawler became well known in the 1980s for her photographs of art works situated in the homes of collectors, auction houses and galleries. These photos show art works in constellations with designer objects and everyday objects; or offer ‘backstage’ glimpses of works in transit or prior to installation. Often framed as ‘appropriation art’, or ‘institutional critique,’ this photographic work, which she maintains until this day, lays bare the day-to-day operations of the art world and its circulation and presentation of art works. The work also, importantly, exposes an affective engagement of the artist with her subject matter. Lawler’s practice in fact extends into audio pieces, installations, events and several kinds of ephemera. These works assert a ‘poignancy’, as Helen Molesworth has described, that is characterised by both passion and sharpness, and attests to the complexity of personal and political commitment in artistic practice.

Sven Lütticken teaches art history at VU University Amsterdam. He is the author of Secret Publicity: Essays on Contemporary Art (2006) and Idols of the Market: Modern Iconoclasm and the Fundamentalist Spectacle (2009), as well as History in Motion (forthcoming, 2013).

Helen Molesworth is the Barbara Lee Chief Curator at the Institute of Contemporary Art (ICA) Boston, where she has organized one person exhibitions of artists Catherine Opie and Josiah McElheny, and group exhibitions such as Dance/Draw and This Will Have Been: Art, Love & Politics in the 1980s. Formerly head of the Department of Modern and Contemporary art as well as the Houghton Curator of Contemporary Art at the Harvard Art Museum, she presented an exhibition of photographs by Moyra Davey and ACT UP NY: Activism, Art, and the AIDS Crisis 1987-1993. From 2002 to 2007 she was the Chief Curator of Exhibitions at the Wexner Center for the Arts where she organized the first US retrospectives of Louise Lawler and Luc Tuymans, as well as Part Object Part Sculpture which examined sculpture produced in the wake of Marcel Duchamp’s erotic objects and hand made readymades of the 1960s. From 2000-2002 she was the Curator of Contemporary Art at The Baltimore Museum of Art, where she organized Work Ethic, which traced the problem of artistic labor in post-1960s art. She is the author of numerous catalogue essays and her writing has appeared in publications such as Artforum, Art Journal, Documents, and October. Her research areas are concentrated largely within and around the problems of feminism, the reception of Marcel Duchamp, and the socio-historical frameworks of contemporary art. She is currently at work on the first museum survey exhibition of painter Amy Sillman.

Grant Watson is Senior Curator and Research Associate at the Institute of International Visual Arts in London (Iniva). As curator at the Museum van Hedendaagse Kunst Antwerpen (MuHKA) (2006-2010) his projects included Santhal Family positions around an Indian sculpture, Cornelius Cardew, Search for the Spirit, Textiles Art and the Social Fabric and the Keywords lecture series. He was previously the Curator of Visual Arts at Project in Dublin (2001-2006) where he focused on solo commissions from contemporary Irish and international artists as well as themed projects such as a series on communism. Watson has worked with modern and contemporary Indian art since 1999, researching this subject for Documenta 12, as well as co-curating Reflections on Indian Modernism a series of exhibitions, talks and events at the Office for Contemporary Art Norway (OCA). The touring exhibition Nasreen Mohamedi: Notes is the first installment of this programme. Watson studied Curating and Visual Cultures at Goldsmiths College London where he is currently a PhD candidate.