Artist Iñigo Manglano-Ovalle works at the intersection of nature, globalism, technology, and activism, and his projects find him frequently collaborating with partners in fields as far ranging as genetics, geology, and astrophysics. Manglano-Ovalle’s technology sophisticated sculptures and video installations use natural forms such as clouds, icebergs, and DNA as metaphors for understanding social issues such as immigration, gun violence, and human cloning. Born in Madrid in 1961, he is currently professor and chair of the Department of Art Theory and Practice at Northwestern University. Exhibiting in galleries around the world and participating in the Singapore, Liverpool, Sao Paulo, and Whitney Biennials, Manglano-Ovalle has received many awards, including a United States Artist Fellowship (2011), John D and Catherine T. MacArthur Foundation award (2001), and a Media Arts Award from the Wexner Center for the Arts, Columbus, Ohio (1997-2001).
Iñigo Manglano-Ovalle’s lecture at the Wexner Center for the Arts at Ohio State University followed by his conversation with OSU Department of Art faculty and students at Ann Hamilton Studio, Columbus, Ohio.
Faye Driscoll describes her dances as being like plays and installations. “Sets are designed to break apart, musical scores are made from performers’ stomps and voices, props are worn, used and reused for fantasy, excess, and loss. Performers sing, fight, frolic and make love in bursts, like rapid fire flipbooks of human emotion. Awkward virtuosic bodies teeter on the edge of high art and slapstick. A viewer feels a rollercoaster of joy, outrage, arousal and discomfort while performers hold a frank gaze that says, “You are me and I am you.” Embarrassment and exhilaration live side by side. I aim for an immersive world of sensorial complexity and perceptual disorientation. Through performers’ powerful exposure, heightened proximity, and at times physical connection with the audience, viewers feel their own culpability as cocreators of the performance. My work is a rigorously crafted group experience that comes off as improvised, chaotic and spontaneous.”
Faye Driscoll and company in conversation with OSU Department of Art and Department of Dance faculty and students at Ann Hamilton Studio, Columbus, Ohio, following her 2016 residency at Wexner Center for the Arts.
Faye Driscoll, Thank You For Coming work in progress
Hock E Aye Vi Edgar Heap of Birds was born in Wichita, Kansas, and works as a Professor of Native American Studies at the University of Oklahoma. Heap of Birds works in a range of media including painting, print, signage, sculpture, and installation, often using text as a means to confront American history and hegemonic privilege. In his artwork and community engagement, Heap of Birds demonstrates how art can serve indigeneity as a “cultural tool and weapon.”
Heap of Birds received a BFA from the University of Kansas in 1976 and an MFA from Temple University in 1979, and has exhibited nationally and internationally. He is the recipient of numerous honors, including grants from the National Endowment for the Arts, the Rockefeller Foundation, the Andy Warhol Foundation, and the Pew Charitable Trust. In 2012, Heap of Birds was named a Fellow of United States Artists.