workspace - Lower Manhattan Cultural Council
workspace - Lower Manhattan Cultural Council
workspace - Lower Manhattan Cultural Council
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May 2012<br />
Daniel Bejar was born in the Bronx and lives in<br />
Brooklyn. His interdisciplinary practice utilizes<br />
intervention, sculpture, performance, and<br />
photography as tools to appropriate historical and<br />
cultural residue as strategies to create ruptures<br />
within established narratives. Bejar received a<br />
BFA from the Ringling College of Art & Design,<br />
Sarasota, FL and an MFA from the State University<br />
of New York, New Paltz in 2007. In 2011, Bejar was<br />
selected to Smack Mellon’s Hot Picks program<br />
and completed a residency at SOMA, Mexico City.<br />
Additionally, Bejar has participated in residencies<br />
at Vermont Studio Center, LMCC’s Swing Space<br />
program, and the Artist in the Marketplace Program<br />
at the Bronx Museum of the Arts. Bejar’s work has<br />
been exhibited internationally, with recent venues<br />
including El Museo’s sixth Bienal, The (S) Files<br />
2011; SITE Santa Fe, New Mexico; Artnews Projects,<br />
Berlin; and the Bronx Museum of the Arts.<br />
WAFAA BILAL<br />
wafaabilal.com<br />
DANIEL BEJAR<br />
danielbejar.com<br />
Iraqi-born artist Wafaa Bilal, an Assistant<br />
Arts Professor at New York University’s Tisch<br />
School of the Arts, is known internationally<br />
for his online performative and interactive<br />
works provoking dialogue about international<br />
politics and internal dynamics. For his<br />
current project, the 3rdi, Bilal had a camera<br />
surgically implanted on the back of his head<br />
to spontaneously transmit images to the web<br />
24 hours a day -- a statement on surveillance,<br />
the mundane and the things we leave behind.<br />
Bilal’s 2010 work …And Counting similarly<br />
used his own body as a medium. His back<br />
was tattooed with a map of Iraq and dots<br />
representing Iraqi and US casualties -– the<br />
Iraqis in invisible ink were seen only under a<br />
black light. Bilal’s 2007 installation, Domestic<br />
Tension, also addressed the Iraq war where<br />
he spent a month in a Chicago gallery with a<br />
paintball gun that people could shoot at him<br />
over the internet. Bilal’s work is constantly<br />
informed by the experience of fleeing his<br />
homeland and existing simultaneously in two<br />
worlds.<br />
VISUAL ARTISTS’ BIOGRAPHIES<br />
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