Nathalie Anglès is co-founder and Executive Director of Residency Unlimited (RU). Nathalie studied history and political science and is a graduate of The École du MAGASIN international curatorial studies program in Grenoble, (CNAC – Le Magasin – Grenoble France). From 2000-2008 she worked at Location One as the Director of the International Residency Program (New York). Previous positions include: Sotheby’s (London), cataloguer Impressionist and Modern art department; Director of the Residency Program, American Center in Paris; curatorial assistant, Ecole des Beaux Arts (ENSBA), Paris ; curatorial assistant, Union Centrale des Arts Decoratifs (UCAD). Paris. In 2008, Nathalie received the title of Chevalier of the Order of Arts and Letters from the French government.
Rachel Raphaela Gugelberger is an NYC-based curator and cultural producer with a focus on place-based practices around social, cultural, and civic issues. Projects include (after)care, a site-specific exhibition in a former emergency waiting room at Kings County Hospital Center in East Flatbush, Brooklyn (2019); the inaugural Southeast Queens Biennial (2018); Jameco Exchange, a site-responsive exhibition and socially engaged education platform in a vacant storefront in Jamaica, Queens (2016); and Hold These Truths (2017) and Bring in the Reality (2015), exhibitions that presented works at the intersection of activism and storytelling at the Nathan Cummings Foundation in Manhattan. Rachel is the co-founder of 1@111, a series of process-oriented discussions that focus on a single work, curatorial premise or proposition. Independent curatorial projects have focused on the intersection of information, data and art, including: Once Upon a Time There was the End, the Center for Book Arts, New York, NY; Data Deluge, Ballroom Marfa, TX; and Library Science, Artspace, New Haven, CT. She is the former curator at No Longer Empty (NLE), a non-profit organization that curates site-responsive and community-centered exhibitions, education, and programs in unique spaces, and also served as director of the NLE Curatorial Lab program. Rachel has served as co-director of Sara Meltzer Gallery and curator at Exit Art in New York, where she curated the organization’s final exhibitions Every Exit Is an Entrance: 30 Years of Exit Art and Collective/Performative (co-curator). Rachel holds an MA in Curatorial Studies in Contemporary Art and Culture from the Center for Curatorial Studies at Bard College, NY.
Livia Alexander is a curator, writer, and Assistant Professor of Global Contemporary Cultures at Montclair State University. Her work is focused on examining the relationship between art infrastructure and artistic production, urbanity, cultural politics of food and art, and contemporary art from the Middle East and Southeast Asia. She as curated and produced numerous art and film programs, exhibitions and events, showcased at the MoMA New York, Tate Modern, Sharjah Art Foundation, Queens Museum, The Film Society of Lincoln Center, Cinematheque Tangier, and many more. Alexander is co-producer of the research-based interactive documentary, Jerusalem, We Are Here (Canada/Palestine/Israel, 2016), directed by Dorit Naaman. Her award-winning scholarly writing and criticism has appeared in the Journal of Visual Anthropology, Framework, MERIP, Hyperallergic, Art Africa, and Harpers Bazaar Art Arabia and as book chapters and catalog essays.
Alexander served as an advisor to a variety of art organizations and galleries, including Tirana Open, Sapar Contemporary, Al Riwaq Art Space, New Rochelle BID, Asian Contemporary Art Week, and the Art & Patronage Summit. She is the co-founder of ArteEast, a non-profit organization established in 2003 to support and promote artists from the Middle East, North Africa and its diasporas, which she directed until 2013. Alexander’s work has been supported by grants and fellowships from the Ford Foundation, Open Society Foundations, Andy Warhol Foundation for the Visual Arts, Doris Duke Foundation, American Association of University Women, among others.
Mary Ayling is a visual artist, curator, and arts administrator with a background in running galleries, working in artist studios, and managing cultural projects. She was a co-founder of Fill in the Blank Gallery, an artist-run space in Chicago, IL that focused on emerging artists and community performances. She has both participated in and produced projects that have taken place at the Caro d’Offay Gallery, Version Fest Chicago, and the CARR Center in Detroit, MI amongst others. In 2011 she ran Parlour Room Projects, a one-year alternative gallery out of her home that focused on building relationships between Michigan and Chicago based artists.
In her studio practice, Ayling draws on her background in glass, using a material vocabulary of weight, volume, and transparency to explore how the emotional and physiological effects of language are expressed through the body. Creating conceptual objects and installations, her works manifest as carefully choreographed interactions and visual artifacts. She holds an MFA from the University of Michigan and a BFA from the Columbus College of Art and Design. Selected exhibition venues include The Boiler Room/ Pierogi Gallery Brooklyn NY, The San Jose Institute of Contemporary Art, The Chicago Cultural Center, and a First Friday performance with Stephanie Burke at the Museum of Contemporary Art Chicago.
Lulu Meng studied and worked in stagecraft and costume design where she acquired experience in woodworking, welding, set construction, and garment making. After switching paths to be an artist, Lulu applies her skills in theater to both her work and to assist other artists in producing their works. Previously, she was the gallery manager at William Harris Gallery in Rochester, NY where she was in charge of exhibition installation, and has worked with artists such as Taraneh Hemami, Xiaoze Xie and Hogtu Zhang, in different stages of their projects, including material and fabrication research, project rendering, production, and art handling.
As a person, Lulu Meng contemplates what it is to be an individual living in modern society and what connects people, through her meditative practice – art and yoga. Meng’s conceptual based art practice is rooted in her experience and observation of people, environments, and the relations between them. In recent years, she is captivated by the push and pull between an individual’s tendency to be unique and the coexisting longing to belong to a community. She presents her concepts in installation, sculpture, photography, drawing, video or whichever format that communicates the ideas.