Emily Mast (born in Akron, Ohio, 1976) recently staged a solo “choreographed exhibition” called Missing Missing at La Ferme du Buisson in Noisiel, France, and an eighteen-part roving procession of performances based on the poetry of Joan Brossa at the Los Angeles County Museum of Art (LACMA). In addition, her video, installation, and performance work was part of the Hammer Museum’s Made in L.A. Biennial (2014). Mast’s performances have been exhibited at venues including: China Art Objects Galleries, Los Angeles (2015); Mona Bismarck American Center, Paris (2015); Silencio, Paris (2015); Night Gallery, Los Angeles (2014); Robert Rauschenberg Foundation Project Space, New York (2013); Public Fiction, Los Angeles (2012); REDCAT, Los Angeles (2012); MUHKA, Antwerp (2011); Human Resources, Los Angeles (2010); and Performa, New York (2009). Mast has received numerous awards including a Harpo Foundation Grant (2013); Center for Cultural Innovation Investing in Artists Grant (2013); Franklin Furnace Fund Grant (2013); and a California Community Foundation Fellowship (2012). In 2009 Mast graduated with a Masters in Fine Arts from the University of Southern California and has been an artist-in-residence at the Skowhegan School of Painting and Sculpture; the Headlands Center for the Arts in Sausalito; and Yaddo in Saratoga Springs.

Julia Paoli is the Director and Curator at Mercer Union, and was formerly the Associate Curator at the Power Plant Contemporary Art Gallery. Paoli received her Masters of Arts from Bard College in Curatorial Studies.

Christine Shaw is Director/Curator of the Blackwood Gallery and Associate Professor of Curatorial Studies in the Department of Visual Studies at the University of Toronto Mississauga, a Research Fellow & Visiting Scholar in Art, Culture Technology (ACT) at the Massachusetts Institute of Technology, and Curatorial Research Fellow, Andy Warhol Foundation for the Visual Arts (2021–2023).

Shaw’s work convenes, enables, and amplifies the transdisciplinary thinking necessary for understanding our current multi-scalar historical moment and co-creating the literacies, skills, and sensibilities required to adapt to the various socio-technical transformations of our contemporary society. She has applied her commitment to compositional strategies, epistemic disobedience, and social ecologies to multi-year curatorial projects including Take Care (2016–2019), an exhibition-led inquiry into care, exploring its heterogeneous and contested meanings, practices, and sites, as well as the political, economic, and technological forces currently shaping care; The Work of Wind: Air, Land, Sea (2015–2023), a variegated series of curatorial and editorial instantiations of the Beaufort Scale of Wind Force exploring the relentless legacies of colonialism and capital excess that undergird contemporary politics of sustainability and climate justice; and OPERA-19: An Assembly Sustaining Dreams of the Otherwise (2021–2029), a decentralized polyvocal drama in four acts taking up asymmetrical planetary crisis, differential citizenship, affective planetary attention disorder, and a strategic composition of worlds. She is the founding editor of The Society for the Diffusion of Useful Knowledge (Blackwood, 2018–ongoing), and co-editor of The Work of Wind: Land (Berlin: K. Verlag, 2018) and The Work of Wind: Sea (Berlin: K. Verlag, 2023).