INTERVIEWS, FEATURES, HIGHLIGHTS (selected)

• THE POLIS PROJECT, “Astria Suparak On The Role of Sports In Upholding Empires and Systems of Power,” Lisa Kwon, Dec. 12, 2024
• ART AND KNOWLEDGE AFTER 1900: Interactions between modern art and thought, “Ethnic Futurisms and Contemporary Art,” Alice Ming Wai Jim. (Manchester: Manchester University Press, 2023). Edited by James Fox & Vid Simoniti.
• V MAGAZINE CHINA, “Astria Suparak: The Asian future in Hollywood science fiction films,” Sept. 2023
• X-TRA CONTEMPORARY ART JOURNAL, “Softness Is A Power: Astria Suparak in Conversation with Dorothy R. Santos,” Spring 2023
• MANY LUMENS, Season 2 Episode 10: “Astria Suparak,” podcast by Maori Karmael Holmes, BlackStar, July 27, 2022
• VARIABLE WEST, “Asian Futures, With Asians: Astria Suparak and Everything Everywhere All at Once,” feature review by May Maylisa Cat, May 17, 2022
• IMAGINARY WORLDS, Episode 193: “Asian Futures Without Asians,” podcast by Eric Molinsky, March 3, 2022
• THE HOLLYWOOD REPORTER, “How Sci-Fi Films Use Asian Characters to Telegraph the Future While Also Dehumanizing Them,” feature by Evan Nicole Brown, Nov. 16, 2021
• NEW YORK TIMES, “Pushing Against Hate: Asian-American artists are spurred to activism,” feature by Aruna D’Souza, April 18, 2021
• KQED, “Astria Suparak’s ‘Virtually Asian’ Analyzes Sci-Fi to Argue for Less Racist Futures,” review by Theadora Walsh, March 2, 2021
• LOS ANGELES TIMES, “Riot Grrrls stake a new space in ‘Alien She’”, feature by Jessica Gelt, March 27, 2015
• FAST COMPANY, “Still Rioting After All These Years: ALIEN SHE Spotlights a ’90s Movement That’s Still Influencing Women Today,” Hugh Hart, March 17, 2015
• SAN FRANCISCO CHRONICLE, “‘Alien She’ at YBCA: Riot Grrrls come of age,” review by Christian L. Frock, Nov. 3, 2014
• ARTINFO, “Alien She Explores Riot Grrrl’s Legacy,” interview with Ashton Cooper, Oct. 23, 2014
• KQED, “‘Alien She’ Exhibit Explores the Connection Between Punk Rock and Fine Art,” review by Matthew Harrison Tedford, Oct. 30, 2014
• ARTFORUM, “Critics’ Pick: Alien She,” review by Chelsea Haines, Jan. 2014
• THE HUFFINGTON POST, “First Riot Grrrl Exhibition Explores The Lasting Impact Of The Punk Feminist Movement,” review by Katherine Brooks, Sept. 28, 2013
• THE PEW CENTER FOR ARTS & HERITAGE Exhibitions Initiative Blog, “Contemporary Curators Talk About the Field,” interview by Peter Nesbett, Oct. 2011. Reprinted in PIGEONS ON THE GRASS ALAS: Contemporary Curators Talk About The Field (Philadelphia: The Pew Center for Arts & Heritage, 2013). Edited by Paula Marincola and Peter Nesbett.
• THE ASSOCIATED PRESS, “Packers, Steelers fans among NFL’s most rabid: From cradle to grave, fans of Packers, Steelers live and die supporting their beloved teams,” feature by Colin Fly and Joe Mandak, Feb. 2, 2011 Published in ABC News, CBC, CBS, ESPN, Forbes, Fox News, Miami Herald, NBC Sports, NPR, Salon.com, The Seattle Times, SF Examiner, USA Today, Washington Post, Washington Times, Yahoo News, and outlets internationally.
• ART PAPERS, “Whatever It Takes,” review by Curt Riegelnegg, Jan.–Feb. 2011
• NEW YORK TIMES, “The Steelers at the Intersection of Iron City Beer and Art Basel,” Eric Dash, Sept. 18, 2010
• ARTFORUM, “Critics’ Pick: Keep It Slick: Infiltrating Capitalism with the Yes Men,” Wendy Vogel, May 18, 2010
• ABC-affiliate WTAE Action News: “Top News Story: Steeler Nation on Display at CMU Exhibit,” Sept. 9, 2010
• “Individual Group Experiences and Unusual Acts of Kindness: An Interview with Astria Suparak, On Touring,” Brett Kashmere, A MICROCINEMA PRIMER: A HISTORY OF EXPERIMENTAL FILM EXHIBITION IN THE UNITED STATES (Houston: Aurora Picture Show, 2009). Edited by Andrea Grover and Ed Halter. Limited edition. Reprinted at brettkashmere.com.
• PITTSBURGH POST-GAZETTE, “Director of CMU gallery charts challenging course,” profile by Mary Thomas, 2009
• RHIZOME, “Interview with Astria Suparak,” by Lauren Cornell, 2008
• PITTSBURGH CITY PAPER, “The Miller Gallery’s internationally renowned new curator, Astria Suparak, debuts her first Pittsburgh show,” profile by Bill O’Driscoll, 2008
• C MAGAZINE, “The Politics of Cool: Astria Suparak,” profile by Emily Vey Duke and Cooper Battersby, Issue 96, Winter 2007
• RES MAGAZINE, “Programmed to Stun: Astria Suparak,” profile by Holly Willis, March 14, 2003
• THE INDEPENDENT MAGAZINE, “Astria Suparak: Experimental Media Curator as Rock Star,” feature profile by Matt Wolf, 2003
• THE INDEPENDENT, “A New Romantic T.V. Sound: Astria Suparak,” profile by Miranda July, 2002
• ART VOICE, “Looking is Better than Feeling You: Interview with Astria Suparak,” by Jan Nagle, 2002
• TÉLÉRAMA MAGAZINE, “L’underground sur les toits: Le ‘microcinema’ prend son envol sur les buildings de New York,” profile by Laurent Rigoulet, France, 2002
• CRUDELIA MAGAZINE OF CONTEMPORARY ART, “Astria Suparak,” profile, Italy, 2000

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OTHER ARTICLES and PRESS (selected)

• SPORT IN ART, “Astria Suparak: What The Power of The Sports Meme Can Teach Us,” Michela Giachino, Jan. 12, 2026
• META EYE PAPER, “Worldbuilding and Staying with the Trouble,” Clara Peh, Nov. 24, 2025
• ARTS, “Generative Artifacts: Chinatown and an Ornamental Architecture of the Future,” Jessica Hanzelkova, 2025 (Basel: MDPI)
• KQED, “In ‘The Sky Below,’ Artists Depict Futures Worth Sticking Around For,” Sarah Hotchkiss, July 23, 2025
• PITTSBURGH POST-GAZETTE, “Carnegie Museum of Art opening 2024 Film Series with ‘Everything Everywhere All at Once’,” Joshua Axelrod, April 5, 2024
• FEMALE MAGAZINE, “The Visual Arts Trends You Can’t Ignore In 2024,” Stephanie Yeap, Jan. 22, 2024
• THE MICHIGAN DAILY, “Astria Suparak’s ‘Asian futures, without Asians’ exposed Orientalism in sci-fi, and that’s needed,” Saarthak Johri, Kristen Su and Thejas Varma, Dec. 3, 2023
• ARTREVIEW, “What Models Make Worlds: Critical Imaginaries of AI,” Cassie Packard, Nov. 2023
• THE BROOKLYN RAIL, “Crisis, A Critical Imaginary,” Charlotte Kent, Nov. 2023
• CURATOR GUIDE, “What Models Make Worlds: Critical Imaginaries of AI,” Amanda Quinn Olivar, Nov. 2023
• THE MICHIGAN DAILY, “Astria Suparak talks Asian culture in sci-fi at UMMA,” Marissa Corsi, Nov. 17, 2023
• ARTNET, “See the Provocative A.I. Works in a New Show at the Ford Foundation Gallery That Turn a Critical Eye on the Tool’s Promise—and Its Limits,” Min Chen, Oct. 9, 2023
• SURFACE MAGAZINE, “Itinerary: What Models Make Worlds,” Sept. 2023
• ARTREVIEW, “Sense of Reality,” Yao Boan, September 2023
• ARTNET, “When technology and art have ’emotions’, what kind of philosophical thinking can be triggered?,” Li Jingyue, August 28, 2023
• HYPERALLERGIC, “Top 50 Exhibitions of 2022,” AX Mina, Dec. 28, 2022
• THE MARY SUE, “These Early 2000s Video Games Really Loved Orientalism. Have Games Improved Since?,” Madeline Carpou, Nov. 8, 2022
• NOB HILL GAZETTE, “Movers and Shakers: Class Acts,” Jeanne Cooper, Aug 31, 2022
• BROOKLYN RAIL, “Astria Suparak and Chandan Reddy,” July/August 2022
• SAN FRANCISCO CHRONICLE, “3 Bay Area visual artists win 2022 Artadia Awards: ‘I’m honored and a little bit in shock’,” Joshua Kosman, July 6, 2022
• HYPERALLERGIC, “Commemorating the Life of Christina Yuna Lee,” Isabel Ling, May 30, 2022
• VARIABLE WEST, “Cliff Notes: Northern California Picks — A Sieve for Infinity”, Theadora Walsh, May 13, 2022
• Spectrum News NY1, “Woman killed in Chinatown honored at gallery,” May 11, 2022
• T: NEW YORK TIMES STYLE MAGAZINE, “Paris, Europe’s Former Art Capital, Is Back on Top,” Noor Brara, May 4, 2022 [in print May 8]
• ARTNET: “Editors’ Picks: 14 Events for Your Art Calendar This Week, From Joan Jonas in Times Square to Art Inspired by Courtroom Dramas,” Sarah Cascone, April 19, 2022
• SOUTH CHINA MORNING POST, “Why is being an Asian-American woman in the US still a danger? Art exhibition in tribute to Christina Yuna Lee seeks answers,” Danielle Wu, April 18, 2022
• OCULA MAGAZINE, “Christina Yuna Lee, Art Worker Murdered in New York, Remembered at Eli Klein Gallery,” Sam Gaskin, April 11, 2022
• ARTSY: “A Moving New Exhibition Pays Tribute to Christina Yuna Lee’s Start in the Art World,” Harley Wong, Apr 11, 2022
• THE DOUBLE NEGATIVE, “Culture Diary” (Asian futures, without Asians selected as the Tuesday pick for what to do in the U.K.), February 14, 2022
• MEDIA-N JOURNAL OF THE NEW MEDIA CAUCUS, “High-Tech Orientalism and Science Fiction Futures in Astria Suparak’s ‘Virtually Asian’ (2021),” review by Kaitlin Forcier, February 1, 2022
• HYPERALLERGIC, “A Look Back at Art News in 2021, From NFTs to Restitution,” Hyperallergic staff, Dec. 6, 2021
• ARTnews, “The collective network Stop DiscriminAsian aims to to end a long legacy of racism in the art world”, feature by Danielle Wu, Dec.-Jan. 2021-22
• NextShark, reprinted in Yahoo News, “‘Outsize, empty, mute Asians’: ‘Virtually Asian’ video essay critiques portrayals of Asians in popular sci-fi“, Sarah Yukiko, Nov. 22, 2021
• 4Columns, “Dune,” Ed Halter,  Oct. 22, 2021
• ForYourArt, “Top Pick of the Day,” Sept. 16, 2021
• LOS ANGELES TIMES, “Essential Arts,” Carolina A. Miranda, May 1, 2021
• ARTFORUM, “Asian American Arts Workers Decry White Supremacy In Open Letter,” April 8, 2021
• HYPERALLERGIC, “Asian American Arts Workers Denounce White Supremacy in Open Letter,” Valentina Di Liscia, April 7, 202
• HYPERALLERGIC, “What Can Museums and Art Orgs Do to Counter Anti-Asian Hate?,” Hakim Bishara, March 24, 2021
• BOING BOING, “Watch a supercut of sci-fi movies that use Asian bodies without casting Asian characters,” Janelle Hessig, March 7, 2021
• HYPERALLERGIC, “Seven Asian Women Artists Discuss Racism and Tokenism in the Art World,” Elisa Wouk Almino, July 7, 2020
• National Museum of Women in the Arts Blog, “Art Fix Friday: Shows We Want to See,” July 10, 2020
• NEW CITY, “Art Top 5: June 2020,” Kerry Cardoza, May 26, 2020
• HYPERALLERGIC, “Art Workers Mobilize to Combat Anti-Asian Racism,” Valentina Di Liscia, May 21, 2020
• ARTnews, “Art Workers Band Together to Fight Coronavirus-Related Spike in Racism Against Asian Americans,” Alex Greenberger, May 7, 2020
• HYPERALLERGIC, “A Conversation Series Emerges In Response to Racism During Pandemic,” Elisa Wouk Almino, May 6, 2020
• HYPERALLERGIC, “Live Blogging Discussions of Collective Bargaining and Language Justice in the Arts,” Jasmine Weber, April 25, 2020
• KQED, “THE DO LIST: Sci-Fi is Full of ‘Asian Futures, Without Asians’”, Sarah Hotchkiss, March 2020
• THE ART REPORT, “This Month’s Feature: Asian Futures, Without Asians” March 2020
• THE ARCHITECT’S NEWSPAPER, “The Canadian Centre for Architecture gets reflective in The Museum is Not Enough,” Matthew Allen, March 12, 2020
• ARCHITECTURAL RECORD, “A Cultural Institution Analyzes Its Goals,” Cynthia Davidson, February 11, 2020
• NESS Magazine, “The Museum is Not Enough,” Oct. 11, 2019
• CONGRATULATIONS PINE TREE, “Punk Sports (with Astria Suparak),” episode 209, June 14, 2019
• CityTV, Wave, “Bodies” episode, Santa Monica, CA, Aug. 21, 2018
• LAist, “The Coolest Things To Do In Southern California This Week,” July 16, 2018
• CANADIAN ART MAGAZINE, “World Cup Meets White Cube,” Leah Sandals, July 4, 2018
• ARTFORUM, “Woman With A Camera,” Miranda July and Julia Bryan-Wilson, February 2017
• NEW YORK TIMES, “Miranda July Shares Her Vintage Feminist Film Archive,” Mary Kaye Schilling, January 30, 2017
• THE WIRE, “On Site: Alien She,” Geeta Dayal, April 2015
• NEW YORK TIMES, “Fall Arts Preview: Alien She,” Karen Rosenberg, Sept. 6, 2014
• ART PAPERS, “Alien She: Vox Populi, Philadelphia,” review by Becky Huff Hunter, May 2014
• THE WALL STREET JOURNAL, “Insider’s Guide to Pittsburgh,” Courtney Balestier, June 1, 2013
• ARTINFO, “A First Look at the Curators Nominated for This Year’s ICI Independent Vision Curatorial Award,” Sept. 10, 2012
• GALLERIST NY, “Independent Curators International Announced Nominees for 2012 Independent Vision Curatorial Award,” Rozalia Jovanovic, Sept. 7, 2012
• HYPERALLERGIC, “Art and Science Get Intimate,” review by Leila Nadir, April 16, 2012
• HYPERALLERGIC, “Globalization, the Environment and the Effects of Media,” review by Leila Nadir, Dec. 3, 2011
• ART LIES, “The Yes Men, Diverseworks,” Regan Golden-McNerney, June 2010
• GLASSTIRE, “The Yes Men at DiverseWorks,” Beth Secor, May 30, 2010
• TEXAS OBSERVER, “The Power of Yes,” Josh Rosenblatt, May 24, 2010
• TIME OUT CHICAGO, “Karma chameleons: The Yes Men step into Big Business’s shoes,” Christina Couch, Sept. 23, 2010
• HOUSTON PRESS, “Corporate Takeover: The Yes Men take on companies using their own tools,” Kelly Klaasmeyer, June 3, 2010
• HOUSTON PRESS, “Top Art Pick: Bigwigs worldwide live in fear of The Yes Men and their hijinks-style activism,” Dusti Rhodes, 2010
• HOUSTON CHRONICLE, “The Yes Men infiltrate DiverseWorks,” Douglas Britt, April 30, 2010
• FINANCIAL TIMES, “Satirical attacks on capitalism,” Emma Jacobs, Sept. 10, 2009
• ART PAPERS, “The Yes Men,” review by John Massier, July/Aug. 2009, p. 60
• FANZINE, “Desire in Syracuse: the ‘Come On’ Controversy,” feature by Yvonne Olivas, Nov. 2007
• CANADIAN ART, “Faux Naturel: The Warehouse Gallery,” review by R.M. Vaughan, Fall 2007
• ARTFORUM, “ON SITE: Repetition and Difference: LTTR,” article by Julia Bryan-Wilson, Summer 2006 (re-produced in Art Practical, Dec. 4, 2013), p. 109-110
• IFC News: Independent Film Channel, “Desperate Blue Staters Learn ‘How to Be A Canadian,’” review by Andrea Meyer, 2004
• LOS ANGELES WEEKLY, “Signal to Noise,” review by Holly Willis, 2003
• CHICAGO TRIBUNE, “Screen Gems: Avant garde gets its due at Video Mundi,” John Petrakis, 2003
• SAN FRANCISCO BAY GUARDIAN, “Ladies nights, and days: Highlights from Ladyfest,” Alissa Chadburn, 2003
• SAN FRANCISCO CHRONICLE, “Femme flicks: Festival tries to create community, identity for women in film,” Carla Meyer, July 23, 2002
• CHICAGO READER, “Critic’s Choice: Broken Music,” review by Fred Camper, 2000
• VILLAGE VOICE, “Attack of the Mutants: Tracking the Resurgence of Experimental Film,” J. Hoberman, March 7, 2000

See Press tag for coverage of specific projects, exhibitions, events, and publications.

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ESSAYS, ARTICLES and INTERVIEWS

• “No Time for Winners,” Brett Kashmere and Astria Suparak, Walker Magazine, Fall 2024
• “We, the Aliens of the Future,” Stephanie Syjuco: The Unruly Archive (Santa Fe: Radius Books, 2024)
• When We Were Twenty-Five. Edited by Bora Kim. (Artadia, 2024)
• Hyper(in)visibility: A Panel Discussion with Pearl C. Hsuing, Maia Ruth Lee, Astria Suparak, Christine Tien Wang, and Hồng-Ân Trương, Asian Diasporic Visual Cultures and the Americas. By stephanie mei huang, edited by Alexandra Chang and Alice Ming Wai Jim. Volume 6: Issue 3 (Leiden, The Netherlands: Brill, 2021), p. 259-274.
• “Ordinary Horrors,” University of Illinois at Chicago MFA Thesis Exhibition Catalog (Chicago: UIC 2021).
• “Total-Body Workout,” FUSEBOX FESTIVAL CATALOG (Austin: 2020).
• “And I’m wary of the present.” THE MUSEUM IS NOT ENOUGH (Berlin and Montreal: Sternberg Press and Canadian Centre for Architecture, 2019). Edited by Giovanna Borasi, Albert Ferré, Francesco Garutti, Jayne Kelley, and Mirko Zardini.
• Meaningfulosity (Oakland: Wolfman Books, 2019). Edited by Anne Lesley Selcer.
• “Whose Speech? Artists, Activists, and Being Heard: A Conversation Between Stephanie Syjuco and Astria Suparak.” Figures of Speech issue, Art21 Magazine (2018)
• “Behind the Scenes and On the Stage with Joanie 4 Jackie.” THE GETTY: The Iris (February 2, 2017).
• “Allyson Mitchell.” QUEER THREADS: Crafting Identity and Community (Los Angeles: AMMO Books, 2017). Edited by John Chaich and Todd Oldham.
• “Plastic Pearl Necklace” and “Lunar New Year.” WOULD BE SABOTEURS TAKE HEED (2016). Edited by Audrey Chan, Carol Cheh, Connie Ho, Emi Kuriyama, and Soyoung Shin. A project of Decolonize L.A. and supported by Human Resources Los Angeles.
• “Six x Six.” THE EXHIBITIONIST: Journal on Exhibition Making, #11 (2015). Edited by Jens Hoffmann. Reprinted: THE EXHIBITIONIST Journal on Exhibition Making: The First Six Years (2017)
• “Come On: Rachel Rampleman.“ BABY’S ON FIRE (Buffalo, NY: Linoleum Press and CEPA Gallery, 2015). Edited by Joel Brenden, David Mitchell, and Sean Donaher.
• “Alien She: An Exhibition Exploring Riot Grrrl’s Impact.” VICE Magazine: Noisey (March 7, 2014). Co-written with Ceci Moss.
• “Riot Grrrl, Redux.” BOING BOING (Nov. 6, 2013). Co-written with Ceci Moss.
• “Conversations: Astria Suparak talks to Marisa Olson.” NY ARTS Magazine (2008).
• “In Pursuit of Northern Lights: Tracking Canada’s Living Cinema.” LIVE CINEMA: A CONTEMPORARY READER (San Francisco: San Francisco Cinematheque, CA, forthcoming). Co-written with Brett Kashmere. Edited by Thomas Beard.
• “Beyond Notes: On Music, Improvisation and Film, and Writing.” OFFSCREEN FILM JOURNAL (April 2003). Co-written with Brett Kashmere.
• “Blood, Sweat, & Tears: Four experimental moviemakers. Elisabeth Subrin, Naomi Uman, Miranda July, Diane Nerwin.” HEEB MAGAZINE (2003).
• “A New Romantic T.V. Sound.” THE INDEPENDENT MAGAZINE (2002). Edited by Miranda July.
• “Only Loved at Night.” SOME KIND OF LOVING (Portland, OR: Joanie 4 Jackie, 2000).

PUBLISHED ARTWORK, WEB PROJECTS, MISCELLANEOUS (as Author, Editor, Producer)

• For Freedoms: Where Do We Go From Here?, Hank Willis Thomas, Eric Gottesman, Michelle Woo, Wyatt Gallery, and taylor brock (Monacelli/Phaidon, 2024). Billboard in collaboration with Stop DiscriminAsian.
• “Ancient Sci-Fi,” X—TRA Art Journal,  Volume 25 Number 1 (Los Angeles: Project X Foundation for Art & Criticism, 2023). Artist Project print edition.
• “On the Neon Horizon,” BlackFlash Magazine Expanded series (Saskatoon: BlackFlash, 2023). Commissioned video.
• with her voice, penetrate earth’s floor (New York: Eli Klein Gallery, 2022). Exhibition catalog.
• “Tropicollage,” MONDAY Journal (Seattle: Jacob Lawrence Gallery, 2022). Visual essay.
• “Seedy Space Ports and Colony Planets: Asian Conical Hats in Cinematic Dystopias,” Seen journal of film and visual culture (Philadelphia: BlackStar Projects, 2021). Commissioned visual essay and collage.
• “Asian futures, without Asians,” WHY ARE THEY SO AFRAID OF THE LOTUS? (San Francisco and Berlin: CCA Wattis Institute for Contemporary Arts and Sternberg Press, June 2021). Edited by Jeanne Gerrity and Kim Nguyen. Commissioned visual essay.
• “Virtually Asian,” Berkeley Art Center, 2021. Commissioned video.
• “Wild Parrot Playground,” THE HOOSAC INSTITUTE Journal #5, 2020. Public art concept.
• “The Urban Legend of Rat Eating,” BIPOC Artist Instagram Project, Ethnocultural Art Histories Research Group, Concordia University, online, Aug. 2020.
• “Sports Music,” DEMAND UTOPIAN SPORTS (Oakland: Wolfman Books, 2018). Music playlist in collaboration with Brett Kashmere.
• “A Selective Guide to Sports in Experimental Media,” SPORTS (Oakland: INCITE Journal of Experimental Media, 2017). Co-written with Brett Kashmere.
• “Riot Grrrl Map” (2013–16). http://bit.ly/riotgrrrlmap
• “Riot Grrrl Census” (2012–16). http://riotgrrrlcensus.tumblr.com. Oral history project.
• “GRAFFITI WOMEN: STREET ART FROM FIVE CONTINENTS” (New York: Abrams Books, 2006). Written by Nicholas Ganz. Pull-out spread includes two pieces by Astria Suparak.
• “What Is Sex?,” LICKETY SPLIT #3 (Montréal: 2006). Project.
• “American Girls,” BLACK DIAMOND MAGAZINE (UK: White Diamond Projects, 2004). Project.
• “Diagrams from Waiting,” LTTR Feminist Art Journal #2: Listen Translate Translate Record (Brooklyn: LTTR collective, 2003). Edited by Ginger Brooks Takahashi, Emily Roysdon, K8 Hardy. Artist multiple.
• I NY (New York: 4 am press, 2003). By Kelly Burns. Two pages feature work by Astria Suparak.

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INDEPENDENT CURATOR, 1999–2006, 2014–Present
Curated exhibitions, screenings, performances, live music events, and special  projects for art, film, music, and academic institutions and festivals across 10 countries, as well as for unconventional spaces like roller-skating rinks, ferry boats, elementary schools, sports bars, and rock clubs.

• HIGHLIGHTS: A Sieve for Infinity, Broken Music, Dirges and Sturgeons, Quantum Leaps, Let’s Get Tested, Elusive Quality (co-curated with Lauren Cornell), Boxhead Ensemble: Live Musical Improvisation to Films (co-curated with Braden King), Looking Is Better Than Feeling You
  
• ART SPACES, BIENNIALS, FAIRS (selected): The Kitchen, MoMA PS1, Eyebeam, Participant Inc., Smack Mellon (New York); The Liverpool Biennial 2004, FACT (Foundation for Art and Creative Technology) (England); Museo Rufino Tamayo Arte Contemporáneo (Mexico City); Yerba Buena Center for the Arts, KADIST (San Francisco); Museum of Photographic Arts (San Diego); Carnegie Museum of Art (Pittsburgh); FotoFest Biennial 2004 (Houston); Space 1026, Vox Populi (Philadelphia); National Museum of Women in the Arts (Washington, D.C.); Walker Art Center (Minneapolis); Wexner Center for the Arts (Columbus); Williams College Museum of Art (Williamstown, MA); The Sanctuary for Independent Media (Troy, NY); Expo Chicago 2014
• MEDIA ARTS ORGANIZATIONS, FILM FESTIVALS (selected): Internationale Kurzfilmtage Oberhausen 2004 + 2024 (Germany); Argos Centre for Art and Media (Brussels); La Cinémathèque québécoise (Montréal); MIX Queer Experimental Film Festival, Anthology Film Archives, New York Underground Film Festival, Robert Beck Memorial Cinema (New York); Outfest 2003, Echo Park Film Center (Los Angeles); Doclands Documentary Festival 2001 (Dublin); Video Pool Media Arts Centre (Winnipeg); Independent Film Show 4th Edition 2004, Euro-Mediterranean Arts, (Napoli); CRASH: Arte Audiovisual Alternative Festival, Mexico City, Festival MIX Monterrey 2005 (Mexico); San Francisco Cinematheque, Artists’ Television Access (San Francisco); Berkeley Art Museum Pacific Film Archives; Aurora Picture Show (Houston); Cinematexas International Short Film Festival (Austin); Squeaky Wheel Media Arts Center (Buffalo, NY)
• MUSIC VENUES (selected): The Knitting Factory (New York); WFMU at Smack Mellon (Brooklyn); The Horse Hospital (London); 4AD, Diksmuide (Belgium); Paradiso, Amsterdam, Patronaat, Haarlem (The Netherlands)
• ACADEMIC INSTITUTIONS (selected): Harvard University (Cambridge, MA); Bard College  (Annandale-on-Hudson, NY); School of the Art Institute of Chicago, University of Illinois at Chicago; Hampshire College (Amherst, MA); Concordia University (Montréal); Texas A&M University (College Station); Massachusetts College of Art (Boston); Carnegie Mellon University (Pittsburgh); Columbus College of Art and Design (OH); Ithaca College (NY); GirlsFilmSchool at the College of Santa Fe; Yale University School of Architecture (New Haven, CT)
  
• ARTISTS (selected): Haig Aivazian, John Akomfrah, Skip Arnold, Daniel Barrow, Math Bass and Wu Tsang of Marriage, Shary Boyle, Miguel Calderón, Lynne Chan, Patty Chang, Emily Vey Duke and Cooper Battersby, Kevin Jerome Everson, Harrell Fletcher, David Gatten, Mariam Ghani, Jacqueline Goss, Kathy High, Peter Hutton, Miranda July, Jeremy Laing and Will Munro, Jason Lazarus, Christian Marclay, Patrick Martinez, Yeni Mao, Bjørn Melhus, Hazel Meyer, Ayanah Moor, Matthias Müller, Takeshi Murata, Chadwick Rantanen, Nam June Paik, Rajni Perera, Keith Piper, Seth Price, Jennifer Reeder, Related Tactics (Michele Carlson, Weston Teruya, Nathan Watson), Jon Rubin, Analia Saban, Jon Sasaki, Guy Sherwin, Hank Willis Thomas, Sonic Youth, Phil Solomon, swoon, Garine Torossian, Naomi Uman, Steina Vasulka, Alex Villar, many more

WALKER ART CENTER, Minneapolis, MN
Guest Curator with Brett Kashmere, “The Game is Not the Thing: Sport and the Moving Image,” 2024
Spanning 13 decades of filmmaking, from pre-cinema to post-internet, this six-part screening and performance series challenges the idea that the worlds of sports and art are mutually exclusive. The Game is Not the Thing offers an antidote to commercial documentary and mainstream feature film narratives, looking instead to the creative and critical approaches that artists and amateurs bring to the “sports film.”

• Power Plays
• World/AntiWorld: On Seeing Double, a lecture performance by Haig Aivazian
• Aesthetic Athletics
• All Eyes on Me
• Olympic Efforts
• No Goal
  
• FILMMAKERS AND ARTISTS: Santiago Álvarez, Skip Blumberg, Claude Jutra, Mark Bradford, Thomas A. Edison, Köken Ergun, Nicole Franklin, Bonnie Friedman, Haile Gerima, Ivan Ladislav Galeta, Takashi Ito, Adam Khalil & Adam Piron, Iyabo Kwayana, Louis Malle, Darius Clark Monroe, Antoni Muntadas, Thenjiwe Niki Nkosi, Sondra Perry, Paulin Soumanou Vieyra, dana washington-queen, among others

CARNEGIE MUSEUM OF ART, Pittsburgh, PA
Curator, “2024 Carnegie Museum of Art Film Series,” 2024
This 8-month long series expands out of singular ideas, topics, or questions catalyzed by artworks in the museum’s collection. For each program, Suparak has curated a combination of forms, ranging from feature-length narratives and documentaries to music videos, formalist experiments, animation, and internet memes. In addition to the 52 films and time-based works, dating from 1920s avant-garde cinema to a new collage video created for the series, Suparak has included artwork from the museum’s collection, which will either be incorporated into the curated line-up, featured in the galleries, or on view in the Carnegie Museum of Art Theater during museum hours preceding the scheduled screening.

• FILMMAKERS AND ARTISTS: Anthony Banua-Simon, Basel Abbas and Ruanne Abou-Rahme, Camille Henrot, Charles Dekeukeleire, Charles “Teenie” Harris, Daniel Kwan and Daniel Scheinert, Ja’Tovia Gary, Jacolby Satterwhite, Jesse Chun, Jonelle Twum, Keith Piper, Lawrence Lek, Lillian Schwartz, Lu Yang, Miryam Charles, Peter Campus, Raphael Montañez Ortiz, Suneil Sanzigiri, Terence Nance, Thom Anderson, Tony Cokes, Tuấn Andrew Nguyễn, William Wegman, among others

INCITE JOURNAL OF EXPERIMENTAL MEDIA, Oakland, CA
Co-Curator with Brett Kashmere, “A Non-Zero-Sum Game,” 2018–19
Developed a year-long series focused on sports and culture consisting of 3 art exhibitions, 8 film programs, 3 discussions, 3 reading events, and a live GIF contest, plus commissioned sports-themed cocktails and a music playlist. Sites included galleries, cinemas, sports bars, bookstores, and rooftops. Part of the publication SPORTS (INCITE Journal).

• HIGHLIGHTS: “Expanding the Field: Sports & Politics Discussion Series”, “The Nation’s Finest”, “A Beautiful Game”
  
• ARTISTS AND PRESENTERS: Hanif Abdurraqib, Alethea Arnaquq-Baril, Kevin Blackistone, Miguel Calderón, Anil Dash, Kavitha Davidson, Nathaniel Dorsky, Kevin Jerome Everson, Sarah Hotchkiss, Ezekiel Kweku, Nicolas Lampert, Ameer Loggins, Gao Mingyan, Nam June Paik, Keith Piper, Lillian Schwartz, Collier Schorr, Hank Willis Thomas, Carmen Winant, Lisa Young, Zhang Qing, among others
  
• VENUES (selected): Wexner Center for the Arts (Columbus); Kadist, Yerba Buena Center for the Arts, San Francisco Cinematheque (San Francisco); Claremont Colleges (CA); University of California, Santa Cruz; Gene Siskel Film Center with Conversations at the Edge (Chicago)

INCITE JOURNAL OF EXPERIMENTAL MEDIA, Oakland
Co-Editor with Brett Kashmere, Issue #7/8: SPORTS, 2016–17
The first volume of its kind, this double issue (350 pages) examines the intersections of sports, politics, popular culture, experimental media, and performance in the context of residual and contemporary media practices. This collection of original essays, interviews, artwork, analyses, historic documents, a guide to sports in experimental media, and selected reprints features 41 contributors including artists, writers, critics, scholars, historians, and athletes from multiple generations.

• CONTRIBUTORS: Haig Aivazian, Christina Battle, Rosie Casals, Rebecca Cleman, Jason Concepcion, Sally Dixon, Howard Fried, Brian L. Frye, Leo Goldsmith, Isla Hansen, Germaine Koh, Karen Kraven, Pasha Malla, Tara Mateik, Hazel Meyer, Cait McKinney, Ayanah Moor, Jeff Parker, Leila Pourtavaf, Risa Puleo, Rachael Rakes, Amy Sadao, Jon Sueda, Martine Syms, Geo Wyeth, Kim Ye, Tanya Zimbardo, among others
  
• COLLECTIONS (selected): Library of Congress, SFMOMA, Anthology Film Archives, and the libraries of Yale University, Dartmouth, Stanford University, California College of the Arts, CalArts, Oberlin College, School of the Art Institute of Chicago

JOANIE 4 JACKIE, Portland, OR; New York, NY; Los Angeles, CA
Contributing Editor, joanie4jackie.com, 2016–18
Curator, Co-Star Tape #3: “Some Kind of Loving,” 2000
Served as curator, event programmer, tour booker, distributor, and historian of this influential underground film network for female filmmakers created by artist Miranda July. Organized and edited the comprehensive archive website joanie4jackie.com, launched in conjunction with the 2017 announcement of The Getty’s acquisition of the project archives.

• ARTISTS (Some Kind of Loving screening program and videotape compilation with booklet): Peggy Ahwesh, Stephanie Barber, Jane Gang, Jennifer Reeder, Karen Yasinsky
  
• EXHIBITIONS, SCREENINGS (selected): “Looking at Music 3.0,” Museum of Modern Art (New York); Pandaemonium Biennial 2001, Lux Centre (London); Festival MIX Monterrey (Mexico); “The Way That We Rhyme: Women, Art & Politics,” Yerba Buena Center for the Arts (San Francisco); CalArts (Valencia, CA); Pitzer College (Claremont, CA); L.A. Freewaves Festival; Berkeley Art Museum Pacific Film Archive (CA); San Francisco Cinematheque at the San Francisco Art Institute; Wexner Center for the Arts (Columbus) 

MILLER INSTITUTE FOR CONTEMPORARY ART, CARNEGIE MELLON UNIVERSITY, Pittsburgh, PA
Director and Curator, 2008–14
Responsible for the vision, curatorial programming, stewardship, and management of the 3-floor, 8,000 square-foot contemporary art gallery located within a research institution. Built a reputation for insightful, incisive, and timely exhibitions of interdisciplinary work that expand notions of art and culture. Staged 26 international group and solo exhibitions and produced commissions and 4 touring exhibitions that traveled to 13 cities. Organized 98 public programs including lectures, discussions, workshops, screenings, performances, panels, book launches, vaccine clinics, bike tours, and culinary events. Hosted residencies for artists, writers, designers, and an Andy Warhol Foundation Curatorial Fellowship. Forged partnerships with 60 organizations including FACT Centre in England, The Andy Warhol Museum, Canadian Centre for Architecture, and Carnegie Museum of Art. Programming covered topics such as science and technology, economics and labor, immigration, urban planning, geography, health and design, sustainability, collaborative working, popular culture, and social movements. Managed media relations, marketing, and social media, resulting in positive press coverage from over 200 outlets, including The New York Times, Artforum, The Wall Street Journal, Huffington Post, Rhizome, Wired, Design Observer, Fast Company, Art in America, FOX News, CBC, CBS, Salon.com, and Architect Magazine. During this term the Pittsburgh Post-Gazette wrote that the gallery was “moving full throttle into a leadership role among university and alternative galleries.”

• HIGHLIGHTS: Alien She (co-curated with Ceci Moss), Keep It Slick: Infiltrating Capitalism with The Yes Men, Whatever It Takes: Steelers Fan Collections, Rituals, and Obsessions (co-curated with Jon Rubin), The Pittsburgh Biennial 2011
  
• ARTISTS, DESIGNERS, ARCHITECTS: Francis Alÿs, AREA Chicago, Bernd and Hilla Becher, BIG (Bjarke Ingels Group), Ginger Brooks Takahashi, The Buckminster Fuller Institute, Tammy Rae Carland, Elizabeth Catlett, The Center for Land Use Interpretation (CLUI), Center for PostNatural History, The Center for Urban Pedagogy (CUP), Mel Chin, Todd Haynes, Henry Dreyfuss Associates, Justseeds, Machine Project, Gordon Matta-Clark, MIT AgeLab, MVRDV, OMA (Office for Metropolitan Architecture), Trevor Paglen, Raqs Media Collective, L.J. Roberts, Philip Ross, SANAA, Alison and Peter Smithson, Deborah Stratman, subRosa, Stephanie Syjuco, Temporary Services, Transformazium, Daniel Tucker, Alex Villar, Yin Xiuzhen, The Yes Men, and the creative work of dozens of international social movements (including civil rights, Black power, and Chicana/o farm worker rights in the United States; democracy in China; anti-Apartheid in South Africa; squatting in Europe; environmental activism and women’s rights internationally; the global AIDS crisis; and uprisings and protests for indigenous control of lands and radical social transformation in France), and many more

THE WAREHOUSE GALLERY, SYRACUSE UNIVERSITY, Syracuse, NY
Inaugural Director and Curator, 2006–07
Oversaw the foundational year of the university’s first contemporary art gallery (2,000 square-foot storefront with 21-foot high ceilings) and conceived and developed all programs and services. Mounted 20 solo and group exhibitions of emerging and accomplished artists, screenings, performances, lectures, and other events. Commissioned regional artists to create installations for an adjacent street-level window gallery. C Magazine wrote of Suparak’s term, “the exhibitions and programs she puts together speak about a range of issues, and her sense of social justice is comprehensive and critical.”

• HIGHLIGHTS: Faux Naturel, Come On: Desire Under The Female Gaze, Embracing Winter
  
• ARTISTS: Jo-Anne Balcaen, Alex Da Corte, Juliet Jacobson, Annie MacDonell, Bruno Munari, Takeshi Murata, Rachel Rampleman, Rudy Shepherd, and many more

MUSEUM OF MODERN ART, New York
Intern Assistant, Department of Film and Media, 2001
Assisted in administrative aspects and served as artist liaison for the “BIG AS LIFE: A HISTORY OF 8MM Film” Series curated by Jytte Jensen (MoMA) and Steve Anker (San Francisco Cinematheque)

PRATT INSTITUTE, Brooklyn, NY
Director and Curator, PRATT FILM SERIES, 1997–2000
Organized close to 100 programs of film, performance, and live music. The New York Press wrote, “curator Astria Suparak rounded out the week with Wednesday avant-garde film screenings at Pratt, spun with a superlative curatorial taste that combined a savvy political consciousness and sexy indie-rock-style showmanship without ever losing crucial nerd cred,” and said the series was one of three which “brought back New York’s edge as cinematic tastemakers in the avant-garde realm.”

• ARTISTS (selected): Vito Acconci, Chantal Akerman, Alex Bag, John Baldessari, Craig Baldwin, Sadie Benning, Stan Brakhage, Chris Burden, Bureau of Inverse Technology, Abigail Child, Shu Lea Cheang, Bruce Conner, Ximena Cuevas, Valie Export, Fischli and Weiss, Hollis Frampton, Su Friedrich, Guillermo Gomez-Peña, Barbara Hammer, Gary Hill, Zhuang Huan, Ken Jacobs, Mauricio Kagel, Mike Kelley, Lewis Klahr, Kurt Kren, George Kuchar, Chris Marker, Gordon Matta-Clark, Paul McCarthy, Linda Montano, Tony Oursler, Charlemagne Palestine, Chris Petit, Yvonne Rainer, Jennifer Reeves, Marlon Riggs, Carolee Schneemann, Richard Serra, Cindy Sherman, Jack Smith, Jan Svankmajer, Leslie Thornton, Andy Warhol, The Wooster Group, and many more

NEW YORK FILM-MAKER’S COOPERATIVE, New York
Intern Assistant, for Director M.M. Serra, 1999
Film Curator, Personal Selections Series, “PLAYGIARISM,” 1999

BROOKLYN MUSEUM OF ART, Brooklyn, NY
AskMe Volunteer, “SENSATION: YOUNG BRITISH ARTISTS FROM THE SAATCHI COLLECTION,” 1999

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MUSEUM, GALLERY, BIENNIAL, ART FAIR, PUBLIC ART EXHIBITIONS (selected) 

“A SIEVE FOR INFINITY,” 2022
/, San Francisco, CA
The works in this exhibition encourage shifting perspectives and moving forward — with clarity around the past, generating new possibilities. The materials here have agency, and a well of intensity bubbles under a veneer of restraint. This is a controlled violence: creation out of destruction, an aesthetic of resilience. Accompanied by an online exhibition catalog.

• ARTISTS: Jovencio de la Paz, Yeni Mao, Analia Saban

“BECOME THE MONUMENTS THAT CANNOT FALL,” 2020
University of San Francisco, CA
Organized with USF’s Thacher Gallery and MA in Museum Studies Curatorial Practicum class. A two-part exhibition featuring Bay Area and Washington D.C.-based art collective Related Tactics: A sprawling, site-responsive public art project viewable from the street and located in 14 storefronts within San Francisco’s Bayview neighborhood; and a web-based survey of the group’s work at the intersection of race and culture, in conversation with the creative practices of individual members Michele Carlson, Weston Teruya, and Nathan Watson. The new commission illuminates facets of Black life in the city and explores the state of national politics.

“POWER FORWARD,” 2018
VisArts, Rockville, MD
The contemporary artists in this exhibition draw upon the hidden and political histories of sports to open up analyses of the social world. Accompanied by an illustrated timeline, created for the exhibition, of Washington, D.C.’s NBA franchise and its intersections with civic issues. Public programs included a discussion with sports journalists, a film screening, and a sports poetry reading in a sports bar.

• ARTISTS: Haig Aivazian, Cara Erskine, Karen Kraven, Nicolas Lampert, Cait McKinney and Hazel Meyer, Gao Mingyan, Ayanah Moor, Macon Reed, Zhang Qing
• DISCUSSANTS: Kevin Blackistone, Kavitha Davidson
• FILMMAKERS: Alethea Arnaquq-Baril, James Blagden, Miguel Calderón, Anil Dash, Kevin Jerome Everson, Ana Hušman, Paper Rad, Pied la Biche, Lisa Young

“EXPO VIDEO,” 2014
EXPO CHICAGO (International Exposition of Contemporary and Modern Art), IL

• ARTISTS: John Akomfrah, Skip Arnold, Eric Fleischauer and Jason Lazarus, Adam Magyar, Takeshi Murata, Jennifer Reeder, Michael Robinson, Alyson Shotz

“ALIEN SHE,” 2013
Carnegie Mellon, Miller Institute for Contemporary Art, Pittsburgh, PA
Co-curated with Ceci Moss. The first exhibition to examine the lasting impact of the global punk feminist movement Riot Grrrl on artists and cultural producers working today. The Huffington Post writes “the collected artworks reflect on, challenge and continue feminist critiques of the ‘90s, evoking the diversity of identities and senses of self-determination that have sprung forth in the years since.” Selected as a Critic’s Pick on Artforum and the “#1 Exhibition of 2015” by the OC Weekly. Accompanied by online projects assembling research from various sources including the public, and a wide range of public programming such as workshops, panels, discussions, musical performances and dance parties, film screenings, and a live roller derby scrimmage.

• ARTISTS: Ginger Brooks Takahashi, Tammy Rae Carland, Miranda July, Faythe Levine, Allyson Mitchell, L.J. Roberts, Stephanie Syjuco
• ARCHIVES: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; many personal collections
• TOURING VENUES: Orange County Museum of Art (Newport Beach, CA); Vox Populi (Philadelphia); Yerba Buena Center for the Arts (San Francisco); Carnegie Mellon’s Miller Gallery (Pittsburgh); Pacific Northwest College of Art and Museum of Contemporary Craft, with Portland Institute for Contemporary Art’s Time-Based Art Festival 2015

THE PITTSBURGH BIENNIAL, 2011
Carnegie Mellon, Miller Institute for Contemporary Art, Pittsburgh, PA
An unprecedented collaboration among several local art institutions, including the Carnegie Museum of Art and the Andy Warhol Museum, and the largest survey ever conducted of contemporary artists connected to the Pittsburgh region. Suparak’s section, including the premiere of 4 installations, was described by Hyperallergic as “a visually and conceptually stunning exhibition that reinvigorates awareness of the problems that afflict the world today. Through its redefinitions of place and space and trespassing of disciplinary boundaries into economics and science, the biennial contributes to the larger conversation going on within the major currents of contemporary art.” Accompanied by a full-color exhibition catalog and a series of artist publications, and public programs including artist talks; deconstruction workshops; a dialogue among artists, scientists, and scholars; a brunch discussion with curators; and a film screening.

• ARTISTS: Justseeds; Lize Mogel, Sarah Ross, and Ryan Griffis; subRosa; Temporary Services; Transformazium

“WHATEVER IT TAKES: Steelers Fan Collections, Rituals, and Obsessions,” 2010
Carnegie Mellon, Miller Institute for Contemporary Art, Pittsburgh, PA
Co-curated with Jon Rubin. The first major gallery exhibition to present sports fanaticism as a significant form of cultural production, bridging the assumed gap between sports and the arts. Featured in The New York Times (#1 Most Emailed NYT sports article over two days), selected as a City Paper Staff Pick for “Best of Pittsburgh 2010: Best Crossover Art Exhibit,” and covered by ESPN and The Associated Press. Accompanied by a global map of Steelers fan bases and interactive displays created for the exhibition, and public programming consisting of a panel with a professional athlete, an ethicist, and an artist; an artist tour; and a Super Bowl party.

“KEEP IT SLICK: Infiltrating Capitalism with The Yes Men,” 2008
Pacific Northwest College of Art, Portland, OR and Carnegie Mellon, Miller Institute for Contemporary Art, Pittsburgh, PA
The first solo exhibition and survey of the internationally renowned culture-jamming group. Dubbed “the most prescient show of the year” by Paper City Magazine, “a timely acknowledgment of the work of […] two of the great social satirists of our time” by Art Papers, and selected as a Critic’s Pick on Artforum. Accompanied by a full-color publication, The Yes Men Activity Book, an educational guide, a workshop, and a film screening.

• TOURING VENUES: DiverseWorks (Houston); Abandon Normal Devices: Festival of New Cinema and Digital Culture, with Art & Design Academy, Liverpool John Moores University and FACT (England); Pacific Northwest College of Art with Portland Institute for Contemporary Art’s Time-Based Art Festival 2008 (Portland); Carnegie Mellon’s Miller Gallery (Pittsburgh); Glass Curtain Gallery, Columbia College (Chicago)

“YOUR TOWN, INC.: Big Box Reuse with Julia Christensen,” 2008
Carnegie Mellon, Miller Institute for Contemporary Art, Pittsburgh, PA
An exhibition that investigates how communities are changing in the shadow of corporate real estate.

• TOURING VENUES: Richmond Center for Visual Arts, Western Michigan University; Carnegie Mellon’s Miller Gallery (Pittsburgh) 

“COME ON: Desire Under The Female Gaze,” 2007
Syracuse University’s Warehouse Gallery, Syracuse, NY
The Post-Standard described it as “provocative, original work that is sure to grab your attention and occasionally push you to the edge of discomfort” and The Fanzine writes, “Suparak was exceedingly capable of creating a context for challenging and new work.” Public programs included artist talks, tours, and guest curated video screenings.

• ARTISTS: Jo-Anne Balcaen, Juliet Jacobson, Rachel Rampleman

“EMBRACING WINTER,” 2007
Syracuse University’s Warehouse Gallery, Syracuse, NY
Syracuse is the perennial winner of the Golden Snowball Award, for the most snowfall in New York State. Embracing Winter celebrates this crystallized precipitation as the key to a delightful set of activities, and as an ephemeral filter to make ordinary surroundings new again. “Bracingly witty and cunningly curated… This is one of the cleverest shows I’ve seen in these parts” – Director of the S.U. Goldring Arts Journalism Program. Public programs included a live projection performance, a film screening, and talks by artists and scientists.

• ARTISTS: Janet Morton, Bruno Munari, Takeshi Murata, Collin Olan, Lisa M. Robinson, Rudy Shepherd 

“FAUX NATUREL,” 2006
Syracuse University’s Warehouse Gallery, Syracuse, NY
These artists explore the territory delineated by the destruction of the natural world, with all its attendant themes. Entropy, redemption, apocalypse, the fall from grace, the temptations of commercial culture, and the relationship between science and magic all emerge as motifs. Canadian Art Magazine writes, “Tidily curated by Warehouse’s director, Astria Suparak, the exhibition sported a neat division between works that strove for broad, dramatic statements about our confused and contradictory relationship to the non-synthesized world and works that offered a more contemplative, even muffled response to nature’s overbearing, symbol-loaded presence.”

• ARTISTS: Alex Da Corte, Emily Vey Duke and Cooper Battersby, Nick Lenker, Annie MacDonell, Allyson Mitchell, Andrea Vander Kooij
• TOURING VENUES: Foreman Art Gallery at Bishop’s University (Sherbrooke, Québec); Syracuse University’s Warehouse Gallery (NY)

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SCREENINGS, SYMPOSIA, EVENTS (selected)

“2024 Carnegie Museum of Art Film Series,” 2024
Carnegie Museum of Art, Pittsburgh
This 8-month long series expands out of singular ideas, topics, or questions catalyzed by artworks in the museum’s collection and her own artwork.

• FILMMAKERS AND ARTISTS: Anthony Banua-Simon, Basel Abbas and Ruanne Abou-Rahme, Camille Henrot, Charles “Teenie” Harris, Daniel Kwan and Daniel Scheinert, Ja’Tovia Gary, Jacolby Satterwhite, Lawrence Lek, Lu Yang, Raphael Montañez Ortiz, Suneil Sanzigiri, Terence Nance, Thom Anderson, Tony Cokes, Tuấn Andrew Nguyễn, among others

“The Game is Not the Thing: Sport and the Moving Image,” 2024
Walker Art Center, Minneapolis
Curated with Brett Kashmere. Spanning 13 decades of filmmaking, from pre-cinema to post-internet, this six-part screening and performance series challenges the idea that the worlds of sports and art are mutually exclusive. 

• FILMMAKERS AND ARTISTS: Santiago Álvarez, Skip Blumberg, Claude Jutra, Mark Bradford, Thomas A. Edison, Köken Ergun, Nicole Franklin, Bonnie Friedman, Haile Gerima, Ivan Ladislav Galeta, Takashi Ito, Adam Khalil & Adam Piron, Iyabo Kwayana, Louis Malle, Darius Clark Monroe, Antoni Muntadas, Thenjiwe Niki Nkosi, Sondra Perry, Paulin Soumanou Vieyra, dana washington-queen, among others

“DIE D.E.I.: A Discussion on the Horrors of Institutional Inclusion,” 2022
Co-hosted by Stop DiscriminAsian and Museums Moving Forward, with support from the Ford Foundation
Organized with Jen Delos Reyes. A virtual haunted house of the horrors of D.E.I. in cultural institutions where we examine some of the horrific and harmful practices around DEI, while making a case for better ways to approach this necessary work. Attendees can participate in the conversation by sharing their own experiences to be workshopped by the panel.

• PANELISTS: Rashayla Marie Brown, Michele Carlson, May Maylisa Cat, Justin Seiji Waddell

“MATCHING MINORITIES//DOUBTFUL DOUBLES: A Conversation on Institutionalized Racism, Tokenism, and Inclusion vs. Optics in the Art World,” 2020
Common Field Convening, Houston, online
Organized with Jen Delos Reyes and Lisa Lee. One of the highest online views of Common Field events, with close to 2,000 live and online views.

“EXPANDING THE FIELD: Sports & Politics Discussion Series,” 2018
INCITE Journal: Sports
Organized with Brett Kashmere. This 3-part conversation series took place in art and film spaces nationally and featured acclaimed journalists, academics, and cultural producers on topics including recent athletic protests, gender and religion in sports, concussions and health issues, and labor and exploitation.

• SPEAKERS: Hanif Abdurraqib, Kevin Blackistone, Kavitha Davidson, Samuel Hodge, Sarah Hotchkiss, Ezekiel Kweku​, Ameer Loggins, Carmen Winant
• TOURING VENUES: Wexner Center for the Arts (Columbus); KADIST (San Francisco); VisArts (Rockville, MD)

“THE NATION’S FINEST,” 2018
INCITE Journal: Sports
Co-curated with Brett Kashmere. This touring program, covering five decades of artists’ video and film, deconstructs the athlete body and how it is used for national, political, and social agendas and re-crafted by artists.

• ARTISTS: Haig Aivazian, I AM A BOYS CHOIR, Internet, Tara Mateik, Nam June Paik, Keith Piper, Lillian Schwartz
• TOURING VENUES: Pitzer College (Claremont, CA); University of California, Santa Cruz; San Francisco Cinematheque at Yerba Buena Center for the Arts; Wexner Center for the Arts (Columbus); Conversations at the Edge at the Gene Siskel Film Center (Chicago)

“A BEAUTIFUL GAME,” 2018
INCITE Journal: Sports
Co-curated with Brett Kashmere. In this film and video program, artists celebrate athletes’ rebellious streaks and admire their disciplined feats of excellence, amplify fan glee, and visualize the part of athletes not accessible to the public — their interior state.

• ARTISTS: Alethea Arnaquq-Baril, James Blagden, Miguel Calderón, Anil Dash, Kevin Jerome Everson, Ana Hušman, Paper Rad, Pied la Biche, Lisa Young
• TOURING VENUES: University of California, Santa Cruz; VisArts (Rockville, MD); The Mini Microcinema (Cincinnati, OH)

“DON’T CALL ME HONEY: Fierce Women of Film,” 2016
Wexner Center for the Arts, Columbus
An 11-part series programmed by Vera Brunner-Sung, Jennifer Lange, Laura Larson, April Martin, Astria Suparak, et al.

CONTESTATIONAL CARTOGRAPHIES SYMPOSIUM, 2010
Carnegie Mellon, Pittsburgh
Organized with Golan Levin (The STUDIO for Creative Inquiry). A 3-day symposium introducing the thoughts of leading “experimental geographers” who employ mapping techniques in new modes of critical practice and cultural research and, in so doing, help us “read between the lines” of the world around us. It includes lectures, workshops, a panel, salon, and artist tour of the related exhibition, “Experimental Geography.”

“QUANTUM LEAPS,” 2006
Impakt Festival, Utrecht, Netherlands
This touring program of new videos, a mini-exhibition, and a performative introduction catalogs heroes, compresses history, and hallucinates futures. Here it is possible to amalgamate eras, to break out of social and gender constraints, and to cobble together a fantasy lineage.

“TROUBLE: Hollywood Viewed by the Avant-Garde,” 2005
La Cinémathèque québécoise, Montréal
Co-curated with Brett Kashmere for the exhibition “INDUSTRY: Recent Works by Richard Kerr.”

“HOW TO BE A CANADIAN,” 2004
Eyebeam Art and Technology Center, New York
Co-curated with Brett Kashmere for the “Panorama Series.” Utilizing artistic reenactment, telepathetic aesthetics, manual animation, performance, and a grab bag of low-end high technologies, these videos question traditional representations of (Canadian) identity and gender. Attendees were provided with annotated maps of Canada and Canadian-to-American dictionaries created for this program, and themed souvenirs. 

“LET’S GET TESTED,” 2004
Internationale Kurtzfilmtage Oberhausen’s 50th Anniversary, Germany
Playfully adapting public space into personal games, these artists look at architecture, videogames, biology, schoolwork, history and even their own memories with fresh eyes and twitchy fingers. Often sincere, sometimes willfully naive, they project a new optimism and the ability to self-amuse. 

“ELUSIVE QUALITY,” 2004
LTTR Art Journal, Participant Inc., New York
Co-curated with Lauren Cornell. The touring program, which exhibited for a month at the Liverpool Biennial, champions the realities of failure in relation to fantasies of athletic, sexual, and political mastery. Together, the works make for a powerful aesthetic of the undone.

• ARTISTS: Lynne Chan, Mariam Ghani, Rohesia Hamilton Metcalfe, Caroline Koebel, Jeremy Laing and Will Munro, Math Bass and Wu Tsang of Marriage, Tara Mateik, Seth Price, Chadwick Rantanen, Thorvaldur Thorsteinsson, toyshop

BOXHEAD ENSEMBLE: Live Musical Improvisation to Films, 2001, 2004
Co-curated with Braden King. Seven musicians (from Wilco, Smog, Catpower, Calexico, Dirty Three, Gastr del Sol) improvise live to new sequences of the film program arranged nightly by the curators on a 6-country tour.

• COMMISSIONS: Jem Cohen, Christopher Wilcha, Grant Gee, Julie Murray, and Garine Torossian, among others.

“ADOLESCENT BOYS, AND LIVING ROOMS,” 2003–04
Museo Rufino Tamayo’s “Panoramica Series” (Mexico City) and Yale University School of Architecture’s “Moving Landscapes, Capturing Time” festival 

“LOOKING IS BETTER THAN FEELING YOU,” 2002
Ladyfest, San Francisco (Opening Night) and Washington D.C.
The program toured to 13 cities and exhibited for 10 weeks at Yerba Buena Center for the Arts, becoming one of their most successful daytime screenings (average daily attendance).

“DIRGES AND STURGEONS,” 2001
Anthology Film Archives, New York
Touring to 30 cities across the U.S. and Canada, the video program was presented in locations as varied as artist-run spaces and microcinemas in living rooms and basements, bars, universities, galleries, and movie theaters. 

“KEEP IN TOUCH!“ (co-curated with Lauren Cornell), 2002
“A NEW ROMANTIC T.V. SOUND,” 2001
“SEX ON THE FRITZ,” 2000
The New York Underground Film Festival, New York

“VERTIGO-GO: DJ/FILM BENEFIT,” 1999
Smack Mellon Arts Complex, Brooklyn
Co-programmed with WFMU Freeform Independent Radio. The 9-hour event included film and light installations, live film and music performances, and curated programs of film and video. Over 1,000 people were in attendance.

“BROKEN MUSIC,” 1999 The Knitting Factory, New York

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EXHIBITIONS AND TOURS ORGANIZED (selected)

“IMPERFECT HEALTH: The Medicalization of Architecture,” 2012
Curated by Giovanna Borasi and Mirko Zardini, Canadian Centre for Architecture, Montréal
The edition organized by Astria Suparak at Carnegie Mellon was selected for the “Exhibition of the Year Award: A smart survey of a subject that, unfortunately, we can all take personally” by Design Observer.

“INTIMATE SCIENCE,” 2012
Curated by Andrea Grover, Warhol Foundation Curatorial Research Fellow for Miller Gallery and STUDIO for Creative Inquiry, produced by Astria Suparak at Carnegie Mellon.
Hyperallergic writes, “Miller Gallery has made a significant contribution to the relationship between art, science and technology with the exhibition Intimate Science and the related book New Art/Science Affinities.”

• TOURING VENUES (organized by Astria Suparak): Sheila C. Johnson Design Center (SJDC), Parsons The New School for Design, New York; Miller Gallery at Carnegie Mellon University, Pittsburgh, PA; Southern Exposure, San Francisco; Real Art Ways, Hartford, CT; Paul and Lulu Hilliard University Art Museum, University of Louisiana, Lafayette, LA; Williamson Gallery, Art Center College of Design, Pasadena, CA

“EXPERIMENTAL GEOGRAPHY,” 2009
Curated by Nato Thompson, ICI (Independent Curators International). Organized by Astria Suparak at Carnegie Mellon

“SIGNS OF CHANGE: Social Movement Cultures 1960s to Now,” 2009
Curated by Dara Greenwald and Josh MacPhee. Organized by Astria Suparak at Carnegie Mellon

“29 CHAINS TO THE MOON: Artists’ Schemes for a Fantastic Future,” 2009
Curated by Andrea Grover, produced by Astria Suparak at Carnegie Mellon.
Features artists who put forth radical proposals, from seasteads and tree habitats to gift-based cultures, to make the world work for everyone.