Morehshin Allahyari

Morehshin Allahyari uses 3D printing technology as a tool for alternative artifact archiving, as well as a means of political resistance and documentation. In her series Material Speculations: ISIS she reconstructs selected artifacts of historical value that were destroyed by ISIS in 2015. After collecting and researching vast numbers of images and documents of the destroyed objects, she is able to recreate and print a 3D model of the artifact. All documentation gathered by the artist about the destroyed artifact is saved onto a flash drive embedded in the 3D-printed work. 

Roxana Barba

Roxana Barba's De Huacas y Huaqueros uses the body to carve out archaeological desires, commenting on the decontextualization and commodification of huacos (Peruvian ancient artifacts) and other pre-Columbian artifacts such as textiles, jewelry and golden funerary attires linked to ceremonial and everyday life uses.

Elyana Shams

Revert captures the relentless tension between tradition and modernity in the Middle East. An audio/visual installation, the story unfolds through a rear-view mirror—both a portal to the past and a path forward. A fragile mirror sways, echoing history, memory, and the silencing of artists.

Daniel Arturo Almeida

An installation created using cropped images from Almeida’s family archive, which were taken in Venezuela between the late 1950s and mid-1980s. Almeida’s grandparents emigrated from the Canary Islands to Venezuela during the Spanish Civil War, where the family lived for over 60 years before they were forced to leave due to the ongoing political crisis in Venezuela. The original images used in the installation feature Almeida's grandmother and grandaunts wearing the clothes they designed when they started a tailoring business. 

Simone Salvo

Before my grandmother June passed, she appointed me president of The Amazing Women’s Club, a club of her own creation. Inheriting this role also meant inheriting the task of making sense of what remains. Through personal media and artifacts, this project explores how memory is shaped, distorted, and passed down—both through generations and the imperfect tools of preservation.

Jill Verhaeghe

Who was David Mandel? Who was Shonda Lear? I followed the traces of glitter and grime they left behind, uncovering a tale of beauty and loss, of memories and despair. Scanning hundreds of photos picturing the 90’s drag scene in NYC and Fire Island, this movie is an attempt to honor the generations before us, both their courage and their tears.

Lucia Gomez

What would your life look like as a movie? Beginning on January 1st, 2020, the artist has recorded 1 second of video every day and continues to grow a memory archive. Crystal Clear is an artifact for exploring this intimate dataset in the form of a magical crystal ball. Using a touch-less interface, the audience is encouraged to flip through time and replay moments from the memory archive.

Korina Emmerich, EMME Studio

A recreation of the design studio as an immersive installation, highlighting scrap fabric as an essential part of both process and creation. As a Puyallup designer and founder of EMME Studio, Emmerich challenges colonial frameworks in fashion, reclaiming Indigenous narratives through materiality. Raised in Oregon, she engages in the critical reclamation of Native American patterns—historically appropriated by the textile industry—by incorporating Pendleton fabrics into her designs. This act serves as both homage and assertion, reclaiming Indigenous narratives through material and form.

Leia Chang

What I Can Remember is an exercise in remembering and retelling stories. Photographs are a snapshot of a moment, but how much of that moment do you remember? What do you do to make it clearer? 

Liza Stark

Care Processing Unit (CPU) is an interactive memorial quilt made of textile speaker patches. It combines the intersecting legacies of quilting, computation, and gender to imagine alternate, embodied logics of remembering in a computationally pervasive era. Stitched from worn clothes, each patch stores a physical and digital memory. When snapped into the quilt, the patch plays a random audio file unlocking a recontextualized remembrance.

Carrie Sijia Wang

As part of the Whose AI? workshop series, students aged 14-20 engaged in an experiment with data that started with a casual, text-based chat. Using a Markov chain—an early mathematical probability model that inspired modern AI—the artist remixed 1,000 new lines of text from the database of collected chat histories. Each line begins with the word “ai.” The resulting text is largely nonsensical.

Blair Johnson & Luke Williams

Rock Collections is a site where you can comb through other people’s digital collections, to explore the small, personal, and idiosyncratic ways we move through digital spaces. What traces do we pick up and carry with us, and how? Where and in what form do these collections live? Despite the large scale of virtual life, this project looks for traces of the small, personal, and handmade in our digital lives.

The Batson/Alleyne family

The 1906 migration of John Batson (papá) and Sarah Alleyne (mamá) from St. Phillips, Barbados, to Canal Zone, Panama, is shown in Vída de la Famílja. Explore the growth of their family in Panama over seven decades and the new life their grandchildren created in New York City through documents and images from the family’s collection.

Amad Ansari

Palestine Online is a curated archive of websites created by Palestinians or about Palestine in the late 90s to early-mid 2000s, sourced from the Wayback Machine. The archive traces how the World Wide Web has played a role in Palestinian self advocacy and cultural preservation, and makes newly visible their digital expression from the early web.

Demian DinéYazhi´ + Kevin Holden

SHATTER/// is an anti-colonial ceremonial intervention through waves of abstract sonic reckoning and destructive catharsis: SHATTER/// is an extractive performance decimating the primitive settler colonizer hyper-romanticized imaginary notions of Indigenous culture/peoples and racist appropriative conditioning inherent in the settler colonial project: SHATTER/// is a flower blooming amidst a barren landscape covered in the shit of FAILING and rotting american culture: SHATTER/// is the aftermath of destruction: an accumulation of dishonorable Indigenous stereotypes: an extraction of non-consensual desire.

Liana Shewey

This installation is made up of photographs and ephemera collected by my mother, spanning time from her childhood in the 1950s to the early ‘90s when I was a child myself. A majority of the pictures were taken in Oklahoma and Southern Kansas, aka Indian Territory. Many were captured with her Nikon 35mm SLR camera, often using the timer to get in the frame herself after setting up the perfect shot for a family photo. This is a very small selection from thousands of photographs that have been stored in shoeboxes for decades. 

Courtesy of La MaMa Archive

Backdrop designed and hand painted by Gary Granger (1983) for When Clowns Play Hamlet written by H. M. Koutoukas in 1964. Originally produced at La MaMa E.T.C. in 1967, Directed by H. M. Koutoukas, Music Composed by Tom O’Horgan & Cosmo.

Banna Desta & Shariffa Ali

Midnight is Abyssinia is an installation that features visual art and cultural artifacts from Eritrea and Ethiopia. Each relic is an ode to ancestral memory and the ways in which it’s connected to personal memory, centering Black bodies, Black history and a region that is the origin of human civilization. Employing cathedral thinking, our project uses a full sensory experience to realize our artistic vision and imprint on the memory of those who witness the piece, reinforcing the importance of acknowledging our multigenerational pasts and its influence in shaping our futures.

Tong Wu

Longing for a history that never came to be,
Reflecting on a time I never did see.
Memories that belong to an alternate past,
Nostalgia for moments that didn't last.

This project renders those "what-if" moments of a family story, built with generative AI, a soft heart, and some drops of tear.

Radio Ramsés

As a first-generation immigrant who grew up in an undocumented home in the suburbs, the artist often felt disconnected from the culture that shaped the generations before him. His personal record collection helps him reconnect with his culture and better understand the interwoven histories of the Latin diaspora.

Iron Path Farm & Arts

A collection of multimedia woven together to unlock an indigenous seed keeper’s visions of the next seven generations. through somatic sensorial time travel, we traverse Haudenosaunee white corn fields throughout the seasons. Iron Path Farm & Arts is a community run seed keeping initiative that grows indigenous food for indigenous people and organizes cultural events with diasporic kin. Photographs, video & sound by Dioganhdih Hall. Curated by Rad Pereira & Dioganhdih Hall.

Yaloo

Offering an immersive exploration of identity, cultural memory, and mythology. Inspired by Yaloo's grandmother Shininho, reimagined as a K-pop idol and pirate ship captain-Shininho Docking brings together the intersections of human and nonhuman realms while drawing on the mythology of maritime trade routes around the Pacific Rim.

Jenna Caravello

Amber Row is an experimental video game about grief, developed to compare the labor related to grinding in games (or, working hard to achieve merit), to the work involved in grieving the death of a loved one. The game uses an allegory for loss as its central motivation. Collectible objects are proxies for memories, and returning them to characters in the game world slowly destroys the world and your avatar.

Ruipeng Wang

In this installation, interactive digital content is projected onto a container filled with water, showcasing seven distinct generations of cell-like entities evolving in real-time. 

Through the balance and conflicts between growth and environmental constraints, the system simulates the dynamic progression of these digital beings through their birth, death, and lifecycle.

Yufan Xie

Is the moon shining on the same person?
The reef knows.
Yesterday, today, tomorrow
When the tide rises,
the city crumbles
the cities grow
When the tides fade,
Your world, our world, my world
the reefs know.
Are we gazing at the same moon?

Sadia Quddus

Istikhara Dream Cycle carries visitors through a cycle of sacred runes and dreamscapes, conjured through the Dreamer's questions seeking guidance through polycrisis. Through an algorithmic loop of inquiry and response, the dream alternates between seeker and guide, past and future.

The Interpreter of Dreams divines answers through Istikhara, or Islamic dream divination. The Dreamer enters Alam al-Mithal, an imaginal realm that allows contact between human souls and the Divine through symbols and images. This project trains a generative text model upon the scholarship and Dream Dictionary of Ibn Sirin, from 7th century Iraq.

A modified Mashrabiyya screen guards the exchange, raising questions about selective access to divine knowledge.

Yama Sihan Li

Mumbling Sand is an experimental CG animation short film that seeks to capture the memories embedded in sand and stone through the lens of post-minimalism. By intertwining poetry, sound, and visuals, this film delves into the narratives, histories, and consciousness that emerge from a digitally simulated nature within a virtual world. Through a stream-of-consciousness approach, the film's dreamy, abstract textures and shifting landscapes echo personal memories and the philosophy of the universe, weaving them into a harmonious whole.

Jake Wang

In a dreamlike future Shangri-La, where the remnants of modern civilization lie in ruins, a vibrant new world emerges. Exotic cybernetic creatures and surreal flora flourish amidst bio-organic structures, creating a mesmerizing landscape. Humans live in floating bubbles, drifting weightlessly through the sky, experiencing a life that defies gravity and imagination.

Yetong Xin

"Humanoid Illusion" is a series of virtual digital dancers that transform real human motion into AI-generated figures. Existing between human and machine, reality and illusion, these entities blur the boundaries of identity, perception, and digital existence—challenging what it means to be "human" in an era of encoded bodies and data-driven life.

Typewriters Anonymous

Typewriters Anonymous is an interactive typewriter Installation. Experience the analog through beautiful vintage machines. Explore the boundaries of being unplugged.

Chantal Eyong

Loading draws from Marisa Parham’s Black Quantum Futurist framework, rejecting the notion that Blackness and digitality is a newly emerging relationship. Using retro game loading screens as both form and metaphor, Loading depicts the porosity of technology within Black life and assemblages that extend beyond linear time. The loading screen serves as a threshold space, a transition, and the layered temporalities of Black cultural production in digital, offline, and between spaces.

Sammie Veeler

We Clipped Through You is the latest iteration of Sammie's ongoing desktop performance series called Dead Name. Veeler performs multimedia lectures wrapped in eulogies, using an expanding suite of custom hardware and software to navigate archives and filesystems. 

M. Casey Rehm

Friend is a multi modal AI media piece that reacts and engages with it's environment through language, sound, and image. The piece spatializes human engagment to test the implications on affect to be immersed in environments which and engage and condition our behavior.

Yuehao Jiang

Spider Lily is an atmospheric adventure game in which a Lost Soul explores the afterlife. Inspired by the symbolic meaning of the spider lily in Chinese culture, players journey through misty valleys and towering statues dividing the living and the dead, exploring themes of farewell, rebirth, and transformation through encounters with spirits and echoes of the past.