Bouchra Khalili is a Berlin-based Moroccan-French artist. Born in Casablanca, Morocco, she completed her education in Paris, studying Film at Sorbonne Nouvelle and Visual Arts at École Nationale Supérieure d'Arts de Paris-Cergy.
Working with film, video, installation, photography, and printmaking, Khalili's practice combines documentary strategies with a conceptual approach, to interrogate language, subjectivity, and orality, often articulated as geographical explorations. Focusing on marginalized subjects, rendered invisible by the nation-state, each of her projects develops a platform from which such subjects elaborate, narrate, and share their strategies and discourses of resistance. Recent solo exhibitions include Blackboard, Jeu de Paume, Paris; Bouchra Khalili, Secession, Vienna; Tempest Society & Twenty-Two Hours, Museum Folkwang, Essen, Germany (all 2018); Living Labour, Wexner Center for the Arts, Columbus (2017); The Mapping Journey Project, MoMa, New York (2016); and Foreign Office, Palais de Tokyo, Paris (2015).
Khalili’s work has also featured in numerous group exhibitions, including, documenta 14, Kassel, Germany (2017); Milano Triennale, Milan (2017); Telling Tales, MCA, Sydney (2016); The Future of History, Kunsthaus, Zurich (2015); Positions, Van Abbe Museum, Eindhoven, Netherlands (2014); Here and Elsewhere, New Museum, New York (2014); and The Encyclopedic Palace, 55th Venice Biennale, Venice (2013).
In 2018, Khalili was nominated for both the Hugo Boss Prize and the 8th Artes Mundi Prize, and in 2017, she was awarded a Radcliffe Institute for Advanced Study Fellowship (Harvard University) and an Ibsen Award.
Tobi Haslett has written about art, film, and literature for publications including n+1, The New Yorker, and Artforum. He penned the introduction to Horse Crazy (1989), a novel by Gary Indiana that was reissued last September by Seven Stories Press, and also contributed an essay to the forthcoming exhibition catalogue for Radical Visions: Reza Abdoh (MoMa PS1), a retrospective devoted to the art of the Iranian-American theater director. Haslett is currently at work on an essay for the catalogue that will accompany Martin Puryear's U.S. Pavilion exhibition at the 58th Venice Biennale this spring.
The Graduate Art Seminar is a forum for graduate students and members of the ArtCenter community to enter into dialog with internationally recognized artists, critics, and art historians. The Seminar is a core component of ArtCenter's Graduate Art program. The Seminar is also free and open to the public.
ArtCenter's Graduate Art program is based on intensive studio practice and rigorous academic coursework. The program is distinguished by its low faculty-to-student ratio that provides students with the attention and feedback they need to refine and achieve their artistic goals. Faculty and students are artists working in all genres—film, video, photography, painting, sculpture, performance and installation. A significant number of alumni have achieved national and international acclaim and often return to share their insights and expertise as visiting faculty and guest lecturers.