Sean is an artist and spatial practitioner working across contemporary art, spatial practice, and civic engagement. His practice integrates sculpture, moving image, cartography, and site-based intervention to examine relationships between land, water, architecture, and power. Grounded in archipelagic and oceanic ways of knowing, the work approaches place as an interconnected familial, ecological, cultural, and political system rather than a fixed site.

Sean has presented work in solo and group exhibitions, public commissions, and biennials in the United States and internationally, including major museum contexts and triennials. The practice has been supported by artist residencies and fellowships and has been written about extensively by art historians, architects, and cultural critics. Sean has also designed and taught courses in leading university and public forums and serves in cultural leadership roles in Hawaiʻi. Writing and research by and about the work appear in scholarly journals, exhibition catalogs, and public platforms.

Mariquita "Micki" Davis (b. Gainesville, GA, 1982) is a CHamoru artist and educator based in Los Angeles, with an MFA from UC San Diego (2011). Her work explores artistic collaboration through personal, familial, and communal memory. She participates in MALI'E, a 13-moon performance research project uniting Matao/CHamoru artists from the homeland and diaspora to create a traveling exhibition between Guåhan, Los Angeles, and Seattle.

She co-curates Pasifika Transmissions, a monthly series inviting Indigenous artists to engage the archive of the Pacific Island Ethnic Art Museum of Long Beach and produce a video "transmission" of the exchange. She currently programs for the Los Angeles Asian Pacific Film Festival and mentors for Visual Communications' Armed with a Camera Fellowship. Her work has shown internationally, including the Institute of American Indian Arts, Honolulu Biennial, Vancouver Art Gallery, UNSW Galleries, Museum of Contemporary Native Arts, Yamagata International Documentary Film Festival, and Guam International Film Festival.

Alfred Peredo Flores is an associate professor of Asian American Studies at Harvey Mudd College. His research and teaching focuses on diaspora, indigeneity, militarism, oral history, and settler colonialism in California, Micronesia, and the greater Oceania. Professor Flores’ book, Tip of the Spear: Land, Labor, and US Settler Militarism in Guåhan, 1944-1962 (Cornell University Press, 2023) received honorable mention from the Native American and Indigenous Studies Association for the Best First Book Award and honorable mention from the Asian Pacific American Librarians Association for best adult non-fiction. His previous work has appeared in Amerasia Journal, American Quarterly, Critical Ethnic Studies Journal, Okinawan Journal of Island Studies, and Oxford Research Encyclopedia of American History. Currently, he is working on a book tentatively titled, Militarized Memories, which is a family memoir that examines militarism and the Cold War through the life experiences of his Chamoru and Korean families.

Evyn Lê Espiritu Gandhi is an associate professor of Asian American Studies at the University of California, Los Angeles (Tovaangar). Her interdisciplinary research engages critical refugee studies, comparative ethnic studies, Global Asias, and transpacific studies. Dr. Gandhi’s first book, Archipelago of Resettlement: Vietnamese Refugee Settlers and Decolonization across Guam and Israel-Palestine (University of California Press, 2022), was awarded the 2025 ACLS Open Access Book Prize in History. This project analyzes what she calls the “refugee settler condition”: the vexed positionality of refugee subjects whose very condition of political legibility via citizenship is predicated upon the unjust dispossession of an Indigenous population. Dr. Gandhi is the co-editor with Vinh Nguyen of The Routledge Handbook of Refugee Narratives (Routledge, 2023). She is currently working on a second book project which revisits Gramsci’s “southern question” by constellating the southern spaces of South Korea, South Vietnam, and the US South during the Cold War and its afterlives.

sárah sao mai habib is an artist, cultural worker, and diasporic child of the lands of Vietnam & Beit Nahrain. habib storytells about intercultural solidarities and ancestral embodiments of defiant kinships. sárah supports their communities by working alongside them to cultivate inner and outer infrastructures of care. She does this through and beyond: home sovereignty studio: a practice at the crossroads of ancestral remembrance, social ecological repair, land based and contemplative devotion. You can experience some of habib's work at The Arrow journal, Mindfulness Bell magazine, Hyperallergic, The Maintainers blog, and Minnow's The Dive zine.

Madeleine Han is a writer and researcher based between the US and Korea. They are also a PhD candidate in American Studies at Yale University. Their dissertation explores the cultural, memorial, and spatial politics surrounding current and former US military camptowns in South Korea. Their research has received support from the Korea Foundation, Asian/Pacific/American Institute at NYU, Yale MacMillan Center, Yale Center for the Study of Race, Indigeneity, and Transnational Migration (RITM), and International Center for Korean Studies (ICKS), housed within the Kyujanggak Institute for Korean Studies at Seoul National University.

Hearthealer is a Los Angeles-based DJ, producer, and writer known for world-building, big emotion, and weaving narrative into their music. They’ve performed in clubs and parties internationally, such as OIL in Shenzhen, Taipei’s Final, Cakeshop Seoul, Bussy Temple in Singapore, Bali’s Orbitware, Finder Beijing, and Shapeshifter in Bangkok, among others.

As a writer, Hearthealer has developed an animated fantasy series with Netflix, is a fantasy/erotic author, and a game designer. They are currently in development on a rave-based animated TV series with the studio behind Adventure Time and Castlevania.

Sohl Lee is Associate Professor of Art History at Stony Brook University (SUNY), specializing in modern and contemporary Asian art, decolonial visual culture, socially engaged art, and ecological art history, with a particular interest in oceanic and transpacific frameworks. Her first book, The Minjung Art Movement: Decolonization and Democracy in South Korea (Duke University Press, 2026), historicizes an influential movement of activist art from the 1970s and 1980s. Her current book project, “Seaweed as Method: Art History with Oceans, Multispecies Life, and Empire,” examines the global visual cultures of seaweeds through the intertwined lenses of ecology, decolonization, food sovereignty, and Indigenous onto-epistemologies. She is a recipient of the SUNY Chancellor’s Award for Excellence in Teaching (2020) and has received grants and fellowships from the Social Sciences Research Council (SSRC), the Korea Foundation, the Korean Ministry of Culture, the Academy of Korean Studies, the Getty Research Institute, and the Andy Warhol Foundation, among others.

Jane Jin Kaisen is a visual artist and filmmaker. She was born in 1980 in Jeju Island, Korea and currently lives in Copenhagen, Denmark. Spanning video installation, experimental film, photographic installation, performance, and text, Kaisen's artistic practice is informed by extensive interdisciplinary research, creative collaborations, and engagement with diverse communities.
Kaisen represented Korea at the 58th Venice Biennale with the film installation Community of Parting (2019) and participated in Korea Artist Prize 2024 at the National Museum of Modern and Contemporary Art Korea.
Kaisen was Professor of the School of Media Arts, The Royal Danish Academy of Fine Art from 2020-26. She holds a PhD from the University of Copenhagen, Department of Art and Cultural Studies, an MFA in Interdisciplinary Studio from University of California Los Angeles, an MA from The Royal Danish Academy of Fine Arts, and participated in the Whitney Museum of American Art Independent Study Program.

Dr. Leora Kava is an Associate Professor of Critical Pacific Islands & Oceania Studies, housed within the department of Race and Resistance Studies at SF STATE. She has a B.A. in East Asian Studies from Brown University (2012), her Masters in Pacific Islands Studies from the University of Hawaiʻi at Mānoa (2015), and her PhD in Creative Writing (2019), also from the University of Hawaiʻi at Mānoa. She is the founder of the Pacific Verse project, a community-based workshop series based in Nukuʻalofa, Tonga that works with participants to create, perform, and publish original poetry and music. Dr. Kava’s areas of research and practice are rooted in Pacific Islander literary studies, Indigenous theory and poetics, and creative writing as a vehicle for critical imagination and decolonization. Her poetry can be found in Kore Press and The Hawaiʻi Review, with recordings available on podcasts It’s Lit with PhDJ (based in Honolulu) and For The Qultures (based in the Bay Area).

Sung Hwan Kim is an artist, producer, and writer based in Honolulu, Seoul, and New York. Recent solo exhibitions include Bergen Kunsthall, Seoul Museum of Art, ZKM | Center for Art and Media Karlsruhe, Van Abbemuseum, and the Museum of Modern Art, New York. His work has been presented at the Venice Biennale, Hawai‘i Triennial, Gwangju Biennale, Manifesta, Performa, and Berlin Biennale. 

His publications include Ua aʻo ʻia ʻo ia e ia (Seoul Museum of Art, Rasun Press), Protected by roof and right-hand muscles (Verlag der Buchhandlung Walther König), Ki-da Rilke (Sternberg Press), Talk or Sing (Samuso), When Things Are Done Again (tranzit.cz). Recent essays include “Brick Is Gay,” in Spectrosynthesis Seoul (Art Sonje Center); “The Stone as in a Shape,” in Joan Jonas: The More-than-Human World (Nam June Paik Art Center, Youlhwadang Publishers).

With David Michael DiGregorio aka dogr, he has released the albums Howl Bowel Owl, One from in the room, and In Korean Wilds and Villages. Kim is a recipient of the Guggenheim Fellowship, the DAAD Artists-in-Berlin Program, and the Karl-Sczuka-Förderpreis.

Jas Lin 林思穎 (b. Los Angeles) is a performance artist, choreographer, and movement facilitator whose work lives between experimental, art, commercial, and everyday worlds. Centering play in the everyday, they experiment with multiplicity and contradiction while dancing with the world as their body.

Jas’s choreographies, films, workshops, and lectures have been shared around the world, including at Danshallerne Copenhagen, MOCA Los Angeles, Power Station of Art Shanghai, the V&A Museum, Kassel Dokfest, SXSW, NOWNESS ASIA, and 4:3 Boiler Room. Their first solo exhibition, Schindler House Haunting, was presented by the MAK Center for Art + Architecture in 2022. Lin choreographed their first world tour, a 22-song set for Mitski’s Laurel Hell Tour (featured in the New York Times and i-D magazine), and has also movement directed live performances for Melanie Martinez, Phoebe Bridgers, and SASAMI.

Maria Maea is a multidisciplinary artist working in sculpture, installation, performance, film, and sound. Through her art practice, she deepens her connection to land, somatic memory, and ancestry. Her works act as a residue of her lived experience as a first generation Los Angeleno of Samoan and Mexican heritage. Using plants and repurposed found material gathered throughout Los Angeles, Maea builds film set-like sculptures that relate to storytelling & myth-making.

Born in 1976 in Saigon, Tuấn Andrew Nguyễn lives and works in Ho Chi Minh City. His practice treats memory as a form of political resistance, engaging communities affected by colonialism, war, and displacement. Working collaboratively, he approaches storytelling as a tool for healing, empathy, and solidarity, empowering his collaborators. Nguyễn works primarily in moving image and sculpture, often building projects around a single object—a destroyed refugee memorial, the remains of Vietnam's last rhino—and the story it carries. Treating memory as intangible and non-linear, he moves beyond fixed ideas of time, using ghosts and hauntings as political tools.

Nguyễn holds a BFA from UC Irvine (1999) and an MFA from CalArts (2004). His work has shown at the Asia Pacific Triennial, Whitney Biennial, Sharjah Biennial, and Berlin Biennale. In 2006, he co-founded The Propeller Group, an art collective shown at the New Museum Triennial, Venice Biennale, and MCA Chicago.