Nils Norman is the cofounder of Parasite, a collaborative artist-led initiative that has developed an archive for site-specific projects. His work has been featured in solo exhibitions at Galerie fьr Landschaftskunst, Hamburg (2004), the Institute of Visual Culture, Cambridge, England (2001), and American Fine Arts Co. Ltd., New York (1999). Major group exhibitions include The Art of the Garden, Tate Britain, London (2004), Venice Biennale (2003), Fantastic, Massachusetts Museum of Contemporary Art, North Adams (2003), Havana Bienale (2003), Visualizing Geography, Royal Holloway, London (2002), and Cities Under the Sky, 4 Free, BueroFriedrich, Berlin (2001).

Norman received his BA in Fine Art Painting from the Central St. Martins College of Art and Design, London. He has been awarded grants and commissions from organizations and institutions in the United Kingdom, Denmark, and the United States.

Kevin Kaempf (American, b. 1971)
Since 2002, under the name People Powered, the Chicago-based artist Kevin Kaempf has created programs that address a variety of ecological issues within the city. These include Soil Starter: Logan Square Composting Network, a composting program on the Northwest Side; Loop: Multi-Purpose Coverall, a piece that focused on the recycling of household paint through reprocessing, mixing, and redistribution; Collection Continues, a paint store fully stocked with recycled paint; and Shared: Chicago Blue Bikes, a project currently in development to utilize "junked" bicycles that are salvaged, rebuilt, and distributed at subway stations along the Blue Line.

Kaempf received his MFA from the University of Illinois, Urbana-Champaign. Major group exhibitions include Fine Words Butter No Cabbage, Hyde Park Art Center, Chicago (2004), Public Planning, Experimental Station, Chicago (2002), and PR'00, M&M Art Projects, San Juan, Puerto Rico (2002).

Dan Peterman is the founder of the Experimental Station, a nonprofit organization based on Chicago's South Side that will open in late 2005 as an incubator for arts, culture, and community initiatives; its rehabbed building implements architecturally and socially sustainable design. Peterman's work has been featured in solo exhibitions at the Museum of Contemporary Art, Chicago (2004), Kunstverein Hannover (2001), Kunsthalle Basel (1998), and Andrea Rosen Gallery, New York (1996); and in group exhibitions including Skulptur-Biennale Mьnsterland, Kreis Steinfurt, Germany (2003), Pyramids of Mars, Barbican Centre, London (2001), the Berlin Biennial (2000), Dream City, Museum Villa Stuck, Munich (1999), and Korrespondenzen/Correspondences, Berlinische Galerie, Berlin, and Chicago Cultural Center (1994). Peterman holds an MFA from the University of Chicago and teaches at the University of Illinois, Chicago.

Marjetica Potrc's solo exhibitions include MIT List Visual Arts Center, Cambridge, Massachusetts (2005), De Appel Foundation, Amsterdam (2004), Ar/ge Kunst Galerie Museo, Bolzano, Italy (2003), and the Guggenheim Museum, New York (2001). She has also participated in a wide variety of group exhibitions, notably Monuments for the USA, CCA Wattis Institute for Contemporary Arts, San Francisco (2005), Occupying Space/Wasting Time, Haus der Kunst, Munich (2005), Liverpool Biennial (2004), Istanbul Biennial (2003), PARA>SITES: Who Is Moving The Global City, Badischer Kunstverein, Karlsruhe, Germany (2003), Venice Biennale (2003), and A New World Trade Center, Max Protetch Gallery, New York (2002).

Potrc was trained at the Academy of Fine Arts of Ljubljana. She has been awarded a Caracas Case Project Fellowship from the Federal Cultural Foundation, Germany, and the Caracas Urban Think Tank, Venezuela (2002), the Hugo Boss Prize, Guggenheim Museum (2000), a Philip Morris Grant, Berlin (2000), and two Pollock-Krasner Foundation Grants (1993, 1999).
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Recent solo exhibitions of Andrea Zittel's work have been held at Andrea Rosen Gallery (2005, 2004, 2003), The Contemporary Arts Museum, Houston (2005), Regen Projects, Los Angeles (2004), Philomene Magers Projekte, Munich (2003), IKON Gallery (2001), and Deichtorhallen, Hamburg (1999). Major group exhibitions include Farsites, Centro Cultural, Tijuana, Mexico/San Diego Museum of Art (2005), Female Identities?, Kьnstlerinnen der Sammlung Goetz, Neues Museum Weserburg Bremen (2004), the Whitney Biennial (2004), Passenger: The Viewer as Participant, Astrup Fearnley Museet for Moderne Kunst, Norway (2002), Tempo, Museum of Modern Art, New York (2002), L'image habitable, Centre pour l'image contemporaine, Geneva (2002), and Against Design, ICA, Philadelphia (2000). Zittel received her MFA from Rhode Island School of Design, and her BFA from San Diego State University. Recent awards include a grant from the Coutts Contemporary Art Foundation as well as the Deutschen Akademischen Austauschdienst (DAAD Grant).

Michael Rakowitz's solo exhibitions and projects have been held at the Queens Museum of Art, New York (2004) and P.S. 1 Contemporary Art Center, New York (2000). Major group exhibitions include The Interventionists, Massachusetts Museum of Contemporary Art, North Adams (2004), Design Triennial, Cooper-Hewitt National Design Museum, New York (2002), as well as exhibitions at the Fabric Workshop, Philadelphia, Fri-Art, Fribourg, Switzerland, the Contemporary Art Centre, Vilnius, Lithuania, and the Lower East Side Tenement Museum, New York. He has received UNESCO's Design 21 Grand Prix Award (2002) and the Dena Foundation Art Award (2003).

Rakowitz is Professor of Sculpture at Maryland Institute College of Art, Baltimore. He received his MFA from the Massachusetts Institute of Technology and participated in the Whitney Museum of American Art's Independent Study Program

Major group exhibitions for Temporary Services include transmediale 05, Berlin (2005), Secret Affinities, La Casa Encendida, Madrid (2004), Fantastic, Massachusetts Museum of Contemporary Art, North Adams (2003), Critical Mass, Smart Museum of Art, Chicago (2002), and Autonomous Territories of Chicago, Hyde Park Art Center, Chicago (2001). With other artists, including JAM, Temporary Services also cofounded Mess Hall, an experimental culture center in Chicago.

Frances Whitehead's most recent solo exhibitions have been at the Oronsko Contemporary Sculpture Center, Poland (2004), and Galerie Menotti, Vienna (2003). Her work has also been featured in many group exhibitions, including Post-Nature, Center of Contemporary Art, Ujazdowski Castle, Warsaw (2003-2004), UnNaturally, Independent Curators International, New York (traveling exhibition, 2002-2004), Print Biennial, Brooklyn Museum of Art, New York (2001), and History of the Monoprint: 1880 to the Present, National Gallery of American Art, Washington, D.C. (1996). Whitehead has also been 34 35 involved in several public art commissions and installations, including Watermarks, an installation presented in conjunction with the Mt. Desert Island Biological Laboratory, Maine (2003), and Water Table, a collaborative project for Settlement: Realizing Civic Discourse, Spoleto Festival, Charleston, South Carolina (2002-2004). Whitehead is Professor of Sculpture at the School of the Art Institute of Chicago. She received her MFA from Northern Illinois University and has been honored with a NEA individual artist grant, as well as grants from the Ford Foundation and the Illinois Arts Council.

Since WochenKlausur's membership has changed over time and the group wishes to emphasize the collective nature of its practice, the current members wish not to be discussed individually here. WochenKlausur describes its projects as social interventions; since 1993 it has worked on labor market policy, community development, substance abuse advocacy, education, homelessness, immigration, and voter rights. One recent, representative project was Intervention to Improve the Public Perception of Subcultures, designed in conjunction with the exhibition The Bourgeois Show: Social Structures in Urban Space, Dunkers Kulturhaus, Helsingborg, Sweden (2003). In resistance to bourgeois dominance of Helsingborg cultural life, WochenKlausur intervened by establishing an alternative space just outside the museum where diverse, largely marginalized cultural groups were able to give presentations and participate in public discourse.

WochenKlausur's major solo exhibitions and commissioned projects include the Liverpool Biennial (2004), Kulturhuset, Stockholm (2002), Pfarrplatz, Kunsthalle and Donau-Universitдt Krems, Austria (2000), the Venice Biennale (1999), Kunstverein Salzburg (1996), and the Vienna Secession (1992).
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