Do You Remember Love

Having been involved with video since the early 1970s, Susan Mogul is a pioneer of the medium. Initially producing an important series of humorous and staunchly feminist performance videos, her practice quickly expanded to more experimental forms of narrative, including feature length work. Mogul has received grants including a Guggenheim Fellowship, ITVS commission, National Endowment for the Arts Fellowship, Getty Trust Fellowship, and a Center for Cultural Innovation grant. A survey of Mogul’s video/films took place in Vienna at the Austrian Film Museum in 2024 and her first solo museum exhibition opened August 2022 at the Zacheta National Gallery of Art in Warsaw, Poland. Less is Never More, a solo installation was presented at as-is-la gallery in Los Angeles in 2019. Mogul’s work has also been featured in historic exhibitions including California Video at the Getty Museum, Los Angeles: Birth of an Art Capital at the Centre Pompidou in Paris, and Where Art Might Happen: The early years of CalArts at the Kunsthaus Graz in Austria. A retrospective of her work was presented at Visions du Reel Film Festival in Switzerland in 2009 and her 2008 feature length documentary, Driving Men, screened in international competitions in Japan, Italy, Portugal, Switzerland, and India. ​A major essay in the 2020 summer issue of the Los Angeles arts quarterly, X-TRA, titled, “A Feminist’s Survival Index”, reviewed Mogul’s current work, positioning it in the context of the history of feminist art. Women of Vision: Histories in Feminist Film and Video also devotes a chapter to Mogul’s work and career. 

Native Art Department International is a collaborative long-term project created and administered by Maria Hupfield and Jason Lujan. Working across platforms, NADI’s projects and exhibitions prioritize kinship, relationality, and non-competition in order to liberate artists, artworks and aesthetics from classifications ingrained in systems of power and interpretation. Their multi-disciplinary practice comprising performance, sculpture and video engages collaborative approaches to bypass essentialist readings of artworks and reject reductionist positions projected onto the work of Indigenous cultural producers. Their projects, as a result, circumvent easy categorization by comprising diverse forms such as curated exhibitions, video screenings, panel talks, collective art making, and an online presence, all sharing an undercurrent of positive progress and emancipation through cooperative alliances. Working across international contexts while consistently prioritizing being in relationship to place, they describe their work as “focusing on communications platforms and art-world systems of support while at the same time functioning as emancipation from essentialism and identity-based artwork.”