2026 Biennial
Haunting
Haunting features artists working across media who share a restless relationship with time. Whether reaching into the deep past, inhabiting an unsettled present, or anticipating an arriving future, the artists make visible what ordinary sight cannot hold.
The exhibition considers that time is never neutral: it accumulates, repeats, and haunts. Lydia Smith folds 2,000 years of Indigenous history into a single panoramic view of a burial mound. Hans Gindlesberger compresses the arc of photographic history into rubbings, obscuring images to reveal the material memory beneath them. Considering the suspended time of the pandemic, Amber J. Anderson constructs Victorian paper houses as a way of moving through confinement. Kate Shannon returns to filmed testimonies, holding intimate human faces against the unimaginable weight of what they carried. Arne Svenson uses gun-violence data and internet imagery to present haunted photographs, seeking to shock viewers out of their “terrifying normal.” Lori Kella memorializes species already fading from the Great Lakes through translucent, light-held forms that grip precisely because they are disappearing. Together, these artists propose that the image is not simply a record of what was, but a place where past, present, and future press against one another.
Artists: Amber J. Anderson, Hans Gindlesberger, Lori Kella, Gina Osterloh, Kate Shannon, Lydia Smith, Arne Svenson
Amber J. Anderson, Houses I Have Haunted: Second Empire, 2021. Vintage Victorian house kits, archival pigment print, 10 × 10 inches. Courtesy of the artist
Lori Kella, Little Brown Bat, 2020. 3-D models created from vellum and translucent papers, photographed on a light table, archival inkjet print, 20 × 20 inches. Courtesy of the artist
Hans Gindlesberger, Diffusion Transfer (Two of Four Sisters), from A Photographic Timeline, 2015. Crayon rubbing on tracing paper, overlaid on archival photograph, 14 × 11 inches. Courtesy of the artist
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