Stephanie Syjuco creates large-scale spectacles of collected cultural objects, cumulative archives, and temporary vending installations, often with an active public component that invites viewers to directly participate as producers or distributors. Working primarily in sculpture and installation, her projects leverage open-source systems, shareware logic, and flows of capital, n order to investigate issues of economies and empire. She is the recipient of a 2014 Guggenheim Fellowship and a 2010 Joan Mitchell Foundation Grant. Exhibitions include the Whitney Museum of American Art, MoMA/P.S.1, SFMOMA, The California Biennial, ZKM Center for Art and Technology, Frieze Projects London, and others. At Berkeley she teaches classes in sculpture, social practice and experimental media, with a focus on public interventions and material culture. http://www.stephaniesyjuco.com
She is currently collaborating with the FLACC Workplace for Visual Artists in Genk, Belgium, on a new body of works utilizing 3-D scanning of Belgian and Congolese antiquities to produce hybrid ceramic objects addressing the legacy of colonialism, empire, and trade routes.
Born in the Philippines, she received her MFA from Stanford University and BFA from the San Francisco Art Institute. In 2007 she led counterfeiting workshops in Istanbul and in 2009 contributed proxy sculptures for MOMA/P.S.1’s joint exhibition, “1969.” Recently, she has expanded into the curatorial field with the exhibition “Lossy” at the Bemis Center for Contemporary Art and has essays included in the forthcoming Journal for Design Strategies published by Parsons The New School and within a book on alternative art education to be published by Phaidon.
A long-time educator, she has taught at Stanford University, The California College of the Arts, The San Francisco Art Institute, Mills College, Carnegie Mellon University, and most recently joined the faculty at the University of California at Berkeley in January 2014 as an Assistant Professor in Sculpture. At Berkeley she is working to expand a conceptual and materials-based pedagogy, combining methods of the handcrafted with digital technologies and social engagement in order to speak of the frictions within late-capitalist society. She currently serves on the Board of Directors at the Headlands Center for the Arts, and lives and works in San Francisco.