Presenters and Bios
|Emelie Chhangur||Andrea Fatona||Bastien Gilbert|
Emelie Chhangur is an artist and award winning curator and writer based in Toronto, where she works as the Assistant Director/Curator of the AGYU. Over the past decade, she has developed an experimental curatorial practice in collaboration with artists. Recent projects include The Awakening a three-year multi-faceted participatory performance with Panamanian artist Humberto Vélez, no.it is opposition., an exhibition and two-year collaboration with Brazilian artist-curator Carla Zaccagnini, Imaginary Homelands, a three-year residency project and exhibition featuring the work of nine young Colombian artists, and the Centre for Incidental Activisms (CIA), a radical proposition of gallery “in-reach,” where participatory, activist, and research-based practices were emphasized over conventional methods of exhibition display. Her upcoming collaboration with Trinidadian artist Marlon Griffith will be a large-scale public street procession programmed in conjunction with the Para Pan Am Games.
Chhangur has published a number of texts, which follow the principles and strategies of the artists she works with such as the hybrid screen play and curatorial text Mechanisms at Play: a genre bending adaptation of Oliver Husain’s Hovering Proxies; a song for the artist collective Fastwürms entitled AGYU Flava: Learning to Play Donky; the relational text/diary Walking into and along-side Diane Borsato’s Walking Studio and a performative text that mimicked the work of Indigenous Blackfoot artist Terrance Houle entitled Indian Givn’r. Her most recent publications, entitled Aesthetics of Collaboration and Will Munro: History, Glamour, Magic are distributed by DAP, New York. Upcoming publications include: Imaginary Homelands, Provenance Unknown (Sara Angelucci), and Sum of its Parts (Anitra Hamilton). Chhangur has presented presented papers at a number of international conferences (most recently Decolonial Aesthetics, Envisioning a Practice: International Symposium on Performing Arts Curation and Encuentro 2014 hosted by the Hemispheric Institute of the Americas) as well as participated in a number of artist and curatorial residencies most recently at Onagawa AIR and Kamiyama AIR (Japan) and Fundación Gilberto Alzate Avendaño (Colombia).
Chhangur is interested in how exhibitions and texts perform to create unique interpretative experiences as well as in finding ways to enact activisms from within an institutional framework. As an Assistant Director of a public, university-affiliated, contemporary art gallery, Chhangur believes that the contemporary art gallery must serve a social as well as aesthetic function. In fact, other than, as an artist making single channel videos and installations, which are shown nationally and internationally, questioning the nature and function of a contemporary art gallery is her primary art project at the moment.
Andrea Fatona is an Assistant Professor in the Criticism and Curatorial Program at OCAD University in Toronto. She was the former Curator of Contemporary Art at the Ottawa Art Gallery, Ontario and has worked as the Programme Director at Video In, Vancouver, Co-Director of Artspeak Gallery, Vancouver, and Artistic Director of Artspace Gallery, Peterborough, Ontario. She was a regular contributing editor to Fuse magazine, Toronto. In both her curatorial and teaching practices, she is interested is in experimenting with the ways in which art, ‘culture’ and ‘education’ can be employed to illuminate complex issues that pertain to social justice, citizenship, cultural diversity, belonging and nationhood. She is equally concerned with the pedagogical possibilities of art works produced by ‘other’ Canadians in articulating broader perspectives of Canadian identities. Some examples of her curatorial projects are: Queer Collaborations (1993), Across Borders (1995), Cadboro Bay: Index to an Incomplete History (1999), The Attack of the Sandwich Men (2001), a national touring exhibition entitled, Reading the Image: Poetics of the Black Diaspora (2006), Fibred Optics (2009), Will Work for Food (2011) and Land Marks (2014-16).
Executive Director of the Regroupement des centres d’artistes autogérés du Québec (RCAAQ – Coalition of Artist-Run Centres of Quebec)
Bastien Gilbert was born in 1946 in the Lac-Saint-Jean region. Since 2001, he has been the Executive Director of the Regroupement des centres d’artistes autogérés du Québec (RCAAQ), which he helped found in 1986. Convinced of the the importance of collective action to promote Quebecois and Canadian culture, he represents the RCAAQ within the Mouvement pour les arts et les lettres (MAL), acting regularly as a spokesperson. He participated in the establishment of the Artist-Run Centres and Collectives Conference (ARCCC / CCCAA or ARCA) in Canada in February 2004. In 2005, he was instrumental in the founding of the Canadian Arts Coalition, which advocates for increased funding for the Canada Council for the Arts. He sits on several boards of cultural organizations that aim to improve the recognition of creative work in Quebec, including the Observatoire de la Culture et des Communications du Québec and Compétence Culture, a government–arts sector joint committee that provides training for the culture workforce. Bastien Gilbert has consistenly engaged in the defense and promotion of modern and contemporary visual arts and their practitioners in Quebec and Canada.
Lori Blondeau is a Cree/Saulteaux/Metis artist based in Saskatoon. She holds an MFA from the University of Saskatchewan, and has sat on the Advisory Panel for Visual Arts for the Canada Council for the Arts. She is also a co-founder and the current director of TRIBE, a Canadian aboriginal arts organization. Blondeau’s work, including her stage personas such as the now-famous Belle Sauvage, confronts and co-opts conventional stereotypes of First Nations women.
David Bobier has an MFA from the University of Windsor and a BFA from Nova Scotia College of Art and Design. As a multi-media artist his work has been exhibited across Canada and internationally. He has been awarded grants from Canada Council for the Arts, Social Sciences and Humanities Research Council, Grand NCE, Ontario Arts Council and New Brunswick Arts Council. He is currently partnering with Inclusive Media and Design Centre, Ryerson University, in researching vibrotactile technology.
Bobier is Founder/Director of VibraFusionLab, situated in London, ON. This is an interactive creative studio that encourages research into more inclusive art forms and supports artists of all disciplines to develop art practices of greater accessibility and audience involvement. The Lab incorporates emerging assistive technologies for investigating broader sensory applications in art making and exploring the vibrotactile as a language of artistic expression.
He has served in advisory roles in developing Deaf and Disability Arts Equity programs for both Canada Council for the Arts and the Ontario Arts Council. He is the former Director of Development for Toronto International Deaf Film and Arts Festival and is currently on the Executive of the Board of Media Arts Network Ontario. With funding from Canada Council for the Arts through Travel Grants to Media Arts Professionals International Residencies, he is currently researching the advancement of deaf and disability arts in the US and UK.
Michel Boutin is an artist, arts educator and cultural animateur based in Prince Albert Sk. He received his B.F.A. from the University of Regina in 1995. He is currently the Artistic Director for IPAC, The Indigenous Peoples Artist Collective, Prince Albert, Sk. Michel has been involved with Saskatchewan’s Artist Run Culture for over 2 decades. He has been a board member for Neutral Ground Artist Run Centre, Regina Sk., Red Shift Gallery, Saskatoon Sk. Paved Arts, Saskatoon Sk. and ARCA, representing the Aboriginal Region. He is currently a mentor/member of Sans Atelier, the first Francophone artist run collective in Saskatchewan.
Zoë Chan & Mark Clintberg
As a curator, Zoë Chan has focused on youth, food, documentary, and discourse around representation and identity. Her curatorial projects have been presented at Articule, Foreman Art Gallery of Bishop’s University, and the MAI (Montréal, arts interculturels). In 2014, she was one of twelve curators selected by ICI (Independent Curators International) to participate in its Curatorial Intensive program in NYC. She has written for Canadian Art, C Magazine, esse arts + opinions, and other publications. She is a two-time recipient of the Canada Council for the Arts’ Project Grant to Curators and Critics, and recently received the Joan Lowndes Award in recognition of excellence in critical or curatorial writing.
Photo Credit: Justin Waddell
Mark Clintberg is an artist who works in the field of art history. He completed his Ph.D. at Concordia University in 2013, and he is an Assistant Professor at the Alberta College of Art + Design. He is also an International Counsellor for the V&A Waterfront / Zeitz MOCAA Curatorial Training Programme (Cape Town, South Africa). Journals and periodicals that have published his writing include The Senses & Society, C Magazine, ETC., BlackFlash, Canadian Art, The Art Newspaper, Border Crossings, the Fillip Review, Arte al Dia International, and Art.es Magazine.
Michael Eddy is an artist and writer. With a base in photography, he works across various disciplines and media including performance, drawing, writing and installation. His interests lie in rhetoric and decision-making, in negotiations of autonomy, and in questions relating to experience and value. Michael frequently works in collaboration with others, the most long term of which is the collaborative trio Knowles Eddy Knowles. From 2010–2013 he was co-organizer of the independent artist-run space HomeShop in Beijing (homeshopbeijing.org). His work has been exhibited and published internationally, with recent presentations at Pace Beijing, Sapporo International Art Festival, and Plug-In ICA. Recent textual or editorial contributions have appeared in Concrete Flux journal (CN), Muséologies journal (CA), the Grand Domestic Revolution Handbook (NL), and several independent publications by HomeShop. Michael studied at NSCAD in Canada and at the Staedelschule in Germany.
Maggie Flynn is an organizer, artist, and curator. Her version of life/work balance includes a mix of hopeful pragmatism and recreational dancing.
Maggie has presented projects at the Rhubarb Festival, Subtle Technologies, the Art Gallery of York University, and the New Gallery. Some of her collaborative projects include Human Resources for Humans with Golboo Amani, presented at the Hemispheric Institute’s Encuentro (Montréal), and an exchange with Peyman Shafizadeh as part of jä be jä at Azad Art Gallery (Tehran). Her work also encompasses archiving and research practices which she has spoken about at conferences such as Creative Catalyst (Ryerson University) and This is Paradise (JMB Gallery). Her curatorial work has been shown by VSVSVS, Le Labo, and in her current role as Director of Whippersnapper Gallery.
Melissa Gruber is the Advocacy and Communications Director at CARFAC, the Canadian association of visual artists. She is on the Steering Committee of the Canadian Arts Coalition and is a part-time candidate for the Master of Philanthropy and Nonprofit Leadership at Carleton. She holds a BFA from Concordia and a Graduate Certificate in Public Relations from Loyalist College in Belleville. She has worked in arts promotion at the Canada Council for the Arts, the Ottawa Fringe Festival, and the Art Matters Festival.
Todd Janes is Executive Director of Latitude 53 Contemporary Visual Culture in Edmonton, Alberta. A performance artist, curator and sometimes writer, Janes has a long history of artist-run culture, not-for-profit governance and management and programming. He has founded numerous festivals and artistic collectives and loves things that burn brightly and also things and smoulder for a long time. Keenly interested in many thing including artist-run culture, he has been President of ARCA for six years and is deeply interested in how we will manage the predicted growth of ARCs now that the Canada Council for the Arts has busted open the requirements and many organizations will be able to be freed of their archaic governance models and rushing to be further artist-run.
Doug Jarvis is a multidisciplinary artist and curator living in Victoria, BC. He is a founding member of the avatar performance art group Second Front (http://www.secondfront.org/) and the Noxious Sector Art Collective (http://www.noxioussector.net/). Jarvis has participated in exhibitions at the Richmond Art Gallery (Richmond, BC), Eyelevel Gallery, (Halifax, NS), Goodman Arts Centre (Singapore), Eastern Bloc (Montreal, PQ), USC Fisher Museum of Art (Los Angeles, CA), Harbourfront Gallery (Toronto, ON), Academy of Fine Arts (Xi’an, China), and the Museum of Art, Seoul National University, Seoul, S. Korea. He is a Guest Curator at Open Space Arts Society (Victoria, BC), and the President of the Pacific Association of Artist Run Centres (PAARC).
Milada Kovacova started as a painter but now makes films and curates. She holds several degrees including a BFA Honours in Visual Arts from York University. Milada has been involved with artist-run culture since 1993. She was a founding member of the Tesla Effect Collective and the eight fest small-gauge film festival. Milada was recognized as an individual who provides ‘extraordinary support for independent filmmaking’ in Toronto with her activities going above and beyond any obligations of employment over a sustained period, by being awarded the Tom Berner Award. After her service of 11 years on the Board of Directors, YYZ Artists’ Outlet bestowed LIFETIME YYZ Member Award on Milada. She has sat on many Boards, spent 6 years at FUSE Magazine, also was employed at MIX Magazine and currently works at PREFIX PHOTO magazine in addition to Trinity Square Video and the Images Festival. Small-presses are in her blood as her father was a publisher of Slovensky Hlas for almost 3 decades. Her films have shown locally and internationally. Currently, she is in post on a film about peasants from Slovakia.
Justin A. Langlois is an artist, educator, and organizer working across media and social practices. He is the co-founder and research director of Broken City Lab, an artist-led interdisciplinary research collective working to explore the complexities of locality, infrastructures, and participation in relation to civic engagement and social change, and director of the new artist-run-education initiative, The School for Eventual Vacancy. His practice explores collaborative structures, critical pedagogy, and custodial frameworks as tools for enacting divergent possibilities for gathering, learning, and making. He is currently an Assistant Professor in the Faculty of Culture + Community at Emily Carr University of Art and Design in Vancouver.
Ange Loft, Assistant Artistic Director of Jumblies Theatre, is a multi-disciplinary artist from Kahnawake Mohawk Territory. She is a Juno and Polaris nominated vocalist with YAMANTAKA//SONIC TITAN, and an ardent collaborator, focused on interview audio, historical research, and personal fiction. She leads outdoor performance, group design, large scale puppetry, costume making, and co-facilitates Jumblie’s Art Fare Essentials and Composing Community. She seeks to deepen understanding of aboriginal experience through interactive and radically inclusive theatrical creation: Spiderwoman Theatre’s Material Witness, and her solo show HOOFS, about native women and violence; Clay and Paper Theatre’s Our Last Best Hope and After the Fire, about Idle No More; K-Town Underground with the Smithsonian NMAI and Talking Treaties with First Story Toronto, on archaeological artifact and land. As a movement and art director, she has lead YT//ST’s Opera 33; LAL’s all you can hold; the short film, HIDE; and with her performative sculpture line, Cult of Kateri: Armour and Accessories. Up next, the Kahnawake Community Play, and theatre making with Native youth at the Banff Center. Ange graduated from the Center for Indigenous Theatre, and has a BFA in Theatre from Concordia University.
Jonathan Middleton is an artist and curator based in Vancouver and has served as director/curator of the Or Gallery since September 2007. Between 1999 and 2005, he served as director/curator of the Western Front Exhibitions Program and has collaboratively curated and produced projects in Montréal, Seattle, Hong Kong, Berlin, Melbourne, London and Chilliwack. Middleton co-founded Projectile Publishing Society and its more recent art periodical Fillip, and continues to serve as chair of the society’s board of directors. Middleton has also served on the boards of Artspeak, the Pacific Association of Artist-run Centres (PAARC) and the Artist-run Centres and Collectives Conference.
Vicky Moufawad-Paul is a Toronto based curator and the Artistic Director at A Space Gallery. She has organized over eighty exhibitions and has curated projects at the Agnes Etherington Art Centre, Carlton University Art Gallery, Museum London, Montréal Arts Interculturels, Latitude 53, Gallery 101, Interaccess, and 16 Beaver. She has an MFA in Film and Video from York University, was the founding Executive Director of Toronto Arab Film Festival and has worked for the Toronto International Film Festival. Her writing on contemporary art has been published widely.
Rehab Nazzal is a Palestinian-born multidisciplinary artist based in Toronto and London, ON. Her video, photography and sound works deal with violations of human rights and the violence of colonialism and war. Nazzal’s work has been shown in Canada and internationally in both group and solo exhibitions and screenings. She is currently a PhD candidate at Western University (London, ON) and an assistant professor at Dar Al-Kalima University College of Arts and Culture in Bethlehem, Palestine. Nazzal holds an MFA from Ryerson University (Toronto), a BFA from the University of Ottawa, and a BA in Economics from Damascus University (Syria). Nazzal has received awards and scholarships from Western University, Ryerson University and the University of Ottawa, as well as grants from Canada Council for the Arts, Ontario Arts Council, and the City of Ottawa. She also is a recipient of SSHRC doctoral award, and a multiple recipient of the Ontario Graduate Scholarship.
Charlotte Panaccio-Letendre is the artistic director of Verticale – centre d’artistes. She completed a M.A. in Art History (UQAM), as well as a certificate in Arts Management at l’École des hautes études commerciales, after a B.F.A. at UQAM. Her sustained commitment to the board of directors of Centre des arts actuels SKOL (2007-2013) and her involvement in Regroupement des centre d’artistes autogérés du Québec, Réseau des organismes culturels et des artistes lavallois and Conseil régional de la culture de Laval are noteworthy. She co-organized a conference titled Contemporary art and heterogeneity (ACFAS). Her first curatorial project was supported by the Conseil des arts et des lettres du Québec in 2012. Her research interests include the diversification of production and dissemination modes in contemporary art.
Jenna Faye Powell
Jenna Faye Powell is an emerging artist and arts administrator with experience in both the not-for-profit and charitable sectors. Powell received her Bachelor of Fine Arts (2009) from the University of Western Ontario and her Masters of Fine Arts (2012) from Nova Scotia College of Art and Design University. Powell also serves on the Board of Directors at London Fuse and at ARCCO (Artist-Run Centres and Collectives of Ontario). In 2012 Jenna was a finalist in the prestigious RBC Canadian Painting Competition. She recently exhibited at Museum London, the Art Gallery of Windsor, DNA Artspace as well as various other galleries nationally. Powell is the current Executive Director of Forest City Gallery in London, Ontario.
Kim Simon has been active as an arts writer and cura¬tor for over 15 years, she is cur¬rently cura¬tor at Gallery TPW in Toronto. Founded in 1980 as a non-profit venue for photographic prac¬tices, TPW is committed to a media-specific but expanded mandate, addressing the vital role that images play in contemporary culture and exploring the exchange between still and time-based images, liveness and the creative potential of pedagogy.
Photo credit: Roger Lemoyne
Skawennati makes art that addresses history, the future, and change. Her pioneering new media projects, such as TimeTraveller™; Imagining Indians in the 25th Century; and CyberPowWow, have been widely presented across Turtle Island in major exhibitions such as Now? NOW! at Denver’s Biennial of the Americas and Looking Forward (L’Avenir) at the Montreal Biennale. She has been honored to win imagineNative’s 2009 Best New Media Award as well as a 2011 Eiteljorg Contemporary Art Fellowship. Her work in is included in the collections of the Canada Art Bank, Edd J. Guarino, and the Aboriginal Art Centre at Aboriginal Affairs and Northern Development Canada, among others.
Born in Kahnawake Mohawk Territory, Skawennati graduated with a BFA from Concordia University in Montreal, where she is based. She is Co-Director, with Jason E. Lewis, of Aboriginal Territories in Cyberspace (AbTeC), a research network of artists, academics and technologists investigating, creating and critiquing Indigenous virtual environments. This year they launched IIF, the Initiative for Indigenous Futures.
Maiko Tanaka & Emily Fitzpatrick
Maiko Tanaka is a curator based in Toronto. Past curatorial positions include the Justina M. Barnicke Gallery, InterAccess, as well as Casco – Office for Art, Design, and Theory (Utrecht). In 2014 Maiko co-edited the publications, The Grand Domestic Revolution Handbook published by Casco and Valiz, and Model Minority, published by Gendai in collaboration with the Publication Studio. She holds a Masters of Visual Studies from the University of Toronto and serves on the programming committee and board of Gendai as well as on the editorial advisory of C Magazine. She is currently undertaking a curatorial residency at Trinity Square Video where her research focuses on the intersections of technologies of perception and an ethics of encounter from a feminist, science fiction and post-human lens.
Emily Fitzpatrick is an independent curator and writer living in Toronto. She has curated exhibitions at the Carleton University Art Gallery, the Ottawa Art Gallery, and the Blackwood Gallery. With her collective Aisle 4, she co-curated projects for Art of the Danforth, the Museum of Contemporary Canadian Art’s exhibition (tbd), and the Art Gallery of Ontario’s First Thursdays. She currently sits on the Board of Directors for Gendai Gallery and Art Metropole, and is a Co-Developer for Scotiabank Nuit Blanche’s Independent Projects.
Mary Tremonte is an artist, educator, and DJ based in Toronto via Pittsburgh, PA. A founding member of Justseeds Artists’ Cooperative, she works with “printmaking in the expanded field,” including printstallation, interactive silkscreen printing in public space, and wearable artist multiples. With Justseeds and independently Mary has exhibited, presented lectures and workshops, and performed in Toronto, throughout the United States, and internationally, including The Gladstone Hotel, Xpace, and Videofag (Toronto), The Miller Gallery and Mattress Factory (Pittsburgh, PA), Pacific Northwest College of Art (Portland, OR), International Centre of Graphic Arts (Ljubljana, Slovenia), and Neurotitan Gallery (Berlin). Formerly the youth programs coordinator at The Andy Warhol Museum, she values art education as a means of youth empowerment and social change. She was a guest artist with the Art Gallery of Ontario’s Youth Council in Fall 2013, and in Fall 2015 she is an artist in residence with the Power Plant’s Power Youth program. Through her work she aims to create temporary utopias and sustainable commons through pedagogy, collaboration, visual pleasure and serious fun.
Camille Turner an artist, educator, researcher and founder of Outerregion, an afrofuturist research lab. Her inter-disciplinary practice utilizes performance, media and social practice art to reanimate Canada’s erased historic Black geographies. Her most recent work reveals Canada’s unacknowledged history of slavery through participatory events in public spaces. Camille teaches at University of Toronto’s New College. She is a PhD candidate at York University’s Faculty of Environmental Studies.
Ellyn Walker is a writer and curator based in Toronto and Kingston, Ontario, on Anishinaabe, Haudenosaunee and Wendat land. Her work focuses on modes of cross-cultural engagement within the arts as potential sites for resistance, re-imagination and (re)conciliation between Indigenous and non-Indigenous peoples. Her writing has been published in such venues as Prefix Photo, PUBLIC Journal, Fuse Magazine, the Journal of Curatorial Studies, BackFlash and C Magazine, among others. Her curatorial projects have been presented by the Art Gallery of Ontario, Prefix ICA, Videofag, and upcoming with Charles Street Video. Ellyn is currently a PhD candidate in Cultural Studies at Queen’s University where she looks at the politics of alliance in contemporary curatorial and artistic practices.
Syrus Marcus Ware
Syrus Marcus Ware is a visual artist, activist and educator. He is the Program Coordinator of Youth Programs, Art Gallery of Ontario. His work has been shown widely, including at the Art Gallery of Windsor, the University of Lethbridge Art Gallery, Art Gallery of York University and The Gladstone Hotel. He is part of the PDA (Performance Disability Art) Collective. Syrus’ recent curatorial projects include The Church Street Mural Project (2013), That’s So Gay: On the Edge (2014, 2015) and Re:Purpose (2014). For the past 15 years, Syrus has hosted the weekly art and activism themed radio segment, “Resistance on the Sound Dial” (CIUT 89.5FM). In 2005, Syrus was voted “Best Queer Activist” by NOW Magazine, and in 2012 was awarded the Steinert and Ferreiro Award for LGBT community leadership and activism. Syrus is a PhD candidate in the Faculty of Environmental Studies at York University.
Jack Wong completed his undergraduate studies at the Nova Scotia College of Art and Design in Halifax, Nova Scotia, where he continues to work and live. Previously heavily involved in organizing community exhibitions and art events, Wong became critical of what he perceived to be a widespread deference to institutionalized programming approaches. His current interests include conceptions of inclusivity and perennialism in artist culture. He continues to examine these topics in his capacities as a member of the Board of Directors at Eyelevel Gallery, a researcher at the NSCAD University Drawing Laboratory, as well as in his own participatory art practice.