After graduating with a BA and MA in Art History from the Université du Québec à Montréal, Julie Alary Lavallée completed a BFA in Studio Arts at Concordia University where she is pursuing doctoral studies in Art History. Her current research focuses on national contemporary art exhibitions. Through studies of large-scale manifestations of Indian art presented in the West, the research looks at curatorial endeavors that made visible marginalized artistic productions and identities within official national narratives. A polyglot, independent curator and author, she has been actively involved with Studio XX since 2012 (board of directors and editorial committee of .dpi online journal). In 2018, she joined the Studio XX team as general coordinator. She currently works for the ministère de la Culture et des communications du Québec as regional expert as part of the Politique d'intégration des arts à l'architecture et à l'environnement des bâtiments et des sites gouvernementaux et publics. She is currently involved with AICA Canada.
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Nima Esmailpour is an artist, art historian, and the co-founder of the Taklif : تکلیف collective . He graduated from Goldsmiths,(University of London) with an MA in Art and Politics and is currently pursuing a PhD in the Department of Art History at Concordia University. Taklif has produced and participated in numerous critical engagement initiatives, including Common Aliens: Diaspora in Time (Studio XX, Montreal, 2016), Disorienting Diaspora: Shorts by Brown Queer Artists from the Canadian Archive (RIDM Festival, Montreal, 2017), Conversations at the Edge, SAIC, Chicago, 2019), Utopia as Method (Regart, Quebec City, 2018), What is Critical Curating? (RACAR, 2018), Ideas of Femininity (FOFA Gallery, Montreal, 2018), and Syphon 5.1: My life is not your _____. (Modern Fuel, Kingston, 2019). |
Rodrigo D'Alcântara (Rodrigo de Alcântara Barros Bueno - b. Niterói, Brazil) is a visual artist, film/video-maker and PhD student in the Interuniversity Doctoral Program in Art History at Concordia University (Montreal, CA). His doctoral studies are supported by Concordia University Graduate Fellowship and Concordia International Tuition Award of Excellence. He holds a Master degree in Visual Arts from the School of Fine Arts of Federal University of Rio de Janeiro (Brazil) and a Bachelor degree in Plastic Arts from the University of Brasília (Brazil) - with an exchange term in the Los Andes University (Colombia). Rodrigo's works have been screened internationally, in countries such as Austria, Brazil, Belgium, Chile, Germany, Greece, Italy, among others. His theoretical research focuses on analyzing some of the concepts and imagery that have been perpetuated through Western Art History and have contributed in maintaining a colonial structure in contemporary times. He is interested in recent contemporary art movements and theories that have been created through the subversion of hegemonic historicity. Elizabeth Davis is an MA candidate in the Department of Art History at Concordia University. She received a BA in Art History with a Minor in Political Science from McGill University. Elizabeth current research focuses on fat embodiment, subjectivity and vulnerability and shame in the art of Laura Aguilar and Jenny Saville. |
Chiara Montpetit is an MA Art History candidate at Concordia University. She holds a BA from the University of Ottawa with a double major in Art History and Theory, and Italian Language and Culture. In addition to her academic endeavours, Chiara completed internships in both Canada and Italy for various art institutions and associations. Her current research focuses on histories of migration and garment making in Canada, as well as oral histories, photography and installation. Chiara has been the journal assistant for the publication Asian Diasporic Visual Cultures and the Americas (ADVA) since January 2017 |
Varda Nisar is an independent researcher, currently enrolled in the PhD Program, Art History at Concordia University. Her research interest revolves around national narratives and how they are disseminated through cultural sites to promote hegemony. Previously, she had been engaged with the Karachi Biennale 2017 as the Head of Educational Program and was the founder of Karachi Children's Art Fest. She is also an Arthink South Asia Fellow, and has trained with the Smithsonian Institute, Washington DC, Spark Arts Festival for Children, Leicester. Besides this, she has been engaged in studying the cultural artifacts of the Silawat Community, who were the original stone masons of the city of Karachi. |
Mikhel Proulx's research centres on histories of networked culture. Through studies of art and visual culture, this research finds that communications technologies structure our sense of self and our communities. In an era of so-called ‘social’ media that work to isolate and alienate, Proulx asks what lessons can be learned from a generation of artists concerned with networked communication and social action. Proulx holds a BFA in Drawing from the Alberta College of Art and Design and a MA in Art History from Concordia University. He is the 2015-16 Jarislowsky Foundation Doctoral Fellow in Canadian Art History and a recipient of a Joseph-Armand Bombardier Canada Graduate Scholarship. His curated projects have been exhibited across Canada and internationally. |
Ashley Raghubir is a Trinidadian Canadian writer and master’s student in the Art History program at Concordia University. She is a co-founding member of the Afrofuturisms Research Collective with student and faculty peers at Concordia. Her writing practice and interdisciplinary research examines Afrofuturisms in relation to contemporary art, Black diaspora studies, Black Canadian contemporary art and Transatlantic slavery studies. Ashley is completing her thesis "Ancestral Black Water and Symbolic Dress in the Contemporary Afrofuturist Art of Mohau Modisakeng and Ayana V. Jackson" under the supervision of Dr. Alice Ming Wai Jim |
Sanaz Sohrabi is an artist and interdisciplinary researcher who works across moving/still image practices, video and installation to analyze the status of moving image as a gateway to a larger investigation around the role of archives as the materials of times and spaces of spectatorship. Performing history via memory and animating the pace of memory through destabilizing the residual archives have been at the core of her practice-based research and writing. She received her BFA from the University of Tehran College of Fine Arts and an MFA from the School of the Art Institute of Chicago with a merit scholarship. She is currently pursuing a practice-based PhD at the Center for Interdisciplinary Studies in Society and Culture. Her doctoral work consists of a series of video-essay, critical text, and multimedia installation concerning the British Petroleum archives, addressing the intersection of colonial modernity and visual economy of oil in Iran. Exhibition and screenings include: Videonale 16 Bonn, Athens International Film and Video Festival, European Media Arts Festival, Fiva 06 Buenos Aires (first prize for short film), Images festival, Centre Clark, and Beirut Art Center, among others. Sohrabi has been awarded numerous fellowships and residency awards such as the Transregional Academy at the American University of Beirut, Skowhegan School of Painting and Sculpture, SOMA Summer School Ciudad de México, Est-Nord-Est résidence d’artistes, and Vermont Studio Center, among others. She is a co-curator (along with Sima Kokotovic and Giuseppe Fidotta) of the year-long project “The Politics of Alternative Media” based at the Global Emergent Media Lab at Concordia University, Montréal.
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Kanwal Syed completed her under-graduation as a studio-artist, with major in sculpture from National College of Arts, Pakistan. In 2012, she completed her M.A in Art History from University Sains Malaysia, entitled Caught in The Middle: Socio-Political Imageries in Contemporary Art in Pakistan Post 9/11 (2001-2013). She is the author of two published texts in peer-reviewed international journals. She is currently a Ph.D. candidate in the Department of Art History at Concordia University and recipient of FRQSC research grant 2018. Her research interests encompass Pakistani Art with an emphasis on shifting artistic representations of female subjectivities in Contemporary Pakistani art discourse post 9/11 and War on Terror.
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Jeanne Voizard Marceau is an M.A. candidate in Art History at Concordia University, Tiohtiá:ke (Montreal). Her research currently examines affect theories, digital infrastructures and algorithmic control as they relate to contemporary art practices. She previously conducted research on artistic and media representations of migrant detention and incarceration in Canada, and presented her work in Canada and Germany. Jeanne holds a BFA in Art History from Concordia University, 2015. Her research is supported by the Concordia Fine Arts Faculty as well as SSHRC and FRQSC. She has been a teaching assistant for ARTH 373: Issues in Contemporary Canadian Art: Reinventing the Landscape, ARTH 300: Art Historical Methods, and ARTH 358: Studies in the History of Media Art: Fake News and Screen-based Art. Jeanne co-organized the 2019 Art History Graduate Symposium ‘Communities of Care’. She has previously worked for the KW Institute of Contemporary Art in Berlin, and for the Utopian Union Collective in Berlin.
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