Navigating the Complexities of our Global
World through Art
World through Art
May Chew is an Assistant Professor at the Mel Hoppenheim School of Cinema and Department of Art History at Concordia University. Her current research focuses on interactive and immersive technologies in diverse museum and exhibit spaces across Canada, and how these technologies facilitate the material practice of nation and cultural citizenship. Her recent work includes a chapter in the anthology Material Cultures in Canada (WLU Press, 2015); articles in Imaginations, the International Journal of Heritage Studies, the Journal of Canadian Art History; and Public 57: Archives/Counter-Archives, which she co-edited with Susan Lord and Janine Marchessault. She is a collaborator of the Archive/Counter-Archive (https://counterarchive.ca/) project, and a member of the Ethnocultural Art Histories Research in Media group (https://www.ethnoculturalarts.com/eahr--media.html).
Dr. Barbara Clausen is Associate Professor for contemporary art and performance in the art history department at the University of Québec in Montréal (UQAM) and an independent curator. Since 2000 she has lectured and written extensively on the historiography and institutionalization of performance-based art practices and the parallel discourses surrounding the politics of the body and the archive, articulated through the site specificity of the exhibition. In 2010 Clausen received her PhD from the University of Vienna, Austria and has over the last ten years curated and collaborated on numerous exhibitions and performance series in Europe as well as North America, including After the Act The (Re)Presentation of Performance Art (2005) and Wieder und Wider / Again and Against: (2006) as well as thet exhibition and performance series Push and Pull I and II (2010-2011) at mumok (Museum of Modern Art Stiftung Ludwig), the Tanzquartier in Vienna as well as TATE Modern in London. In 2016 she curated the first Canadian exhibition of Joan Jonas’ work, entitled From Away and the event series Affinities at DHC / Art and Phi Centre in Montreal.
Since 2014 Clausen is the director of FRQSC funded research project An Annotated Bibliography in Realtime: Performance Art in Quebec and Canada (2014-2019) as well as her current research project Keeping it Live (2018 - 2022), funded by the Social Sciences and Humanities Research Council of Canada). She is the Curatorial Research Director of the Joan Jonas Knowledge Base, which is part of The Artists Archive Initiative at New York University (2017-2020) in collaboration Glenn Wharton (Museum Studies) and Denna Engel (Computer Science). She is a co-applicant member of Hexagram UQAM Network in Montreal, and, next to her research association with the ZeM in 2018/2019, a Visiting Research Fellow at TATE Britain and a Visiting Scholar at the programme for Museum Studies at NYU from 2018 - 2020.
Barbara Clausen’s research is dedicated to thinking about performance’s representational politics as a hybrid art form in the tension field of the live and the mediated. One of her main objectives is to study the political and cultural impact of live and performance based art practices in the visual arts as an increasingly fluid medial entity that oscillates between affect driven agency and conceptual site-specificity - asking how the ecologies and networks of artistic interests, curatorial choices, and institutional and ideological politics at play, are anchored in the reality and imaginary of the exhibition as a liminal site, fed by the desire for immediacy and authentic experience as much as driven by the instability of the archive and the projected accessibility of the infinite.
Dr. Analays Alvarez Hernandez is an art historian and independent curator. Her research focuses on contemporary art, with an emphasis on commemorative public art, global art histories, diasporic and ethno-cultural communities, Latino Canadian art, contemporary Cuban art, and curating. She has notably received a bachelor’s degree in Art History (2005) from the Universidad de La Habana, Cuba, and her doctorate from Université du Québec à Montréal in 2015. From 2016 to 2018, Dr. Alvarez Hernandez held a FRQSC postdoctoral fellowship in the Department of History of Art at the University of Toronto where she developed the project Ethno-Cultural Monuments in Canada. Her article “The Other(’s) Toronto Public Art: The Challenge of Displaying Canadians’ Narratives in a Multicultural/Diasporic City,” published in June 2019 by RACAR (vol. 44, Issue 1), discusses some findings of her postdoctoral research. In the past, she has taught global arts histories, contemporary public art, and curating at the University of Ottawa (2018-2019) and the University of Toronto (2017). Currently, she is Assistant Professor in the Département d’histoire de l’art et d’études cinématographiques at the Université de Montréal. One of her ongoing research projects considers what she coined as “domestic art galleries” in (post)socialist societies. Alongside her academic research and teaching experience, Alvarez Hernandez has organized several exhibitions in Montreal, Havana, and Toronto as an independent curator and is a member of Culture Montréal’s Commission permanente de l’art public.
Maya Rae Oppenheimer is a daughter, sister, aunt, plant-mother, friend and colleague who receives financial remuneration as a writer/researcher/artist/educator. She preoccupies herself with writing as social practice and the tangles of historical narratives that inform our contemporary worldviews. Structures of institutional knowledge formation and validation are often the focus of her inquiries, from museum narratives to histories of social psychology. Experimental writing, performance, radical pedagogy, wandering, DIY tactics and rogue archival inquiries are part of the tool-kit she brings to reconsidering and recalibrating histories and ways of knowing and being in the world.
Maya joined the Faculty of Fine Arts at Concordia University in September 2017 as Assistant Professor in Art History and now works across the Department of Studio Arts and Interdisciplinary Studies. She is active in curricular development for 21st century art schools and sits on various cross-university curriculum committees; she is Head of the Interdisciplinary Studies Area in the Faculty of Fine Art.
Maya holds a PhD in Humanities and Cultural Studies from the London Consortium (University of London). Before returning to Canada after a decade in London (UK), Maya: taught at the Royal College of Art, Imperial College London, and the Cass School of Art and Design; worked as a member of earnest, experimental art collectives; held various research positions at the Victoria & Albert Museum’s Research Department; began publishing and editing interdisciplinary projects, both within and beyond peer-review protocols, some of which are open access via academia.edu; served two terms as Executive Trustee for the Design History Society; showed art in sundry spaces including the Science Museum (London, UK), the Rag Factory (London, UK), GV Arts (London, UK), and Cabinet (NYC); was co-director of Metalab (London, UK) an experimental research platform running across the Royal College of Art and University of London from 2012-2017.
Prof. Edith-Anne Pageot is a specialist of modernisms in Quebec and Canada. She is interested in historiography, the relationship between art and craft, and the interdisciplinary, transcultural and transnational logic that permeate the modes of production, exhibition and reception of art objects. Two major questions underlie and shape their research path and serve as a guiding thread for the different bodies of work studied: how to (re)conceptualize the relationships between canons and margins without denying the fractures and their distressing effects? How can we practise an ethically, responsible art history based on epistemological decentration in order to contribute to the development of research and teaching environment aimed at rebuilding the modalities of living together? Among their current research projects, she is preparing a monograph pertaining to, Artistic Culture at Manitou College. Agentivity and Self-Determination Strategies (SSHRC), a research that benefited from the collaboration of Camille Callison, Vice-President of the Canadian Federation of Library Associations (CFLA-FCAB) and Chair of the Aboriginal Issues Committee. She is collaborating in the creation of the first Massive open online course in French on Indigenous arts. This project is the result of a partnership between UQAM and the Montreal Museum of Fine Arts. My most recent project examines the use of fibre in modern and contemporary arts in Quebec (1906-2020) from a transcultural and transnational perspective. Recent Publications include: Transnational Trajectories, Aboriginal Art and School Education, Emergence of a Pioneering Model: Manitou College (1973-1976), Presses de l'Université de Montréal, 2020; "Par-delà la grille, la trame. Reframing the relationship between modern art and the textile arts. Le cas d'Henriette Fauteux-Massé," Le carnet de l'ERHAQ, 2019, "L'art autochtone à l'aune du discours critique dans les revues spécialisées en arts visuels au Canada. Les cas de Sakahàn et de Beat Nation", Muséologies, 2018; "Femmes, fleurs, fougères. Le Service de table commémoratif canadien de Cabot", Le carnet de l'ERHAQ, 2018.
Varda Nisar is currently enrolled as a PhD student in the Art History Department at Concordia University. Having worked for the Karachi Biennale for two editions, and having run her own Children’s Art Fest, she has been involved in art education in Pakistan, where there to this day remains little access to public art, and where the study of art itself is limited to primary school only in all public schools, thus effectively rendering it a child’s play. She was also a 2015-16 Fellow for Arthink South Asia; in 2012, she was selected for a month long Cultural Heritage Workshop in 2012, organized by Smithsonian, University of Wisconsin, and American Institute of Pakistan Studies. Currently her research is focused on national narratives in national institution in Pakistan, and the role they play in creating a hegemonic identity for the post-colonial nation state. Her previous research on the Silawat Community – the original stone masons in her city of Karachi – has been presented in a number of conferences.
Ashley Raghubir is a MA student in the Department of Art History at Concordia University in
Tiohtiá:ke/Montreal. She is the Winter 2020 Curatorial Intern at the Leonard & Bina Ellen Art
Gallery in Tiohtiá:ke/Montreal. Ashley is a Research Assistant to the Concordia University
Research Chair in Ethnocultural Art Histories, a core member of the Concordia’s
Ethnocultural Art Histories Research (EAHR) Student Group, and a graduate student member
of Concordia’s EAHR | Media (Ethnocultural Art Histories Research in Media). Ashley holds
a Honours Bachelor of Arts in Art History from the University of Toronto. Her research
interests are Afrofuturism in contemporary art, critical race theory, black diaspora studies,
public programming as research and pedagogy, and critical curating based in social justice and