PROGRAM
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WORLDING TIOHTIÀ:KE/MONTRÉAL:
Bridging Knowledges, Practices, and Beings MONDES DE TIOHTIÀ:KE/MONTRÉAL: Mettre en relation les savoirs, les pratiques et les êtres 31 March-1 April 2023 | 31 mars-1 avril 2023 DAY 1, SESSIONS 1-4 RECORDED HERE DAY 2, SESSIONS 5/6 RECORDED HERE |
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WPC 2023 FULL CONFERENCE PROGRAM (CONTINUE SCROLLING OR DOWNLOAD BELOW)
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CLICK HERE FOR FULL PROGRAM WITH ABSTRACT AND BIOS (IN ENGLISH)
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EXHIBITION
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re*
imagining / créer / building / faire / mapping / connaissance /... Curated by Manar Abo Touk, Lorraine Doucet Sisto and Varda Nisar re* offers a counterpoint to colonial histories and archives.The artworks included in the exhibition reimagine and redefine ideas around time, space, land and languages. The works of artists rudi aker, Pansee Atta, Amin Rehman, and Swapnaa Tamhane foreground different possibilities for reclaiming languages and histories, resisting and refuting imposed geographies, and reframing futures and pasts.
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artists
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rudi aker is a wolastoqew auntie, artist, organizer, and curator from St. Mary’s First Nation in Sitansisk (Fredericton, New Brunswick) and, for now, a guest on Tiohtià:ke/Mooniyaang (Montreal, QC). Their artistic and research practices center relationality, placehood, and visibility, with a focus on the traversal of (un)colonized spaces through conceptions of counter-cartographies and barrier-breaking. Their ongoing research-creation project, topographies of a homeplace, explores the boundaries of cartographic practice through beaded spatial representations – hand-held topographical maps accompanied by historically and personally informed auto-writing on site-specific experiences. This work, in various iterations, has been included in Space, Place, Home (Louise-et-Reuben Cohen Art Gallery), Tactics for Staying Home in Uncertain Times (MSVU Art Gallery), HOST (third space gallery), window winnipeg, these are our monuments (Owens Art Gallery), ehpituwikuwam (Beaverbrook Art Gallery), and [espace variable | placeholder] (La Centrale Galerie Powerhouse).
For more information, visit rudiaker.com |
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Pansee Atta is an Egyptian-Canadian visual artist, curator, and researcher living and working on the unceded territory of the Algonquin Anishnaabe nation in Ottawa. Using a variety of new media, her work examines themes of representation, migration, archives, and political struggle. Previous residencies include the Impressions Residency Award at the Montréal Museum of Fine Arts, the SparkBox Studio Award, and at the Atelier of Alexandria. Previous exhibitions have taken place in collaboration with SAW Video in Ottawa, at Galerie La Centrale Powerhouse and Z Art Space in Montréal, the Art Gallery of Mississauga, and other contemporary Canadian arts spaces. Her curatorial projects include UTOPIAS, a community-based performance art festival in Kingston, Ontario, and Home/Making, an exhibition at the Canada Council Art Bank. Her ongoing research and activist practice centers community-based responses to colonial projects of collection, display, study.
For more information, visit panseeatta.com |
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Amin Rehman is a multidisciplinary visual artist who has been working since the1980s. Originally fromPakistan, he studied at the historic National College of Arts and the University of Punjab in Lahore. He received a Masters from the University of Windsor, Ontario in 2011. Rehman has exhibited
extensively in a number of exhibitions across Canada, notably Other Histories at the Saint Mary’s University Art Gallery (2008); Hope at the Art Gallery of Regina (2014); A is for… at the McIntosh Gallery at the University of Western Ontario (2012) and White Wash at the Art Gallery of Mississauga, (2011). Rehman received the Canada Council for the Arts Project Grants to Visual Artists in 2014, 2017 and 2021. He also received the prestigious Chalmers Fellowship Award from the Ontario Arts Council twice, once in 2008 and then in 2017. He has received the grants from the Ontario Arts Council and the Toronto Arts Council 11 separate times since 2008. He was honoured with SAVAC’s (South Asian Visual Arts Centre) ‘Artist of the Year Award’ in 2005. Recently, his exhibition the Bleeding Borders was exhibited at the Art Gallery of Grande Prairie, Alberta from November 25, 2021, to March 20, 2022. For more information, visit aminrehman.com |
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Swapnaa Tamhane is an artist, writer, and curator. Her visual practice is dedicated to drawing, making handmade paper, and working with the material histories of cotton and jute. Her interests extend to material culture, and with designer Rashmi Varma, she wrote SĀR: The Essence of Indian Design, Phaidon Press (2016). Curated exhibitions include In Order to Join – the Political in a Historical Moment (2013-2015) an exhibition of global feminisms at Museum Abteiberg, Mönchengladbach, and CSMVS, Mumbai, India; HERE: Locating Contemporary Canadian Artists (2017), Aga Khan Museum, Toronto, and CONSTITUTIONS (2021) at the Leonard & Bina Ellen Art Gallery, Montreal. She has an MFA in Fibres & Material Practices, Concordia University, where she is currently an Artist-in-Residence. Her artwork and research has been supported by SSHRC, Canada Council for the Arts, and Ontario Arts Council. She was a Research Fellow with the Shastri Indo-Canadian Institute (2009), and an International Museum Fellow with the Kulturstiftung des Bundes (2013-2014). In 2019, she was the Ontario juror for the Sobey Art Award, and is currently on the board of SAVAC. She has exhibited her work at articule, Montreal; Museum der Moderne, Salzburg; Serendipity Arts Festival, Panjim; and has held a solo exhibition at the Royal Ontario Museum, Toronto. In 2021, she was commissioned by the V&A Dundee, Scotland, to create a body of work around jute histories, which is currently on view.
For more information, tamhane.net |
TEAM
FACULTY MEMBERS
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Alice Ming Wai Jim is Professor and Concordia University Research Chair in Ethnocultural Art Histories in Montreal, Canada. She is co-editor of the journal Asian Diasporic Visual Cultures and the Americas (Brill with Concordia and NYU). Jim is also Adjunct Professor in Graduate Studies at OCAD University, Toronto (2021-2024).
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As an art historian, curator and cultural organizer, her research and teaching are in the fields of contemporary art,media art, ethnocultural and global art histories, international art exhibitions, and critical curatorial studies, with an interest in contemporary Asian art and global Asian diasporic art from a transnational perspective. Focusing primarily on contemporary Asian Canadian and African Canadian artists, she has curated exhibitions of over fifty artists of color and Indigenous artists and organized major scholarly events within academic settings and for the broader arts community in Canada and internationally. She has also been involved in a leadership capacity in several formal partnerships involving international networking and community building initiatives, with a strong commitment to research and social justice. She has presented at numerous national and international conferences and her publications appear widely in peer-reviewed journals, book anthologies, and exhibition catalogues. Research publications include contributions to Narratives Unfolding: National Art Histories in an Unfinished World (2017); Third Text; Desire/Change:Contemporary Feminist Art in Canada (2017); Mass Effect: Art and the Internet in the 21st Century (2015), and Negotiations in a Vacant Lot:Studying the Visual in Canada (2014). In 2017, she curated DIY Haunt: Yen-Chao Lin (Oboro, Montreal) and Animate: Diyan Achjadi and Alisi Telengut at Carleton University Art Gallery, Ottawa. Jim co-edited, with Marie Fraser, the fall 2018 issue of RACAR on the theme of “Critical Curating.” Jim is the 2015 recipient of the Centre de documentation d'Artexte Award for Research in Contemporary Art. She received the Faculty of Fine Arts Distinguished Teaching Award in 2014 and the Christopher Jackson Teaching Award from the Department of Art History in 2016.She has been a member of UAAC (Universities Art Association of Canada)since 1994; and CAA (College Art Association) since 1999; a representative member and panel committee chair of the CAA Affiliated Society, the Diasporic Asian Art Network (DAAN), since 2009; a research associate of Centre for Transnational Cultural Analysis (CTCA), Carleton University, Ottawa, since 2009; and a research member of the NYU Global Asia/Pacific Art Exchange (GAX) since 2014. For more information click here. |
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Dr. Analays Alvarez Hernandez is a Havana-born art historian and independent curator based in Montréal/Tiohti:áke/Mooniyang as an uninvited guest. She has received a bachelor’s degree in Art History (2005) from the Universidad de La Habana, and her doctorate (2015) from the Université du Québec à Montréal. Since 2019, she is Assistant Professor of Global Art in the Département d’histoire de l’art et d’études cinématographiques at the Université de Montréal.
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Her research focuses on contemporary art, with an emphasis on commemoration and public art, global art histories and diasporas, Latinx-Canadian art, and curating. In the past, she has also taught at the University of Toronto and the University of Ottawa. Her main research projects focus on “domestic art galleries” in (post)socialist societies, as well as on the activity of Latinx-Canadian artists in Montréal in the 21st century. She has co-edited Latin American Art(ists) from/in Canada: Expanding Narratives, Territories, and Perspectives (Latin American and Latinx Visual Culture journal, University of California Press, Winter, 2022) and “Revised Commemoration” in Public Art: What Future for the Monument? (RACAR journal, Universities Art Association of Canada, Fall, 2021). Alongside her academic research and teaching experience, Alvarez Hernandez has organized several exhibitions in Montreal, Havana, and Toronto as an independent curator. She also sits on the board of the artist-run center OBORO and is a member of the Culture Montréal’s Commission permanente de l’art public. Keywords that highlight my research interests: Global arts histories, contemporary art, public art, monuments and memorials, diasporas, ethnocultural communities in Canada, contemporary Latin American art, Latino Canadian art, contemporary, Cuban art, curating. |
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May Chew is an Assistant Professor at the Mel Hoppenheim School of Cinema and Department of Art History at Concordia University and has received her PhD in Cultural Studies at Queen’s University, and held a postdoctoral fellowship at York University’s Sensorium Centre for Digital Arts &Technology.
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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) Keywords that highlight my research interests: visual and material cultures; cultural studies; museums and technologies; interactivity and immersion; archives; haunting and spectrality; public art and social engagement For more information click here. |
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Maya Rae Oppenheimer 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. Maya holds a PhD in Humanities and Cultural Studies from the London Consortium (University of London).
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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. 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. |
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Edith-Anne Pageot; Spécialiste des modernismes au Québec et au Canada, Edith-Anne Pageot est professeure au département d’histoire de l’art de l’UQAM. Visant le décentrement épistémologique, ses recherches s’intéressent aux logiques transculturelles et transnationales qui traversent les modes de production et d’exposition des objets d’art et d’artisanat. Elle est membre de l’IREF, du CRILCQ et du CIERA. En collaboration avec une équipe de chercheurs autochtones et allochtones, elle a coréalisé le premier MOOC, en français, sur les arts autochtones, Ohtehra' l'art autochtone aujourd'hui.
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GRADUATE RESEARCH TEAM
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RESEARCH ASSISTANT
David Duhamel is a MA student in art history at Université de Montréal. They completed their bachelor’s degree at UQÀM (Université du Québec à Montréal) in 2021. MORE
David has also taken part in various exhibitions by writing in booklets and catalogues. David’s research focuses mainly on representations of speciesism in contemporary Quebecois art. Keywords that highlight my research interests: contemporary art, Quebec, animal studies, speciesism, animal ethics in art, intersectionality. For more information click here. |
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RESEARCH ASSISTANT & CO-CURATOR OF THE WPC COLLOQUIUM 2023 EXHIBITION
Lorraine Doucet Sisto (she/they) is an Art History MA student at Université du Québec à Montréal (UQAM), where she previously completed her BA in Communications. MORE
A Canadian of settler origin, Lorraine is currently working as a research assistant and curator for the Worlding Public Cultures (WPC) research project. Lorraine assists Professor Edith-Anne Pageot (UQAM) in mapping the history of textile arts in Quebec through her contributions to the project Une géographie des réseaux de production et de diffusion de la fibre dans l’art moderne et contemporain au Québec. Informed by critical art history, as well as decolonial and transcultural perspectives, her primary research interests are queer and feminist imaginaries, aesthetics and ethics. She is studying contemporary art practices dealing with skin that are simultaneously poetic and political. |
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RESEARCH ASSISTANT & CO-CURATOR OF THE WPC COLLOQUIUM 2023 EXHIBITION
Manar Abo Touk (she/her) is a Syrian-born Canadian independent Art Curator and a PhD student in the Department of Art History at Concordia University. Her dissertation project focuses on contemporary Syrian art post 2011. Specifically, it analyzes displacement on diasporic identities through artists in Canada, Germany, and France. Manar’s most recent positions were as the Arts Manager and Curator at Al Riwaq Art Space in the Kingdom of Bahrain, and the Curator of Exhibitions and Collections at the Art Gallery of Grande Prairie, Alberta. MORE
Manar holds an MA in Museum and Gallery Studies from Kingston University, London, UK, and a BA with double majors in History and Theory of Art and Arts Administration from the University of Ottawa. Manar has worked at the Canadian War Museum and Studio Sixty-Six Gallery in Ottawa, and the aluCine Latin Film + Media Arts Festival in Toronto. She was the Arts Manager and Curator at Al Riwaq Art Space in the Kingdom of Bahrain, and most recently as the Curator of Exhibitions and Collections at the Art Gallery of Grande Prairie, Alberta. Keywords that highlight my research interests: Syrian Art, transnational art, diasporic identities, revolution and war art, global art histories. |
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RESEARCH COORDINATOR & CO-CURATOR OF THE WPC COLLOQUIUM 2023 EXHIBITION
Varda Nisar (she/her) is a Public Scholar and doctoral candidate in Concordia’s Department of Art History in the Faculty of Fine Arts. She has been actively involved in centering art education and community outreach in her former role as the founder of a children's art festival in Karachi, and later as the head of educational programming for the Karachi Biennale. MORE
Varda was a 2015-16 Arthink South Asia Fellow and worked with Spark Arts for Children, as part of her secondment. In 2021, she organized and convened a speaker series titled, (Art + Micro) History: Contemporary Artistic Voices from the South, which drew attention to the specific concerns and artistic modes of resistance in Pakistan. Her current doctoral research focuses on the role that museums in Pakistan are playing in nation-building by positioning them within the global political dynamic. Keywords that highlight my research interests: National museums, Art Education, Biennales and Festivals, hegemony, postcolonialism. |
FORMER MEMBERS
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Ashley Raghubir is a MA student in the Department of Art History at Concordia University in Tiohtiá:ke/Montreal and holds a Honours Bachelor of Arts in Art History from the University of Toronto. She is the Winter 2020 Curatorial Intern at the Leonard & Bina Ellen Art Gallery in Tiohtiá:ke/Montreal.
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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). 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 activism Keywords that highlight my research interests: Afrofuturism, Black Portraiture, Critical Race Theory, Black Diaspora Studies, Transatlantic Slavery Studies, Caribbean Studies, Black Intersectional Feminism, Global Art Histories, Critical Curating, Public Programming. |
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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. 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.
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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 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. Keywords that highlight my research interests: Contemporary Art and Performance, Curating, historiography, institutionalization of performance-based art practices, parallel discourses surrounding the politics of the body and the archive. |
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Felicia F. Leu is currently enrolled as a PhD student in the Department of Art History at the Université du Québec à Montréal (UQAM). She studied Psychology (B.Sc., LMU München), Art History and Languages, Literatures, Cultures in Munich, Vienna and Paris (B.A. & M.A., LMU München).
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Linking psychology and art history, her primary research interest lies in the potential transformative effects of art on its audience. Presently, Felicia’s research concentrates on the multidirectional reception mechanisms of contemporary, socially engaged performances and their local and global performative strategies as a means of communication. She is part of the research project KEEPING IT LIVE: Performance Art Between Archive and Exhibition, directed by Prof. Barbara Clausen. Felicia‘s work is also nourished by exhibition practice; she interned internationally in curatorial teams at the Museum of Modern Art in New York (2019), the Centre Pompidou in Paris (2018) and the Haus der Kunst in Munich (2016). In 2020, she curated her first exhibition in collaboration with the Franz Marc Museum (Kochel am See) at the Center for Advanced Studies (CAS LMU) in Munich, Germany. Keywords that highlight my research interests: Performance and Participation, Reception Mechanisms in Contemporary Art, Transnationalism, Curating, Social Psychology and Art. |
AKNOWLEDGMENTS
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CONCEPT & ORGANIZATION
WPC 2023 Montreal Faculty Team Analays Alvarez Hernandez (Université de Montréal) May Chew (Concordia University) Alice Ming Wai Jim (Concordia University) maya rae oppenheimer (Concordia University) Édith-Anne Pageot (Université du Québec à Montréal) WPC 2023 Montreal Research Assistant Team Manar Abo Touk (Concordia University) Lorraine Doucet Sisto (Université du Québec à Montréal) David Duhamel (Université de Montréal) Varda Nisar (Concordia University) Sarah Piché (BFA’21) EAHR PLATFORM (Kate Bursey, Caroline DeFrias, Anne Kim, Meghan Leech, Nadeen Ajaleh) SPONSORS & PARTNERS Worlding Public Cultures WPC 2023 Montreal has been made possible through funding from the Social Sciences and Humanities Research Council (SSHRC) and Fonds de recherche du Québec - Société et culture (FRQSC). We would also like to thank the following at Concordia University for their generous support of the project: Office of the Vice-President, Research and Graduate Studies Faculty of Fine Arts Associate Dean, Research (MJ Thompson) The Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art (Martha Langford and Brenda Dionne) Department of Art History Concordia University Research Chair in Ethnocultural Art Histories (Alice Ming Wai Jim) FOFA Gallery (Nicole Burisch and Geneviève Wallen) 4th Space (Anna Waclawek and team) Conversations in Contemporary Art (maya rae oppenheimer and Karin Zuppiger) Centre for Interdisciplinary Studies in Society and Culture (CISSC) EAHR| Media South South CISSC Working Group Ethnocultural Art Histories Research Group (EAHR) |
ABOUT WORLDING PUBLIC CULTURES (WPC)
The Worlding Public Cultures: The Arts and Social Innovation project aims to develop a critical art theory and practice-based approach to social innovation, which takes worlding as its central methodology. WPC is the first collaborative research project and platform conceived by the Transnational and Transcultural Arts and Culture Exchange (TrACE) network and funded by a Social Innovation Grant from the Trans-Atlantic Platform for the Social Sciences and Humanities. WPC INSTITUTIONAL PARTNERS TrACE Consortium (Transnational Arts and Culture Exchange) Carleton University (Canada) University of the Arts London (UK) Concordia University (Canada) University of Montreal (Canada) University of Quebec in Montreal (Canada) Heidelberg University (Germany) University of Amsterdam (Netherlands) Vrije Universiteit Amsterdam (Netherlands) WPC Principal Investigators: Paul Goodwin, University of the Arts London, Ming Tiampo, Carleton University, Canada; Wayne Modest, Vrije Universiteit, Amsterdam, Netherlands; Monica Juneja, Heidelberg University, Germany; and Alice Ming Wai Jim, Concordia University, Canada. THANK YOU ALSO TO OUR COMMUNITY PARTNERS OBORO Artist-run Centre, as our gracious host for Session 7 and WPC 2023’s closing reception articule artist-run centre Montreal Museum of Fine Arts PHI Foundation for Contemporary Art enuf Canada |
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