Joi T. Arcand is an artist from Muskeg Lake Cree Nation, Saskatchewan, Treaty 6 Territory, currently residing in Ottawa, Ontario. She received her Bachelor of Fine Arts degree with Great Distinction from the University of Saskatchewan in 2005. Recent solo exhibitions include ODD Gallery (Dawson City, Yukon); Mendel Art Gallery (Saskatoon); Wanuskewin Heritage Park (Saskatoon); Dunlop Art Gallery (Regina); Gallery 101 (Ottawa). Her work has been included in numerous group exhibitions, including at the Winnipeg Art Gallery; Karsh-Masson Art Gallery (Ottawa); McMaster Museum of Art (Hamilton, ON); The Center for Craft, Creativity and Design (Asheville, North Carolina); Woodland School at SBC Gallery of Contemporary Art (Montreal); Ottawa Art Gallery; PAVED Arts (Saskatoon); and grunt gallery (Vancouver). Arcand has been artist in residence at Wanuskewin Heritage Park (Saskatoon); OCAD University; Plug-In Institute of Contemporary Art; the Banff Centre for Arts and Creativity; and Klondike Institute of Art and Culture (Dawson City, Yukon). She has served as chair of the board of directors for PAVED Arts in Saskatoon and was the co-founder of the Red Shift Gallery, a contemporary aboriginal art gallery in Saskatoon. She was founder and editor of the Indigenous art magazine, kimiwan (2012-2014), and most recently curated Language of Puncture at Gallery 101 (Ottawa).
Jason Baerg is a registered member of the Metis Nations of Ontario that serves the community as a curator, educator, and visual artist. 2017 curatorial projects include exhibitions with Toronto's Nuit Blanche and the University of Toronto. Baerg graduated from Concordia University with a Bachelors of Fine Arts and a Masters of Fine Arts from Rutgers University. He currently is teaching as the Assistant Professor in Indigenous Practices in Contemporary Painting and Media Art at OCAD University. Dedicated to community development, he founded and incorporated the Metis Artist Collective and has served as volunteer Chair for such organizations as the Aboriginal Curatorial Collective and the National Indigenous Media Arts Coalition. Creatively, as a visual artist, he pushes new boundaries in digital interventions in drawing, painting and new media installation. Recent international solo exhibitions include the Illuminato Festival in Toronto, Canada, the Royal Melbourne Institute of Technology in Australia and the Digital Dome at the Institute of the American Indian Arts in Santa Fe, New Mexico. Jason Baerg has adjudicated numerous art juries and won awards through such facilitators as the Canada Council for the Arts, the Ontario Arts Council and The Toronto Arts Council. For more information about his work, please visit Jasonbaerg.com.
Marjorie Beaucage is a change agent, both in her own life and in the lives of those around her. At 70, she went to New Mexico to work through her journals and do life writing. While there, she experimented with Circus Arts and Spoken Word as new forms for sharing her life stories.
In the early 1990‘s, Marjorie Beaucage was a co-founder of the Aboriginal Film and Video Art Alliance . As a "Runner" she worked as cultural ambassador to negotiate self governing partnerships and alliances with the Banff Centre for the Arts, V-Tape, the Canada Council for the Arts, and the Sask Arts Board which resulted in the development of new Indigenous Arts programs. Beaucage is always challenging the status quo to make room for different ways of being ... advocating for spaces for Indigenous Peoples to have their own voice,be visible in media and explore storytelling traditions in contemporary ways.
Meagan Byrne is a Méti (Swampy Cree/Newfoundlander) ew media artist and game designer born and raised in Hamilton, Ontario. She has been creating digital interactive works since 2014 and is heavily influenced by both traditional RPG video games and Woodland Style art as well as all the stories she heard growing up. Her designs incorporate narrative, game mechanics, sound and traditional art and are deeply rooted in indigenous futurisms, language and indigenous feminist theory. She sees her work as a constant struggle to navigate the complexities of indigenous identity within a deeply colonized system. Meagan uses her work to explore questions of cultural belonging, the indigenization of media and the future of indigenous language and culture.
Amy Fung is a writer, researcher and curator born in Kowloon, Hong Kong, and currently based in Toronto, Canada. She received her Masters in English and Film Studies from the University of Alberta in 2009 with a specialization in criticism, poetics, and the moving image. Her writings can be found in print and online publications such as Canadian Art, Art Papers, C Magazine, and Frieze, among many more since 2002. Most recently, Fung held the position of Artistic Director of IMAGESFestival, Toronto between 2015 – 2017. She is a co-founder of MICE Magazine and has served on numerous boards and juries across the country. She is currently writing her first book on Canadian art forthcoming 2018.
Jean-Sébastien (J-S) Gauthier (BFA, Concordia University, Sculpture, 2009) is a Fransaskois sculptor and new media artist who adopts inquiry and experimentation to create time-based artworks. Gauthier views collaboration and experimentation as key to his creative process. He actively seeks collaboration, embracing the unpredictability of outcomes and unique results. His work involves a mix of technical and conceptual approaches from traditional sculpture, video production, performance art, 3D rendering and scientific imaging technologies. Gauthier views collaboration and experimentation as key to his creative process. In 2017 Gauthier became the first Canadian artist to be granted synchrotron beam time for artistic experimentation at the Canadian Light Source. He is continuing this vein of research with his current project All Forms at All Times/Toutes formes en tout temps, which seeks to explore and describe the mutability of life forms using immersive technologies.
Jaimie Isaac is the Curator of Indigenous and Contemporary Art at the Winnipeg Art Gallery. Isaac holds a Masters of Arts from the University of British Columbia research focus on Decolonizing and Indigenizing Curatorial Practice, a Bachelors of Art History and an Arts and Cultural Management Certificate from the University of Winnipeg. Recent exhibitions include Vernon Ah Kee: cantchant, Boarder X, We Are On Treaty Land, and Quiyuktchigaewin; Making Good, Insurgence Resurgence (Winnipeg Art Gallery's inaugural national Indigenous Biennale) co-curated with Dr.Julie Nagam and organic at the Winnipeg Art Gallery. Isaac co-founded of The Ephemerals Collective which was long-listed for the 2017 Sobey Art Award. Her published essays appear in: Close Encounters: The Next 500 Years, The Land We Are Now: Writers and Artists Unsettle the Politics of Reconciliation and the Public 54: Indigenous Art: New Media and the Digital Journal. Jaimie was a co-faculty for the Wood Land School at Plug In Summer Institute and guest lectured for various universities. She has presented research in North America and Europe, including at Princeton University, the Royal Holloway University of London and NAISA Conference at the University of Hawaii at Manoa. Isaac was one of the Canada Council’s Indigenous delegation at the 2017 Venice Biennale. She volunteers on the Border Crossings Magazine and is on Advisory Committees for Manitoba Museum and Winnipeg Art Gallery.
Kite aka Suzanne Kite is an Oglala Lakota performance artist, visual artist, and composer raised in Southern California, with a BFA from CalArts in music composition, an MFA from Bard College’s Milton Avery Graduate School, and is a PhD student at Concordia University. Her research is concerned with contemporary Lakota mythologies and epistemologies and investigates the multiplicity of mythologies existing constantly in the contemporary storytelling of the Lakota through research-creation, computational media, and performance practice. Recently, Kite has been developing a body interface for movement performances, carbon fibre sculptures, immersive video & sound installations, as well as co-running the experimental electronic imprint, Unheard Records.
Eli Hirtle is a Nehiyaw(Cree)/British/German filmmaker, beadworker, visual artist and curator whose practice involves documenting and making work about Indigenous cultural resurgence and language revitalization. His current interests are mentoring, teaching and supporting Indigenous youth to express themselves creatively, and learning how to speak his ancestral language of Nehiyawewin. Born and raised on Lekwungen territory (Victoria, BC), Eli is currently enrolled in the Indigenous Family Support Program at Camosun College.
Tasha Hubbard is a writer, filmmaker, and an assistant professor at the University of Saskatchewan (soon to be the University of Alberta). Her first film Two Worlds Colliding won the Canada Award at the 2005 Geminis. She also recently completed an NFB-produced feature documentary called Birth of a Family, about a 60s Scoop family united for the first time. She works with the International Buffalo Treaty Nations and is in production on a documentary about the death of Colten Boushie and living on the prairies.
Gabrielle Hughes is a member of the Wampanoag Nation. She grew up in Newfoundland, where she had close ties with the Mi’kmaq Nation, for whom she is a drum carrier. Gabrielle is currently completing her DPhil (PhD) at the University of Oxford on Indigenous video games as sites of resistance and as opportunities for the protection of traditional knowledge.
Scott Hughes is Principal of Capacity Build Consulting www.capacitybuild.ca and a leading social finance practitioner assisting organizations to overcome the challenges of financial management and scarce capital to increase financial resilience. Scott’s experience builds on a 20 year career in commercial finance which included 10 years with a large community based credit union (Vancity) where he developed and directed the social lending portfolio.
Through his work, Scott has provided a range of financial services and tools to public and private companies, charities, not-for-profits, social enterprises and cooperatives. Strong financial results have been complimented by successes in designing and implementing innovative strategies such as a tailored lending policy and financial literacy tools to increase financial resilience for not-for-profit organizations.
Scott’s consulting practice includes feasibility and business planning work for real estate acquisition, multi-tenant co-working space and operational improvements. Recent research into the concept of Community Bonds issued by mission based organizations has built on his practical experience in non-profit funding models. His ability to develop tailored financial models for the non-profit sector assists with effective forecasting and analysis. Scott works directly with organizations to diversify access to capital and to increase financial and business management capacity.
Victoria Inglis is Dënesułįne and Nîhithaw from Reindeer Lake on Northern Turtle Island. They explore writing, visual arts, and activism through a poetic lens. Recently completing the Indigenous Storytelling & Spokenword Residency at Banff Art Centre and continually work with Red Rising Magazine to lift raw Indigenous voices. They are creating stories gifted to them from the blood memory of their ancestors; and voicing experiences in rhymes from the eyes of a two spirit youth.
Missy LeBlanc is an emerging arts administrator and curator of Métis, Cree, and Polish decent. LeBLanc holds a Bachelor of Arts from the University of Alberta, majoring in the History of Art, Design, and Visual Culture and Sociology; as well as a Diploma in Arts & Cultural Management from MacEwan University. She recently completed an internship at the National Museum of the American Indian in Washington, DC and is currently the Program Coordinator for Ociciwan Contemporary Art Collective. LeBlanc was born, raised, and is currently based in Edmonton, AB.
Lindsay McIntyre is a film artist from Edmonton of Inuit and Settler European decent. She holds an MFA in Film Production from Concordia in Montreal and a BFA in Painting and Drawing from The University of Alberta. Her process-based practice is largely analog in nature and deals with themes of portraiture, place, form and personal histories. Working primarily with 16mm film and experimental, handmade and documentary techniques, she also makes her own 16mm film hand-coated with silver gelatin emulsion. Interested simultaneously in the apparatus of cinema, portraiture, representation and personal histories, she bridges gaps in collective experience and remains dedicated to integrating theory and practice, form and content.
Travis Mercredi is a sound designer, producer and musician from the Northwest Territory Metis Nation who work across the mediums of radio, theatre, film and games. He currently resides in Montreal where he is expanding his sound design practice into interactive media at Concordia University's Computation Arts program.
Dr. Julie Nagam (Mětis - Anishinaabe/French, German/Syrian) is the Chair of the History of Indigenous Art in North America, a joint appointment between the University of Winnipeg and the Winnipeg Art Gallery. She is an Associate Professor in the faculty of History. She has recently published Traveling soles: Tracing the footprints of our stolen sisters (2017); Deciphering the refusal of the digital and binary codes of sovereignty/ self-determination and civilized/savage (2016); be polite.... because the settlers might be listening and watching (2016). Her current SSHRC funded projects include The Transactive Memory Keepers: Indigenous Public Engagement in Digital and New Media Labs and Exhibition (www.glamcollective.ca).
Nagam hosted and organized The Future is Indigenous and the International Indigenous curators exchange with Australia, Canada, Aotearoa (New Zealand) and Finland. She is co-editor of Indigenous Art: New Media and the Digital, a special issue of PUBLIC journal. She has curated and exhibited in ImagineNATIVE Film + Media Arts Festival and in 2013 she curated Lisa Rehiana’s new media installation in pursuit of venus at A-Space Gallery in Toronto, Canada. Currently, Dr. Nagam is curating a public art installation for a Reconciliation Walk at The Forks in Winnipeg, and leading a team that is creating an Indigenous App for Winnipeg’s art, architectural, and place-based history. She has co-curated with Jaimie Isaac INSURGENCE/RESURGENCE, the largest contemporary exhibition at the Winnipeg Art Gallery in fall 2017-18. Her artwork where white pines lay over the water, was shown in, Toronto, Ontario, San Paulo, Brazil, Lyon, France, Wellington, New Zealand. Her installation singing our bones home, was shown in Markham, in London, England and in Winnipeg, Manitoba. Nagam is has new public artwork, Electrical Currents for Winnipeg Arts Council, commissioned work for Nuit Blanche Manitowapow, speaking to the moon, in Toronto, Canada fall of 2017, and new commissioned work for Smithsonian’s exhibition Transformers in New York, USA, 2017-18 and The future is in the Land, a solo exhibition at A-Space, Toronto Canada.
Lindsay Nixon is a Cree-Métis-Saulteaux curator, award-nominated editor, award-nominated writer and McGill Art History Ph.D. student. They currently hold the position of Editor-at-Large for Canadian Art. Nixon has previously edited mâmawi-âcimowak, an independent art, art criticism and literature journal, and their writing has appeared in Malahat Review, Room, GUTS, Mice, esse, The Inuit Art Quarterly, Teen Vogue and other publications. Their forthcoming creative non-fiction collection, nîtisânak, is to be released in September 2018 through Metonymy Press.
Janet Rogers is a Mohawk/Tuscarora writer from Six Nations. She was born in Vancouver British Columbia, lived in Stoney Creek, Hamilton, Toronto Ontario and is currently of no fixed address as she is awarded residency after residency throughout 2018-2019. Janet works in the genres of poetry, spoken word performance poetry, video poetry and recorded poetry with music. Janet is also a radio broadcaster, documentary producer, media and sound artist.
Her literary titles include; Splitting the Heart, Ekstasis Editions 2007, Red Erotic, Ojistah Publishing 2010, Unearthed, Leaf Press 2011, Peace in Duress, Talonbooks 2014, and Totem Poles and Railroads, ARP Books 2016 and a forthcoming title Between Spirit and Emotion, Bookland Press fall 2018. She produced and hosted Native Waves Radio on CFUVfm from 2007-2017. Her music column Tribal Clefs was part of CBC Victoria’s programming from 2008-2016. Her radio documentaries Bring Your Drum: 50 years of Indigenous Protest Music and Resonating Reconciliation won Best Radio at the imagaineNATIVE Film and Media festival 2011 and 2013.
Yifat Shaik is an acclaimed game designer and artist working on creating autobiographical games and subversive art. A Master of Design graduate of OCAD University, she is currently a professor of game design and 3D modeling at York University. Yifat organized of Different Games in Toronto, is co-director of Dame Making Games and is currently working on Real Army Simulator.
Ariel smith is an award winning nêhiyaw and Jewish filmmaker, video artist, curator, writer, and cultural worker. Having created independent media art since 2001, much of her work has shown at festivals and galleries across Canada and internationally. Ariel is largely self-taught, but honed many of her skills by becoming heavily involved in artist-run centres in Vancouver, Montreal, Toronto and Ottawa. Her passion for artist-run culture has become an integral part of her practice.
She worked as the technical director of Saw Video Media Arts Centre in Ottawa from 2006 to 2014, was the Director of the National Indigenous Media Arts Coalition (NIMAC) from 2013 to 2016 and was the Executive Director of imagineNATIVE Film + Media Arts Festival where she oversaw the 2016 and 2017 festival editions. Ariel is currently the Artistic Director of Native Women in The Arts (NWIA).
Ariel has worked as a programmer for such organizations as The Ottawa International Animation Festival, REEL CANADA, and imagineNATIVE. She is currently a guest curator for an upcoming 2019 international Indigenous quinquennial exhibition at the National Gallery of Canada. She has written for Afterimages, Tits and Sass, Kimiwan Zine, Bitch Flicks, Decolonization: Indigeneity, Education & Society, and the Ottawa Art Gallery.
Jennifer Smith is a Métis curator, writer and arts administrator in Winnipeg, Canada. Jennifer has been working in arts administration for ten years, and has worked for organizations such as the Costume Museum of Canada, the Manitoba Crafts Museum and Library, the Winnipeg Film Group, and currently at Video Pool Media Arts Centre. Jennifer is the President of the board for the Coalition of Canadian Independent Media Art Distributors. She has curated exhibits and video programs for the Manitoba Craft Council, Video Pool Media Arts Centre, Open City Cinema, MAWA, and the Manitoba Crafts Museum and Library. Jennifer will be the Indigenous Curator in Residence at aceartinc. March to August 2018.
Erin Sutherland works as an Assistant Professor of Cultural Studies and Visual Art at the University of Alberta. Her research focuses on Indigenous curatorial practice, Indigenous and Canadian performance art, and Indigenous contemporary art more broadly. She recently completed her dissertation, which explored specific moments in Indigenous curatorial history and her own methodological approaches to curating. The project-based dissertation included a curated performance series titled Talkin’ Back to Johnny Mac, which interfered in the 200th birthday celebrations of Prime Minister Sir John A. Macdonald. She also works as an independent curator and is a core member of Ociciwan Contemporary Art Collective, based in Edmonton, Alberta. Recent curatorial projects include Big’Uns by Dayna Danger, curated at Latitude 53 in Edmonton, Alberta with Ociciwan in June 2017, and kîhtwâm by Tiffany Shaw-Collinge at the University of Alberta Augustana (February 2018-present).
Tania Willard, of Secwépemc and settler heritage, works within the shifting ideas around contemporary and traditional, often working with bodies of knowledge and skills that are conceptually linked to her interest in intersections between Aboriginal and other cultures. Willard has worked as an artist in residence with Gallery Gachet in Vancouver’s Downtown East Side, the Banff Centre's visual arts residency, fiction and Trading Post and as a curator in residence with grunt Gallery and Kamloops Art Gallery. Willard’s curatorial work includes Beat Nation: Art Hip Hop and Aboriginal Culture (2012-2014), co-curated with Kathleen Ritter, Vancouver Art Gallery (touring). In 2016 Willard received the Award for Curatorial Excellence in Contemporary Art from the Hanatyshyn Foundation as well as a City of Vancouver Book Award for the catalogue for the exhibition Unceded Territories: Lawrence Paul Yuxweluptun. Public Art projects include, Rule of the Trees, a public art project at Commercial Broadway sky train station, in Vancouver BC and If the Drumming Stops, with artist Peter Morin, on the lands of the Papaschase First Nation in Edmonton, AB. Willard's ongoing collaborative project BUSH gallery, is a conceptual land-based gallery grounded in Indigenous knowledges and relational art practices. Willard is an MFA candidate at UBCO Kelowna, BC and her current research constructs a land rights aesthetics through intuitive archival acts.