WEEK 1


Dr. Bonaventure Soh Bejeng Ndikung



June 3, 2021

Time: 5:00 PM (EST) // 3:00 PM (PST)



The Indigenous Art Intensive features a series of world-renowned speakers throughout the months of May and June. Join us for a series of artist talks, panel conversations and keynote presentations.

Dr. Bonaventure Soh Bejeng Ndikung is an independent curator, author and biotechnologist. He is the founder and artistic director of SAVVY Contemporary in Berlin, Germany and is the artistic director of Sonsbeek20–24, a quadrennial contemporary art exhibition in Arnhem, Netherlands. He is the artistic director of the 13th Bamako Encounters – African Biennale of Photography in Mali in 2021.


︎: live stream 

https://events.ok.ubc.ca/event/keynote-speaker-dr-bonaventure-soh-bejeng-ndikung/



Caring about Tradition
by Arshia Sobhan Sarbandi, Samia Taqi, Arash Safavi


June 4, 2021
Time: 2:00 PM (EST) // 11:00 AM (PST)


︎: https://youtu.be/7zQHalgcGbg

Islamic calligraphy is an expressive sui generis script. Titled ‘Caring about Tradition’, this panel brings together academics and OCADU Master’s Graduates from the Digital Futures and IAMD programs, whose respective areas of research coalesce under the umbrella of traditional Arabic, Persian and Urdu calligraphy. Cross-dialoguing the significance of calligraphy’s impetus in the postcolonial transnational stratosphere, each panelist outlines the role of calligraphy as featured in their artistic and technological research practices. Through the framework of caring for tradition, each panelist approaches their calligraphic practice using lenses of diasporic, decolonial and technological thought, as it relates to their (areas of) research. The panelists will take participants through a brief introduction of their work, followed by an interactive question and answers session with their audience, to encourage dialogue around one of the most fascinating elements of Islamic art and heritage.







WEEK 2


Patricio Dávila and Immony Mèn


June 9, 2021

Time: 11:00 AM (PST) // 2:00 PM (EST)


︎:https://youtu.be/NnYteg6eaHk

Patricio Dávila and Immony Mèn are members of PVS, a collective of designers, artists, creative technologists, and researchers. We create projects as a means to pursue inquiries into the political and conceptual aspects of interaction, participation, community, space, and media. We attempt to investigate how specific technologies of vision, communication, and gesture support our experiences and memories in participatory spaces. We have exhibited nationally and internationally, and have worked in a variety of areas including public projection, media architecture, locative media, video installation, exhibition design, interaction, communication design, and media scholarship. PVS works in collaboration with the Public Visualization Lab, a university-based lab in Toronto. Patricio’s research/practice focuses on the politics and aesthetics of participation in info visualization, large-scale interactive public installations, and curation projects. Immony’s research focuses on developing a theoretical framework for understanding (Khmer/Cambodian) diasporic experience through media praxis, critical race theory, and various forms of community engagement.


Passing through the Heart is a workshop that looks at how knowledge is shared through gestures and feelings by family members. It is informed by an ongoing project that collects recipes from Canadian immigrants and refugees, each touching on acknowledgment and formation of transnational identities within North America. This series explores multi-directional approaches to cultural food practices, the bodies that preserve them, and the media that moves this information within the viewing format of a transmedia essay film.


During the pandemic Dávila and Mèn have applied a series of remote data recording processes weaved by collective experience, to maintain dialogues with collaborators and family members about diasporic identity, migration, community, political conflicts, mourning, healing, and transformation. These technologies include photogrammetry, non-optical motion capturing, videography, and audio recording, all these techniques come together to support the oral testimonies, object-centered narratives, and transmedia storytelling.






Archer Pechawis


Archer will do a 30 minute artist talk featuring highlights of his 30-year career.


June 10, 2021

Time: 1:00 PM (PST) // 4:00 PM (EST)


︎: https://www.youtube.com/watch?v=m0lRWzG2VaU

Performance artist, new media artist, filmmaker, writer, curator and educator Archer Pechawis was born in Alert Bay, BC in 1963. He has been a practicing artist since 1984 with particular interest in the intersection of Plains Cree culture and digital technology, merging "traditional" objects such as hand drums with digital video and audio sampling. His work has been exhibited across Canada and in Paris France, and featured in publications such as Fuse Magazine and Canadian Theatre Review. Archer has been the recipient of many Canada Council, British Columbia and Ontario Arts Council awards, and won the Best New Media Award at the 2007 imagineNATIVE Film + Media Arts Festival and Best Experimental Short at imagineNATIVE in 2009.

Archer works extensively with Native youth as part of his art practice, teaching performance and digital media for various organizations and in the public school system. Of Cree and European ancestry, he is a member of Mistawasis First Nation, Saskatchewan.



http://apxo.net



Careful Black Feminist Method 
by Kristin Moriah



June 11, 2021

Time: 11:00 AM (PST) // 2:00 PM (EST)


︎: https://youtu.be/gQp_GjHdkkk


Kristin Moriah completed her Ph.D. in African American Culture and English literature at the CUNY Graduate Center. She is currently a Penn State University Center for Black Digital Research Partner. Her academic work can be found in American Quarterly, PAJ: A Journal of Performance and Art, Theatre Research in Canada/Recherches théâtrales au Canada and Canadian Theatre Review. Her work has been supported by fellowships from the Social Sciences and Research Council of Canada, the Rare Book School at the University of Virginia, and the Harry Ransom Center.


In her forthcoming monograph, Dark Stars of the Evening, Moriah employs a multidisciplinary approach to explore the impact of black performance in transnational settings. This work reveals the mutually constitutive nature of black performance to the process of identity formation and nation building in the modern era. In the process, it demonstrates how African American artists evaded the confines of the American stage and shines new light on the global impact of their cultural contributions.


This session will involve a formal talk and an informal conversation about the importance of care in terms of scholarly training and practice, particularly in the field of Black Studies and in light of recent work like Shanna Benjamin's new biography of her mentor Nellie Y. McKay, Half in Shadow. We'll begin with an analysis of Hortense Spillers foundational essay “Mama's Baby, Papa's Maybe” and the introduction to Katherine McKittrick’s Dear Science (2021). Embedded in this conversation are opportunities to consider the stakes of cultivating intergenerational relationships in interdisciplinary contexts across institutions and various axes of power. 



https://kristinmoriah.com/


WEEK 3

"Care, Cure, Curate" with TBA Curatorial Fellow Chiedza Pasipanodya, Julia Paoli, Genevieve Wallen, and Myung-Sun Kim



June 14, 2021
Time: 8:00 AM (PST) // 11:00 AM (EST)


︎: https://youtu.be/9XxCjRUMa7U

 

Join Chiedza Pasipanodya alongside curators Myung-Sun Kim, Julia Paoli, and Geneviève Wallen as they discuss curatorial methodologies, their own individual approaches to care within their practices, and how curatorial methodologies embedded in care might contribute to creating a healthier society in these times. Guests are invited to share their own methodologies and connections to this conversation within Milanote.







Season of the Witch: Metaphysics of Care and Repair in Contemporary Art.
By Anuradha Vikram



June 15, 2021
Time: 11:00 AM (PST) // 2:00 PM (EST)


︎:https://youtu.be/U5JGn0KC_YU


Anuradha Vikram is a Los Angeles-based writer, curator, and educator. Vikram is co-curator (with UCLA Art Sci Center director Victoria Vesna) of the upcoming Pacific Standard Time: Art x Science x LA exhibition Atmosphere of Sound: Sonic Art in Times of Climate Disruption (opening 2024), and guest curator for The Craft Contemporary (fka CAFAM) of the upcoming solo retrospective Jaishri Abichandani: Flower-Headed  Children (opening 2022). Her book Decolonizing Culture: Essays on the Intersection of Art and Politics is a collection of seventeen essays that address questions of race and gender parity in contemporary art spaces (Art Practical/Sming Sming Books, 2017). Vikram holds faculty positions in the UCLA Department of Art and USC Roski School of Art and Design.

Vikram has directed exhibitions and programs at mid-sized non-profit institutions and university galleries including 18th Street Arts Center, UC Berkeley Department of Art Practice, Headlands Center for the Arts, ZERO1 (fka ZeroOne Art and Technology Network), and Richmond Art Center. She has curated solo exhibitions and programs with artists including Postcommodity, Carmen Argote, Guillermo Gómez-Peña, Amir H. Fallah, Candice Lin, Sherin Guirguis, Vishal Jugdeo, Edgar Heap of Birds, Mariam Ghani, Kenyatta A.C. Hinkle, James Luna, and Jeannette Ehlers. She has worked with galleries including Aicon, Nature Morte, Gallery Wendi Norris, Shulamit Nazarian, and Baik Art. Other curatorial collaborations include the DeYoung Museum and Mills College Art Museum. In her early career, she managed the studio of artists Claes Oldenburg and Coosje van Bruggen in New York.

Vikram’s writing includes contributions to Los Angeles Review of Books, ARTnews, Leonardo, KCET Artbound, Artillery, Hyperallergic, Daily Serving, Art Practical, The Brooklyn Rail, and OPEN SPACE, the SFMOMA blog. She has written for the collections La Pocha Nostra: A Handbook for the Rebel Artist in a Post-Democratic Society

(Routledge, 2020) and As radical, as mother, as salad, as shelter: what should art institutions do now?  (Paper Monument, 2018). She was guest editor (with Jaishri Abichandani and Santhi Kavuri Bauer) and contributor for the Asian Diasporic Visual Cultures and the Americas special issue “Challenging Hegemony within the South Asian Diaspora” (5.3, December 2019).

She has written catalogue essays on artists including Sandy Rodriguez, Young Joon Kwak, Kal Spelletich, Sonya R.








Talk by Miriam Jordan


June 21, 2021
Time: 11:00 AM (PST) // 2:00 PM (EST)


︎https://youtu.be/TVU4kcz4Ge8

I am an Oneida writer, artist and curator. As an artist my work has been exhibited nationally and internationally, including the solo show Iroquois Medicine Drawings (2016) at the Norfolk Arts Centre and in Oh, So Iroquois(2007-2010), a touring exhibit curated by Ryan Rice. In addition, my work is in a number of collections, most prominently at The Woodland Cultural Centre. Creating and presenting my artwork is my way of participating in and contributing to the discussions and ideas of my culture, especially the role of women and questions of the land. Being a woman influences my work in that I am particularly interested in reclaiming and reviving the traditions that gave women among our tribes’ equal powers, liberties and rights with men. I am fascinated by the material dialogues that define these relationships and my artwork explores these connections.


This talk is about my relationship with the land, with what I refer to as other-than-human beings that surround and sustain us, which is the focus in my research. The most direct expression of this is in a series of drawings of First Nations medicine plants, which I have been working on for the past few years. This group of drawings responds to the research I did on traditional medicine, which uses many plants that grow all around us; in fact, I have many in my own backyard. My focus has been on the relationship of these medicine plants and practices to questions of women's bodies, including fertility and childbearing, which First Nations women were traditionally able to control. My drawings explore these medicines, which I present along with the names of the plants in the Six Nations languages, and when appropriate, descriptions of what the medicine is used for. My presentation will explore the relationship between our bodies and the land, especially the ways the land is able to revitalize and support us. 







WEEK 4



Tanya Lukin Linklater: Artist Talk & Conversation with Candice Hopkins


June 22, 2021
Time: 10:00 AM (PST) // 1:00 PM (EST)


︎https://youtu.be/uZq6QWlRDD8



Tanya Lukin Linklater's performances, works for camera, installations, and writings centre the histories of Indigenous peoples’ lives, lands, and structures of sustenance. Her performances in relation to objects in exhibition, scores, and ancestral belongings generate what she has come to call felt structures. She investigates insistence in both concept and application. Her work has been shown at SFMOMA, Chicago Architecture Biennial, AGO, WAG, and elsewhere. She will participate in the New Museum Triennial 2021. Her first book of poetry, Slow Scrape, was published in 2020 and in 2021 she received the Herb Alpert Award in the Arts. Her Alutiiq/Sugpiaq homelands are in the Kodiak Island archipelago in southwestern Alaska.

How we mark land and how land marks us, 2017 is a site-specific performance with Elisa Harkins, Hanako Hoshimi-Caines and Laura Ortman. The performance by Tanya Lukin Linklater, was curated by Tania Willard and supported by LandMarks 2017 and Queen’s University. Candice Hopkins and Tanya Lukin Linklater will be in conversation regarding their shared concerns taking this performance as a point of departure.






"WhAt She SaId": Promiscuous References & Disobedient Care with Yaniya Lee, Cason Sharpe, Zoe Sharpe


June 23, 2021
Time: 11:00 AM (PST) // 2:00 PM (EST)


Zoom Link: https://ocadu.zoom.us/j/89979939262?pwd=T3J6VE5USUZYYkduaDN3OEZ0MmJ5Zz09

“Citations can be feminist bricks: they are the materials through which, from which, we create our dwellings.”

Sara Ahmed



When approached as praxis, the act of referencing becomes kaledescopic. How do we find, pull and build our references? How do we know where to look? Zoe Imani Sharpe, Cason Sharpe and Yaniya Lee are writers who are also siblings. Sparring, joking and caring for one another as kin, they know citation as an intimate endeavour, where the act of bringing together disparate materials is abundant and wayward. In this workshop, they share the development of their own collective canon and engage participants in collaborative writing that explores the resonances and contradictions of our personal reference banks.

Yaniya Lee
Yaniya Lee is a writer and critic attentive to collective practice and the ethics of aesthetics as a means of making visible and undoing institutional power. She has written about art for Art in America, Vogue, Flash, FADER, Vulture, VICE Motherboard, Canadian Art, C Magazine and Chatelaine.

Cason Sharpe
Cason Sharpe is a writer currently based in Toronto. His fiction and criticism have appeared in Canadian Art, C Magazine, The Capilano Review, and Brick, among others. His first collection of stories, Our Lady of Perpetual Realness, was published by Metatron Press in 2017.

Zoe Imani Sharpe
Zoe Imani Sharpe is a poet, essayist and poetics teacher. Her recent work can be found in CV2, G.U.E.S.T., The Writers’ Trust and Best Canadian Poetry 2021. She is author of the chapbook Sullied (Trapshot Archives) and co-hosts the collaborative workshop Poetry/Race/Form.




WEEK 5






Troll Patrol: Institutional Accountability is an Oxymoron

Amy Fung, Diva Mehra, and Kim Nguyen


June 28, 2021
Time: 11:00 AM (PST) //1:00 pm (CST) // 2:00 PM (EST)


Zoom Link: https://ocadu.zoom.us/j/89979939262?pwd=T3J6VE5USUZYYkduaDN3OEZ0MmJ5Zz09


Asian Brain Trust was founded in 2014 by Amy Fung (Scorpio), Divya Mehra (Scorpio), and Kim Nguyen (Cancer) as an arts research collective. Together they have lectured and presented in international conferences and settings (Los Angeles, Philadelphia, Amsterdam, New York, Halifax, Vancouver, Toronto) on the topics of race, power, violence, and performance in contemporary visual arts.


As a friendship-based collective situated across difference countries, geographies, and time zones, Asian Brain Trust has been navigating the work/life balance of checking in on your people while getting your shit done. Over the last year, ABT has been hibernating/reimagining/listening/coping with an art world that is virtue signalling its change, while nothing changes at all. In 2020 they launched Bad Society, a multifaceted publishing platform that includes 24-Hour Funny Business, an online non-profit woc-led anti-capitalist trolling entity, and Luxe Labour, a premium line of artist editions that help each and everyone one of you maintain the racial status quo.