Critical Distance Contact curatorial opportunities

Amin Alsaden is a curator, scholar, and educator whose work focuses on transnational solidarities and exchanges across cultural boundaries. His curatorial practice is committed to advancing social justice through the arts, and to disseminating more inclusive narratives that decenter existing canons and challenge hegemonic epistemological and power structures. His exhibitions invariably raise questions concerning the interrelated domains of geography, colonialism, extraction, organized violence, and displacement.

Geneviève Wallen is an award-winning independent curator, writer, researcher, workshop facilitator, and mentor. Wallen’s practice is rooted in Tiohtià:ke/Mooniyang (Montréal) and Tkaronto (Toronto) territories. Her curatorial practice, administrative ethics and pedagogy are informed by intersectional feminism, intergenerational dialogues, and BIPOC platforms offering alternatives to neo-liberal care definitions. Her ongoing curatorial explorations include the practice of gift-giving, carving spaces for unfinished thoughts, and musings on the intersection of longevity and pleasure.

Swapnaa Tamhane is an artist and curator, working between Canada and India. Her visual practice extends to decolonizing distinctions between art, craft, and design, while her curatorial practice is focussed on the wider South-Asian diaspora and contemporary art from India.

Tamhane graduated with a BA in Art History from Carleton University, Ottawa, an MA in Contemporary Art from the University of Manchester, and an MFA in Fibres & Material Practices from Concordia University, Montreal. She has been a Research Fellow with the Shastri Indo-Canadian Institute (2009) and an International Museum Fellow with the Kulturstiftung des Bundes (2013). She has held positions as an Editor at Phaidon Press, London (2002-2006), an Assistant Curator at The Power Plant (2007-2008), Toronto, and a Producer of Contemporary Art Projects at Luminato Festival (2016).

Kay Rangel works with archives, navigating erased history to bring visibility to contemporary artistic practices – particularly those rooted in her homeland, Mexico. She’s also focused on working with theories of place, queerness, and feminism. Her practice, as an artist, relies heavily on words too, pushing the viewer to explore the written language within the visual realm.

Since the mid-90s, Shani K Parsons has pursued a multidisciplinary practice focused on exhibition-making — initially through the lenses of architecture, urban planning and public arts administration, then installation, graphic, and environmental design, and most recently through research, writing, curation, and collaboration. She is the Founding Director of Critical Distance Centre for Curators (CDCC).