Magdalyn Asimakis

Magdalyn is a curator and writer. Her practice explores embodied experience in relation to Western display practices and methods of knowing, taking into account familial knowledge, folklore, spirituality, and generational trauma. 

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Geneviève Wallen

Geneviève Wallen is a Tiohtiá:ke Mooniyang/Montreal and Tkaronto/Toronto based independent curator, writer, and researcher. Wallen’s practice is informed by diasporic narratives, intersectional feminism, intergenerational dialogues, BIPOC alternative healing platforms functioning outside neo-libral definitions of self and collective care. Her ongoing research focuses on the intersections of longevity and pleasure as contemplative spaces for care work in the arts.

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Noor Alé

Noor Alé is an independent curator, art historian, and writer. She is the Associate Curator at The Power Plant, Toronto. Her curatorial practice examines the intersections of contemporary art with geopolitics, decolonization, and social justice in the Global South. Alé has contributed to curatorial research, exhibition management, and public programmes at the Visual Arts Centre of Clarington, Bowmanville; National Gallery of Canada, Ottawa; Solomon R. Guggenheim Museum, NY; and Art Dubai. She holds an MA in Art History from The Courtauld Institute of Art, and a BA in Art History from the University of Guelph.

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Tanya Lukin Linklater

Tanya Lukin Linklater’s performances, works for camera, installations, and writings centre 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.

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Mara Eagle

Mara Eagle is an American video and installation artist based in Montréal. Pulling intuitively from the world of pop-culture, the Internet and technology industries, her work explores the legacy of Western philosophy and science from a feminist perspective. Most recently her major projects have been animation-based and focus on how practices of observation, description and representation in Western art and science have formulated a concept of nature amenable to industrialization, colonialism and exploitation.

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