Marilyn Dumont is of Cree-Métis descent. She holds a BA (University of Alberta) and an MFA (University of British Columbia) and is currently an Associate Professor of Native Studies at University of Alberta. Her work has been widely anthologized and broadcast on radio and television. . Since 1985, she has published in numerous Canadian literary journals, and her work has been widely anthologized, as well as broadcast on radio and television. Her first collection of poems—A Really Good Brown Girl—won the 1997 Gerald Lampert Memorial Award from the League of Canadian Poets. Dumont has taught at Simon Fraser University and Kwantlen University College in Vancouver and has been writer-in-residence at the universities of Alberta, Brandon, Toronto (Massey College), and Windsor, as well as Grant MacEwan College in Edmonton and the Edmonton Public Library. She has also taught at the Banff Centre and the Sage Hill Writing Experience and worked in video production as an intern with the National Film Board. (2018)

Candice Hopkins is a curator and writer originally from Whitehorse, Yukon and based in Albuquerque, New Mexico. She is co-curator of the forthcoming SITE Santa Fe biennial, Casa Tomada, 2018, as well as co-curator of the Canadian Pavilion at the 58th Venice Biennale opening May, 2019, which will feature the media work of Isuma Productions a collective based in Igloolik and Montreal, Canada. She was a curator for documenta 14 in Athens, Greece and Kassel, Germany. Her writing is published widely and recent essays include “Outlawed Social Life” for South as a State of Mind and “The Gilded Gaze: Wealth and Economies on the Colonial Frontier” for the documenta 14 Reader. She has lectured on contemporary art, sound, indigeneity, native economies, and vernacular architecture at such venues as Witte de With, WIELS, Tate Modern, Dak’Art Biennale, Artists Space, Tate Britain and the National Gallery of Canada. She is the recipient of the Hnatyshyn Foundation Award for Curatorial Excellence in Contemporary Art and the 2016 the Prix pour un essai critique sur l’art contemporain by the Foundation Prince Pierre de Monaco. Hopkins is a citizen of Carcross/Tagish First Nation. (2018)

Tarah Hogue is a curator, writer and uninvited guest on xʷməθkʷəy̓əm (Musqueam), Skwxwu7mesh (Squamish), and səl̓ilwətaɁɬ (Tsleil-Waututh) territories/Vancouver, B.C. Of Métis and Dutch ancestry, Hogue was raised in Red Deer, A.B. on the border between Treaty 6 and 7 territories. Her work engages collaborative methodologies and attends to histories of place in order to decentre colonial modes of perception. She is the inaugural Senior Curatorial Fellow, Indigenous Art at the Vancouver Art Gallery where her exhibition, Ayumi Goto and Peter Morin: how do you carry the land? is on view through October 2018. She is also a Visiting Curator at the Institute of Modern Art in Brisbane for 2018 along with Sarah Biscarra Dilley, Freja Carmichael, Léuli Lunaʻi Eshraghi, and Lana Lopesi. She was curator-in-residence with grunt gallery between 2014–2017, the 2016 Audain Aboriginal Curatorial Fellow at the Art Gallery of Greater Victoria, and has curated exhibitions at the Morris and Helen Belkin Art Gallery, Or Gallery, and SFU Gallery. She is co-organizer of #callresponse with Maria Hupfield and Tania Willard, currently touring through 2019, and is the co-chair of the Aboriginal Curatorial Collective/Collectif des Commissaires Autochtones. Hogue has written texts for BlackFlash, Canadian Art, Decoy Magazine, Inuit Art Quarterly, and MICE Magazine.  She holds a master’s degree in Critical and Curatorial Studies from the University of British Columbia.

Shelly Rosenblum is Curator of Academic Programs at the Belkin. Inaugurating this position at the Belkin, Rosenblum’s role is to develop programs that increase myriad forms of civic and academic engagement at UBC, the wider Vancouver community and beyond. Rosenblum received her PhD at Brown University and has taught at Brown, Wesleyan and UBC. Her awards include fellowships from the Center for the Humanities, Wesleyan University and a multi-year Presidential Postdoctoral Research Fellowship, Department of English, UBC. She was selected for the Summer Leadership Institute of the Association of Academic Museums and Galleries at the Kellogg School of Management, Northwestern University (2014). Her research interests include issues in contemporary art and museum theory, discourses of the Black Atlantic, critical theory, narrative and performativity. Her teaching covers the 17th to the 21st centuries. She remains active in professional associations related to academic museums and cultural studies, attending international conferences and workshops, and recently completing two terms (six years) on the Board of Directors at the Western Front, Vancouver, including serving as Board President. At UBC, Rosenblum is an Affiliate of the Peter Wall Institute for Advanced Studies.