Brennan is a second-year CCST graduate student focusing on media and performance art for her upcoming exhibition, Feathers, Ether, Sand, Speech, at Access Gallery in Vancouver. She currently works as a freelance curator with local arts publisher, Decoy Magazine, and is a member of the media artist collective, The Work Group. In 2017 she was part of the curatorial team for the 40th annual Graduate Symposium exhibition, “Under Super Vision,” with fellow AHVA graduate students. She also worked for Documenta 14 in Athens, Greece as part of their aneducation department on site-specific artist project, A-Lethia. Locally, she has worked with the Contemporary Art Gallery, Rennie Collection at Wing Sang, and Gam Gallery. She has been published in C Magazine and Luna Luna Magazine, and volunteers as a board member with non-profit, Arts Assembly. Whitney is working with Shelly Rosenblum as a project assistant for the Curating Critical Pedagogies Research Roundtable this year.

Brown has exhibited her work nationally and internationally since 1984. Between 1989 and 1999, she taught studio and critical studies at Emily Carr Institute of Art + Design and Simon Fraser University’s School for the Contemporary Arts. Brown was the Director/Curator at Artspeak between 1999 and 2004 and she continues an independent curatorial practice. Her curatorial projects include Set Project, a series of exhibitions, performances, and events focusing on rehearsal and re-enactment in contemporary culture, and she was the project curator for Group Search: art in the library, a series of site-specific artists’ projects in the spaces and systems of the Vancouver Public Library (2006-2008). Recent management projects include the development of the Langara College Centre for Art in Public Spaces and its program of artist residencies, speakers series and curriculum development. Brown received a Vancouver Institute for the Visual Arts award in 1996, the Canada Council Paris Studio Award in 2000, and her work is included in the collections of the National Gallery of Canada, the British Columbia Arts Council, the Surrey Art Gallery, The Canada Council Art Bank, and private collections.

Choi is director of Casco Art Institute: Working for the Commons, formerly Casco – Office for Art, Design and Theory in Utrecht, the Netherlands since 2008. She conceived and co-developed with the team and numerous others a long-term artistic research project like Grand Domestic Revolution (2009/2010-2013) and Composing the Commons a three-year interdisciplinary and artistic research programme (2013- 2015/16); has been part of the faculty of the Dutch Art Institute /Masters of Fine Arts Programme in Arnhem; and working for and with a trans-local network Arts Collaboratory since 2013 and the co-founding members of European networks of art organizations Cluster. Her other curatorial projects include three day seminar program Cultivate or Revolutionize: Life Between Apartment and Farmland at Times Museum, Guangzhou (2014, with Nikita Choi) and summer school and exhibition Group Affinity at Kunstverein Munich (2011, with Bart van der Heide). For the 11th Gwangju Biennale (2016) she worked as the curator. As part of her practice, she also engages with writing, editing, publishing, and contributing to discursive platforms with lectures, discussion and workshops.

Colah is a curator interested in ideas of freedom through exhibition-making. She co-curated the third Pune Biennale with Luca Cerizza, titled, Habit-co- Habit2017, and is part of the curatorial team of the forthcoming second Yinchuan Biennale, titled, Starting from the Desert. Ecologies on the Edge 2018, with Marco Scotini. Her interests in researching cultural sovereignty and cultural transference under prolonged militarised situations led to the founding of a research collaborative, blackrice, in Nagaland (2007–08) and a curatorial collaborative and union of artists Clark House Initiative in Mumbai (2010-present). She was the curator of Indian Modern Art at the CSMVS Museum Mumbai, where she set up the Jehangir Nicholson Collection (2009-11), she directed the Mumbai Art Room, Contemporary Arts Trust (2013-14). She was head of Public Programs at the National Gallery of Modern Art (2004-05) in Mumbai.

Ding is a Beijing-based artist and curator. His artistic and curatorial practices focus on connecting the historical and the contemporary from a perspective embedded in the history of thoughts, and thorough descriptions and gazes of multiple layers. He has contributed works to international biennials such as 2015 Istanbul Biennial, 2015 Asia Pacific Triennial, 2014 Shanghai Biennial, 2014 Prospect 3 New Orleans, 2012 Taipei Biennial, Chinese Pavilion of 2009 Venice Biennial, 2008 Media City Seoul, and 2005 Guangzhou Triennial.

Eilat developed her practice through a variety of platforms and roles as an institute director, curator, educator, writer and editor of books and a magazine. She founded and directed, from 2001 to 2010, the Israeli Center for Digital Arts in Holon; in 2004, she co-founded Maarav, an online arts and culture magazine, which she went on to edit until 2010. She was part of the team that developed a series of traveling seminars entitled ‘Liminal Spaces’ (2006-2009). Between 2010 and 2013 she collaborated with the Van Abbemuseum on several projects, including Play VanAbbe, Picasso in Palestine, and the collection presentation. She served as artistic director of the Akademie der Künste der Welt in Cologne from 2012-2013. Eilat was a member of curatorial team involved in large-scale events such as the São Paulo Biennial 2014, the Venice Biennale 2011 (Polish Pavilion) and the October Salon 2011. Concurrently, she engaged with grass root, politically active collectives and research institutes and has been involved in projects in Kosovo, Ljubljana, Turkey, Poland, and elsewhere. She has taught and lectured in a range of universities, museums, and galleries, and has written extensively about art and politics. Eilat is the recipient of the Keith Haring Fellow in Art and Activism at Bard College, 2017-18.

Born in Germany, Fischer moved to Canada in the late 1970s and undertook my BFA at the University of Victoria in sculpture and installation. She came to curating at the beginning of the 1980s, during the last year of undergraduate studies, and at a time when curatorial studies were on the cusp of becoming an academic field. After volunteering as curator (for visual art, film and video) at the artist-run-centre Open Space Gallery for two years, and immersing in the artist-run network across Canada, she became Assistant Curator at the Walter Phillips Gallery (Banff Centre), where the focus of her curatorial work turned increasingly toward feminism and socially engaged artists. In 1985, she became Assistant Curator at the Art Gallery of Ontario, and in 1988 Curator at The Power Plant, during which time she saw her work increasingly within the terms of a critically engaged and ‘site-specific’ undertaking – working with and against certain institutional frames and ways of thinking. In the early 90s, Fischer returned to University for an MA, began to teach contemporary art, criticism, and curatorial practice, and worked independently. She took the position of Director/Curator at the Blackwood Gallery, then at the Justina M. Barnicke Gallery, and finally for the federated Art Museum at U of T, which enabled an intensified engagement of curating within the academic, interdisciplinary and pedagogical frame of an academically situated gallery for contemporary art.

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, opening in August, 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.

James is Associate Professor at the Department of Art History, Visual Art and Theory at the University of British Columbia. He is an internationally exhibited artist, previously based in London and New York before joining the University of British Columbia in the summer of 2010. James was a founding member of Orchard, a cooperatively organized gallery in New York’s Lower East side from 2005 to 2008, and is a founding editor, along with fellow artists Sam Lewitt and Cheyney Thompson, of Scorched Earth, a forthcoming journal devoted to questions concerning drawing. His work has been exhibited widely in the United States and Europe, including Portikus (Frankfurt), Kunstwerke (Berlin), the Institute of Contemporary Art (London), PS1 Center for Contemporary Art and the Museum of Modern Art (New York). He has had recent solo exhibitions at Galerie Christian Nagel, Köln; Franco Soffiantino Arte Contemporanea, Torino; Elizabeth Dee Gallery, New York; and Miguel Abreu Gallery, New York. His writing has been published in journals such as Artforum, Texte zur Kunst, Afterall, and Made in USA, and he has curated several exhibitions, including a travelling retrospective of the television and video works of Jean-Luc Godard. James’s publications include “I said I love. That is the promise,” published by b-books (Berlin) and Oejiblikket (Copenhagen) 2003; and “… Ical Krbbr Prodly Prsnts Gart Jas, Jon Klsy, Josf Stra,” published by Walther König (Köln) 2006. James has lectured extensively at universities and museums, and held positions at the Whitney Museum of American Art’s Independent Study Program; the Cooper Union for the Advancement of Science and Art, Columbia University; and Bard College.

Jones is the Executive Director of the Western Front Society in Vancouver. Prior to this appointment, she had a combined curatorial and conservation position at the Solomon R. Guggenheim Museum, was the Director of Programming at the Bryce Wolkowitz Gallery and was a freelance writer and curator in New York. Jones has curated multiple exhibitions and residencies at the Western Front with artists including Aleksandra Domanović, Instant Coffee, Oliver Laric, and Erin Shirreff. Her work with international organizations includes curating Western Front’s contribution to No Soul for Sale at the Tate Modern, London; co-curating Seeing Double: Emulation in Theory and Practice at the Solomon R. Guggenheim Museum, New York; and coordinating Nam June Paik: Global Groove at the Deutsche Guggenheim, Berlin. Through her work with the Variable Media Network, she has developed policies and standards for the preservation and presentation of electronic and ephemeral artworks. Her writings on contemporary art and new media have appeared in a wide range of exhibition catalogues periodicals and other international publications including The Believer, Mousse and Rhizome.org.

Kamble is a Bombay based conceptual artist whose artwork addresses issues based on morbidity discrimination and inhumanity; his works are the outcome of social imbalance still practiced by a particular class of society. When he sets out to uncover the differences between his outer world and inner realms, a zone of neutrality is necessarily needed to negotiate and maintain sanity over the emergent conflict. The subject or the content of social justice and annihilation of caste that the biased institutionals never allows to speak or even whisper on that issues due to its so-called ways of selective humanism and ruling class aesthetics which forced through the academics and always denied the subaltern expression and aesthetics too. In his recent project, he enacts a series of kinetic installations, drawings and performance under the title of ‘Existential’. He often paints large portraits of Dr.BR Ambedkar for social equality movements around Maharashtra and is engaged in the promotion of Dalit Literature and movement. His performances protest public lynching of Dalits, murders of rationalist individuals, become complex commentaries. Kamble has shown at Clark House (solo 2017), Dr. Fischer Peace Collection project (Israel and India 2017), Paris2017, Gallery Odyssey, Mumbai 2017, International Art Festival Bussan (Korea 2017) , Jehangir Art Gallery (solo 2016).

Kazymerchyk is the curator of SFU Galleries’ Audain Gallery. In this role she co- curates the Audain Visual Artist in Residence program with SFU’s School for the Contemporary Arts Visual Art department, which invites artists to develop pedagogical residencies and parallel exhibitions. Previously she was the Exhibitions Coordinator at VIVO Media Arts Centre, where she inaugurated No Reading After the Internet with cheyanne turions and Alex Muir, and co-organized SAFE ASSEMBLY, a large-scale critical response forum during the 2010 Winter Olympics. Kazymerchyk has programmed numerous projects that investigate the intersections of intimacy, close reading, and public politics in cinema, media and visual art including, The Museum of Non Participation (VIVO, 2010), Hito Steyerl’s Adorno’s Grey (with Melanie O’Brian, Audain Gallery, 2013), Lili Reynaud Dewar’s My Epidemic (Teaching Bjarne Melgaard’s Class) (Audain Gallery, 2015), and No Reading After the Internet/#ReadTheTRCReport (Leonard & Bina Ellen Art Gallery, 2016). Most recently she has focused on land based pedagogy and support structures of friendship and kinship. She has recently collaborated with BUSH gallery, and is currently curating a project with Feminist Land Art Retreat.

Kwan is a Vancouver-based artist, writer and curator. Her work often involves the production of work in public space, and is often collaborative, site-specific and interdisciplinary. Recent projects include a large-scale permanent public artwork called Geyser for Hillcrest Park (with Erica Stocking), Sad Sack, a series of public events and collaborations on the subject of melancholy, and This Creeping Root, a moonlight garden. She is a founding member of the performance collective Norma, who were honoured with a City of Vancouver Mayor’s Arts Award for Public Art in 2011. She has received numerous grants from local and national arts councils, and was selected for the Canada Council’s Asia Pacific Visual Arts Delegation in 2014. As performance curator at the Vancouver Art Gallery, she produced FUSE, the gallery’s premiere performance event, from 2008 – 14. She currently works as Curator of Community Engagement with grunt gallery, where she produces socially-engaged work and special projects, and as Producer/ Curator with Other Sights for Artists Projects, an organization that commissions temporary artworks for the public realm. She teaches in undergraduate and graduate programs at Emily Carr University of Art and Design. She writes and publishes regularly on art and visual culture and is currently at work on an artist book about sleeplessness, a telegraph station and twins.

Lu is an art critic and curator. She is a PhD candidate in art history at the University of Melbourne and director of Beijing Inside-out Art Museum. She is a contributing editor at Frieze and is on the advisory board of The Exhibitionist. Lu was on the jury for the Golden Lion Award at the 2011 Venice Biennale and the selecting jury for the Pavilion of the Philippines in 2018 Venice Architecture Biennale. She was the co-artistic director of the 2012 Gwangju Biennale and co-curator of the 7th Shenzhen Sculpture Biennale in 2012.

McKee is the Head of Strategy at 221A, Vancouver, where he leads the programming and aligns the organization’s work with a strategic plan that develops and sustains self-organized infrastructures. Previously, he was the Curator of Walter Phillips Gallery, The Banff Centre and the Exhibitions Curator, Western Front, Vancouver. Independently, he curated Stopping the Sun in its Course, which looked at contemporary depictions of the grotesque at François Ghebaly Gallery in Los Angeles in 2015 and he was the co-curator of Vancouver Special: Ambivalent Pleasures, the inaugural edition of a civic triennial at the Vancouver Art Gallery in 2017. As a curatorial resident, he has worked with Things that can happen, Hong Kong and Tranzit.org, Romania. McKee served as a juror for the 2013 Sobey Art Award and was a member of the Canada Council for the Art’s Asia Pacific Delegation. He has written essays and reviews for Canadian Art, C Magazine, Fillip, Border Crossings, Kaleidoscope and Cura. A forthcoming catalogue essay, Surreal Ghosts and Neuroplastic Ancestors, focuses on Julia Feyrer and Tamara Henderson’s filmmaking, published by the Morris and Helen Belkin Art Gallery, University of British Columbia and Institute for Contemporary Art, University of Pennsylvania.

O’Brian is Director/Curator of Simon Fraser University Galleries in Vancouver/Burnaby. Previously she was Curator at The Power Plant Contemporary Art Gallery in Toronto (2011-2012), Director/Curator of Artspeak in Vancouver (2004- 2010), and Assistant Curator at the Vancouver Art Gallery (2001-2004). She has independently curated exhibitions in North America and Europe and written for numerous catalogues and magazines such as C, The Exhibitionist, Fillip, X-Tra, and Yishu. She is the editor of $5 Handshake: Art and Treaty 8 Territory (SFU Galleries, 2018); 5,000 Feet is the Best: Omer Fast with Milena Hoegberg (The Power Plant/Henie Onstad Center/Sternberg Press, 2012); Stan Douglas: Entertainment (The Power Plant, 2011); Judgment and Contemporary Art Criticism (Fillip/Artspeak, 2010) with Jeff Khonsary; and Vancouver Art & Economies (Arsenal Pulp Press/Artspeak, 2007). She has an MA in Art History from the University of Chicago.

Rajani is an artist and curator based in Karachi. Her recent work engages with emerging visualities and landscapes at the intersections of development, infrastructure and war in Pakistan, using interdisciplinary methods and media. She is a co-founder of the Karachi LaJamia, an experimental project seeking to politicise art education and explore new radical pedagogies and art practices, and currently teaches at the Indus Valley School of Art and Architecture.

Rimmer is Director/Curator of the Charles H. Scott Gallery at Emily Carr University of Art and Design where she has curated numerous group and solo exhibitions. She was the founding Director/Curator of Artspeak Gallery, Director of Truck Gallery and was a Curator in Residence at the Saidye Bronfman Centre in Montreal. Rimmer has published reviews, articles and catalogue texts. She received a diploma in Curatorial Studies from Emily Carr and graduated with a MLitt (with distinction) in Museum and Gallery Studies from the University of St Andrews, Scotland.

Rosenblum is Curator of Academic Programs at the UBC Morris and Helen Belkin Art Gallery. Shelly received her PhD at Brown University and has taught at Brown, Wesleyan, and The University Of British Columbia. Her research interests include discourses of the Black Atlantic, critical theory, narrative, performativity, and issues in contemporary art and museum theory. Her teaching covers the 17th to the 21st centuries. Shelly’s role at the Belkin Art Gallery is to develop programs that increase outreach in both the University and the wider Vancouver community.

Sawada is the Manager of Public Programs at the Morris and Helen Belkin Art Gallery at the University of British Columbia (UBC). She holds a BA (Anthropology 1995) and Diploma (Art History 1996) from UBC. She has assisted in the research of exhibitions and programs at Science World British Columbia in Vancouver (1986- 1991) and at the UBC Museum of Anthropology (1991-1995). As a co-curator of exhibitions and curator of programs, she helped to develop the mandate and operating policies at the Nikkei National Museum in Burnaby, BC (1995-2000). With John O’Brian and Scott Watson, she co-edited All Amazed: for Roy Kiyooka (Vancouver: Arsenal Pulp Press, Morris and Helen Belkin Art Gallery, and the Vancouver Art Forum Society, 2002), and, with Scott Watson and Jana Tyner, co- edited Thrown: British Columbia’s Apprentices of Bernard Leach and Their Contemporaries (Vancouver: Morris and Helen Belkin Art Gallery, 2011). Thrown was a finalist for the 2012 Roderick Haig Brown Regional BC Book Prize. She is a member of the Board of Directors of 221A, the Northwest Coast Ceramics Foundation and the Asian Canadian Studies Society.

Sheikh is a curator and theorist. He is Reader in Art and Programme Director of MFA Curating at Goldsmiths, University of London. He is a correspondent for Springerin, Vienna, and a columnist for e-flux Journal, New York, and currently part of the core team for the Third Bergen Assembly (2018-19). His most recent book is Former West: Art and the Contemporary After 1989, 2016, co-edited with Maria Hlavajova.

Watson is Head (2012–) and Professor (2003–) in the Department of Art History, Visual Art and Theory and Director/Curator of the Morris and Helen Belkin Art Gallery (1989–) at the University of British Columbia. He is Director and Graduate Advisor for the Critical and Curatorial Studies program, which he helped initiate in September 2002. Recent distinctions include the Hnatyshyn Foundation Award for Curatorial Excellence in Contemporary Art (2010), Alvin Balkind Award for Creative Curatorship in British Columbia Arts (2008), the UBC Dorothy Somerset Award for Performance Development in the Visual and Performing Arts (2005), and invitation to the UBC Chancellor’s Circle (2005). Watson has published extensively in the areas of contemporary Canadian and international art. His 1990 monograph on Jack Shadbolt earned the Hubert Evans Non-Fiction Prize (B.C. Book Prize) in 1991. Recent publications include Thrown: British Columbia’s Apprentices of Bernard Leach and their Contemporaries (2011) (finalist for the 2012 Roderick Haig Brown Regional BC Book Prize), “Race, wilderness, territory and the origins of the Modern Canadian landscape” and “Disfigured Nature” (in Beyond Wilderness, Montreal: McGill University Press, 2007); “Transmission difficulties: Vancouver painting in the 1960s” (in Paint, Vancouver: Vancouver Art Gallery, 2006); and “The Lost City : Vancouver Painting in the 1950s” (in A Modern Life : Art and Design in British Columbia 1945–1960, Vancouver: Arsenal Pulp Press, 2004). Recent and upcoming curated exhibitions include Letters: Michael Morris and Concrete Poetry (2012); Mark Boulos (2010); Jack Shadbolt: Underpinnings (2009); Exponential Future (2008); Intertidal: Vancouver art & artists (2005–6) at the Museum of Contemporary Art in Antwerp; Stan Douglas : Inconsolable Memories (2005–6); Rebecca Belmore: Fountain (2005) for the Venice Biennale Canadian Pavilion; and Thrown : Influences and Intentions of West Coast Ceramics (2004). Watson’s research focus is contemporary art and issues, art theory and criticism, twentieth-century art history, curatorial and exhibition studies.

White’s research focuses on issues of ecology and environment in art and visual culture, material culture studies and phenomenology as they relate to place and landscape, both urban and rural, and post- humanism and the representation of animals in art.

Wilson is an independent curator and writer. He was a co-curator of the exhibit c̓əsnaʔəm, the city before the city, at the Museum of Anthropology (MOA), 2015. A member of the Musqueam Indian Band, Jordan holds an MA in Anthropology, and a BA in First Nations Studies, both obtained at UBC. He is currently a Canada Council for the Arts Aboriginal curator-in-residence at MOA, where he is co-curating the opening exhibit for the Gallery of Northwest Coast Masterworks.