Amy Kazymerchyk is a curator from Vancouver. In 2021, she opened Pale Fire in Vancouver. She has held positions as the curator of SFU Galleries’ Audain Gallery, the events and exhibitions coordinator at VIVO Media Arts Centre, and programmer of DIM Cinema at The Cinematheque. She holds a BA in media arts from Emily Carr Institute of Art and Design and an MA in critical and curatorial studies from the University of British Columbia.

Olivia Michiko Gagnon is Assistant Professor of Theatre and Performance Studies in the Department of Theatre and Film at UBC, where she is Affiliated Faculty in Asian Canadian and Asian Migration (ACAM) Studies and Faculty Associate at The Institute of Gender, Race, Sexuality and Social Justice (GRSJ). Her research and teaching live at the intersections of performance studies, critical race and ethnic studies, feminist and queer theory, and critical Indigenous studies. She is currently completing her first monograph Closeness: Archives, Performance, and Forms of Relation, which  theorizes  closeness as a minoritarian aesthetic method of doing history otherwise – with and beyond the archive.  Her writing has appeared in  ASAP/Journal, Performance Quarterly, Syndicate and Women Performance: a journal of feminist theory, where she is co-editor (with Dr. James McMaster) of a special issue titled “The Between: Couple Forms, Performing Together.” She has also written exhibition catalogue essays for major museums and galleries in Canada and the US. Gagnon received her PhD from the Department of Performance Studies at NYU in 2019.

Missla Libsekal is an independent curator and writer whose practice centres on alteriority and knowledge transmission. Her long-term interdisciplinary research looks at historically marginalized ways of knowing, with the current chapter considering how stories of living in the land can offer better ways of being in relation to the places that we inhabit and occupy. Her recent curatorial projects include Creating Art Archives (2021), a two-day digital forum featuring scholars, publishers, artists and curators and the group exhibition Beyond what we see: Once upon a time, once upon a future at Les Abattoirs, Musée—Frac Occitanie Toulouse (2020–21). She is based in Vancouver on the unceded, ancestral territories of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh and Sel̓íl̓witulh Nations.

Liz Park is Richard Armstrong Curator of Contemporary Art at Carnegie Museum of Art, Pittsburgh. She was most recently curator of exhibitions at the University at Buffalo Art Galleries, State University of New York, and was associate curator of the 2018 Carnegie International. Park was a Helena Rubinstein Curatorial Fellow in the Whitney Independent Study Program in 2011–12 and Whitney-Lauder Curatorial Fellow at ICA Philadelphia from 2013 to 2015. She received her MA in critical and curatorial studies from the University of British Columbia in 2007.

Anne Riley is a multidisciplinary artist living as an uninvited Slavey Dene/German guest from Fort Nelson First Nation on the unceded territories of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh and Sel̓íl̓witulh Nations. Her work explores different ways of being and becoming, touch and Indigeneity. Riley received her BFA from the University of Texas at Austin in 2012 and has exhibited across the United States and Canada. From 2018 to 2020, she worked on a public art project commissioned by the City of Vancouver with her collaborator, T’uy’t’tanat Cease Wyss. Riley and Wyss’s project, A Constellation of Remediation, consisted of Indigenous remediation gardens planted throughout the city. Riley and Wyss were longlisted for the 2021 Sobey Art Award. Since this project, Riley participated in the Drift: Art and Dark Matter residency and exhibition, creating works that consider the possibilities of making and being beyond the confines of Western institutions and extractive processes.

Scott Watson (Canadian, b. 1950) is Director Emeritus and Research Fellow at the Morris and Helen Belkin Art Gallery, University of British Columbia. A curator whose career has spanned more than thirty-five years, Watson is internationally recognized for his research and work in curatorial and exhibition studies, contemporary art and issues, and art theory and criticism. His distinctions include the Hnatyshyn Foundation Award for Curatorial Excellence in Contemporary Art (2010); the Alvin Balkind Award for Creative Curatorship in BC Arts (2008) and the UBC Dorothy Somerset Award for Performance Development in the Visual and Performing Arts (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 in 1991. Recent publications include Letters: Michael Morris and Concrete Poetry (2015); Thrown: British Columbia’s Apprentices of Bernard Leach and their Contemporaries (2011), a finalist for the 2012 Roderick Haig-Brown Regional Prize; “Race, Wilderness, Territory and the Origins of the Modern Canadian Landscape” and “Disfigured Nature” (in Beyond Wilderness, McGill University Press, 2007); and “Transmission Difficulties: Vancouver Painting in the 1960s” (in Paint, Vancouver Art Gallery, 2006).

Rita Wong lives and works on unceded Coast Salish territories, also known as Vancouver, where she attends to questions of water justice, decolonization, and ecology. Co-editor of the anthology Downstream: Reimagining Water with Dorothy Christian, Wong has written several books of poetry: current, climate (2021), beholden (2018, with Fred Wah), undercurrent (2008, with Larissa Lai), forage (shortlisted for the 2008 Asian American Literary Award for Poetry and winner of Canada Reads Poetry, 2011) and monkeypuzzle (1998). She has received the Dorothy Livesay Poetry Prize and the Asian Canadian Writers’ Workshop Emerging Writer Award.