Saturday, November 7th, from 12-4pm EST.

Facilitator

Alisha B. Wormsley (Pittsburgh, PA, USA) is an interdisciplinary artist and cultural producer. Her work is about collective memory and the synchronicity of time, specifically through the stories of women of color, more specifically Black Women in America. Wormsley is an artist who has worked in communities around the world, helping to develop artistic ideas, celebrate identities, and organize public art initiatives for national and international audiences. Wormsley’s work has received a number of awards and grants to support programs namely the Children of NAN film series and archive, and There Are Black People In The Future. Her work has exhibited globally. Over the last few years, Wormsley has designed several public art initiatives including Streaming Space, a 24 foot pyramid with video and sound installed in Pittsburgh's downtown Market Square, and AWxAW, a multimedia interactive installation and film commission at the Andy Warhol Museum. Wormsley created a public program out of her work, "There Are Black People In the Future", which gives mini-grants to open up discourse around displacement and gentrification and was also awarded a fellowship with Monument Lab and the Goethe Institute. In 2020, Wormsley launched an art residency for Black creative mothers called Sibyls Shrine, which has received two years of support from the Heinz Endowments. Wormsley has an MFA in Film and Video from Bard College and currently is a Presidential Post Doctoral Research Fellow at Carnegie Mellon University to research and create work around the resurgence of matriarchal energy (defined as witchcraft by white supremacy) in the African-American community.

Facilitator

Kite aka Suzanne Kite is an Oglala Lakota performance artist, visual artist, and composer raised in Southern California, with an MFA from Bard College’s Milton Avery Graduate School, and is a PhD candidate at Concordia University, Research Assistant for the Initiative for Indigenous Futures, and a 2019 Trudeau Scholar. Her research is concerned with contemporary Lakota ontologies through research-creation, computational media, and performance practice. Recently, Kite has been developing a body interface for movement performances, carbon fiber sculptures, immersive video & sound installations.

Facilitator

Lindsay Nixon is a Toronto-based Cree-Métis-Saulteaux SSHRC doctoral scholarship recipient, a McGill University Art History Ph.D. candidate, and an assistant professor in Ryerson University’s Department of English. They previously held the position of Editor-at-Large for Canadian Art and served as the Arts and Literary Summit programmer for MagNet 2019. Nixon’s first book nîtisânak (Metonymy Press, 2018) won the prestigious 2019 Dayne Ogilive Prize and a 2019 Quebec Writer’s Federation first book prize, and has been nominated for a Lambda Literary Award and an Indigenous Voices Literary Award. Nixon is the co-founder of gijiit: a curatorial collective that focuses on community-engaged Indigenous art curations, gatherings, and research dealing with themes of gender, sex, and sexuality.

Facilitator

Guadalupe Pérez Pita (Lupe Pérez, she/they, ella/elles) is a Latinx (Argentinean) co-design facilitator, design justice practitioner and graphic designer based in Tiohtiá:ke/Montreal. She has been a member of co-design studio And Also Too since 2016, where she works alongside an inspiring team of womxn of color reinventing design as a means to liberation from exploitative, harmful systems. Lupe is also a member and a behind-the-scenes ninja for the Design Justice Network, a community of design justice practitioners based primarily in Turtle Island. She holds a BFA from Concordia University (Double Major in Design and Philosophy), and a Certificate in Permaculture Design. She is passionate about all things sci-fi, emergent strategy, organizational design, and community-centered processes.

Collaborator

Asinnajaq is the daughter of Carol Rowan and Jobie Weetaluktuk. She is from Inukjuak, Nunavik and lives in Tiohtià:ke. Asinnajaq’s work includes filmmaking, writing and curating. She co-created Tilliraniit, a three day festival celebrating Inuit art and artists. Asinnajaq wrote and directed Three Thousand (2017) a short sci-fi documentary. She co-curated Isuma’s show in the ‘Canadian’ pavilion at the 58th Venice Biennale. Asinnajaq’s performance video Rock Piece (Ahuriri Edition) (2018) is currently touring in art galleries and film festivals around the world.

Collaborator

Sébastien Aubin is based in Montréal and a proud member of the Opaskwayak Cree nation in Manitoba. He has the triple role of graphic designer, typographer and artist. He has conceptualized publications and fonts for numerous art galleries and and art institutions in Canada such as Ociciwan, Caroline Monnet, National film board of Canada, art Gallery of Ontario and Vancouver art gallery. He also studies and makes Cree syllabics fonts that he incorporates in his design and artistic work. Drawing, music, animation, science, film as well as found objects helps in his conceptual approach and arouses dialogue between generations and social classes.

Collaborator

Adrienne Huard is a Two-Spirit/Indigiqueer Anishinaabekwe registered at Couchiching First Nation, in Fort Frances, Ontario, and born and raised in Winnipeg. After graduating in 2012 from the University of Manitoba with a bachelor of fine arts majoring in photography, she pursued a bachelor of fine arts in art history at Concordia University in Tiohtià:ke/Montreal. Huard graduated from Concordia in April 2018 and went on to complete OCAD University’s graduate-level program in criticism and curatorial practice. In September 2020, she began the PhD-level program in native studies at University of Manitoba. She now joins the team at national arts publication, Canadian Art magazine as an Editor-at-Large.

Respondent

Razan Al Salah is a 2019 Arab Fund for Arts and Culture (AFAC) Grantee and Sundance Talent Forum New Frontier Fellow, selected to develop The Greatest Wait, an experimental VR film tracing the migration route of a 3rd generation Palestinian refugee. In 2018, Razan was awarded the Knight Foundation New Frontier Fellowship at Sundance, Latham Award for an Emerging Experimental Video Artist at Ann Arbor Film Festival, and Sunbird Award for Best Narrative Short at Cinema Days Palestine. Her work has been exhibited internationally in festivals and galleries including HotDocs, Melbourne and Glasgow International, Sharjah Film Forum, Tokyo Photographic Art Museum, Boston Museum of Fine Arts and Sursock Museum, Beirut. Razan teaches Moving Images and Intermedia at Concordia University in Montreal. She’s been invited as a visiting artist at many universities including the University of Pennsylvania, Duke University and Princeton University.

Collaborator

Diane Roberts is an accomplished director, dramaturge, writer and cultural animator, who has collaborated with innovative theatre visionaries and interdisciplinary artists for the past 30 years. Her directorial and dramaturgical work has been seen on stages across Canada and her reputation as a mentor, teacher and community collaborator is nationally and internationally recognized.

Diane has directed for such companies as urban ink, Black Theatre Workshop, The Theatre Centre, Theatre Direct, The Company of Sirens, Frank Theatre, b current, Cahoots Theatre Projects, Obsidian Theatre, Native Earth Performing Arts, Women in View Festival, The Sudbury Theatre Centre and The Stratford Festival. She is the former Artistic Director of urban ink productions in Vancouver (2007-2014) and former Artistic Co-Director of Nightwood Theatre in Toronto. She is also a founding member of Obsidian Theatre, Co-founder of backforward collective and founder and Artistic Director of the Arrivals Legacy Project.

Collaborator

Lucas LaRochelle is a designer and researcher whose work is concerned with queer geographies, critical internet studies, and community-based archiving. They are the founder of Queering The Map, a community generated counter-mapping project that digitally archives queer experience in relation to physical space.

Collaborator

Valeria Graziano is a cultural theorist and practitioner, currently based at the the Centre for Postdigital Cultures at Coventry University. Her research focuses on practices and tools that foster a creative redistribution of social reproduction, the refusal of work and the politicization of pleasure. Over the years, she has been involved in numerous initiatives of institutional analysis, militant research and collective pedagogy across the cultural sector and social movements, including the Precarious Workers Brigade and the Micropolitics Research Group (UK). She is one of the convenors of the Pirate Care Syllabus, focusing on disobedient responses to the current care crisis.

Collaborator

Tomislav Medak is a doctoral student at the Centre for Postdigital Cultures. Medak is a member of the theory and publishing team of the Multimedia Institute/MAMA in Zagreb, as well as an amateur librarian for the Memory of the World project. His research focuses on technologies, capitalist development, and postcapitalist transition, particularly on economies of intellectual property and unevenness of technoscience.

Collaborator

Ladan Mohamed Siad is Toronto and New York based interdisciplinary storyteller and designer, who explores the relationships between design, technology and the universalities of the black diasporic experience.

Siad works to tell narratives about the world that are possible when radical visionary change flourishes. Siad is a self-taught and community supported creative, quilting together global black genres into a visual and audio tapestry of home everywhere.

Collaborator

Janelle Kasperski is a Nisga’a woman from Laxgalts’ap (pronounced: lah-gal-tsap)/Greenville, B.C. Her educational background is in criminology and First Nations studies from Simon Fraser University (SFU). She was a board member of the First Nations Student Association and an active voice within the SFU community. She has worked on university wide steering committees, networked with senior administrators and contributed her voice to and planning of Aboriginal initiatives on campus. She has many years of work experience in various levels of Aboriginal run non-profit organizations, large corporations and event planning.

Collaborator

Jesse Katabarwa is a creative technologist, an art director, type designer, working in the field of visual communication and an artist interested in image and literary sequencing as a means to create narratives embedded in contemporary experiences of the othered and the marginalized. His work has been exhibited as part of the 100 beste plakate exhibition that took place in Austria, Switzerland and at the Kulturforum in Berlin. He’s been awarded for best student work at the Weltformat 14 Plakatfestival in Luzern, Switzerland. His work has been published by multiple magazines such has IDpure and Mold Magazine.

Collaborator

Venessa Appiah is a researcher specialized in African Studies, Film Studies and Art History.

Collaborator

rudi aker is a wolastoqew auntie, artist, organizer, and curator from St. Mary’s First Nation in Sitansisk (Fredericton, New Brunswick) and, for now, a guest on Tiohtià:ke / Mooniyaang (Montreal, QC). Their artistic and research practices center kinship, placehood, visibility, as well as the traversal of (un)colonized spaces through conceptions of counter-cartographies and barrier-breaking.

Collaborator

Dr. Alex Ketchum is the Faculty Lecturer of the Institute for Gender, Sexuality, and Feminist Studies of McGill University. She is the Director of the Just Feminist Tech and Scholarship Lab and the organizer of the Feminist and Accessible Publishing and Communications Technologies Speaker and Workshop Series.