An audio recording of a performative lecture Duane Linklater and I gave at Black Guelph Historical Society for Postcommodity's People of Good Will Project with support from Musagetes in Guelph in December, 2014. 


I read "the forty part motet," "38" by Layli Long Soldier, and "Decommission." Duane speaks about his record collection.



Opening Reception: Friday, November 6, 6 - 8 pm
At EFA Project Space, 323 W. 39th St, 2nd floor


Artists: Shannon Ebner, Kara Hamilton and Angie Keefer, Will Holder, Duane Linklater, Tanya Lukin Linklater with Laura Ortman, David Morris and Pedro Cid Proença with Stefan and Franciszka  Themerson, Sarah Rose, Rodrigo Ortiz Monasterio and Mario Garcia Torres on Conlon Nancarrow, David Reinfurt, Rosalie Schweiker and Rudy Loewe, Babette Mangolte, Alex Waterman, and Dylan Gauthier


Curated by: Kari Cwynar and Kendra Sullivan


I will present a collaborative performance with Laura Ortman on Friday, November 6 during the opening of the exhibition - 6-8 pm. 


For more information about the exhibition:

An Annotated Bibliography in Real Time: Performance Art in Quebec and Canada 

Artexte, Montreal 


April 30 – June 20, 2015 AND 
September 3 – October 24, 2015


* With a selection of documents by: Tim Clark, Sylvie Cotton, Doyon/Demers, Michelle Lacombe, Tanya Lukin Linklater, Tanya Mars & Johanna Householder, Clive Robertson, Alain-Martin Richard, and Guy Sioui Durand.



Barbara Clausen, Curator and Research Director


For more information:


To see my contribution and the other artists' contributions to the Annotated Bibliography:



Reading the Line

Mar 20 – May 2, 2015 / Opening Mar 19 @ 7:00 PM

Reading the Line brings together five artists — Alma Alloro, Maggie Groat, Anne Low, Tanya Lukin Linklater and Lis Rhodes — for whom line is an integral compositional element. More than a visual structure, in these instances line serves as a code in which histories, ideas and narratives are embedded. From text, textiles and movement, to animated GIFs and 16mm film, the works in this exhibition negotiate the relationships between the reflexive and the utilitarian, the static and the performative.

Curated by Pablo de Ocampo


The exhibition includes two special events in conversation with the works presented in the gallery:

Performance by Tanya Lukin Linklater
Saturday, March 21st @ 2pm
Western Front Gallery
Free Admission

Drawing on themes of women’s labour and First Nations craft traditions, Tanya Lukin Linklater will present a performance in the gallery in collaboration with local dancer/choreographer Ziyian Kwan.


Screening of Lis Rhodes’ Light Music
Thursday, April 9th @ 8pm
Grand Luxe Hall, Western Front
Free Admission

Western Front presents a screening of Lis Rhodes’ 1975 film, Light Music. An iconic work of expanded cinema, the immersive two-channel 16mm film explores the indexical relationship between image and sound, using its structure to comment on the unseen role of women in 20th century music and art.


For more information (including photographic documentation of the exhibit and the exhibit brochure) please see

A radio interview with Julia Caron regarding my project, the the, 2014.


I am one of three artists showing work in the exhibition, Memory Keepers: Methodologies of Memory, Mapping and Gender, curated by Erin Sutherland and Carla Taunton at Urban Shaman Gallery in Winnipeg. Ursula Johnson and Julie Nagam are exhibiting work as well. My works are body-based photos and videos and focus on relationships to land, memory and history. Many thanks to Daina Warren, Director of Urban Shaman, for assisting in organizing the exhibition.



The catalogue launch for New Maternalisms, an exhibition at Museum of Contemprary Art Santiago, is happening tomorrow, September 9, 2014. Curated by Natalie Loveless, I was one of many women from Chile and around the world to participate in this exhibition.

I am the feautred poet for the Taos International Journal of Poetry and Art. The Taos Journal is publishing excerpts of "The Harvest Sturdies." My notes for this work: 

“The Harvest Sturdies” was written in response to Chief Theresa Spence’s hunger strike, a 44-day action that began December 11, 2012. The mittsChief Spence (of Attawapiskat First Nation) wore in many of her press engagements are an important symbol for the people of James Bay, northern Ontario, Canada. Interviews with Agnes Hunter, Marlene Kapasheshit and Lillian Mishi Trapper during January and February 2013 regarding the process for making traditional James Bay Mitts were conducted for this poem.


Many thanks to Layli Long Soldier for her support through the writing process and her adept editing skills. And to our relatives who agreed to be interviewed. And to Agnes Hunter and Duane Linklater for Cree translation.