Breaking Protocol arises from a series of private, unstructured conversations held over Zoom in 2021, to which Anishinaabek artist and 2020–2022 Borderlands Fellow Maria Hupfield invited a group of international Indigenous performance artists. Ranging from makers to stand-up comedians, these artists in turn invited other performers to join these conversations staged as a series of informal coffee breaks, creating an intimate virtual community grounded in trust and collaboration. At a time when performance and collective gathering were severely constrained, these intimate dialogues provided a space for critical thinking on performance as a means of embodying and activating Indigenous knowledge, and for thinking through accountability with Indigenous lands and peoples. Throughout these exchanges, themes of language, artistic process, sexuality, loss, and joy proliferate, as participants discuss performance as both theory and practice.

 

Forthcoming from Inventory Press and Vera List Center in spring 2023, Breaking Protocol brings together over twenty contributions by participants in these conversations whose works reflect diverse approaches to grounding Indigenous knowledge, sovereignty, and critical accountability. With photo essays, poetry, short stories, and other written reflections, the book illuminates processes of documenting performance, or the performative, through an Indigenous lens.

 

Ultimately, Breaking Protocol poses the questions: How do we translate performance as a living art form connected to specific bodies, peoples, and land, to book form while avoiding the pitfalls of the archive as a static object? What stories become political agents in the liberation of the archive from its colonial underpinnings and structure? What can we learn from Indigenous artistic modes of making and practice that art based in notions of place to open spaces for reciprocity and multiplicity?

 

Introduction by Maria Hupfield with contributions by Rebecca Belmore, Lori Blondeau, Pelenakeke Brown, Katherine Carl, Re’al Christian, Christen Clifford, TJ Cuthand, Vanessa Dion Fletcher, Akiko Ichikawa, Suzanne Kite, Charles Koroneho, Cheryl L’Hirondelle, Gabrielle L’Hirondelle Hill, Jackson 2Bears Leween, Tanya Lukin Linklater, Cathy Mattes, Meagan Musseau, Julie Nagam, Wanda Nanibush, Peter Morin, Archer Pechawis, Rosanna Raymond, Skeena Reece, Georgiana Uhlyarik, Charlene Vickers, and Laakkuluk Williamson Bathory, and an afterword by Carin Kuoni.

 

https://www.veralistcenter.org/publications/breaking-protocol


I have contributed a chapter, "A glossary of insistence," in The Routledge Companion to Indigenous Art Histories in the United States and Canada edited by Heather Igloliorte and Carla Taunton. 

 

This companion consists of chapters that focus on and bring forward critical theories and productive methodologies for Indigenous art history in North America.

 

This book makes a major and original contribution to the fields of Indigenous visual arts, professional curatorial practice, graduate-level curriculum development, and academic research. The contributors expand, create, establish and define Indigenous theoretical and methodological approaches for the production, discussion, and writing of Indigenous art histories.

 

Bringing together scholars, curators, and artists from across the intersecting fields of Indigenous art history, critical museology, cultural studies, and curatorial practice, the companion promotes the study and dissemination of Indigenous art and stimulates new conversations on such key areas as visual sovereignty and self-determination; resurgence and resilience; land-based, embodied, and nation-specific knowledges; epistemologies and ontologies; curatorial and museological methodologies; language; decolonization and Indigenization; and collaboration, consultation, and mentorship. 

 

For more information:

 

https://www.routledge.com/The-Routledge-Companion-to-Indigenous-Art-Histories-in-the-United-States/Igloliorte-Taunton/p/book/9780367856687

 


 

 

SAAG

 

 

TANYA LUKIN LINKLATER AND TIFFANY SHAW | My mind is with the weather
25 FEBRUARY 2023 - 23 APRIL 2023
LOWER GALLERY

OPENING RECEPTION: 25 FEBRUARY 2023 | 7-9 PM

 

As individual artists and collaborators, Tanya Lukin Linklater and Tiffany Shaw contend with structural violence towards Indigenous relations and knowledges. Whether through architecture, video, performance, or craft, both artists gather from the practices of everyday life: song, breath, and movement, situating bodily gestures as continual actions of defiance and rebuilding.

 

Indigenous geometries, a central artwork of the exhibition, is a mobile and temporary structure that references the Alutiiq (southern coastal Alaska Native) homes of Lukin Linklater’s birthplace. A collaborative piece between both artists, Indigenous geometries is a modular architecture composed of spine-like curves of bent wood. Several of the wood spines lie on the floor, recalling the institutional dismantling of Indigenous social structures. The displaced spines rest in anticipation of the energy required for Indigenous communities to re-assemble languages, families, and selves. Throughout the exhibition, Indigenous geometries will be periodically activated by Blackfoot singers, asserting the connections between song, home, and resilience.

 

Lukin Linklater’s video, This moment an endurance to the end forever accompanies Indigenous geometries. Within the video, two spines from Indigenous geometries appear in Lukin Linklater’s home, a counter-stroke to the Canadian and US federal policies that have worked to dismantle Indigenous families. The video expands to consider the envelopes of atmosphere and gravity surrounding the earth. Structuring the video around the cycle of a single day, dancers feel the tones and qualities of their breath in the atmosphere as it expands ever outwards. Considering craft as an index of gesture and memory, Tiffany Shaw will present a new installation titled …and other unseen forces, a continuation of the title of the exhibition and its consideration of body and atmosphere.

 

This exhibition has been organised in collaboration with Oakville Galleries and the Contemporary Art Gallery, Vancouver. An exhibition catalogue with new writing is due to be published in the Spring of 2023.

Curated by Adam Whitford, Interim Curator


OEI # 98–99: AURAL POETICS

Edited by Michael Nardone


With contributions by:
Raven Chacon, Lisa Robertson, Cecilia Vicuña, Dylan Robinson, Constance DeJong, Eyvind Kang, Gail Scott, JJJJJerome Ellis, Damon Krukowski, Candice Hopkins, Merlin Sheldrake, Amber Rose Johnson, John Melillo, Heather Davis, Tanya Lukin Linklater, Diane Glancy, Janel Morin + Peter Morin, Niiqo Pam Dick, Oana Avasilichioaei, Sophie Seita, Ame Henderson + Evan Webber, Patrick Nickleson, Dalie Giroux, François Lemieux, Simon Brown, Mitchell Akiyama, Carolyn Chen + Divya Victor, Michael Nardone, Marshall Trammell, Luke Nickel, Lauren (Lou) Turner, Valéria Bonafé + Lílian Campesato, Nicholas Komodore, Lewis Freedman, Tiziano La Melia + Ellis Sam, Ida Marie Hede + Steven Zultanski, Alexandre St-Onge, Danny Snelson, Brent Cox + Courtlin Byrd, Raymond Boisjoly, Max Ritts, Tom Miller, Daniel Borzutsky, Anne Bourne, and Marcus Boon


Designed by Eller Med A, with special thanks to Marte Meling Enoksen
Cover Image: “Plainsong” (2020), by Raven Chacon




ON, FOR, WITH STRUCTURE: TANYA LUKIN LINKLATER’S MY MIND IS WITH THE WEATHER by Malini Guha has been published in Mediapolis: A Journal of Cities and Culture, no. 4, Screening Canada, vol. 7, November 16, 2022. 

 

To read the essay, please visit:

 

https://www.mediapolisjournal.com/2022/11/on-for-with-structure/

 

 

 


Tsēmā Igharas: Hughadēsłēł — give it all away

September 24 – December 10, 2022
SFU Gallery

Hughadēsłēł — give it all away gestures towards concepts of value within Igharas’ ongoing practice, which is concerned with land, embodiment, sustainability, and industrial extraction. Her preparation for this project ranged from harvesting and processing berries, teas, and salmon in her home Tāłtān territory to the development of sculpture with materials connected to mine sites. In the exhibition, Igharas undertakes a series of approaches in art-making and display that invite the participation of the viewer.

Organized by SFU Galleries with Tanya Lukin Linklater

Tsēmā Igharas is an award-winning interdisciplinary artist, mentor, mentee and descendant of Tāłtān Matriarchy. Using strategies of care and resistance, Igharas creates work that connects materials to mine sites and bodies to the land. This practice cites her Indigenous mentorships, Potlatch, studies in visual culture, and time in the mountains. She has studied at K'saan, Emily Carr University of Art and Design, and earned an Interdisciplinary Masters of Art Media and Design from OCADu. Tsēmā Igharas has exhibited and performed on Turtle Island, and beyond.

 

Tanya Lukin Linklater’s performances, works for camera, installations, and writings centre Indigenous peoples’ lived experience, (home)lands, and structures of sustenance. Her performances in relation to objects in exhibition, scores, and ancestral belongings generate what she has come to call felt structures. Tanya’s work has been shown at the Aichi Triennale, Toronto Biennial of Art, New Museum Triennial, San Francisco Museum of Modern Art, Chicago Architecture Biennial, Art Gallery of Ontario, and elsewhere. In 2021 she received the Herb Alpert Award in the Arts for Visual Art. Tanya Lukin Linklater is represented by Catriona Jeffries, Vancouver. Her Alutiiq/Sugpiaq homelands are in southwestern Alaska, and she lives and works in northern Ontario.

 

https://www.sfu.ca/galleries/sfu-gallery/TsemaIgharas.html


 




 

Tanya Lukin Linklater
breath ,’ echo
November 12, 2022–January 7, 2022
Opening November 10, 6-8pm

Catriona Jeffries 

950 East Cordova Street    

Vancouver BC

 www.catrionajeffries.com

 

 

Tanya Lukin Linklater's practice centers knowledge production in and through conversation and embodied practices. Her work encompasses, but is not limited to, performance, dance, video, drawing, photography, installation, and writing. Originating from the Native Villages of Afognak and Port Lions, southern Alaska, and living and working in North Bay, Ontario for over a decade, her work reckons with histories that affect Indigenous peoples' lives, lands, and ideas. Considering collaboration an anticolonial approach, she often produces work alongside dancers, composers, musicians, and poets, in relation to museums, objects in exhibition, scores, and cultural belongings. In her first solo exhibition with the gallery, she presents three distinct, yet iterative recent projects.

 

Lukin Linklater’s ongoing series of Hair Prints (2022) is produced by coating her hair in natural pigments of crushed strawberry, blueberry, and raspberry, and then using the gesture of her hair to transfer them to paper. “I undertook a series of movements in [the] studio allowing for my hair to fall, move across, and be pressed into the paper following my body.” Captured in the works are ephemeral moments and experiences. The mark making connected to the body registers choreography in the print itself, articulating action beyond the object.

 

Held in the air I never fell (spring lightning sweetgrass song) (2022), commissioned for the Toronto Biennial of Art, comprises a round platform of wood and copper, above which rises a suspended composition of colorful textile scarves. The wood of the platform was milled from ash trees culled as part of a municipal program to control the spread of emerald ash borer, a devastating invasive species. The use of copper leaf on the platform points to the element’s significance in Indigenous communities as a signifier of both inherited and communal wealth. The kokhom scarves (“kohkom” is Cree for “grandmother”) are a recurring material in her practice, and for Lukin Linklater, the scarves are a way to evoke “women’s intergenerational, embodied, experiential (and sometimes land-based) knowledge.” By referring to the wood structure as a “performance platform,” as a material, the work suggests that not only could a body activate it, but perhaps the scarves themselves are already “performing” in their formation.

 

The 2020 video, This moment an endurance to the end forever, commissioned by ICA, Virginia Commonwealth University, is part of an ongoing series related to Indigenous geometries that was produced during the pandemic across multiple geographies. Here, she considers “Indigenous knowledges that teach us about breath and air.” Lukin Linklater combines super 8 footage of herself performing alongside bentwood sculptural components in her own home, and choreographed collaborations with dancers along the Salmon River, Ontario, as well as her own writing. The resulting video is structured through the duration of one day–from sunrise to sunset.

 

Lukin Linklater’s forthcoming and recent exhibitions include the 14th Gwangju Biennale, South Korea (2023); Contemporary Art Gallery, Vancouver (2022); National Gallery of Canada, Ottawa (2022); Oakville Galleries, Canada (2022); New Museum Triennial, New York (2021); San Francisco Museum of Modern Art (2020); Remai Modern, Saskatoon (2020, 2017, 2016); Heard Museum, Phoenix (2020); Trinity Square Video, Toronto (2020); Chicago Architecture Biennial (2019); Crystal Bridges Museum of American Art, Bentonville (2018); Art Gallery of Ontario, Toronto (2017); Winnipeg Art Gallery (2017); La Biennale de Montréal (2016); and Art Gallery of Alberta, Edmonton (2016).

 

Lukin Linklater is a doctoral candidate at Queen's University, she holds a Master's of Education from the University of Alberta (2003), and a Bachelor of Arts from Stanford University (1998). She received the Wexner Center for the Arts Artist Residency Award in Visual Arts, Columbis (2022–2023), was the recipient of The Herb Alpert Award in the Arts, Visual Arts (2021), and in 2019 she received the Art Writing Award from the Ontario Association of Art Galleries. Slow Scrape, her first book of poetry, was published by The Centre for Expanded Poetics and Anteism (2020) with a second edition published by Talonbooks (2022).

 

 


 

 

The Capilano Review celebrates its 50th anniversary with the publication of a three-part glossary featuring over a hundred of the magazine’s past contributors. 

 

Issue 3.48 (Fall 2022): S – Z, the final issue in the series, features new and archival work by: Jordan Abel, Andrea Actis, Afuwa, Phanuel Antwi, Susan Bee, Charles Bernstein, Nicole Brossard, Lorna Brown, Colin Browne, Ted Byrne, Louis Cabri, Fabiola Carranza, Allyson Clay, Stephen Collis, Peter Culley, Junie Désil, Geoffrey Farmer, Nicole Raziya Fong, Ayumi Goto, Mackenzie Ground, dallas hunt, S F Ho, Rob Jackson, Anahita Jamali Rad, Andrew Klobucar, Tanya Lukin Linklater, Jami Macarty, D. S. Marriott, Otoniya J. Okot Bitek, Jenny Penberthy, Meredith Quartermain, Sina Queyras, Reuben Quinn,  Kathy Slade, George Stanley, Christine Stewart, Fenn Stewart, Sharon Thesen, Charlene Vickers, and Ian Williams. 

 

 

In the 50th Anniversary Issue 3/3 (Fall 2022) of The Capilano Review, the issue is organized by letters S - Z. My entry for S is titled, "Suk." 

 

https://thecapilanoreview.com/issues/fall-2022-50th-anniversary-issue-3-3/