I am pleased to share that I will participate in “Soft Water Hard Stone,” the fifth New Museum Triennial opening in October, 2021. Forty artists and collectives from across the world have been invited. 

 

From the New Museum website/press release:

 

The title of the 2021 Triennial, “Soft Water Hard Stone,” is taken from a well-known proverb in Brazil: Água mole em pedra dura, tanto bate até que fura (Soft water on hard stone hits until it bores a hole). The proverb can be said to have two meanings: if one persists long enough, the desired effect can eventually be achieved; and time can destroy even the most perceptibly solid materials. The title speaks to ideas of resilience and perseverance, and the impact that an insistent yet discrete gesture can have in time. It also provides a metaphor for resistance, as water—a constantly flowing and often underestimated material—is capable of eventually dissolving stone—a substance associated with permanence, but also composed of tiny particles that can collapse under pressure.

 

In this moment of profound change, where structures that were once thought to be stable are revealed to be precarious, broken, or on the verge of collapse, the 2021 Triennial recognizes artists reimagining traditional models, materials, and techniques beyond established institutional paradigms. Their works exalt states of transformation, calling attention to the malleability of structures, porous and unstable surfaces, and the fluid and adaptable potential of both technological and organic media. The works included in the exhibition look back toward overlooked artistic traditions and technological building blocks, while at the same time look forward toward the immaterial, the transitory, and the creative potential that might give dysfunctional or discarded remains new life.

 

“Soft Water Hard Stone” is curated by Margot Norton, Allen and Lola Goldring Curator at the New Museum, and Jamillah James, Senior Curator, The Institute of Contemporary Art, Los Angeles (ICA LA). Curatorial Fellow: Jeanette Bisschops.

 

The exhibition will be accompanied by a fully illustrated catalogue copublished by the New Museum and Phaidon Press Limited. The catalogue is designed by Elizabeth Karp-Evans and Adam Turnbull of Studio Pacific and includes contributions from Jamillah James, Margot Norton, Karen Archey, Eunsong Kim, and Bernardo Mosqueira, and features original interviews with all forty artists participating in the exhibition.

 

ABOUT THE TRIENNIAL

The New Museum Triennial is the only recurring international exhibition in New York City devoted to emerging artists from around the world, providing an important platform for a new generation of artists who are shaping the current discourse of contemporary art and the future of culture. The first edition was initiated in 2009 with “Younger Than Jesus,” organized by Massimiliano Gioni, Laura Hoptman, and Lauren Cornell. The second Triennial, “The Ungovernables,” was organized by Eungie Joo in 2012. The third Triennial, “Surround Audience,” was organized by Lauren Cornell and Ryan Trecartin with Sara O’Keeffe and Helga Christoffersen in 2015. The fourth Triennial, “Songs for Sabotage,” was organized by Gary Carrion-Murayari and Alex Gartenfeld with Francesca Altamura in 2018.

 

For more information, including a full list of artists, please see the New Museum website:

 

https://www.newmuseum.org/exhibitions/view/2021-triennial-soft-water-hard-stone

 


Commonwealth has published a conversation between Tiffany Shaw-Collinge and I in Issue 3. "Three volumes, mainly in digital format, include networks of content linked to the Commonwealth project" organized by Institute for Contemporary Art at Virginia Commonwealth University, Beta-Local and Philadelphia Contemporary.

 

Our conversation, first convened by Beth Weinstein informally and edited by us for the publication, includes notes and interjections by co-curators, Stephanie Smith and Noah Simblist. Tiffany and I discuss Indigenous geometries, 2019. I also wrote a short text regarding This moment an endurance to the end forever, 2020, a new work for camera and a commission for Commonwealth. 

 

http://commonwealths.art/tanya-lukin-linklater-and-tiffany-shaw-collinge/

 


“Out of the unbearable and seemingly unspeakable, ground is broken. We feel for one another.”

 

Layli Long Soldier's introduction to Slow Scrape was published in the inuagural issue of o bod magazine (December 1, 2020). You can view the text here:

 

https://www.obodmag.com/magazine/slow-scrape-introduction-layli-long-soldier

 

 


Godfre Leung has written a long form essay, "Tense: On Tanya Lukin Linklater's We wear one another," for the inaugural issue of Reissue (January 2021).

 

ReIssue is an interdisciplinary art writing platform focused on shaping and sustaining a contemporary west coast discourse rooted in critical engagement with experimental art practices.

 

You can read the text here:

 

https://reissue.pub/articles/tense-on-tanya-lukin-linklaters-we-wear-one-another

 


Indigenous Movement: A Discussion

Institute for Contemporary Art at Virginia Commonwealth University 

January 13, 2020, 6 – 7:30 pm

Via Zoom webinar 

 

Writer and curator Candice Hopkins moderates this conversation, which brings together Commonwealth artists Tanya Lukin Linklater and Tiffany Shaw-Collinge with Vanessa Bolin, an activist, singer, and leader of the Richmond Indigenous Society; it will be introduced by Commonwealth co-curator Stephanie Smith.

 

This panel is inspired by two works presented in Commonwealth. Lukin Linklater, an artist who often works with dance and choreography, has designed space for Indigenous performance in collaboration with architect Shaw-Collinge. The ICA’s exhibition pairs their 2019 sculpture, Indigenous geometries, with Lukin Linklater's newly commissioned performance for camera, This moment an endurance to the end forever.  

 

To register:

 

https://icavcu.org/events/indigenous-movement-a-discussion/


For Constellations, Contemporary Indigenous Art from the Americas, Catherine Wood, Senior Curator, International Art (Performance) at Tate Modern, was in conversation with Tanya Lukin Linklater during a studio visit in October, 2020. You can view the video here:

 

https://muac.unam.mx/constelaciones/programa/cronotopos/conversacion-con-la-artista-tanya-lukin-linklater

 

Candice Hopkins, Senior Curator for the Toronto Biennial, included an essay, Repatriation otherwise: How Protocols of Belonging are Shifting the Museological Frame, in Constellations' digital forum. The essay discusses Tanya Lukin Linklater's project, We wear one another, for Soundings: An Exhibition in Five Parts and can be found here:

 

https://muac.unam.mx/constelaciones/assets/docs/enssays-candicehopkins.pdf

 

Constellations, Contemporary Indigenous Art from the Americas was organized by the Hyundai Tate Research Centre: Transnational and Museo Universitario Arte Contemporáneo of the Universidad Nacional Autónoma de México (MUAC), through its Extraordinary Lectures Series on Critical Museology and on Aesthetics, Politics, and Critical Historiography of Contemporary Art in México and Latin America. There were three thematics: Geopoetics, Chronotopes and Enunciations. 


Tanya Lukin Linklater read from Slow Scrape for the inaugural Arctic Art Book Fair in November, 2020. 

 

Free and open to the public, the Arctic Art Book Fair is a multi-day celebration of artists’ and independent presses featuring over 35 local, national and international publishers, as well as a diverse line-up of presentations, readings and artists’ projects. Featured exhibitors produce everything from books, magazines, zines and printed ephemera to digital, performative or other experimental forms of publication.

 

AABF is organized by Mondo Books and is the first art book fair to our knowledge that brings together producers from all over the circumpolar north; Alaska, Northern Canada, Greenland, Northern Scandinavia and Russia. The fair, which will be hosted by a different arctic country in the upcoming years, hopes to provide a sustainable meeting place and exhibition venue for arctic artistic communities and local audiences from the Barents region. It is also committed to arctic content, with a focus on Indigenous perspectives, under-represented voices and emphasizes cross-border collaborations.

 

It was held November 13-15, 2020 in Tromso, Norway. 

 

https://www.arcticartbookfair.com


 

Choreographies of the Archipelago: Artists in Conversation
Hosted by the Institute for Curatorial Practice in Performance

Wesleyan University 

 

Four days of online artists talks, December 3-6, 2020

 

On December 3-6, 2020, the Institute for Curatorial Practice in Performance will host Choreographies of the Archipelago: Artists in Conversation, a series of online exchanges between artists who work across a variety of geopolitical and disciplinary contexts. Together, artists reflect on their shared and differing understanding of what vital concerns, methods, and gestures are called for by the pressing challenges faced at both local and transnational levels. Artist pairings include: Yasuko Yokoshi and mayfield brooksTanya Lukin Linklater and Okwui OkpokwasiliArkadi Zaides and Ligia Lewis, as well as Eleonora Fabião and Jelili Atiku.

 

 

Please see the website for more information:

https://www.wesleyan.edu/icpp/events.html