Adam Kleinman's review of Soft Power at SFMOMA, Do Artists Have ‘Soft Power’ To Create Political Change?, was published in Frieze on November 28, 2019. You can view the article here:


Adam Kleinman's description of my work:


"The theme of return is also present in Tanya Lukin Linklater’s Flat vessels made by the hands of our grandmothers that we discern and decipher as potential messages of repair (2019), an unveiling of Alutiiq sewing pouches on loan from the storage vaults of the Phoebe A. Hearst Museum of Anthropology. Alongside the bags, which have been placed in a low vitrine framed by a living room couch, screens a silent video, The treaty is in the body (2017), in which Omaskêko Cree knowledge keeper Jennifer Wabano leads a discussion with several women and girls on the history of deals between Indigenous peoples and North American governments – or so the wall text tells us, as we are denied access to their words, and must instead focus on their gestures. This intimate mediation on heritage and the uses of memory as a form of resistance is possibly the most stirring work in the show."


Karen Rosenberg's review of Soft Power at SFMOMA for the New York Times, 

‘Soft Power’: When Political Art Walks a Very Fine Line, was published on December 19, 2019. You can view the article here:


Karen Rosenberg's description of my work:


"Other examples abound of women’s groups as keepers of tradition or vital information: soft power as female power, historically speaking. Tanya Lukin Linklater’s video “The treaty is in the body,” invites viewers into a gathering of women from the Omaskêko Cree nation as they explore the treaty relationships that are fundamental to their culture. The work is silent, but its many intimate gestures — one woman braids another’s hair — resound with shared understanding."



In San Francisco, Wielding Influence (Gently) Through Art

“Soft Power” looks at how creativity helps to shape society.


An article by Ted Loos that included interviews with Curator of Contemporary Art at SFMOMA, Eungie Joo, and artists, Tavares Strachan, Xaviera Simmons, and myself.


The article was also run in print on Sunday, October 27, 2019. 


Tanya Lukin Linklater read from her forthcoming collection of poetry, Slow Scrape (Centre for Expanded Poetics and Anteism), at the Berkeley Arts Museum and Pacific Film Archive Monday, October 14, 2019 on Indigenous Peoples Day alongside readings and performances by Beth Piatote, Sarah Biscarra Dilley, and Alan Palaez Lopez.


While in California she also spoke at the Institute for Diversity in the Arts at Stanford University (October 16, 2019) and the Centre for Race and Gender at University of California - Berkeley (October 17, 2019). Both talks centred her artistic work and thinking in relation to Indigenous performance, cultural belongings, repatriation, and museums.


Lastly, Tanya participated in the Soft Power artists' discussion organized by Curator of Contemporary Art at SFMOMA, Eungie Joo, on Thursday, October 25, 2019 to coincide with the opening of Soft Power. The list of participants in the discussion in addition to Eungie Joo and Jovanna Venegas, Assistant Curator of Contemporary Art, include:


Marwa Arsanios

Dineo Seshee Bopape
Nikhil Chopra
Minerva Cuevas

LaToya Ruby Frazier
Hassan Khan
Duane Linklater
Tanya Lukin Linklater
Cinthia Marcelle
Dave McKenzie

Carlos Motta
Tuan Andrew Nguyen
Eamon Ore-Giron
Pratchaya Phinthong
Xaviera Simmons
Tavares Strachan

I have published a video, Water, 2013 on Still Point Magazine's online publication (Issue 2) alongside a text by Marcie Rendon, a writer and citizen of White Earth Nation. Over twenty years I ago I was introduced to Marcie Rendon's writing. Her text is titled "Walking in the Shadows." WATER (2013) is a part of a longer series of videos and performances by the artist that re-enact moments in films centred on children within difficult circumstances. This video was shot in northern Ontario in late spring. Dancers: Daina Ashbee and Emily Law. Camera: Duane Linklater. With support from Ontario Arts Council.


I was invited to contribute to Inuit Art Quarterly's Summer Issue 2019 - Film. I chose to write about Blackfoot/Sámi filmmaker, Elle-Máijá Tailfeathers,’ 2014 film, Bihttoš (Rebel). This short essay is now available online



Ontario Presents featured a short interview with me in their recent newsletter. Please see the interview here.



As an invited artist, I gave a keynote at the UBC - Okanagan Summer Indigenous Art Intensive on Wednesday, July 17, 2019. The Summer Indigenous Art Intensive is "month-long residency [that] gathers artists, curators, writers and scholars to engage in contemporary ideas and discourse—a place for new ideas rooted in Indigenous art-making" and "The 2019 Intensive broadly engages the theme Site/ation, connecting to place through Indigenous territoriality, being grounded in land, voice and language, reconnecting to/nurturing traditions, and beyond." My talk centred on my lived experiences as Alutiiq person considering the relationships between Alutiiq peoples, museums, and repatriation and my thinking and theorizing of performance as a gesture towards repatriation. I spoke specifically to the project, We wear one another, 2019 for Soundings curated by Dylan Robinson and Candice Hopkins at the Agnes Etherington Arts Centre and the Isabel Bader Centre for the Performing Arts. 

Tanya Lukin Linklater participated in a residency at White Water Gallery in July, 2019. She invited dancers, Ceinwen Gobert, Ivanie Aubin-Malo and Danah Rosales, to the residency for a choreographic creation process documented by Neven Lochhead. This choreography will be further developed in fall 2019 in preparation for a new video work in relation to cultural belongings from Alaska. Tanya's visits to cultural belongings and her ongoing writings about the relationships of Alutiiq peoples to museums, cultural belongings and our ancestors, inform this new project.