Under the Mango Tree – Sites of Learning gathering

Kunsthochschule Kassel, Germany
18 Jul 2017 - 19 Jul 2017



Formal education systems are increasingly reaching their limits due to a growing multiplicity of perspectives. However informal and artist-led educational initiatives are taking root. In cooperation documenta 14's aneducation and ifa (Institut für Auslandsbeziehungen) organise the gathering of Under the Mango Tree—Sites of Learning, which addresses and presents educational shifts. Different artistic initiatives and schools from multiple geographies, which are critically positioned outside and within the Western canon, have been invited from around the world.  


With a special emphasis on both historical and contemporary accounts as well as examples from non-hierarchical models of learning, these initiatives address forms of indigenous practices of communal production and preservation of knowledge, postcolonial knowledge production, as well as the role of the artist in building a democratic society. 


15 contributors will work towards new vantage points for a contemporary and broadened understanding of learning and knowledge production. The outcomes will be presented in different formats, ranging from lectures to performances and workshops. The participants of the gathering will be able to actively participate. With reference to the model of a communal garden as a place of teaching and learning, the gathering takes place at various sites in Kassel during documenta 14.


Wood Land School will participate in Under the Mango Tree. 


Under the Mango Tree is a cooperation between aneducation of documenta 14 and ifa (Institut für Auslandbeziehungen).


Supported through a partnership with ArtsEverywhere, an online platform by Musagates, which places the arts in relation to all aspects of the world around us.


with Tanya Lukin Linklater, Darlene Naponse and Deanna Nebeneonquit

June 1 to July 8, 2017

la galerie du nouvel-Ontario

Sudbury, Ontario


Bezhik beshaabiigan zhaabsemigak mzinbiige-gamigoong. Gaa-zhiwebak miinwaa ge-ni-zhiwebak enji-ni-zhaamigak maanda. Giigdoowin zhichigaade. Mii go enji-ganoontaading nswi Nishnaabe meznibiigejig. Northern Ontario yaawak. Maamwi naagdowendaanaawaa aki, nishnaabemwinan, gchi-naakinigewin, aankoobjignak, gaa-zhiwebak miinwaa waa-ni-zhiwebak. Maamwi ninda zhichigaadenoon gaa-zhichigaazong zhinda mzinbiige-gamigoong.


Beshaabiiganan (Lines)

A line travels through the gallery extending to the past and to possible futures structuring ongoing conversations between three Indigenous artists in Northern Ontario. Their shared concerns – land, Indigenous languages, treaty, relationships, histories and futures – inform the installation.



LandMarks2017/Repères2017 "Park Life": Interventions in Public Space organized by Queen's University
11-18 June, 2017 | Reception 16 June (11am-1pm)
Curated by Tania Willard + Carina Magazzeni


How we mark land and how land marks us is a performance by Tanya Lukin Linklater in Thousand Islands National Park with Laura Ortman, Elisa Harkins and Hanako Hoshimi-Caines


Artist Statement:

Within Indigenous understandings of treaty, as fixed through orality, the treaty is held within the body and speaks to our ancestors’ agency and sovereignty, to the land, to sharing, and to a sense of urgent futurity. Thinking through an embodiment of treaty, this collaborative performance will feature scores that develop over the course of the artists’ residency, unfolding into a sensorial experience.

BlackFlash Magazine has published a conversation between Tasha Hubbard and I regarding my work, the the, performed at Remai Modern, Saskatoon, in 2016. 


Please see the story here:




Urban Shaman Contemporary Aboriginal Art



Curator: Becca Taylor
Artists: Tanya Lukin Linklater, Dion Kaszas, Jaime Black
Running dates at the gallery: May 4th to June 10th, 2017

May 4: 4pm till 7pm - Dion Kaszas Performance
            7pm– Jaime Black Performance
May 5: 7pm – Official Opening
            8pm - Tanya Lukin Linklater performance

            with Marcus Merasty and Arlo Reva


Curatorial Statement:
Urban space – what is removed and what is built within an urban landscape – erases Indigenous presence. While this exhibition recognizes the strategic colonial systems of displacement in urban contexts, it also aims to acknowledge the ways in which Indigenous communities continue to exist and resist. Streets and buildings are marked by ambiguous ephemera from our actions and active existence; traces of our histories, knowledges, homes and activism are present, and leave imprints on the urban landscape. We continue to create an ongoing narrative about our bodies’ connection to the land, regardless of the concrete structures that make up cityscapes. This exhibition also aims to acknowledge the Indigenous body as a site and a method of expression, examining the physical presence of Indigenous peoples within urban spaces that are built and occupied by settler communities.

Traces includes series of performances and installations examining how our physical presence holds within urban structures, and explores the longstanding connections our bodies have to our ancestors, the land and our communities. This exhibition commits our bodies to an ideology through our physical actions and shifts the presence of contemporary art away from the urban architectural structures and towards the body.



Upcoming Event



Launch of the Second Gesture

Performances by Elisa Harkins, Tsēma Igharas, Hilda Nicholas

Works by Joi T. Arcand, Tsēma Igharas, Brian Jungen, Gabrielle L’Hirondelle Hill, Marianne Nicolson, Annie Pootoogook, Wendy Red Star and Elisa Harkins & Nathan Young


11 May 2017

6–8 pm


Wood Land School: Kahatènhston tsi na’tetiátere ne Iotohrkó:wa tánon Iotohrha / Drawing a Line from January to December is conceived as a single year-long exhibition that unfolds through a series of gestures—clusters of activity that bring works into and out of the gallery space—such that the exhibition is in a constant state of becoming.


The first gesture was concerned with the power of line to mark history and invoke memory. In this first gesture, we have considered what it means to inherit a history. We have made claims for where we have felt ourselves formed. We have proposed that this is one potential way to pick up the line.


In the second gesture we ask: how does the line behave? Spanning video, photography, sculpture, drawing and performance, the works of the second gesture show us how to occupy the present. Here, in the second gesture, the line acts as a point of departure for Indigenous relations, mapping time, family, Indigenous languages and non-human relations in the now. And yet, this isn't a singular line of thought. When does a line of thinking become collapsed or disrupted? In this second gesture, we complicate and converse with the idea of the line and materiality.


Wood Land School: Kahatènhston tsi na’tetiátere ne Iotohrkó:wa tánon Iotohrha / Drawing a Line from January to December has yielded many questions and ideas—for Wood Land School, for SBC, for the artists and for our publics. Collectively, we consider how this line acts, thinks and articulates itself under this particular condition we have created or implicated ourselves in.


I have contributed a text, "i fall into a place that is between body and song," for an ALMANAC published by Kitchener-Waterloo Art Gallery, edited by Maggie Groat in conjunction with her exhibition, Suns Also Seasons, opening in March 2017. The text was written in real time during Leanne Simpson's durational performance of "How To Steal a Canoe" with Cris Derksen, cellist, for Constellation/Conversation at ArtSpace in Peterborough in September, 2016. 



I am contributing a series of event scores for a publication to accompnay the exhibition, That I am reading backwards and into for a purpose, to go on: curated by Magdalyn Asimakis,

Alexandra Symons Sutcliffe and Jared Quinton at The Kitchen in New York City. It will be published by the Whitney Museum of American Art Independent Study Program. 


Description from the website:


The current American political crisis presents an acute challenge to the relationship between the visible and knowable, making it now more urgent than ever to consider how truth claims are constructed. This exhibition makes space for the coexistence of historical thought and present action. Working in film, video, sculpture, and performance, the contributing artists tease out the techniques by which the visible and knowable are produced and reckon with the ways the human body is enmeshed in and trained by multiple technologies. The artists use performance, rhetoric, and repetition to remind us that we are historically constructed subjects. The title of this exhibition is a citation of the essay “Removing the Minus” (2012) by the artist, curator, writer, and teacher Ian White. Taking up White’s pedagogical poetics as a working method, this exhibition reckons with history and the construction of the conditions of the present. It is the privilege and duty of art to address both what is seen and the mechanisms of viewership—the keys to which, as White’s quote suggests, lie in reading backward and into while looking toward the future.

The exhibition features works by Julia PhillipsKevin BeasleyBrendan FernandesBabette MangolteMartine SymsSilvia KolbowskiLorenza MondadaNicolle Bussien & Sara KeelSteffani JemisonMarvin Luvualu Antonio, and Aisha Sasha John


A companion publication features texts by Park McArthurtaisha paggett, and Tanya Lukin Linklater.


The exhibition is curated by Magdalyn AsimakisJared Quinton, and Alexandra Symons Sutcliffe, Helena Rubinstein Curatorial Fellows at the Whitney Independent Study Program (ISP).


May 23–June 10
Opening reception: May 23, 5–8pm
Gallery hours: Tuesday–Saturday, 11–6pm

This exhibition is a collaboration between the Whitney Museum of American Art Independent Study Program and The Kitchen. Curatorial participants of the ISP are designated as Helena Rubinstein Fellows in recognition of the long standing support of the Helena Rubinstein Foundation. Support for the Independent Study Program is provided by Margaret Morgan and Wesley Phoa, The Capital Group Charitable Foundation, The New York Community Trust, and the Whitney Contemporaries through their annual Art Party Benefit. Endowment support is provided by Joanne Leonhardt Cassullo, the Dorothea L. Leonhardt Fund of the Communities Foundation of Texas, the Dorothea L. Leonhardt Foundation and the Helena Rubinstein Foundation.