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:






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.





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

Catriona Jeffries 

950 East Cordova Street    

Vancouver BC




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." 



5 DEC 22

1:00 PM UNTIL 5:00 PM


6 DEC 22

1:00 PM UNTIL 5:00 PM


7 DEC 22

1:00 PM UNTIL 5:00 PM


Open Rehearsals

Tanya Lukin Linklater

Offsite, Vancouver 


From December 5 to 7, Tanya Lukin Linklater invites visitors to witness a series of open rehearsals with dancer Ivanie Aubin-Malo. These rehearsals extend from Lukin Linklater’s work Hair Prints (2022), on view at CAG this fall.


For more information and to RSVP, please visit:






The second edition of Slow Scrape is apart of the fall poetry launch 2022 at Talonbooks. 



Many thanks to Michael Nardone, Layli Long Soldier and Catriona Strang for their work with the first and second editions. The new cover is a photograph in relation to my work, The treaty is in the body, 2017 with Liz Lott.



The sky held me book launch event organized by Ontario Culture Days with support from Toronto Biennial of Art included a reading of scores, Sensation is a circuit of experience, a circuit of the felt traveling in and adjacent to the body, and other writings on weather by Tanya Lukin Linklater. The print and online publication of Sensation is a circuit of experience, a circuit of the felt traveling in and adjacent to the body is designed by Studio Otami. The book can be accessed online. With contributions by dance artists Ivanie Aubin-Malo, Ceinwen Gobert, Hanako Hoshimi-Caines, and Emily Law. Please note that Cedar Aisipi, Omaskeko Cree youth, does a moving audio performance of the text online.




The curatorial essay penned by Frances Loeffler for the solo exhbiition, My mind is with the weather, at Oakville Galleries can be found here: