September 13, 2022


The Wexner Center for the Arts at The Ohio State University is excited to share the recipients of Wexner Center Artist Residency Awards for the coming year.  
The awards, which are bestowed annually, exemplify the center’s mission: to offer unique experiences across multiple disciplines and to fuel the creative expression behind them. Wex Artist Residency Awards recognize the exceptional talents of individuals in the fields of Film/Video, Learning & Public Practice, Performing Arts, and Visual Arts through significant financial and technical assistance for the creation of new work.  


Visual Arts: Tanya Lukin Linklater 
Lukin Linklater (she/her) is a multidisciplinary Indigenous artist. Her Alutiiq homelands are in the Kodiak archipelago of Alaska, and she now lives in the Nbisiing Anishinaabeg territory in Ontario. Lukin Linklater’s work traces the expansive ways Indigenous knowledges, histories, and structures have been embodied and sustained, and in turn, highlights the complexities of their presence in institutional settings.


Building on her iterative body of work, My mind is with the weather, her Wex residency will support outdoor open rehearsals in Ohio and a new work for camera, which will feature in a solo exhibition at the Wex in 2024, Lukin Linklater’s first in the US.


For a complete list of receipients and more information please see:

The 14th Gwangju Biennale


soft and weak like water



Dates: April 7, 2023July 9, 2023

Artistic Director: Sook-Kyung Lee



The 14th Gwangju Biennale, soft and weak like water, announces the first participating artists and preliminary details on its curatorial themes, artist selection, artworks, venues and public program. Bringing together around 80 artists from different corners of the globe, the Biennale will present over 40 commissioned projects and new works. The Biennale is curated by Artistic Director Sook-Kyung Lee, alongside Associate Curator Kerryn Greenberg, and Assistant Curators Sooyoung Leam and Harry C. H. Choi.


soft and weak like water takes its inspiration from a chapter of Dao De Jing, a fundamental Daoist text, which speaks of water’s capacity to embrace contradictions and paradoxes. The Biennale proposes to imagine our shared planet as a site of resistance, coexistence, solidarity, and care, by thinking through the transformative and restorative potential of water as a metaphor, a force, and a method. It invites artists to engage with an alternative model of power that brings forth change, not with an immediate effect but with an endurance and pervasive gentleness that flows across structural divisions and differences.


The first participants to be announced are: Larry Achiampong, Abbas Akhavan, Farah Al Qasimi, Tarek Atoui, Bakhyt Bubikanova, María Magdalena Campos-Pons, Chang Jia, Latifa Echakhch, James T. Hong, Sky Hopinka, Huong Dodinh, Tess Jaray, Kang Yeon-gyun, Naiza Khan, Yuki Kihara, Christine Sun Kim, Kira Kim, Kim Kulim, Minjung Kim, Soungui Kim, Emily Kame Kngwarreye, Meiro Koizumi, Abdoulaye Konaté, Chila Kumari Singh Burman, Lee Kun-Yong, Lee Seung-taek, Kim Lim, Candice Lin, Tanya Lukin Linklater, Liu Jianhua, Guadalupe Maravilla, Noé Martínez, Mata Aho Collective, Mayunkiki, Alan Michelson, Małgorzata Mirga-Tas, Naeem Mohaiemen, Yuko Mohri, Betty Muffler, Aliza Nisenbaum, Lucia Nogueira, Oh Suk Kuhn, Oh Yoon, Oum Jeong Soon, Pangrok Sulap, Sopheap Pich, Taiki Sakpisit, Thasnai Sethaseree, Dayanita Singh, Buhlebezwe Siwani, Vivian Suter, Yu Jiwon, Yuma Taru, Charwei Tsai, Judy Watson, Alberta Whittle, Robert Zhao Renhui, David Zink Yi.


Themes and Structure


The Biennale will explore its theme through four subtopics: Luminous Halo positions the spirit of Gwangju as a source of inspiration and model for resistance and solidarity; Ancestral Voices highlights transnational artistic approaches for engaging and interpreting traditions to question and challenge modernist ideas; Transient Sovereignty considers the ways in which post-colonial and de-colonial artistic thinking have developed in relation to issues such as migration and diaspora; and Planetary Times explores the potentials and limits of a ‘planetary vision’ on ecological and environmental justice.


Aspiring to understand seemingly disparate yet equally urgent global issues as one entanglement that affects the whole planet and its inhabitants, soft and weak like water gives prominence to voices that speak about systems and practices of knowledge as alternatives to the ones governed by modernist thinking. Ranging from traditional healing, community-based and collective creation to reinterpretation of indigenous crafts, the Biennale presents discourses and practices that highlight ways of existing together, which help locate solidarity in both our affinities and our singularities.


To read more of the press release, please see:



The curatorial essay penned by Noa Bronstein for the exhbiition To meet the curve of movement with the rhythm of legibility (with Erika DeFreitas, Tanya Lukin Linklater, and Cindy Mochizuki) at Paved Arts in Saskatoon can be found here:



23 SEP 22 UNTIL 8 JAN 23

Tanya Lukin Linklater

My mind is with the weather

Alvin Balkind Gallery


The practice of Tanya Lukin Linklater is at once an exploration and articulation of insistence. Across works encompassing performance, video, installation, and writing, Lukin Linklater traces the expansive ways Indigenous knowledges, histories and structures have been embodied and sustained amidst colonialisms’ systemic dispossessions. Centering her focus in and through the body, her works map continuance as an iterative practice, often most powerfully enacted through relational gestures such as conversation, movement, listening and touch.


At the Contemporary Art Gallery, Lukin Linklater presents An amplification through many minds (2019), a work that extends from her close engagement with a collection of Alutiiq/Sugpiaq and Unagan belongings originating from her homelands in southern Alaska and the Aleutian Chain, now held by the Phoebe A. Hearst Museum of Anthropology in Berkeley. This video follows Lukin Linklater and a trio of dancers through the process of developing a choreographic score for these displaced belongings that is subsequently performed in the museum’s storage vaults. A gesture towards both restoration and repatriation, this piece is accompanied by a series of new works on paper that index the artist’s presence through land and movement alike.


Tanya Lukin Linklater: My mind is with the weather is co-organized by the Contemporary Art Gallery, Oakville Galleries and the Southern Alberta Art Gallery.


Tanya Lukin Linklater

“The sky held me”
Book Launch and artist talk

Saturday October 15th, 2022
Textile Museum of Canada
55 Centre Ave, Toronto, ON M5G 2H5

3:00pm -4:00pm


In the context of a commission for The Toronto Biennial of Art 2022, Lukin Linklater generated projects in relation to water, weather and embodiment. The artist wrote a series of open yet concise scores to prompt performances for camera with four dancers. Shot over late summer, fall and early winter in Toronto and Montréal neighborhoods, near rivers, lakes, land formations, under the sky and amidst weather, ‘Sensation is a circuit of experience, a circuit of the felt traveling in and adjacent to the body’ premiered in 2022.


For the Ontario Culture Days Festival, the written scores will be shared as a print publication and online through the Ontario Culture Days website. An audio performance by Cedar Aisipi, Omaskeko Cree youth, prompts listeners. The scores may be experienced as gentle instructions returned to daily, or intermittently, in a practice of listening, breath, sensation and embodiment.


During the Festival, Lukin Linklater will undertake a performative lecture at the Textile Museum of Canada to coincide with the release of the publication. She will perform writings centred on embodiment and weather while screening ‘Sensation is a circuit of experience, a circuit of the felt traveling in and adjacent to the body’, 2022.


Partner Biography:

Launched in 2019, The Toronto Biennial of Art’s mission is to make contemporary art accessible to everyone. For 10 weeks every two years, local, national, and international Biennial artists transform Toronto and its partner regions with free exhibitions, performances, and learning opportunities. Grounded in diverse local contexts, the Biennial’s city-wide programming inspires individuals, engages communities, and contributes to global conversations. The Biennial provides expanded understandings of contemporary art practices and is building a legacy of free, inclusive, and accessible contemporary arts programming in Toronto, Mississauga, and their surrounding communities.



Friday, September 2, 2022 - Sunday, February 26, 2023

National Gallery of Canada 380 Sussex Drive Ottawa, ON 


Drawn from the collections of the National Gallery, this exhibition celebrates the expressive energy of the human body.  From seventeenth century prints to contemporary performance, paintings, photographs and videos, the show demonstrates how the body endures as a subject for artists wishing to explore issues of social concern, or express the many possibilities of human contact and interaction.


I will be participating in this exhibition with a new work, A gentle reassembly, 2022.


Soundings: An Exhibition in Five Parts continues its tour and is currently on view at

KCAI GALLERY: Center for Contemporary Practice

August 18 – October 30, 2022

Curated by Candice Hopkins and Dylan Robinson
Tour Organized by Independent Curators International (ICI)

with performances and other events happening during the exhibition.



Networks of Global Indigeneity

The Power Plant Contemporary Art Gallery spotlights contemporary indigenous artists from the circumpolar Arctic and the Amazon.


Arctic/Amazon: Networks of Global Indigeneity explores the ways in which Indigenous contemporary artists ​and collaborators take on issues of climate change, globalized Indigeneity, and contact zones in and about the Arctic and the Amazon during a time of crisis. The featured artists have their origins or are connected to these places, and their works embody a politics of resistance, resurgence, and ways of knowing and being in relation to the lands that are the source of their knowledge and creativity.

A constellation of new and past works by artists Pia Arke (Greenland/Denmark), Sonya Kelliher-Combs (United States), Tanya Lukin Linklater (United States/Canada), Couzyn van Heuvelen (Canada), Máret Ánne Sara (Norway), Uýra (Indigenous in diaspora), Olinda Reshijabe Silvano (Peru), Morzaniel Iramari (Brazil), Leandro Lima & Gisela Motta (Brazil), Sheroanawe Hakihiiwe (Venezuela), and Outi Pieski (Finland) will be featured in Arctic/Amazon. Encompassing a range of media, including paintings, drawings, sculpture, installation, video, and performance, this exhibition seeks to shed light on current geopolitical and environmental sustainability issues that inform artistic practices in these two vastly different, yet interconnected, regions.

The main themes in this group exhibition are drawn from the Arctic/Amazon symposium that was co-hosted by the Ontario College of Art & Design University and The Power Plant in September 2019. The purpose of the symposium was to gather established and emerging Indigenous scholars, curators, and artists primarily from North American regions of the Arctic and Amazonian zones to meet, exchange ideas, share works, and develop collaborative strategies that would bring together traditional knowledges of Indigenous and non-Indigenous communities.