Karen Pheasant-Neganigwane and Tanya Lukin Linklater will share insights into their practices as artists, educators, and writers working within Indigenous performance methodologies. Reflecting on their ongoing relationships with one another, place, language, and those who have shaped their work over time, Pheasant-Neganigwane and Lukin Linklater carefully consider their personal processes of situating embodied practices in community and in the arts. They will speak to the Indigenous performance histories that ground their contemporary approaches, as well as the role of intergenerational exchange as a mode of learning. The conversation, with moderator Clare Butcher, takes place ahead of Lukin Linklater’s contribution to the 2022 edition of the Toronto Biennial of Art and the Culture Days Creatives in Residence Program.


Taking place October 22 online. 


To register:




19 September – 30 December 2021

Oakville Galleries in Gairloch Gardens & at Centennial Square


“Two Truths and a Lie" is an icebreaker game that involves stating three possible propositions about oneself: two that are true and one that is false. Through deception, deduction, and disclosure, the players become better acquainted with one another.

The works included in Two Truths and a Lie speak to the complex interactions within the pursuit of truth—personal, visual, or social. Exploring these processes as ways of knowing, the exhibition highlights the different ways in which narratives come into being. The exhibition builds on the conceit of the game, featuring artists who are concerned with self-presentation, narratology, and language.


Through diverse techniques and mediums, these artists participate in the confessional as much as they slip into the hidden and fictional. Within these layers of thought, the artists also probe at assumptions and broaden the limits of understanding, guiding us towards more expansive ways of seeing and being in relation.


Two Truths and a Lie is drawn primarily from the permanent collection of Oakville Galleries.


Stephen Andrews, Valérie Blass, Colin Campbell, General Idea, Spring Hurlbut, Donna James, Tanya Lukin Linklater, Liz Magor, Olia Mishchenko, Louise Noguchi, Sojourner Truth Parsons, David Rokeby, Cheryl Sourkes, Lisa Steele, Derek Sullivan, Erdem Taşdelen, and Jin-me Yoon.


For more information:



Soundings, An Exhibition in Five Parts will open at Walter Phillips Gallery in Banff September 10, 2021.


How can a score be a call and tool for decolonization?

Soundings: An Exhibition in Five Parts features newly commissioned scores, performances, videos, sculptures and sound by Indigenous and other artists who respond to this question. Unfolding in a sequence of five parts, the scores take the form of beadwork, videos, objects, graphic notation, historical belongings, and written instructions. During the exhibition, these scores are activated at specific moments by musicians, dancers, performers and members of the public gradually filling the gallery and surrounding public spaces with sound and action.


The exhibition is cumulative, limning an ever-changing community of artworks, shared experience and engagement as it travels. Soundings shifts and evolves, gaining new artists and players in each location. Some artworks have multiple parts, others change to their own rhythm as the exhibition grows. 


Soundings activates and asserts Indigenous resurgence through the actions these artworks call forth. This iteration of the exhibition includes works by Raven Chacon and Cristóbal Martínez, Sebastian De Line, Camille Georgeson-Usher, Maggie Groat, Kite, Germaine Koh, Aaron Leon, Tanya Lukin Linklater, Ogimaa Mikana, Chandra Melting Tallow, Peter Morin, Diamond Point and Jordan Point, Heidi Aklaseaq Senungetuk, Greg Staats, Olivia Whetung, and Tania Willard.


Soundings: An Exhibition in Five Parts is an exhibition curated by Candice Hopkins and Dylan Robinson, and organized by Agnes Etherington Art Centre, Queen’s University, Canada. The traveling exhibition is organized by Independent Curators International (ICI).


For more information:




The Language in Common

Tuesday September 14, 2021 - Sunday December 12, 2021

Main Gallery, Ezra and Cecile Zilkha Gallery

Wesleyan University


The group exhibition The Language in Common presents artistic practices that site language in the space between poetry, visual art, and their performance. Moving beyond the spectacle of the origination of poetry or art, this project seeks to allow memory as a creative act in the process of making experience common, of making space for a new imaginary. The exhibition will bring together five artists whose work engages with politics on the periphery of hegemony, including Cecilia Vicuña (b.1948, Chile), Tanya Lukin Linklater (b.1976, Alutiiq), Julien Creuzet (b.1986, France), Jasper Marsalis (b.1995, U.S.), and Alice Notley(b.1945, U.S.). Featuring works encompassing installation, sculpture, video, drawing, poetry, and performance, as well as newly-commissioned works developed in response to the exhibition, The Language in Common aims towards what the poet Alice Notley calls “the language that holds all being together.”


Additional programming will include a small series of poetry chapbooks featuring poetry shared by the participating artists available for free to gallery visitors. This exhibition is supported by the English Department, Connecticut Humanities, the Allbritton Center for the Study of Public Life, the Institute for Curatorial Practice in Performance, and the Center for the Arts.


For more information:





The Herb Alpert Award in the Arts is an unrestricted prize of $75,000 given annually to risk-taking mid-career artists working in the fields of dance, film/video, music, theatre and the visual arts. The prize was initiated and funded by the Herb Alpert Foundation and has been administered by California Institute of the Arts since 1994. The Herb Alpert Award recognizes experimenters who are making something that matters within and beyond their field.

“The Herb Alpert Award in the Arts affords me the possibility of time and the quiet of focusing on my practice... In 2021 I am writing alongside projects I’ve produced in the last couple of years. It feels as though we are collectively in a moment where time has slowed. I imagine that my work will continue to circulate as Indigenous ideas in writing, in museums, and elsewhere but changed by this time in unanticipated ways.” - Tanya Lukin Linklater


I am so pleased to receive this award and to be amongst such a compelling, remarkable group of artists including Steffani Jemison, Will Rawls, Beth Gill, Adam Khalil, Kahlil Joseph, Toshi Reagon, David Virelles, Kimber Lee, and Kaneza Schaal. 


For more infromation: 





The Sobey Art Award announced the 25 artists longlisted for the award in 2021. 


I am pleased to share that I was selected as one of five artists longlisted in Ontario. The full list of artists can be found on the National Gallery of Canada website. 





From Inuit Art Quarterly:


"For the first time in its history, four circumpolar Indigenous artists appear on the Sobey Art Award longlist. Glenn Gear, Tanya Lukin Linklater, Laakkuluk Williamson Bathory and Maureen Gruben all appear on the longlist for the 2021 prize—Gear is nominated for the Atlantic category, Linklater for Ontario, and Gruben and Bathory for Prairies and North.


This is also the first year that artists of any age are eligible for the award, which since its inception in 2002 has only been presented to artists under 40. Some artists are only beginning their artistic careers at the age of 35, so the removal of the age limit allows for a greater range of emerging artists to make the list.


Jury Chair Sasha Suda, who is also Director and CEO of the National Gallery of Canada, said this year’s award received a record number of nominations, particularly from non-urban areas. “It has been an extraordinary privilege to learn about the amazing art being made from coast-to-coast-to-coast,” she said in the NGC press release."





The Heard Museum has launched Larger Than Memory: A Digital Experience. 


From the website:


Larger Than Memory: Contemporary Art From Indigenous North America presents works by contemporary artists working across the United States and Canada. Focusing on the two decades of 2000 to 2020, the exhibition highlights the significant contributions that Indigenous artists have made, and continue to make, by addressing critical dialogues taking place globally, engaging with challenging mediums and modes of production, and expressing a continuum of their respective cultural heritages while often entering into conversation with and revising the canon of art history.


The title of this exhibition is drawn, with permission, from Joy Harjo’s poem Grace, which contains the lines, ”I know there is something larger than the memory of a dispossessed people. We have seen it.” This verse spoke to our intention for this exhibition, which is to present outstanding work by Indigenous artists while creating an opportunity for reckoning with the marginalization and misrepresentation of Indigenous people within the field of contemporary art.


For more information and to view the digital experience:



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.



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: