KC ADAMS is a Winnipeg-based artist. Born in 1971, Adams graduated from Concordia University with a BFA and works in sculpture, installation, drawing, painting, photography, ceramics, printmaking, kinetic art and other media. She maintains her own website at showcasing her work and digital art projects. Adams has had several solo exhibitions, most recently Legacy at the Parramatta Artists Studios, Parramatta, NSW. She has also been featured in numerous group exhibitions such as My Winnipeg at la maison rouge, Paris, The Language of Intercession, OBORO Gallery, Montreal, and PHOTOQUAI: Biennale des images du monde, Paris. She has participated in residencies at The Banff Centre, the Confederation Art Centre in Charlottetown, National Museum of the American Indian, New York, as well as the Canada Council’s international residency in Parramatta, NSW. Adams has received several grants and awards from the Winnipeg Arts Council, Manitoba Arts Council and the Canada Council for the Arts. Twenty pieces from the Cyborg Hybrid series are part of the permanent collection of the National Gallery of Canada, Ottawa. The Indian and Inuit Art Centre, Ottawa, holds 10 Circuit City prints and Birch Bark Ltd. is in the collection of the Canadian Consulate in Sydney, NSW. Recently Adams created a public art piece for the United Way of Winnipeg and was the set designer of the Royal Winnipeg Ballet’s Going Home Star.

MARIA THEREZA ALVES is a Brazilian artist living in Europe. For 30 years, she has been researching social and cultural phenomena with a focus on situations that question social circumstances. Her work examines what we think we know, who we think we are, and the realities of how we actually are at a given time. In 1979 she founded the Brazilian Information Center, which lobbied for human rights of Indigenous peoples, and she co-founded the Partido Verde (Green Party) in São Paulo, Brazil in 1988.

Alves received her artistic training at Cooper Union, New York, and has exhibited widely in North America and Europe. She sees her political work as informing her artistic practice, which is centred on creating artist books, texts, drawings, photographs and videos which reframe local histories. She is best known for her multi-year project Seeds of Change, which explores the social history of plant seeds in different port cities throughout Europe. In recent years, her work has been exhibited at venues including the Paris Triennial, Guangzhou Triennial, dOCUMENTA (13) in Kassel, the Berlin Biennale, the Bienal de São Paulo, the Taipei Biennial, Manifesta in Trento, the Prague Biennale, and the Lyon Biennale, where she received the Prix de la Francophonie.

WAYNE BAERWALDT is Director/Curator, Exhibitions, Alberta College of Art + Design (ACAD). He was the Director of The Power Plant (Toronto) from 2002 to 2005 and Director/Curator of Plug In Gallery (Winnipeg) from 1988 to 2000.

Baerwaldt has curated and co-curated numerous exhibitions including Theo Sims: the Candahar; Under the Influence of Fluxus; Pierre Molinier; Joep van Lieshout; Susan Turcot; Montreal Biennale 2007: Crack the Sky; The Royal Art Lodge: Ask the Dust; John Kormeling; Janet Cardiff & George Bures Miller: The Paradise Institute (2001 Venice Biennale); Paulo Whitaker; Glenn Ligon: Some Changes; Sheila Spence: All About Star; Iran Do Espirito Santo: Wall Drawings; Stephen Andrews: subject; Adam Pendleton: BAND; Gabriela Garcia-Luna; Blake Little: The Company of Albertans; and many other projects that trace performative elements in art-making. Numerous film and video co-productions include: The Eternal Network (a 26-part television series for WTN); FILM (dzama); Glenn Ligon: Death of Tom; Adam Pendleton: BAND; Shari Hatt: Two Clowns…; and Graeme Patterson: Smithbilt. He is co-founder and curator of Nuit Blanche Calgary ( Baerwaldt has contributed articles and essays to Blackflash, Catalyst, POV, City Magazine, Art&Text, Border Crossings, Parkett, Art on Paper, TIME, Guia des Artes, Poliester, Art Paper, MoMA São Paulo, MASS MoCA (Oh, Canada) and C Magazine.

REBECCA BELMORE was born in Upsala, Ontario, in 1960. She holds an Honorary Doctorate, Ontario College of Art and Design (2005) and a BFA from the Ontario College of Art and Design (1986). Since the 1980s, her multidisciplinary work has addressed history, place and identity through the media of sculpture, installation, video and performance.

Belmore’s work is firmly rooted in the current political and social realities of Indigenous communities, but its power and poetry resonate worldwide. Her many solo and group exhibition credits include Making Always War, Stride Gallery, Calgary (2009); Rebecca Belmore: Rising to the Occasion, Vancouver Art Gallery (2008); The Named and the Unnamed, organized by Morris and Helen Belkin Art Gallery, Vancouver; toured to Art Gallery of Ontario, Toronto (2003); Kamloops Art Gallery, (2004); Confederation Art Centre, Charlottetown (2004); and McMaster Museum of Art, McMaster University, Hamilton (2006); Ephemeral Monuments: The Interventions of Rebecca Belmore and César Saez, Galerie SAW Gallery, Ottawa (2006); Zones of Contact, 2006 Biennale of Sydney; and Intertidal: Vancouver Art and Artists, Museum of Contemporary Art of Antwerp (MuHKA) (2005). She was also Canada’s official representative at the 2005 Venice Biennale, where she was the first Indigenous woman to represent the nation. Belmore is the recipient of numerous honours and awards, including the 2009 Hnatyshyn Award and the 2013 Governor General’s Award for Visual and Media Arts.

JEN BUDNEY is an independent writer and curator who has held positions with the Mendel Art Gallery, Kamloops Art Gallery, Canada Council for the Arts, Gallery 101, and Flash Art International. Since 1994, her texts have been published in magazines and journals including Flash Art International, Parkett, Nka: Contemporary African Art, Art Asia Pacific, Third Text, Siksi: the Nordic art review, FUSE magazine, and more. She has contributed to catalogues for exhibitions at venues including Portikus, Frankfurt; Padiglione d’arte contemporanea, Milan; Compton Verney, UK; Sydney Biennale; Menil Collection, Houston; MassMOCA; and others. Budney curated retrospectives of the work of Jayce Salloum (history of the present) and Ruth Cuthand (BACK TALK), both of which toured to public and university art museums in Canada. She has co-curated exhibitions for the Waino Aaltonen Museum of Modern Art, Turku, Finland (WILD: Fantasy and Architecture, with Jan-Erik Andersson); la Fabbrica del Vapore, Milan (Americas Remixed, with Franklin Sirmans and Euridice Arratia); Center for Contemporary Photography, Melbourne (Stranger Knocking, with Roberto Pinto); and produced exhibitions for Franco Soffiantino Gallery, Turin (Rebecca Belmore and Nancy Spero); and la Galleria Civica di Modena (Francesca Woodman). Interdisciplinary projects include the lecture series UNBOXED on the intersections of art, architecture and performance, co-produced by Gallery 101 and Carleton University, Ottawa, as well as Overstepped Boundaries, a two-year educational, research and curatorial project with Aboriginal youth at the Kamloops Art Gallery.

MARCIA CROSBY taught literature and Native Studies at Vancouver Island University for 16 years, and works as a researcher, writer and curator. One of Canada’s foremost art historians, she has contributed essays on the work of Bill Reid, Emily Carr, Rebecca Belmore, and is the author of the influential essay, “Construction of the Imaginary Indian.” Crosby’s current work extends her curatorial research and writing for the exhibition, Nations in Urban Landscapes (1994), focusing on Aboriginal cultural production in urban spaces for diverse publics, and the formation of Aboriginal subjectivities as “indigenous” to urban life. Crosby’s focus on what is often referred to as “modern” is explored in two exhibitions she curated: “Aboriginal art in the city: Fine and Popular” (2008+) in Vancouver Art in the 60s; “The Paintings of Henry Speck: Udz’stalis” (co-curated with Karen Duffek), 2012. The former site is available online, and an essay for the latter is also available. Marcia Crosby has a BFA in Fine Arts and English Literature, completed her MA in Art History and Cultural Theory, UBC and is a PhD candidate in Art History.

LORNA CROWSHOE is a Piikani First Nation’s member from Southern Alberta and maintains her strong ties to the Blackfoot community. Crowshoe is involved in many personal and professional projects that are culturally and traditionally based in Blackfoot cultural. She is an employee of the City of Calgary as an Issues Strategist, and has spent most of her professional career in non-profit organizations and government. Crowshoe is the mother of three children, and supports them in any way she can in their personal endeavours. She is very proud of the work she did with women in her family to research a genealogy project that goes back eight generations when her ancestors were protecting the south entrance to Blackfoot Territory near Yellowstone River – just before treaty 7 was initiated by the government in 1877. Her primary Clans are the Lone Fighters and Buffalo Dung.

Crowshoe has a Bachelor’s of Management Degree from the University of Lethbridge and a Master’s in Business Administration from the University of Phoenix. Her professional career and personal passions motivate her to be involved in projects that allow for creativity in culturally inspired environments. She was involved in Calgary 2012’s Cultural Capital celebrations as an advisory member, and is a board member of their legacy project; Making Treaty 7. Crowshoe is also involved as a board member with Imagination 150 as they prepare for the sesquicentennial year in 2017. In 2012, Crowshoe and a few Blackfoot women from the city formed the Blackfoot Women’s Society. Their mission is to help inspire women to retain their culture and language, and advocate for one another on issues of employment, health, education and inclusion. Crowshoe is the chairperson for the Blackfoot Women’s Society.

RUTH CUTHAND was born in 1958 in Prince Albert, Saskatchewan, to Stan and Christina Cuthand and is of Cree (Little Pines Reserve) and Scottish (via New Brunswick) heritage. An artist, curator, single mother, and teacher, Cuthand holds a Bachelor of Fine Arts (1983) and a Master of Fine Arts (1992) from the University of Saskatchewan. She taught fine art at First Nations University of Canada for 25 years, until the university’s Saskatoon campus was closed due to budget cuts.

Cuthand’s retrospective exhibition, BACK TALK, opened at the Mendel Art Gallery in 2012 and has been touring to venues across Canada since 2013. The exhibition catalogue, with texts by Joan Borsa, Jen Budney, Lee-Ann Martin, and Gerald McMaster, is fully bilingual, English/Cree. The translation was organized by Neal McLeod, who worked with a team of Cree speakers across Saskatchewan.

JIMMIE DURHAM is a sculptor, essayist and poet. He became involved in the arts – theatre, poetry, and literature – through the civil rights movement in the 1960s. His first solo exhibition as a visual artist was in Austin, Texas, in 1968. From 1973 to 1980 he was a political organizer with the American Indian Movement, serving as director of the International Indian Treaty Council and representative to the United Nations. In the early 1980s he returned to art, creating a body of work challenging colonial representations of North American Indians. He exhibited and published essays frequently, and from 1981 to 1983 he was the director of the Foundation for the Community of Artists in New York. In 1983 West End Press published Columbus Day, a book of his poems and in 1988 his poetry was also included in Harper’s Anthology of 20th Century Native American Poetry.

In 1987 Durham moved to Cuernavaca, Mexico and in 1994 to Europe. In Europe, Durham’s art has focused primarily on the relationship between architecture, monumentality and national narratives. He has exhibited in venues around the world, including the Whitney Biennial, Documenta IX, ICA London, Exit Art, and the Venice Biennale, among many others.

In 1993 a collection of Durham’s essays, A Certain Lack of Coherence, was published by Kala Press, and in 1995 Phaidon Press published Jimmie Durham, a comprehensive survey of his art, with contributions by Laura Mulvey, Dirk Snauwaert, and Mark Alice Durant. In 2005 Durham co-curated, with Richard William Hill, The American West, an attack on cowboy and Indian mythology, at Compton Verney, UK. In 2009, he installed a permanent public art piece, Serpentine rouge, in Indre (Loire-Atlantique), France, along the Loire River. Durham’s work has been the subject of three major retrospectives: the first organized jointly by the Musée d’Art Contemporain, Marseilles and the Museum Voor Actuele Kunst in Den Hague (2003); the second by the Musée d’Art Moderne de la Ville de Paris (2009); and the third by MuHKA, Antwerp (2012). He lives in Europe.

WES FINE DAY is a Cree Elder, traditional healer, ceremonialist, medicine person, historian, songwriter and storyteller from Sweetgrass, Saskatchewan. He works as a Traditional Knowledge Keeper and Educator in various schools and universities. He also leads Healing Gatherings, Fasting Camps, and workshops for professional healers and traditional knowledge keepers from many different cultural backgrounds to bring awareness to the general public.

DAVID GARNEAU (Métis) is Associate Professor of Visual Arts at the University of Regina. He is a painter of road kill and drive-by landscapes, Métis themes, maps, comics, and quilts. His paintings have been collected by the Canadian Museum of Civilization; Parliament Buildings; Indian and Inuit Art Collection; Mackenzie Art Gallery; Mendel Art Gallery; Dunlop Art Gallery; Glenbow Museum; NONAM, Zurich; Musée de la civilisation, Quebec City; and many other public and private venues.

Garneau’s curation and writing most often engage the collision of nature and culture, metaphysics and materialism, and contemporary Indigenous identities. He has curated several large group, two-person and solo exhibitions and written numerous catalogue essays and reviews. He has recently given talks in Melbourne, Adelaide, New York, San Diego, Sacramento, Saskatoon, and keynote lectures in Sydney, Toronto, Edmonton, Sault Ste Marie, and Vancouver. Garneau is currently working on curatorial and writing projects featuring contemporary Indigenous art and curatorial exchanges between Canada and Australia, and is part of a five-year, SSHRC-funded curatorial research project, “Creative Conciliation.”

JEFFREY GIBSON is a painter, sculptor and makes videos that merge elements of past Western and American art movements with more traditional materials and forms found in historic and contemporary Native American cultures. Gibson is a member of The Mississippi Band of Choctaw Indians, is half Cherokee, and has moved frequently throughout his lifetime, living in places including the United States, Korea, Germany, the United Kingdom and France. His work has been shown nationally and internationally at venues including the National Academy Museum, NYC; the Museum of Art and Design, NYC; Participant INC, NYC; the Museum of Fine Arts, Boston; the ICA, Boston; the Denver Art Museum; the Nerman Museum; the Philbrook Museum; the National Gallery of Canada; and Plug-In ICA, Winnipeg among others. Gibson lives and works in Hudson, NY.

TANYA HARNETT is a member of the Carry-The-Kettle First Nations in Saskatchewan. She is an artist and a professor at the University of Lethbridge in a joint appointment in the Department of Art and the Department of Native American Studies. Working in various media including, photography, drawing, printmaking and fibre, Harnett’s studio practice engages in the notions and politics of identity, history, spirituality and place. She has exhibited regionally, nationally and internationally. Some of her exhibitions include; persona grata at the Southern Alberta Art Gallery (2007), Tracing Histories: Presenting the Unpresentable at the Glenbow (2008), Satoya Mani Win, RMIT Project Space, Melbourne (2011) and The New World and The End of Language, MODEM Centre for Modern, Contemporary Arts, Győr, Hungary (2013), the Alberta Foundation for the arts TREX travelling exhibition Lebret Residential Petroglyphs (2014), Scarred/Sacred Water, University of Aberdeen, Scotland (2014), and Scarred/ Sacred Water, Pitt Rivers Museum, Oxford University (2014). Harnett is the recipient of various grants such as the National Aboriginal Achievement Awards, Alberta Foundation for the Arts, and Canada Council for the Arts. She is included in collections including the Alberta Foundation for the Arts, the Glenbow, the Puskin Museum of Fine Arts, Moskow, Pitt Rivers Museum, Oxford, RMIT in Melbourne and the Aboriginal Art Centre at the Department of Aboriginal and Northern Development Canada in Ottawa. Harnett is an avid community supporter for contemporary Aboriginal artists. She played a large part in the creation of the University of Lethbridge’s BFA Native American Art (Studio) and the BFA Native American Art (Art History/Museum Studies) and she contributes writings on Aboriginal contemporary art to Canadian Art magazine.

RONALD HAWKER is Associate Head, Department of Liberal Studies, Alberta College of Art + Design. He holds a PhD in Art History from University of Victoria. Hawker is the author of Tales of Ghosts: Conflicting Meaning and First Nations Art in British Columbia: 1921-1961 (2002) and his ongoing research continues to explore the legacies of Aboriginal culture. His recent work focuses on conflicting meanings of monuments on Coast Salish Squamish land in Vancouver in relation to memory, spirituality, narrative, and guardianship. He is currently at work on Yakuglas’ Legacy: The Art and Times of Charlie James, to be published by the University of Toronto Press.

He has lectured on the history of art and architecture at universities across Western Canada and in the Middle East. His extensive publications include Building on Desert Tides: Traditional Architecture in the Arabian Gulf (2008); “Welfare Politics, Late Salvage and Indigenous (In)visibility (1930-1960)” in Native Art of the Northwest Coast: A History of Ideas (2013); “Charlie James: Bringing Kwakwaka’wakw Art to the Outside World” (2008); “A Faith of Stone: The Role of the Missionary in the Introduction of Gravestones Among British Columbia’s Tsimshian Indians” (1991); and “In the Way of the White Man’s Totem Poles: Gravestones among Canada’s Tsimshian Indians” (1989).

JAMES (Sákéj) YOUNGBLOOD HENDERSON was born to the Bear Clan of the Chickasaw Nation and Cheyenne Tribe in Oklahoma in 1944 and is married to Marie Battiste, a Míkmaw educator. They have three children. In 1974, he received a Juris doctorate in law from Harvard Law School and became a law professor who created litigation strategies to restore Aboriginal culture, institutions and rights. During the constitutional process (1978-1993) in Canada, he served as a constitutional advisor for the Míkmaw nation and the NIB-Assembly of First Nations. He has continued to develop in Aboriginal and treaty right and treaty federalism in constitutional law. His latest books are Aboriginal Tenure in the Constitution of Canada (2000), Protecting Indigenous Knowledge and Heritage (2000), Míkmaw Society v. Canada in UN Human Rights Committee (ebook 2005).

He is a noted international human rights lawyer and an authority on protecting Indigneous heritage, knowledge, and culture. He was one of the drafters and expert advisors of the principles and guidelines for the protection of Indigenous Heritage in the UN Human Rights fora. Also, he has been a member of the Advisory Board to the Minister of Foreign Affairs and is currently he is a member of the Sectoral Commission on Culture, Communication and Information of the Canadian Commission for UNESCO and Experts Advisory Group on International Cultural Diversity.

Henderson is a member of the College of Law, University of Saskatchewan, and the Senior Administrator and Research Director of the Native Law Centre at the University of Saskatchewan. In 2005, the Indigenous Bar Association awarded him the honorary title of Indigenous People’s Counsel (I.P.C.) to honour significant and outstanding achievements and excellence in law in serving the Indigenous community and the Creator with honour and dignity. He was given the National Aboriginal Achievement Award for law and justice in 2006. Carlton University awarded him an Honorary Doctorate of Laws, Carlton University (2007) for this achievement in constitutional law and the UN Declaration of the Rights of Indigenous Peoples.

RICHARD WILLIAM HILL is a curator, critic and art historian of Cree and other heritages and an Associate Professor of Art History at York University, Toronto. His research focuses primarily, but not exclusively, on historical and contemporary art created by Indigenous North American artists. Several years ago, as a curator at the Art Gallery of Ontario, Hill oversaw the museum’s first substantial effort to include Indigenous North American art and ideas in permanent collection galleries. He also curated Kazuo Nakamura: A Human Measure at the Art Gallery of Ontario in 2004; co-curated, with Jimmie Durham, The American West at Compton Verney, UK in 2005; and The World Upside Down, which originated at the Walter Philips Gallery at The Banff Centre in 2006 and toured across Canada. Hill’s essays on art have appeared in numerous books, exhibition catalogues and periodicals. He had a long association with the art magazine FUSE, where he was a member of the board and editorial committee for many years and wrote a regular column reviewing recent art exhibitions. He is currently revising a book on the problem of agency in the art of Jimmie Durham, which was the subject of his PhD thesis.

QUYEN HOANG is a curator and public art administrator. Born in Hanoi, Vietnam, Quyen came to Canada when she was eight years old. She studied painting and art history at the University of Calgary (BFA, BA) and received her MA in art history through Concordia University, Montreal. She has a strong background in collections management, research and curatorial projects, including web and phone content development. Quyen worked at the Glenbow museum for ten years working with the collections and curating exhibitions such Foreign and Familiar: Reconsidering the Everyday, which examined the visions of five, first generation Asian-Canadian artists, Honouring Tradition: Reframing Native Art (co-curated), an exhibition which reconsidered how Aboriginal art has been presented in museums, and Tracing History: Presenting the Unpresentable which invited four contemporary Aboriginal artists to create new meanings and interpretation of Glenbow’s collections, among many others. Her curatorial practice has been primarily focused on issues of representation and often explores ideas around the production of culture, history and place. Quyen joined The City of Calgary Public Art Program in 2009 as a Program Coordinator and oversees the general management of the City’s Public Art Collection.

GEIR TORE HOLM (b. Tromsø, 1966) is currently a research fellow at Oslo National Academy of the Arts with the artistic research project Poetics for Changing Aesthetics. He lives and works at the farm Ringstad in Skiptvet, Østfold.

Holm was educated at the Academy of Fine Art in Trondheim, Norway (1995) and has worked as an independent artist since then. Together with Søssa Jørgensen, he founded the home-based mediation project, Balkong, in 1993. Parallel to his individual practice, he has been curating, writing, and teaching. Holm has also worked in theatre, in productions by Totalteatret, Beaivvás Sámi Teáhter, and Ferske Scener (recently presenting Ashes to Ashes by Harold Pinter). He has been especially interested in social relations and power structures, often related to his Sámi background; first discussing individual (staggering) identity connected to the larger cosmos, later addressing social responsibility and problems with and within ethnic culture.

Lately, he has contributed to exhibitions at BildMuseet, Umeå (Same, same but different), Castlefield Gallery, Manchester (From elsewhere), Pikene på broen, Kirkenes (Barents Spektakel and Border Dialogue), and at Ringnes, Skotbu. Holm was responsible for the Sámi Art Festival 2002 in Sør-Varanger and the exhibiton CSV – To Visualise Sápmi at Galleri F15, Moss, 2005. From 2002 to 2004, Holm was Assistant Professor at Bergen National Academy of the Arts. He has given lectures widely. Since 2003, he has been developing a long-term dialogue project, Sørfinnset skole/The Nord Land, with Søssa Jørgensen in collaboration with Kamin Lertchaiprasert and Rirkrit Tiravanija (

CANDICE HOPKINS is an independent curator and writer based in Albuquerque, New Mexico. She has held curatorial positions at the National Gallery of Canada, the Western Front, and the Walter Phillips Gallery at The Banff Centre. Hopkins holds an MA from the Center for Curatorial Studies, Bard College, where she was awarded the Ramapo Curatorial Prize for the exhibition Every Stone Tells a Story: The Performance Work of David Hammons and Jimmie Durham.

Hopkins’ writings on history, art, and vernacular architecture have been published by MIT Press, BlackDog Publishing, Revolver Press, New York University, The Fillip Review, the National Museum of the American Indian, among other venues. She has lectured widely including at the Witte de With, Tate Modern, Dakar Biennale, Tate Britain, and the University of British Columbia. In 2012 she was invited to present a keynote lecture on the topic of the “sovereign imagination” for dOCUMENTA (13). Her recent curatorial projects include Close Encounters: The Next 500 Years, a multi-site exhibition in Winnipeg, co-curated with Steve Loft, Jenny Western and Lee-Ann Martin; Zone A for Toronto’s Nuit Blanche; and Sakahàn, co-curated with Greg Hill and Christine Lalonde, the National Gallery of Canada’s largest survey of recent Indigenous art, which opened in May 2013. Hopkins is co-curator with Lucia Sanroman of the 2014 SITE Santa Fe Biennial exhibition, Unsettled Landscapes.

ELWOOD JIMMY grew up on the Thunderchild Indian Reserve, Saskatchewan, and the inner city neighbourhood of North Central, Regina. His upbringing in both communities provided a rich cultural foundation at the intersection of Indigenous and urban cultures that informs and influences his work immensely. He has been supported by a variety of organizations across Canada in building and facilitating interdisciplinary projects that privilege participation, collaboration, and cross-cultural and cross-generational interaction around various historical and contemporary narratives. These projects have manifested themselves in art galleries, artist-run centres, festivals, schools, community centres, social service organizations, hospitals, prisons, in books, videos, and music compilations, as well as on the street, on the radio and online. Since 2012, Jimmy has been based in Toronto working as a writer, curator, film and music programmer, hip hop radio show co-host, freelance arts manager and artist.

URSULA JOHNSON holds a BFA (2006) from the Nova Scotia College of Art and Design, where she studied photography, drawing and textiles. She also studied Theatre at Cape Breton University. Johnson descends from a long line of Mi’kmaw artists, including her late great grandmother, Caroline Gould, from whom she learned basket making. In 2010 she curated Klokowej: A 30-Year Retrospective commemorating Gould’s contribution to the evolution of Mi’kmaw basketry.

Johnson’s approach to basketry is typical of her transformational practice. Rather than simply imitating traditional Mi’kmaw basket forms she uses traditional techniques to build subtly non-functional forms—objects that are clearly traditionally based yet raised to a metaphorical level of signification, as works of art. Several of her performances, including Elmiet (2010) and Basket Weaving (2011) incorporate basketry as a key element. Her background in theatre is evident in her public performances. People who attend Johnson’s performances are often surprised to find themselves no longer spectators, but actors in a social situation. Instead of the private, contemplative response we usually expect from the encounter with a work of art, we become participants in collective interpretations and collaborative actions.

STEVEN LOFT is a Mohawk of the Six Nations with Jewish heritage. Recently, he took up the position of Coordinator, Aboriginal Arts Office with the Canada Council for the Arts. A curator, scholar, writer and media artist, in 2010 he was named Trudeau National Visiting Fellow at Ryerson University in Toronto. Loft has also held positions as Curator-In-Residence, Indigenous Art at the National Gallery of Canada, Director/Curator of the Urban Shaman Gallery (Winnipeg); Aboriginal Curator at the Art Gallery of Hamilton and Producer and Artistic Director of the Native Indian/Inuit Photographers’ Association (Hamilton). He has curated group and solo exhibitions across Canada and internationally; written extensively for magazines, catalogues and arts publications and lectured widely in Canada and internationally. Loft co-edited Transference, Technology, Tradition: Aboriginal Media and New Media Art (Banff Centre Press, 2005) and is the editor of the forthcoming Coded Territories: Indigenous Pathways in New Media.

ASHOK MATHUR is a writer, artist, and cultural organizer whose creative and critical practice centres around collaborative principles, particularly around Indigenous and other racialized artistic discourses. He is of Kyasth-Hindu and Parsi ancestry and currently lives on Okanagan territory in Kelowna. He is the Head of Creative Studies at the University of British Columbia (Okanagan campus) and held a Canada Research Chair in Cultural and Artistic Inquiry prior to this post.

Mathur is the author of a volume of poetry (Loveruage; a dance in three parts, Wolsak and Wynn, 1994), and three novels, published by Arsenal Pulp Press: Once Upon an Elephant (1998) recounts the story of the birth of Ganesh as a Canadian courtroom drama; The Short, Happy Life of Harry Kumar (2002) was nominated for the Commonwealth Writers’ Prize, and blends the Ramayana with modern Canada; and A Little Distillery in Nowgong (2009) follows three generations of a Parsi family from India to North America. Along with the novel, Mathur also produced an associated art installation, which was shown in Vancouver, Ottawa, and Kamloops. He is co-editor, with Jonathan Dewar and Mike DeGagné, of the anthology Cultivating Canada: Reconciliation Through the Lens of Cultural Diversity, published by the Aboriginal Healing Foundation in 2011.

CATHY MATTES is a proud Mischif living in Southwest Manitoba. She is a writer and curator who focuses on Aboriginal issues and art, exploring concepts of community and dialogical aesthetics. Her exhibitions include Frontrunners (2011, Urban Shaman Gallery and Plug-In ICA), Blanche: KC Adams & Jonathan Jones (2008, Chalkhorse Gallery, Sydney Australia), Rockstars & Wannabes (2007, Urban Shaman Gallery), and Transcendence – KC Adams (2006, Art Gallery of Southwestern Manitoba). Mattes has contributed writings to publications by the Museum of Contemporary Native Arts, MAWA (Mentoring Artists for Women’s Art), Art Gallery of Greater Victoria, The Winnipeg Art Gallery, Plug-In ICA, National Museum of the American Indian, Gallery 101, and other venues. She has lectured nationally and internationally, and in 2010 she was chosen to be a delegate on the Canada Council for the Arts’ Aboriginal Curators Delegation to New Zealand and Australia. In addition to her freelance work, Mattes was the curator at the Art Gallery of Southwestern Manitoba between 2003 and 2005, and has been a consultant for various government agencies and arts organizations. She is an Assistant Professor teaching art history at Brandon University in the Visual and Aboriginal Arts Department, and is pursuing her PhD at the University of Manitoba in Native Studies.

MARIANNE NICOLSON (‘Tayagila’ogwa) is an artist of Scottish and Dzawada̱’enux̱w First Nations descent. The Dzwada̱’enux̱w People are a member tribe of the Kwakwa̱ka̱’wakw Nations of the Pacific Northwest Coast. Her training encompasses both traditional Kwakwa̱ka̱’wakw forms and culture and Western European based art practice. She holds a BFA from Emily Carr Institute of Art and Design (1996), an MFA in Visual Art from the University of Victoria (UVic) (1999), a Masters in Linguistics and Anthropology from UVic (2005) and a PhD in Linguistics, Anthropology, also from UVic (2013). Her work in painting, photography and installation has been shown nationally and internationally at venues such as the National Indian Art Centre, the Taipei Fine Arts Museum, the Jordan National Gallery, the Vancouver Art Gallery and the National Gallery of Canada. She has written and published a number of essays and articles, and has participated in multiple speaking engagements. Her practice engages with issues of Aboriginal histories and politics arising from a passionate involvement in cultural revitalization and sustainability.

MANUEL PIÑA-BALDOQUIN is a Cuban-Canadian artist based in Vancouver; he was born in La Habana 1958. After receiving his education in the Soviet Union, he spent a few years working as mechanical engineer before starting his artistic practice in the early 1990s. Piña’s work is concerned with the tensions between power and individual freedom. His early works included cityscapes through which he interrogated the urban environment as both site and embodiment of this relationship. Currently, his art projects and pedagogic practice investigate the ongoing impact of technology on contemporary vernacular approaches to the creation and dissemination of images. In these works, he appropriates the visual language emerging from these conditions to investigate their potential as a means for social emancipation.

Piña’s works have been exhibited in the Americas and Europe including the Havana Biennale (Cuba), the Istanbul Biennale (Turkey), Kunsthalle Vienna (Austria), Grey Gallery (N.Y.), LACMA (L.A.), DAROS Museum (Zurich), Dorsky Curatorial Projects (NY), and the Bronx Museum (NY). He is a co-founder of the Vancouver-based artist collective “el grupo” and is also an Associate Professor in the Department of Art History, Visual Arts and Theory at UBC Vancouver, as well as an Associate Member of the Peter Wall Institute for Advanced Studies at UBC.

LAUREL REUTER is the Founding Director and Chief Curator of the North Dakota Museum of Art. She has curated countless exhibitions, ranging from Light and Shadow: Japanese Artists in Space (1992), to The Disappeared (2005) and Shared Histories (2010). Her publications include Whole Cloth, Marking the Land: Jim Dow in North Dakota, Into the Tussock: Contemporary Icelandic Art, and a collaboration with printmaker Nancy Friese on a print portfolio, Tumbling Time, with poems and essays by Reuter.

Reuter was born and raised on the Spirit Lake Dakota Reservation in North Dakota, where she currently is developing a Native Arts collaboration between the North Dakota Museum of Art and the Cankdeska Cikana Community College. She is directing a collaboration between six artists from the U.S. and abroad who are making art about contemporary life on Spirit Lake, underwritten by a grant from the Robert Rauschenberg Foundation.

GREGORY SCOFIELD is a poet, playwright, teacher, and youth outreach worker. A Métis of Cree, Scottish and English decent, his ancestry dates back to the Red River Settlement and to Kinesota, Manitoba. He was raised primarily by his mother and aunt in the lower mainland of British Columbia, and also lived in northern Saskatchewan, northern Manitoba and the Yukon. Scofield has taught First Nations and Métis Literature at the Alberta College of Art + Design, Brandon University, and Emily Carr Institute of Art and Design, and he has served in Writer-in-Residence at the University of Winnipeg, University of Manitoba, and Memorial University of Newfoundland.

Scofield’s debut collection, The Gathering: Stones for the Medicine Wheel (1993), is emblematic of his poetry in that it incorporates Cree words and glossaries. Winner of the 1994 Dorothy Livesay Poetry Prize, it was followed by Native Canadiana: Songs from the Urban Rez (1996). Love Medicine and One Song (1997) is a collection of love poems and erotic verse. I Knew Two Métis Women (1999) celebrates the lives of his mother and aunt, and integrates songs by the Carter Family, Hank Snow, and other country music artists. kipocihkân: Poems New & Selected (2009) is his first collection of selected poems that features previous works taught in university and high school curricula. Louis: The Heretic Poems (2011), is a collection of poetry that explores the life and personal narrative of famed Métis leader Louis Riel.

Scofield is an Assistant Professor in the English Department at Laurentian University in Sudbury, Ontario. He devotes his time and energy to teaching First Nations and Métis literature and storytelling while also working with organizations such as the Gabriel Dumont Institute to develop and promote resource material on traditional Métis art practices.

CANDACE SAVAGE is the author of more than 20 nonfiction books on an impressive range of subjects, including Prairie: a Natural History and A Geography of Blood. The recipient of numerous awards, including the $60,000 Hilary Weston Writers’ Trust Prize for Nonfiction, she is a fellow of both the Royal Canadian Geographical Society and the Royal Society of Canada.

Born Candace Sherk, she hails from the Peace River Country of northern Alberta, in the territory covered by Treaty 8. Her ancestors first arrived in North America in the 1700s, some of them as indentured servants, seeking land and respite from Europe’s religious wars. She is of mixed British and Swiss descent, with possible early connections to France and Portugal. Her people came to Canada in the 1800s and to the West a century later. She is the daughter, granddaughter and great-granddaughter of prairie settlers. She lives in Saskatoon with her partner, the art historian Keith Bell, not far from her daughters and three-year-old granddaughter.

SANDRA SEMCHUK is a storyteller, photographer, and video artist whose inquiry includes small animals that like to count coup on her, coming close enough to make it impossible for her to video them. Her collaborations and video works use the familial, autobiography, and dialogue as the basis for recognition and identity across generations, cultures and species. She says, “it is important for those of us that share this land to listen with our hearts, to move out of denial and to recognize the complex intergenerational effects of our conflicted histories.”

As a partner in Treaties, member of the settler culture and widow of Cree orator and co-collaborator, James Nicholas, Semchuk works with dialogue to disrupt myths that have shaped settler relations to First Nations. She considers the larger more-than-human world, flora and fauna in order to glimpse possible relationships between the Indigenous and the non-Indigenous. She incorporates lenticular imagery, video including 3D technologies and, most recently, vocables and overtone singing to converse across constructed boundaries.

Her works have shown at Presentation House Gallery, Vancouver; Mendel Art Gallery, Saskatoon; Center for Creative Photography, Tucson, Arizona; San Francisco Museum of Modern Art; fotofeis in Scotland; Museu D’art Contemporani in Barcelona; Urban Shaman in Winnipeg; Canadian Museum of Contemporary Photography in Ottawa; and at the Chapel Gallery in North Battleford, Saskatchewan. Semchuk is completing a book on Ukrainians in Canada: The Stories Were Not Told, Stories and Photographs from Canada’s First Internment Camps, 1914-1920. She teaches at Emily Carr University.

PAUL CHAAT SMITH is a Comanche author, essayist, and curator. His books and exhibitions focus on the contemporary landscape of American Indian politics and culture. Smith joined the Smithsonian’s National Museum of the American Indian in 2001, where he currently serves as Associate Curator. His projects include the NMAI’s history gallery, performance artist James Luna’s Emendatio at the 2005 Venice Biennial, Fritz Scholder: Indian/Not Indian (2008), and Brian Jungen: Strange Comfort (2009).

With Robert Warrior, he is the author of Like a Hurricane: the Indian Movement from Alcatraz to Wounded Knee (New Press, 1996), a standard text in Native studies and American history courses. His second book, Everything You Know about Indians Is Wrong, was published in 2009 by the University of Minnesota Press, and is now in its second printing.

Appointed Critic in Residence three times in galleries in the U.S. and Canada, Smith’s exhibitions and essays have explored the work of Richard Ray Whitman, Baco Ohama, Faye HeavyShield, Shelley Niro, Erica Lord, and Kent Monkman. He has lectured at the National Gallery of Art, Center for the Arts in San Francisco, and the Getty Center for the History of Art and the Humanities in Los Angeles. His television appearances include the 1995 Canadian series Markings with Neil Bissoondath, and he served as creative consultant for the American Experience series We Shall Remain: A Native History of America, broadcast on PBS in April 2009. Smith lives in Washington, D.C. His middle name is pronounced “chot,” has no hyphen, and rhymes with hot. He has no college or university degrees.

ADRIAN STIMSON is a member of the Siksika (Blackfoot) Nation in southern Alberta. He is an interdisciplinary artist, curator and educator with a BFA with distinction from the Alberta College of Art + Design and an MFA from the University of Saskatchewan.

As an interdisciplinary artist, Stimson’s work includes paintings, installations, collodion wet plate photography, sculpture, and performance. Recent exhibits and performances include Witnesses (Belkin Gallery, UBC, Vancouver), Reconsidering Reconciliation (TRU, Kamloops), The Shaman Exterminator, On the Trail of the Woodcraft Indians with the Buffalo Boy Scouts of America (Paved Arts, Saskatoon), Making Treaty 7 (Calgary), “Suffer little children…” (ARNICA, Kamloops), Buffalo Boy’s Coal Jubilee (House of the Wayward Spirits-ANDPVA, Toronto), White Shame Re-Worked (Grunt Gallery, Vancouver), Holding Our Breath (Canadian Forces Artist Program-Afghanistan tour) (Grunt Gallery, Vancouver and Neutral Ground, Regina), Beyond Redemption (Mendel Art Gallery, Saskatoon), Photo Quai (Musée du quai branly), and Unmasking (Canadian Cultural Centre, Paris). He is a regular participant at Burning Man and was featured in the 2007 summer issue of Canadian Art: Buffalo Boy at Burning Man and Spring 2009 issue of FUSE magazine: Buffalo Boy Then and Now.

Stimson was awarded the Blackfoot Visual Arts Award in 2009, the Queen Elizabeth II Golden Jubilee Medal in 2003, and the Alberta Centennial Medal in 2005 for his human rights and diversity activism in various communities. He is represented by the Darrell Bell Gallery in Saskatoon, where he resides.

MICHAEL TAUSSIG was born in Australia in 1940, where he studied medicine at the University of Sydney. He later earned a PhD in anthropology at the London School of Economics. He is a professor of anthropology both at Columbia University in New York and at the European Graduate School (EGS) in Switzerland.

Strongly influenced by both the Frankfurt School of critical theory and French post-structuralism, Taussig was a part of the shift during the 1980s within the field of anthropology. His work contributed toward an increasing mistrust of cultural analyses from the perspective of the dominant culture, i.e. Western capitalist culture. It was his early experiences as a doctor in Colombia in the late 1960s that influenced a fundamental change in his conception of the role of stories and narratives, over and against objective scholarship, in cultural formation. Ethnography became a conscious positive force in culture, as no account was intrinsically innocent or objective any longer. This led Taussig to begin intermixing fact and fiction in his ethnographic studies, thus his status as a figure of controversy in the field of anthropology.

Taussig is the author of the following books: What Color is the Sacred? (2009), Walter Benjamin’s Grave (2006), My Cocaine Museum (2004), Law in a Lawless Land: Diary of a Limpieza in a Colombian Town (2003), Defacement(1999), Magic of the State (1997), Mimesis and Alterity: A Particular History of the Senses (1993), The Nervous System (1992), Shamanism, Colonialism, and the Wild Man: A Study in Terror and Healing (1987), The Devil and Commodity Fetishism in South America (1980).

JEFF THOMAS is a self-taught photo-based artist, writer and curator whose career in the visual arts began in 1979 following a life-changing car accident. He turned to an already existing interest in photography in order to begin a new life, and focused on confronting photo-based stereotypes of Indigenous people. His research into photographic history pointed out two significant absences: images of Aboriginal people living in cities and images produced by Aboriginal people. Thomas was frustrated by these absences and the silences they engendered and began to challenge these silences by creating new conversations through his photo-based work.

Today, Thomas’ work can be found in major collections in Canada, the U.S. and Europe, including the National Gallery of Canada, the Smithsonian Museum of the American Indian, and the Musée de l’Élysée in Lausanne. His curatorial work has been very significant, including Where are the Children? Healing the Legacy of the Residential Schools, a groundbreaking exhibition sponsored by the Aboriginal Healing Foundation to publicly recognize, through photographic history, the Aboriginal experience of the residential school system in Canada. His research into historical Aboriginal experience and its contemporary relevance has also resulted in the Canadian Museum of Civilization project Emergence from the Shadow: First People’s Photographic Perspectives, a critically acclaimed study historical photographs by early 20th century Canadian anthropologists of members of the Six Nations community at Brantford, a show that provided contemporary members of that community their first access to these images of their ancestors and of historical life on the reserve. PhD

Thomas was the subject of a documentary film by Ali Kazimi entitled Shooting Indians in 1997. The following year he received the Canada Council for the Arts’ Duke & Duchess of York Prize in Photography.

LUKE WILLIS THOMPSON was born 1988, in Auckland, New Zealand. He comes to Stronger Than Stone from Shanghai, China, where he is currently engaged in an artist’s residency, and has recently also lived in Berlin. Thompson’s art deals with sites and objects that embody a sense of historical, political or social trauma. In recent work the artist has used ready-made objects – such as a local funeral home’s art collection and a house in the Auckland suburb of Epsom – to trace the faultlines of race and class in his chosen context. Thompson sets up estranging encounters where the viewer is confronted with an object both ontologically and in the space of narrative and mythology. Recent so exhibitions include: inthisholeonthisislandwhereiam, Hopkinson Cundy, Auckland, 2012; and Yaw, RM, Auckland, 2011.

MARY LONGMAN (Aski-Piyesiwiskwew) was born in 1964 in Fort Qu’Appelle and is a band member of Gordon First Nation. Longman is recognized for her artwork in the genres of sculpture, drawing, digital media and illustration of children’s books. Her work has been exhibited in Canadian venues including the National Gallery of Canada; Museum of Civilization; Vancouver Art Gallery; and the Mendel Art Gallery, and internationally at the Museum of Modern Art, NY; Smithsonian Museum, NY; and Hood Museum, NH. Her work is in the collections of the MacKenzie Art Gallery, Mendel Art Gallery, Kamloops Art Gallery, Thunder Bay Art Gallery, Saskatchewan Arts Board and the Canada Council for the Arts’ Art Bank. Her most significant permanent public work is Ancestors Rising, a bronze sculpture installation displayed in front of the McKenzie Art Gallery, Regina, SK.

Longman has a BFA from the Emily Carr College of Art and Design, an MFA from the Nova Scotia College of Art and Design, and a PhD in art education from the University of Victoria. She is an interdisciplinary professor, having taught 70 post-secondary classes in Fine Art and Aboriginal Art History since 1989. She has also held senior academic positions as Dean at the White Mountain Academy of Arts in Elliot Lake, Ontario, and Department Head of Fine Art at the Nicola Valley Institute of Technology in Merritt, BC. Currently she is an Associate Professor in Art & Art History at the University of Saskatchewan.

HAEMA SIVANESAN is currently an Associate Curator at the Mendel Art Gallery, Saskatoon, where she is working on artistic direction and ‘program modelling’ for the new Remai Modern Art Gallery of Saskatchewan, opening in 2016. She has held leadership and curatorial positions in centres and galleries across Canada, as well as in Australia. She was previously Executive Director at Centre A (Vancouver International Centre for Contemporary Asian Art) (2011-13); Executive Director of SAVAC (South Asian Visual Arts Centre), Toronto (2006-11); and Assistant Curator of Asian Art at the Art Gallery of NSW, Sydney (1996-2004). Her curatorial work typically focuses on art from South and Southeast Asia and its diasporas, with a broad interest in non-western and post-colonial world views and practices. She is interested in curatorial practice as a multi-valent form of intellectual enquiry, and as a process of thinking with artists. She has curated several large-scale exhibitions and independent projects, including as a zone curator for Nuit Blanche Toronto (2008), and for the Commonwealth Games Cultural Festival, Melbourne (2006). Recent projects include Leila Sujir and Maria Lantin, A Chorus of Lungs (2013-14); Hajra Waheed, Minutes From A Second Story (2013); Karen Mirza and Brad Butler, Museum of Non-Participation: The House of the Unexpected (2012). She was the curator of دلِ که سوز ندارد, دلِ نیست (the heart that has no love/pain/generosity is not a heart) by Jayce Salloum and Khadim Ali (2008-2013), which toured to venues across Canada and abroad, and was awarded the Images Prize at the 23rd Images Festival, 2010 (Toronto). She recently participated in a month-long curatorial research residency at Britto Arts Trust (Dhaka, Bangladesh), at the invitation of The Triangle Arts Trust, UK.