Fondation

Yutong Lin is a writer and (moving-)image maker from Yunnan, China. As a Chinese-Nakhi descendant and media archivist, their practice concerns the fabrics and embodiment of memories and ruins in the nomadic Himalayas and diaspora cosmologies. They are particularly interested in the concept of Zomia, a Tibeto-Burman word used by fragmented indigenous and fugitive communities in the highlands and edges of South and Southeast Asia. Zomia describes a counter-nation-state approach to geography. Using interactive media, computational arts, and documentary filmmaking as a type of map making, they try to fabricate a different form of habitat, weaving and stitching family/public archives, found footage, and collective ethnography together. They are also a member of the Nomadic Department of the Interior (http://ndoi.land), an artist and research collective.

Tanya Lukin Linklater’s performances, works for camera, installations, and writings, cite Indigenous dance and visual art lineages, our structures of sustenance, and weather. She undertakes embodied inquiry and rehearsal in relation to scores and ancestral belongings. Her work deals with histories that affect Indigenous peoples’ lived experiences, (home)lands, and ideas. Her recent exhibitions include the Aichi Triennale, Japan; Art Gallery of Ontario, Toronto; Catriona Jeffries, Vancouver; Chicago Architecture Biennial; Contemporary Art Gallery, Vancouver; Gwangju Biennale, South Korea; Jan Kaps, Cologne; La Biennale de Montréal; National Gallery of Canada, Ottawa; New Museum Triennial, New York; Oakville Galleries, Ontario; Open Space, Victoria; San Francisco Museum of Modern Art; Toronto Biennial of Art, and elsewhere. Tanya Lukin Linklater is represented by Catriona Jeffries, Vancouver. She is a recipient of the Herb Alpert Award in the Arts and the Wexner Center for the Arts Artist Residency Award.

Kent Monkman is a Canadian artist of Cree ancestry who works with a variety of mediums, including painting, film/video, performance, and installation. He has had solo exhibitions at numerous Canadian museums including the Montréal Museum of Fine Arts; the Museum of Contemporary Canadian Art, Toronto; the Winnipeg Art Gallery; and the Art Gallery of Hamilton. He has participated in various international group exhibitions including The American West, Compton Verney, Warwickshire, England; Remember Humanity, Witte de With, Rotterdam; the 2010 Sydney Biennale; My Winnipeg, Maison Rouge, Paris; and Oh Canada!, MASS MOCA. Monkman has created site specific performances at the McMichael Canadian Art Collection, The Royal Ontario Museum, and at Compton Verney. He has also made Super 8 versions of these performances, which he calls “Colonial Art Space Interventions.” His award-winning short film and video works have been screened at various national and international festivals, including the 2007 and 2008 Berlinale, and the 2007 Toronto International Film Festival. His work is represented in numerous public and private collections including the National Gallery of Canada, the Montréal Museum of Fine Arts, Museum London, The Glenbow Museum, The Museum of Contemporary Canadian Art, The Mackenzie Art Gallery, the Art Gallery of Ontario, the Smithsonian’s National Museum of the American Indian, and the Vancouver Art Gallery. He is represented by Pierre-François Ouellette art contemporain in Montréal and Trepanier Baer Gallery in Calgary.

Pedro Neves Marques is a director, visual artist, and writer (b. 1984, Lisbon). Their cinema releases include the short fiction films The Bite, which premiered at TIFF – Wavelengths and NYFF – Projections in 2019 and was awarded at Go Short Nijmegen, Short Waves, Sicilia Queer Film Festival, MixBrasil, and MIEFF, and “Exterminator Seed” which premiered at IndieLisboa in 2017. They also directed the short political documentary Art and Hurt (2018). They have had solo exhibitions in contemporary art institutions such as Castello di Rivoli, High Line, e-flux, CA2M, CaixaForum, Gasworks, Pérez Art Museum of Miami, and Museu Colecção Berardo; shown in screenings at Tate Modern Film, Serpentine Galleries, and HOME Manchester; as well as in biennials like Liverpool Biennial and Gwangju Biennial, among many others. Together with Catarina de Sousa, they founded the film production company Foi Bonita a Festa in 2021.

Kim Ninkuru is a multimedia artist who was born in Bujumbura, Burundi. She has been living and working in Montréal and Toronto since 2009. Using video and sound performance, storytelling, and installation work, she creates pieces that explore and express rage, love, desire, beauty, or pain in relation to her own body, mind, and soul. While her art is very personal, she is committed to speaking out about the liberation of Black women and femmes everywhere. Her work heavily questions our preconceived notions of gender, race, sexuality, and class. It is grounded in the firm belief that Blackness is past, present, and future at any given moment.

Ninkuru’s work has been shown in numerous galleries and exhibitions including the Gardiner Museum, Trinity Square Video, Studio 303, Mainline Theatre, among others. Her work appears in the anthology Other Places: Reflections on Media Arts in Canada by Deanna Bowen.

Jacolby Satterwhite is celebrated for a conceptual practice that addresses crucial themes of labour, consumption, carnality and fantasy through immersive installation, virtual reality and digital media. He uses a range of software to produce intricately detailed animations and live action films of real and imagined worlds populated by the avatars of artists and friends. These animations serve as the stage on which the artist synthesizes the multiple disciplines that encompass his practice, namely illustration, performance, painting, sculpture, photography, and writing. Satterwhite draws from an extensive set of real and fantastical references, guided by mythology, modernism, contemporary visual culture, and video game language, to challenge conventions of Western art through a personal and political lens. An equally significant influence is that of his late mother, Patricia Satterwhite, whose ethereal vocals and diagrams for visionary household products serve as the source material within a decidedly complex structure of memory and mythology.