Donna Lynas has been the Director of Wysing Arts Centre (Cambridge, UK) since 2005, and was instrumental in delivering the organization’s £1.7 million capital development project, opened by Matthew Collings in January 2008. She previously held the position of Curator at the South London Gallery, curating a large number of exhibitions and projects plus including artists such as Christian Boltanski, Jöelle Tuerlinckx, Keith Tyson, Julian Schnabel and Barbara Kruger. In 1999 she established the gallery’s influential SLG Live Art programme, which at its most ambitious presented a durational performance of One Million Years by On Kawara, involving a series of 16 people performing a live work in a glass box in Trafalgar Square continuously for 7 days and nights. From 1995 – 1999, Lynas was Touring Exhibitions Organiser and then Curator at the Museum of Modern Art in Oxford.
Lotte Juul Petersen joined Wysing Arts Centre (Cambridge, UK) in July 2008 to develop the curatorial and artistic programme in collaboration with Donna Lynas. With a background in art history and cultural studies, she recently participated in an international curatorial platform arranged by FRAME Finnish Fund for Art Exchange. Her curatorial practice has developed in collaboration with Jacob Fabricius at CPH Kunsthal and at Malmö Konsthall, Sweden. From 2007-08 she developed the residency and artistic programs at the Factory of Art and Design, Copenhagen. She has worked with and commissioned works by artists such as Olafur Eliasson, Adrian Piper, Simon Starling, Superflex, Ann Lislegaard, Pia Rönicke, Johanna Billing & Luca Frei and many more. She has also published texts in N.Paradoxa International feminist art journal, REVOLVER Archiv für aktuelle Kunst, and SUM Magazine for Contemporary Art. She has partipated in residencies in Istanbul, Helsinki, Berlin and Cuba, and recently curated Urban Pedestals in (Copenhagen & Helsinki, 2007-08).
Yann Chateigné Tytelman is Head of Programs at the Museum of Contemporary Art (CAPC) in Bordeaux, France. Since 2007 he has developed an active research-based program of exhibitions, events and publications. Chateigné has been researching, curating, writing, teaching and publishing on visual and live arts, music and popular culture since the early 2000s. Previously, he held positions at the Pompidou Center and the French Ministry of Culture. He has organized several solo and collective independent curatorial projects setting up specific methodologies on singular cross-disciplinary subjects, such as the relations between art and theater (“A Theater withtout Theater”, MACBA, Barcelona / Museu Berardo, Lisbon, 2007-2008), visual arts, cinema and music in the French psychedelic scene (“I∆O. Psychedelic Explorations in France, 1968-∞”, CAPC, Bordeaux, 2008-09), art, design and architecture and the exhibition as a living place (“Ultramoderne”, Halle Paul Wurth, Luxembourg, Passerelle, Brest, 2007-08), the re-invention in contemporary art (“Début de Siècle”, Rochechouart, 2007), or the wunderkammer as a model for artistic practices (“Hradacany”, La Générale, Paris, 2006). Chateigné has published his essays, articles and reviews in various books, exhibition catalogues and magazines including Frog, Beaux-Arts Magazine and Les Cahiers du Musée National d’Art Moderne. He has edited books such as “La Force de l’Art 01”, a 1000 page archive-based catalogue published on the occasion of the last Paris Triennial. Chateigné taught history and theory of art and culture at Ecole du Louvre and Paris 8 University in Paris, and has given numerous lectures in Universities and other teaching programs in France and abroad. He set up an alternative school in Saint-Germain-en-Laye near Paris (2005-06) and participated in establishing an autonomous postgraduate program run by artists in the School of Fine Arts in Nantes in 2005. In 2006, he founded the publishing house it :paris dedicated to artist books, theory and magazines, and ran independent fanzines such as “The Flesh” and “Mono” (coming soon). Chateigné is currently preparing a collective research-based exhibition on folklore in art and architecture, “Insiders: Know-hows, Usages, Practices”, which will be held at CAPC, Bordeaux, in October 2009.
Jenny Western is a curator, writer, and educator based in Winnipeg, Manitoba. She holds an undergraduate degree in History from the University of Winnipeg and a Masters in Art History and Curatorial Practice from York University in Toronto. While completing her graduate studies, she was offered a position at the Art Gallery of Southwestern Manitoba in Brandon where she was Curator of Contemporary / Aboriginal Art for nearly two years. Jenny has curated exhibitions for Urban Shaman Gallery, Ace Art Inc., and the Label Gallery in Winnipeg, and has worked as a Curatorial Assistant at the Winnipeg Art Gallery. Most recently she has served as a Sessional Instructor in Art History and Art Collections Coordinator for the University of Manitoba, as well as Adjunct Curator for the Art Gallery of Southwestern Manitoba. Of mixed European, Stockbridge-Munsee, and Oneida ancestry, Jenny is honoured to be Curator-in-Residence at Plug In ICA and Urban Shaman through the support of the Canada Council for the Arts’ Assistance to Aboriginal Curators for Residencies in Visual Arts Grant.
Anthony Kiendl is Director of Plug In Institute of Contemporary Art, and in 2007 was Leverhulme Visiting Research Fellow in Visual Culture, School of Arts at Middlesex University, London. He is also sessional faculty at the University of Manitoba School of Architecture. He was the Director of Visual Arts, Walter Phillips Gallery and the Banff International Curatorial Institute at The Banff Centre from 2002 until 2006. In 2002, he served as Acting Director of the Dunlop Art Gallery, Regina Public Library where he was Curator since 1997. Kiendl has lectured internationally and his writing on art has been published in Parachute, FUSE, Flash Art, Canadian Artand numerous catalogue essays. His most recent publication (2008) is Informal Architectures published by Black Dog Publishing (London) with Plug In ICA and The Banff Centre.
Tammi Campbell is an emerging artist who lives and works in Saskatoon, Saskatchewan, Canada. A graduate of the University of Saskatchewan’s Fine Arts department, Campbell’s painting-based art practice reconsiders Modernism, Conceptualism, and the personal to explore the nature and relevancy of contemporary painting today. Campbell was recently awarded an Independent Artists Grant from the Saskatchewan Arts Board enabling her to return to her studio practice on a full-time basis. Her most recent exhibitions include Sight Unseen (2008) and Articulation (2007) at the Mendel Art Gallery, Saskatoon, and Flesh Wounds (2006) at the Art Gallery of Regina.
Steven Leyden Cochrane is a multidisciplinary visual artist from Tampa, Florida. Working in a broad range of media and exhibition strategies, he seeks to problematize received understandings of art objects as repositories of meaning and vehicles for personal expression. His research interests include Conceptual Art practice, constructions of artistic identity, theory of mind, problems of narrativity, vernacular design, fan art, home décor, pre-modern painting technique, stained glass, Minimal sculpture, and Mariah Carey. He earned a BFA in painting at the Maryland Institute College of Art in 2006 and in 2009 completed his MFA in studio arts at the University of Windsor, where he will return in early 2010 to serve as a Sessional Instructor. Steven is an active member of Broken City Lab, a Windsor-based, artist-led creative research group engaged in critical exploration of and tactical interventions in the urban and exurban environment. He is currently based in Winnipeg.
Lita Fontaine (Anishinaabe/Dakota/French) holds a Master of Fine Arts Degree (Intermedia) from the University of Regina (2001) and a Diploma in Fine Arts from the School of Art, University of Manitoba (1997). Working in mixed media, installation and photography, Fontaine provides a glimpse of the current issues and aesthetic concerns surrounding First Nation Womanhood. Fontaine has participated in numerous solo and group exhibitions. In 2006, her exhibition The Sacred Feminine was shown at Urban Shaman Gallery. In 2002, Lita Fontaine: Without Reservation was shown at the Winnipeg Art Gallery. Fontaine has received several awards from the Manitoba Arts Council; The Canada Council for the Arts and the National Aboriginal Achievement Foundation. Her works have been collected by the Winnipeg Art Gallery, the Manitoba Legislature and several private collections. As well as working as an artist, Fontaine is an arts educator and is currently employed as the Artist in Residence with the Seven Oaks School Division in Winnipeg, Manitoba.
Liz Garlicki is a graduate of the University of Manitoba’s BFA Honours programme. She currently supports students and newcomers to the Winnipeg arts community through her employment as Gallery Assistant at aceartinc. Garlicki has exhibited her work at numerous galleries across Canada. She was included in Supernovas, a 2006 exhibition at the Winnipeg Art Gallery that highlighted the work of young Winnipeg artists. Garlicki was recently commissioned by the Art Building Community Symposium to do a permanent sidewalk piece in Winnipeg’s North End district. Whether her work is staged indoors or outdoors, its size and style bring to play the authority of advertising conventions, specifically, the use of popular and public visual language representing anxieties pertaining to social, professional and personal conformity. The majority of her work is large-scale, which encourages (or manipulates) viewers to consider the impact these creations have on their own lives.
Becky Ip is a multidisciplinary artist from Toronto. She received her BFA at Concordia University. Ip has exhibited and performed her work in Hong Kong, Mainland China, Thailand, Canada, and the UK. In 2007, she performed at the Vital ’07 International Chinese Live Art Festival in Manchester, and delivered a paper at the jointly organized Vital Bodies International Conference in Liverpool, detailing the career of Lily Eng, who is arguably the first female Chinese-Canadian performance artist. Ip participated in the Walking and Art Residency and in the Master Class with Ken Lum at The Banff Centre in 2007 and 2009 respectively.
Craig Love is an artist living and working in Winnipeg, Canada. While primarily a painter he also makes unorthodox books, text works, and objects. Love earned his MFA in visual arts from Parsons School of Design (The New School) in 2004. He has exhibited his work in Winnipeg, Toronto, New York and Istanbul. Most recently Love was awarded a Manitoba Arts Council Grant to research and produce a body of work related to the diverse social/cultural/visual histories of paisley. This project will take him to Scotland this coming winter. This is his first time in summer school.
Sarah Massecar lives in Toronto and teaches art to high school students. She has exhibited across Canada and the United States, showing work at Artspeak and Western Front in Vancouver, and the Khyber Centre in Halifax, N.S. Massecar has contributed work to The Contemporary Art Gallery in Vancouver and has participated in group shows at SOIL Art Gallery in Seattle, Washington and Savage Art Resources in Portland, Oregon. Her work can currently be seen in feelers, a group exhibition at Susan Hobbs Gallery in Toronto.
Caroline Monnet is a filmmaker and media artist who has worked in different parts of Canada, Europe and Latin America. She was born to an Algonquin mother and a French father, and spent her childhood both in Québec and Brittany, France. Her first film, 360 DEGREES, presented by the NFB, won best short documentary at the Winnipeg Aboriginal Film Festival, and is currently being shown on the festival circuit. Her most recent work IKWÉ (woman) marks her debut in the experimental form. Monnet was chosen for best emerging talent at Land in Sight Festival in Montréal. She currently lives in Winnipeg where she is developing her next creative project, as well as establishing ITWÉ, a trans-disciplinary centre dedicated to research, creation, production and education in the field of Aboriginal digital culture.
Sandee Moore proposes to animate social relationships through personal exchange via artwork in media such as performance, video, installation and interactive electronic sculpture. Since graduating from the MFA program at The University of Regina in 2003, Moore has screened and exhibited across Canada at venues including The Edmonton Art Gallery (now The Art Gallery of Alberta), The Winnipeg Art Gallery, Images Film and video Festival, Blackwood Gallery, The Dalhousie Art Gallery and The Mendel Art Gallery, Her practice has also taken her to Japan, where she was the 2004 Mukojima/Rice+ artist-in-residence. Moore was recently commissioned to create a video for the Winnipeg Art Gallery, stills of which were featured in the art pages of Border Crossings’ 100th Issue. She recently stepped down from her four-year tenure as Director of Video Pool Media Arts Centre in Winnipeg in order to pursue her art practice on a full-time basis.
Freya Björg Olafson is an intermedia artist who works with video, audio, painting and performance. Her work has been presented/exhibited internationally at festivals and galleries such as InterAccess Electronic Media Arts Center (Toronto), The Winnipeg Art Gallery, Plug In Institute of Contemporary Art, Groundswell New Music Series (Winnipeg), Kling&Bang Galleri (Reykjavik,Iceland), O.K. Centrum (Linz, Austria), Akureyrarvaka (Akureyri, Iceland) and Springboard Danse Montréal. Currently with the support of the Canada Council for the Arts, Manitoba Arts Council and Winnipeg Arts Council, Freya is creating a new body of work called AVATAR exploring methods of creating, validating and disseminating one’s identity through the use of technology and the Internet. AVATAR will premiere in Winnipeg in Fall 2009 as a co-presentation between Freya, Winnipeg’s Contemporary Dancers and núna (now). As a creator and performer, Freya combines her finesse in movement (training with The Royal Winnipeg Ballet and School of Contemporary Dancers) with the directness of her performance art, video and theory studies from the University of Manitoba School of Art and her subsequent completion of a MFA in New Media from the Transart Institute/Donau Universitat in Krems, Austria in 2007.
Pam Patterson (PhD) has, for 25 years, been active in both artistic and feminist communities. Her research, performance and teaching have focused on embodiment in art practice, the body in art, disability studies, women & gender studies, and feminist art education. Patterson has taught for various institutions, including Sheridan College, George Brown College, Ryerson Polytechnical University, York University, Wilfrid Laurier University and the University of Toronto. She is currently Director of the interdisciplinary arts program, Women in Action,at the Centre for Women’s Studies in Education, Ontario Institute for Studies in Education, University of Toronto. As a performance and visual artist she was a founding member of FADO Performance and ARTIFACTS and has exhibited and performed internationally. Recently, she lectured and performed works from the Body in Extremis series for Psi: Being Uncomfortable, Brown University; Towards Tomorrow at the University of Wales, Aberystwyth and CASWE, York University. In 2008/09, she presented a new exhibition/performance work, A Cellu(h)er Resistance: A Body with/out Organs? in a residency for FADO at XPACE Cultural Centre, Toronto. She also presented Travelling, a digital exhibition for the Centre for Canadian Contemporary Art (CCCA), Fleishman Gallery and Art Seen (Educational Insights – online).
Bev Pike is a Winnipeg polymath who studies baroque traditions and the politics that engender them. Since 1993, she has been exhibiting her large-scale paintings from two series, Microscopic Remainsand Hysteria Chronicles,across Canada. This work investigates perceptual regimes that create spectacle, extend beyond the frame and engage the viewer in a complex special relationship. Pike also writes satire and has produced two artist-books, entitled Autobiography of an Eccentric Line and Swallowing Safety Pins, with Lives of Dogs press in Winnipeg. Her work can be found in collections such as the Canada Council Art Bank, Museum of Contemporary Canadian Art, National Library at the Victoria and Albert Museum (UK), National Museum of Women in the Arts (US), and others in Canada and the UK. In addition, she has volunteered for artist-run centres since 1983. For the Plug In ICA Summer School, Pike will work on developing particular feminist community-wide strategies, as well as on her new sub-aquatic painting, Hymenal View of Ice.
Emily Rosamond is an installation artist, academic and educator whose work spans drawing, sculpture, writing, performance and video. She has a BFA from York University and an MFA from Simon Fraser University. Still thoroughly addicted to school, she is on her way to Concordia University to begin an interdisciplinary PhD in the fall. Current interests include making soup, affect theory, baby toys, jellyfish and snails, 17th century Dutch still life, and implications of the rhetorical use of character in contemporary sculpture. Recent works include the exhibition The Patron Saint of Waterskiers and Other Entities held at the Richmond Art Gallery. In 2010, she will return to Winnipeg to make a show called Residue at aceartinc.
Tim Schouten is a painter whose work has been exhibited locally and nationally. Schouten drove a taxi in Toronto for fourteen years and studied at the non-degree granting school, Arts’ Sake Inc. for two years. He and his wife Pat, both originally from Winnipeg, returned to their hometown in 1995 and now live on an eighty-acre ranch outside the city withtheir dogs and horses. Schouten is a long-term member of the board of Plug In ICA and the Winnipeg arts community. Selections from Schouten’s ongoing Treaty Lands project will be shown at the Buhler Gallery in Winnipeg this fall. Operating as a non-Aboriginal, European descendant who calls himself a landowner in Treaty 1 territory, Schouten considers the landscape as a narrative engine, reflecting on notions of landscape painting as a deprecated but still usable colonial tradition. Schouten presented a paper titled Treaty Lands: Imaging a Conditional Landscape at the Rupert’s Land Colloquium at Rocky Mountain House in 2008. The Rupert’s Land Study Centre at the University of Winnipeg will publish the paper this summer in the 2008 Colloquium Proceedings.
Andre Silva is a Portuguese-Canadian, born and raised in Winnipeg, Manitoba. During high school at Oak Park, Silva began a post-secondary education in Auto-body Repair that later transitioned into an Arts degree in Classical Art and Archaeology at the University of Manitoba. Soon after the completion of the Arts degree, Silva was accepted into the undergraduate program in Architecture at the University of Manitoba, which led to his current studies in the Masters of Architecture program at the U of M. Silva is married with a 15 month old baby boy and is a freelance architect in the making who produces work for international competitions as well as small local projects. He is currently working on establishing a research based practice, which will bridge the gap between architectural practice and theory.
spmb [Karen Shanski and Eduardo Aquino with Adam Robinson] practices in the interstices between art and architecture. Karen Shanski and Eduardo Aquino collaborated for the first time while teaching design studio at the Faculty of Architecture, University of Manitoba in 1998. Producible Exchange/Corner Furniture, an impromptu installation in 1999, triggered a practice that generated more than 30 projects in the past 10 years. spmb’s main area of practice is in public art, but expands into architecture, teaching, research, publications, and exhibitions. Recent projects include Plage, created for the Ephemeral Gardens Festival in Quebec City (2008), HAHA!, a garden for the 10th edition of Reford Gardens International Garden Festival, in Métis, Quebec (2009), and Something Happens Here, a public art project for the Dufferin Subway Station in Toronto (2009-2012). Adam Robinson has a Masters of Architecture degree and practices architecture and graphic design. His work has been recognized through an Alcuin Society Award, and short-listed to the Leipzig Design Awards. spmb and Adam Robinson have collaborated together in the book project Complex Order: Intrusions in Public Space, published by Plug In Editions in 2009.
Cyrus Smith is a Winnipeg artist who works in a variety of disciplines. He prides himself on being able to make most things into art. Aesthetically, Smith’s influences range from post formalism to dumpster pop. His most recent body of work exposes graffiti and the regulatory contradictions that surround street art. In the studio Smith produces work at a hyper velocity in many different mediums including assemblage, painting, sculpture, photography, video, performance, etc. His work can be seen regularly in group shows at institutions including Gallery 1.1.1., Plug In ICA, and the Winnipeg Art Gallery. Smith has exhibited his work in Toronto, Fredericton, and Edmonton. His work has been published in Border Crossings Magazine, Toro Magazine, The National Post, and shown on CBC ‘Artspots’. He has been written about in The Globe and Mail and Macleans Magazine, and recently sold a painting to the Canada Council Art Bank. Smith is also a published writer.