Sameer Farooq is a Canadian artist of Pakistani and Ugandan Indian descent. His interdisciplinary practice investigates tactics of representation and enlists the tools of sculpture, installation, photography, documentary filmmaking, writing and the methods of anthropology to explore various forms of collecting, interpreting, and display. The result is often a collaborative work which counterbalances how dominant institutions speak about our lives: a counter-archive, new additions to a museum collection, or a buried history made visible. With exhibitions at institutions around the world including the Aga Khan Museum (Toronto), the Art Gallery of Ontario (Toronto), The British Library (London), the Institute of Islamic Culture (Paris), the Lilley Museum (Reno), Vicki Myhren Gallery (Denver), the Contemporary Art Gallery (Vancouver), Maquis Projects, (Izmir), Trankat (Tétouan, Morocco), Sol Koffler Gallery (Providence), Artellewa (Cairo), and Sanat Limani (Istanbul), Farooq received several awards from The Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, and the Europe Media Fund, as well the President’s Scholarship at the Rhode Island School of Design. Reviews and essays dedicated to his work have been included in Canadian Art, The Washington Post, BBC Culture, Hyperallergic, Artnet, The Huffington Post, C Magazine, and others. He was longlisted for the Sobey Art Award in 2018.
Serena Lee’s practice stems from a fascination with polyphony and its radical potential. She layers time-based media and works collaboratively and discursively. Recent projects have been presented at Cubitt (London) and Transmediale (Berlin), as part of feminist reading collective Read-in, and with Christina Battle as SHATTERED MOON ALLIANCE. Serena is a researcher in the PhD-in-Practice Programme at the Academy of Fine Arts Vienna.
Petrina Ng is a visual artist and cultural worker based in Toronto. Her multi-form practice looks at diasporic loss and legacy through a lens of decolonization. Recent exhibition sites include Humber Galleries (Toronto), FOFA Gallery (Montréal), Blackwood Gallery (Mississauga), and Zalucky Contemporary (Toronto). Petrina also publishes books about art in collaboration with designer Rachel Wallace as the imprint, Durable Good. She holds an MFA from the Slade School of Fine Art and is currently a curator of contemporary art at the Small Arms Inspection Building/Museums of Mississauga.
Annie Wong is a writer and multidisciplinary artist working in performance and installation. Conceptually diverse, her practice explores the intersections between the politic and poetic in everyday life. Her current research focuses on the ways in which affective knowledge, particularly intergenerational feminist anger, the melancholy of ancestral amnesia, and hauntologies of diasporic displacement, are embodied in these muddied intersections. Wong’s practice is heavily collaborative and often engages diasporic communities to produce a collective form of carework as the basis for artistic production, allyship building, and spiritualism. Wong has presented in solo and group exhibitions extensively across North America and has been awarded residencies with the Art Gallery of Ontario, the Power Plant (Toronto, ON), and Khyber Centre for the Arts (Halifax, NS). Her literary practice in poetry, art writing, and non-fiction can be found in The Shanghai Literary Review, C Magazine, Canadian Art, and MICE Magazine.
The Aboriginal Curatorial Collective / Collectif des commissaires autochtones (ACC-CCA) is an Indigenous arts organization that advocates, activates, and engages on behalf of Canadian and international Indigenous curators, critics, artists and representatives of arts and cultural organizations. The ACC-CCA develops and programs curatorial projects, researches Indigenous practices and educates through critical discourses on Indigenous arts and cultures. The ACC-CCA builds relationships for Indigenous artists and curators by supporting equitable collaboration and exchange within larger arts communities. The ACC-CCA focuses on increasing opportunities for Indigenous artists and curators within established arts institutions and champions the development of new Indigenous-controlled arts spaces. The ACC-CCA collaborates, challenges, and engages in critical discourse, always viewing the arts through a contemporary Indigenous lens.