Repair & Care

MORE GUESTS TBA

WEEKEND-LONG GUESTS

Margaret works in video, installation, web/analogue publication & performance. Spanning relational, durational, interventionist and community-based practices, she has shown in Canada, USA & Europe. Dragu is celebrating her 50th year as working artist.Her favourite art-making material is still the body despite or because of her bionic status as a grateful owner of two recent hip replacements. She is a BCRPA Advanced Group Fitness & Yoga Instructor as well as Personal Trainer. She has 40+ years experience working with beginners, athletes, dancers, seniors and, is a Clinical Exercise & Post-Rehabilitation specialist.

Margaret was the recipient of the Governor General’s Award for Visual and Media Arts in 2012, Éminence Grise (2012) for 7a*11d, and, in 2000, first artist in FADO’s publication series Canadian Performance Art Legends.

THURSDAY, NOVEMBER 4th

MORNING 9:30 – 12:00 PST

Dr. Paul O’Neill is an Irish curator, artist, writer and educator. He is the Artistic Director of PUBLICS, a position he took up in September 2017. PUBLICS is a curatorial agency and event space with a dedicated library, and reading room in Helsinki. Between 2013-17, he was Director of the Graduate Program at the Center for Curatorial Studies (CCS), Bard College, New York. He is author of the critically acclaimed book The Culture of Curating and the Curating of Culture(s), (Cambridge, MASS., The MIT Press, 2012), which has been translated into many languages. His most recent coedited book is Curating After the Global: Roadmaps to the Present published with MIT Press, 2019.Paul is widely regarded as one of the foremost research-oriented curators, and leading scholar of curatorial practice, public art and exhibition histories. Paul has held numerous curatorial and research positions over the last twenty years and has taught on many curatorial and visual arts programs in Europe, The USA, Asia and the UK. Paul has co-curated more than sixty curatorial projects across the world including amongst others the exhibition: We are the (Epi)center, P! Gallery, New York (2016), and the muti-faceted We are the Center for Curatorial Studies for the Hessel Museum, Bard College (2016-17).

Paul’s writing has been published in many books, catalogues, journals, magazines, and is reviews editor for Art and the Public Sphere Journal and on the editorial boards of The Journal of Curatorial Studies and FIELD – A Journal of Socially Engaged Art Criticism. Paul is editor of the curatorial anthology, Curating Subjects (2007), and co-editor of Curating and the Educational Turn (2010), and Curating Research (2014) both with Mick Wilson, and published by de Appel and Open Editions (Amsterdam and London). Paul is author of Locating the Producers: Durational Approaches to Public Art (Amsterdam, Valiz, 2011), co-edited with Claire Doherty and author of the critically acclaimed book The Culture of Curating and the Curating of Culture(s), (Cambridge, MASS., The MIT Press, 2012). Paul’s editorial projects include the series of three curatorial anthologies, The Curatorial Conundrum; How Institutions Think, and Curating After the Global: Roadmaps to the Present, are co-edited with Lucy Steeds, Mick Wilson et al, and published with The MIT Press, CCS Bard College and Luma Foundation, in 2016, 2017 and 2019 respectively. Paul has two artist’s books with Maryam Jafri and Kathrin Bohm forthcoming in 2021-22, and is currently working on a collected anthology of Curatorial Texts called CURED.

For over 30 years, he has also worked as an arts consultant for artists; arts organizations and institutions; government agencies in Canada and internationally. In 1989-91, Chris was a consultant to the Canada Council on issues of cultural/racial equity. His work launched the formation of two critical offices – the Aboriginal Arts Office and the Equity Office that have subsequently led the way in transforming the Council from a mostly Eurocentric arts agency to one in which multiple art traditions and practices are funded.

In 1991-92, he worked at the Banff Centre designing and directing a 20 artists’ residency, Race and the Body Politic which indirectly influenced the establishment of the Aboriginal Arts program. In 2011, he co-authored, along with France Trépanier, Understanding Aboriginal Art in Canada Today.

He is currently the Co-Director of Primary Colours/Couleurs primaires. primary-colours.ca

Chris appreciates his audiences a lot.

AFTERNOON 14:00 – 16:30 PST

Doug Jarvis is an artist and curator based in Victoria, BC. He is a founding member of the avatar performance art group Second Front and the Noxious Sector Art Collective and participates in Open Actions in public spaces. His individual and collective work explores absurdity, care, non-material entities and technology as a human attribute. Doug’s projects have been presented at artist-run centres, galleries, museums and festivals across Canada, the United States, Europe and Asia. He is an active member of the Victoria arts community and participates through a variety of non-profit and artist-run centre boards, including as President of the Ministry of Casual Living. He is the Acting Executive Director at Open Space Arts Society and the Administrator for the ProArt Alliance of Greater Victoria. Doug received an MFA in studio from the University of Guelph, ON and is a sessional instructor in the Visual Arts Department at UVic.

Daina Warren is from the Akamihk (Cree) Nation in Maskwacis (Bear Hills), AB. She was awarded two Canada Council’s Aboriginal Curatorial Residencies the first to work with grunt gallery, Vancouver BC (2000-2001) and a second residency at the National Gallery of Canada in Ottawa, Ontario (2010-2011). She has a BFA from the Emily Carr University of Art and Design (2003) and an MA from UBC (2012). Warren was awarded the 2015 Emily Award from Emily Carr University and was selected as one of six Indigenous women curators as part of the Canada Council for the Arts Delegation to participate in the International First Nations Curators Exchange that took place in Australia (2015), New Zealand (2016), and Canada (2017). Her most recent accomplishment was winning the Hnatyshyn Foundation Award for Curatorial Excellency in 2018. She is currently the Director of Urban Shaman Contemporary Aboriginal Art in Winnipeg, Manitoba.

FRIDAY, NOVEMBER 5th

MORNING 9:30 – 12:00 PST

Snežana Golubović is an artist and writer.
Born in former Yugoslavia, she moved to Germany in 1992 and has worked independently as
an actress / performer.
From 2003 to 2007 she was a member of the Independent Performance Group (I.P.G.), which
was founded and led by Marina Abramović.
Since 2013 she has been a co-founder and member of the performance art trio TRaG (Trojan,
Reiser and Golubović).
Her works have been shown internationally at, among others: Van Gogh Museum /
Amsterdam, Avignon Theatre Festival, Venice Biennale, as well as at numerous exhibitions
and performance art festivals in Europe, Asia, North and South America.
She is Professor for Performative cultural education at the Frankfurt University of Applied
Sciences.

AFTERNOON 14:00 – 16:30 PST

Chipaziwa’s work addresses the duality of subjectivity and objectivity; the notion of identity and its fluidity, and the performativity of the African [female] body.

Some of her international projects include “Winter/ Interior/ A Doll’s House” (Digital Theatre – Iranshahr Theater Hall), “Game” (Interactive Performance Art – Aliha Gallery), “Monitoring [Tehran]” at TADAEX04 ( Multi-channel Live Video Installation, Tehran Annual Digital Art Exhibition), “Charisma”(Contemporary Dance – Canada at Push Festival/ Push Off, the Netherlands at Dancing on the Edge Festival, Iran at Molavi Hall), “Monitoring [A Doll’s House]” (Durational performance and multi-channel live video installation – Studio T, SFU), “Adult’s Room” (Durational cyberformance – Studio T, SFU), “Migrations” (Video installation, Collaboration with Emily Neufeld – Window Gallery), “Oedipe” (Performance, Collaboration with Fabrice Nicot – Tehran and Paris) and “Solo Pour L’Enfant Mort”, (Choreography by Rejane Douarre – Saint Severin Church, Paris).

SATURDAY, NOVEMBER 6th

MORNING 9:30 – 12:00 PST

Irit Rogoff is a writer, teacher, curator, and organizer working at the intersection of contemporary art, critical theory, and emergent political manifestations. She is a professor of Visual Cultures at Goldsmiths, University of London, London, where she heads the PhD in the Advanced Practice program. Her practice deals with geography, globalization, and contemporary participatory practices in the expanded field of art. Her current work focuses on new practices of knowledge production and their impacts on modes of research, under the title Becoming Research. As part of the collective freethought, Rogoff was one of the artistic directors of the Bergen Assembly, Bergen, 2016. Rogoff is also co-founder in 2017 of “The European Forum for Advanced Practices”, a Europe wide forum for engaging with and developing a set of principles for Advanced, Practice Driven form of Research. In addition to contributing to numerous anthologies and catalogs, her publications include: Looking Away—Participating Singularities, Ontological Communities (2013); Visual Cultures as Seriousness (with Gavin Butt, 2013); Unbounded—Limits’ Possibilities (2012); and Terra Infirma: Geography’s Visual Culture (2000). She has also published in periodicals such as Art Journal, Open, e-flux journal, and Third Text. Rogoff lives and works in London.

Dave Beech is an artist and writer. He is Reader in Art and Marxism at Chelsea, Camberwell and Wimbledon, the University of the Arts, London. He is the author of Art and Labour (Brill 2020), Art and Postcapitalism (Pluto 2019) and Art and Value (Brill 2015). Beech worked in the collective Freee (with Andy Hewitt and Mel Jordan) between 2004 and 2018. His solo art practice revisits the critical traditions of photomontage and factography through the Marxist concept of uneven and combined development.

AFTERNOON 14:00 – 16:30 PST

Jo-Anne Birnie-Danzker is a curator and former Director and Chief Executive Officer of the Biennale of Sydney, Vancouver Art Gallery, Museum Villa Stuck Munich and Frye Art Museum Seattle. She served as curator and cocurator of more than 100 exhibitions at these museums including “Shanghai Modern: 1919 – 1945” (cocurated with Ken Lum and Zheng Shengtian), “Art of Tomorrow” (cocurated with Brigitte Salmen and Karole Vail for the Museum Villa Stuck and the Solomon R. Guggenheim Museum, New York) and “The Short Century: Independence and Liberation Movements in Africa 1945–1994”, an exhibition curated by Okwui Enwezor for which Birnie-Danzker served as Exhibition Director. “The Short Century” was presented at the Museum Villa Stuck, Martin-Gropius-Bau Berlin, MCA Chicago and MoMA PS1, New York.

Birnie-Danzker is currently Adviser of “ISKRA DELTA”, the 34th Ljubljana Biennale (2020- 2021) and a Visiting Scholar at The School of Philosophy, Fudan University, Shanghai, where she will lead a Masterclass on Curatorial Practice during the 2021-22 academic year.

Paul Couillard has been working as a queer artist, curator, and performance art scholar since 1985. He has created well over 300 performance works in 26 countries, often with his husband and collaborator, Ed Johnson. Paul was the Performance Art Curator for FADO from 1993 until 2007, and is a founding co-curator of the 7a*11d International Festival of Performance Art. His main areas of interest include site-responsiveness, building community, and addressing trauma through explorations of our bodies as shared vessels of sensation, experience, knowledge and spirit. He is the editor of the monograph series Canadian Performance Art Legends, and has been a lecturer at McMaster University and the University of Toronto Scarborough. He recently completed a doctorate through the York Graduate Program in Communication and Culture. His dissertation Rethinking Presence with a Thinking Body: Intra-active Relationality and Animate Form offers a meditation on presence from the perspective of a thinking body, integrating insights from continental philosophy, popular neuroscience, and interactive performance art practices.

Curatorial Team Leader

Elham Puriya Mehr is an artist, curator, and lecturer based in Vancouver on the territories of the xwməθkwəýəm (Musqueam), Skwxw.7mesh (Squamish) and səlili> lw̓ ətaʔɬ (Tsleil-Waututh) First Nations. She received her BA and MA from the Tehran University of Art, and her Ph.D. in Art Research (Cultural Discourse of Curating in Contemporary Art of Iran) from Alzahra University in Tehran. Her researches focus on curatorial knowledge in social contexts, nonWestern curatorial methodologies, and public engagement. She investigates innovative methods to involve publics in art projects and exhibitions, so the publics reactions and behaviors on one hand and roles/responsibility of art institutions and art professionals on the other hand develop her practices. She has worked as a university teacher, curator and writer over the past fifteen years in West Asia and Europe, and lectured in international conferences, symposiums and talks in Tehran, Singapore, Amsterdam, Vienna, and Vancouver. She is a co-founder of “Empty Space Studio,” a nonprofit nomadic platform based in Tehran and Vancouver and currently she is a research associate in “freethought collective,” Goldsmiths University in London for a year.

Digital Director

Brady Ciel Marks is a computational artist, interactive-arts consultant & educator.Brady is concerned with our technological entanglement, and creates media configurations that express a middle way between technological fetishism and dystopian fantasies. She works with technology and against technological thinking. Brady holds a M.Sc. in Interactive Arts from Simon Fraser University (SFU), has a broad understanding of the contemporary issues and technologies in our computer mediated digital environment, with a speciality in sound, light and interaction.

Brady was born to German-English settlers in shadow of Table Mountain, Cape Town South Africa, makes her home on the unstable stolen land of the šxʷməθkʷəy̓əmaɁɬ təməxʷ (Musqueam), Skwxwú7mesh-ulh Temíx̱w (Squamish) and səl̓ilwətaɁɬ təməxʷ (Tsleil-Waututh) peoples and finally can be found to thrive on queer party dance floors.

Administrator

As LIVE’s Interim Administrator, Lianne brings diverse experience in administration, operations, fundraising, festivals and events production, creative technology, and community cultural development. She has worked as Public Art Coordinator (City of Surrey), at Artcite (Windsor), Gallery Gachet, W2 Community Media Arts, and Ecotrust Canada, and is Operations Manager at Wild Bird Trust of BC (Maplewood Flats).As a settler treading lightly on the unceded territory of the Musqueam, Squamish and Tsleil-Waututh Nations for almost half her life, she is interested in relationship-based collective learning and action, redress and reconciliation, and supporting Indigenous efforts towards justice and land and water protection.

She enjoys walking, live and electronic dance music, cat sitting, growing and tending plants, and challenging her comfort zone.

Associate Curator of Archive

Yasmine Whaley-Kalaora (she/they) is an emerging artist/writer/curator of mixed Turkish and settler-Canadian heritage living and working on the unceded territories of the xwməθkwəýəm (Musqueam), Skwxwú7mesh (Squamish) and səlil̓ilw̓ətaʔɬ (Tsleil-Waututh) First Nations. A recent graduate with a Bachelors in Art History from the University of British Columbia, Yasmine’s interests revolve around embodied methodologies as sites of activism and activation within theory, art and curatorial praxis. Yasmine’s practice is largely situated around performance, video, field recordings, collage, writing and ongoing citation. @yas_yas_yas_yas

Digital Conference Coordinator

Brian Postalian (Բրայն Փոսթալյան) is an arts administrator, educator, and creator born and raised in Toronto/Tkaronto by way of Armenia, Ireland, Wales, and the Czech Republic. Brian makes work that reconsiders how we share space together in communal places. He is always looking at creating unique happenings for the audience that leave lasting impressions and transformative experiences. His work is highly collaborative and crosses disciplines from creation, direction, performance, and medium. An ambitious risk taker, a reviewer once described him as “clearly unafraid to try just about anything.” Brian’s work has been featured on “Best of the Year” lists, received Outstanding Direction (NOW Magazine), Best Production (SummerWorks 2017), nomination for Outstanding Direction (MyEntertainmentWorld), and continues to make collaborative work that redefines what we think of as theatre. He completed a Master of Fine Arts at Simon Fraser University’s School for the Contemporary Arts in Theatre Game Design and Interdisciplinary Performance Studies. In his spare time, he likes to visit used book stores, revisit childhood video games, ride his bicycle, play with his dog Amie, and is learning how to draw and play the Armenian duduk. Brian currently lives on the unceded Coast Salish territory of the Squamish, Tsleil-Waututh and Musqueam Nations (also known as Vancouver, BC). www.brianpostalian.com

Digital Communications Coordinator

Caleb Chan is a digital artist, based in Victoria, BC. His art balances the technical aspects of commercial graphic design and the conceptual nature of fine art. Together with the Live Biennale team, he applies his technical abilities to help create the visual design aspects of the Live Biennale 2021.

Treasurer

Glenn Lewis, artist based in Vancouver, born in Chermainus BC, 1935, a 1958 graduate of Vancouver School of Art (now Emily Carr University of Art + Design). Studied ceramics with Bernard Leach at his Pottery, St. Ives, Cornwall 1961-63. Taught at University of BC and Alfred University, 1964 – 72. Worked collaboratively in Vancouver with Intermedia, Image Bank, New York Corres Sponge Dance School of Vancouver, and as Director of the Western Front, 1967 – 1986. Head of Media Arts Section, Canada Council, 1987-90. Had a plant nursery, Fragrant Flora, 1993-2006, and founded the Sunshine Coast Botanical Garden. Has received a number of art grants, the Emily Award in 2000, and the Governor General’s Award in Visual Arts in 2017. Lewis and other artist-peers developed alternate channels for artistic exchange such as mail art, social practice and innovative first-generation mixed media art in the late 60s and 70s. Lewis was one of the earliest innovators in performance art with “Flour Piece” 1968 at the VAG, and video performances, “Japanese Pickle” and “Blue Tape Around City Block”, both in 1969. Most recently he has been exploring poetic relationships between ceramics and photographs, the hard material with the ephemeral representation.

Secretary

Doug Jarvis is an artist and curator based in Victoria, BC. He is a founding member of the avatar performance art group Second Front and the Noxious Sector Art Collective and participates in Open Actions in public spaces. His individual and collective work explores absurdity, care, non-material entities and technology as a human attribute. Doug’s projects have been presented at artist-run centres, galleries, museums and festivals across Canada, the United States, Europe and Asia. He is an active member of the Victoria arts community and participates through a variety of non-profit and artist-run centre boards, including as President of the Ministry of Casual Living. He is the Acting Executive Director at Open Space Arts Society and the Administrator for the ProArt Alliance of Greater Victoria. Doug received an MFA in studio from the University of Guelph, ON and is a sessional instructor in the Visual Arts Department at UVic.

Member at Large

Ian Prentice is an interdisciplinary artist and DJ. He works primarily as a part of DRIL Art Collective, which was founded in 2009 and operates as a four-person collaborative practice with an emphasis on craft-based, material engagement, and understanding through sensory experience.With DRIL, Ian creates installation-based artworks and social events that combine a broad range of media, such as photography, video, sculpture, and performance. Often site-responsive, DRIL’s projects take the form of immersive cinematic environments that serve to enliven the space, and accentuate the extent to which we are interconnected with our surroundings. Their work is an ongoing investigation into the domestic sphere as it relates to concepts of Vibrant Matter and philosophies of The Everyday.

Ian received a BFA from NSCAD in 2007 and a Red Seal in joinery from BCIT in 2015. He is currently based on the ancestral and unceded homelands of the hən̓q̓əmin̓əm̓- and Sḵwx̱wú7mesh-speaking peoples.