Repair & Care

NOVEMBER 4-6, 2021

Fig. #1, Papalia, Carmen, “A Site Specific Performance at Hastings Park,” October. 6th 2019, Vancouver B.C.


Since 2019, the Board of Directors of LIVE Biennale embarked on researching new strategies of communicating with communities. To explore: how are our communities constructed, how can we expand the relationship between institutions and publics? On November 4th to 6th 2021, an assembly of national and international artists, activists, scholars, and curators will collaborate in presentations about how small art organizations can better serve local communities and help shape the future of LIVE.

Curatorial Statement

On November 4th to 6th 2021, national and international artists, activists, scholars, and curators are invited to collaborate in presentations about how small art organizations can better serve local communities and help shape the future of LIVE.

LIVE [LIVE International Performance Art Biennale], a Registered Charitable Society founded in 2001, has established Vancouver, Canada as a recognized node of local, national, and international performance art activity and critical study. In September 2019, board members of LIVE Biennale began to research how to rebuild the structures and infrastructures of the organization. We thought about the thin lines between governmentality, anti-hegemony, and the beginning of a new relationship with our local communities. Over the past two years, we have engaged in conversations with local colleagues to hear their thoughts and opinions about LIVE. They have helped LIVE locate our position as an arts organization in relation to the broader community and provided a better understanding of our strengths and weaknesses, in addition to thinking about methods of repairing harm LIVE has caused in our ability to support artists and staff. 

Before the assembly, we have organized meetings with both local and international presenters to share their thoughts on how to care about the artists and communities. The LIVE Assembly from November 4 to 6, 2021, is our next step to focus on learning from our colleagues by asking questions that will change our organization. This online platform is a space for thinking together and finding a new format for how small art presentation organizations similar to LIVE can serve local communities better.  

In Canada, there are a multitude of entities that define who we are as denizens of the country. As an organization in a hegemonic context, we recognize that we have inherited many atrophying codes and legacies. At the Assembly, we are inviting participants to voice their feedback as we move toward new organizational models. In particular redressing issues of governance, systemic racism, regulation of public space, and complicity with capitalist gentrification. How can we do things differently? 

As arts organizations, we need to know more about the local communities we serve. How can we listen deeper and give them a space to be in relation with us on their own terms? We constantly speak about this in an “us/them” rhetorical difference: “us” who wants to know “them.” We then display those differences by exhibitional means which swallows otherness and commodifies it for public consumption. How do we disrupt this? We understand the necessity of strengthening our dialogue among diverse public groups and individuals. How can we widen our scope and consider the cross-genre of collaborations, and establish an alternative form of organizational structure that deviates from a top-down approach?

In Dave Beech’s Modes of Assembly: Art, the People, and the States, he emphasizes that: 

“When speaking of the people, and thinking about the relationship between art and the people, it is important to differentiate various constructions of social bodies…the people are not blockade, the riot, or the kettle. Masses, mobs, audiences, crowds, markets, publics, and the people are each constituted differently. In order to address these differences, we need to examine how each mode of the social body is formed, what mechanisms are used in their formation, what technologies bind them, how are they institutionalized, and to which apparatuses do they belong.”1

For LIVE Assembly: Repair and Care, we will discuss these challenges over a three-day program. On the first day we will concentrate on self-reflexivity and critique as performance art institutions. On the second day we are asking: “What do communities want from arts organizations?” as we dive into methodologies and strategies to recognize and support them. On the third and final day, we will envision new models of governance for arts organizations and consider what a different LIVE Biennale can be. 

We invite participants from all over the world to join us in a provocative discourse where we will imagine new futures for art organizations and the communities they serve.

 – LIVE Assembly Curatorial Team

1. Hlavajova, Maria and Sheikh, Simon (Edited), Former West Art the Contemporary after 1989, (The MIT Press, Cambridge, MA and London, 2017) p. 559.

Board Statement

A public statement from the Board of Directors of the LIVE Biennale of Performance Art Society

The LIVE Board of Directors acknowledges that we work respectfully within the ancestral, traditional, and unceded territory of the Coast Salish Peoples, including the territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations.

As we do this work, we are enacting changes to the organization that will significantly impact the programming and operations of the LIVE Biennale of Performance Society meant to shed light on our internal reorganization and open up conversations around shaping the future of LIVE.

Following the 2019 LIVE Biennale, the society received funding from BC Arts Council to support a leadership transition through a succession planning process. The Board contracted a freelance consultant to coordinate an organizational assessment. Through a series of workshops with Board members, a multi-year strategic plan was drafted to map organizational change and capacity building for the future after 20 years of operation.

This process drew information from stakeholders and members of the performance art community who possess a knowledge and understanding of LIVE and its history. As a result of this consultation, and the conversations that followed, the board formed working groups to review and address the gaps identified regarding organization, governance, management and policies to ensure the long-term sustainability and health of the organization. The Organizational Assessment process provided an opportunity to directly address grievances and expressions of harm that were brought to the Board’s attention, which we took seriously and committed to addressing through policy, practice and organizational change. We acknowledge and appreciate the time and courage that it took to raise these concerns.

LIVE has hired Lianne Payne as Interim Administrative Director and Brady Marks as Digital Strategies Coordinator to take over Randy Gledhill’s Executive Director duties as the board conducts an organizational review before searching for new leadership. These new positions have facilitated the Board to collaborate on drafting and adopting a comprehensive package of governance and HR policies. With the added pandemic pressures during this transition, hosting a live International Biennale in 2021 is not an option. Rather, the Board is considering this leadership transition as an ideal moment to take the time needed to build our administrative capacity, expand our models of leadership and governance, and address organizational concerns prior to settling on a future leadership structure.

This winter the Board and staff will participate in a series of professional development workshops that introduce the fundamental principles of diversity, equity, and inclusion, as we move towards a framework of anti-oppression. We are moving forward in this process with the intention of learning how to better support the communities we engage with and amplify underrepresented voices. We are committed to transforming the culture of our organization to ensure we are providing an environment that is safe and inclusive, and reflects the diversity of the artists, staff, and volunteers working with LIVE.

The next step is to re-evaluate the place of LIVE as a forward-thinking arts organization, cultural hub, and biennale. After over 20 years and 11 biennales with minimal change to its format, there is a need to reconsider the organization’s mandate and its terms of engagement as an international and local performance art event. How can our mandate provide space for LIVE to adapt to the shifting cultural and environmental conditions while responding mindfully, and with the necessary urgency, to the needs of our societies in the 21st century?

At this time, LIVE is examining all aspects of the organization’s governance, leadership, and public platforms for performance art and other relevant developments in the art sphere. We have taken on this task in recognition of our role in the ongoing work toward dismantling the systemic, colonial structures of oppression, biases, and the withholding of power to marginalized and racialized communities.

Our organizational goals for the upcoming year include:
● seeking new leadership models,
● moving towards more accountability,
● fostering a more transparent and open ethos,
● increasing the structure and stability of our administration,
● examining the need for increased and relevant programming,
● and cultivating a supportive, diverse, inclusive and vibrant work culture.

The Board is producing “LIVE Assembly,” for November 4-6, 2021, a series of online forums that brings together local and international peers and experts around the theme of Repair and Care. In order to research new possibilities, and better prepare for the recruiting and onboarding portion of the succession plan, LIVE is reaching out to an extended network of colleagues with an invitation to participate in conversations together—sharing our thoughts and experiences around these processes of radical transformation. Together we will question the future directions and strategies for small artist-run organizations and institutions, and address what it looks like to centre care in arts communities.

The production of “LIVE Assembly” has been made possible by the increased capacity of our Interim Administrative Director, Digital Strategies Coordinator, and the hiring of three additional staff through the Canada Summer Jobs program: Caleb Chan – Digital Communications Coordinator, Yasmine Whaley-Kalaora – Digital Archives Director, and Brian Postalian – Digital Conference/Events Coordinator. LIVE will gather and disseminate knowledge shared at the Assembly discussions and presentations to be used internally and shared online publicly. The Assembly will also present selections from its extensive video archives from the past eight Biennales.

Alongside the Assembly we have developed “LIVE Platform”, an online digital hub where curators, artists and a virtual arts audience can connect with each other over new and archival performance art. Digital platforms such as Instagram, YouTube and Facebook have become the dominant virtual hubs for artists and curators to connect, especially during the global pandemic. However, these social media platforms can perpetuate racist and colonial legacies in their algorithmically biased value systems, promote popularity contests, and treat artists as free “Content Creators”. These platforms also perpetuate commercial values which do not align with a holistic approach to community building.

In contrast, LIVE Platform will help bring attention and clarity to local, marginal communities, Indigenous voices, and important artistic statements. This project will connect our local/national network with an international audience in a time when travel is restricted. Our goal is to create an ongoing legacy through the LIVE Digital Platform, a curatorial and planning resource around practices in Performance Art, that cares about art and artists.

We also want to investigate the possibility that LIVE Platform can be designed to support and compensate participating artists for their contributions to the platform, as well as supporting the discussion, curation and dissemination of performance art.

The Board and staff are committed to bringing about a renewed LIVE through the efforts outlined above. With the cooperation and support, as well as inspiration from the broader community, we will be assured of heading in the direction of positive social change.

The Board of Directors

Doug Jarvis
Glenn Lewis
Dylan McHugh
Ian Prentice
Rachel White

LIVE Assembly – Curating the Archive

The LIVE Biennale of Performance Art has been an active part of the local and international performance art scene for over two decades. Initially created by Glenn Alteen and Brice Canyon, LIVE strove to make space for experimental work and highlight Vancouver’s flourishing but underrepresented performance art scene. In 1999, grunt gallery founded and organized
what would become LIVE’s first iteration, LIVE at the End of the Century. After that, grunt produced the biennale’s subsequent iterations until 2005. In 2006 , Randy Gledhill became the Executive Director / Curator and, in tandem with a working Board of Directors, organized the biennale from 2007-2019. Over the past two years, LIVE has been in the process of restructuring while reflecting on the organization’s goals and mandates, and re-thinking how it can be a meaningful resource for its interacting artists and audiences.

One facet of this reflection is turning attention to the culmination of an archive. This summer I began the process of working on both logistics and thinking through the relational questions regarding LIVE’s intentions for a public facing archive. Many questions have surfaced around what it means to hold a body of performance art documentation: How can context be introduced to support the documentation of past performances? How can the archive care for and serve the artists whose documentation it holds?

Like LIVE, I too am learning to situate myself in archival practices. I’ve found the most valuable learning has come through conversations with colleagues, local artists, and culture workers who have been generous enough to share their knowledge with me. It has been these conversations, paired with the contextual information gained from reading the LIVE Blog (active from 2007-2012), which prompted a deeper interest in the role of witnessing in the process of both archive formation and its engagement. Witnessing as archive became my entry point into this vast body of documentation.

As the logistics of beginning an archive continue to progress, I am interested in creating avenues into the documentation and making space for conversations before the archive is public facing. For the LIVE Assembly, I’ve curated Annotating the Archive, a series of dialogues between artists and curators who have been involved with the organization in the past. These conversations center fragments of archival documentation, letting the stories that arise from moments of (re)witnessing act as live annotations of the past performances.

I took a rhizomatic approach to selecting documentation for this project. Through many interactions, stories and fragmented memories met my own interest in fluidity between individual and collective embodiment in performance art. These overlapping curiosities have generated starting points to address not only the past performances, but broader questions that arise when context gets revisited.

Based on the situated nature of performance art, there is no way to entirely articulate the embodied impacts of past biennale events. As such, these annotations indulge the subjectivity of witnessing, creating threads that can be woven in and around disparate articulations. While these conversations permeate contextual gaps in the records, and create artist driven entry points into the works, they will also serve to inform and shape the future of LIVE and it’s archive.

Yasmine Whaley-Kalaora
Associate Curator of Archive, LIVE Performance Art Biennale



On Performance Art Institutions and Audiences

9:30 – 10:45 PST Self-Reflectivity & Self-Criticality
Paul O’Neill, Chris Creighton-Kelly, and Monica Narula
10:45 – 11:00 PST Performance by Margaret Dragu
Margaret Dragu
11:00 – 12:00 PST (CONT.) Self-Reflectivity & Self-Criticality + Q&A
Paul O’Neill, Chris Creighton-Kelly, and Monica Narula
12:30 – 13:30 PST Annotating the Archives in conversation with Margaret Dragu and Paul Couillard
Yasmine Whaley-Kalaora
14:00 – 16:30 PST Unanticipated Spaces: Caring about Artists & Caring about Communities
Doug Jarvis, Daina Warren


What Communities Want? Towards the Diversity of Collaboration

9:30 – 10:45 PST How to Shift Our Knowledge About Communities
Jeanne Van Heeswijk, Snežana Golubović
10:45 – 11:00 PST Performance by Margaret Dragu
Margaret Dragu
11:00 – 12:00 PST (CONT.) How to Shift Our Knowledge About Communities + Q&A
Jeanne Van Heeswijk, Snežana Golubović
12:30 – 13:30 PST Annotating the Archive in conversation with Rachel White and Fausto Grossi.
Yasmine Whaley-Kalaora
14:00 – 16:30 PST Listening to Communities: Before, During, and After the Event
Aerial Sunday-Cardinal, Chipo Chipaziwa, James Albers, Reiko Inouye, Pegah Tabassinejad


Relocating the Centres for Tomorrow: Strategic Models

9:30 – 10:45 PST Models of Possible Actions: Covering the Distance
Irit Rogoff, Dave Beech, Maria Hlavajova
10:45 – 11:00 PST Performance by Margaret Dragu
Margaret Dragu
11:00 – 12:00 PST (CONT.) Models of Possible Actions: Covering the Distance + Q&A
Irit Rogoff, Dave Beech, Maria Hlavajova
12:30 – 13:30 PST Annotating the Archives in conversation with Daina Warren and Peter Morin
Yasmine Whaley-Kalaora
14:00 – 16:30 PST How Will Tomorrow be Different?
Jo-Anne Birnie-Dankzer, Paul Couillard, Peter Morin
Meet the Guests



Margaret Dragu

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.


MORNING 9:30 – 12:00 PST

Paul O’Neill

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.

Monica Narula (Raqs Media Collective)
Monica Narula formed Raqs Media Collective in 1992, along with Jeebesh Bagchi and Shuddhabrata Sengupta. The word “raqs” in several languages denotes an intensification of awareness and presence attained by whirling, turning, being in a state of revolution. Raqs Media Collective take this sense to mean ‘kinetic contemplation’ and a restless and energetic entanglement with the world, and with time. Raqs practices across several media; making installation, sculpture, video, performance, text, lexica and curation. The members of Raqs Media Collective live and work in Delhi, India. In 2001, they co-founded the Sarai program at CSDS New Delhi and ran it for a decade, where they also edited the Sarai Reader series. They have shown extensively globally, as well as curated numerous exhibitions, including the Shanghai Biennale 2016, “Why Not Ask Again?”. They were the Artistic Directors for the recently concluded Yokohama Triennale 2020, “Afterglow”, where they developed sources around toxicity, care, and the luminosity of friendship. Ongoing exhibitions include “The Laughter of Tears” at Kunstverein Braunschweig and “Hungry for Time” at Academy of Art, Vienna.
Chris Creighton-Kelly
Chris Creighton-Kelly is an interdisciplinary artist, writer and cultural critic born in the UK with South Asian/British roots. His performative, usually ephemeral, artworks have been presented across Canada, in India, Europe and USA. Chris contends that the 20th century, operative question of Western – What is Art? – should be revisited in this century and especially in 2021, to ask – When is Art? He has received grants and awards in five countries.Chris has been persistently interested in questions of absence in art-making. Whose epistemology is unquestioned? Who has power? Who does not? Why not?

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.

Chris appreciates his audiences a lot.

AFTERNOON 14:00 – 16:30 PST

Doug Jarvis

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

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.


MORNING 9:30 – 12:00 PST

Snežana Golubović

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

Jeanne van Heeswijk
Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to “radicalize the local”. Her long-scale community-embedded projects question art’s autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.
Noted projects include: Het Blauwe Huis (The Blue House) in Amsterdam (May 2005 – December 2009); Public Faculties series (2008-present) Homebaked in Liverpool (November 2011 – present); Freehouse, Radicalizing the Local in Rotterdam (September 2008- present), Philadelphia Assembled, Philadelphia Museum of Art in Philadelphia (2015-2017) and Trainings for the Not-Yet, BAK, Basis voor Actuele Kunst in Utrecht (2018-2019) .
Her work has been featured in numerous books and publications worldwide, as well as internationally renowned biennials such as those of Liverpool, Shanghai, and Venice. She was the 2018-19 BAK, Basis voor Actuele Kunst Fellow, the 2014-2015 Keith Haring Fellow in Art and Activism at Bard College and she has received the 2012 Curry Stone Prize for Social Design Pioneers, and in 2011, the Leonore Annenberg Prize for Art and Social Change. She lives and works in Rotterdam.

AFTERNOON 14:00 – 16:30 PST

Aerial Sunday-Cardinal
Aerial Sunday-Cardinal is a Cree multidisciplinary artist from a small reservation in Northern Alberta. She creates conceptual art with a focus on philosophy, spirituality, the human experience, and her experience as a First Nations being. Her work often questions and resists socio-political colonial structures and their role in self-hood.
Chipo Chipaziwa
Chipo Chipaziwa was born in Kuala Lumpur, Malaysia. She has lived in Malaysia; Switzerland; New York; Zimbabwe and currently resides in Vancouver.Chipaziwa is a performance artist who works both independently and collaboratively. Chipaziwa is part of the performance art collective CUERPO, which was found by artist Guadalupe Martinez.

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.

James Albers
James Albers is an emerging artist, curator, writer, organizer, and performer based on xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and Sel̓íl̓witulh (Tsleil-Waututh) territories. Their practise often takes a collaborative and community oriented approach as they see this as a productive way to create new meaning from their lived experiences. James is concerned with exploring the queer potentials of revisionist histories and chooses to believe in the magic of fiction. Recently, James has been thinking through the truth that a perfect lie may hold.
Reiko Inouye
Reiko Inouye is an emerging artist, curator, organizer, and settler guest on the traditional, ancestral, and unceded lands of the xwmə0–kwəy’əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. They recently received their Bachelor of Arts in Interdisciplinary Studies from the University British Columbia, and were nominated for the BMO 1st Art! Competition. In 2020-21, they were the Director of the student-run Hatch Art Gallery on UBC Vancouver’s campus.
Reiko’s practice often concerns itself with theories of queer world-building, space-making, performativity, and movement. The relationality and space between (objects/people/places) is what interests Reiko the most, and the modes through which communication occurs. Her most recent research has explored correspondence, lineages, personal ephemera, and temporality as it relates to identity formation.
Pegah Tabassinejad
Pegah is an Interdisciplinary artist with interests in creating inter-medial performances, interactive performances, cyberformances, digital performances, multi-channel video installations, and city projects. She has been working on the notion of ‘presence‘ and ‘absence‘ in her art practice. She has been exploring the gap between the real and the virtual, here and there, and researching the absence within the two worlds. For this, She’s also questioning the boundaries of private and public space. She is interested in the aesthetics of CCTV cameras, small laptops with a tiny green light being ON and the Internet. She is always working with a wide range of performers and is addicted to wandering in the cities.She holds MFA in Interdisciplinary Art at Simon Fraser University and BA in Stage Directing from the Art University in Tehran. She also studied Visual Art at Azad University of Tehran and Contemporary Dance in Paris at Conservatoire de la Danse. She has been taught various studio and seminar classes and led many workshops internationally, as well as teaching acting/performing/movements at the University of Art in Tehran.

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).


MORNING 9:30 – 12:00 PST

Irit Rogoff

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

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.

Maria Hlavajova
Maria Hlavajova is an organizer, researcher, educator, curator, and founding general and artistic director of BAK, basis voor actuele kunst, Utrecht (since 2000). Between 2008 and 2016, she was research and artistic director of the collaborative research, exhibition, and education project FORMER WEST, which culminated in the publication Former West: Art and the Contemporary After 1989 (which she co-edited with Simon Sheikh, 2016). Hlavajova has instigated and (co-)organized numerous projects at BAK and beyond, including the series Propositions for Non-Fascist Living (2017–ongoing), Future Vocabularies (2014–2017), New World Academy (with Jonas Staal, 2013–2016), among many other international research, education, exhibition, and publication projects. Her curatorial work includes Call the Witness, Roma Pavilion, 54th Venice Biennale, Venice, 2011; Citizens and Subjects, Dutch Pavilion, 52nd Venice Biennale, Venice, 2007; and Borderline Syndrome: Energies of Defense, Manifesta 3, Ljubljana, 2000. Publications she has edited include: Toward the Not-Yet: Art as Public Practice (with Jeanne van Heeswijk and Rachael Rakes, 2021); Deserting from the Culture Wars (with Sven Lütticken, 2020); Propositions for Non-Fascist Living: Tentative and Urgent (with Wietske Maas, 2019); Posthuman Glossary (with Rosi Braidotti, 2018); and Marion von Osten: Once We Were Artists (with Tom Holert, 2017), among others. She is a lecturer at HKU University of the Arts Utrecht, Utrecht and Academy of Fine Arts and Design, Bratislava. In addition, Hlavajova is co-founder (with Kathrin Rhomberg) of the tranzit network. Hlavajova is a member of the supervisory board of the Academy of Visual Arts, Prague and of the advisory boards of Bergen Assembly, Bergen and IMAGINART, Imagining Institutions Otherwise: Art, Politics, and State Transformation, University of Amsterdam, Amsterdam. In the recent past, Hlavajova served on the supervisory boards of European Cultural Foundation, Amsterdam and Stedelijk Museum, Amsterdam. She lives and works in Amsterdam and Utrecht.

AFTERNOON 14:00 – 16:30 PST

Jo-Anne Birnie-Dankzer

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

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.

Peter Morin
Peter Morin is a grandson of Tahltan Ancestor Artists. Morin’s artistic offerings can be organized around four themes: articulating Land/Knowing, articulating Indigenous Grief/Loss, articulating Community Knowing, and understanding the Creative Agency/Power of the Indigenous body. The work takes place in galleries, in community, in collaboration, and on the land. All of the work is informed by dreams, Ancestors, Family members, and performance art as a research methodology. Morin began art school in 1997, completing his Bachelor of Fine Arts at Emily Carr Institute of Art and Design in Vancouver in 2001 and his Masters in Fine Arts in 2010 at the University of British Columbia-Okanagan. Initially trained in lithography, Morin’s artistic practice moves from printmaking to poetry to installation to performance art. Morin’s first performance ‘I grieve too much’ took place at the Museum of Anthropology in 2005. Peter is the son of Janelle Morin (Crow Clan, Tahltan Nation) and Pierre Morin (Quebecois). Throughout his exhibition and making history, Morin has focused upon his matrilineal inheritances in homage to the matriarchal structuring of the Tahltan Nation, and prioritizes Cross-Ancestral collaborations. Morin was longlisted for the Brink and Sobey Awards, in 2013 and 2014, respectively. In 2016, Morin received the Hnatyshyn Foundation Award for Outstanding Achievement by a Canadian Mid-Career Artist. Morin currently holds a tenured appointment in the Faculty of Arts at the Ontario College of Art and Design University in Toronto, and is the Graduate Program Director of the Interdisciplinary Master’s in Art, Media and Design program at OCADU.
Meet the Moderators
Brian Postalian
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. As the founding Artistic Director of Re:Current Theatre, Brian creates collaborative performances in immersive and interactive frameworks that reimagine gathering. 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). His recent projects engage in game theory and immersion through audience design. Brian is a sessional instructor within the Theatre department at X University in the Fall and has been a guest lecturer at the University of Toronto and Simon Fraser University. 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.
Cissie Fu
Dr. Cissie Fu (AB Harvard; MSt, MSc, DPhil Oxford) is a political theorist and co-founder of the Political Arts Initiative, which invites 21st-century political imag-e-nations through digital technology and the creative and performing arts. Born in Hong Kong, she has studied, taught, organised, curated, and performed across cultural and educational institutions in Asia, Europe, the UK, and the Americas. Her research interests sit at the nexus of politics, philosophy, and performance, with a focus on contemporary manifestations of the political through individual and collective movement and expression. On the premise that the aesthetic refracts the ethical and the political, she draws from artistic practices for her forthcoming monograph on the politics of silence, towards resuscitating silence as a positive political concept which can articulate and embrace the constructive ambiguities between attachment and detachment in political practices of speech and action.
Guadalupe Martinez
Guadalupe Martinez is an interdisciplinary artist and educator interested in understanding the multiple and complex relationships between the sensorial and the environment, identity and place. Born in Buenos Aires, Argentina, she immigrated to Vancouver in 2008, where she lives and works -conscious of her presence on the unceded territories of the xwməθkwəy̓ əm (Musqueam), Skwxwú7mesh (Squamish) and səl̓ílwətaʔɬ/Selilwitulh (Tsleil-Waututh) peoples.
Placing the body at the centre of her practice, Martinez’ work often takes the form of installation, performance, and collaborative research with a deep consideration for her personal and inherited histories. Through somatic practices and collaboration Martinez creates alternative spaces of learning and explores the potential for embodied research and love-actions to heal and decolonize the body-mind. Her commitment to spirituality, teaching, and political awareness underlies the development of her work in diverse contexts and she has presented work in Canada, the US, Italy, Mexico and Argentina.


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Curatorial Team

Meet the Team
Elham Puriya Mehr

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.

Brady Ciel Marks

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.

Lianne Payne


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.

Yasmine Whaley-Kalaora

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

Brian Postalian

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).

Caleb Chan

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.

Glenn Lewis


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.

Doug Jarvis


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.

Ian Prentice

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.




268 Keefer Street, Sun Wah Centre
Unit 407 (4nd floor)
Vancouver, B.C. Canada V6A 1X5