Repair & Care

NOVEMBER 4-6, 2021


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.”

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



On Performance Art Institutions and Audiences

9:30 – 12:00 PST Self-Reflectivity & Self-Criticality

Paul O’Neill, Chris Creighton-Kelly, and Monica Narula

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 – 12:00 PST How to Shift Our Knowledge About Communities

Jeanne Van Heeswijk, Snežana Golubović, Adrian Heathfield

14:00 – 16:30 PST Listening to Communities: Before, During, and After the Event

Guadalupe Martinez, Emerging Artists TBA


Relocating the Centres for Tomorrow: Strategic Models

9:30 – 12:00 PST Models of Possible Actions: Covering the Distance

Irit Rogoff, Dave Beech, Maria Hlavajova

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.

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

AFTERNOON 14:00 – 16:30 PST


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.

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 PS1-MoMA New York.

Birnie-Danzker is currently Adviser of ISKRA DELTA, the 34th Ljubljana Biennale (2020- 2021)

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.


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Curatorial Team




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