The inaugural exhibition HEAR US NOW! was housed on Instagram, where, over the course of two months, we posted submissions and artist profiles of BIPOC artists. More information is available on EAHR’s website. The following project was a digital exhibition included in the hybrid 2020 International Symposeum for Electronic Arts (ISEA). Our exhibition of seven artists was titled (pre)existing conditions and included works that resonated with ISEA’s theme of “Why Sentience?”. (pre)existing conditions was also featured in the Royal Society of Canada’s digital arts project entitled Engaging Creativies: Art in a Pandemic.
These curatorial projects were essential in developing both an ethics of care and rigid discipline.
In 2021, working within the same group of artists from our initial Instagram project, Tamara Harkness, Dr. Alice Ming Wai Jim, and I curated a selection of artists to be published as an exhibition spread in the Asian Diasporic Visual Arts and the Americas (ADVA) peer-reviewed journal. The exhibition Familial Writing: Artistic Responses During Covid-19 included pieces by Asian Diasporic artists whose work shared a similar ethos in connecting to familial ties, generational histories, and connecting communities in spacial and temporal distance through writing.
The same year, I was invited by Gallery 2112 to curate a visual arts exhibition in collaboration with Yolk Literary Journal, a then blossoming local project. The incentive of the four-day exhibition was to integrate the visual arts and literary communities of Montréal. The small gallery was jam-packed with works from local artists of varying media and included three evenings of programming, such as an open-mic, performance artists, live music, and Yolk’s launch of their newest issue. I chose to title and orient the exhibition around Refractions which echoed the ways in which Montreal artists create within a commons, despite channeling unique media.
The same year, I was invited by Gallery 2112 to curate a visual arts exhibition in collaboration with Yolk Literary Journal, a then blossoming local project. The incentive of the four-day exhibition was to integrate the visual arts and literary communities of Montréal. The small gallery was jam-packed with works from local artists of varying media and included three evenings of programming, such as an open-mic, performance artists, live music, and Yolk’s launch of their newest issue. I chose to title and orient the exhibition around Refractions which echoed the ways in which Montreal artists create within a commons, despite channeling unique media.
The booth I curated was not commercial, but was designed to sew together the unique practices and artistic excellence of Maude Arsenault and Kyle Alden Martens. The project was challenging and informative of commercial and contemporary art curatorial practices. It had the largest audience of any of my curatorial projects, as it was housed in a highly attended art fair.