SymposiaTalks

Unmoored, Adrift, Ashore
Symposium

May 19
May 21, 2022

Convened by: Denise Ryner (Or Gallery), Jamie Hilder (ECU), Jordan Wilson (NYU) and Anselm Franke (HKW)

Participants: Charmaine Chua, Ayasha Guerin, Morgan Guerin, Ayesha Hameed, Georgina Hill, Jane Jin Kaisen, Laiwan, Geoff Mann, Renisa Mawani, Katherine McKittrick, Karamia Müller, Marianne Nicolson, M. NourbeSe Philip, Alice Te Punga Somerville, Quito Swan, Thea Quiray Tagle, Terri-Lynn Williams-Davidson, Lilian Yamamoto

Emily Carr University of Art + Design, Reliance Theatre

520 E 1st Ave
Vancouver, BC
V5T 0H2

*No registration necessary for in-person attendance.

Unmoored, Adrift, Ashore

The warming climate brings an increasing sea-level rise that will redraw the interface between land and sea, the city and its shore. What is now known as the Greater Vancouver area, located on the Salish Sea, is one of the multitude of global coastal cities threatened by large areas of submersion when False Creek and the Fraser River break their banks. The City of Vancouver began a study of the impacts of this imminent event on the city’s coastline after the Provincial government advised municipalities to plan for a 2 metre sea level rise by 2200. Even by 2100, the City’s projections will see parts of Emily Carr University of Art and Design, the site of this symposium, be reclaimed as a floodplain and susceptible to partial submergence. Unmoored, Adrift, Ashore aims to prepare us for the kinds of visioning we will require to increasingly adapt to a new and intensified relationship with water, and to think about how we can use the transformation of the ocean’s reach to reconsider our relationships to property, futures, economies, and each other.

This reclamation through water opens many possibilities for unsettling and shifting much of the legacy of Vancouver and the Northwest Coast region as a settler-colonial space, founded on unceded Indigenous territories. It allows for the possibility of expanding outside of the present time and local context, to think of the future sea-level rise beyond catastrophic terms and to imagine the potential of the rising water as revealing and restoring the presences and relations lost, or almost lost, to colonial forms of dispossession.

The symposium will include a series of examinations emerging from Indigenous and post-colonial thought that offer conceptions of water as a central component for decolonizing and disrupting conventional understandings of identity, borders, ownership and other forms of relations that stretch beyond territorial and commodity logics. These investigations include artistic and poetic imaginaries in the focus on Pacific regions, building on   the renewed emphasis on transregional Oceanic studies to address the urgencies of our shifting ecological context.

Jamie Hilder (ECUAD), Anselm Franke (HKW), Denise Ryner (Or Gallery), Jordan Wilson (NYU)

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Unmoored, Adrift, Ashore Schedule

Thursday May 19, 2022
1:00 pm–5:00 pm
Musqueam Community Centre and Or Gallery
Screenings
1:00 pm–5:00 pm
Musqueam Community Center and nearby areas
Walking tour and discussion on local land claims extending beyond the shoreline, and community conservation efforts. Attendance limited to symposium speakers and artists.
6:30 pm–9:00 pm
Speaker’s Dinner
Attendance limited to symposium speakers and artists.
Friday May 20, 2022
9:30 am
Dr. Marianne Nicolson, Terri-Lynn Williams-Davidson, QC, Morgan Guerin, Dr. Renisa Mawani
Panel #1 Attending to the Settler Colonialism of Water

With attention to the waterways, maritime worlds, and the land-water interfaces of the Pacific Ocean, the first panel will respond to legal scholar Renisa Mawani’s proposition, “How might we reorient analyses of law and settler colonialism so that oceans feature more prominently in Indigenous contests over land, resources, and European resettlement”? With attention to Indigenous understandings of legal orders and protocols, this session’s panelists will speak to their respective communities’ experiences of settler colonialism and its ongoing impacts on Indigenous territories, as well as potential modes of decolonization.

Dr. Marianne Nicolson is Musgamakw Dzawada̱ʼenux̱w artist and activist. Her practice encompasses photography, painting, light projection, and installation and includes traditional Kwakwa̱ka̱’wakw cultural forms, monumental public artworks, and works created for galleries and museums. Marianne holds a PhD in Linguistics and Anthropology from the University of Victoria.

Terri-Lynn Williams-Davidson, QC is a Haida musician, author, activist, artist, and lawyer known for her dedication to Haida culture and her work in Indigenous environmental law and Haida music preservation. She formed the White Raven Law Corporation to protect—and preserve—her peopleʼs relationship to the land, and she has represented the Haida Nation at all levels of court.

Morgan Guerin was born and raised at Musqueam. A lifetime of fishing has raised his awareness of the connections between the Musqueam people, their history, and the natural resources of their territories. Morgan has worked as a Musqueam Fisheries Officer for over twenty years and has served as an elected Musqueam councillor.

Respondent: Dr. Renisa Mawani (UBC)

1:00 pm
Dr. Alice Te Punga Somerville, Dr. Karamia Müller, Dr. Quito Swan, Dr. Rita Wong
Panel #2 Entangled Futures

What transnational solidarities and movements have emerged alongside struggles to nurture and protect Oceania’s regional ecologies? How are Indigenous cosmologies, systems of knowledge, governance and kinship reclaiming, remaking and rebuilding space that was once dominated by extractive and brutal policies such as the ‘White Pacific?’

Dr. Alice Te Punga Somerville (UBC) is a Māori – Te Āti Awa, Taranaki poet, writer and scholar. She considers the production of decolonized networks, identities and place through published writing by Indigenous people from Aotearoa, Australia, Hawai’i, and Fiji.

Dr. Karamia Müller (University of Auckland) engages the space of the Pacific in examinations of Mā​ori and regional histories of built and entangled environments. She describes her research as focused on the meaningful ‘indigenisation’ of design methodologies invested in building futures resistant to inequality.

Dr. Quito Swan (Indiana University Bloomington) is a scholar of twentieth century Black internationalism and global social movements. His most recent book is Pasifika Black: Oceania, Anti-colonialism, and the African World (NYU Press, 2022). His talk will explore the relationships between Black Power and environmental justice in Oceania.

Respondent: Dr. Rita Wong (ECUAD)

3:00 pm
Dr. Ayesha Hameed, Dr. Thea Quiray Tagle, LAIWAN, Dr. Ayasha Guerin
Panel #3: The Decentering Machine

How do expanses of water, floods and reclaimed shorelines un-make fixed identities, challenge or redefine sovereignty and decolonize the map? A discussion of the oceanic as a decentering force represented in contemporary and community art practice.

Dr. Ayesha Hameed (Goldsmiths, University of London) will talk about two projects, the first, Black Atlantis that is winding down (2014-20) and a second Brown Atlantis which she started in 2020. Black Atlantis traces the afterlife of transatlantic slavery in the present, making connections to illegalised migration on the Mediterranean and how they relate to underwater ecologies below ships. Brown Atlantis extends this approach to explore the Indian ocean world, ecologies and histories of indentureship, looking at intertwined histories of black and brown bodies and tracing their afterlives in the present moment.

Dr. Thea Quiray Tagle (University of Massachusetts Boston) will discuss aesthetic and ethical practices of relationality and salvage in the West Philippine Sea, through an examination of Dutch-Filipina artist Martha Atienza’s collaborative video projects with coastal Indigenous peoples targeted by environmental racism and state violence in the Philippines’s so-called “War on Drugs” and “War on Terror.”

LAIWAN (Goddard College) discusses her iterative project, How Water Remembers which engages the interconnectedness of human and non-human habitats to envision Vancouver as a city which connects to its shorelines through sensitive urban landscape and built environments to enhance biodiversity and future quality of life.

Panel Respondent: Dr. Ayasha Guerin (UBC)

Saturday May 21, 2022
10:30 am
Dr. Lilian Yamamoto, Dr. Jamie Hilder, Dr. Charmaine Chua, Dr. Geoff Mann
Panel #4 The Infrastructural Ocean: Deterritorialized Corporate and National Sovereignties 

This panel addresses the expansion of nation-state and corporate power into oceanic space.  Taking into account the Exceptional Economic Zones that were largely granted to former colonial powers in the 19th century—what Liam Campling and Alejandro Colás refer to as “the confetti of empire”—alongside technological advancements like shipping containers, flags of convenience, logistics software, and legal definitions of “territory,” this group of speakers will trace the shifting capacities and scales of maritime navigation to challenge idea of the ocean as a free space or global commons.

Dr. Lilian Yamamoto (University of São Paulo will address how rising sea levels challenge conventional notions of national sovereignty.

Dr. Jamie Hilder (Emily Carr University) will examine the emancipatory rhetoric of Seasteading within its neoliberal context.

Dr. Charmaine Chua (University of California, Santa Barbara) will bring into focus the counter-revolutionary character of logistics within global supply-chain capitalism.

Respondent: Dr. Geoff Mann (SFU)

1:00 pm
Georgina Hill, Jane Jin Kaisen, Dr. Anselm Franke
Panel #5 Navigation Below the Imperial Built-up: Memoryscapes and Aesthetic Agency

Our present day reality is almost entirely dominated by the imperial and extractive schemes of the capitalist world system. Under this scheme, categories and products of colonial modernity, such as nation states, are naturalized by being projected backwards genealogically, thus colonizing history itself. But below this imperial maps and infrastructures, different memoryscapes and cosmologies persist, which continue to fuel imaginaries of resistance. Many artists across the Pacific and elsewhere have in recent decades developed works in which water, and the sea, features as the medium through which these counter-geographies speak.
Artists Georgina Hill and Jane Jin Kaisen will discuss their work with curator and symposium co-organizer, Dr. Anselm Franke (HKW).

3:00 pm
M. NourbeSe Philip, Dr. Katherine McKittrick
Keynote Conversation

The ocean breaks down into seas and waterways that form the land into harbours, shoals, beaches, shorelines, foreshores and embankments. It upends the solidity of life on land and stirs in those who encounter it a curiosity and desire for an ‘over there.’ It dismantles fixed hierarchies and subjectivities, while its vastness can invoke the idea of isolation, it is a medium of relation. Oceanic crossings have traced out the geographies of violence and dispossession, but these same routes hold, return and oppose the permanence of loss and forgetting. Writer, poet and artist, M. NourbeSe Philip will be in conversation with writer Dr. Katherine McKittrick, Professor of Gender Studies at Queen’s University (Kingston, ON) to consider these ideas alongside threads from their respective work on the legal, haunted and counter space of the ocean.

Participant Bios

is outgoing Director/Curator of Or Gallery, Vancouver (2017-2022). Her current curatorial, research and writing interests include place-as-agent in exhibition-making and the cultural production of transnational counter flows of the 19th and 20th centuries. In 2019 she co-organized the Bodies, Borders, Fields symposium with Yaniya Lee to examine the visibility of Blackness as a context for contemporary art histories. Independent curatorial projects include: Common Cause: before and beyond the global (Mercer Union/Toronto, 2018), Bodies of Fact: The Archive from Witness to Voice (HKW/Berlin, 2017), Harbour/Haven, in collaboration with Tonel (‘thirstDays’ VIVO Media Arts/Vancouver, 2016), Interim Measures (8-11 Project Space, Toronto, 2015). She has written for Canadian Art, Blackflash, C Mag, FUSE and guest co-edited the Canadian Art Fall 2020 Chroma issue with Yaniya Lee. Ryner is currently working on the exhibition, symposium and publication project, Ceremony: Cosmogony and Catastrophe to be presented later this year at the Haus der Kulturen der Welt, Berlin, which she is co-curating alongside Anselm Franke, Claire Tancons, Elisa Giuliano and Zairong Xiang.

is an interdisciplinary artist and critic who lives on the unceded territories of the Tsleil’waututh, Musqueam, and Squamish peoples. His book Designed Words for a Designed World examines the International Concrete Poetry Movement alongside the emergence of various globalizing technologies in the mid-20th century. An Assistant Professor of Critical and Cultural Studies at Emily Carr University, he has exhibited and published work internationally, and actively maintains a dormant research collaboration with sound artist Brady Cranfield.

is an emerging curator and scholar and is currently a Ph.D. student in Anthropology at New York University. He is a member of the Musqueam First Nation, in what is now Vancouver, British Columbia, and holds an MA in Anthropology and a BA in Indigenous Studies, both obtained at the University of British Columbia (UBC). Prior to starting graduate studies, Wilson was a Curatorial Intern at UBC’s Morris and Helen Belkin Art Gallery (2017-2018), where he contributed to the exhibition Beginning with the Seventies: Collective Acts (2018). Wilson’s current research examines the politics of Indigenous language revitalization, the legacies of anthropological collecting, the practices of collecting institutions, as well as questions concerning Indigenous sovereignty and settler colonialism. His curatorial practice often involves considering the forms of relationships contemporary Indigenous peoples maintain with their ancestral art, material culture, and immaterial heritage currently held by colonial institutions, and the potential of Indigenous art in the public realm. This work is informed by desires for structural change in institutions with regard to Indigenous representation and engagement, as well as a commitment to the well-being of his home community. Wilson was a co-curator of c̓əsnaʔəm, the city before the city (2015), an exhibition developed collaboratively with Musqueam; and the long-term exhibition In a Different Light: Reflecting on Northwest Coast Art (2017) at the UBC Museum of Anthropology. His writing has appeared in Inuit Art Quarterly, The Capilano Review, Biography: An Interdisciplinary Quarterly, and Museum Worlds. He is also a writer and co-editor of the forthcoming book Where the Power Is: Indigenous Perspectives on Northwest Coast Art (Fall 2021).

is a curator and writer. He is Head of the Department of Visual Arts and Film at HKW Berlin, where he co-curated the multi-year program “The Anthropocene Project” (2013-2014) and “Kanon-Fragen (2016-2019), and conceived numerous exhibitions such as recently “Neolithic Childhood. Art in a False Present ca. 1930” (together with Tom Holert) and “Parapolitics. Cultural Freedom and the Cold War” (with Paz Guevara, Nida Ghouse and Antonia Majaca). Publications include “2 or 3 Tigers” (2017, with Hyunjin Kim), “Forensis” (2015, with Eyal Weizman et. al.) and “Animism” (2010). Franke received his doctorate from Goldsmiths College, London.

Citizen of the Haida Nation off the west coast of Canada, Terri-Lynn is a musician, author, activist, artist, scholar and lawyer who has dedicated herself to the continuation of Haida language and culture. She is the founder of Raven Calling Productions, Principal Lawyer of White Raven Law Corporation and is General Counsel to the Haida Nation. She also released the book “Out of Concealment: Female Supernatural Beings of Haida Gwaii” and was co-author of the best-selling children’s book “Magical Beings of Haida Gwaii”, the associated Activity Book and the “Haida Box of Knowledge: Guidance from Supernatural Sisters”.

Working on both Indigenous-environmental law and art, she is recognized as a vital keeper of Haida traditions. Deep on the front lines of Indigenous Rights, she strives to open new vistas to her audiences rooted in Indigenous world views, Haida language and laws, music and oral traditions, and branches out to explore their relevance to contemporary society. In her pursuit to perpetuate Haida’s culture, her practice blends modern media and ancient traditions to address contemporary challenges. Her multiple award-winning career includes appointed as Queen’s Counsel (2021), recognition on the Maclean’s 2021 Power List and as one of Canada’s top most influential lawyers (2020), a “Keepers of Traditions” Award, “Best Female Traditional/Cultural Roots Album”, and “Best Female Artist” by Canadian Aboriginal Music Awards and solo exhibitions at the Comox Valley Art Gallery (2021), the on Bill Reid Gallery (2020) and Haida Gwaii Museum (2017), and performances at the Sid Williams Theatre (2021), the Ryga Festival (2019), the Metropolitan Museum (2018), Genesis Theatre (2018), the Surrey Canada Day Celebration(2018) and many others.”

secəlenəxʷ, Morgan Guerin, was born and raised at Musqueam. A lifetime of fishing has raised his awareness of the connections between the Musqueam people, their history, and the natural resources of their territories. Morgan has worked as a Musqueam Fisheries Officer for over twenty years and has served as an elected Musqueam councillor. Recently, he served as a community curator for the revitalization of the American Museum of Natural History’s Northwest Coast Hall.

(‘tayagila’ogwa), is an artist-activist of Scottish and Dzawada’enuxw First Nations descent. Dzawada’enuxw People are a member tribe of the Kwakwaka’wakw Nations of the Pacific Northwest Coast. She is trained in both traditional Kwakwaka’wakw forms and culture and contemporary gallery and museum-based practice. She holds a Bachelor of Fine Arts from the Emily Carr University of Art and Design (1996), a Master of Fine Arts (2000) from the University of Victoria, as well as a Master of Arts (2005) in Linguistics and Anthropology and a PhD (2013) in Linguistics and Anthropology with a focus on space as expressed in the Kwak’wala language.

Nicolson works as a Kwakwaka’wakw cultural researcher and historian, as well as an advocate for Indigenous land rights. Her practice is multi-disciplinary encompassing photography, painting, carving, video, installation, monumental public art, writing and speaking. All her work is political in nature and seeks to uphold Kwakwaka’wakw traditional philosophy and worldview through contemporary mediums and technology. Exhibitions include the 17th Biennale of Sydney, Australia; The Vancouver Art Gallery, The National Museum of the American Indian in New York, Nuit Blanche in Toronto, Ontario, Museum Arnhem, Netherlands and many others.  Major monumental public artworks are situated in Vancouver International Airport, the Canadian Embassy in Amman, Jordan and the Canadian Embassy in Paris, France.

Her practice engages with issues of Aboriginal histories and politics arising from a passionate involvement in cultural revitalization and sustainability.

is Professor of Sociology at the University of British Columbia which is located on the unceded territories of the Musqueam peoples. She works in the fields of critical theory and colonial legal history and has published widely on law, colonialism, migration, and legal geography. She is the author of two books, Colonial Proximities (2009) and Across Oceans of Law (2018), which was shortlisted for the UK Sociolegal Studies Association’s History and Theory Book Award and was the winner of the Outstanding Contribution to History book prize from the Association of Asian American Studies. With Iza Hussin, she is co-editor of “The Travels of Law: Indian Ocean Itineraries” published in Law and History Review (2014).

Her research in colonial legal history questions the expansion and evolution of law over natural spaces and elements and examines the role of law in colonial processes of state racism, including efforts to dispossess Indigenous peoples from their lands and waterways, restrict and prohibit Chinese and South Asian migration, and the subsequent social, cultural and environmental impacts of colonial legal violence.

(Māori – Te Āti Awa, Taranaki) is a scholar, poet and irredentist. At its heart, her research and teaching engage texts to de-centre colonialism by centering Indigenous expansiveness. Her MA (Auckland) and PhD (Cornell) focused on Māori written literatures. As she sought broader contexts for thinking about the writing of her own community, she developed a twin interest and expertise in Indigenous studies and Pacific studies. Dr. Te Punga Somerville’s current research project focuses on published writing by Indigenous people from New Zealand, Australia, Hawai’i, and Fiji between 1900-1975. She is completing a book about this research called Writing the New World. She also produced a podcast of the same name, which profiles researchers and ideas connected to the project.

She is the author of Once Were Pacific: Maori connections to Oceania (2012) and 250 Ways to Write an Essay about Captain Cook (2020), the former of which won Best First Book from the Native American & Indigenous Studies Association. Her forthcoming collection of poetry is called Always Italicise: how to write while colonised (Auckland University Press)

was born in Honiara, Solomon Islands and is of Samoan heritage. She is a Pacific academic specialising in indigenous space concepts. Currently a Lecturer at the School of Architecture and Planning (SoAP), Faculty of Creative Arts and Industries at the University of Auckland, her research specialises in the meaningful ‘indigenisation’ of creative practices and design methodologies invested in building futures resistant to inequality. She is currently Co-Director of the Architectural Exhibitions Research Hub and the Māori and Pacific Research Hub based at SoAP.

Her research also explores contemporary Pacific architecture and art, women’s architectural and art production in the region, and the use of social media and other online digital technologies by Pacific peoples in the creation of digital space. In particular, she is interested in how these disciplines constitute and inform the lived experiences of Pacific Diaspora.

native to the island of Bermuda, is a professor and award-winning historian of Black internationalism, Black Power, and the Black Pacific and a scholar of race, public policy, and the African Diaspora. Currently with Indiana University Bloomington as Professor of African American and African Diaspora Studies, Dr. Swan has also published three monographs: Black Power in Bermuda (Palgrave Macmillan, 2010), Pauulu’s Diaspora: Black Internationalism and Environmental Justice (University Press of Florida, 2020), and Pasifika Black: Oceania, Anticolonialism, and the African World (New York University Press, 2022).

In his work, Swan explores the historical and contemporary relationships between Black cultures and social movements across the oceans, while addressing issues such as historical mapping of Black culture, anti-colonialism movements, racially-inclusive education, civil and human rights, immigration, climate change, gender politics, sustainable development among many others.

An Associate Professor in Critical and Cultural Studies, Rita Wong investigates the relationships between contemporary poetics, water justice, ecology, and decolonization. She has co-edited an anthology with Dorothy Christian entitled Downstream: Reimagining Water, based on a gathering organized with support from the Social Sciences and Humanities Research Council of Canada. A recipient of the Dorothy Livesay Poetry Prize and the Asian Canadian Writers’ Workshop Emerging Writer Award, Wong is the author of beholden (Talonbooks, 2018, with Fred Wah), undercurrent (Nightwood, 2015), perpetual (Nightwood, 2015, with Cindy Mochizuki), sybil unrest (Line Books, 2008, with Larissa Lai), forage (Nightwood, short-listed for the 2008 Asian American Literary Award for Poetry, winner of Canada Reads Poetry 2011), and monkeypuzzle (Press Gang, 1998). Wong works to support Indigenous communities’ efforts towards justice and health for water, having witnessed such work at the Peace River, the Wedzin Kwa, the Columbia River, the Fraser River, the Salish Sea, and the Arctic Ocean watershed. She understands that when these waterways are healthy, life (including people) will be healthy too, and that we cannot afford to endanger and pollute the waters that sustain our lives.

is an interdisciplinary artist, writer and educator with a wide-ranging practice based in poetics and philosophy. Born in Zimbabwe of Chinese parents, her family immigrated to Canada in 1977 to leave the war in Rhodesia. Her art training began at the Emily Carr College of Art & Design (1983), and she returned to academia to receive an MFA from Simon Fraser University School for Contemporary Arts (1999). Recipient of numerous awards, including the 2021 Emily Award from Emily Carr University, recent Canada Council and BC Arts Council Awards, and the 2008 Vancouver Queer Media Artist Award, Laiwan has served on numerous arts juries, exhibits regularly, curates projects in Canada, the US, and Zimbabwe, is published in anthologies and journals, and is a cultural activist.

Laiwan has been investigating colonialism, with aim toward a decoloniality, since the late 1980s. She also has been exploring embodiment since 2000, through performativity, audio, music, improvisation, and varieties of media, along with bodily and emotional ways of knowing, so as to unravel and engage presence.

explores the legacies of indentureship and slavery through the figures of the Atlantic and Indian Oceans. Her Afrofuturist approach combines performance, sound essays, videos, and lectures. Hameed examines the mnemonic power of these media – their capacity to transform the body into a body that remembers. The motifs of water, borders, and displacement, recurrent in her work, offer a reflection on migration stories and materialities, and, more broadly, on the relations between human beings and what they imagine as nature. Recent exhibitions include Liverpool Biennale (2021), Gothenburg Biennale (2019, 21), Lubumbashi Biennale (2019) and Dakar Biennale (2018). She is co-editor of Futures and Fictions (Repeater 2017) and co-author of Visual Cultures as Time Travel (Sternberg/MIT 2021). She is currently a Senior Lecturer in Visual Cultures at Goldsmiths University of London and a Kone Foundation Research Fellow in the Arts at the Helsinki Collegium for Advanced Studies.

is a Filipinx femme writer, scholar, teacher and curator whose research broadly investigates photography, socially engaged art and site-specific performance; visual cultures of violence and waste; urban planning and the environment; and grassroots responses to political crises and ecological collapse in the expanded Pacific Rim. Thea is a transdisciplinary feminist scholar and is an Assistant Professor in the Department of Women’s, Gender, and Sexuality Studies and the Program in Critical Ethnic & Community Studies at the University of Massachusetts Boston. She received her PhD in Ethnic Studies from the University of California, San Diego, and holds a BA in Political Science and Human Rights Studies from Barnard College, Columbia University. She was the Chancellor’s Postdoctoral Research Associate in Asian American Studies at the University of Illinois at Urbana-Champaign from 2015-2016. Thea currently sits on the editorial board of Signs: Journal of Women and Culture in Society, and is on the board of the Consortium for Graduate Studies in Gender, Culture, Women & Society (GCWS).

is an interdisciplinary artist, curator, and professor of Black Diaspora Studies in the department of English at the University of British Columbia. Dr. Guerin received her PhD in 2020 from New York University’s American Studies program. Her first book project, Making Zone-A: Nature, Race and Resilience on New York’s Most Vulnerable Shores, explores Black social life and ecology in the city’s floodplain from the 17th-19th centuries. Tracing how colonial capitalism has cultivated a hierarchy of racial difference on urban landfill, it considers how activism on the waterfront has been shaped by diasporic relationships and interspecies entanglements. Her second project is focused on transnational Black feminism and arts activism in Berlin, Germany.

is Assistant Professor of Global Studies at the University of California, Santa Barbara. Her interdisciplinary scholarly and political work is on logistics, racial capitalism and terrains of internationalist struggle under the U.S. empire. Her work has been published in  venues such as Environment and Planning D, Theory and Event, Antipode, The Boston Review, and The Nation, among other venues. She is currently completing a book manuscript titled Logistics Leviathan: Fast Circulation, Slow Violence, and the Transpacific Empire of capital. She organizes with Amazonians United, Cops off Campus, and the Abolition Journal collective.

has a PhD in international law from Kanagawa University, Japan. She is a South American Network for Environmental Migrations’ researcher and lecturer at the Graduate and Undergraduate Program in Japanese Language, Literature and Culture at the University of São Paulo, Brazil. She is co-author, with Miguel Estaban, of the book Atoll island states and international law-climate change displacement and sovereignty (2014).

works at Simon Fraser University, where he directs the Centre for Global Political Economy. His most recent books are Climate Leviathan: A Political Theory of Our Planetary Future (with Joel Wainwright Verso 2018) and In the Long Run We Are All Dead: Keynesianism, Political Economy and Revolution (Verso 2017).

is an artist born in the UK, based in London. Her work is concerned with material encounters of social structures. Part document, part stagecraft, she works in forms of installation, video, and text. With postgraduate study in English Literature at University College London, she studied in the class of Hito Steyerl at the University of Fine Arts Berlin, subsequently graduating from Goldsmiths University, London with an MFA. She has collaborated with INLAND Campo Adentro on a number of occasions, working on topics of coastal economies and alternative curriculum modelling. She will present solo exhibitions in 2022 at fluent in Santander and Galerie Charraudeau in Paris, and will publish an artist’s book with Éditions Lutanie. Her work has been shown internationally at the Arnis Residency (Germany), Seoul Biennale for Architecture and Urbanism (South Korea), Bulegoa z/b (Spain), Nordic Winter Symposium, Nida Art Colony (Lithuania), Art Night (UK), Museum of Photography (Germany), and the Swiss Church (London), among others.

(born 1980 in Jeju Island, lives in Copenhagen) is a visual artist, filmmaker, and Professor at the School of Media Arts, The Royal Danish Academy of Fine Arts. Kaisen’s artistic practice is informed by extensive interdisciplinary research and engagement with diverse communities. She is known for her visually striking, multilayered, performative, poetic, and multi-voiced feminist works through which past and present are brought into relation. Engaging topics such as memory, migration, borders, and translation, she activates the field where lived experience and embodied knowledge intersect with larger political histories. Her works negotiate and mediate the means of representation, resistance, and reconciliation, thus forming alternative genealogies and sites of collective emergence.

Kaisen represented Korea at the 58th Venice Biennale with the film installation Community of Parting (2019) alongside artists Hwayeon Nam and siren eun young jeong in the exhibition History Has Failed Us, but No Matter curated by Hyunjin Kim. She was awarded “Exhibition of the Year 2020” by AICA – International Association of Art Critics, Denmark for the exhibition Community of Parting at Kunsthal Charlottenborg and awarded the Montana ENTERPRIZE at Kunsthallen Brandts in Denmark in 2011. Kaisen has participated in the biennials of Liverpool, Gwangju, Anren, Jeju, among others. Recent solo exhibitions include Parallax Conjunctures at Museum of Contemporary Art Detroit (2021), Community of Parting at Art Sonje Center (2021) and Kunsthal Charlottenborg (2020), and Of Specters or Returns, Gallery damdam (2020).

Born in Tobago, Philip moved to Canada in the 1960s and completed a Masters degree in political science followed by a law degree at the University of Western Ontario (now Western University). She practiced law in Toronto for seven years, writing and publishing poetry in her spare time, until she started writing full-time in 1983. Philip released her first three poetry collections in the 1980s: Thorns, Salmon Courage and She Tries Her Tongue, Her Silence Softly Breaks. The books explored her identity as a Caribbean and Canadian woman, the complicated beauty of language and experiences of racism and exile as a Black woman in Canada.
Her most widely known poetry collection, Zong! was published in 2008. The book tells the true story of a slave ship from November 1781 on which 150 Africans were drowned on captain’s orders so the ship’s owners could collect insurance money. Philip examined the legal text from the case to create a collection that mourns, sings, chants and curses. Philip’s international honours include the Casa de las Americas Prize in 1988, the Tradewinds Collective Prize in 1988, a Guggenheim Fellowship in 1990, a MacDowell Fellowship in 1991 and the PEN/Nabokov Prize for International Literature in 2020. In 2021 Philip was awarded the 2021 Arts Molson Prize, a lifetime achievement award annually given by the Canada Council for the Arts.

is Professor of Gender Studies and Canada Research Chair in Black Studies at Queen’s University in Kingston, Canada. She authored Demonic Grounds: Black Women and the Cartographies of Struggle (UMP, 2006) and edited and contributed to Sylvia Wynter: On Being Human as Praxis (DUP, 2015). Her most recent monograph, Dear Science and Other Stories (DUP, 2021) is an exploration of black methodologies.

As a graduate in Digital Media and Systems from Universidade Federal do Ceará, in Brazil, Lucas hosts a multidisciplinary background that explores many forms of digital media, such as graphic design, web design, video, photography and interactive installations. Recently, Lucas joined Emily Carr University of Arts + Design in Vancouver, BC to pursue his second bachelor’s degree, this time in Industrial Design.