Sarah Bev­eridge is an artist, cura­tor, edu­ca­tor, writer and par­ent. She holds a Mas­ters of Fine Arts from the Uni­ver­si­ty of West­ern Ontario (2002) and a Bach­e­lor of Fine Arts from the Uni­ver­si­ty of Wind­sor (1997). As a ses­sion­al pro­fes­sor she has taught at the Uni­ver­si­ty of West­ern Ontario, Geor­gian Col­lege, and the Uni­ver­si­ty of Wind­sor. Her cura­to­r­i­al prac­tice includes, Co-founder of Sis Boom Bah Gallery, Queen West, and Co-Direc­tor of I-Land Gallery, Mor­row Ave, Toron­to (1998-2000), SB Con­tem­po­rary Art, Bar­rie, Ontario (2005-2007) and lat­er the Cura­tor of Exhi­bi­tions and Pub­lic Projects for the MacLaren Art Cen­tre, Bar­rie, Ontario (2006 -2009). She has pub­lished writ­ing on the work of con­tem­po­rary Cana­di­an artists; Sheila But­ler, Jack But­ler, Mon­i­ca Tap, Patrick Mahon, Don May­nard, Vera Jacyk, Olexan­der Wlasenko and José Seoane.

Bev­eridge cur­rent­ly prac­tices from her home stu­dio and gallery SB Con­tem­po­rary Art in Thorn­bury, Ontario. She oper­at­ed and curat­ed SB Con­tem­po­rary Art, Wind­sor, Ontario from (2011-2019). @sbcontemporaryart

Talysha Bujold-Abu (she/her) is an artist-illus­tra­tor, researcher, and arts facil­i­ta­tor – she holds a Mas­ters of Fine Arts (MFA) from the Uni­ver­si­ty of Wind­sor (2018) and is recent recip­i­ent of the Conun­drum Press Mini-Com­ic Bur­sary for Black and Indige­nous Cre­ators (2021). Res­i­den­cies include: New Zealand Pacif­ic Stu­dio (2016), Art­sPond artist in res­i­dence (2020-2021) and the Pelee Quar­ry – Stone & Sky Artists Res­i­den­cy (2020).

Bujold-Abu has spo­ken and exhib­it­ed at the Inter­sec­tions | Cross Sec­tions Con­fer­ence in Toron­to, ON (2018) on the con­cep­tu­al hybrid­i­ty of black bod­ies, and par­tic­i­pat­ed in the Struc­tures of Antic­i­pa­tion Research Sym­po­sium and Exhi­bi­tion in Wind­sor, ON (2019). Recent pan­els include: Reclaim­ing Hid­den His­to­ries: Research­ing, Writ­ing, and Re-Imag­in­ing Com­mu­ni­ty Nar­ra­tives in Wind­sor, ON (2019) the Inter­na­tion­al Women’s Day: Artists Pan­el Dis­cus­sion in Wind­sor, ON (2020) and the Black Cre­ators Series/Discussion with the Art Gallery or Wind­sor (2020).

Select­ed exhi­bi­tions include: Art is a Liv­ing Thing in Mas­ter­ton NZ (2017), The Truth Has Legs in Leam­ing­ton ON (2019), and The Body Elec­tric – Diver­si­ty in Res­i­den­cy Edu­ca­tion: Train­ing in a World of Dif­fer­ences, Roy­al Col­lege of Physi­cians and Sur­geons (RCPSC) Ottawa ON (2019).

Talysha Bujold-Abu is the new co-direc­tor of TRUCK Con­tem­po­rary. TRUCK Con­tem­po­rary Art is a non-prof­it artist-run cen­tre ded­i­cat­ed to the devel­op­ment and pub­lic pre­sen­ta­tion of con­tem­po­rary art. Estab­lished in 1983 as The Sec­ond Sto­ry Art Soci­ety, TRUCK pro­vides a forum for the pro­duc­tion and dis­sem­i­na­tion of con­tem­po­rary art and relat­ed cul­tur­al prac­tices in Cal­gary, on Treaty 7 Ter­ri­to­ry in the South­ern Alber­ta region.

Web­site: talyshabu​jold​abu​.com

Fiona Couil­lard is a Cal­gary based visu­al artist cur­rent­ly pur­su­ing an MFA at the Uni­ver­si­ty of Cal­gary and hold­ing a BFA with dis­tinc­tion from the Alber­ta Uni­ver­si­ty of the Arts. Her prac­tice explores patri­archy and its rela­tion­ship to trau­ma, con­flicts of iden­ti­ty, and loss of voice, and the result­ing con­cerns of belonging.

Couil­lard employs oral his­to­ry and self-reflec­tion to inform her work and engage par­tic­i­pants in ques­tion­ing sys­temic pow­er with­in their own lives.

Couil­lard works in print­mak­ing, sculp­ture and paint, using abstrac­tion in a con­tin­u­ing dia­logue between con­cep­tu­al­iza­tion and the for­mal aspects of mate­ri­als, con­sid­er­ing their gen­dered associations.

She has received many awards and schol­ar­ships includ­ing a Recent Alber­ta Foun­da­tion for the Arts schol­ar­ship, and an Alber­ta Grad­u­ate Excel­lence Schol­ar­ship for her ongo­ing research. Her work has been fea­tured as part of the Hear/d Men­tal Health Res­i­den­cy, The AUArts sum­mer res­i­den­cy “Place­mak­ing”, and the Mar­i­on Nicoll Gallery, among others.

Kris­ten Gallerneaux, MFA/PhD is an artist, cura­tor, and son­ic researcher. She has pub­lished on top­ics as diverse as math­e­mat­ics in mid­cen­tu­ry design, the visu­al his­to­ry of telepa­thy research, the world’s first mouse pad, and car audio bass bat­tles in Mia­mi. Her recent­ly pub­lished mono­graph, High Sta­t­ic, Dead Lines: Son­ic Spec­tres & the Object Here­after is avail­able via Strange Attrac­tor and MIT Press. Gallerneaux has most recent­ly appeared as a speak­er at Unsound Krakow, Moogfest, and Pop Kul­tur fes­ti­vals and has writ­ten for the Bar­bi­can Cen­ter, ART­news, and the Qui­etus. She is also Cura­tor of Com­mu­ni­ca­tions and Infor­ma­tion Tech­nol­o­gy at the Hen­ry Ford Muse­um in Detroit, Michi­gan, where she con­tin­ues to build upon one of the largest his­toric tech­nol­o­gy col­lec­tions in North Amer­i­ca. She is the recip­i­ent of a pres­ti­gious Kres­ge Artist Fel­low­ship (2019) from the Kres­ge Foun­da­tion in Michigan.

Bren­da Fran­cis Pelkey is new­ly retired from the Uni­ver­si­ty of Wind­sor where she was Pro­fes­sor at the School of Cre­ative Arts.

Bren­da Fran­cis Pelkey has exhib­it­ed through­out Cana­da as well as Scot­land, France, Ger­many, Czecho­slo­va­kia, Fin­land and Eng­land. Her works appear in numer­ous col­lec­tions such as the MacKen­zie Art Gallery, the Mendel Art Gallery, the Art Bank, the Win­nipeg Art Gallery, the Dun­lop Art Gallery, the Art Gallery of Wind­sor, Con­fed­er­a­tion Cen­tre for the Arts, and The Nation­al Gallery of Canada.

Since com­plet­ing “…the great effect of the imag­i­na­tion on the world,” in 1989 she has had a num­ber of solo exhi­bi­tions: “dreams of life and death” (1994), Momen­to Mori (1996), Obliv­ion (1999) , As if there were grace (2000), Haunts (2001), Hieropho­ny (2003) and Spaces of Trans­for­ma­tion (2004) and Thresh­old (2005) , From the Out­side In (2013), and a exhi­bi­tion toured by the AGW Bren­da Fran­cis Pelkey: A Ret­ro­spec­tive (2016 – 2018).

Lind­sey A. Free­man is a writer and soci­ol­o­gist inter­est­ed in atom­ic cul­ture, atmos­phere, mem­o­ry, and poet­ics. She is author of This Atom Bomb in Me (Redwood/Stanford Press) and Long­ing for the Bomb: Oak Ridge and Atom­ic Nos­tal­gia (UNC Press). Free­man is also co-edi­tor of The Bohemi­an South: Cre­at­ing Counter-Cul­tures from Poe to Punk (UNC Press). She is a mem­ber of the Cen­tre for Imag­i­na­tive Ethnog­ra­phy, the Insti­tute of Inco­her­ent Geog­ra­phy, and an affil­i­at­ed-researcher with the Espaces et Sociétés (Space and Soci­ety Cen­ter) at Uni­ver­si­ty of Caen-Nor­mandy. She is cur­rent­ly at work on a series of essays about art, minia­ture, and dis­as­ter called The Tiny Uncan­ny and an ethnog­ra­phy of rain.

Web­site: www​.lind​seyfree​man​.net

Twit­ter: @sociologybomb

Faegheh ‘Vic­ki’ Kalan­tari is an inter­na­tion­al artist born in Tehran, Iran. She com­plet­ed her Bach­e­lor of Pho­tog­ra­phy at Azad Uni­ver­si­ty in Tehran. Vic­ki com­plet­ed her Mas­ter of Fine Arts degree at the Uni­ver­si­ty of Wind­sor. As an Iran­ian native who was born and raised in an entire­ly dif­fer­ent region from that of North Amer­i­ca, she is still depen­dent on parts of her cul­ture, arts, lan­guage, etc. Her work deals with her per­son­al reflec­tions on themes of mem­o­ry, absence, nos­tal­gia, adap­ta­tion, displacement.

As an Iran­ian immi­grant, Vic­ki moved to Wind­sor, Ontario and faced chal­lenges rec­on­cil­ing her sense of iden­ti­ty in her new home. Using pho­tog­ra­phy, text, video and audio, Vic­ki explores dis­place­ment and adap­tion, some­times invit­ing view­ers to iden­ti­fy with her expe­ri­ences, and at oth­er times chal­leng­ing view­ers to expe­ri­ence the feel­ings of not under­stand­ing, of not belong­ing.

Randy Lewis is Pro­fes­sor of Amer­i­can Stud­ies at the Uni­ver­si­ty of Texas at Austin, where he teach­es cours­es about con­tem­po­rary cul­ture and cre­ativ­i­ty. Most recent­ly he is the author of Under Sur­veil­lance: Being Watched in Mod­ern Amer­i­ca (2017) as well as three books on doc­u­men­tary film and indige­nous media.  Among his cre­ative projects are art instal­la­tions, music videos, a full-length play, and three doc­u­men­tary filmsUnder the name Part Time Genius, he released an alt/electronic album with Mon­ti Sigg with whom he co-pro­duced sev­er­al projects. He is also the founder and edi­tor of The End of Austina dig­i­tal human­i­ties project about urban transformation.

Andriko Lozowy is a pho­tog­ra­ph­er and ethno­g­ra­ph­er. He has a Ph.D. in Soci­ol­o­gy from the Uni­ver­si­ty of Alber­ta, Cana­da. He received addi­tion­al train­ing in Pho­tog­ra­phy and Ethnog­ra­phy at Gold­smiths, Lon­don. Cur­rent­ly, Andriko is teach­ing Soci­ol­o­gy at the UofAl­ber­ta and Con­cor­dia Uni­ver­si­ty Edmon­ton. When the oppor­tu­ni­ty emerges Andriko oper­a­tional­izes his exten­sive expe­ri­ence work­ing with youth and oth­er mar­gin­al­ized com­mu­ni­ties to cre­ate par­tic­i­pa­to­ry and active research projects with social impacts.

Andriko’s most recent edit­ed col­lec­tion was in this jour­nal titled North By West, he has also pub­lished with The­o­ry Cul­ture and Soci­ety, Space & Cul­ture, and the Cana­di­an Jour­nal of Soci­ol­o­gy and is involved in ongo­ing edi­to­r­i­al work with Media The­o­ry Jour­nal, and space​and​cul​ture​.com.

Kim­ber­ly Mair is Asso­ciate Pro­fes­sor of Soci­ol­o­gy at the Uni­ver­si­ty of Leth­bridge. Her research is pri­mar­i­ly con­cerned with the aes­thet­ics of com­mu­ni­ca­tion, social the­o­ry, and cri­tique of biopol­i­tics. Her book Guer­ril­la Aes­thet­ics: Art, Mem­o­ry, and the West Ger­man Urban Guer­ril­la (McGill-Queen’s Uni­ver­si­ty Press, 2016) empha­sizes the sen­so­r­i­al aspects of 1970s guer­ril­la com­mu­ni­ca­tions and their rever­ber­a­tions in artis­tic prac­tice. Mair is cur­rent­ly writ­ing about the activ­i­ties of Mass Obser­va­tion, an orga­ni­za­tion that stud­ied mass feel­ings, beliefs, and behav­iours in the 1930s and 40s and did some of this work under con­tract with Britain’s Min­istry of Infor­ma­tion dur­ing the Sec­ond World War. Recre­ation­al­ly, Mair is inter­est­ed in real and imag­ined orga­ni­za­tions, secret oper­a­tions, spies and oth­er covert actors, ciphers, and obscure doc­u­ments and artifacts.

Dominic Pin­ney is a Cal­gary-Based, Visu­al Artist who exam­ines the seduc­tive and omi­nous qual­i­ties of the city space through a vari­ety of medi­ums includ­ing, instal­la­tion, video, sound, sculp­ture, and text.

Through work­ing with met­als, con­crete, plas­tics, video, and light instal­la­tion, he cre­ates envi­ron­ments and objects that are ground­ed in both the present and a pro­posed Dystopi­an realm. Blend­ing fic­tion and real­i­ty to cre­ate an in-between space, his work encour­ages view­ers to exam­ine their own rela­tion­ship to city spaces and ques­tion their feel­ings towards the urban envi­ron­ment. He holds a Mas­ter of Fine Arts from the Uni­ver­si­ty of Wind­sor (2019), and a Bach­e­lor of Fine Arts from the Alber­ta Col­lege of Art + Design (2017). Recent exhi­bi­tions include: Faster, the Light Fades, in col­lab­o­ra­tion with Con­rad Mar­i­on in North Bay ON, Above the Belt, Below the Bush, curat­ed by Minor Hock­ey Cura­to­r­i­al in North Bay ON, I Dream of Elec­tric Streets in Wind­sor ON, and Once Removed curat­ed by Adri­enne Cross­man in Wind­sor ON.

Kate Schnei­der is a pho­to-based artist, edu­ca­tor, and kayak instruc­tor liv­ing in Toron­to, Ontario. Since 2009, she has exhib­it­ed shows, pre­sent­ed at con­fer­ences, and pub­lished writ­ing through­out Cana­da and the Unit­ed States on the sub­jects of envi­ron­men­tal sus­tain­abil­i­ty and pho­to­graph­ic dis­course. In her works, land is more than a pho­to­graph­ic sub­ject – it is dynam­ic, durable, del­i­cate, and marked by con­test­ed his­to­ries and desires. From the pho­to­graph­ic and car­tog­ra­phy trace to struc­tures built or left on a land­scape, Kate’s works are mul­ti­modal and expe­ri­en­tial sto­ries of place that ques­tion the mythol­o­gy of a sta­t­ic envi­ron­ment and ask the view­er to con­sid­er the tran­si­to­ry and per­ma­nent marks we leave on the land, water, and sky sur­round­ing us. Kate’s works have shown Pre­fix Insti­tute of Con­tem­po­rary Art (Toron­to), Har­bourfront Cen­tre (Toron­to), SoHo Pho­to (New York), and the Great Plains Art Muse­um (Lin­coln, Nebras­ka). In 2014, Sen­a­tor Bar­bara Box­er used Kate’s works as a visu­al tes­ti­mo­ny against the Key­stone XL pipeline on the floor of the Unit­ed States Sen­ate. Her works have been pub­lished in numer­ous pub­li­ca­tions, such as Magen­ta Foundation’s Flash For­ward pub­li­ca­tion and PDN’s Pho­to Annual.

Mon­ti Sigg is based in Austin, Texas. With her part­ner Randy Lewis, she has worked as a pho­tog­ra­ph­er on two Ex-Situ projects and has co-pro­duced a doc­u­men­tary film on apoc­a­lyp­tic cos­play called Who Killed the World: A Jour­ney into the Waste­land (2020).

Sahar Te is a Toron­to-based artist whose prac­tice exists at the inter­sec­tion of research, text, instal­la­tion, and per­for­mance. Her prac­tice mobi­lizes meth­ods that open up alter­na­tive real­i­ties and con­front con­ven­tion. Through explor­ing the role of nar­ra­tiviza­tion of the past as it shapes the future, Te’s inter­ven­tions range from lan­guage and semi­otics, social dynam­ics and ethics, to media stud­ies and oral his­to­ries. Te obtained her BFA from Alber­taU­ni­ver­si­ty of Arts, and her MFA from the Uni­ver­si­ty of Toron­to. Te’s work has been exhib­it­ed both nation­al­ly and inter­na­tion­al­ly at spaces includ­ing: The Wal­ters Art Muse­um in Bal­ti­more, Uni­ver­si­ty of Toron­to Art Muse­um, SBC Gallery in Mon­tre­al, Illing­worth Kerr Gallery in Alber­ta, and Mohsen Gallery in Tehran.
Web­site: www​.saharte​.com

Full bios can be found here: http://​metafac​to​ry​.ca/​S​t​r​u​c​t​u​r​e​s​_​o​f​_​A​n​t​i​c​i​p​a​t​i​o​n​/​i​n​d​e​x​.​p​h​p​/​p​a​r​t​i​c​i​p​a​n​ts/