Équipe

Laura Levin est professeure agrégée de théâtre et d'études sur la performance et doyenne associée de la recherche à l'École des arts, des médias, de la performance et du design de l'Université York. Elle est l'auteur de Performing Ground: Space, Camouflage, and the Art of Blending In (prix Ann Saddlemyer) et co-éditrice de Performance Studies in Canada, avec Marlis Schweitzer (prix Patrick O'Neill). Laura a dirigé – et collaboré à – plusieurs projets de recherche-création qui explorent la performance politique, la spécificité du site, les archives et les technologies numériques. Récemment, elle a été dramaturge pour la Wetrospective de Jess Dobkin (2021) et pour la production VR de SpiderWebShow, You Should Have Stayed Home (2022). Laura est directrice et chercheure principale de Rencontres Hémisphériques.

Tracy Tidgwell travaille dans les plis du processus, de la connexion et du corps. Tracy est co-éditrice de The Future is Fat, une collection d'interventions savantes et artistiques qui réimaginent la compréhension du temps pour permettre de nouvelles expressions de l'expérience de l’embonpoint, créatrice de Anywhere Near Us, une collection de performances audio de textes queer, membre de Fat Rose, un incubateur d'art et d'activisme pour la libération de l’embonpoint, et productrice et gestionnaire de projet pour Rencontres Hémisphériques: Développer des pratiques de recherche création transfrontalières à l’École des arts, des médias, de la performance et du design de l'Université York.

Amparo Marroquín Parducci est une professeure de département de la communication et de la culture à la Universidad Centroamericana (UCA) d'El Salvador depuis 1997. She has been visiting professor at universities in Nicaragua, Ecuador, Argentina, Colombia, among others. She is part of the coordinating team of the research group on Political Communication and Citizenship for CLACSO and a researcher at the International Center for Studies on Border Epistemologies and Political Economy of Culture in Chile. Consultant for international organizations such as GIZ, UNDP, Ford Foundation and Friedrich Ebert Stiftung among others. Her research has focused on examining the way in which identities, cultures, and narratives in the media have changed since migratory processes gained prominence, the conformation of memory and intangible heritage, and the ways in which different forms of violence are named, in particular, those that began in the 1990s.

Jess Dobkin has been a working artist, curator, community activist, mentor and teacher for more than 25 years, creating and producing intimate solo theatre performances, large-scale public happenings, socially engaged interventions and performance art workshops and talks. Her practice extends across black boxes and white cubes, art fairs and subway stations, international festivals, and single bathroom stalls. She operated an artist-run newsstand in a vacant subway station kiosk, a soup kitchen for artists, a breast milk tasting bar, and a performance festival hub for kids. Her film and video works are distributed by Vtape and traces of her performance work are held in performance art archives internationally. jessdobkin.com

Marcial Godoy-Anativia is a sociocultural anthropologist and the Managing Director of the Hemispheric Institute of Performance and Politics at New York University. He is Editor of emisférica, the Institute's trilingual online journal. His publications include "Area Studies and the Decade after 9/11" (2016) with Seteney Shami; Religiones, matrimonio igualitario y aborto: Alianzas con y entre actores religiosos por los derechos sexuales y reproductivos en Argentina (2014) with Daniel Jones y Angélica Peña; Rhetorics of Insecurity: Belonging and Violence in the Neoliberal Era (2013) with Zeynep Gambetti; and Ciudades Translocales: Espacios, flujo, representación—Perspectivas desde las Américas (2005) with Rossana Reguillo. From 2000-2007, he worked in the Program on Latin America and the Caribbean and the Program on International Collaboration at the Social Science Research Council. He currently serves on the Board of Directors of the North American Congress on Latin America (NACLA).

Paolo Vignolo est professeur associé au Département d'histoire de l'Université nationale de Colombie, à Bogota. Ses domaines de recherche et de création portent sur l'histoire publique, le patrimoine culturel et les études sur la mémoire, avec un accent sur les arts vivants, la performance et les imaginaires géographiques. Il est titulaire d'un doctorat en histoire de l'EHESS (École des hautes études en sciences sociales) de Paris. En 2012-13, il a été chercheur invité au David Rockefeller Center for Latin American Studies (DRCLAS) de l'Université de Harvard et en 2023, il sera boursier au Kate Hamburger Centre for Apocaliptic and Post-Apcoaliptic Studies (CAPAS) de l'Université de Heidelberg. Il est membre de l'Hemispheric Institute of Performance and Politics de l'Université de New York et du Transformative Memory Network de l'Université de Colombie-Britannique, à Vancouver.

Selena Couture is a settler scholar and an Associate Professor in Drama at the University of Alberta in Treaty 6 territory / Métis Region No.4. Her research deconstructs conceptions of settler colonial white possession while foregrounding the maintenance of Indigenous places through performance. Publications include: Against the Current and Into the Light (2020) and On this Patch of Grass (2018). She is part of the Kule scholar cohort focusing on Climate Resilience in the 21st Century. Her research responds to the crisis of global warming, aiming to create responsible relations with Indigenous people, lands and all other-than-human beings.

Sérgio P. Andrade, PhD, is an artist, professor and researcher in dance, performance and philosophy. Since 2012, he has been a Professor at the Federal University of Rio de Janeiro, in the Department of Bodily Art, teaching at the Undergraduate and Graduate Dance Programs. He coordinates the Laboratório de Crítica (the "LabCrítica") at UFRJ, in which he develops several collaborative research-creation activities, training, publication, curatorship and exchange in dance and performance. Some recent results of this work are the book "Performar Debates" (2017) and the two editions of the conference and performance showcase "Trans-In-Corporados", which took place at Rio Art Museum in 2017 and 2018.
www.labcritica.com.br | sergio.andrade@eefd.ufrj.br

Warren Cariou is a writer, photographer and professor based in Winnipeg, Manitoba. His work focuses on the environmental philosophies and oral traditions of Indigenous peoples in western Canada, especially in relation to his Métis heritage. He has published works of criticism, memoir, fiction, poetry and film, and his bitumen photographs have been exhibited and published widely. He has also edited numerous books of Indigenous literature and storytelling. He teaches in the Department of English, Theatre, Film & Media at the University of Manitoba.

For more information visit www.warrencariou.com

Alex de las Heras es un artista relacional y un académico comprometido. Candidato a Doctor en Ciencias Humanas y Sociales por la Universidad Nacional de Colombia, posee un MA en Arte y Diseño Experimental por la Universidad de Arte y Diseño Industrial de Linz, Austria. Sus campos de investigación y creación abordan la Investigación-Acción Participativa, los Estudios de Futuros y la política, con especial foco en el patrimonio vivo, el happening y la performance, la percepción del tiempo y los escenarios inmersivos de futuros. En 2021 fue investigador visitante en el Consejo Superio de Investigaciones Científicas de España, CSIC. Desde 2022 es asistente de investigación con los Encuentros Hemisféricos: Desarrollo de Prácticas Transfronterizas de Investigación-Creación; proyecto financiado por el Consejo de Investigación en Ciencias Sociales y Humanidades de Canadá (SSHRC). Colidera el proyecto 'PAN', una serie de microhistorias de etnoficción que representan relatos de memoria, conflictos comunitarios presentes y la proyección de futuros especulativos comunitarios plurales a través del gesto, la imagen, el pensamiento y la expresión oral. www.alexdelasheras.es

Alina Peña Iguarán is a member of the National System of Researchers, and is a research professor at the Department of Sociocultural Studies at ITESO, Universidad Jesuita de Guadalajara. She earned her Ph.D. at Boston University in the Department of Hispanic Studies. Her doctoral thesis focused on the relationship between writing, autobiography, and war in the context of the sociocultural construction of post-revolutionary Mexico and the representation of the figure of the intellectual. Her research interests include aesthetics and (bio)politics; memory and subjectivity in contexts of violence, borders and disappearance. Her current research project is entitled “Poéticas de las excedencias: discursos audiovisuales para habitar la frontera.”

Arseli Dokumaci is Canada Research Chair in Critical Disability Studies and Media Technologies and an assistant professor at Concordia University. She is also the director of the AIM (Access in the making) Lab. Arseli is an interdisciplinary scholar and creative practitioner. Her scholarly and creative work lies at the crossovers of disability studies, performance studies, media studies and medical anthropology. In her research and research-creation videos, Arseli explores how disabled people go about their everyday lives, and come up with micro, improvisational solutions that she theorizes as activist affordances. Arseli is particularly interested in exploring how disability can be a critical a method to rethink and practice media in new ways. Arseli is currently launching a four-year SSHRC-funded interdisciplinary team project, entitled "Mobilizing disability survival skills for the urgencies of the Anthropocene".

https://accessinthemaking.ca/

Diana Taylor est professeure d'université et professeure d'études de performance et d'espagnol à l'université de New York. Elle est l'autrice primée de multiples ouvrages, parmi lesquels: Theatre of Crisis (1991), Disappearing Acts (1997), The Archive and the Repertoire (2003), Performance (2016), et ¡Presente! The Politics of Presence (2020), et co-éditrice de Holy Terrors (2003), Stages of Conflict (2008) et Lecturas avanzadas de Performance (2011), entre autres. Taylor a été la directrice fondatrice de l'Hemispheric Institute of Performance and Politics de 1998 à 2020. Elle est lauréate d'une bourse Guggenheim et de plusieurs autres prix importants. En 2017, Taylor a été présidente de la Modern Language Association. En 2018, elle a été intronisée à l'Académie américaine des arts et des sciences. En 2021, elle a reçu le prix Edwin Booth pour «sa contribution exceptionnelle à la communauté théâtrale de NYC et pour promouvoir l'intégration du théâtre professionnel et universitaire.» Elle codirige le projet Mémoire des codes postaux.

Dot Tuer is a writer and cultural historian whose scholarly and creative work explores artistic practices of memorialization and visual storytelling in a hemispheric context. She also has a long-standing research interest in the history of Guaraní-Spanish transcultural practices in north-east Argentina and Paraguay. Tuer is the author of Mining the Media Archive (2005) and numerous museum catalogue, book anthology, and journal essays; her curatorial projects include Frida and Diego: Passion, Politics, and Painting (Art Gallery of Ontario, 2012-13). Since the 2000s, Tuer has divided her time between Corrientes, Argentina, and Toronto, Canada, where she is Professor of Visual and Critical Studies at OCAD University.

https://www.embassyculturalhouse.ca/alberto-gomez-and-dot-tuer.html
https://ocad.academia.edu/DotTuer
https://www2.ocadu.ca/bio/dot-tuer

Guilherme E. Meyer est candidat au doctorat au Département d'anglais de l'Université de New York et étudiant-organisateur syndical au sein du GSOC-UAW Local 2110 Ses principaux centres d'intérêt sont le théâtre et la poésie des années 1960 à aujourd'hui (aux États-Unis et au Brésil), le marxisme, le féminisme et l'utopisme. Sa recherche doctorale porte sur les modes d'utopisme qui ont émergé au Brésil depuis les années 1960 et leur pertinence pour la pratique révolutionnaire. Il est titulaire d'une bourse d'études supérieures en sciences humaines et arts publics dans le cadre du projet Mémoire des codes postaux et assistant de recherche dans le cadre de Rencontres Hémisphériques.

Dr. Jennifer Willet is a Canada Research Chair in Art, Science, and Ecology and an Associate Professor in the School of Creative Arts at the University of Windsor (Canada.) Willet is Director of INCUBATOR Lab an art/science research laboratory and studio in downtown Windsor. She is an internationally successful artist and curator in the emerging field of bioart. Her work resides at the intersection of art and science, and explores notions of representation, the body, ecologies, and interspecies interrelations in the biotechnological field.

www.incubatorartlab.com
https://visualartsnews.ca/2021/07/life-in-silos/
https://www.covidcreative.ca/

Dr. Julie Nagam is an Associate Professor in the department of Art History at the University of Winnipeg. She is the inaugural Artistic Director for 2020 and 2022 for Nuit Blanche Toronto, the largest public exhibition in North America. Dr. Nagam's SSHRC research includes digital makerspaces + incubators, mentorship, digital media + design, international collaborations and place-based knowledge. Dr. Nagam is currently the Principal Director of the multi-million dollar Partnership and Development Grant The Space Between Us: Co(lab)orations within Indigenous, Circumpolar and Pacific Places Through Digital Media and Design (2021–2028). She is a collective member of GLAM, which works on curatorial activism, Indigenous methodologies, public art, digital technologies, and engagement with place. As a scholar and artist she is interested in revealing the ontology of land, which contains memory, knowledge and living histories. Her artistic work has been exhibited internationally, including in Brazil, France, New Zealand, and England, which includes solo and group exhibitions. Nagam’s scholarship, curatorial and artistic practice has been featured nationally and internationally. She was the Concordia University and Massey University (NZ) Scholar in Residence for 2018/19, and will be the Terra Foundation Visiting Scholar at the University of Sydney (AUS) for 2022-23. Dr. Nagam is the Director of Aabijijiwan New Media Lab and Co-Director of Kishaadigeh Collaborative Research Centre in Winnipeg, Canada.

Juma Pariri busca escutar e aprender com os segredos vegetais. Se move na fricção entre artes do corpo, pedagogia indisciplinar e luta indígena por justiça ambiental. Integra o movimento social Retomada Kariri e a Associação dos Índios Cariris do Poço Dantas-Umari. Dentre outros, ativa a plataforma AGITPORN! – POR NO a la desigualdad, pela descolonização social! para aprender com as ancestrais indígenas sobre sexualidades, culinárias e plantios anti-monoculturais e o trampolim audiovisual Unides contra a colonização: muitos olhos, um só coração para criação coletiva de outras formas simbólicas de auto-representação dos povos originários de Abya Yala.

Kim Sawchuk est professeure au Département des études en communication de l'Université Concordia, à Montréal, où elle est titulaire d'une chaire de recherche en études des médias mobiles. Formée en études culturelles féministes, Dre. Sawchuk s'intéresse depuis 2006 au vieillissement, au «handicap» et aux TIC dans le contexte de la transition vers les communications sans fil, mobiles et en réseau. Elle s'est engagée à explorer la recherche-création afin de favoriser les collaborations créatives pour le changement social. Elle travaille dans une perspective communautaire qui inclut l'examen des obstacles structurels et systémiques qui perpétuent les inégalités et l'exclusion – et la recherche de solutions à partir de la base. Kim dirige le laboratoire ACT à Concordia (Aging Communication and Technologies www.actproject.ca).

Kimberly Skye Richards est une spécialiste de la colonisation dont les écrits, l'enseignement, le militantisme et le travail artistique font de la performance un moyen de résister à l'extractivisme et d'inspirer une transition énergétique juste. Elle a récemment coédité un numéro de Canadian Theatre Review à propos de l'extractivisme et de la performance (avril 2020). Elle a également publié dans TDR: The Drama Review, Theatre Journal, ISLE: Interdisciplinary Studies in Literature and Environment, Sustainable Tools for Precarious Times, et An Ecotopian Lexicon: Loanwords to Live With. Kim enseigne actuellement à l'École de journalisme, d'écriture et de médias de l'Université de la Colombie-Britannique. Elle est membre du Cercle SCALE- Sectoral Climate Arts Leadership for the Emergency.

María Jose Contreras Lorenzini is a Chilean performance artist and scholar. She holds a Ph.D from Università di Bologna and is Associate Professor at the Theater School at Universidad Católica de Chile. She is currently a Visiting Scholar at the Hemispheric Institute of Performance and Politics at New York University. Using a wide range of formats, from massive public interventions to intimate actions of resistance, Contreras creatively explores the relation between the body and memory. Her work, presented throughout the Americas and Europe, include theatre productions, site-specific performances, durational performances, and urban interventions. She is one of 70 international artists featured in The Twenty-First Century Performance Reader (Routledge 2020). More info at www.mariajosecontreras.com

Marion Velasco é artista transdisciplinar, trabalha com o atravessamento da performance com vídeo, fotografia, arte sonora, música e poesia. É doutora em Artes Visuais pelo Instituto de Artes/UFRGS com estágio doutoral em Arte Sonora e Performance pela Facultad de Bellas Artes da UPV/Valencia/ES (2019). Especialista em Performance (CNPq/UFRGS 1990) e graduada em Artes Plásticas (1989). Participou de exposições coletivas e individuais presenciais e virtuais, nacionais e internacionais (Brasil, Espanha, Alemanha, Canadá, Argentina, Uruguai). Tem obra de videoperformance na coleção do MACRS. Recebeu os prêmios: Intercâmbio MINC/BR 2013 (Lisboa/PT); Edital LABPOA 2020_Lei Aldir Blanc_Artes Plásticas; Destaque Artista Trajetória e Publicações Online/Estúdio 88-documentação de videoperformances no XIV Prêmio Açorianos de Artes Plásticas, 2021. Editou, produziu e apresentou programas de rádio FM e webradio. Foi responsável pela voz e líricos da banda de indierock Plastic Dream (1990-91), do duo eletrônico Adventure (1992-96) e pela concepção e bases eletrônicas da IBG_Banda de Garotas Instantâneas (2017-21), entre outros projetos sonoros. Marion tem sede no Brasil.

Natalie Álvarez is Professor of Theatre and Performance Studies in the School of Performance and Associate Dean, Scholarly, Research, and Creative Activities in the Faculty of Communication and Design at X University in Toronto, Ontario, Canada. She is author, co-editor, and editor of four award-winning books: Immersions in Cultural Difference: Tourism, War, Performance (U of Michigan Press, 2018), Sustainable Tools for Precarious Times: Performance Actions in the Americas (Palgrave Macmillan 2019), Essays on Latina/o Canadian Theatre and Fronteras Vivientes: Eight Latina/o Canadian Plays (Playwrights Canada Press, 2013). Her most recent book, Theatre & War, is currently in press with Bloomsbury. Her work on immersive performance in the public sphere and contemporary activist performance in the Americas has been published widely in international journals and essay collections.

Peter Morin is a grandson of Tahltan ancestor artists. Morin began art school in 1997, completing his BFA at Emily Carr University in Vancouver in 2001 and his MFA in 2010 at the University of British Columbia, Okanagan. Initially trained in lithography, Morin’s artistic practice moves from printmaking to poetry to drum making to beadwork to button blanket making to installation to performance art. Throughout his exhibition and making history, Peter focuses on honouring the matriarchs of the Tahltan Nation. Morin currently holds a tenured appointment in the Faculty of Arts at the Ontario College of Art and Design University in Toronto.

Pilar Riaño-Alcalá is a professor at the Social Justice Institute. She is an anthropologist and interdisciplinary scholar. Her research interests are on historical memory and the lived experience of violence; the afterlives of political violence, the ethnography of living traces of memory and social repair; oralities and sound memory and social practice art. Pilar also has an interest in exploring the politics of knowledge and epistemic justice through the use of emplaced and creative research methodologies that draw on other knowledges and that centrally locate action and change in knowledge production. Pilar is the author of “Dwellers of Memory. Youth and Violence in Medellin, Colombia” and “Poniendo Tierra de por medio. Migracion forzada de colombianos en Colombia, Ecuador y Canadá and is currently working on the book manuscript, “In the Interstices of War and Peace: Memory and Social Repair in Colombia.” Her articles have appeared in Memory Studies, the International Journal of Transitional Justice, Anthropology Quarterly, Revista Colombiana de Antropología, Refugee Survey Quarterly, Estudios Politicos among others. She is currently working on three projects, Transformative Memory: An International Network (with Erin Baines, UBC); Exhumations and burial in Colombia (with the Committee of Victims of the Middle Atrato River) and Sacred Responsibilities to Water. Indigenous Knowledge Exchanges, Canada-Colombia (with Aimée Craft, University of Ottawa).

Roewan Crowe est artiste, écrivaine et professeure. Par le biais de la performance, de l'installation, de la vidéo, du texte et de la théorie, Crowe crée des paysages intimes, faisant place à la connexion et aux rencontres étranges. Sa pratique s'engage dans l'exploration des matériaux, les questions de forme, la spécificité du site et les processus de collaboration. Parmi ses travaux, citons: digShift, un projet de réhabilitation de l'environnement; Lifting Stone, une performance/installation de femmes queer créant des rencontres poétiques intimes; et l’ouvrage Quivering Land, une méditation féministe grinçante sur les possibilités de l'art. Crowe a codirigé, avec Helen Vosters, le livre numérique de Hemi Press, Return Atacama: Engaging Histories of Political Violence Through Performance and Durational Witnessing, qui documente le retour de l'artiste Monica Martinez et du collectif d'artistes CONSTELACIONES dans le désert d'Atacama au Chili. Aux côtés de la co-pollinisatrice Dallas Cant, ils ont récemment lancé le projet SWARM arc.hive www.swarm.greenhouseartlab.com, une rencontre artistique sympathique et plus qu'humaine avec les abeilles. Le travail rémunéré de Crowe: Professeur associé, WGS à l'Université de Winnipeg. Visitez www.roewancrowe.com.

Shauna Janssen is Assistant Professor of Performance Creation in the Department of Theatre at Concordia University, where she holds a Concordia University Research Chair in Performative Urbanism (2018-2023). Her teaching, research and creative practice are consonant with urban humanities, critical, interdisciplinary, and collaborative practices, and performative explorations with and within contested sites of the urban realm. Current research-creation projects include Feminist Performance Creation & the City (SSHRC PEG) and Situating Critical Performance Design in the City (SSHRC IDG).

www.performativeurbanism.com
www.shaunajanssen.ca

Smaro Kamboureli is the Avie Bennett Chair in Canadian Literature at the University of Toronto. Prior to this appointment, she was Canada Research Chair Tier 1 in Critical Studies in Canadian Literature at the University of Guelph, where she founded and directed TransCanada Institute. Her most recent publications include her articles “Literary Solidarities: ‘Should I be here?’,” her introduction to the University of Toronto Quarterly special issue that she co-edited with Tania Aguila-Way, and “Diaspora” in Oxford Research Encyclopedia of Literature, as well as the bilingual English / Italian edition of her poetry book, in the second person, in seconda persona. She is the author of numerous books, including Scandalous Bodies: Diasporic Literature in English Canada, winner of the Gabrielle Roy Prize for Canadian Literary Criticism. Her collection of essays, co-edited with Larissa Lai, Land / Relations: Possibilities of Justice in Canadian Literatures, is forthcoming. For a full list of her books and publications, visit www.smarokamboureli.ca

Stephen Lawson is a Montreal artist, activist, and educator that creates poetic transdisciplinary interventions within the fields of live art (music, theatre, cabaret), print, installation, and video. Since 2001, as one half of the collaborative art duo 2boys.tv, he has produced a wide repertoire of queer art works that have toured internationally. Stephen is a PhD candidate in the Department of Theatre & Performance Studies at York University and his research is centred on radical drag praxis throughout the Hemispheric Americas. He is the Co-Managing Editor of the research site Cabaret Commons and a frequent part-time instructor at Concordia University. www.2boys.tv www.cabaretcommons.org www.theatre-studies.gradstudies.yorku.ca

Véro Leduc is an artist, engaged scholar, and a professor in Communication Studies at the University of Quebec in Montreal, where she teaches in cultural action program as well as in the program Disability and Deafhood: Rights and Citizenship, which she co-founded. First Deaf university professor in Quebec, and Canada Research Chair in Cultural Citizenship of Deaf People and Cultural Equity Practices, her recent investigations focuses on Deaf and disability arts practices in Canada and Deaf music. In 2020, she received the Governor General's Medal of Canada for her commendable work in breaking down barriers to social exclusion and enhancing accessibility to university and culture for people who are deaf and hard of hearing.
Links:

- www.professeurs.uqam.ca/professeur/leduc.veronique
- Musiques au bout des doigts / Music at the fingertips: https://actproject.ca/act/musique-au-bout-des-doigts/
- Nos mains qui vibrent / Our vibrant hands: https://vimeo.com/showcase/8777738
- On vous fait signe / We're waving hands : https://www.signe.media/
- Chaire de recherche / Research chair: https://equite-culturelle.uqam.ca/

Beatriz Pizano (actrice, metteur en scène, dramaturge) est la fondatrice et directrice artistique du théâtre Aluna, une compagnie reconnue pour son approche unique de la création, son travail politique audacieux et son expérimentation en productions multilingues. Elle a reçu un certain nombre de prix prestigieux, dont le prix John Hirsch, la bourse Chalmers, le prix K.M. Hunter et de nombreux prix et nominations Dora. Elle est la première actrice latino-américaine à avoir remporté un prix des critiques de Toronto et un Dora pour sa performance dans Blood Wedding. En 2019, elle a été nommée parmi les 10 Canadien.ne.s hispaniques les plus influent.e.s de la TD. Elle est passionnée par le fait de nourrir la prochaine génération d'artistes qui créent avec une vision transaméricaine.

Carlota McAllister is an associate professor in the Faculty of Environmental and Urban Change at York University in Toronto, Canada. A political and historical anthropologist, she studies the formation of political and moral agency in situations of conflict or crisis in agrarian communities in Guatemala and Chile, using theoretical tools drawn from the anthropology of religion, actor-network theory, performance studies, feminist anthropology, and political ecology. With Diane Nelson, she co-edited War by Other Means: Aftermath in Postgenocide Guatemala (Duke UP, 2013), and her monograph The Good Road: Conscience and Consciousness in a Post-Revolutionary Mayan Village in Guatemala is forthcoming with Duke University Press.

Daiana Bruzzone has a doctorate in Social Communication from Universidad Nacional de La Plata, Argentina. She is a teacher and researcher at the department of Journalism and Social Communication, director of the Specialization in Communication and Youth, and member of the Aníbal Ford Institute for Communication Studies. She is also a member of the CLACSO Working Group on Communication, Politics and Citizenship in Latin America and of the CLACSO Working Group on Youth and Childhood. She teaches at the Universidad del Este, Argentina, and in the PhD in Communication at the Universidad de la Frontera, Chile. One of her salient publications is the book Todos duros. Hijos del neoliberalismo: claves de las relaciones entre jóvenes, afectos y subjetividad corporal en los consumos de drogas (published
in 2020 by Editor Grupo Universitario, available at https://www.aulataller.com/titulos/GEU_juventudes_32.htm

Dan Pon manages the archives at grunt gallery where he works to preserve and activate material and non-material culture. He is interested in the practice of artists intervening in archives, liberatory community archives, and imaginative models at the intersection of visual arts and information science. He also works as a librarian at Langara College. His writing and work has been published by grunt gallery, VIVO Media Arts, Other Sights for Artists' Projects, UNIT/PITT Projects, and the BC Libraries Association. Dan holds an MLIS from the University of British Columbia.

https://archivesweek.ca/
https://grunt.ca/

Elizabeth (Lisa) Liu is in her final year of her Specialized Honours Bachelor of Arts in Psychology at York University. Elizabeth also holds a Bachelor of Arts in Global Business and Digital Arts from the University of Waterloo, and her knowledge in web and app design inform her thesis work on how social media design impacts the well-being of emerging adults.

Jesusa Rodríguez (México 1955) is a theatre creator whose work is characterized by humor and political parody. She has written, directed, and acted in endless political farces and revues. She has also directed adaptations of Shakespeare and Yourcenar, as well as Mozart operas and pieces by Mexican authors such as Sor Juana Inés de la Cruz. Rodríguez has also performed, created theatrical installations, organized workshops with Indigenous groups and actions for the protection of native corn. She is currently a Senator of the Republic. Her greatest achievement: accumulating discredit.
https://jesusa.mx/

Lee Rodney is Associate Professor of Media Art and Cultures in the School of Creative Arts at the University of Windsor. She has been involved in borderlands-related research since 2008 when she held a Fulbright fellowship to comparatively study relationships between contiguous urban regions along the U.S.-Mexico border and the Canada-U.S. border. Her publication, Looking Beyond Borderlines: North America’s Frontier Imagination examines the shifting relationship between borders and frontiers in North America as they have been represented and undermined through a variety of cultural practices (Routlege’s Advances in Visual Studies series, 2017). She has also organized community-based borderlands research through two SSHRC funded multi-year projects (2010-2013) The Border Bookmobile, and “Buoyant Cartographies: Alternative Mapping Practices on the Detroit River” (2018-2019).

http://frontierfiles.org/
http://www.buoyantcartographies.com/about

Shannon Cochrane is a Toronto based performance artist. Her performance work has been presented in festivals, theatres and at various events across Canada and the USA, and in over 20 countries across Europe, UK and Asia. She is also the Artistic Director of FADO Performance Art Centre (www.performanceart.ca), a Toronto-based artist-run centre established in 1993 with the mission to support and present the work of contemporary performance artists from across Canada and around the world. As a platform, FADO exists nomadically, utilizing venues and sites that are appropriate to individual projects. Shannon is also a co-founding member of the Toronto Performance Art Collective. Established in 1997, TPAC is the producer of one of Canada’s oldest biennial performance art festivals, the 7a*11d International Festival of Performance Art (www.7a-11d.ca ).

Sofía Acosta Varea (Quito,1988) is a visual artist. Her work encompasses an interdisciplinary practice that ranges from installation, through intervention of photographs, archives, cartographies, and testimonies, to graphics and murals. Her work is an aesthetic-political commitment that, on the one hand, questions established gender narratives and, on the other hand, seeks post-extractivist art approaches, putting contemporary notions of territory in debate. She has participated in several solo and group exhibitions in different independent galleries, inside and outside Ecuador, curated (Ordinaria, Arte Actual FLACSO (2018) and worked as illustrator in multiple independent publications. Recently, together with Adrián Balseca, she created the project Mirador: Visiones sobre el extractivismo (Mirador: Visions on Extractivism, 2019), a book that investigates the different visual memories of peasant and Indigenous leaders who have been criminalized since the arrival of the Ecuador’s 6 mega-mining projects.
Links: www.lasuerte.art
IG @l_a_s_u_e_r_t_e

Sol Pérez Jiménez has a doctorate in Environmental Geography from the Universidad Nacional Autónoma de México. In the past decade she has worked as an activist, academic and independent consultant with national and international civil society organizations, on issues such as environmental and social impact of mining, environmental conflicts and alternatives to extractivism. Currently, since 2021, she is a researcher in the Land and Territory Program of Fundar Center for Analysis and Research.
AChttps://fundar.org.mx/

Trevor Schwellnus is an Interdisciplinary artist and Scenographer who designs sets, lights, and video for performances with independent artists and companies. He was born on unceded Algonquin land. One of his chief obsessions is the intersection of design, dramaturgy, and cross-cultural art-making. He directed & designed Dividing Lines, What I learned from a decade of fear, Nohayquiensepa (No one knows) with Aluna Theatre.
He has designed with dozens of companies on over a hundred shows since 1999, including: The Theatre Centre, Cahoots, Modern Times Stage Company, Obsidian Theatre, Buddies in Bad Times, Theatre Passe Muraille, La Corporación Colombiana de Teatro, Ame Henderson, Dancemakers, and others.
He redesigned Toronto’s Dora Award statuette in 2019, has 6 Dora Awards (of 18 nominations), and was shortlisted for the 2015 Siminovich Award.

Zoë Heyn-Jones is a settler researcher-artist and cultural worker who grew up on Saugeen Ojibway land in Ontario, Canada and on Tz’utujil/Kaqchikel Maya land in Guatemala. Zoë holds a PhD in Visual Arts from York University and a graduate diploma in Latin American Studies from CERLAC (the Centre for Research on Latin America and the Caribbean, York University). Zoë is currently a SSHRC postdoctoral fellow at the Centre for Sustainable Curating in the department of Visual Arts at Western University where she is developing an interdisciplinary arts-based project on food security, sovereignty and justice in Canada and Mexico. She lives and works in Tenochtitlán/Mexico City and Tkaranto/Toronto.

www.zoeheynjones.com