Sounding the Margins: Towards a Decolonial Practice of Listening

In the visual arts, we are so conditioned by our eyes that we forgot about our ears, but while we can't close our ears, it doesn't mean that we listen to everything that is being said. In other words, how can we practice a listening without an intention of what we might want to hear? Through sound, activism, and art, this talk will look at how Indigenous peoples are responding to extraction economies, attacks on traditional knowledge, and the climate crisis through sound.

Live streamed on May 27

Candice Hopkins is a Tlingit curator and writer originally from Whitehorse, Yukon and based in Albuquerque, New Mexico. She is Senior Curator of the Toronto Biennial of Art and co-curator of the SITE Santa Fe biennial, Casa Tomada, and the Canadian Pavilion at the 58th Venice Biennale, May-Nov. 2019, which featured the media work of Isuma Productions, a collective based in Igloolik and Montreal, Canada. She was a curator for documenta 14 in Athens, Greece and Kassel, Germany. Her writing is published widely and recent essays include “Outlawed Social Life” for the magazine South as a State of Mind and “The Gilded Gaze: Wealth and Economies on the Colonial Frontier” for the documenta 14 Reader. She has lectured on contemporary art, sound, indigeneity, native economies, and vernacular architecture at such venues as Witte de With, WIELS, Tate Modern, Dak’Art Biennale, Artists Space, Tate Britain and the National Gallery of Canada. She is the recipient of the Hnatyshyn Foundation Award for Curatorial Excellence in Contemporary Art and the 2016 the Prix pour un essai critique sur l’art contemporain by the Foundation Prince Pierre de Monaco. Hopkins is a citizen of Carcross/Tagish First Nation.