Independent Curators International (ICI) supports the work of curators to help create stronger art communities through experimentation, collaboration, and international engagement. Curators are arts community leaders and organizers who champion artistic practice; build essential infrastructures and institutions; and generate public engagement with art. Our collaborative programs connect curators across generations, and across social, political and cultural borders. They form an international framework for sharing knowledge and resources — promoting cultural exchange, access to art, and public awareness for the curator’s role.
Maggie Groat is an artist who utilizes a range of media including works on paper, sculpture, textiles, site-specific interventions and publications to interrogate methodologies of collage and salvage practices. Her current research surrounds site-responsiveness, shifting territories, decolonial ways-of-being, gardens, slowness, margins, and the transformative potentials of found and ritual materials. Her practice is informed by her Skarú:ręʔ and Settler backgrounds, her role as a mother, and the environmental impacts of the Anthropocene. Recent notable activities include public exhibitions at AKA (Saskatoon, SK), Western Front (Vancouver, BC), and the Courthouse Project on Armoury Street (Toronto ON), exhibitions, Living Entities included in Momenta Biennale de l’image (Montreal QC), Illusion of Process at the Art Gallery of York University (Toronto ON) and alternative anthologies, The Lake (Art Metropole 2014) and ALMANAC (KWAG 017) Her work has been twice recognized on the Sobey Award long-list (2015, 2018) and received the Ontario Association of Art Galleries Award for Exhibition of the Year (budget under $10,000) in 2018 for the solo exhibition suns also seasons at Kitchener Waterloo Art Gallery. Groat is a lecturer in Visual Studies in the John H. Daniels Faculty of Architecture, Landscape and Design at the University of Toronto and lives with her partner and three children on the traditional territory of the Chonnonton, Anishnaabeg and Haudenosaunee.
How can a score be a call and tool for decolonization? Curated by Candice Hopkins (Tlingit) and Dylan Robinson (Stó:lō), Soundings: An Exhibition in Five Parts features newly commissioned scores and sounds for decolonization by Indigenous artists who attempt to answer this question.read more »