I am land
I am land is a three-part exhibition series that explores the role of the artist as a chronicler. Many artists have a deep interest in representing the past, exploring the present, and imagining the future. This series and its public programs highlight and celebrate how individuals and communities have the power to create their own histories.
Image credit: Carolina Caycedo, The Collapsing of a Model (2019)
About the Curator
Maya Wilson-Sanchez is a curator and writer based in Toronto. She has worked in numerous galleries and museums, including the Art Gallery of Ontario, Gallery TPW, and MKG127, and has curated exhibitions at Xpace Cultural Centre, the Royal Ontario Museum, Pride Toronto, and the Art Gallery of Guelph. Their essays, reviews, and exhibition texts can be found in various publications including The Senses and Society Journal, Canadian Art, Contemporary HUM, and the book Other Places: Reflections on Media Arts in Canada. In 2019, she was an Editorial Resident at Canadian Art and a Curatorial Resident at the Art Museum at the University of Toronto. The 2020 recipient of the Middlebrook Prize for Young Canadian Curators and a 2021 participant at the Tate Intensive, she also teaches in the Criticism and Curatorial Practice program at OCAD University and is the Associate Editor at C Magazine.
About the Exhibition
Between a global pandemic, calls of justice for Black lives, world-wide protests against femicide, and finding remains in former residential schools, many have had to recently endure grief. I am land that feels offers a public space for mourning, where death is tied to systemic violence and issues of injustice. This first part of I am land examines how artists document loss. It proposes art-making as a method for working through grief, and examines how collective conversations about loss in public space can lead to healing. From Glenna Cardinal’s and Carolina Caycedo’s mourning of land, to Anique Jordan’s work on Black grief and remembrance, Amber Webb’s memorial to missing and murdered Indigenous women and girls, and a participatory and community-based altar by the Day of the Dead Collective, this exhibition explores grief through a myriad of themes and forms. Set in a public space, it works to demonstrate the power of collective mourning in the personal and the political.