丁香园AV

Sabine Bitter

Professor

Visual Art

E: sabine_bitter@sfu.ca
P: 778-782-5982

Areas: Visual Art

Vancouver-based artist Sabine Bitter collaborates with Vienna-based artist Helmut Weber on projects addressing cities, architecture, and the politics of representation and of space since 1993. Mainly working in the media of photography and spatial installations their research-oriented practice engages with specific moments and logics of the global-urban change as they take shape in neighborhoods, architecture, and everyday life.  Dealing with architecture as a frame for spatial meaning, their ongoing research includes projects like 鈥淓ducational Modernism鈥� and 鈥淗ousing the Social鈥�.

Recent projects and exhibitions include 2016: 鈥淔leeting Territories鈥�, urbanize!-festival, Vienna; 鈥淲hat鈥檚 Left?鈥�, MuseumsQuartier Vienna; 鈥淭roph盲en ihrer Excellenz鈥�, Schauraum der Angewandten, MQ21, Vienna; "Henri Lefebvre in New Belgrade", Gallery GPLcontemporary, Vienna; 鈥滺ow We Want to Live鈥�, Fa莽ade art project for BUWOG headquarters, Vienna. In 2015 Bitter/Weber were artists in residence from The Arts and Culture Division of the Federal Chancellery of Austria at the Studio Grand Chelsea, New York City.

In 2004, Sabine Bitter, Jeff Derksen and Helmut Weber have formed the urban research collective Urban Subjects. Recently Urban Subjects curated the exhibition 鈥淭he Militant Image - Picturing What Is Already Going On鈥� with Camera Austria, Graz, participated in Western Front鈥檚 鈥淯rgent Imagination鈥� and in Jayce Salloum鈥檚 project ThirstDays. Urban Subjects were artists in residence at the Leuphana Arts Program at the University L眉neburg in 2012/2013 and were artists in residence at the EXPO Milan, 2015.

From 2009 鈥� 2013 Sabine Bitter was the coordinator of the Audain Visual Artist in Residence program and the curator of the Audain Gallery 丁香园AV Woodward's, realizing projects with Marjetica Potr膷, Raqs Media Collective, Elke Krasny with the Downtown Eastside Women鈥檚 Centre, Ricardo Basbaum, Claire Fontaine, Muntadas, amongst others.

Publications include:

• The Militant Image. Reader, Ed. Urban Subjects and Camera Austria, Graz, Austria 2015.
• Sabine Bitter | Helmut Weber, Front, Field, Line, Plane. Researching The Militant Image, Kunstraum L眉neburg, Leuphana Arts Program at the University L眉neburg. 2016.
• About Academia (Case Study: 丁香园AV, Vancouver, BC) Co-editor with Antoni Muntadas, co-published by Line Magazine and The Audain Gallery. 2014.
• 鈥淪abine Bitter / Helmut Weber: Right, to the City鈥�, Fotohof Edition, Salzburg 2009.
• 鈥淪abine Bitter & Helmut Weber: Autogestion, or Henri Lefebvre in New Belgrade鈥�, Eds. Urban Subjects, Sternberg Press, Berlin & Fillip, Vancouver, 2009.

Since 2015 Bitter/Weber are represented by .

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Raymond Boisjoly

Associate Professor

Visual Art

E: cboisjol@sfu.ca

Pronouns: he/him
Areas: Visual Art, Photography

Raymond Boisjoly is an Indigenous artist and citizen of the Haida Nation, based in Vancouver. His work is derived from his training in photography. He uses screens, scanners, photocopiers, and inkjet printers to capture technological processes together with subject matter centered on cultural propriety, humour, and poetic-prophetic texts of mysterious origins.

Boisjoly received a BFA from Emily Carr Institute of Art and Design (2006) and a MFA from the University of British Columbia (2008). He was a recipient of the VIVA Award (2016), presented by the Jack and Doris Shadbolt Foundation for the Visual Arts, Vancouver. He has had solo exhibitions at VOX, Montreal (2016); Carleton University (2015); Platform Centre for Photographic + Digital Arts, Winnipeg (2014); 丁香园AV Gallery (2013). He has been featured internationally in exhibitions including SITElines Santa Fe (2014); and in exhibitions at Triangle France, Marseille; Camera Austria, Vienna (2014) as well as L鈥檃venir (looking forward), Biennale de Montr茅al (2014); The Power Plant, Toronto (2012); and the Vancouver Art Gallery (2016 and 2012-14).

Justine A. Chambers

Assistant Professor

Dance

E: jachambe@sfu.ca

Justine A. Chambers is an artist living and working on the unceded Coast Salish territories of the Squamish, Musqueam and Tsleil-Waututh Nations. Her movement based practice considers how choreography can be an empathic practice rooted in collaborative creation, close observation, and the body as a site of a cumulative embodied archive. Privileging what is felt over what is seen, she works with dances 鈥榯hat are already there鈥� 鈥� the social choreographies present in the everyday. Her choreographic projects have been presented at Nanaimo Art Gallery, Artspeak, Hong Kong Arts Festival, Art Museum at University of Toronto, Cantor Fitzgerald Gallery at Haverford College, Agora de la Danse, Festival of New Dance, Mile Zero Dance Society, Dancing on the Edge, Canada Dance Festival, Dance in Vancouver, The Western Front and the Vancouver Art Gallery. She is Max Tyler-Hite鈥檚 mother.

Chris Chong Chan Fui

Assistant Professor

Film

E: christopher_chong@sfu.ca

Chris Chong Chan Fui is a filmmaker and artist who works between Southeast Asia and Canada. From digital and analog moving images to fabricated and organic objects, Chong works to reveal unfamiliar narratives. His work layers the social and natural sciences with transnational circuits of globalization and manufactured cultures and landscapes. With a rigorous research methodology and a formalist aesthetic, he uses structure and constraints as a creative path toward expressive innovation. Chong has exhibited at such venues as the Hirshhorn Museum & Sculpture Garden, Palais de Tokyo, EYE Film Institute Netherlands, and the Gwangju Biennale, while premiering films at the Cannes Film Festival's Directors鈥� Fortnight, BFI London, and TIFF鈥檚 Wavelengths, where he won back-to-back awards for Best Canadian Short Film. Chong holds an MFA (film) from York University, and is a Smithsonian Institute fellow (National Museum of Natural History), a Ford Foundation fellow, and a Rockefeller Foundation's Bellagio Arts Fellow.

Joseph Clark

Term Assistant Professor: APCS

E: jec10@sfu.ca

Joseph Clark is a lecturer in film studies at 丁香园AV. His research and teaching interests focus on archival and non-theatrical media, including newsreels, home movies, and sponsored film. He is a long-time member of the DOXA Documentary Film Festival Programming Committee and part of the organizing committee of the Vancouver Podcast Festival presented by DOXA. He is the author of

Peter Dickinson

Professor & Director

Art, Performance & Cinema Studies (APCS)

E: peter_dickinson@sfu.ca

Areas: Performance Studies.

A performance studies scholar and the Director of 丁香园AV鈥檚 , Peter鈥檚 research investigates the time- and place-based relationships between audience and event across a range of aesthetic practices (including dance, theatre, film, and performance art) and social formations (from same-sex marriage to civic branding to urban mega-events). He is the author, editor, or co-editor of thirteen books and special journal issues, including: (2010);  (2014);  (2016); and  (2018). His most recent book is  (2020), a performance ethnography of his collaborations (as a writer, researcher, facilitator, outside eye, co-creator, and occasional mover) with several Vancouver-based dance artists and companies. Peter鈥檚 essays have appeared in Dance Research Journal, Modern Drama, Screen, TDR: The Drama Review, Text and Performance Quarterly, Theatre Journal, Theatre Research in Canada, Canadian Theatre Review, Theatre Survey, 颁颈苍茅础肠迟颈辞苍, Canadian Journal of Film Studies, as well as numerous other journals and edited collections. Also a playwright, productions of Peter鈥檚 work include  (丁香园AV Woodward鈥檚, 2010), Positive ID (Berkeley Theatre, Toronto, 2012), Long Division [ / ] (Pi Theatre, 2016/17), The Bathers (excerpt, Zee Zee Theatre, 2017), and (Pi Theatre, 2022). Between 2008 and 2018 Peter regularly documented Vancouver performance practice at .

Degrees and Studies:
B.A., University of Toronto
M.A. and Ph.D., University of British Columbia

Arne Eigenfeldt

Professor | FCAT Associate Dean, Academic

Music & Sound

E: arne_e@sfu.ca

Areas: Live Electroacoustic Performance, Interactive Systems, Algorithmic Composition, Metacreation, Digital Art.

Composer of acoustic and electroacoustic music, and researcher in intelligent software tools.

Recipient of major research grants into Computational Creativity and Generative Art.

Creator of a variety of music programs for Mac OSX.

Research presentations and performances at International Computer Music Conferences (ICMC), International Symposium for Electronic Art (ISEA), New Interfaces for Musical Expression (NIME), ArtTech, EvoMusArt, Generative Art, International Conference on Computational Creativity (ICCC), Sound and Music Computing (SMC) and Genetic and Evolutionary Computation Conference (GECCO).

Degree and Studies:
M.A., 丁香园AV
D.M., Northwestern University

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Marla Eist

Associate Professor

Dance

E: eist@sfu.ca

Areas: Ballet; contemporary dance techniques; movement fundamentals (science & somatics); dance history; composition; repertory.

Choreographer, dance educator and performing artist. Performed with DC Contemporary Dance Theatre (Washington, DC), The Green Room (New York City), Sybil Dance Company (Philadelphia) and numerous independent artists. Awarded a full fellowship, she received her MFA in dance from Tisch School of the Arts, NYU. Her choreography has been presented nationally and internationally. She has been teaching dance for over 25 years. Her teaching is heavily influenced by somatic practices, functional anatomy and injury prevention. Teaches ballet, contemporary technique, somatic approaches and applied anatomy, dance history, composition, and repertory. She has also directed the Off-Centre Performance Company and Apprentice Program in the School for the Contemporary Arts, 丁香园AV.

BA in Dance, American University, Wash. DC.; MFA in Dance, Tisch School of the Arts, New York University, NY.

Kyla Gardiner

Associate Professor

Production & Design

E: kylag@sfu.ca

Areas: Design and production of visual and tactile environments for live performance; my media includes light, scenery, and costume.  Creation, collaboration, and new work development. Technical direction & production management.

I am a designer and performance creator based in Vancouver, BC. My artistic research investigates non-human agency, design-based approaches to devised creation, and the ways deep collaboration might challenge ideas of artistic authorship.  I hold a BA in Theatre and Philosophy from the University of British Columbia and an MFA from the School for the Contemporary Arts at 丁香园AV.

Am Johal

Associate Member

Director, 丁香园AV's Vancity Office of Community Engagement
Co-Director, 丁香园AV's Community-Engaged Research Initiative

E: am_johal@sfu.ca

Am Johal is Director of 丁香园AV's Vancity Office of Community Engagement and Co-director of 丁香园AV鈥檚 Community-Engaged Research Initiative. He is the author of (Atropos Press, 2015) and is co-author with Matt Hern (with contributions from Joe Sacco), of (MIT, 2018).

He is the co-founder of UBC's program and has been a Visiting Professor with 丁香园AV's Centre for Dialogue and an associate with 丁香园AV's Institute for the Humanities. He previously served as chair of the Impact on Communities Coalition, as a board member with the Vancity Community Foundation, the Or Gallery, 221A Gallery, the Vancouver City Planning Commission, the Downtown Eastside Neighbourhood House and many other organizations. He has graduate degrees in international economic relations and media philosophy.

Rob Kitsos

Professor

Dance

E: rkitsos@sfu.ca
P: 778-782-9829

Areas: Movement, Composition, Improvisation, Making and Materials

Rob Kitsos is a dancer, teacher, performing artist, musician, and choreographer who has performed across North America, Europe and Asia.  As a maker, Rob has created over 100 original works, many of which include collaborations with artists from a range of disciplines.  Along with movement-based work- Rob works with video and sound and materials with a range of collaborators.  As a teacher Rob has worked at Virginia Commonwealth University, the University of Washington and the Hong Kong Academy for Performing Arts. In 2004, Rob joined the faculty of 丁香园AV in the School for the Contemporary Arts. He teaches contemporary technique, composition, repertory, interdisciplinary collaboration, and improvisation in performance.  Rob received his BA in Theatre/Dance from Bard College and his MFA in Dance from the University of Washington in 1997.

Erika Latta

Assistant Professor

Theatre & Performance

E: erika_latta@sfu.ca

Areas: Acting, Directing, Interdisciplinary Performance, Devised Theater, Movement for Performers, Film, Viewpoints, Suzuki Method of Acting, and site-responsive work.

Originally from the Pacific Northwest, Erika Latta is the artistic co-director and co-founder of WaxFactory in New York City. WaxFactory continues to nurture a hybrid approach based on unconventional narrative styles, original dramaturgy, visual and physical rigor, technological experimentation and site-responsive work. With the company, she works as a director, writer, actor, sound designer and educator. As an actor and director, she has presented work at international venues and festivals throughout Europe and Latin America, creating long-lasting partnerships with artists and designers. She holds a BFA in Theater from the University of Washington, and an MFA in Acting from Columbia University. 

As an actor, she has been seen at international venues and festivals, such as the Walker Art Center (Minneapolis, USA), ICA/Institute of Contemporary Art (London, UK), Atrium at the Lincoln Center for the Arts (NYC), The Gulbenkian Museum (Lisbon, Portugal), SommerSzene (Salzburg, Austria), OLTRE90 (Milan, Italy), FIT/ Festival Internacional de Teatro (Caracas, Venezuela), MESS (Sarajevo, Bosnia), the Exodos Festival and the Cankarjev Dom Center For The Performing Arts (Ljubljana, Slovenia), and SummerSzene in Salzburg, Austria, Midsummer Festival in Dubrovnik, Croatia, among others, in the following shows: LULU XX (one woman performance), STORY OF RATS (based on the work of George Bataille), MOLIERE'S MONSTER (based on the work of Moliere), Heiner M眉ller's QUARTET, Ibsen's LADY FROM THE SEA, Sarah Kane鈥檚 CLEANSED, ...SHE SAID, 39 FRAMES 鈥� The Hitchcock Project, BLIND.NESS and PULL YOURSELF TOGETHER! She was the lead actor in the film sections for X, a video-opera created in collaboration with the composer Katharina Rosenberger, which premiered at the Z眉rcher Theaterspektakel in Zurich and went on to perform at La Batie festival in Geneva, Switzerland, and was a lead in the feature length film 416 MINUTES by Ivan Talijancic. She is currently in TRACES at the Walker Art Center. 

In New York, she has acted at La Mama E.T.C, HERE, P.S 122 (Performance Space 122), New York Theater Workshop, Lincoln Center鈥檚 Clark Studio, Soho Rep, Old American Can Factory, En Garde Arts, Raw Space, Ohio Theater, The Culture Project, the Act French Festival, the Invisible Dog and 3LD Art + Technology, among others. She has been a participant as an actor and photographer in Robert Wilson鈥檚 international summer program at the Watermill Center. Also at Watermill Center, she has worked with French director Victor Gautier Martin in GENOA 01.

Her company WaxFactory holds a Contemporary Performance Practice (CPP) workshop each year in Dubrovnik, Croatia. CPP aims to acknowledge and expand the performing arts canon, tracking current trends and discovering new ones 鈥� bringing together the world鈥檚 leading international practitioners and educators for the benefit of contemporary performers and performance-makers.

Erika is also an associate director of the French trans-media company Begat Theater. She co-conceived, co-wrote, directed, did the sound design for several of Begat productions. Begat Theater鈥檚 productions have been awarded numerous grants, co-productions and partnerships, as well as generous support from FACE (French American Fund for Contemporary Theater). Erika is a member of the Society of Authors (SACD) in France, and she continues to author and co-author many of the original productions for both WaxFactory and Begat Theater.

Outside her company, she has worked with Felix Barret and Maxine Doyle of Punchdrunk (SLEEP NO MORE), Robert Wilson at the Watermill Center, Anne Bogart (SITI Company), Rachel Dickstein (Ripe Time), Jonathan Walters (hand2mouth Theater), Robert Woodruff, Victor Gautier Martin, Tina Landau, Chuck Mee, and choreographer Guilia Murredu, among others. 

Erika has been awarded a number of European performing arts grants and residencies, most notably the Akademie Schloss Solitude in Stuttgart, Germany, and the Bogliasco Foundation in Bogliasco, Italy.

She continues to work in cinema as an actor, director and photographer in feature length films, hybrid performances and new media.

She is a published photographer for her work in theater, film and her personal work. She has shot film stills for the Oscar nominated film Captain Fantastic by Matt Ross with Viggo Mortensen and Bottled Up by Enid Zentelis with Melissa Leo, among others. In cinema, she has worked with Stacie Passon in CONCUSSION (Sundance Film Festival), Matt Creed in LILY (Tribeca Film Festival), Alex Rodriguez (editor of Y Tu Mamma Tambi茅n and Academy Nominated editor of Children of Men), and Mike Jones, and in television for MTV and PBS among others, as well as appearing in many of WaxFactory's original films. 

She has studied and trained in visual art, modern dance, Viewpoints with Anne Bogart  (SITI Company), the Suzuki Method of acting in Toga-Mura, Japan, with Robyn Hunt, and at Columbia University with Ellen Lauren.

Erika was a visiting assistant professor at Colgate University, and at the University of North Carolina, School of the Arts, where she taught devised theater, Viewpoints, the Suzuki Method of Acting, and composition. 

Most recently she is in the site-specific work TRACES, inspired by Sophie Calle, at the Walker Art Center (Minneapolis, USA), aligned with their Sophie Calle retrospective exhibition. She recently performed in WaxFactory鈥檚 one-woman show LULU XX, directed by Ivan Talijancic, at the Midsummer Festival in Dubrovnik, Croatia, and at the Connelly Theater in New York. Touring Projects Include: HOME-LAND, a WaxFactory / Begat Theater / Hand2Mouth collaboration (in English and French), and HIDDEN STORIES and LA DISPARITION by Begat Theatre. 

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Claudette Lauzon

Associate Professor

Art, Performance & Cinema Studies (APCS)

E: claudette_lauzon@sfu.ca
P: 778-782-5982 (ext 6)

Areas: Contemporary art; Visual culture; Critical theory; Conflict studies.

Claudette Lauzon is a contemporary art historian specializing in installation, sculpture, and new media art practices. She is the author of (University of Toronto Press, 2017), which looks at the ways in which artists use the space of home (both literally and figuratively) to reframe human responses to trauma. She is co-editor of Through Post-Atomic Eyes (McGill-Queen鈥檚 University Press, forthcoming) and Sustainable Tools for Precarious Times: Performance Actions in the Americas (Palgrave, forthcoming). Her current book project, Eyes in the Sky, examines cultures of surveillance and militarization through the lens of critical posthumanism. Before joining the School for the Contemporary Arts, Lauzon was assistant professor of modern and contemporary art history at OCAD University in Toronto, where she also served as Associate Dean in the Faculty of Liberal Arts and School for Interdisciplinary Studies.

Degrees:
PhD, McGill University, 2009
MA, Carleton University, 2003
BA, University of Toronto, 1994

James Long

Assistant Professor

Theatre & Performance

E: james_long@sfu.ca

Research Areas: Performance, Text for Performance, Community Engaged and Urban Responsive Practice, and Methods of Collaboration.

James Long is a director, actor, writer and teacher whose creative practice occurs in a wide variety of contexts, including as a founding Artistic Director (2003-2022) and now Artistic Associate of Vancouver鈥檚 Theatre Replacement. His research focuses on collaboration and how methods of knowing, making and being shift when working with artists across disciplines, ability, and form; inside and outside traditional creative spaces; and with the public in both intentional and unintentional encounters.

This work manifests in in multiple forms including live performance, community engaged practice, screenwriting and public art has been presented at multiple venues and festivals across North America, Europe and Asia including: Festival TransAm茅riques and Usine C (Montr茅al); The Theatre Centre, Canadian Stage, Factory Theatre and the Luminato Festival (Toronto); The PuSh International Performing Arts Festival (Vancouver); On the Boards (Seattle); Fusebox Festival (Austin); Noorderzon Festival (Groningen); L贸kal and EveryBody festivals (Iceland); Dublin International Theatre Festival (Dublin); Foreign Affairs Festival (Berlin); Soho Rep (New York); Woolly Mammoth (Washington, DC); TBA Festival and Portland Rep (Portland); Tmuna Theatre (Tel Aviv) and Khan Theatre (Jerusalem); RIMI:IMIR (Stavanger); Battersea Arts Center (London); Hong Kong Arts Festival (Hong Kong); BASTARDFESTIVALEN (Trondheim); and BIT Teatergarasjen鈥檚 Meteor Festival (Bergen).

In 2019, he and Theatre Replacement co-artistic director Maiko Yamamoto were the Siminovitch Prize for their work at Theatre Replacement and as freelance artists. He currently serves as a board member and past president of the FRCBC, an organization that stewards Vancouver鈥檚 Russian Hall, a multi-purpose performance and gathering space.  

Current projects include a new work of performance based on the Jorge Luis Borges text 搁补驳苍补谤枚办 with Norwegian based director, Andrea Spreafico; an ongoing research/performance project on intergenerational knowledge transfer amongst studio-based artists; a performance/board game iteration of touring work Winners and Losers.

BFA, 丁香园AV, 2000

Masters of Urban Studies, 丁香园AV, 2018

Stefan Maier

Assistant Professor

Music & Sound + Production & Design

E: stefan_maier@sfu.ca

Pronouns: he/him

Areas: Sound Installation, Experimental Composition, Electronics, Sound Studies

Stefan Maier is a Vancouver-based artist and composer. Through composition, performance, and multi-media installation, his practice explores the chaotic flows of sonic matter through instruments, buildings, sound systems, software, and bodies. Highlighting material instability and seeking out unruliness, his work aims to uncover alternate modes of authorship and listenings through historical and contemporary sound technology. His work has been presented by Haus der Kulturen der Welt (Germany), Unsound Festival (Poland), Ultima Festival (Norway), SPOR festival (Denmark), Gaudeamus Muziekweek (Netherlands), Liquid Architecture (Australia), and the National Music Centre (Canada) among many others. Recent projects for dance and film have been presented at Sterischer Herbst (Austria), International Film Festival Rotterdam (Netherlands), and V-A-C foundation (Russia). Stefan's writing appears in Circuit and Indexical Publications, and in 2018 he curated and edited an edition of Haus der Kulturen der Welt's Technosphere Magazine on Machine Listening. He was a 2019 Macdowell Colony Fellow, and has held residencies at NOTAM (Norway), Lobe Studios (Canada), and IAC Malm枚 (Sweden) among others. In 2017 he received a Mayor鈥檚 Art Award as an emerging musician from the City of Vancouver. Stefan holds a MFA in Interdisciplinary Art from Bard College, and an MA in Digital Music from Dartmouth College.

Laura U. Marks

Grant Strate University Professor

Art, Performance & Cinema Studies (APCS)

E: lmarks@sfu.ca
P: 778-782-5982

Areas: Cinema and media studies; visual culture.

Laura U. Marks works on media art and philosophy with an intercultural focus. Her most recent books are (MIT, 2015) and (MIT, 2010). Marks programs experimental media art for venues around the world. With Dr. Azadeh Emadi (University of Glasgow) she is a founding member of the .

Degree and Studies:
Ph.D. in Visual and Cultural Studies, University of Rochester, 1996
M.A. in Visual and Cultural Studies, University of Rochester, 1994
B.A. in Art History and Sociology/Anthropology, Swarthmore College, 1987

Miwa Matreyek

Assistant Professor

Production & Design

E: miwa_matreyek@sfu.ca

Miwa Matreyek is an animator, designer, and performer. Coming from a background in animation, Matreyek creates live, interdisciplinary performances that integrate projected animations at the intersection of cinematic and theatrical, fantastical and physical, and the hand-made and digital. Her work exists in a dreamlike visual space that makes invisible worlds visible, often weaving surreal and poetic narratives of conflict between humanity and nature as embodied performed experiences. She has presented her work internationally, including animation/film festivals, theater/performance festivals, art museums, science museums, tech conferences, and universities. A few past presenters include TED, MOMA, SFMOMA, New Frontier at Sundance Film Festival, PUSH festival, Lincoln Center, Walker Art Center, and many more. Her newest solo piece, Infinitely Yours, was awarded the grand prize for Prix Arts Electronica鈥檚 Computer Animation category. She is a 2013 Creative Capital award recipient. She is the co-founder and core collaborator of Cloud Eye Control. 

Denise Oleksijczuk

Associate Professor

Art, Performance & Cinema Studies (APCS)

E: oleksijczuk@sfu.ca
P: 778-782-5349

Areas: Art History, Visual Culture.

Before taking her current position at 丁香园AV, Dr. Oleksijczuk worked as Assistant Curator of Contemporary Art at the Vancouver Art Gallery. She earned her BFA and MA at the University of Toronto and her PhD the University of British Columbia and was a post-doctoral fellow at the Paul Mellon Centre for British Art, London. Her artworks have been exhibited at the Vancouver Art Gallery, the Or Gallery, the Contemporary Art Gallery (Vancouver), Solo Exhibition (Toronto), and the Ann Arbour Film Festival. Her book,  won the Historians of British Art Book Prize. Her research and teaching overlap, and pay close attention to the various types of viewer experience made possible by different visual and material forms. Oleksijczuk鈥檚 current research explores art and activism, the history and aesthetics of landscape/sensescape/gardens, the 鈥榲egetal turn鈥� in contemporary art, sensory studies, and Indigenous ecological philosophy. She is the curator of The Cabinet, a tiny gallery at the School for the Contemporary Arts, 丁香园AV.

Mauricio Pauly

Associate Professor

Music & Sound

E: mauricio_pauly@sfu.ca

Mauricio Pauly's practice combines composition for hybrid instrumental/electronic ensembles, sound design, and live performance. As an active cross-disciplinary collaborator, his work includes numerous projects with writers, designers, programmers and theatre-makers.

His music has been featured by festivals that include Ultima Festival (Norway, 2011), Warsaw Autumn (Poland, 2013), Darmstadt International Summer Courses (Germany, 2010/12/14/16), Images Sonores Festival (Belgium, 2015), Bludenzer Tage zeitgem盲脽er Musik (Austria, 2016) and Open Ears Festival (Canada 2018). 

Recent collaborations include live-performed music and sound design for Athina Rachel Tsangari鈥檚 production of Wedekind's LULU in a sold-out 10-show run at the 2017 Salzburg Festival. FREAM AD WALL, written in collaboration with programmer and 3D animator, Gabriel Montagn茅, was performed by Line Upon Line Percussion as a 3-show premiere in Austin, TX and will tour Europe and the UK in Fall 2019. A collection of music, print-works and texts created with American experimental novelist Renee Gladman and Argentinian composer Santiago D铆ez-Fischer will be released on New Focus Recordings (New York, 2020)

Pauly spent the summer of 2018 as an awarded Artist Fellow at Civitella Ranieri (Umbria, Italy). In 2017 he was Composer-in-Residence at Villa Romana (Florence, Italy) undertaking a two-part creation and performance residency. He spent 2014-2015 as a full-year Fellow at Harvard University's Radcliffe Institute for Advanced Study (Boston, USA).

Pauly is a founding member of UK-based ensemble, , awarded the Kranichstein Musik Prize in performance by the Darmstadt International Music Institute (2016) and with whom he produced and curated BBC3's Cut & Splice Festival (2017). The group has been ensemble-in-residence at Stanford, Harvard, McGill and Huddersfield Universities and will be in residence at Columbia University in 2020.

Christopher Pavsek

Associate Professor

Art, Performance & Cinema Studies (APCS)

E: cpavsek@sfu.ca
P: 778-782-4672

Areas: Critical Theory; Marxism; Political and Avant-Garde Film; Documentary Studies and Filmmaking; Environmental Humanities; Ecology.

Christopher Pavsek holds a Ph.D. from the Program in Literature at Duke University and a Masters in Resource and Environmental Management and Planning from 丁香园AV. His book, , was published by Columbia University Press on 2013.

He has published essays on Jean-Luc Godard, , Raoul Peck, Walter Benjamin, Sylvia Schedelbauer, Harun Farocki, and Lucien Castaing-Taylor and V茅r茅na Paravel, amongst others. His humanities scholarship focusses on the relationship between the arts and humanities and environmental science. His work in environmental science focuses on the use of Indigenous Knowledge in conservation projects and critiques of neo-liberal conservation methods and policy. 

Select recent publications include: "What we Come to See and Hear in Joshua Bonnetta's The Two Sights," in the collection Cinematic Ecosystems: Screen Encounters with More-than-Human Worlds, forthcoming from Vernon Press; "Philipp Ekardt's Toward Fewer Images: The Work of Alexander Kluge," (Alexander Kluge Jahrbuch, No. 5, 2019; "" (Visual Anthropology Review, Spring 2015); and "" (Alexander Kluge Jahrbuch, No. 2, 2016), about the concept of time in Alexander Kluge's philosophy of reading.

Pavsek is also an experimental documentary filmmaker. His recent films include the installation "Scenes from Deseret," a 2-channel installation about the landscape of Utah (premiered at the Ann Arbor Film Festival in 2023); the short film "The Evening News" (2023), about the prospects for a "Copernican" poetry; "As Grey Falls", a film about the birds and landscapes of the Fraser River Delta in British Columbia (premiered at DOXA Documentary Film Festival" in 2024); and the 2-channel installation "Wanderings through the delta" (2023), about the Fraser Delta. He is currently completing The Latest News from "Deseret" (2024), a feature film that is an unauthorized sequel to James Benning's classic experimental film Deseret (1995). The Latest News tracks the history of Utah since Benning's film concluded in 1992. In addition, Pavsek is just beginning a major film and sound-art project, Flyway, about the landscapes and birds of the Pacific Flyway. That project is funded by a grant from the Social Sciences and Humanities Research Council.

His earlier films "The One and All" (2002) and "" (2005) have shown widely at major international festivals (IDFA, Rotterdam, Oberhausen, i.a.). They form the first two parts of an anticipated trilogy of films about the transformation of the US in the wake of the September 11 attacks.

Degree and Studies: 鈥˙A, German Literature, Cornell University; Ph.D., Literature, Duke University; Masters in Resource and Environmental Management--Planning, 丁香园AV.

Kimberly Phillips

Associate Member

E: kimberly_phillips@sfu.ca

With a Ph.D. in Art History, Visual Art & Theory from the University of British Columbia, Kimberly Phillips is a committed arts leader, educator and writer of Welsh-Irish settler ancestry, based on the unceded territories of the xwm蓹胃kw蓹y虛 蓹m, Skwxw煤7mesh and s蓹l虛铆lw蓹ta蕯涩/Selilwitulh peoples. For the past 15 years, in her roles as gallery director, curator and teacher, she has worked to amplify the voices of under-acknowledged artists and practitioners, to ethically vision and build organizational capacity, and to create meaningful and unexpected ways for contemporary artists and their publics to find one another. Formerly the Director/Curator at Access Gallery (2013-2017) and the Curator at the Contemporary Art Gallery (2017-2020), she is the Director of .  

Elspeth Pratt

Associate Professor

Visual Art

E: epratt@sfu.ca
P: 778-782-3766

Areas: Elspeth Pratt teaches visual art core courses, sculptural practices, drawing and undergraduate art theory seminars. 

The sculptural practice of Elspeth Pratt interrogates the relation between how everyday space is constructed and how that same space is defined through architecture and lived space. This line of questioning is considered in relation to the conceptualization of abstract space, a place where definition is nascent and possibility is inherent. It is in this tension, between definition and possibility that provides the core of her research. Recently, she has exhibited extensively both nationally and internationally, including a collaboration on a major commission for the Richmond Olympic Oval, and was invited by the Vancouver Art Gallery to be the fourth artist to participate in Offsite, their outdoor public art space. In 2011, a monograph was published that considers her work through the presentation of six scholarly essays and images.

Eldritch Priest

Associate Professor

Music & Sound + Art, Performance & Cinema Studies (APCS)

E: epriest@sfu.ca
P: 778-782-9829 (ext 5)

Areas: Sound studies/art, Philosophy of experience (specifically libidinal philosophies, affect theory, pragmatism); Media theory (dealing with aurally, embodiment, simulation); Composition; Experimental music; Postmodernism; 鈥楶ataphysics; Hyperstition. 

Eldritch Priest writes on sonic culture, experimental aesthetics, and the philosophy of experience from a 鈥檖ataphysical perspective. He is Associate Professor in the School for the Contemporary Arts at 丁香园AV. Eldritch is also a composer and improviser, as well as a member of the experimental theory group 鈥淭he Occulture.鈥� He is the author of several essays and books including  (Bloomsbury 2013) and most recently, (Duke University Press 2022).

BMus 鈥� Jazz studies, St. Francis Xavier University; MMus 鈥� Composition, University of Victoria; PhD 鈥� Cultural Theory, Carleton University.

Judy Radul

Professor & Associate Director

Visual Art

E: jaradul@sfu.ca

Areas: Visual Art.

Judy Radul鈥檚 interdisciplinary practice has recently focused on video installation but also includes sculpture, photography, performance and mixed media works. She has exhibited nationally and internationally and her creative writing and essays have appeared in a variety of publications since 1991. Her large scale-media installation World Rehearsal Court was first exhibited as a solo exhibition at the Morris and Helen Belkin Gallery at U.B.C. in 2009. This work draws on Radul鈥檚 research into the role of theatricality and new technologies in the court of law and it questions the distinctions between experience, testimony, truth, and fiction that the law attempts to make distinct. The work has traveled to the Generali Foundation, Vienna, Media City Seoul, Korea and Henie Onstad Art Center in Oslo, Norway, 2011. Related to this project in 2011 she co edited a book of collected essays and images , with Marit Paasche, published by Sternberg Press, Berlin. The same publication features a new essay from Radul, 鈥淰ideo Chamber鈥�, concerning the relation of video, the trial, and aspects of contemporary art. Working with the DAAD Artists-in-Berlin Program and Ariane Beyn, she also wrote for and co-edited the 2018 book , also published by Sternberg Press, which includes texts by Diedrich Diederichsen, Honor Gavin, and Ana Teixeira Pinto. An exhibition of new object based work, including the series 鈥淥bject, Analysis, Spectator, Poem鈥� was shown at , Vancouver, in 2012. Radul鈥檚 latest works, employ custom designed computer control systems for live and prerecorded video. In 2012/2013 Radul is participating in a year long residency in Berlin hosted by the Deutscher Akademischer Austauschdienst (DAAD) program. Judy Radul was born in Lillooet, B.C., grew up in Haney, B.C., received her B.A in Fine and Performing Arts from S.F.U. In 2000 she received a Master of Visual and Media Arts from Bard College, New York.

Interested in continuously critically rethinking contemporary art, and using contemporary art to 鈥渞ethink鈥� criticality. Core research interests include: contemporary art; questions of the image and representation; video; video as a present time medium; multi screen video; projection; performance; image sound relations; performativity; behavior; power relations; the social space of the gallery; the relation of props, art objects and everyday objects; the role of sound in the construction of "the real"; issues of address and performance in everyday situations including radio broadcasts, music and sport. Like a stage or other built environment the camera lens demarcates a space; recent work could therefore be said to investigate the "architecture of the lens". Continued interest: in law and aesthetics; the trial; law and media; legal theatre; photographs in testimony; the court as a site of performance.

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Simone Rapisarda

Associate Professor

Film

E: srapisar@sfu.ca

Hailed by the MoMA as 鈥渙ne of the most adventurous new filmmakers from Italy,鈥� Simone is an experimental cinema practitioner whose feature films have garnered accolades at most major film festivals worldwide, and are part of the permanent collections of the foremost Western artwashing museums, galleries, and national archives. The colonial press of record has characterized his works as 鈥減owerful and delicate鈥� (The New York Times), 鈥渟imply stunning鈥� (Variety), 鈥渟urreal鈥� and 鈥渕esmerizing鈥� (IndieWire), 鈥渞avishing鈥� and 鈥渋mpressive鈥� (The Hollywood Reporter), 鈥渂old and daring鈥� (Filmmaker Magazine), 鈥渕ajestic鈥� (The Village Voice), as well as 鈥渦tterly tantric鈥� (The Miami New Times). More complex characterizations include 鈥減oetic and philosophical鈥� along with 鈥渟ubtle and hilarious鈥� (Anthropologica), 鈥渆xtend[ing], complicat[ing], and enrich[ing] the definition of documentary鈥� (Artforum), 鈥渞edefining the very category of the ethnographic film鈥� (The Academic Hack), as well as 鈥渉ard to capture in words鈥� (Cinema Scope). On the academic side, before joining the SCA, Simone was a full-time faculty member of the tuition-free Cin茅 Institute in Haiti. At 丁香园AV, he is also an Associate Member of the Department of Sociology and Anthropology as well as a Co-Curator of the Centre for Imaginative Ethnography. Other trivia can be found on his CV or online.

No茅 Rodr铆guez

Assistant Professor

Film

E: noe_rodriguez@sfu.ca
P: 778-782-5982

Areas: Auteur Cinema, Experimental Ethnography, Process Cinema, Expanded Cinema, Field Recordings

Using analog film, digital imaging, field recordings and prepared instruments, No茅 Rodriguez鈥檚 work ponders upon the lyrical qualities of the real and responds to the material and temporal traces of collective life in the terraformed landscape.

His film Ceiba received the Pasajes Award to the Best Spanish Film in Filmadrid International Film Festival and was screened at the TIFF lightbox in the program The Roots That Thirst, as part of the Wavelengths year-round screening series.

Aadat, codirected with Xisela Franco, won several awards, including the Premio Ciudad de Madrid to the best Spanish documentary in DocumentaMadrid, 2006 and was screened in festivals such as the 47^th International Leipzig Festival for Documentary and Animated Film 鈥� Leipzig, Germany; the Ludwigsburg European Shortfilm Biennale 鈥� Stuttgart, Germany, Images Festival 鈥� Toronto, Canada or FISAHARA, Sahara international Film Festival 鈥� Tindouf, Algeria

As a cinematographer, Rodriguez has collaborated in Luo Li鈥檚 I Went to the Zoo the Other Day (2009), Eva Kolcke鈥檚 All that is Solid (2014) and Andrea Bussman鈥檚 & Nicol谩s Pereda麓s Tales of Two Who Dreamt (premiered at Berlinale 2016).

MFA, York University, 2009
BA, Universidad Europea de Madrid, 2004
BFA, Universidad Europea de Madrid, 2001

Sabrina Schroeder

Associate Professor

Music & Sound

E: sabrina_schroeder@sfu.ca

Areas: Composition, music performance, electronics

Composer-performer Sabrina Schroeder integrates tactile transducers, live processing, and self-built mechanics into performances that dig into heavy sound spaces that are as much about body-feel as they are about audible sound. Her recent series build around malleable qualities of fibrillation and pulsation, using these as live connective tissue within a body of instruments. 

Her work is widely performed, including recent collaborations with Distractfold (UK), Rebekah Heller (USA), Ensemble Contemporain de Montr茅al (Canada), S茅verine Ballon (France), Ensemble Tzara (Switzerland), Hand Werk (Germany), Ensemble Argento, Ensemble Container (Switzerland), Vertixe Sonora (Spain), MusikFabrik (Germany), Dal Niente (USA), Ensemble Vortex (Switzerland), Stephane Ginsburg (Belgium), Michelle Lou and Scott Worthington (USA), and Quatuor Bozzini (Canada).

Recent projects include commissions for ICE Ensemble (New York/Chicago), the Americas Society (New York), JACK Quartet (New York), Architek Percussion (Toronto), No Hay Banda (Montreal), and a collaborative project with theatre creator Jenna Harris and Thin Edge Collective (Toronto).

Awarded residences include Civitella Ranieri (Umbria, Italy), Experimentalstudio des SWR (Freiburg, Germany), Banff Leighton Studios (Banff, Canada), and Cit茅 Internationale des Arts (Paris, France).

Schroeder has been on the faculty of iEAR (Integrated Electronic Arts) department at Rensselaer Polytechnic Institute (Troy, New York), the Royal Northern College of Music (Manchester, UK), and the Banff Summer Music Programs (Banff, Canada). 

She is the 2019-2021 Composer in Residence at Vancouver鈥檚 Music on Main.

PhD, Harvard University (2016)
MA, Wesleyan University (2006)
BMus, University of Victoria (2001)

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Nadia Shihab

Assistant Professor: Film

E: nadia_shihab@sfu.ca

Nadia Shihab is a filmmaker and artist working in the realm of experimental documentary. Her projects emerge through processes that are relational and improvisational, and have taken the form of films, sound composition/performance, visual art and writing. She is the director of SISTER MOTHER LOVER CHILD, ECHOLOCATION, AMAL鈥橲 GARDEN, and the feature-length film JADDOLAND, which was awarded five festival jury awards, including the Independent Spirit "Truer than Fiction" Award, and went on to broadcast for three seasons on US public television. Her work has shown in exhibitions and festivals internationally, including at Cinema du R茅el at the Centre Pompidou, Cairo International Film Festival, Images Festival, Black Star Film Festival, Walker Art Center, Berkeley Art Museum, DOXA, Kasseler Dokfest, and Alchemy Film & Video Arts Festival. She has held residencies at the MacDowell Colony and Djerassi Residency and her work has received support from the Sundance Institute, Arab Fund for Arts & Culture, Center for Asian American Media, Firelight Media, and Tribeca Film Institute.

Her creative practice is supported by over a decade of work as a community practitioner. Graduate work in city planning further grounds her art practice within critical understandings of power and the production of space. In addition to her studio practice, she has led ethnographic research as a Fulbright scholar in southeastern Turkey, and worked in affordable housing preservation, refugee youth mentorship, and community-guided philanthropy. She was raised in west Texas by immigrant parents from Iraq & Yemen.

Degrees

MFA (Art Practice), University of California at Berkeley, 2021
MCP (City & Regional Planning), University of California at Berkeley, 2009
BA (Sociology), University of Texas at Austin, 2003

Kathy Slade

Term Assistant Professor: Visual Art

E: kslade@sfu.ca

Kathy Slade is an artist, curator, publisher, and editor. She works across mediums and has produced textile works, prints, sculpture, film, video, performance, music projects, and publications. Slade鈥檚 artwork draws upon sources ranging from cult films and punk rock music to philosophy, feminism, literary classics, and art history, to point to moments and events from which to reimagine particular temporalities and texts, to create looping structures, and to produce remakes that play on repetition and the doublet of original and copy.

Slade鈥檚 recent solo exhibitions include: at the Contemporary Art Gallery, Vancouver, BC (2023); Wherever you go, M贸nica Reyes Gallery, Vancouver, BC (2020); This is a Chord. This is Another., Surrey Art Gallery (2018); I WANT IT ALL I WANT IT NOW, Walter C. Koerner Library, Vancouver (2018); and Blue Monday, 4COSE, London, UK (2017). Her work has been included in two-person and group exhibitions such as: Alejo Duque and Kathy Slade: 6,000 feet beyond man and time, M贸nica Reyes Gallery, Vancouver, BC (2023), , Temple Bar Gallery + Studios, Dublin, IE (2020); , Kunstverein Braunschweig, DE (2020); It鈥檚 Never Too Late to Speculate, Fluc, Vienna, AU (2019); Uses of History, studio e, Seattle, WA (2019); The Ashtray Show West, Belmacz Gallery, London, UK (2018); and Beginning with the Seventies: GLUT, Morris and Helen Belkin Gallery Vancouver, BC (2018).

Slade was the curator of the 2019 Vancouver Art Book Fair and has curated exhibitions by artists such as Fiona Banner aka The Vanity Press, James Hoff, Garry Neill Kennedy, Lorna Brown, and Rita McBride. Slade was the Founding Editor of the Emily Carr University Press (2005-2018) where she edited and published: artists鈥� books by Rodney Graham, Sydney Vermont, Tim Lee, Mark Soo, and Kota Ezawa; monographs by Maureen Gruben, Dan Graham, Germaine Koh, Elspeth Pratt, and Jeff Derksen; and music projects by The Music Appreciation Society and UJ3RK5. Together with Kay Higgins, Slade runs Publication Studio Vancouver and has published books by artists such as Myfanwy MacLeod, Mina Totino, Lyndl Hall, James Hoff, and Christian Mayer.

Slade鈥檚 critical writing has been published in exhibition catalogues, magazines, and journals in Canada, the United States, and Europe. Her most recent text, Reading the Rock: Kathy Slade and Lisa Robertson in Conversation, was published by the Contemporary Art Gallery in conjunction with her 2023 solo exhibition. Her artwork has been featured in books, exhibition catalogues, magazines, journals, and newspapers locally, nationally, and internationally.

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Ryan Tacata

Assistant Professor

Theatre & Performance

E: ryan_tacata@sfu.ca

Areas: Performance Making, Performance Studies, Devised Theater, and Social Practice.  

Ryan Tacata is a performance maker and scholar. His creative practice is deeply collaborative and engages in place making, ordinary acts, and gift-giving. His recent work includes a minor repair. (2019), an archive-based response commissioned by the City of Chicago for the exhibition goat island archive鈥攚e have discovered the performance by making it; Lolas (2017), a performance installation in honor of Filipino grandmothers (Asian Art Museum, SF); For You, (2016鈥�), a series of dedicated performances for specific audiences; and dancing in Doggie Hamlet (2015鈥�) by Ann Carlson, a site-specific dance with four human performers, sheep herding dogs, and 30+ sheep. His academic research plays critical intimacy in the key of everyday life, and focuses on alternative methods of archival research and performance art historiography. He is currently writing on the occasion of art with an emphasis on social ceremony, art history, and occasional literature. His work has appeared in Performa, TDR, Performance Research and SFMoMA's OpenSpace. Prior to joining the School for the Contemporary Arts, he taught courses in performance at the San Francisco Art Institute, and in the MFA Theater and Performance Making Program at the California Institute of Integral Studies (SF) and University of Chichester (UK). In 2018, he was Visiting Lecturer for the Abandoned Practices Institute with Erin Manning, and was Lecturer in the Immersion in the Arts: Living in Culture (ITALIC) program at Stanford University from 2018-2020.  

BFA, School of the Art Institute of Chicago, 2007.

PhD, Performance Studies, Stanford University, 2015.

Ming Wong

Adjunct Professor

Visual Art

Ming Wong (born in Singapore in 1971) currently lives and works in Berlin. His interdisciplinary practice incorporates performance, video, and installation to unravel ideas of 鈥榓uthenticity鈥� and the 鈥榦ther鈥� with reference to the act of human performativity. Wong has strong theatrical interests in the intersection of sci-fi and traditional Chinese culture, particularly Cantonese opera. He uses this speculative association to tackle issues such as Chinese modernity, the role of popular culture in building national identities. His works often assemble languages and personalities to create their own 鈥淲orld Cinema.鈥�

Wong has taught at the Royal Institut of Art in Stockholm, the University of the Arts in Berlin, and the Chinese University in Hong Kong. He was the Fall 2023 Audain Visual Artist in Residence and returned to the SCA in the summer term of 2024 to teach a course with Kathy Slade entitled Re:Cover Versions.

Wong鈥檚 solo exhibitions include Pictures from the Wayang Spaceship, Ota Fine Arts, Singapore (2023), Fake Daughter's Secret Room of Shame, ASAKUSA, Tokyo (2019), Notes Toward A Chinese Science Fiction Opera, Chinese University of Hong Kong (2016), Next Year / L鈥橝nn茅e Prochaine, Ullens Center of Contemporary Art, Beijing (2015), Me in Me, Shiseido Gallery, Tokyo (2013), Ming Wong: Making Chinatown, REDCAT, Los Angeles (2012). His recent group exhibitions include Signals: How Video Transformed the World, Museum of Modern Art, New York (2023), Pier Paolo Pasolini: Tutto 猫 santo. The political body, MAXXI, Rome (2022), and Global(e) Resistance, Centre Pompidou, Paris (2020). He has participated in numerous art tri-/bi-ennials in Shanghai, Singapore, Seoul, Busan, Gwangju, Sydney, Brisbane, Aichi, Taichung, Hawai'i, Lyon, Liverpool, Dakar, Jakarta. Wong represented Singapore at the 53rd Venice Biennale in 2009 with the solo presentation Life of Imitation, which was awarded a special mention. Ming鈥檚 Rhapsody in Yellow, a lecture performance with two pianos, just ended a successful run at the Esplanade, Singapore (2024) after completing a festival tour in Europe that included Kunstfestspiele Herrenhausen, Hannover (2024), Berliner Festspiele, Berlin and SpielArt Festival, Munich (2023), and steirischer herbst, Graz (2022).

Wladimiro A. Woyno Rodriguez

Assistant Professor

Production & Design

E: wwoynoro@sfu.ca

Areas: Projection Design and Technology, Lighting Design and Technology, Design for Live Performance, Technical Production, Time-Based Installation, Digital Media, Interactivity, Programming, Animation, Expanded Cinema, Devised Processes, Interdisciplinary Collaboration

Wladimiro A. Woyno R. is a designer and technologist passionate about live performance. Originally from Bogota, Colombia, he holds a M.F.A. in Design from Yale School of Drama and a B.F.A. in Theatre Design and production from The University of British Columbia. A devoted collaborator with the creative teams of several companies, he is often prototyping tools, processes, images, and environments that engage the sensory imagination. With a technical background in lighting, video, and staging, his work explores the adaptation of new technologies into the theatrical tradition. He is Interested in the development of rapid prototyping tools, scenography, theatrical spaces, media servers, documentation systems, and show control systems. He is an avid learner, constantly creating, inventing, and exploring.

His credits include: Since I Can Remember (The Wooster Group, USA); Kiss (Yale Repertory Theatre, USA); Parade (Nederlands Dans Theater, Netherlands); The Last Voyage of Donald Crowhurst (Ghost River Theatre, Canada);  This American Wife (Next Door @ NYTW, USA); Salome (M3 Productions, USA); If Pretty Hurts Ugly Must Be a Muhfucka, Bulgaria! Revolt!, The Merchant of Venice (Yale School of Drama, USA); RE:UNION (Yale Cabaret, USA); Gallery+Lumia (Yale Art Gallery, USA);  Ziriguidum (Decidedly Jazz Danceworks, Canada); and Sometime Between Now and When the Sun Goes Supernova (Theatre Junction, Canada).

He is currently an Associate Member of .

Jin-me Yoon

Professor

Visual Art

E: jyoon@sfu.ca

Areas: Photo and video installation, contemporary art theory.

Jin-me Yoon鈥檚 early photographic work challenges dominant discourses and stereotypical assumptions about citizenship, nationhood, culture, gender, and race. Expanding her practice to include video and installation, Yoon's ongoing work utilizes a transnational lens to witness and consider local histories, environments, identities and bodies in the context of entangled and interdependent global relations. She has exhibited extensively across Canada as well as internationally and is represented in numerous public collections. Teaches visual art core undergraduate studio courses, multidisciplinary graduate studio courses as well as contemporary art theory seminars at the graduate and undergraduate levels.

Note: Jin-me Yoon is on an extended leave and is not currently teaching or supervising students.