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    <lastmod>2024-01-25</lastmod>
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    <lastmod>2022-11-11</lastmod>
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    <lastmod>2022-02-09</lastmod>
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    <lastmod>2022-02-09</lastmod>
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    <lastmod>2022-02-09</lastmod>
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    <lastmod>2022-12-05</lastmod>
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    <lastmod>2021-12-13</lastmod>
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    <lastmod>2021-09-15</lastmod>
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    <lastmod>2025-09-13</lastmod>
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    <loc>https://www.blackcanadiandiasporacentre.com/blog/year-four-research-achievements</loc>
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    <lastmod>2025-09-13</lastmod>
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      <image:title>Blog - Year Four – 2023/2024 - Illuminations - Neil Price</image:title>
      <image:caption>Multimedia lecture-performance by Toronto-based writer, educator, and art critic of his ongoing research on Black experiences of higher education.</image:caption>
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      <image:title>Blog - Year Four – 2023/2024</image:title>
      <image:caption>Diasporic Spidering: Counter Archive, and Collective Memory – Dedra McDermott, curator, MFA exhibition</image:caption>
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      <image:title>Blog - Year Four – 2023/2024</image:title>
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      <image:title>Blog - Year Four – 2023/2024</image:title>
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      <image:title>Blog - Year Four – 2023/2024</image:title>
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      <image:title>Blog - Year Four – 2023/2024</image:title>
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      <image:title>Blog - Year Four – 2023/2024</image:title>
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      <image:title>Blog - Year Four – 2023/2024</image:title>
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      <image:title>Blog - Year Four – 2023/2024</image:title>
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      <image:title>Blog - Year Four – 2023/2024</image:title>
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      <image:title>Blog - Year Four – 2023/2024</image:title>
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      <image:title>Blog - Year Four – 2023/2024</image:title>
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      <image:title>Blog - Year Four – 2023/2024</image:title>
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      <image:title>Blog - Year Four – 2023/2024</image:title>
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    <lastmod>2024-12-16</lastmod>
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      <image:title>Blog - Year Three – 2022/23</image:title>
      <image:caption>Christopher Cozier: Selected Works 2003-2020 Curated by Andrea Fatona   This exhibition featured four works of Trinidadian artist Christopher Cozier. Cozier’s oeuvre interrogates the production and reproduction of postcolonial/post-independence nationalist narratives and identities in the Anglophone Caribbean.</image:caption>
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      <image:title>Blog - Year Three – 2022/23</image:title>
      <image:caption>A reception was held In collaboration with the Toronto Biennial of Art to welcome South African artist, Dineo Seshee Bopape to Toronto during the research phase of the artist’s production. Bopape is known for her use of soil and other organic material as a base for multisensory, multidimensional work that connects deeply with the earth. In addition to her packed earth installations, the artist also works with drawing, video, and sound to create a rich practice connecting to memory, belonging, and place.</image:caption>
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      <image:title>Blog - Year Three – 2022/23</image:title>
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      <image:title>Blog - Year Three – 2022/23</image:title>
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      <image:title>Blog - Year Three – 2022/23</image:title>
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      <image:title>Blog - Year Three – 2022/23</image:title>
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      <image:title>Blog - Year Three – 2022/23</image:title>
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      <image:title>Blog - Year Three – 2022/23</image:title>
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      <image:title>Blog - Year Three – 2022/23 - Fellow Position Creation</image:title>
      <image:caption>A fellowship position was established to support a Black OCAD U faculty member, fostering collaboration and resource sharing. Our inaugural fellow, Prof. Esery Mondesir, is an acclaimed filmmaker.</image:caption>
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  </url>
  <url>
    <loc>https://www.blackcanadiandiasporacentre.com/blog/episode-1</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2023-05-18</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/60f6de8027b1e217c50932cf/1683640771995-TNRZXTC06ZI897GVJJCK/01+TCTCU+Alyssa-Fearon.jpg</image:loc>
      <image:title>Blog - Should I stay or Should I Go with Alyssa Fearon - Alyssa Fearon</image:title>
      <image:caption>Alyssa Fearon currently holds the position of Director/Curator at Dunlop Art Gallery, Regina Public Library. Integral to Fearon’s curatorial practice is a community-based approach that prioritizes historically and systemically excluded audiences. In 2018, Fearon was the inaugural curator of Nuit Blanche Toronto’s Scarborough zone. Born and raised in Scarborough, Ontario, Fearon is now based on Treaty 4 territory in Regina, Saskatchewan.  Alyssa Fearon occupe actuellement le poste de directrice et de commissaire à la Dunlop Art Gallery de la Bibliothèque publique de Regina. Sa pratique curatoriale s'appuie sur une approche communautaire qui donne la priorité aux publics historiquement et systémiquement exclus. En 2018, Fearon a été la première commissaire de la zone Scarborough de Nuit Blanche Toronto. Née et élevée à Scarborough, en Ontario, elle est maintenant basée sur le territoire du Traité 4 à Regina, en Saskatchewan. __________________________</image:caption>
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  <url>
    <loc>https://www.blackcanadiandiasporacentre.com/blog/episode-1-sxy2c</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2023-08-09</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/60f6de8027b1e217c50932cf/1683640802572-NZ6786JK75IWOVHBA4RM/02+TCTCU+Palema-Edmonds.jpg</image:loc>
      <image:title>Blog - There Is No Magic Formula with Pamela Edmonds - Pamela Edmonds</image:title>
      <image:caption>Pamela Edmonds is a visual and media arts curator whose research focuses on contemporary Canadian art and the politics of representation. Her work is informed by critical dialogues related to cross-cultural curating and social practice, exploring the impact of Black diasporic cultures on the evolving geography of global contemporary art. Originally from Montréal, Edmonds holds a BFA in Studio Art/Art History and an MA in Art History from Concordia University. She began her curatorial career in Halifax with programming roles at the Anna Leonowens Gallery (NSCAD University), Dalhousie University Art Gallery, Mount Saint Vincent University Art Gallery, and the Black Cultural Centre for Nova Scotia, to name a few. She has also held positions at A Space Gallery (Toronto), the Art Gallery of Peterborough, and Thames Art Gallery in Chatham, and was appointed Senior Curator of the McMaster Museum of Art in Hamilton. Edmonds is now based in Mi’kma’ki (Halifax, Nova Scotia) and is the Director/Curator at the Dalhousie Art Gallery. Pamela Edmonds est une commissaire en arts visuels et médiatiques dont les recherches portent sur l'art contemporain et les politiques de représentation contemporaine canadiens. Son travail s'inspire de dialogues critiques liés à la conservation interculturelle et de la pratique sociale, en explorant l'impact des cultures diasporiques noires, ainsi que l'évolution de la géographie de l'art contemporain mondial. Originaire de Montréal, Edmonds est titulaire d'un baccalauréat en Arts plastiques et en Histoire de l’art, et d'une maîtrise en Histoire de l'art de l'Université Concordia. Elle a débuté sa carrière de conservatrice à Halifax, en occupant des postes de programmation à la Anna Leonowens Gallery, affiliée à la NSCAD University, à la Dalhousie University Art Gallery, à l'Université Mount Saint Vincent et au Black Cultural Centre for Nova Scotia, pour n'en citer que quelques-uns. Elle a également occupé des postes à la galerie A Space à Toronto, à la galerie d'art de Peterborough et à la Thames Art Gallery de Chatham et a été nommé Commissaire Séniore du McMaster Museum of Art à Hamilton. Edmonds est actuellement basée à Halifax, en Nouvelle-Écosse, où elle est directrice et conservatrice de la Dalhousie Art Gallery. Pour en savoir plus sur ses projets, rendez-vous sur pe-curates.space __________________________</image:caption>
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  <url>
    <loc>https://www.blackcanadiandiasporacentre.com/blog/episode-1-sxy2c-rz7xd</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2023-05-18</lastmod>
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      <image:title>Blog - Habiter l’espace avec Dominique Fontaine - Dominique Fontaine</image:title>
      <image:caption>Dominique Fontaine is a curator and Founding Director of aposteriori, a non-profit curatorial platform – researching, documenting, developing, producing, and facilitating innovation in diverse contemporary art practices. She graduated in visual arts and arts administration from the University of Ottawa, and completed the De Appel Curatorial Programme (Amsterdam, the Netherlands). Her recent projects include Imaginaires souverains, Le présent, modes d’emploi at the Maison de la culture Janine-Sutto, Foire en art actuel de Québec ; Here We Are Here: Black Canadian Contemporary Art; Dineo Seshee Bopape: and- in. the light of this._______, at Darling Foundry; Repérages ou À la découverte de notre monde ou Sans titre, at articule; Between the earth and the sky, the possibility of everything at Scotiabank Nuit Blanche Toronto 2014. Dominique is co-initiator of the Black Curators Forum. She is a member of AICA-Canada, the American Association of Museum Curators (AAMC) and of the International Contemporary Art Curators Association (IKT). She is also part of Intervals Collective. Dominique Fontaine is laureate of Black History Month of the City of Montréal 2021. Fontaine is the co-curator of the 2024 Toronto Biennale. Dominique Fontaine est commissaire et fondatrice d’aposteriori, une plateforme curatoriale à but non lucratif, vouée à la recherche, à la documentation, au développement, à la production et à l’innovation dans diverses pratiques d’art contemporain. Elle est diplômée en arts visuels et en administration des arts de l’Université d’Ottawa et du programme de commissaire du centre d’art De Appel à Amsterdam. Parmi ses récents projets, mentionnons Imaginaires souverains, Le présent, modes d’emploi à la Maison de la culture Janine-Sutto ; la Foire en art actuel de Québec ; Nous sommes ici, d’ici : l’art contemporain des Noirs canadiens; Dineo Seshee Bopape: and- in. the light of this._______, Darling Foundry; Repérages ou À la découverte de notre monde ou Sans titre, articule et Between the earth and the sky, the possibility of everything, Scotiabank Nuit Blanche Toronto 2014. Fontaine est co-initiatrice du Black Curators Forum. Elle est membre de l’AICA-Canada, de l’American Association of Museum Curators (AAMC) et de l’International Contemporary Art Curators Association (IKT), et elle fait partie d’Intervals Collective. Lauréate 2021 du Mois de l’histoire des Noirs de la Ville de Montréal, elle est également la co-commissaire de la Biennale d’Art de Toronto 2024. __________________________</image:caption>
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  <url>
    <loc>https://www.blackcanadiandiasporacentre.com/blog/episode-1-sxy2c-rz7xd-w9bgj</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2023-05-18</lastmod>
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      <image:title>Blog - Se faire confiance avec Mojeanne Behzadi - Mojeanne Behzadi</image:title>
      <image:caption>Mojeanne Behzadi is a curator and poet based in Tiohtià:ke/Mooniyang/Montréal She is currently the director of Art Speaks, an international contemporary art lecture series. Mojeanne holds an MA in Art History from Concordia University and works as an independent curator on numerous projects. She recently developed and hosted the Trajectories podcast for the Montréal Museum of Fine Arts. She curated Toward Freedom at Projet Casa in 2023, Sonic Fields of Reflection at Artexte in 2022, and Spillover Love at the Stewart Hall Art Gallery in Pointe-Claire in 2021. Her current curatorial research focuses on love as a radical tool for resistance, mobilization, and social transformation. Mojeanne Behzadi est une commissaire et poétesse basée à Tiohtià:ke/Mooniyang/Montréal. Elle occupe actuellement les fonctions de directrice d’Art Speaks, une série internationale de conférences en arts contemporains. Détentrice d’une maîtrise en Histoire de l’art de l’Université Concordia, Mojeanne travaille aussi comme commissaire indépendante sur de nombreux projets, dont Vers la liberté à projet Casa en 2023, Reflexions et réverbrations sonores à Artexte en 2022, et Amour débordant à la Galerie d’art Stewart Hall, en 2021. Elle a récemment conçu et animé le balado Trajectoires pour le Musée des beaux-arts de Montréal. Ses recherches actuelles en tant que commissaire s’articulent autour du thème de l’amour comme outil radical de résistance, de mobilisation et de transformation sociale. __________________________</image:caption>
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  <url>
    <loc>https://www.blackcanadiandiasporacentre.com/blog/episode-1-sxy2c-rz7xd-w9bgj-7z89b</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2023-05-18</lastmod>
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      <image:title>Blog - The Transparency that Helps All of Us with Marsya Maharani &amp;amp; Petrina Ng - Gendai</image:title>
      <image:caption>Throughout its 20-year history, Gendai has supported experimental curatorial and organizational practices, whilst creating space for East Asian artists and artists of colour. As Gendai’s newest stewards, we (Marsya Maharani and Petrina Ng) are investing in the future of racialized arts leadership through collective research and practice. We began with Gendai MA MBA: Mastering the Art of Misguided Business Administration, a year-long capacity-development &amp; network-building think tank between nine majority-BIPOC art collectives to critique and re-imagine institutional practices by centering values of collectivity, equity, and access. This developed into Gendai CO-OP: ongoing research that responds to toxic labour conditions especially experienced by BIPOC arts workers at museums and art galleries. MA MBA and CO-OP collaborators continue to meet via a bi-monthly casual drop-in to share stories and solicit advice from each other. Using gossip as a methodology to trace the contours of institutional power, we build relationships with emerging and mid-career arts practitioners of colour to learn about current workplace dynamics in the sector. Through peer mentorship and access to Gendai’s platform, resources, and network, we have been experimenting with how racialized arts practitioners can support each other in pursuing non-institutional futures and imagine “off-ramps” from the linear expressway of traditional, capitalist, and institutional career progression in the arts. Petrina and Marsya are informed by their roles and responsibilities as racialized settlers and uninvited guests working and learning on Tkaronto (Toronto), which is on the treaty lands and territories of the Mississaugas of the Credit, and the traditional territories of the Wendat, the Haudenosaunee, the Chippewa, and the Anishinabeg First Nations.  Tout au long de ses vingt ans d'existence, Gendai a soutenu des pratiques curatoriales et organisationnelles expérimentales, tout en créant un espace pour les artistes d'Asie de l'Est et pour les artistes de couleur. En tant que nouvelles administratrices de Gendai, nous, Marsya Maharani et Petrina Ng, investissons dans l'avenir du leadership artistique racialisé, par le biais d'une recherche et d'une pratique collectives. Nous avons commencé avec Gendai MA MBA : Mastering the Art of Misguided Business Administration ; un groupe de réflexion d'une durée d’un an sur le développement des capacités et la création de réseaux entre neuf collectifs artistiques à majorité BIPOC, pour critiquer et réimaginer les pratiques institutionnelles en centrant les valeurs de collectivité, d'équité et d'accès. Cette réflexion a débouché sur Gendai CO-OP ; une recherche en cours qui répond aux conditions de travail toxiques subies par les travailleurs artistiques BIPOC dans les musées et les galeries d'art. Les collaborateurs du MA MBA et de CO-OP continuent à se rencontrer tous les deux mois pour partager leurs histoires et solliciter des conseils les uns des autres. En utilisant le commérage comme méthodologie pour tracer les contours du pouvoir institutionnel, nous établissons des relations avec des praticiens artistiques de couleur, émergents ou à mi-carrière, afin d'en savoir plus sur la dynamique actuelle du lieu de travail dans le secteur. Grâce au mentorat par les pairs et à l'accès à la plateforme, aux ressources et au réseau de Gendai, nous avons expérimenté la manière dont les praticiens des arts racialisés peuvent se soutenir mutuellement dans la poursuite d'un avenir non institutionnel et imaginer des « sorties » de la voie express linéaire de la progression de carrière traditionnelle, capitaliste et institutionnelle dans le domaine des arts. Petrina et Marsya sont informées par leurs rôles et responsabilités en tant que colons racialisés et invités non invités travaillant et apprenant à Tkaronto (Toronto), qui se trouve sur les terres et territoires traités des Mississaugas du Crédit, et sur les territoires traditionnels des Wendat, des Haudenosaunee, des Chippewa et des Premières nations Anishinabeg. __________________________</image:caption>
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  <url>
    <loc>https://www.blackcanadiandiasporacentre.com/blog/episode-6</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2023-12-03</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/60f6de8027b1e217c50932cf/ace5b538-a0c3-42ec-99d0-9f2b7064d2c2/06+TCTCU+Camille-Larive%CC%81e.jpg</image:loc>
      <image:title>Blog - Rêver Ensemble avec Camille Larivée - Camille Larivée</image:title>
      <image:caption>Camille Larivée est un.e street artiste, un.e commissaire indépendant.e et un.e travailleur.euse culturel.le basé.e à Tiohtià:ke/Mooniyang/Montréal. ). Iel a occupé plusieurs postes de coordination et de programmation au sein d’organismes culturels canadiens, dont l’Alliance des arts médiatiques indépendants et le Collectif des commissaires autochtones. Sa pratique artistique et commissariale s’ancre autour des mémoires émotionnelles collectives dans les espaces publics urbains et de l’amour radical pour la biodiversité. Iel travaille avec le collage et les textiles, et ses œuvres ont été présentées à travers l’Île de la Tortue et en Suède. Camille a commissarié plusieurs projets en art public, incluant Unceded Voices/Les Voix Insoumises et Nous ne sommes pas faits de briques et de poussière / We are not made of bricks and dusts, soutenu par le Réseau Accès Culture de la Ville de Montréal. Iel a récemment codirigé l’ouvrage D’horizons et d’estuaires : entre mémoires et créations autochtones avec Léuli Eshrāghi, publié aux Éditions Somme Toute et ses textes ont été publiés entre autres dans les magazines Canadian Art et Espace Art Actuel. Ses plus récents projet de commissariat sont l’exposition collective J’entends ton chaud murmure à travers la brume froide/ I hear your warm whisper through the cold mist présentée à DRAC - Art Actuel Drummondville, 2022 et l'édition 2023 du projet Mémoire de l'avenir organisé par Art Urbain Montréal et Art Souterrain présentée à l'été 2023. Camille est la directeurice général.e et artistique du MAI (Montréal, arts interculturels)..  Camille Larivée is a street artist, independent curator and cultural worker based in Tiohtià:ke/Mooniyang/Montréal. They held several coordination and programming positions with Canadian cultural organizations including the Independent Media Arts Alliance and the Aboriginal Curators Collective. Their curatorial and artistic practice is anchored around collective emotional memories in urban public spaces and a radical love of biodiversity. They work with collage and textiles and their work has been presented across Turtle Island and in Sweden. Camille has curated several public art projects, including Unceded Voices/Les Voix Insoumises and Nous ne sommes pas faits de briques et de poussière / We are not made of bricks and dusts supported by the Réseau Accès Culture de la Ville de Montréal. They recently co-edited the book D'horizons et d'estuaires : entre mémoires et créations autochtones with Léuli Eshrāghi published by Éditions Somme Toute and their essays have been published in the magazines Canadian Art and Espace Art Actuel, among others. Their most recent curatorial project is the group exhibition J'entends ton chaud murmure à travers la brume froide / I Hear Your Warm Whisper Through the Cold Mist presented at DRAC - Art Actuel Drummondville, 2022. Camille is the executive and artistic director of MAI (Montréal, arts interculturels). __________________________</image:caption>
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  </url>
  <url>
    <loc>https://www.blackcanadiandiasporacentre.com/blog/episode-7</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2023-12-03</lastmod>
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      <image:title>Blog - Le soin doit perdurer avec eunice bélidor - eunice bélidor</image:title>
      <image:caption>Née à Montréal, eunice bélidor est commissaire, autrice de lettres, critique et chercheure. Elle est professeure adjointe affiliée au Département d'Histoire de l'art de l'Université Concordia. Sa pratique actuelle porte sur le questionnement comme méthode, et sur l’écriture épistolaire comme créatrice d’autothéorie et son intersection avec le soin, le féminisme et les enjeux raciaux. Elle détient un bac en Histoire de l'art de l'Université Concordia à Montréal, une maîtrise en Histoire de l'art et culture visuelle, et un DESS en Études curatoriales de l'Université York à Toronto. Elle a organisé plusieurs expositions localement et internationalement, et ses écrits ont été publié dans esse, Canadian Art, Hyperallergic, the Journal of Curatorial Studies, Invitation, InCirculation, et Espace Art Actuel. Elle participe régulièrement à des jurys et comités de pair.e.s, dont au Conseil des arts de Montréal, au Conseil des arts du Canada et à la Ville de Montréal. eunice bélidor est la récipiendaire du prix du Commissaire Émergent de la foundation Hnatyshyn 2018. Elle a travaillé à la BAND Gallery, au Powerplant à Toronto, chez articule, comme directrice de la galerie FOFA de l'université Concordia à Montréal, ainsi qu’en tant que conservatrice de l'art contemporain québécois et canadien du Musée des Beaux-Arts de Montréal.   Born in Montréal, eunice bélidor is a curator, letter-writer, critic and researcher, and Affiliate Assistant professor in the Department of Art History at Concordia University. Her current practice focuses on questioning as a method, and on epistolary writing as a creator of self-theory and its intersection with care, feminism and racial issues. She holds a B.A in Art History from Concordia University (Montréal), a MA in Art History &amp; Visual Culture, and a graduate diploma in Curatorial Studies from York University (Toronto). She has organized and curated various exhibitions nationally and internationally, and her writing has been published in esse, Canadian Art, Hyperallergic, the Journal of Curatorial Studies, Invitation, InCirculation, and Espace Art Actuel. She regularly takes part in various juries and committees, such as the Conseil des arts de Montréal, the Canada Council for the Arts, and the City of Montréal. eunice bélidor is the 2018 recipient of the The TD Bank Group Awards for Emerging Curator from the Hnatyshyn Foundation. She has worked at BAND Gallery, at The Power Plant (Toronto), at articule, as Director of the FOFA Gallery at Concordia University (Montréal), and as the Curator of Contemporary Canadian and Québécois art at the Montréal Museum of Fine Arts. __________________________</image:caption>
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  </url>
  <url>
    <loc>https://www.blackcanadiandiasporacentre.com/blog/episode-8</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2023-12-03</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/60f6de8027b1e217c50932cf/bd8a6cfc-d353-4c88-9fc2-50f7df0117f4/08+TCTCU+Andrea-Fatona.jpg</image:loc>
      <image:title>Blog - "Curating as a Repeating Performance" with Dr. Andrea Fatona - Andrea Fatona</image:title>
      <image:caption>Andrea Fatona is an independent curator and an associate professor at the Ontario College of Art and Design University. She is concerned with issues of equity within the sphere of the arts and the pedagogical possibilities of artworks produced by ‘other’ Canadians in articulating broader perspectives of Canadian identities. Her broader interest is in how art, “culture” and “education” can illuminate complex issues that pertain to social justice, citizenship, belonging, and nationhood. She is the recipient of awards from the Canada Council for the Arts, the Ontario Arts Council, and the Social Sciences and Humanities Research Council of Canada, and was the 2017/18 OCAD U-Massey Fellow. Fatona is a Canada Research Chair Tier 2 in Canadian Black Diasporic Cultural Production. She has published scholarly articles, catalogue essays, and book chapters in a range of publications.  Andrea Fatona est une commissaire d'exposition indépendante et une professeure associée à l'Université OCAD (Ontario College of Art and Design). Elle s'intéresse aux questions d'équité dans la sphère des arts et aux possibilités pédagogiques des œuvres d'art produites par les « autres » Canadiens dans l'articulation de perspectives plus larges des identités canadiennes. Elle s'intéresse plus généralement à la manière dont l'art, la « culture » et l'« éducation » peuvent éclairer des questions complexes liées à la justice sociale, à la citoyenneté, à l'appartenance et à la nation. Elle a reçu des prix du Conseil des Arts du Canada, du Conseil des Arts de l'Ontario et du Conseil de recherches en sciences humaines du Canada, et a été la boursière 2017/18 de l'OCAD U-Massey. Fatona est titulaire d'une chaire de recherche du Canada de niveau 2 sur la production culturelle de la diaspora noire canadienne. Elle a publié des articles académiques, des essais de catalogue d'exposition et des chapitres de livres dans un éventail de publications. __________________________</image:caption>
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      <image:title>Blog - Year One – 2020/21 - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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