Decolonization is not a Metaphor
En raison de la situation d’urgence actuelle à Gaza, un groupe d’étudiantes du Département d’histoire de l’art de l’UQAM organise la série d’événements Pour une histoire de l’art engagée : Decolonization is Not a Metaphor, réunissant des artistes et des chercheur·es dont le travail s’attache à la visibilité de la lutte historique du peuple palestinien.
Pour une histoire de l’art engagée est une série de rencontres interdisciplinaires organisées par les étudiant·es du département d’histoire de l’art de l’UQAM dans le but d’engager activement les pratiques de l’histoire de l’art dans une réflexion située qui n’est pas étrangère aux sujets sociaux et politiques d’actualité. La programmation 2023/2024 sera consacrée au thème Decolonization is Not a Metaphor afin d’interroger la manière dont la recherche actuelle en histoire de l’art emploie les théories décoloniales.
A conversation between
[from his website]
A Palestinian filmmaker, video artist, film programmer and film editor from Jordan, currently based in Tio’tia:ke (Montréal). ElKhairy holds a MFA in Studio Arts: Film Production at Concordia University. He has won the Peter Lenkov Award for Script Writing, 2018. His work has been shown in several international film festivals and art galleries including Berwick Film & Media Arts Festival, Kaunas International Film Festival, Toronto Palestine Film Festival and the Leonard & Bina Ellen Gallery.
Canada Research Chair in Art and Racial Justice
Assistant Professor, Department of Art History, Concordia University
Balbir K. Singh is Canada Research Chair in Art and Racial Justice, as well as Assistant Professor in the Department of Art History at Concordia University. She is the Director of Dark Opacities Lab, a hub for BIPOC political and aesthetic study and strategy. Using anti-colonial methods of reading and sensing, Singh builds on theories of opacity in her in-progress manuscript “Militant Bodies: Racial/Religious Opacity and Minoritarian Self-Defense,” which takes a materialist feminist approach to explore questions that center post-9/11 racial and religious hyper-policing of Muslim and Sikh bodies. Currently, she serves as Reviews Editor for Art Journal and is part of the Journal of Visual Culture’s Editorial Colelctive. Singh has been published in journals including Sikh Formations, Critical Ethnic Studies, QED, Surveillance and Society, Rhizomes, the Journal of Asian American Studies, Spectra, and Asian Diasporic Visual Cultures in the Americas.
This is part of the Pour une histoire de l’art engagée series at UQAM.
