¾ÞÈéÊÓƵ

I am the Chief Curator/Curator of Canadian Historical Art at the Agnes Etherington Art Centre. My curatorial approach involves resituating visual and material cultures through a feminist lens and innovations in interpretive display. Areas of research include women artists, artistic groups, regional scenes, collecting histories and intersections of art and craft.

My research lies at the intersection of media studies and religious studies. Theoretically, my work draws heavily on critical media studies and several shades of material media analysis, including affect studies, sound culture studies, interface studies, and algorithmic and network culture.

Tamara de Szegheo Lang (she/her) is an Adjunct Assistant Professor in the Department of Film and Media. Her research takes up queer history, community-based archives, visual culture, and the affective relationships between LGBT2Q+ people and the past.

The research projects Tamara is currently involved with include: Bodies on Fire: Rekindling the Lesbian Decade in Canadian Film,1990-1999; The Witch Institute: Harnessing the Cultural Power of the Witch for Decolonial, Feminist Futures; and Under the Shadow of Empire: Minor Archives and Radical Media Distribution in the Americas.

Tamara is interested in supervising in the following areas: historical and contemporary film and media; marginalized and activist (feminist, racialized, Indigenous, queer and trans) screen cultures; archive studies, preservation, and archival films; affect theory; and curatorial studies.

Danae Elon is an award-winning filmmaker, producer, and cinematographer based in Montreal. A graduate of NYU’s Tisch School of the Arts, she has directed, produced, and shot a body of work that explores the relationship between the personal and the political through intimate and powerful narratives. Her thesis film Never Again Forever (1996) won the Golden Spire at the San Francisco International Film Festival and the Achievement Award at the Chicago International Film Festival. Her first feature documentary, Another Road Home (2004), premiered at Tribeca and went on to screen internationally at IDFA, Hot Docs, and numerous other festivals as well as be theatrically released in the US. With Partly Private (2009), Elon won the award for Best New York Documentary at the Tribeca Film Festival. P.S. Jerusalem (2015) was selected at both the Berlinale and the Toronto International Film Festival, confirming her reputation as a bold voice in personal documentaries, the film was released theatrically and the New York times awarded it a critics pick. The Patriarch’s Room (2017) won Best Research and Music award at Docaviv and first prizes at both the LA Greek Film Festival and the Toronto Jewish Film Festival. Her film A Sister’s Song (2018), for which she also served as cinematographer, was awarded Best Documentary at the Doker Film Festival and received an Iris Award for Best Cinematography, and the AIDC Innovation Award.

Most recently, her feature Rule of Stone (2024) was selected at IDFA, CPH:DOX, and the Thessaloniki Documentary Festival, while her short film Life of a Dog was produced with support from CBC. In addition to directing and producing, Elon has worked extensively as a cinematographer on her own films and in collaboration with other directors. The films she has produced screened as well at leading international festivals including Berlinale, Hot Docs, IDFA, Millennium and Sheffield. She is a recipient of the prestigious Guggenheim Fellowship in Film (2009) and has been supported numerous times by institutions such as the Sundance Institute, the Catapult Foundation, the Canada Council for the Arts, Quebec Arts Council, SODEC and CMF. Through her combined roles as director, producer, and cinematographer, Elon continues to develop a practice that bridges the deeply personal with the universally political.

Thea Fitz-James is a theatre academic and practitioner. She holds a PhD in Performance Studies from York University and is currently an adjunct assistant professor at Queen’s University, teaching theatre theory, theatre administration, fringe theatre, performance art, and performance studies. Her current creative and academic work looks at Fringe Theatre, concepts of play in creative research, and the materiality of the body in performance. She’s developed two solo shows deconstructing contemporary feminist stereotypes, which have toured the Fringe circuit internationally. She is a white, queer, ‘Mad’, cis-gendered settler.

Glenn Gear's practice is grounded in a research creation methodology shaped by Inuit and Indigenous ways of knowing – often employing the use of animation, photo archives, painting, beading, and work with traditional materials such as sealskin. He has worked on projects with the National Film Board of Canada, collaborated with other artists, and created installations, online works, and live video/audio projections that explore the complex relationships between land, animals, history, and archives. 

A growing area within his larger artistic practice is the sharing of his animation knowledge of low-budget and experimental techniques through mentoring opportunities and workshops, often in collaboration with Indigenous youth and first-time filmmakers.

I am a Mexican-Canadian filmmaker, screenwriter, and videographer, born in San Luis Potosi, Mexico. I hold a Master’s degree in Film Production from York University where I developed my thesis project Hidden Gods. Besides fiction films I produced documentaries (Making Sones and Memories) and have been editor of some documentary projects. My most recent collaboration work Women Building Peace in Africa was awarded best documentary at the Silverwave Film Festival 2016.  I also edited episodes of the TV series Battle Scars, about Canadian Military in times of peace and war.

Nasrin Himada is a Palestinian writer and curator currently based in Kingston, on Anishnaabe and Haudenosaunee Territory. Their writing on contemporary art has appeared in many national contemporary art publications, including Canadian Art, C Magazine, MICE, and Fuse. They have collaborated with film festivals and art institutions in Canada and the US, among them the CCA Wattis Institute for Contemporary Art, San Francisco; Trinity Square Video, Toronto; Fondation PHI pour l’art contemporain, Montreal; Mercer Union, Toronto, SBC Gallery of Contemporary Art, Montreal; and the Leonard & Bina Ellen Art Gallery, Montreal. Dr. Himada’s recent project For Many Returns typifies their current curatorial interests. The series is designed to explore the possibilities of art writing as a relational act. Since its debut at Dazibao in Montréal, it has toured across Canada, the US and Europe. From 2019–21, Nasrin held the position of curator at Plug In Institute of Contemporary Art, in Winnipeg on Treaty One Territory. 

Areas of research interest include contemporary art and aesthetic theory, research-creation, experimental media, installation, social practice and performance art, curatorial practice/studies, institutional critique and visual and popular cultures. Supervisory fields are curatorial practice/studies and contemporary art.

https://agnes.queensu.ca/?s=sunny%20kerr&f=exhibition

Dr Qanita Lilla is a South African curator, researcher and writer with a PhD in Visual Arts from Stellenbosch University. She is currently Associate Curator, Arts of Africa at Agnes Etherington Art Center, Queens University situated on Anishinaabe and Haudenosaunee Territory. At Agnes, Qanita cares for the Lang Collection of African Art, one of the largest collections of its kind in Canada. She is interested the life and after-life of objects in collections, representations of racialised minorities and depictions of traumatic histories. Qanita is the curator of With Opened Mouths and the associated podcast. She has published in various peer-reviewed publications and has also contributed book chapters to anthologies.

Ryan Randall is the Senior Technician and Adjunct Lecturer in the Department of Film & Media as well as the Technical Director of the Vulnerable Media Lab and an award winning cinematographer.