we only liberate ourselves by binding our liberations to those of one another
Exact location information TBA
How can public art work against that which is monumental, both in its scale and ideological entrenchment? Pansee Atta's project visualizes the counter-monumental by working against the legacy of a monument that has deeply shaped local histories, politics and geographies; that of the Rideau Canal. By taking containment -- of bodies and rivers both -- to be the foundation of the Canal’s ordering logic, this projection visualizes excess in the form of uncontainable bodies to build a counter-monument of sorts, one that rejects atomization in favour of a subjectivity that is fundamentally interdependent.
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Pansee Atta is an emerging Egyptian-Canadian artist and scholar whose practice considers themes of colonization, feminism, and Muslim representation, as well as the role of Canadian cultural institutions in legacies of epistemic violence. Her multimedia practice includes new media forms such as GIF animation, 3d-printed and laser cut sculpture, as well as installation, painting, and video work. Previous exhibitions have taken place at La Centrale Galerie Powerhouse, the Art Gallery of Mississauga, Z Art Space in Montreal, MSVU Art Gallery and others. As a member of Turbines Curatorial Collective she co-curated UTOPIAS, a 3-day Queer performance art festival in Kingston, Ontario. Previous residencies include the Impressions Residency at the Montréal Museum of Fine Arts, the SparkBox Studio Award, and at the Atelier of Alexandria. Her current research investigates the decolonial role of racialized communities in ethnographic museum representation. She is now completing a PhD in Cultural Mediations and a diploma program in Curatorial Studies at Carleton University, and continuously collaborating on community-based artistic and curatorial projects.