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A Mind Thing Lakota Perspectives on Art Ethics and Technology
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A Mind Thing: Lakota Perspectives on Art Ethics and Technology
For Saddleback College's Open Diversity Festival, Suzanne Kite performed and discussed her practice with director of Jazz studies Joey Sellers.
"This episode features artist, composer, academic and Saddleback alumni, Suzanne Kite. This uniquely Lakota artist discusses her journey, her unique indigenous perspective and how that perspective has shaped her work. The event includes multiple demonstrations, showing the way Suzanne integrates technology into her art and music, plus two musical performances by artists Jessika Kenney and Jackie Urlick."
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Everything I Say Is True:
Poetic Bibliography
For Serpentine Gallery UK, Kite created an annotated script of her performance Everything I Say Is True (2017) for the Creative AI Lab.
Everything I Say Is True: Poetic Bibliography takes the form of an annotated script from her 2017 performance, Everything I Say Is True, originally commissioned by the Walter Phillips Gallery in Banff. Kite borrows a four-part framework for building collective truth from her grandfather’s sweat lodge ceremonies: first, teaching, then providing evidence, followed by the display of that truth, and finally an accusation to non-believers which introduces critical reflection. Using family ephemera and historical documents she considers truth in relation to Oglála Lakȟóta knowledge systems. These systems in turn signal an ethical method for the development of new advanced technologies.
Access Everything I Say Is True: Poetic Bibliography here.
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Loner Culture 2.0
As part of Digital Anti-Matter Anti-Manifesto, curated by curatorial collective gijiit, and shown in partnership with ace art inc, Kite presented her recent online interactive work Loner Culture 2.0. This chatroom is an extension of the 2018 exhibition Loner Culture at InterAccess in Toronto, which was curated by Jas M. Morgan (gijiit). The work itself is titled Better Off Alone (2018) and uses Blu Mar Ten’s sample pack “jungle jungle” to score the chatroom.
To access the chatroom discord please follow this link.
You can find the Digital Anti-Matter Anti-Manifesto website here.
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PUNCTURES: TEXTILES IN DIGITAL AND MATERIAL TIME
Kite will be presenting Everything I Say Is True (2017) for the exhibition Punctures:Textiles in Digital and Material Time, curated by Ekrem Serdar and opening in SPACE on May 20, 2021. The exhibition also includes the work of Betty Yu, Cecilia Vicuña, Charlie Best, Eniola Dawodu, and Sabrina Gschwandtner.
Punctures allows audiences to engage with artworks exploring a wide range of practices including, trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems, and more.
For more information visit SPACE's website here.
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Summer Indigenous Art Intensive
Kite will be a Visiting Artist for UBC Okanagan's Summer Indigenous Art Intensive, where she will participate in a series of keynotes and artist panels through May and June.
UBC Okanagan’s Indigenous Art Intensive offers an educational series of courses, lectures, art shows, and opportunities to create art. It features a series of world-renowned speakers, a variety of related undergraduate and graduate credit courses, and a group of resident artists who will be working to create a new body of work.
The Summer Indigenous Art Intensive is a unique program that brings international and national Indigenous scholars, curators and artists together on campus to interact with students in a residency context. Visiting artists will participated in a series of keynote presentations and artist panels once a week throughout May and June.
For more information, please access the Summer Indigenous Art Intensive website here.
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The Uncommon Senses III Conference: Back to the Future of the Senses
Kite will be part of the panel for Concordia University's Centre for Sensory Studies' conference The Uncommon Senses III Conference: Back to the Future of the Senses. Kite's panel will take place on Saturday, May 8th at 9:00am (EST)
Uncommon Senses III will open at 9:15 am (Montreal/Eastern Standard Time or EST) on Thursday May 6 with some introductory remarks by the Conference chair, David Howes. This will be followed by two regular sessions, and then a plenary session starting at 1:30 pm (EST). The plenary speaker will be Ellen Lupton of the Cooper-Hewitt Smithsonian Design Museum, New York. Her talk is entitled “Touchy Feely Manifesto: Design for the Senses.” Ellen will speak for 50 minutes followed by a 40 minute Q&A, moderated by one of the conference organizers. The plenary will be followed by a Virtual Get Together, on which more below. There will be a second plenary on Saturday May 8, starting at 1:30 pm. It is entitled “Weaving New Ways of Knowing: Decolonizing the Senses, Recovering Legacies” by Diane Roberts, co-founder of the highly acclaimed Arrivals Legacy Project.
For more information please access the conference's website here.
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Pasapkedjinawong: The River That Passes Through the Rocks
13 May 2021 - 19 September 2021
Kite and Devin Ronneberg's Ínyan Iyé (Telling Rock) (2019) will be presented as part of the exhibition Pasapkedjinawong: The River That Passes Through the Rocks, curated by John G. Hampton and Léuli Eshrāghi, and presented in the Mackenzie Art Gallery in Regina, Saskatchewan. For more information on the exhibition please visit the Mackenzie Art Gallery website here.
Pasapkedjinawong presents artists from across Turtle Island and the Great Ocean who examine how languages survive, adapt, exceed, or resist frameworks of colonial violence and repression. Considering languages and cultures as living systems in the manner of rivers and other bodies of water, this exhibition looks closely at what happens when the customary flow of a language is interrupted, diverted, or impeded by an outside force. Our languages adapt, slow to a trickle, leave dry paths carved in the land that are waiting for new rainfalls, or flow ever strong through new or neighbouring channels; and the perseverance of these waters continues to feed and sustain the peoples and cultures that rely on them.
The artists in Pasapkedjinawong represent this continuing lifeforce, articulating renewed architectures of language and thought fed by new and ancestral ways of knowing and viewing the world. Employing sound, silence, image, body, fibre and tactility, they each map the multiple currents that flow past the seemingly monolithic domains of colonial languages to expand our imagination and understanding of unfurling histories and futures of culture and communication on this Planet.
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