About
(english)
Victoria Carrasco is a Chilean-Canadian curator of contemporary art and moving image, born in Montréal. From 2008 to 2025, she held curatorial, managerial, and leadership positions at PHI (formerly known as PHI Foundation for Contemporary Art), where she played a key role in shaping the institution’s visitor experience strategy, developing internal professional growth initiatives, curating exhibitions, and expanding audiences by creating new exhibition formats of time-based media and performances programs.
Her curatorial practice is grounded in research and centers on practices in contemporary art, developed through close collaboration with artists. Her institutional experience reinforces an expertise of exhibition-making and the dynamics between artwork, space, and audience—emphasizing accessibility, engagement, and critical reflection. She remains attuned to the social, cultural, and spatial contexts in which art is produced and experienced, and is committed to its critical and transformative potential that lives on after outside of the art gallery setting.
Carrasco curated REMEMBER, PERFORM, FORGET: Binding Space Through Utopia - with Kerstin Honeit, The Society of Affective Archives, and Rodolfo Andaur in 2023, co-curated with Cheryl Sim, the exhibition Larry Achiampong: Relic Traveller in 2022, the performance Dora García: Two Planets Have Been Colliding for Thousands of Years in 2021, and have worked with international, national and local artists in Montreal and organizations on the presentation of screenings and performances, moderated roundtables, and hosted artist talks and podcasts.
Carrasco holds an MA in Performance Curation from the Institute of Curatorial Practice in Performance (ICPP) at Wesleyan University, a BA in Environmental Design from the Université du Québec à Montréal (UQAM), and a BFA with a Concentration in Photography from Concordia University. In 2019, she was awarded the Ford Foundation ICPP Leadership Fellowship by Wesleyan University. She is also co-editor of the bi-annual publication TURBA: The Journal for Global Practices in Live Arts Curation and is on the Board of Directors of VIVA! Art Action and Centre des arts actuels SKOL.
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(french)
Née à Montréal, Victoria Carrasco est une commissaire canadienne d’origine chilienne. De 2008 à 2025, elle a occupé les postes de commissaire, de gestion et leadership à PHI (anciennement Fondation PHI pour l'art contemporain), où elle a joué un rôle clé dans l'élaboration de la stratégie d'expérience des visiteurs de l'institution, la création d'initiatives de développement professionnel interne, le commissariat d'expositions et l'élargissement des publics par le développement de nouveaux formats d'exposition de programmes de médias temporels et performances.
Sa pratique curatoriale est ancrée dans la recherche et se concentre sur les pratiques de l'art contemporain, développées en étroite collaboration avec des artistes. Son expérience institutionnelle renforce son expertise en réalisation d'expositions et la dynamique entre l'œuvre d'art, l'espace et le public, privilégiant l'accessibilité, l'engagement et la réflexion critique. Elle demeure à l'écoute des contextes sociaux, culturels et spatiaux dans lesquels l'art est produit et expérimenté, et s'attache à son potentiel critique et transformateur qui perdure au-delà du cadre des galeries d'art.
Carrasco a été commissaire de SE SOUVENIR, PERFORMER, OUBLIER: relier l’espace par l’utopie - avec Kerstin Honeit, La Société des archives affectives (Fiona Annis and Véronique La Perrière M) et Rodolfo Andaur en 2023, co-commissaire avec Cheryl Sim de l'exposition Larry Achiampong: L’explorateur de reliques en 2022 et de la performance Dora García: Two Planets Have Been Colliding for Thousands of Years en 2021. Elle a également collaboré avec des artistes et des organismes internationaux, nationaux et locaux à Montréal pour la présentation de projections et de performances, animé des tables rondes et animé des conférences et des balados.
Elle est titulaire d’une maîtrise en commissariat de la performance de l’Institute of Curatorial Practice in Performance (ICPP) de l'Université Wesleyan, d’un baccalauréat en design de l’environnement de l’Université du Québec à Montréal (UQÀM) et d’un baccalauréat en beaux-arts avec concentration en photographie de l’Université Concordia. En 2019, l’Université Wesleyan lui a décerné la bourse de Leadership ICPP de la Fondation Ford. Elle est également co-éditrice de la publication semestrielle TURBA: The Journal for Global Practices in Live Arts Curation et siège au conseil d'administration de VIVA! Art Action et du Centre des arts actuels SKOL.
Aerial Skin
Yutong Lin, Tanya Lukin Linklater, Kent Monkman, Pedro Neves Marques, Kim Ninkuru, Jacolby Satterwhite.
Video Program and Performance, June 12 and 13, 2023, PHI Foundation.
Pedro Neves Marques, Becoming Male in the Middle Ages, 2022Aerial Skin is a two-part video and performance program that examines how artists use the image to dissect notions as wide-ranging as identity, indigeneity, and queerness; space, safety, and belonging; community and the fragility of otherness. The program offers a moment to breathe, to react, and to reflect on our collective conceptions of freedom and politics, and how they have become intertwined with technology. It moves towards a definition of freedom as a utopian but hard-to-reach concept that can be activated through technologies of representation that enable us to live freely without constraint, to create and express identities, to govern ourselves.
How can the fluidity of identity be transmitted through the image?
In the first part of this series, video works by Kent Monkman and Jacolby Satterwhite collide. Together they form a space of expression and community as they explore the impact of colonialism, canonical histories of art, and heteronormativity on bodies and identities. Monkman’s alter ego Miss Chief Eagle Testickle acts without restraint and with humour to transform and challenge Canadian history, while Satterwhite uses technology and his body to make space for and examine queerness.
The second part of the event presents videos and a performance. At once calm, frenetic, and confrontational, language, images, and documentation can transmit different states of being, as well as feelings around queerness. Tanya Lukin Linklater’s This moment an endurance to the end forever (2020) is an exercise in slowing time through breath and endurance. Yutong Lin explores fluidity through language and state of being in their video Perspiring Memory, Venting Air (2021). Pedro Neves Marques looks at queerness in between reality and science fiction in The Bite (2019) and Becoming Male in the Middle Ages (2022). Lastly, FIGHT ME is a performance by Kim Ninkuru, that invites us to think about the safe space using language and confrontation.
This program was conceived and presented by PHI (formerly known as PHI Foundation) in conjunction with the exhibition Terms of Use from March 8 to July 9, 2023.
Program 1
66 minutes
- A Nation is Coming, Kent Monkman and Michael Greyeyes, 1996, 24 min, English
- Group of Seven Inches, Kent Monkman and Gisèle Gordon, 2005, 7 min 35 s, English
- Forest Nymph, Jacolby Satterwhite, 2010, 7 min 42 s, English
- Casualties of Modernity, Kent Monkman, 2015, 14 min 20 s, English
- Miss Chief’s Praying Hands, Kent Monkman, 2019, 45 s, English
- Country Ball 1989-2012, Jacolby Satterwhite, 2012, 12 min 38 s, English
Program 2
94 minutes
- This moment an endurance to the end forever, Tanya Lukin Linklater, 2020, 23 min 17 s, English
- The Bite, Pedro Neves Marques, 2019, 26 min, Portuguese, English subtitles
- Perspiring Memory, Venting Air, Yutong Lin, 2021, 7 min 28 s, Mandarin, English subtitles
- FIGHT ME, live performance by Kim Ninkuru, 2017, 15 min, English
- Becoming Male in the Middle Ages, Pedro Neves Marques, 2022, 22 min, Portuguese, English subtitles
Biographies
Yutong LinYutong Lin is a writer and (moving-)image maker from Yunnan, China. As a Chinese-Nakhi descendant and media archivist, their practice concerns the fabrics and embodiment of memories and ruins in the nomadic Himalayas and diaspora cosmologies. They are particularly interested in the concept of Zomia, a Tibeto-Burman word used by fragmented indigenous and fugitive communities in the highlands and edges of South and Southeast Asia. Zomia describes a counter-nation-state approach to geography. Using interactive media, computational arts, and documentary filmmaking as a type of map making, they try to fabricate a different form of habitat, weaving and stitching family/public archives, found footage, and collective ethnography together. They are also a member of the Nomadic Department of the Interior (http://ndoi.land), an artist and research collective.
Tanya Lukin LinklaterTanya Lukin Linklater’s performances, works for camera, installations, and writings, cite Indigenous dance and visual art lineages, our structures of sustenance, and weather. She undertakes embodied inquiry and rehearsal in relation to scores and ancestral belongings. Her work deals with histories that affect Indigenous peoples’ lived experiences, (home)lands, and ideas. Her recent exhibitions include the Aichi Triennale, Japan; Art Gallery of Ontario, Toronto; Catriona Jeffries, Vancouver; Chicago Architecture Biennial; Contemporary Art Gallery, Vancouver; Gwangju Biennale, South Korea; Jan Kaps, Cologne; La Biennale de Montréal; National Gallery of Canada, Ottawa; New Museum Triennial, New York; Oakville Galleries, Ontario; Open Space, Victoria; San Francisco Museum of Modern Art; Toronto Biennial of Art, and elsewhere. Tanya Lukin Linklater is represented by Catriona Jeffries, Vancouver. She is a recipient of the Herb Alpert Award in the Arts and the Wexner Center for the Arts Artist Residency Award.
Kent MonkmanKent Monkman is a Canadian artist of Cree ancestry who works with a variety of mediums, including painting, film/video, performance, and installation. He has had solo exhibitions at numerous Canadian museums including the Montréal Museum of Fine Arts; the Museum of Contemporary Canadian Art, Toronto; the Winnipeg Art Gallery; and the Art Gallery of Hamilton. He has participated in various international group exhibitions including The American West, Compton Verney, Warwickshire, England; Remember Humanity, Witte de With, Rotterdam; the 2010 Sydney Biennale; My Winnipeg, Maison Rouge, Paris; and Oh Canada!, MASS MOCA. Monkman has created site specific performances at the McMichael Canadian Art Collection, The Royal Ontario Museum, and at Compton Verney. He has also made Super 8 versions of these performances, which he calls “Colonial Art Space Interventions.” His award-winning short film and video works have been screened at various national and international festivals, including the 2007 and 2008 Berlinale, and the 2007 Toronto International Film Festival. His work is represented in numerous public and private collections including the National Gallery of Canada, the Montréal Museum of Fine Arts, Museum London, The Glenbow Museum, The Museum of Contemporary Canadian Art, The Mackenzie Art Gallery, the Art Gallery of Ontario, the Smithsonian’s National Museum of the American Indian, and the Vancouver Art Gallery. He is represented by Pierre-François Ouellette art contemporain in Montréal and Trepanier Baer Gallery in Calgary.
Pedro Neves MarquesPedro Neves Marques is a director, visual artist, and writer (b. 1984, Lisbon). Their cinema releases include the short fiction films The Bite, which premiered at TIFF – Wavelengths and NYFF – Projections in 2019 and was awarded at Go Short Nijmegen, Short Waves, Sicilia Queer Film Festival, MixBrasil, and MIEFF, and “Exterminator Seed” which premiered at IndieLisboa in 2017. They also directed the short political documentary Art and Hurt (2018). They have had solo exhibitions in contemporary art institutions such as Castello di Rivoli, High Line, e-flux, CA2M, CaixaForum, Gasworks, Pérez Art Museum of Miami, and Museu Colecção Berardo; shown in screenings at Tate Modern Film, Serpentine Galleries, and HOME Manchester; as well as in biennials like Liverpool Biennial and Gwangju Biennial, among many others. Together with Catarina de Sousa, they founded the film production company Foi Bonita a Festa in 2021.
Kim NinkuruKim Ninkuru is a multimedia artist who was born in Bujumbura, Burundi. She has been living and working in Montréal and Toronto since 2009. Using video and sound performance, storytelling, and installation work, she creates pieces that explore and express rage, love, desire, beauty, or pain in relation to her own body, mind, and soul. While her art is very personal, she is committed to speaking out about the liberation of Black women and femmes everywhere. Her work heavily questions our preconceived notions of gender, race, sexuality, and class. It is grounded in the firm belief that Blackness is past, present, and future at any given moment.
Ninkuru’s work has been shown in numerous galleries and exhibitions including the Gardiner Museum, Trinity Square Video, Studio 303, Mainline Theatre, among others. Her work appears in the anthology Other Places: Reflections on Media Arts in Canada by Deanna Bowen.
Jacolby SatterwhiteJacolby Satterwhite is celebrated for a conceptual practice that addresses crucial themes of labour, consumption, carnality and fantasy through immersive installation, virtual reality and digital media. He uses a range of software to produce intricately detailed animations and live action films of real and imagined worlds populated by the avatars of artists and friends. These animations serve as the stage on which the artist synthesizes the multiple disciplines that encompass his practice, namely illustration, performance, painting, sculpture, photography, and writing. Satterwhite draws from an extensive set of real and fantastical references, guided by mythology, modernism, contemporary visual culture, and video game language, to challenge conventions of Western art through a personal and political lens. An equally significant influence is that of his late mother, Patricia Satterwhite, whose ethereal vocals and diagrams for visionary household products serve as the source material within a decidedly complex structure of memory and mythology.