2027 ICCA Gathering
Writing Our Place in History
Indigenous Curators & Critical Discourse:
From Living Archives to Future Legacies
What’s Included With Your Ticket
- Access to programming, including exclusive artist talks
- Intimate panels and international networking
- Discounts on accommodations
- Continental breakfast for 3 days & curated lunch service for two days
- A curated swag bag
Admission
Register as Individual or Organization.
Registration is open to both Indigenous and non-Indigenous participants.
Dietary Needs
Meals and refreshments will accommodate a range of dietary restrictions. Please note any dietary requirements when registering.
Safety & Accessibility
We are committed to a safe, inclusive event with fully accessible, step-free venues. Please note any accessibility requirements when registering.
General Admission & Registration
Local Artists & Curators
Early Bird Price: $105
Regular Price: $130
Savings: Save $25
Institutional Members
Early Bird Price: $125
Regular Price: $150
Savings: Save $25
Community Members
Early Bird Price: $140
Regular Price: $170
Savings: Save $30
Non-Members
Early Bird Price: $165
Regular Price: $200
Savings: Save $35
Early Bird Pricing ends December 31, 2026!
We can’t wait to welcome you to the ICCA 2027 Gathering
This gathering will focus on the role of critical writing and discourse in shaping the history and advancement of Indigenous contemporary art and curatorship. Through our partnerships we will reflect on how writing documents, critiques, and strengthens Indigenous voices in art history. Together, we will explore the importance of building living archives that preserve our perspectives while creating pathways for future legacies. By sharing experiences, strategies, and insights, participants will examine how writing and critical dialogue serve as tools of sovereignty, visibility, and transformation for Indigenous artists and curators across territories.
Gathering Program
Day 1 – Tues Aug 24
9:30 am Welcome & Opening Remarks
Details Coming Soon!
9:45 am Keynote Speaker
We are pleased to confirm internationally respected curator and writer Candice Hopkins as our keynote speaker. Join us as she draws from her extensive experience in curatorial practice, critical writing, and institutional leadership to share broad insights into contemporary art and Indigeneity. In this talk, she will reflect on overarching themes from her work, exploring how art, history, and practice intersect across different cultural landscapes.
Candice Hopkins is a citizen of Carcross/Tagish First Nation living in Red Hook, New York. Her writing and curatorial practice explore the intersections of history, contemporary art, and Indigeneity. She serves as Executive Director & Chief Curator of Forge Project and Fellow in Indigenous Art History and Curatorial Studies at Bard College.
Hopkins has curated major exhibitions, including Indian Theater, Soundings: An Exhibition in Five Parts, and Double Vision. She was Senior Curator for the 2019 and 2022 Toronto Biennials of Art and part of the curatorial teams for the Canadian Pavilion at the 58th Venice Biennale, documenta 14, and Sakahàn at the National Gallery of Canada. Her published essays include “The Gilded Gaze” in the documenta 14 Reader, “Outlawed Social Life” in South as a State of Mind, and “The Appropriation Debates” in Saturation: Race, Art, and the Circulation of Value.
11:15 am Panel: Critical Discourse on Writing and Archives
This panel explores the ICCA Digital Archive platform as a vital living record of Indigenous artistic practice and advocacy. Panellists reflect on how critical writing, documentation, and discourse within archival projects shape the visibility and sovereignty of Indigenous arts. The discussion examines how historical and contemporary archives inform practice while strengthening pathways for future Indigenous curatorial and artistic legacies.
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1:30 pm Panel: Publishing as Sovereignty: Indigenous Voices in Contemporary Art Discourse
This panel examines how ICCA partnerships, awards programs, and the Digital Publications initiative advance Indigenous critical writing and publishing. Panellists discuss how platforms, mentorship, and awards create opportunities for visibility, dialogue, and accountability. The session emphasizes how publishing strengthens Indigenous voices in art criticism, supports emerging writers, and contributes to long-term cultural impact.
Panel presented in partnership with
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3:00 pm Talk & Tour
Details Coming Soon!
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4:15 pm Networking & Storytelling by the Fire
7:00 pm Indigenous Moving Image Mentorship Program (IMIMP) Film Screenings
Details Coming Soon!
Raised Red River Métis in Prince Albert, Saskatchewan, Jason Baerg is a registered member of the Métis Nation of Ontario, with family names including Moreau, Ledoux, Desjarlais, and, further back, Montour. An Indigenous activist, curator, educator, and interdisciplinary artist, he is Assistant Professor in Indigenous Practices in Contemporary Painting and Media Art at OCAD University, holds a BFA from Concordia University and an MFA from Rutgers University, and co-founded The Shushkitew Collective and The Métis Artist Collective, reflecting his commitment to community engagement. He has chaired organizations including the Indigenous Curatorial Collective and the National Indigenous Media Arts Coalition, and his visual art practice integrates digital interventions across drawing, painting, and new media installation. His international solo exhibitions include Canada House (London), the Royal Melbourne Institute of Technology, and the Digital Dome at the Institute of American Indian Arts (Santa Fe). He has served on numerous juries and received awards from the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council. More information about his practice is available at JasonBaerg.ca.
Theo J Cuthand (b. 1978 Regina SK) is an experimental/narrative filmmaker working with topics of sexuality, madness, Indigiqueer/2S identity and Indigeneity, which have screened in festivals and galleries internationally. He is Plains Cree/Scots, a member of Little Pine First Nation, residing in Toronto, Canada.
Day 2 – Wed Aug 25
9:30 am Welcome & Day 1 Recap
Details Coming Soon!
9:45 am Panel: Mentorship as Methodology: Curatorial Essays and Emerging Voices
This panel examines how ICCA’s Curatorial Mentorship program supports the development of Indigenous curatorial practice through essay writing, exhibition texts, and critical commentary. Panellists reflect on how mentorship builds authority, visibility, and archival legacies in Indigenous arts.
Linda Grussani (Kitigan Zibi Anishinabeg/Italian ancestry) is a curator, art historian, and arts administrator based in the Ottawa area. For more than two decades, she has advanced Indigenous arts and culture through curatorial practice, institutional leadership, and advocacy for structural change. Her career has included roles at the Canadian Museum of History, Crown-Indigenous Relations and Northern Affairs Canada, and the National Gallery of Canada. Grussani has recently completed her PhD in Cultural Studies at Queen’s University, where her research examined Indigenous and institutional relationships in museums and galleries on Anishinàbe Akì. Grussani also serves on several boards and advisory committees, including Carleton University, the Inuit Art Foundation, and the Agnes Etherington Art Gallery. As an independent curator, she has recently worked on Mawadishiwewin (Visits) and Kingunilialuk – greatly missed, your absence creates a presence. Grounded in respect, curiosity, and collaboration, her work reflects a commitment to Indigenous cultural vitality, thoughtful leadership, and meaningful community engagement.
Malaya Kisa-Knickelbein (they/she) is a young Inuk artist born in Iqaluit and raised through the three regions of Nunavut. They showcase their culture through art, an important aspect in all their work, as they continue their family history of artists.
Malaya is both self-taught and community-taught; with expertise in beadwork, traditional tattooing, digital art, printmaking, and painting. They grew up inspired by family members who were printmakers and seamstresses in Pangnirtung, as well as by the multidisciplinary craft techniques learned throughout their education. Malaya is dedicated to developing a unique artistic voice that is contemporary yet incorporates traditional elements and imagery. They aspire to use their artistic production to help fundraise for various community programs. In their spare time, Malaya enjoys spending time on the land with family and friends, learning new artistic techniques and practicing their Inuktitut
11:15 am Panel: Coming Soon!
Details and descriptions coming soon!
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Panel presented in partnership with
1:30 pm The Indigenous Curatorial Awards Ceremony
The Indigenous Curatorial Awards Ceremony honours exceptional contributions to Indigenous art history, critical writing, and curatorial stewardship across every stage of a career. Held biennially, this gathering celebrates the enduring power of Indigenous voices and honours awardees with physical symbols of legacy and sovereign storytelling.
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3:00 pm Talk & Tour
Details Coming Soon!
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4:15 pm Networking & Storytelling by the Fire
7:00 pm Indigenous Moving Image Mentorship Program (IMIMP) Film Screenings
Billy’s film program, titled Two-Spirit Continuum, focuses on intergenerational stories of Queer joy and radical embodiment. They are accepting new and existing film submissions within the genre of experimental documentary or narrative film from any and all filmmakers, with a focus on Indigenous, 2-Spirit, and Indigiqueer creators.
Isaac’s film program focuses on the theme of home and land-based media. He is accepting new and existing film submissions shot “at home/on home land” within the genre of documentary from any and all filmmakers, with a focus on Indigenous, 2-Spirit, and Indigiqueer creators.
As a Two Spirit transgender artist, Dan sifts through patterns of intergenerational trauma. He relates his personal, ongoing reconnection with his family to his yearning for gender euphoria through storytelling. Dan focuses on mixed media collage, painting, moving images, and performance. He is interested in the horror genre through a contemporary Indigenous lens. Currently, Dan works at Stride Gallery in so-called Calgary, Alberta.
Taanishi! I am a mixed Irish and Métis Two-Spirit interdisciplinary artist, workshop facilitator, and emerging curator. My family is from Saint François Xavier of the Red River Métis settlement in Manitoba. Our family names include Zastre, Parisien, Lépine, Bercier, and Larocque. I grew up off-settlement and currently have the privilege to live on beautiful Dish With One Spoon territory in Hamilton, Ontario. My practice is based in themes of belonging, movement, and reciprocity. I started my career in community arts where I developed my passion for collaboration and facilitation. My workshops explore Métis material culture and history. I have worked with organizations like Laidlaw Foundation, Connected North, and Victoria Native Friendship Centre. My current projects include finishing an independent short film titled Gay Métis Cowgirls about intergenerational healing and completing a programming mentorship with Toronto Queer Film Festival and Indigenous Screen Office.
Isaac Partridge (He/Him) is a 2-Spirit transgender Inuk-Kanien’keháka (Inuit and Mohawk) artist from Kuujjuaq and Kahnawake Mohawk Territory working in filmmaking, beadwork, and graphic arts. His practice is influenced by themes of his Inuit and Mohawk cultures, queer identity and popular culture.
Dan Cardinal McCartney (he/him) is an interdisciplinary artist and curator who holds a Bachelor of Fine Arts from AUArts (2016) in Drawing. Most importantly, they are a full-time caregiver for their sister, Karri. Dan is of Athabasca Chipewyan First Nations with family ties of Mikisew Cree, Metis, and mixed settler lines from Treaty 8 territory, specifically Fort Chipewyan. He was raised in foster care in the northern boreal region of Fort McMurray.
Day 3 – Thurs Aug 26
9:30 am Welcome & Day 2 Recap
Details Coming Soon!
9:45 am Discussion Circle: Northern Curatorial Research Residency
Details Coming Soon!
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11:15 am Panel: Queering the Archive: Mentorship, Media, and New Critical Futures in Film
This panel highlights ICCA partnerships that support mentorship, media practice, and critical writing in queer Indigenous film. Panellists discuss how emerging media, critique, and collaborative mentorship document and shape Indigenous film legacies. The session explores intersections of written and visual documentation, innovation, queerness, and kinship.
Raised Red River Métis in Prince Albert, Saskatchewan, Jason Baerg is a registered member of the Métis Nation of Ontario, with family names including Moreau, Ledoux, Desjarlais, and, further back, Montour. An Indigenous activist, curator, educator, and interdisciplinary artist, he is Assistant Professor in Indigenous Practices in Contemporary Painting and Media Art at OCAD University, holds a BFA from Concordia University and an MFA from Rutgers University, and co-founded The Shushkitew Collective and The Métis Artist Collective, reflecting his commitment to community engagement. He has chaired organizations including the Indigenous Curatorial Collective and the National Indigenous Media Arts Coalition, and his visual art practice integrates digital interventions across drawing, painting, and new media installation. His international solo exhibitions include Canada House (London), the Royal Melbourne Institute of Technology, and the Digital Dome at the Institute of American Indian Arts (Santa Fe). He has served on numerous juries and received awards from the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council. More information about his practice is available at JasonBaerg.ca.
Theo J Cuthand (b. 1978 Regina SK) is an experimental/narrative filmmaker working with topics of sexuality, madness, Indigiqueer/2S identity and Indigeneity, which have screened in festivals and galleries internationally. He is Plains Cree/Scots, a member of Little Pine First Nation, residing in Toronto, Canada.
Taanishi! I am a mixed Irish and Métis Two-Spirit interdisciplinary artist, workshop facilitator, and emerging curator. My family is from Saint François Xavier of the Red River Métis settlement in Manitoba. Our family names include Zastre, Parisien, Lépine, Bercier, and Larocque. I grew up off-settlement and currently have the privilege to live on beautiful Dish With One Spoon territory in Hamilton, Ontario. My practice is based in themes of belonging, movement, and reciprocity. I started my career in community arts where I developed my passion for collaboration and facilitation. My workshops explore Métis material culture and history. I have worked with organizations like Laidlaw Foundation, Connected North, and Victoria Native Friendship Centre. My current projects include finishing an independent short film titled Gay Métis Cowgirls about intergenerational healing and completing a programming mentorship with Toronto Queer Film Festival and Indigenous Screen Office.
Isaac Partridge (He/Him) is a 2-Spirit transgender Inuk-Kanien’keháka (Inuit and Mohawk) artist from Kuujjuaq and Kahnawake Mohawk Territory working in filmmaking, beadwork, and graphic arts. His practice is influenced by themes of his Inuit and Mohawk cultures, queer identity and popular culture.
Dan Cardinal McCartney (he/him) is an interdisciplinary artist and curator who holds a Bachelor of Fine Arts from AUArts (2016) in Drawing. Most importantly, they are a full-time caregiver for their sister, Karri. Dan is of Athabasca Chipewyan First Nations with family ties of Mikisew Cree, Metis, and mixed settler lines from Treaty 8 territory, specifically Fort Chipewyan. He was raised in foster care in the northern boreal region of Fort McMurray.
Gathering Venues
August 2027
The Kwanlin Dün Cultural Centre is the Yukon’s premiere gathering location, hosting a wide range of functions and celebrations. The cultural centre of the Kwanlin Dün First Nation, located in Whitehorse, Yukon, Canada, opened in June 2012. The centre consists of a long house, artists studios, a gallery, classrooms, and an outdoor ceremonial space on the banks of the Yukon River.
August 2027
Coming Soon!
Gathering Frequently Asked Questions
Yes. ICCA provides a special conference rate for Gathering attendees. The hotel booking code will be included in your registration confirmation email. Please contact gatherings@icca.art if you did not receive it.
You can join online at www.icca.art/membership. Membership includes access to events, mentorship opportunities, and resources for Indigenous curators and artists.
A full list of ICCA’s Board of Directors and Advisory Council can be found on our website under About → Governance.
Yes, please include any dietary restrictions or accessibility needs when you register. You can also email gatherings@icca.art to update your information before the event.
ICCA welcomes partnerships with Indigenous organizations, artist-run centres, and funders. Please contact gatherings@icca.art to discuss collaboration opportunities for future Gatherings.
The Gathering hotel in Whitehorse is the Hyatt Place Whitehorse, centrally located at:
Hyatt Place Whitehorse
511 Main Street, Whitehorse, Yukon, Canada Y1A 2B8
Check your registration emails for a discount code, or contact the Gathering Coordinator at gatherings@icca.art.
