Kendra Place is an art writer and cultural worker living in Tio'tia:ke.* Her reviews, parallel texts, and essays have been published by C Magazine, Platform Centre for Photographic + Digital Arts, Artspeak, and aceartinc. Since 2015 she has co-edited Art + Wonder magazine. In 2010 she was invited to work with the Free Associates, a collective affiliated with MAWA (Winnipeg) for research in feminism, art, and curating, which concluded in 2011 with a project for SAW Gallery/Prairie Scene (Ottawa). She has worked with several artist-run centres, temporary collectives, and community-based projects.
Kendra studied art history and cultural studies at the universities of Victoria, BC, and Winnipeg with a focus on architectural historiography and materialist feminist critical theory. Her research has since been supported by arts residencies with Public Preparation (Estonia), Plug In ICA (Winnipeg), and Est-Nord-Est (Quebec), as well as grants from the arts councils of Winnipeg and Manitoba. The Uncommons, a research project and publication focusing on sculpture and oneiric space, is forthcoming in 2019 with the support of the Canada Council for the Arts.
Kendra is also an artist currently working with photo-based media. Her past performance- and text-based art work, engaging questions of poverty, labour, gender, madness, authorship, and institutions, was presented with NGTVSPC, Plug In ICA, Gallery 111, Platform Centre, and aceartinc. (Winnipeg), La Maison Rouge (Paris), Le Musée international des arts modestes (Sète), as well as the Leonard & Bina Ellen Art Gallery (Montreal). From 2009-2010 she organized the wfm, a temporary platform to consider the politics and aesthetics of museums.
As a femme and white settler of western European cultures, I am grateful to have lived most of my life on the unceded Treaty 1 land called Winnipeg: Anishinaabe, Ininiwak, Anishininiwak, Dakota, Dene, and Inuit territories and spaces, homeland of the Métis Nation. I currently live on an island known as Tio'tia:ke and Montréal, unceded Indigenous land of significance to several nations, among them the Kanien'kehá:ka (Haudenosaunee) and Anishinaabe peoples. I acknowledge the land here as a gesture of accountability to complex processes of decolonization and to the Indigenous nations and people who lead these processes.