Candice Hopkins

Candice Hopkins
Born	1977 Whitehorse, Yukon
Nationality	Carcross/Tagish First Nation
Alma mater	Center for Curatorial Studies, Bard College
Known for	Curation, Writing, Research
Spouse(s)	Raven Chacon
Awards	Prix pour un essai critique sur l'art contemporain 2016 by the Fondation Prince Pierre de Monaco, Award for Curatorial Excellence in Contemporary Art, HnatyshynFoundation(2015),[1] Joan Yvonne Lowndes Award (2014), Ramapo Curatorial Prize (2004)[2]

Candice Hopkins (born 1977 in Whitehorse, Yukon)^[3] is a curator, writer, and researcher who predominantly explores areas of history, art, and indigeneity, and their intersections. Hopkins is a curator for documenta 14 and has held curatorial positions at prestigious institutions including the Walter Phillips Gallery, Western Front Society, the National Gallery of Canada, and The Institute of American Indian Arts Museum of Contemporary Native Arts in Santa Fe, New Mexico.

Notable curatorial projects

• Before the Internet: Networks and Art (2007)^[4]
• Sakahàn: International Indigenous Art (2013)^[5]
• Close Encounters: The Next 500 Years (2011)^[6]
• Unsettled Landscapes: SITELINES (2014). Hopkins worked as team with three other individuals, including Lucía Sanromán, Curator (b. Guadalajara, México; lives in Mexico City) Janet Dees, Curator of Special Projects (b. New York; lives in Santa Fe) Irene Hofmann, SITElines Director (b. New York; lives in Santa Fe).

Writing

Her recent essays include "Outlawed Social Life," on the ban of the potlatch ceremony and the work of the late artist Beau Dick for the documenta 14 edited issue of South as a State of Mind (2016) as well as the chapter "The Gilded Gaze: Wealth on the Colonial Frontier," in the documenta 14 Reader. In 2014 her chapter "If History Moves at the Speed of its Weapons" on the work of the artist collective Postcommodity and the Pueblo Revolt was published in the book Coded Territories: Tracing Indigenous Pathways in New Media Art by University of Calgary Press.

In September, 2016 Hopkins quickly responded to the untimely death of artist Annie Pootoogook in the article "An Elegy for Annie Pootoogook (1969–2016)", featured in the online art criticism publication Momus. For the conclusion of the article Hopkins draws similarities between Pootoogook's generous character and her unbridled genius and Sedna, an Arctic folkloric character who met an untimely death by drowning, and through death evolved to become the mother of the sea. ^[7]

For the 13th edition of Fillip released in the Spring 2011, Hopkins authored a text titled "The Golden Potlatch: Study in Mimesis and Capitalist Desire". In this text Hopkins introduces the interconnectedness between Indigenous lands, prospectors interests and monetary desires catalyzed by the Klondike Gold Rush.^[8]

Other writings include "Inventory" for C Magazine on sound, harmonics and indigenous pedagogies^[9]; "Native North America," a conversation with Richard William Hill for Mousse Magazine,^[10] and, also in Mousse, an interview with artist and architect Joar Nango, "Temporary Structures and Architecture on the Move."^[11]

She is co-editor with Marisa Morán Jahn and Berin Golonu of the book, Recipes for an Encounter published in 2009 by the Western Front.^[12]

Lectures

• "Sovereignty and Decolonial Futures", a public lecture by Candice Hopkins and Monika Szewczyk hosted at the Liu Institute for Global Issues, presented in a partnership between Fogo Island Arts and Morris and Helen Belkin Art Gallery as a precursor to forthcoming programming and further curatorial programming for Documenta 14.^[13]
• Documenta 14: Visual Practices & Curatorial Theories on Sound and Global Indigenous Art^[14]
• "Sounding the Margins," public lecture at Small Projects, Tromsø, Norway.^[15]

References