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October 8, 2019

Room 966 of Henry Angus Building
Vancouver, BC V6T 1Z2
Canada

Abstract:


It feels like we have shackled ourselves to living our lives in the 20th century-on-life-support. It is time to renew our cultural practices and relations in order to prevent the unwanted future that was designed for us far too long ago. Over the course of three years, 221A (221a.ca), a Vancouver-based nonprofit, leads a research initiative entitled Blockchains & Cultural Padlocks that is nurturing new and experimental forms of cultural, social and ecological infrastructure that can be designed on the blockchain, with the intention to ‘recommon’ land, data and objects. The Arts, Design and the Humanities have a crucial role to play in deeply adapting our culture towards something that is more cognizant and reactive to the major historical narratives we are navigating today: climate collapse, context collapse, decolonization, economic justice and the equitable redistribution of resources

Jesse McKee's Bio

Jesse McKee is the Head of Strategy at 221A (221a.ca), Vancouver, where he leads the Organization’s advancement, communications, and programming. As a nonprofit organization, 221A works with Artists and Designers to research and develop cultural, ecological and social infrastructure. Previously, he was the Curator of Walter Phillips Gallery, The Banff Centre and the Exhibitions Curator, Western Front, Vancouver. In 2015, he was the co-curator, with Daina Augaitis, of Vancouver Special: Ambivalent Pleasures, the inaugural edition of a civic triennial exhibition at the Vancouver Art Gallery in 2017. As a curatorial resident he has worked with Things that can happen, Hong Kong and Tranzit.org, Romania. McKee served as a juror for the Sobey Art Award and was a member of the Canada Council for the Art’s Asia Pacific Delegation. He has written essays and reviews for Canadian Art, C Magazine, Fillip, Border Crossings, Kaleidoscope, and Cura. His recent catalogue essay, Surreal Ghosts and Neuroplastic Ancestors, focuses on Julia Feyrer and Tamara Henderson’s filmmaking, and the neuroplastic effects of Vancouver’s economic enclosure over the past decade, published by the Morris and Helen Belkin Art Gallery, University of British Columbia and Institute for Contemporary Art, University of Pennsylvania.

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