Symposium Day Pass Nov 10

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Suggested one-day pass donation $10-20
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OCAD, 100 McCaul St., Toronto, Room 284

Queer memory is an urn of ashes that breaks at the moment of birth. This collective memory is never formless, but embodied by queer memorialization practices that incorporate art, media, and performance. Parties no one will raid: Homonormative LGBTQ social organizing in the gig economy draws on an analysis of Montreal-based parties for “queer womxn” held by Her, a social networking app and international events company, to reveal the gigification of LGBTQ social organizing. How Making Videogames Turned Me Into a Depressed Gay Communist is a choose-your-own-adventure AR solo performance about growing up as an undiagnosed autistic, proto-transgender nerd with immigrant parents, with all the loneliness such an experience entails. Fragments of a Shattered Urn: Queering the Map, Collective Memory, and the Globalization of the Stonewall Myth contrasts two global sites of memory — Pride and Queering the Map, a community-generated mapping project created by Montreal-based designer Lucas LaRochelle — to explore the possibilities engendered by, and the limitations inherent to, community-generated digital media in crumbling Stonewall’s mythology and illuminating, under its blinding shadow, the path ahead.

Parties no one will raid: Homonormative LGBTQ social organizing in the gig economy 
Stefanie Duguay is an Assistant Professor in the Department of Communication Studies at Concordia University in Montreal, Canada.

How Making Videogames Turned Me Into a Depressed Gay Communist 
Mx. Dietrich Squinkifer (AKA Squinky) is a new media artist living in Tiohtiá:ke (Montréal) who creates games and playable experiences about gender identity, social awkwardness, and miscellaneous silliness.

Fragments of a Shattered Urn: Queering the Map, Collective Memory, and the Globalization of the Stonewall Myth 
Ali Adenwala is a recent graduate of University College London (UCL) hailing from Muharraq, Bahrain. As a historian, he specializes in the history of transnational LGBTQ+ activism, international development, and the globalization of Africa.


CAD, 100 McCaul St., Toronto, Room 284

Liberal discourses of “tolerance” in support of visible police presence have been mobilized to silence multiply marginalized queer and trans people and to whitewash and gentrify the history of queer liberation, despite the long and continuing history of police suppression of queer people and communities—including recent park raids in Toronto, as well as lackadaisical police response to violence against members of queer and trans communities. Hey, Pig is a static trapeze performance that rejects the superficial veneer of tolerance and engages with the historical and ongoing presence of police at pride, flamboyantly performed to Nine Inch Nails’ “Piggy,” positioning cops as worthy neither of our respect or admiration, while affirming an ethos of radical queer/trans direct action as central not just to the history of queer liberation, but also our present and our necessary future. Montreal 1969: Black and Queer Archives Revisited critically assesses two recent productions by Montreal’s Tableau D’Hôte Theatre and their intersections with 50th anniversary of the Sir George Williams University Student Occupation to urge a reconsideration of the temporal narratives surrounding Canadian homonationalisms. From BLMTO to Marci Ien: The Misrepresention of Police Violence Against Black Women will explore news coverage and social media reporting on police violence against Black women in Toronto.

Hey, Pig
Jordana Greenblatt is an academic and circus performer. Their academic work explores non-normative sexuality across a range of media and institutions, including an edited collection, Querying Consent (Rutgers UP, 2018).

Montreal 1969: Black and Queer Archives Revisited 
Ronald Cummings teaches queer and postcolonial literatures at Brock University. His work focuses on queer Caribbean writing and culture.

From BLMTO to Marci Ien: The Misrepresention of Police Violence Against Black Women
Cheryl Thompson is an Assistant Professor in the School of Creative Industries at Ryerson University. She is author of Beauty in a Box: Detangling the Roots of Canada’s Black Beauty Culture (2019). Her next book, Uncle: Race, Nostalgia and the Politics of Loyalty (Coach House Books) will be published in 2020.


CAD, 100 McCaul St., Toronto, Room 284

To close the symposium, join us for a conversation between Natalie Kouri-Towe and Natalie Loveless on making art and being activists as the world falls around us. Engaging with wide-ranging conversations on how to engage in transnational solidarity under neoliberalism, arts-based research, human rights discourses, and shifting ideologies of selfhood, Loveless and Kouri-Towe give us a manifesto for making art and fighting back at the end of the world.

Natalie Kouri-Towe is an interdisciplinary feminist and sexuality studies scholar working on solidarity, kinship, and attachment in social movements and activist responses to war and gender/sexuality-based violence. Her research has been published in both academic and non-academic venues on topics related to solidarity, kinship, and attachment in social movements; queer activism; and masculinity in conditions of war in the Middle East. Her new research examines responses to the “refugee crisis” and she is currently working on a book manuscript on feminist and queer solidarity under neoliberalism.

Natalie S. Loveless is an associate professor in the department of Art and Design (History of Art, Design, and Visual Culture) at the University of Alberta, Canada, where she also directs the Research-Creation and Social Justice CoLABoratory (researchcreation.ca) funded by the Kule Institute for Advanced Study (KIAS). Loveless’ forthcoming book, How to Make Art at the End of the World: A Manifesto for Research-Creation (Duke University Press), examines debates surrounding research-creation and its institutionalization, paying particular attention to what it means – and why it matters – to make and teach art research-creationally in the North American university today.


All TQFF events are “pay what you can” and are wheelchair accessible. All screenings will be closed-captioned and/or ASL-interpreted. Both of our locations will have a prearranged waiting area with seating for audience members who need it prior to the doors opening for every event.

Both venues have gender neutral washrooms.

Please contact us if you have any additional accessibility-related inquiries, requests, or needs.


Ontario College of Art & Design University, 100 McCaul St, Toronto, M5T 1W1, Room 284

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