• Images Festival, for Canadian Art, 23 May 2020.
• Passing Time, co-authored by Erin Saunders, Leah Sandals, Jayne Wilkinson and Joy Xiang for Canadian Art, 14 May 2020.
• Well Now WTF?, for Canadian Art, 5 May 2020.
• Art for Strange Times, co-authored by Lindsay Nixon, Leah Sandals, Joy Xiang and Jayne Wilkinson for Canadian Art, 26 March 2020.
• Life in Video, interview with Barbara London, co-authored by Joy Xiang for Canadian Art, 19 March 2020.
• The Good, the Camp, and the Ugly, for Public Parking, 11 March 2020.
• The Trouble with Capitalist Utopia: A totalizing scheme of subsumption and planetary urbanization, in Architecture and the Smart City, edited by Sergio M. Figueiredo, Sukanya Krishnamurthy & Torsten Schroeder (Routledge, 2019): pp. 56-67.
• Updating the logic of the monument: in conversation with Susanna Jablonski, for Public Parking, 11 December 2019.
• How to turn the world back on itself, in Roundtable Residency 2019 (exhibition catalogue), edited by Dallas Fellini & Angel Callander (Toronto, 2019): pp. 3-7.
• Inhabiting zones of estrangement, for Public Parking, 10 July 2019.
• Nonlinear ethics and transgression, for Supermarket Art Magazine (Stockholm, 2019): pp. 8-11.
• On Sickness, Institutions, and Care, for Public Parking, 7 February 2019.
• Ecofeminist Guide to Finding Home on Earth, in Cross Process 2, edited by Rachelle Sabourin & Calin Stefan (Toronto, 2018): pp 45-49.
• "Unable to establish a connection": Interpreting Empathy within the Interface, in Interface Critique I, edited by Florian Hadler & Joachim Haupt (Berlin: Kulturverlag Kadmos, 2016): pp. 211-225.
• “This is here and so I give it back to you”: Experiencing Art and the World with Jon Rafman and Google, in ARTHattack! Undergraduate Symposium Journal No. 7 (Guelph, 2014): pp 1-15.
• Postmodern Pastiche: The Internet and Dadaism, in ARTHattack! Undergraduate Symposium Journal No. 5 (Guelph, 2012): pp 40-56.

• Master's thesis "Performance, Womanhood, and Disentangling Humanism in Pursuit of Something Else" evaluated by Dr. Inge Hinterwaldner and Dr. Eva Ehninger. Grade: 1.0 (outstanding), January 2018
• Image research and editing assistance for Texte zur Kunst #108: "Idiom - Languages of Art," December 2017
• Conceptualization and text with Nick Verstand for "AURA," 2017. Premiered at Dutch Design Week (Eindhoven, NL, 21-29 October 2017)
• "Inhabiting the Grey Zone: Reconciling the ontologies of human and data bodies." Research paper for graduate seminar "bild/schirm/welten" with Dr. Cheryce von Xylander, April 2017
• "The Trouble with Capitalist Utopia: A totalizing scheme of subsumption and planetary urbanization." Research paper for graduate seminar "Unterirdisch, Oberirdisch, Außerirdisch. Urbanistische Visionen seit Mitte des 20. Jahrhunderts" with Dr. Inge Hinterwaldner, April 2017
• Research and text for Nick Verstand, "POV," 2017
• Research and translations for "A Gallerina's Dream (Arbeitstitel)," curated by Celina Basra at Galerie im Turm, Berlin, 17 March - 30 April 2017
• Transcriptions, translations and research for CTM Festival 2017 exhibition "Critical Constellations of the Audio-Machine in Mexico," curated by Carlos Prieto Acevedo at Kunstraum Kreuzberg/Bethanien, Berlin, 28 January - 19 March 2017
• Transcription for subtitles (German and English): Thomas Bratzke, Schreiben mit Jungpionieren, video, 1 hour. Exhibited at Galerie im Turm, Berlin, 11 November 2016 - 15 January 2017
• "How did we get here? A study of art "after" the Internet." Research paper for graduate seminar "Virale Bilder" with Dr. Matthias Bruhn, March 2016.
• "Viennese Actionism: Actionists and the abject citizen." Research paper for graduate seminar "Blick, Körper und Geschlecht in der Kunst nach 1960" with Dr. Susanne von Falkenhausen, February 2016
• Text for Nick Verstand, "ANIMA I," 2014

• Catalogue essay by Melina Gerstemann into English, "Schreiben mit Jungpionier Espinosa," Galerie im Turm, Berlin
• Curatorial essay by Ece Parabezi into German, "The Muscle Memory," Kunstraum Kreuzberg/Bethanien, Berlin
  

• Shadow Protocol for Ed Video Media Arts Centre, April 4-7 at Supermarket Independent Art Fair, Stockholm
  2019

  Young, emerging artists are negotiating their positions in a milieu where access to resources and capital is subject to precarious working conditions, changes in public funding, and dizzying relationships to institutional power. Identity politics alone are inadequate to address the material conditions of artists competing for limited resources, and contending with more stringent control over how they are allocated. These artists develop a new understanding of art world relations, which differs from an older generation of artists – that of Martha Rosler and Barbara Kruger – staking a claim in the transgressive gesture as ideologically pure. However, this generation was rebelling against models of politics and media that are now insufficient for resisting the digital platforms that shape and mediate political, individual, and institutional relations. Rather than resorting to nihilism in negotiating a critique, these artists find a degree of pleasure and humour in their aesthetic gestures of resilience and the nonlinear strategies of transgression.
  This exhibition featured new work by Ivana Dizdar, Sophia Oppel, Xuan Ye, and Becca Wijshijer.

• Everything Woman is Alien to Me with Aggie Davies and Elle Peril, April 13 - 20, 2017 at Premarts, Berlin
  2017 - ongoing

  Those who live independently of authority are considered a threat to the established order. The figure of the witch, for example, is that of a woman who is dangerous for her associations with evil, that is, for her hidden knowledge, her rejection of Puritanism, her autonomy in patriarchal society. Today, some social conditions remain the same, women are still discounted and disbelieved. Taking "woman" as a social rather than biological category, we would see the tides change - to have those who have remained silent finally speak up. Instead of asking for permission to speak, it is time we spoke for ourselves. For if you do not define yourself, you will be swallowed by the definitions of others.
  In this participatory project, all are invited to contribute to the compilation of a live text comprised of the voices that are often unheard. As we rewrite the narrative from the perspective of the suppressed, the text reveals sacred truths and the essential testimonials of events, history, denied by institutions of power and those who would maintain them as they are, in perpetuity.
  In its first iteration, Everything Woman is Alien to Me consisted of a week-long co-working space, library, and installation, as well as a series of workshops, discussions and performances by Elle Peril, Aggie Davies, Nisha Bhakoo, Verónica Mota, Annique Delphine, and Kara Johnstad.

• Post-Internet Philosophy, group exhibition, May 23 - 28, 2016 at Pergamom-Palais, Humboldt-Universität zu Berlin
  

  How could the philosophical practice of our generation look? How does our digital socialization impact the way we want to do philosophy? What kind of philosophical praxis feels right to our digitally mediated brains?
  In order to answer these questions, participants of the project tutorial “Post-Internet Philosophy” were encouraged to experiment with new formats and to defy the conventions of the ivory tower. The aim was to emancipate ourselves from what our professors hold as the right way to "do" philosophy and, through this, to find our own philosophical identity within the contemporary landscape. To fill the empty notion of Post-Internet Philosophy with content, the participants completed individual projects inspired by bi-weekly discussions, workshops and work-in-progress showings.
  The exhibition was accompanied by an open panel discussion with Jorinde Schulz and Babette Babich on the function of philosophy and academic practice, philosophical education in universities, and the opportunities and challenges of new philosophical formats.

hi at angelcallander.com

Academia.edu profile