Rounding is a space of unlearning, teaching, activation and processual exhibition. In dialogue with our current exhibition and collection practices, the project is comprised of collectively curated selections from the University of Saskatchewan’s permanent collection alongside a small library, open access media setup, and group seating. The space will be available for use by campus and community groups for focussed engagement as well as hosting several programmed public events. Rounding considers existing practices and relations to community while opening the University’s holdings to multiple forms of authorship.

Tarralik Duffy is a writer, multidisciplinary artist and designer from Salliq (Coral Harbour), NU. Much of her visual work centres on contemporary Inuit culture; her fine jewellery line Ugly Fish regularly appears in fashion events and gallery shops across Canada. She is the winner of the 2021 Kenojuak Ashevak Memorial Award.

Duffy's essay on Myra Kukiiyaut's Evil Spirits (1971) can be found here. 

Audie Murray is Cree-Métis from the Lebret and Meadow Lake communities, located on Treaty 4 and 6 territories, and is currently based in Oskana kâ-asastêki/Regina, Saskatchewan. Murray holds a visual arts diploma from Camosun College, 2016; a Bachelor of Fine Arts from the University of Regina, 2017; and a Master of Fine Arts from the University of Calgary, 2022. She has exhibited widely, including MacKenzie Art Gallery, Regina; Remai Modern, Saskatoon; The Vancouver Art Gallery; Centre for Contemporary Arts, Glasgow; and the Anchorage Museum. Murray is represented by Fazakas Gallery, located on Sḵwx̱wú7mesh, Səl̓ílwətaʔ, and xʷməθkʷəy̓əm territory (Vancouver, BC). Murray was Longlisted for the 2024 Sobey Art Award.

Murray's text in response to Allen Sapp's Softening a Moosehide (1972) can be found here. 

jake moore is an intermedia artist whose primary medium is space. She works at the intersection of material, gesture, text, and vocality to make exhibitions, events and other kinds of interventions public. Originally from Winnipeg, Manitoba, she gained early art and life experience as the singer in the all-female punk rock band, The Ruggedy Annes; sonic potential has informed her practice ever since. Her investment in social and cultural practices has lead to positions in organizations as varied in size and intention as MAWA (Mentoring Artists for Women’s Art) in Winnipeg, Studio XX in Montréal, and the FOFA Gallery at Concordia University with active feminist and decolonizing intentions. She is currently a PhD Candidate in Art History and Communication Studies at McGill University. She has exhibited nationally, highlights include The Walter Philips Gallery and La Triennale québécoise 2011. While moore considers her primary medium to be space and its occupation, this idea ex­pands the understanding of her artistic practice to include her administrative projects and other acts of building capacity as a sculptural method, one of changing the form and volume of public spaces.

moore's essay on the pairing of Felix Kopak's Sedna With Two Seals and a marble corinthian column can be found here.