Duane Linklater

  • Duane Linklater addresses issues of cultural loss and recovery, as well as appropriation and authorship articulated through sculpture, installation, photography, film, and video. Linklater challenges the physical and ideological structures of settler-colonialism and reconsiders oral traditions of knowledge sharing in communities where the transmission of cultural wisdom and histories is critical for future generations. In 2011, Linklater initiated Wood Land School, a nomadic, artist-driven project that situates Indigenous forms and ideas within the institutional spaces that each session inhabits. During residencies at the Banff Centre in the following year, Linklater and sculptor Brian Jungen created the acclaimed film Modest Livelihood. Part of DOCUMENTA (13), it follows the artists on a hunting trip, referencing their desires to reclaim ancestral knowledge. Linklater’s research on the language and traditional territory of Newfoundland’s extinct Beothuck people forms another project in this vein, while his performances and frequent collaborations with other artists and educators aim to create conditions and spaces for Indigenous voices and ideas within historic sites of marginalization, such as the museum, the gallery, and the biennial.

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Duane Linklater

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Duane Linklater addresses issues of cultural loss and recovery, as well as appropriation and authorship articulated through sculpture, installation, photography, film, and video. Linklater challenges the physical and ideological structures of settler-colonialism and reconsiders oral traditions of knowledge sharing in communities where the transmission of cultural wisdom and histories is critical for future generations. In 2011, Linklater initiated Wood Land School, a nomadic, artist-driven project that situates Indigenous forms and ideas within the institutional spaces that each session inhabits. During residencies at the Banff Centre in the following year, Linklater and sculptor Brian Jungen created the acclaimed film Modest Livelihood. Part of DOCUMENTA (13), it follows the artists on a hunting trip, referencing their desires to reclaim ancestral knowledge. Linklater’s research on the language and traditional territory of Newfoundland’s extinct Beothuck people forms another project in this vein, while his performances and frequent collaborations with other artists and educators aim to create conditions and spaces for Indigenous voices and ideas within historic sites of marginalization, such as the museum, the gallery, and the biennial.