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Su-Ying Lee

@su_ying.lee

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Freelance curator, Tkaronto/Toronto/Dish With One Spoon territory

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Toronto 🍁🫶🍚

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Lu Pan and Bo Wang
"Replicas of Contact"
Billboards at Dufferin and Queen St, Toronto
Apr 24 - May 24, 2026

This public artwork by collaborators Bo Wang (China/Amsterdam) and Lu Pan (Hong Kong) reaches across time, space, and histories of image making. Juxtaposed on two double-sided billboards, archival photographs respectively depict a Canadian and a Chinese painter engaged in their craft. In a compelling intervention, Wang and Pan replace the paintings pictured within the images with works from the “opposing” artist’s milieu, generating a layered dialogue between past and present. Ultimately, the installation questions the narratives shaping our visual world, and opens new possibilities for connection and understanding.

Curated by Su-Ying Lee

Presented by CONTACT Photography Festival. Supported by PATTISON Outdoor Advertising

@panlvstudio
@bo.wang__
@su_ying.lee

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🚀 Ready to level up your arts career? Get one-on-one mentorship from top industry professionals — for free!

Whether you’re working on career planning, project development, or building your entrepreneurial skills, the Mentor in Residence x Core Program is here to help.

Meet your Core Program Mentors:
• Dalton Higgins @daltonhiggins5
• Isorine Marc @isorine.marc
• Katriina Campitelli @katcampitelli
• Pam Lau @pamelaloud
• Shehrezade Mian @shezzym
• Su-Ying Lee @su_ying.lee

📍 Open to artists and arts workers in Toronto + GTA
💻 Sessions are virtual
⚡ Spots are limited — don’t wait!

Register & learn more through the link in @neighbourhoodarts’ bio. 🔗

#TorontoArts #Mentorship #ArtsCommunity #TorontoCreatives

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Kiri Dalena @kiri.dalena
Birds of Prey
Billboards at Dufferin St and Queen St
On view now through May 31

In her ongoing series, Filipina artist Kiri Dalena has re-worked archival images produced in the Philippines more or less a century apart. “Birds of Prey” conveys Filipino histories of the struggles for self-definition and against silencing, and works against the propagandistic colonial lens. The selection presented on billboards in Toronto demonstrates that the project remains globally relevant today, with those in power increasingly attempting to suppress dissenting voices, and cultures worldwide continuing to counter the harm of colonial images.

Presented by CONTACT Photography Festival. Supported by PATTISON Outdoor Advertising @pattisonoutdoor

Curated by Su-Ying Lee @su_ying.lee

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If you are in Stockholm this Thursday 27th March, join Konstfrämjandet Stockholm @konstframjandetstockholm in collaboration with NKF @nkf_sweden and I for an evening delving into the possibilities of table top role play gaming, thinking about challenging dominant narratives, and inspiring real-world change.

I’ll be introducing Gathering Storm, a game reimagining colonial food production in a sci-fi world, and Diachronic, a time-traveling Tarot adventure to preserve lost histories.

Date& time: Thursday 27th of March
18-19 artist talk
19-21 ttrpg session

 Location: NKF, Malongen, Nytorget 15 A, Stockholm.

Sign up if you want to play: stockholm@konstframjandet.se

I’m hoping to catch some of my old friends from @iaspis.se I can’t believe it’s been 19 years since my residency! It was so good to meet @ulrikaflink there, and now she’s organised this event. Thank you Ulrika, it’ll be great to say hej again.

Images:

1-3: Gathering Storm play test at Delfina Foundation @delfinafdn Gaia Art Foundation @gaiaartfoundation

4: Gathering Storm card edition supported by @eskerfoundation on the occasion of Constellations: Racial myths, land, and labour, curated by Su-Ying Lee @su_ying.lee

5-7: DIACHRONIC: Salvage the Past, commissioned for the 9th Çanakkale Biennial, Turkey Curated by Ulrika Flink @ulrikaflink & Deniz Erbas @deniz.erbas Supported by The British Council @brit_visualarts in partnership with John Hansard Gallery johnhansardgallery

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NEW 📖 📚 Permanent Collection essay BY author Joshua Whitehead.

Find the essay at the link in our bio @eskerfoundation

"Whereas, Whereby, Whereupon"
A response to "Constellations: Racial myths, land, and labour," curated by Su-Ying Lee.

Biography:

Joshua Whitehead is an Oji-Cree, Two-Spirit member of Peguis First Nation (Treaty 1). He is the author of "full-metal indigiqueer," "Jonny Appleseed," "Making Love with the Land," and" "Indigiqueerness: a Conversation About Storytelling" as well as the editor of "Love after the End: an Anthology of Two-Spirit and Indigiqueer Speculative Fiction."

Currently, Whitehead is an Assistant Professor at the University of Calgary (Treaty 7) where he is housed in the departments of English and International Indigenous Studies.

📷: Photo of Joshua Whitehead by: Tenille Campbell/Sweetmoon Photography.

#JoshuaWhitehead
#EskerFoundation
#IndigenousArt
#ContemporaryArt
#CulturalCritique
#ArtExhibition
#TwoSpirit
#RacialMyths

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Just launched - Permanent Collection essay by Joshua Whitehead
Find the essay at the link in our bio @eskerfoundation

"Whereas, Whereby, Whereupon"
A response to "Constellations: Racial myths, land, and labour"
Curated by Su-Ying Lee.

"Su-Ying Lee opens her exhibition, Constellations: Racial myths, land, and labour by reminding us that “in real and symbolic terms, a deep enmeshment exists between the disturbance of land, and the disruption and exploitation of transported human lives.” I want to ponder, as a writer and literary scholar, on the nuance and expansiveness of “constellation." - Joshua Whitehead.

"As is the webbed constellation of the dreamcatcher, we exist in that continuum, fluxed, woven in and out and in-between temporality, braided between the strands, rooted, mothered, interconnected, constellatory.

We know monsters.

We know death.

We know the spool and this mound of thread.

And we birth tomorrow, mighty." - Joshua Whitehead.
---

Joshua Whitehead is an Oji-Cree, Two-Spirit member of Peguis First Nation (Treaty 1). He is the author of full-metal indigiqueer, Jonny Appleseed, Making Love with the Land, and Indigiqueerness: a Conversation About Storytelling as well as the editor of Love after the End: an Anthology of Two-Spirit and Indigiqueer Speculative Fiction. Currently, Whitehead is an Assistant Professor at the University of Calgary (Treaty 7) where he is housed in the departments of English and International Indigenous Studies.

Images of the exhibition: "Constellations: Racial myths, land, and labour" curated by Su-Ying Lee at Esker Foundation. Details of works by Candice Lin and Andrea Chung.

Photos by: Blaine Campbell.

#JoshuaWhitehead
#EskerFoundation
#IndigenousArt
#ContemporaryArt
#CulturalCritique
#ArtExhibition
#TwoSpirit
#RacialMyths
#LiteraryScholar

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Took this last year(?) with my pink Sony 2007 ccd cybershot. @su_ying.lee is one of the people that you meet and instantly fall in love with because they are genuine cool girl 💙 this is Su Ying in her home.

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Have you played the game "Gathering Storm" yet?

DAVID BLANDY
"Gathering Storm: The Archive" 2022-2024.
Game, archival photographs, text, game table.

Drawing from his familial involvement in the Swynnerton Plan, David Blandy conceived of Gathering Storm, a speculative world-building game where players collaborate to imagine a post-colonial sci-fi world coming to terms with hidden histories and continuing injustices.

The Swynnerton Plan (1954-1959), named after George Swynnerton who devised it, was a series of British colonial development policies in Kenya. Imperial approaches to land dismissed cultural wisdom and sophisticated, long-standing practices, where small, distributed plots, owned and managed by women, yielded diverse crops specific to unique soil conditions.

The Swynnerton Plan was implemented while the Mau Mau Revolt (1952-1960) led by the Kenyan Land and Freedom Army (KLF) was ongoing. The nationalist, anti-colonial rebellion was primarily led by the Kikuyu people, who were also joined by others who had had their land expropriated by the British over decades. The Kenya Human Rights Commission has said that 90,000 Kenyans were executed, tortured, or maimed during crackdowns against the KLF.

Blandy locates Gathering Storm in a fictional, post-colonial milieu with a particular set of base structures. Participants develop that world through a series of challenging questions based on past colonial realities. In the artist’s game, secrets figure prominently and no one is without one, compelling us to unearth truths for the sake of building informed futures. Sharing characteristics with the genre of literature known as speculative fiction, Gathering Storm is an exercise in envisioning a multiplicity of potential futures, introducing new ways of thinking, and imagining our interconnected global, social, and political transformation.

Gathering Storm was developed at the Delfina Foundation for “The Politics of Food”
programme, with the partnership of Gaia Art Foundation. This card edition was supported
by Esker Foundation.

#DavidBlandy
#Constellations

Photos by Blaine Campbell.

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🚨 LAST DAY 15 DECEMBER 🚨 It's the final week to visit the exhibition "Constellations: Racial myths, land, and labour" Curated by Su-Ying Lee.

Don't miss this extraordinary and expansive exhibition with 18 artists who look at the connected nature of race-making, while also powerfully expressing self-definition, reclamation, agency, and beauty.

Image: Candice Lin, "La Charada China," detail. Photo by: Blaine Campbell.

@su_ying.lee

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Final week to visit Esker! Explore the current exhibition and discover the work of Jeff Thomas, in the exhibition "Constellations: Racial myths, land, and labour" curated by Su-Ying Lee.

JEFF THOMAS
5 selected works from "The Bear Portraits," 1984-ongoing.
'Little White Lies' 1990 - Winnipeg, Manitoba, N49 54.235 W97 07.714.
'Indian Treaty No. 1' 1990 - Lower Fort Garry, Winnipeg, Manitoba, N50 06.751 W96.
'Canada Day' 1998 - Ottawa, Ontario, N45 25.035 W75 42.401.
'Seize the Space - GPS Reading' 2005 - Samuel de Champlain Monument, Ottawa, Ontario, N45 25.764 W75 42.087.
'Searching for the Head of the Grand River' 2006 - Corbetton, Ontario (November 12th), N44 10.953 W80 18.984.

"Jeff Thomas’ "Bear Portraits" series began in 1984 when the artist photographed his then seven-year-old son, Bear, in front of the words “Culture Revolution” written in graffiti on a Toronto wall. Bear was wearing a baseball cap with a reproduction of Edward Curtis’s portrait of Two Moons, a respected Cheyenne leader who fought and defeated Custer at the Battle of Little Bighorn. The confluence of his son wearing a portrait of Two Moons and the graffiti’s message began the artist’s series, uncovering Indigenous presence obscured by the settler colonial state."

"In Canada, The Indian Act (1876) and internationally, the 15th century Catholic Church’s Doctrine of Discovery were documents that played significant roles in limiting the self-determination of Indigenous people, restricting their movements and right to live on their choice of lands. Although reserves were created as part of the treaty making process, First Nations were relocated to reserves even when they refused the process. These documents bypassed the validity of longstanding, pre-colonial systems of Indigenous governance and sovereignty. As a continuing project, Jeff Thomas’ Bear Portraits endure to rebuff settler colonial authority, with two generations self-defining Indigenous belonging and taking agency over their movement." - Su-Ying Lee.

Photos by Blaine Campbell.

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