Candice Hopkins

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Candice Hopkins
2017-06-07 Documenta 14 Candice Hopkins by Olaf Kosinsky-5.jpg
NationalityCarcross/Tagish First Nation
Alma materCenter for Curatorial Studies, Bard College
Known forCuration, Writing, Research
Spouse(s)Raven Chacon
AwardsPrix pour un essai critique sur l'art contemporain 2016 by the Fondation Prince Pierre de Monaco, Award for Curatorial Excellence in Contemporary Art, HnatyshynFoundation(2015),[1] Joan Yvonne Lowndes Award (2014), Ramapo Curatorial Prize (2004)[2]

Candice Hopkins (born 1977 in Whitehorse, Yukon)[3] is a curator, writer, and researcher who predominantly explores areas of history, art, and indigeneity, and their intersections. Hopkins is co-curator of the 2018 SITE Santa Fe biennial, Casa tomada and recently named senior curator for the 2019 Toronto Biennial of Art[4] and on the curatorial team of the Canadian Pavilion of the 58th Venice Biennale, featuring the work of the media art collective Isuma. She was a curator for documenta 14. She has held curatorial positions at prestigious institutions including the Walter Phillips Gallery, Western Front Society, the National Gallery of Canada, and The Institute of American Indian Arts Museum of Contemporary Native Arts in Santa Fe, New Mexico.


Her recent essays include "The Appropriation Debates" for Mousse magazine, "Outlawed Social Life", on the ban of the potlatch ceremony and the work of the late artist Beau Dick for the documenta 14 edited issue of South as a State of Mind (2016) as well as the chapter "The Gilded Gaze: Wealth and Economies on the Colonial Frontier," in the documenta 14 Reader. In 2014 her chapter "If History Moves at the Speed of its Weapons" on the work of the artist collective Postcommodity and the Pueblo Revolt was published in the book Coded Territories: Tracing Indigenous Pathways in New Media Art by University of Calgary Press.

In September, 2016 Hopkins quickly responded to the untimely death of artist Annie Pootoogook in the article "An Elegy for Annie Pootoogook (1969–2016)", featured in the online art criticism publication Momus. For the conclusion of the article Hopkins draws similarities between Pootoogook's generous character and her unbridled genius and Sedna, an Arctic folkloric character who met an untimely death by drowning, and through death evolved to become the mother of the sea.[5]

For the 13th edition of Fillip released in the Spring 2011, Hopkins authored a text titled "The Golden Potlatch: Study in Mimesis and Capitalist Desire". In this text Hopkins introduces the interconnectedness between Indigenous lands, prospectors interests and monetary desires catalyzed by the Klondike Gold Rush.[6]

Other writings and articles include "Fair Trade Heads: A Conversation on Repatriation and Indigenous Peoples with Maria Thereza Alves and Jolene Rickard" for South As a State of Mind; "Inventory" for C Magazine on sound, harmonics and indigenous pedagogies;[7] "Native North America," a conversation with Richard William Hill for Mousse Magazine,[8] and, also in Mousse, an interview with artist and architect Joar Nango, "Temporary Structures and Architecture on the Move."[9]

She is co-editor with Marisa Morán Jahn and Berin Golonu of the book Recipes for an Encounter, published in 2009 by the Western Front.[10]

Notable curatorial projects[edit]

  • Before the Internet: Networks and Art (2007)[11]
  • Sakahàn: International Indigenous Art (2013)[12]
  • Close Encounters: The Next 500 Years (2011)[13]
  • Unsettled Landscapes: SITELINES (2014). Hopkins worked as team with three other individuals, including Lucía Sanromán, Curator (b. Guadalajara, México; lives in Mexico City) Janet Dees, Curator of Special Projects (b. New York; lives in Santa Fe) Irene Hofmann, SITElines Director (b. New York; lives in Santa Fe).


  • "Sovereignty and Decolonial Futures", a public lecture by Candice Hopkins and Monika Szewczyk hosted at the Liu Institute for Global Issues, presented in a partnership between Fogo Island Arts and Morris and Helen Belkin Art Gallery as a precursor to forthcoming programming and further curatorial programming for Documenta 14.[14]
  • Documenta 14: Visual Practices & Curatorial Theories on Sound and Global Indigenous Art[15]
  • "Sounding the Margins", public lecture at Small Projects, Tromsø, Norway.[16]


  2. ^ "Ramapo Curatorial Prize Exhibition Features Work of Two Internationally Known Sculptors - News / Media". 2004-10-14. Retrieved 2017-03-26.
  3. ^ "Candice Hopkins: International Curator Lecture :: Museum of Contemporary Art Australia". 2014-07-31. Archived from the original on 2017-03-27. Retrieved 2017-03-26.
  4. ^ ARTnews, The Editors of (2020-01-14). "Who Will Shape the Art World in 2020?: ARTnews Presents 'The Deciders'". Retrieved 2020-01-20.
  5. ^ "An Elegy for Annie Pootoogook (1969–2016) - Momus". 2016-09-30. Retrieved 2017-03-26.
  6. ^ "Fillip / The Golden Potlatch : Study in Mimesis and Capitalist Desire (Candice Hopkins)". Retrieved 2017-03-26.
  7. ^ "C Magazine / Issue 131". C Magazine. 2016-09-10. Retrieved 2017-07-23.
  8. ^ "Mousse 54 •Mousse Magazine". (in Italian). Retrieved 2017-07-23.
  9. ^ "Mousse 58 •Mousse Magazine". (in Italian). Retrieved 2017-07-23.
  10. ^ editor. "Book Review: Recipes for an Encounter | Art Practical". Art Practical. Retrieved 2017-07-23.CS1 maint: extra text: authors list (link)
  11. ^ "Before the Internet: Networks and Art - Western Front". 2007-03-10. Retrieved 2017-03-26.
  12. ^ "Sakahàn: International Indigenous Art". Archived from the original on 2016-03-04. Retrieved 2017-03-28.
  13. ^ "Close Encounters: The Next 500 Years | Plug In ICA". Archived from the original on 2017-03-26. Retrieved 2017-03-26.
  14. ^ "Morris and Helen Belkin Art Gallery | Islands Sovereignty and Decolonial Futures". Retrieved 2017-03-26.
  15. ^ "Candice Hopkins: Visual Practices & Curatorial Theories on Sound and Global Indigenous ArtSocial Practice Lab". 2017-01-26. Retrieved 2017-03-26.
  16. ^ NKF (2016-08-14), CANDICE HOPKINS: SOUNDING THE MARGINS: A CHOIR OF MINOR VOICES, retrieved 2017-07-23