window: window is pleased to welcome Noor Bhangu, Mariana Muñoz Gomez, and Sarah Nesbitt as co-curators of window 2019

window is pleased to welcome Noor Bhangu, Mariana Muñoz Gomez, and Sarah Nesbitt as co-curators of window 2019. Commencing in April, the curatorial team will present a series of exhibitions that investigate the intersection of gender and space.

From January to March, Muñoz Gomez will curate works by Francesca Carella Arfinengo and Luther Konadu on behalf of Collecting, Citing, Curating (CCC), a research cluster based at the University of Manitoba, with funding from the University of Manitoba Institute for the Humanities. More details coming soon!


Noor Bhangu is an emerging curator and scholar of South Asian descent, whose practice employs cross-cultural encounters to interrogate issues of diaspora and indigeneity in post- and settler-colonial contexts. She completed her BA in the History of Art and her MA in Cultural Studies: Curatorial Practices from the University of Winnipeg. Her written work has appeared in academic and public journals, including Black Flash, gal-dem, Moveable Type: The University College London English Journal, Public Parking, Uncommon Sense, and C Magazine. Her curatorial practice includes projects: Overlapping Violent Histories: A Curatorial Investigation into Difficult Knowledge (2018), womenofcolour@soagallery(2018), and Not the Camera, But the Filing Cabinet: Performative Body Archives in Contemporary Art (2018).

Mariana Muñoz Gomez is an emerging artist, writer, and curator based in Winnipeg, MB/Treaty One Territory. She is a co-founder of curatorial and artist collective Calling Card. Recent and upcoming curatorial work includes screenings and exhibitions at Video Pool Media Arts Centre, Flux Gallery, Window Winnipeg, and the Winnipeg Architecture Foundation. Her research and work is informed by intersectional feminism, diaspora, and displacement.

Sarah Nesbitt is an independent writer and curator based in Tiohtià:ke (Montréal). Her work is informed by intersecting issues related to land, imperialism, racial capitalism, and identity politics, with a sincere interested in understanding structural oppression within the arts. From 2016-2018 she was the Assistant Curator at Plug In Institute of Contemporary Art on Treaty 1 Territory, Winnipeg where she curated Blinky Is Reading, (2017) a site-specific vinyl installation by Walter Scott, and co-curated two major international group exhibitions: Entering the Landscape (2017), and Days of Reading: beyond this state of affairs (2018). Her writing has been published in esse + arts and opinions, PaperWait, The Eastern Door, and Border Crossings.