Any exhibition of this scale involves many committed
individuals within the Museum itself and those who become engaged
with the project from outside. My thanks to all, with special acknowledgement
of the following:
The twelve artists, for their enthusiasm and creativity; for their
significant commitments of time, energy, and financial resources
to participate in an exhibition of this nature; and for their willingness
to take up the theme of border spaces with fresh thinking and diverse
Skooker Broome, exhibition designer, for his combined qualities
of magician, artist, thinker, tech-guy, advocate, and 24-hour problem
Karen Benbassat, for her creative direction of the borderzones.ca
webzine, her fearless pursuit of boundary-busting contributors,
and her dedication, laughter, and critical mind.
Niranjan Rajah, who assisted me as a guest co-curator for the earlier
planning stages of the exhibition before having to leave for health
reasons. We shared many fruitful discussions about the border zones
between the disciplines of anthropology and art history, and together
developed the themes of the exhibition and selected the artists.
My MOA colleagues in Collections, Education and Public Programs,
Design, Administration, Curatorial, and Volunteer Associates, all
of whom supported the development and completion of the exhibition.
In particular, our director, Anthony Shelton, for his passion for
contemporary cultural expression and giving me the opportunity and
encouragement to create this show; Jill Baird, for facilitating
the artist performances; Gerald Lawson, for his willing participation
as videographer and video editor; Jessica Bushey, for her artful
photography of T. Shanaathanan’s bottles; and Carol Mayer,
for commissioning the Fijian masi.
The many contributors to borderzones.ca, for lending their voices
to this new initiative for MOA, and helping to create a truly multi-vocal
and cross-discipline exploration of the exhibition theme.
Stephen Inglis, for advising and assisting me with learning about
and preparing for the Hindu abishekam ritual.
Peter Sutton of the University of Adelaide and the South Australian
Museum, for generously lending the thuuth thaa’-munth (law
poles) made for him by his brother, Ron Yunkaporta, and for sharing
his knowledge and advice.
Julie Gendron, of desiringproductions.com, for her expert design
Vancouver’s Tamil community members who contributed with
such enthusiasm to T. Shanaathanan’s project: especially Sue
Nathan, community organizer and bottle-arranger extraordinaire;
and K. Kumaraswamy, C. Premarajah, T. Pretheeban, and Shalini Kirupakaran.
Also for their support of this project, the Arul Mihu Thurka Devi
Hindu Society, Burnaby; Thamil Cultural Society of BC; Tamil Radio,
Vancouver; Canadian Tamil Congress, Vancouver; and Coca-Cola Bottling
Ken Mayer, for his dramatic and sensitive photography of the completed
Tatiana Charters, for her fine French translations.
The sponsors of John Wynne’s sound installation: Amina Technologies,
University of the Arts London, and The Hans Rausing Endangered Languages
Project. Thanks also to the Surrey Art Gallery for the generous
loan to MOA of a specialized amplifier.
The sponsors and assistants for Gu Xiong’s installation:
The Canada Council for the Arts, BC Arts Council, Social Sciences
and Humanities Research Council of Canada, and Alican Mould &
Plastics; his research team of Chris Lee, Jennifer Chun, and April
Liu; and his students and friends who helped install the work.