In 2019, the Inuit media collective Isuma (which means "think" or "to have a thought" in Inuktitut), founded by Zacharias Kunuk, Paul Apak, Pauloosie Qulitalik, and Norman Cohn in 1990, were the first Inuit artists to exhibit in the Canadian Pavilion at the Venice Biennale, one of the world's most renowned and oldest recurrent international art exhibitions. Their groundbreaking installation centered Inuit past and contemporary struggles against forced resettlements and resource extraction as well as reflecting on the limitations of the Biennale's exhibition politics. Instead of limiting the exhibited material to the audience present in Venice, the curatorial team, which consisted of five women-Asinnajaq (Inuk), Candice Hopkins (Tlingit), Catherine Crowston, Josée Drouin-Brisebois, and Barbara Fischer (Burnett 2019)-worked with the media collective on a website through which most of the media displayed during the Biennale continues to be accessible. 1 New content was uploaded each month during the exhibition, which turned the website into a dynamic and growing archive of material, providing historical context to the exhibition through essays and research, as well as podcasts, additional art works, and images spanning the three decades since Isuma's founding. Isuma and the curatorial team thus resisted the art-economic tendency to focus on the valued singularity of displayed objects, transgressing the installation space and democratizing media access so that their friends and relatives in Nunavut as well as interested viewers like myself could access this space, conduct research, and/or immerse ourselves in Isuma's history outside the pavilion (Connolly 2009, 56). Indeed, as I have never been to the Biennale, my own writing is only made possible by this curatorial decision. During these pandemic times in which most artistic and scholarly exchange
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