Current Exhibitions

Seeing is Believing

Featuring collective works by Kite and Devin Ronneberg

October 7 - November 19, 2022
Trinity Square Video
401 Richmond St W #121, Toronto, ON M5V 3A8

Co-presented in partnership with imagineNATIVE Film + Media Arts Festival

Seeing is Believing is an assemblage of works by Kite and Devin Ronneberg that consider the parallels between nuclear development of the 20th century and the advancements of artificial intelligence in the 21st century, and their consequential relationship to family history, mythmaking, collective narratives, and Indigenous ontologies. 

With ancestral trajectories that stretch across the Pacific Ocean – from Oceti Sakowin (Sioux) to Okinawan – this exhibition acknowledges the artists’ colloquial, radioactive realities that derive from uranium extraction and Western imperialist war-making as performed through settler colonial psyche and ideologies. In tracing these familial associations to nuclear power, conspiracy and myths towards the apparent progress of industrial technologies reveal themselves, exposing conscious misrepresentations of documented events, as well as their latent correlations to on-going genocide and state oppression.

Here, the fallout of these technologies affirms their eroding connection to reality, providing an opportunity for conspiracy to be generative in forming speculative representations of history and future that are both critical and focused on truth-making. Seeing is Believing attempts to decipher the compounded influence and impact of nuclear and machine-learning technologies have on Indigenous histories, offering puzzle pieces of myth and epistemology to better understand its transformational power and our position within its narrative. 

For more information, please visit the Trinity Square Video website here.

Soundings: An Exhibition in Five Parts
August 18 – October 30, 2022

Presented at the Kansas City Art Institute
4415 Warwick Blvd, Kansas City, MO 64111, USA


How can a score be a call and tool for decolonization?

Curated by Candice Hopkins and Dylan Robinson, Soundings: An Exhibition in Five Parts features newly commissioned scores, performances, videos, sculptures and sound by Indigenous and other artists who respond to this question. Unfolding in a sequence of five parts, the scores take the form of beadwork, videos, objects, graphic notation, historical belongings, and written instructions. During the exhibition these scores are activated at specific moments by musicians, dancers, performers and members of the public, gradually filling the gallery and surrounding public spaces with sound and action.

For more information on this exhibition, please visit the KCAI website here.

Oklahoma Intertribal Noise Symposium 

Saturday, October 8, 2022
8:30pm PST

Presented at the REDCAT Roy and Edna Disney/ Calarts Theatre
631 W 2nd St, Los Angeles, CA 90012, United States

American Indian experimental sound artists Autumn Chacon, Kite, TickSuck, Robbie Wing, and Nathan Young present a constellation of sonic experiments across genres, inspired by Nathan Young’s event “Oklahoma Intertribal Noise Symposium” in Tulsa in 2019. This program includes noise musicians, drone poets, field recordists, and performance artists, “creating and destroying sound worlds and embodying Indigenous sonic agency,” as Young describes.

For more information, please visit REDCAT's website here.

Black and Indigenous Dreaming Workshop
October 7 - 8, 2022
Friday, 12m-6pm
Saturday, 12m-8:30pm

Alisha Wormsley and Kite present a tactile collage of thinking, becoming, speaking, and dreaming—not across from, but next to and with each other. The sound installation presented at REDCAT invites the audience to experience the voices of “Black and Indigenous Dreaming Workshop” while lying down and/or at rest, as a starting point for co-dreaming a new world. This will form part of REDCAT's Oklahoma Intertribal Noise Symposium.

For more information, please visit REDCAT's website here.

Nonhuman Futures with guest moderator, Teri Hron

Wednesday, October 19, 2022 at 7:30pm
Wesleyan University
Middletown, Connecticut
Ring Family Performing Arts Hall


FREE! Masks required.


In this talk, Oglála Lakȟóta performance artist Suzanne Kite will investigate our current and future relationships to nonhumans, especially to technology and artificial intelligence, as well as developing protocols through her artistic practice. Humans already are surrounded by objects which are not understood to be intelligent or even alive, and which are seen as unworthy of relations. How can humanity create a future — one that includes relations to technology and artificial intelligence — without an ethical-ontological orientation that guides us to understand what is worthy of relation and what is not? In order to create relations with any nonhuman entity, not just entities which seem human, the first steps are to acknowledge, understand, and know that the nonhuman are ‘being’ in the first place. Indigenous ontologies already exist to understand forms of ‘being’ which are outside of humanity.

For more information, please visit Wesleyan University's website here.

Bard Biennale: Makȟóčheowápi Akézaptaŋ (Fifteen Maps) 

Saturday, October 22, 2022

Fisher Center, LUMA Theater
Manor Ave, Annandale-On-Hudson, NY


Makȟóčheowápi Akézaptaŋ (Fifteen Maps) explores the Hudson River site known as Cruger Island, which was “purchased” in the 19th century by John Cruger, who used it as a backdrop for stolen Mayan ruins he transported as casts from Honduras. By the 1960s, Cruger Island had become a place for archeological excavations that displaced Indigenous artifacts and remains now held by the New York State Museum. Confronting those histories, Kite interrogates these knowledge systems and explores how AI might function as a conduit for alternative ways of nonhuman knowing. In this experimental lecture, multimedia artist Kite will explore how artificial intelligence reproduces the logics of coloniality, flattening land, people, and lifeworlds into objects of knowledge—data points to be extracted.

Please join us for a post-lecture reception, held in the LUMA lobby.

This lecture is a part of the Disturbance, Re-Animation, and Emergent Archives Conference held October 20–22, 2022 at Bard College.

For more information, please visit the Fisher Center's website here.

Fundraiser for Flowers in the Basement

Monday, October 24, 2022

Sunview Luncheonette
221 Nassau Avenue
Brooklyn 11222

RSVP directly at

You are invited to a fundraiser (both in person and virtually) to help Flowers in the Basement (Kite, Mel Elberg, Alisha B. Wormsley, Frances Rodriguez, Tsedaye Makonnen and Amy Ruhl) continue towards their goal of producing a touring performance while compensating members for their time and labor.  What is Flowers in the Basement you ask?


Flowers in the Basement is the name of both a project and a collective consisting of Kite, Mel Elberg, Alisha B. Wormsley, Frances Ines Rodriguez, Tsedaye Makonnen, and Amy Ruhl formed to create new work and speculate on insurgent, utopian alternatives to our current forms of reproductive labor. Bringing together a group of core collaborators working in vast fields of inquiry — Afrofuturism; queer, speculative, intersectional and Marxist feminisms, Lakota epistemologies; and LatinX and African migration narratives — their mode of collaboration forges collectivity while respecting the autonomy of each artists’ individual praxis. Their devising/scoring strategies for live performance range from traditional means of workshopping and improvisation to generating AI texts based on mutual input. View our trailer

Please follow this link for donations.

Copyright © Kite Studios 2021, All rights reserved.

Our mailing address is:

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.

This email was sent to <<Email Address>>
why did I get this?    unsubscribe from this list    update subscription preferences
Kite Studios · 5284 Boul St Laurent #1 · Montreal, Qc H2T 1S1 · Canada

Email Marketing Powered by Mailchimp