cheyanne turions is an independent curator and writer who holds a master’s degree in Visual Studies from the University of Toronto. From the farmlands of Treaty 8, she is of settler and Indigenous ancestry. Her work approaches the space of exhibition as alive—the gallery is a space of dialogue where the propositions of artists come into contact with publics, questioning ways of seeing and being in relation. Recent curatorial projects include How a Living Day is Made at the Doris McCarthy Gallery with works by Aisha Sasha John, Rachelle Sawatsky and Walter Scott; and The Fraud that Goes Under the Name of Love at Simon Fraser University’s Audain Gallery, co-curated with Amy Kazymercyk, with works by Hannah Black, Skeena Reece, Mika Rottenberg and others. Forthcoming writing projects include contributions to MAWA’s Desire/Change: Contemporary Canadian Feminist Art and Duane Linklater’s Wood Land School: Critical Anthology. She sits on the Board of Directors for Kunstverein Toronto, the Editorial Advisory Committee for C Magazine and the Education and Community Engagement Committee at the Art Gallery of Ontario. She is the director of No Reading After the Internet (Toronto) and the Artistic Director at Trinity Square Video.