SESSION/relay: Alize Zorlutuna
How to write for an imagined place

The word “place” can refer to a myriad of locales, both physical and psychic. Place is real earth beneath our feet as well as imagined: a relic of memory in the privacy of our thoughts; an historic construction; a fantasy of elsewhere; a felt sense; a longing. Place is a gathering of stories, mythologies, and hauntings. It can be a conjuring of responsibilities—a teacher. Place can have its own gravity, as in contested territories—Palestine, Kashmir, Kurdistan, and Turtle Island—that are at once historic, imagined, and lived present realities of enduring violence. Yet place can exist beneath words and above borders as speculative; as world-building. 

How to write for an imagined place proposes a collaborative writing process, distributed across distances and the imaginations of its participants. Inviting responses to a collection of prompts sent through the mail, this multi-directional exchange offers a series of encounters and reflections. As we continue to physically distance, this project conjures some place we might gather, if not face to face, then through the meeting of ideas and impressions. [—Alize Zorlutuna

Beginning the week of 14 February 2021, this program will be facilitated through the postal service between February – April 2021. Participants in Canada will be provided with requisite materials and postage to partake in the project. Participants outside of Canada should contact the gallery to discuss arrangements. 

Registration for this program is now full. Thank you to everyone who RSVP’d!


Alize Zorlutuna is a queer interdisciplinary artist, writer and educator whose work explores relationships to land, culture and the more-than-human, while thinking through settler-colonialism, history, and solidarity. Having moved between Tkarón:to and Anatolia (present-day Turkey) both physically and culturally throughout her life has informed her practice—making her attentive to spaces of encounter. She enlists poetics and a sensitivity to materials in works that span video, installation, printed matter, performance and sculpture. The body and its sensorial capacities are central to her work which has been presented across Turtle Island and internationally. Alize is currently based in Tkarón:to where for the last five years she has been a sessional instructor OCAD University.  

SESSION is a project modelling itself after an incubator that invites cultural practitioners to engage with questions that emerge out of a given exhibition. /relay is a durational and distributed reframing of the project that untethers the incubator from a singular moment or site of gathering.   

SESSION is made possible with Leading Support from TD Bank Group
With Mercer Union: A Centre for Contemporary Art


how to be soft cover

how to be soft
Launching Fall 2019

A collection of poems and images that look at ways in which power unfolds through intimacies that live in the body. Enlisting gestures of concealment, Alize Zorlutuna pairs poetry with images, some depicting ongoing performance projects, others depicting alternative ways of working through the materiality of experience. The text and images move between withholding and inviting, reconfiguring agency in the process of telling.

you can purchase copies @



Entering the Landscape
Curated by Jenifer Papararo and Sarah Nesbitt

September 30, 2017 to December 31, 2017
Opening Reception: Saturday September 30 | 8pm
to 1am

Pia Arke (1958-2007 Greenland and Denmark) • Laakkuluk Williamson Bathory (Iqaluit) • Jaime Black (Winnipeg) • Lori Blondeau (Saskatoon) • A.K. Burns (New York) • The Ephemerals (Winnipeg) • Melissa General (Toronto) • Rebecca Horn (Berlin) • Katherine Hubbard (New York, USA) • Maria Hupfield (New York) • Simone Jones (Toronto) •  Tau Lewis (Toronto) • Amy Malbeuf (Rich Lake Alberta) • Meryl McMaster (Ottawa) •  Ana Mendieta (Cuba) • Natalie Purschwitz (Vancouver) • Dominique Rey (Winnipeg), • Jamie Ross (Montreal) • Xaviera Simmons (New York) • Ming Wong (Berlin) • Alize Zorlutuna (Toronto).
Plug In Institute of Contemporary Art is excited to announce the opening of our fall exhibition, Entering the Landscape, a contemplative group exhibition featuring twenty-one artists from Canada, the USA, Denmark, and Berlin. Working in film and video, photography, sculpture, and performance these artists represent a breadth of politicized contemporary and iconic historical works that place the female or queer body in the landscape. Bringing together artworks that conceptually and aesthetically overlap, this exhibition identifies and considers a persistent motif in contemporary art.



mother tongue image
Enter a cJihee Min, Umma (Mother), 2017, screen print on fabric, music box parts, wood and beads, dimensions variable. Courtesy of the artist.

Mother Tongue
May 13 – September 4, 2017
Opening reception: Saturday, May 13 | 6 – 8 PM | Free

Chun Hua Catherine Dong, Raafia Jessa, Jihee Min, Yvonne Singer, Shellie Zhang, Alize Zorlutuna

Language is a universal and abstract system of sounds and symbols. Yet, the social, political and cultural contexts in which a language is spoken greatly affects its development and usages. In ever increasingly globalized societies, our sociolinguistic identity is not often singular.  The language we speak at home, or learned as a child – our mother tongue – may not be the same one used in our everyday lives. Mother Tongue invites us to consider the complex relationships that exist between language and identity; how it defines who we are and how it can inform visual artistic practice.



Image by Margrethe Petersen

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Curated by Elisa Ferrari + Stacey HoThis program began as a consideration of affinities outside of the human realm, between plants and animals, objects and machines. However, this initial concept soon took on the shape of our conversations and shared interests—subjects such as walking, wandering, and listening. Writing on Margrethe Pettersen’s work, Britt Kramvig challenges the division of entities into nature and culture, rooting our need for holistic environmental awareness in Sami ontology. She writes “our ears have become dull to the sounds of the land speaking through our feet, it is now incumbent upon us to remember.” This has resonance not only in practices of deep listening but also in performance art practices that are invested in healing the fraught relationship between the land and the body.
~ Elisa Ferrari + Stacey Ho


Mice Magazine: 02

Healing Justice
Edited by Radiodress and Syrus Marcus Ware

We begin with our bodies. Our bodies in grief and motion provide the nuance, the questions that offer a re-storying. Informed by healing justice activism, Issue 02 explores how the intersection of technologies and artfulness can create tools for collective resilience and resistance.

labour for the horizon 2
Radiodress, Syrus Marcus Ware: we begin with our bodies:MICE Issue 02 Rebeka Tabobondung: A Story of Indigenous Birth Justice Barak adé Soleil: the “good” body/a query of queries Shanell Papp: Lab Alize Zorlutuna: Labour for the Horizon Leah Lakshmi Piepzna-Samarasinha: A Not-So-Brief Personal History of the Healing Justice Movement, 2010–2016 Tarah Hogue: #callresponse Sheena Hoszko: Of Birds, Ointments, and Care: How Peter Collins’ Artworks Kept Him in Prison Chris Kennedy, Samuel La France: Brûle la mer: A Welcome Returned



There Should be Gardens curated by Amber Christensen
September 2-26, 

There Should Be Gardens brings together five Canadian emerging and early career new media artists whose work addresses the interconnectedness of technologies, ecologies, botanies, gender and the cosmos. The exhibition explores the materiality and affectivity of matter, blurring the focus of feminism and queer feminism between the human and non-human. Featuring Alana Bartol (Calgary), Adrienne Crossman (Toronto), Anna Eyler (Ottawa/Montreal), Kara Stone(Montreal), and Alize Zorlutuna (Toronto)

cropped-berlin-crawl-banff1.jpgWork it
SAVAC’s annual juried members’ exhibition showcases the range of contemporary art practices across SAVAC’s membership.
June 4 – 29

Crawling backwards up the steps of the Art Gallery of Ontario (AGO) and the Royal Ontario Museum (ROM), Alize Zorlutuna’s durational performance Crawl is part of a series of performances that take place at galleries and museums across the world. Choosing sites where historic artifacts from the non-Western world are housed, specifically the Islamic world, Zorlutuna performs this arduous feat as a comment on the effects of cultural collection, and the complication she encounters as an artist to be included in the very world she critiques.