Ogl\u00e1la Lakh\u00f3ta artist, composer, and scholar Kite explores dreams through contemporary Lakh\u00f3ta knowledge systems by incorporating digital and traditional technologies, performance, and collaboration. She practises methods that enable her to listen to \u201ccosmologyscapes,\u201d a concept drawn from scholar Jolene Rickard, encapsulating a worldview shaped by the relationship between body and spirit, land, and the cosmos. For Kite, dreams and visions are both material for creating art and a technology enabling her to listen to realms, ancestors, and nonhuman entities.<\/p>\n\n\n\n

One of her methods involves utilizing designer Sadie Red Wing\u2019s geometric Lakota Shape Kit<\/em>, a visual language informed by Lakh\u00f3ta semiotics found in beadwork and quillwork imagery, which often emerges from dreams. Kite employs these symbols to create intricate patterns that interpret her own and others\u2019 dreams. In Iron Road <\/em>(2021), she arranges stones in a pattern that narrates the story of her great-great-great-great-grandmother\u2019s escape from the Wounded Knee massacre. The installation is accompanied by a video that documents the design process and features a discussion with her cousin and collaborator Corey Stover on the life and spirit of stones and their ability to communicate with us.<\/p>\n\n\n\n

In the installation O\u00edha\u014bke Wan\u00ed\u010da (Infinity) <\/em>(2023), Kite translates her daily dreams into geometric shapes and sends them to her collaborator, an embroidery machine, which stitches them onto a large bolt of satin. Kite then interprets these symbols as scores and invites guest musicians to perform them. Dream scores are a recurring approach throughout her work, integrating her visual-arts and compositional practices. In W\u00f3gligleya (Thu\u014bk\u00e1\u0161ila \u010ce\u010diyelo)<\/em> (2021), a performance done in collaboration with musician Santee Witt, Kite taught ensemble group Third Coast Percussion how to use the shape kit and translate their dreams into visual and musical scores.<\/p>\n\n\n\n

Kite\u2019s work and scholarship on dreaming continue to evolve with her role as director of the Wih\u00e1\u014bble S\u2019a (Dreamer) Centre for Indigenous AI and her forthcoming Creative Time collaboration with Afrofuturist Alisha B. Wormsley, cosmologyscape.com<\/em>, an online platform that explores Black and Indigenous dreaming, resulting in digital quilts and public sculptures that emphasize rest.<\/p>\n\n\n\n

A researcher, writer, and independent curator from Cusco, Peru, Hanss Lujan Torres currently lives and works in the unceded territories of the Syilx\/Okanagan Nation and Tiohti\u00e1:ke\/Mooniyang\/Montr\u00e9al. His primary areas of interest are subjugated archives, queer temporalities, and alternative futures in contemporary art.<\/p>\n\n\n\n

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