Charles Stankievech is an artist redefining "fieldwork" at the convergence of geopolitics, deep ecologies, and sonic resonances. From the Arctic’s northernmost settlement to the depths of the Pacific Ocean, Stankievech's practice uncovers the paradoxes of our existence on the planet by engaging with the imperceptible. His diverse body of work has been shown internationally at institutions including the Louisiana Museum of Modern Art, Copenhagen; Palais de Tokyo, Paris; Haus der Kulturen der Welt, Berlin; National Gallery of Canada, Ottawa; Thyssen-Bornemisza Art Contemporary, Vienna; MASS MoCA; Musée d’art contemporain de Montréal; Canadian Centre for Architecture, Montreal; and the Venice and SITE Santa Fe Biennales, among others.

He’s lectured at dOCUMENTA (13) and the 8th Berlin Biennale and his writing has been published by Sternberg, e-flux, Verso, MIT and Princeton Architectural Press. Stankievech has participated in such residencies as The Banff Centre, Fogo Island, Marfa Fieldwork, Atlantic Centre for the Arts, Museumsquartier Vienna, and the Canadian Department of Defence. His comprehensively researched curatorial projects include Magnetic Norths and CounterIntelligence—both critically acclaimed as the top Canadian exhibitions of 2010 and 2014 respectively. In 2015 he won the OAAG award for best solo exhibition Monument as Ruin and was shortlisted twice for the Sobey in 2011 (Westcoast) and 2016 (Ontario).

Since 2015, he is an editor of the peer-review Afterall Journal (U. of Chicago Press). In 2007 he was a founding faculty member of the Yukon School of Visual Arts in Dawson City, Canada (under joint governance by the Indigenous sovereign nation of Tr'ondëk Hwëch'in). From 2015-2021 he was Director of Visual Studies, where he is currently an Associate Professor in the Faculty of Architecture, Landscape and Design at the University of Toronto. For 2022-23, he is also a research professor in the Department of Architecture at the University of Tokyo.