Curator Alexandra Nahwegahbow presents an thematically strong and visually stunning show at the Âjagemô Art Space.
Consider the concepts of Decolonizing and Indigenizing. One feels heavy with past burdens, forward movement decelerated by arguments with ignorance. The other is charged with the quantum lightness of dreams. The time traveller moves forward swiftly and at the speed of light arrives back into the present with a renewed vision and the tools to construct an imagined future. To Indigenize is to banish colonization to a peripheral edge, advancing over the primitive mess to get on with the business of building improved systems that dramatically alter the landscape.
Moving around within time and the power this strategy provides for transformation is what foregrounds Temporal (Re)Imaginings, the current exhibit at the Âjagemô, Canada Council’s art space on Elgin Street in Ottawa. Curator Alexandra Kahsenni:io Nahwegahbow writes that “in Indigenous traditions, storytellers and artists frequently challenge and disrupt Western perceptions of time as a linear, progressive unfolding of events. Rather, our stories and histories exist in places where time is round, open, malleable, and can fold and fluctuate.”
The exhibit begins with Carl Beam’s impactful Burying the Ruler and sets the intention for letting go of a colonial concept of time. This exhibit also presents an imagined future. While Canada is considering what ‘reconciliation’ with the past will look like as a cultural product, many of the works in this show feel unencumbered by history
They float within the space. Clouds (Hannah Claus) hovers on a sky blue wall.
They speak of time travel. Navigating by our Grandmothers (Rosalie Favell) is set in a scenery of stars.
They alter landscapes. In Here on Future Earth Joi T. Arcand “presents snapshots of Saskatchewan towns, cities and First Nation reserves in an alternate futuristic reality where Cree is the dominant language.”
They traverse the in between space of visions finding powerful antidotes to bring back from the other side. Meryl McMaster’s Victoria “explores the artist’s bi-cultural heritage (Indigenous/European) by engaging in an extraordinary liminal reality. Rather than viewing her identity as two opposing cultures in historical conflict, she fearlessly transforms it into a site of synergistic strength.”
At a time when centres of culture tend to slot alternate narratives in with reductive simplification, as an emerging curator, Alexandra offers elegant complexity. Beyond the concepts and cosmologies embedded in the selected work the choice of the pulsating palette – hot oranges and azurite blues – plays off the predominately white space to stimulate the eye, even energize the body.
Temporal (Re)Imaginings is both potent and curative, a compelling case for a future that is (re)imagined as it is Indigenized.
Temporal (Re)Imaginings closes this weekend on Saturday, April 30. Canada Council’s Âjagemô art space is on the main floor of 150 Elgin Street. Hours of operation 7 am – 9 pm.
Temporal (Re)Imaginings also includes work by:
Barry Ace, Goota Ashoona, Lance Belanger, Alex Janvier , Roy Kakegamic, Mary Longman, Marianne Nicolson, Caroline Monnet, Françoise Oklaga and Jessie Oonark
Below images from top to bottom:
Weesahkay Jack and the Great Flood (Roy Kakegamic 2005) & clouds (Hannah Claus 2008)
Detail of clouds (Hannah Claus 2008) image by Georges Khayat, provided courtesy of artist
Navigating by our Grandmothers (Rosalie Favell 2000) image courtesy of artist
Other Worlds (Alex Janvier 1984), Here on Future Earth (Joi T. Arcand 2010) & Alice from the series Modern Tipi (Caroline Monnet 2008)
Here on Future Earth by Joi T. Arcand (2010)
Victoria (Meryl McMaster 2013) image courtesy of artist
Alexandra Kahsenni:io Nahwegahbow is Anishinaabe and Kanien’keha:ka, and a member of Whitefish River First Nation with roots in Kahnawake. She grew up just outside of Ottawa and is currently pursuing her PhD in Cultural Mediations in the Institute of Comparative Studies in Literature, Art and Culture at Carleton University. She has a strong interest in stories, oral history and Indigenous art and material culture, and believes that creativity, art and processes of imagining and art-making have the ability to change the world.
Image of Alexandra by Rosalie Favell
Read more about Alexandra on Urban Native Magazine.
All images by Leah Snyder for Mixed Bag Mag unless otherwise noted