As part of the exhibition a conversation with curator Pamela Edmonds and the artists David Ofori Zapparoli and Yannick Anton will be moderated by Kwende Kefentse (aka DJ Memetic) tomorrow evening.
WHEN: Tuesday, February 27 @ 7 pm WHERE: Carleton University Art Gallery (CUAG), St. Patrick’s Building, Carleton University, Ottawa
More on the Outside These Walls:
“This exhibition brings together photographic works by Toronto-based artists Yannick Anton and David Ofori Zapparoli whose respective imagery share a community-focused and collaborative approach to documenting urban life and its people. Zapparoli has represented the visual history of Canadian cities for over 30 years, the majority of his work is informed by a strong social realist approach. Until 1999, he had focused on the public housing development of Regent Park, putting a human face on the stigmatized and transitional community of which he had been a part of since his teens.Anton’s candid and energetic photographs draw stylistic inspiration from the youthful, street, fashion, music and queer-positive cultures that he captures. Together both artists’ compelling works present unique and unapologetic insights into diverse landscapes and lives, addressing the systemic barriers that they expose and refute, while re-imagining regimes of the image away from fixed inscriptions of race, gender, class and corporeality.” (more info…)
Final day to see Transactions by curator Cara Tierney at CUAG
This amazing show “celebrating queer experiences” closes today after it’s run at the Carleton University Art Gallery (CUAG) in Ottawa. Curator Cara Tierney has created a space that pulsates with jubilation. The artists flesh out what it means to be deeply connected to your community as well as deeply loved by your community. The work in the show positions joy and empathy as resilience. Beautiful portraits of the Queer and allied community are created through visuals, words, and performance. Transactions is a visually stunning show that includes in situ graffiti by Ottawa based artist Kalkidan Assefa that wraps around corners softening the space “as the show unfolds in the visual embrace of this unswerving ally.” This is a not-to-be-missed exhibit!
WHEN: Sunday, February 12 from 1 – 5 pm WHERE: Carleton University Art Gallery, St. Patrick’s Building, Carleton University,
“Celebrating queer experiences that emerge from transactional creative exchanges, the artists in TRANSACTIONS define, refine, redefine, exult themselves today for the (a)genders of tomorrow, linking communities and challenging ideas of authenticity, allyship, belonging and being.”
Images from top to bottom: Portrait of Kama La Mackerel; graffiti by Kalkidan Assefa with work by Elisha Lim in the background; work by Elisha Lim; more work by Elisha Lim, graffiti by Kalkidan Assefa.
This weekend the city of Ottawa hosts two talented women. Filmmaker Alethea Arnaquq-Baril will be screening her doc “TUNNIIT: Retracing the Lines of Inuit Tattoos” at Carleton University, a CIRCLE(Centre for Indigenous Research, Culture, Language & Education) event.
WHEN: Friday, October 7 @ 6-8:30 pm WHERE: St. Patrick’s Building (Behind the Residence Commons) Rm 100 at Carleton University, 1125 Colonel By Drive, Ottawa, ON K1S 5B6, Paid Parking Lot P6
On Saturday night singer / songwriter Iskwéwill be performing at the Mercury Lounge along with cellist Cris Derksen.
WHEN: Saturday, October 8 Doors Open @ 8pm Show starts @ 9pm WHERE: Mercury Lounge
$12 Advance Tickets. More at the Door.
Saturday, April 23 Carleton University will convene conversations on conservation
Last year I attended an engaging symposium on heritage conservation put on by Carleton University Students. Last year’s theme was Unsettling Heritage. This year the conversation will be focused on New Identities / Voices in Conservation and will pose the questions:
Whose heritage are we conserving?
Whose heritage is being unrepresented or underrepresented in the heritage conservation discourse of the 21st century?
“This theme aims to critically address missing identities and voices in the heritage field and/or highlight alternative stories and perspectives in heritage conservation.”
“In recent years, the identification and conservation of cultural heritage resources—the built environment, cultural landscapes, or intangible heritage—by heritage professionals, has needed to expand and broaden its understanding of community histories to address the plurality and the multi-narratives that exist in our communities. Events such as: the release of the Final Report on Residential Schools by the Truth and Reconciliation Commission, the Occupy movement, the protests for gender equality rights, the push for youth engagement in civic duties (voting), and the global issue of refugees and immigration, have recently highlighted some of these ignored or unknown identities and voices that exist, and which have been underrepresented or unrepresented in the field of heritage conservation.” Read more…
Online registration closes tomorrow at noon. Tickets will also be available at the venue door Mill Street Brewery, 555 Wellington Street, Ottawa.
WHERE: Mill Street Brewery, 555 Wellington Street WHEN: Saturday, April 23 from 9:00 am to 4 pm COST: $15 Students / $45 General Admission (Online Registration) $20 Students / $50 General Admission (At the Door)
Club SAW hosts Black History Month Doc & Talk in partnership with One World Film Festival.
WHAT: Screening of Invisible City WHERE: Club SAW at 67 Nicholas Street, Ottawa WHEN: Thursday, February 25 at 7 pm COST: Suggested donation is $5 for the general public & $4 for One World Arts members. **Seating is limited**
One World Arts and the One World Film Festival are marking Black History Month with a screening of the award-winning documentary INVISIBLE CITY and a post-film talk with Saide Sayah (Program Manager for the Affordable Housing Unit at the City of Ottawa) and Chelby Daigle (Community activist and long-term resident of social housing).
The evening will also feature a new Heritage Minute about Canadian civil rights icon Viola Desmond, a Nova Scotian woman who challenged racial segregation and is often referred to as “Canada’s Rosa Parks,” courtesy of Historica Canada.
INVISIBLE CITY follows the lives of two black teens from Toronto’s Regent Park neighbourhood, Kendell and Mikey, as they make the transition from adolescence to adulthood. Their mothers and mentors root for them to succeed as the teens grapple with issues of race, crime and notions of manhood and the social pressures of an environment that places them at risk.
Turning his camera on the often ignored inner city, Oscar-nominated director Hubert Davis sensitively depicts the disconnection of urban poverty and race from the mainstream. INVISIBLE CITY was the winner the Best Canadian Feature award at the 2009 Hot Docs Canadian International Documentary Festival.
Click here to join, like and share this event on Facebook!
Also, this week INTERGALACTIC NOISE:: A partnership between Black Future Month & the Art Gallery Mississauga
WHAT: Panel Discussion and Reception WHERE: Art Gallery of Mississauga WHEN: Friday, February 26 at 7 – 10 pm
“Intergalactic Noise invites a re-engagement with the concept of Black History Month, as artists, designers, and multi-media creatives explore the concept of Afrofuturism. In using the date of 3016, Black Future Month offers an entry point to imagine utopic Black realities beyond the assigned month. Rather than accepting a naïve concept of a future full of advanced technology, the featured artists instead contemplate the possibilities of an advanced humanity.
This edition of C Magazine is on Citizenship and features:
“Derrick Chang, Victor Wang on the 12th Bienal de la Habana, Yaniya Lee on citizenship and Canadian art criticism, Krista Belle Stewart, Scott Benesiinaabandan, David Garneau and Cathy Busby responding to Canada’s Truth and Reconciliation Commission Report, and Justin A. Langlois, Amanda Shore, Rinaldo Walcott, Leah Snyder, Elle Flanders, Tamira Sawatsky and Adrian Blackwell questioning citizenship at the Venice Biennale; plus an artist project by Tyler Coburn. Also included are reviews of exhibitions and books, as well as our regular sections On Writing by Critical Art Writing Ensemble, Inventory by Bambitchell and Artefact by acqueline Hoang Nguyen” Read more…
To purchase or download the digital version click here.
From the Creative Time Summit Venice 2015 website:
“As the Director of the American Indian Program and Associate Professor in the History of Art and Art Departments at Cornell University, Jolene Rickard is primarily interested in issues of indigeneity within a global context. Her recent projects include serving as the advisor for “Sakahàn: 1st International Quinquennial of New Indigenous Art” at the National Gallery of Canada in 2013, conducting research through a Ford Foundation Research Grant in 2008-11, participating in New Zealand’s Te Tihi Scholar/Artist Gathering in 2010, and co-curating the inaugural exhibition for the Smithsonian’s National Museum of the American Indian in Washington, D.C. in 2004. She is from the Tuscarora Nation (Haudenosaunee). Her book,Visualizing Sovereignty will be published in 2016.”
Watch all the Creative Time Summit 2015 Venice presentations here.
“BlakCollectiv invites you to join us in our Black Lives Matter March. We will be meeting at 5:00pm in front of the U.S. Embassy, 490 Sussex Dr. on May 30th 2015. We will be marching in remembrance of the Black lives lost to police brutality, including cis and trans black women.
We would like everyone to join us in this march to shed light to the issues that our communities are currently facing, and to let the world know that we will not be silent!
This is a peaceful protest so feel free to bring your own posters, family and friends to support. However , we do ask that any organizations that attend to please refrain from using this march as a promotional opportunity. This march is meant for healing and remembering the lives lost, do not come with intentions to disrespect this message.
Allyship: an active, consistent, and arduous practice of unlearning and re-evaluating, in which a person of privilege seeks to operate in solidarity with a marginalized group of people. Allyship is not an identity—it is a lifelong process of building relationships based on trust, consistency, and accountability with marginalized individuals and/or groups of people.”
SUNDAY MAY 31th Truth and Reconciliation Commission “Walk for Reconciliation”
WHEN: 11 am program begins & 12 pm starts WHERE: The Walk will start from École secondaire de l’Île, 255 rue Saint-Rédempteur Street in Gatineau (next to the Robert Guertin Arena, where there will be parking) and the walk will end at The Walk will end at Marion Dewar Plaza (Ottawa CIty Hall), 110 Laurier Ave. West.
SHUTTLE BUSES FROM TORONTO & MONTREAL: Round trip buses for youth depart from downtown Toronto @ 6:00 am & Montreal @ 8:00 am and will depart home for Toronto & Montreal @ 6PM
“The Walk for Reconciliation is designed to transform and renew the very essence of relationships among Aboriginal peoples and all Canadians. It sounds so simple, but just the act of gathering and walking and sharing our stories can join us all in a shared commitment to creating a new way forward in our relationships with each other. Our future depends on being able to simply get along, respecting each other for the unique gifts we bring.
On May 31, we will walk together in Ottawa to express our determination in rebuilding the relationships among Aboriginal peoples and all Canadians. Join Us.”
Marie Watt’s sewing circle and Nick Cave’s SoundSuits provide ways to start discussions around challenging issues.
As our long winter was on it’s way out and a new spring beginning an interesting initiative began here in Ottawa. Vicki Heyman, wife of US Ambassador to Canada Bruce Heyman, launched Art in Embassies, a project started by John F. Kennedy as way to share the talent of American artists abroad as well as “start cross-cultural dialogue“.
Maria Watt was the American artist chosen to open what has become a series of events focused on the role of art as a catalyst for social change. The timing seemed oddly predestined. Marie, a woman of mixed Settler / Indigenous heritage sat on the stage at the National Gallery of Canada speaking to Greg Hill (the NGC’s Audain Curator of Indigenous Art) about the connecting quality of her work.
“My work draws from my experience as a Scottish German Seneca person in the US growing up in Oregon…[I explore] Indigenous moments in history and European history – those nexuses.”
This was on the eve of the Roundtable Discussion on the Missing and Murdered Indigenous Women and Girls that was also taking place in Ottawa that week. On the Friday, as Carleton University was hosting the National Roundtable, the Carleton University Art Gallery (CUAG), in collaboration with Art in Embassies, was holding a roundtable on Indigenizing the Gallerywith Marie as the honoured guest participant. If a nexus “is a series of connections linking two more more things” than what was happening at that precise moment in Ottawa, in the social spaces where art, academia and politics converge, was a moment where Indigenous women’s voices were being prioritized.
“will highlight the rich history of commerce and trade in Ottawa. The word “Ottawa” comes from the Algonquin word adawe, which means “to trade.”
Along with their blankets participants were requested to write a story that illustrated the importance of that blanket to their family. The stories become the currency and their richness is revealed in their ability to criss-cross countries and cultures, span many generations and fuse past with present. With her works involving blankets Marie does what she can to have the stories available for audiences to read (view some of stories from the NGC install here). At her National Gallery talk she related a few of them to us. One story was Peter’s. The blanket he gave to Marie came from a concentration camp. If I remember correctly, it was his wife’s and it was all she had when she was liberated from the camp. Eventually that same blanket would be used to wrap and protect art work purchased by the couple in the life they created together. Marie feels that such a story flies in the face of Hitler’s denigration of art and is a perfect symbol of reclamation – a blanket’s meaning transformed by its new role.
The stories are also ways for people to enter into the intimate space of another. In this complex historical moment where we struggle to understand the meaning of words like reclamation and reconciliation sometimes the way of navigating that complexity is through the simple act of creating a space for people to share moments. This is the strength of the Art in Embassiesinitiative which has been infused by Vicki’s desire to explore art as social practice precisely because it can build bridges and foster understanding between disparate social circles. As a way of gathering a diverse group together for a common goal, another event that was held as part of Marie’s visit to Ottawa was a sewing circle. It was moving to see people of all backgrounds, ages, and genders stitching together in the Great Hall at the National Gallery. And the artist was present! Marie took the time to speak with people as well as listen to new stories being shared. For Marie, it’s about being affable in her process. As she says, a sewing circle is about “tucking yourself into something as humble and familiar as cloth. It’s a safe space that’s a much more informal space – getting together in a neighbourly way.”
In these informal spaces people can digest what they might otherwise feel challenged to confront. Marie’s work, although not overtly political, is charged by a political climate that does it best to ignore Indigenous rights and a national leader who publicly declared that the issue of #MMIW (Missing and Murdered Indigenous Women) as not “really high on our radar.” As a Seneca woman she uses her art as a way to generously share Indigenous teachings to a non-Indigenous audience.
The next artist speaking as part of the series is Nick Cave. Nick’s work is also about looking at social as well as disciplinary nexuses of art, dance and fashion. Like Marie, he uses the act of sewing and assemblage to move a challenging conversation forward. The intense subject of racial profiling prompted Nick to look at ways we disregard and denigrate. His first “soundsuit” was created by gathering discarded sticks and twigs, the things that surround us during our day that we ignore and allow to become invisible. The final product functioned as both apparel to be worn by a dancer during a performance and sculpture to be inserted into a gallery space. Whether still or animated by performers whose race and class are concealed inside the soundsuits, Nick’s work is meant to break open a space. They are impossible to ignore. As performers climb inside they have a chance to access the feeling of being connected with something seemingly foreign from their everyday but yet some of the materials that Nick utilizes, like Marie’s blankets, are humble ones that are familiar to all.
Again, the timing of this event is important. After months and months of the heaviness of how racial profiling is being executed – literally – by agents of power, we need to widen the discussion around race that has been split open by the murders of black men at the hands of the police. The problematics of race isn’t just an American issue. Here in Canada the erasure of Black bodies in cultural, academic and political institutions has the potential to fester and become a much deeper problem. We need to have the challenging conversations immediately and those conversations have to happen in places like the National Gallery of Canada, an institution where Black contribution to Canadian history and art has been close to absent. No time like the present.
I applaud the audacious spirit that Vicki has brought to the cultural table here in Ottawa and I look forward to participating in more of these types events that create a nexus for change by widening the circle of social influence.
You can follow the conversation at #artconvoAIE. More events will be coming up in 2015!
Looking at the typography of a city through an Indigenous lens can fracture what we think we know. Chorography is the act of “describing or mapping a region.” The chorography of our cities effectively maps multiculturalism but underneath the Little Italys and Chinatowns original place markers have been trampled under the foot of many a newcomer.
Recent headlines have pointed to Winnipeg as being one of the most racist cities in Canada. For the urban Indigenous population in Winnipeg the city, whose name is derived from the Cree word win-nipi, is marked with anxiety. Marvin Francis was a playwright, author, visual artist and poet from Heart Lake First Nation and his experience of living on the “Urban Rez,” as he referred to Winnipeg, formed itself into a book titled City Treaty: a long Poem.
I was being followed
so I took my usual back alley route
trash can trails
make ’em get their feet dirty
but it was no use
you cannot shake a clown
that mask sees all
we begin the treaty project
we needed money we wrote
on the back maize flake boxes expensive
knows ever since sky ripples
mingles clown city native
write new treaty cost heap big money
the clown surveys post/city/modern/after treaty/after
lawyer = life
finds the reality:
As a teenager, moving off his reserve to the city, Marvin developed a complex relationship with Winnipeg.
“The urban Aboriginal experience is dependent upon the circumstances of the individual, and speaking in general terms is always dangerous, but I think it is a fair statement that, for the average Native who comes from the Rez, the city contains a spectrum that ranges from new possibilities to that social monster, crack.” Read more…
It’s hard to know where you are standing when the original place markers become impossible to find. But they are still there for those who are tenacious enough to search. Sometimes names hint at the histories that lay just below the surface of maps made for our ‘modern’ times.
tkaronto (Kanien’kehake), onitariio (Wyandot)
Where the trees are standing in the water, the beautiful lake
Counter-mapping is a term used to refer to the intentional use of mapping methodology and technology such as GIS, cartography and geomatics to make visible how dominant power systems have used maps as a way to assert control over territories often for the purpose of resource extraction and/or settlement.
Beyond the legal applications counter-mapping combined with visual ways of expressing space are being used by artists as a way of marking places with counter-narratives.
Sarah Yankoo “is Algonquin, Irish, Hungarian, Romanian and Scottish and edge walks between the bush and the city that gathers in Toronto.” While in York University‘s Environmental Studies program she discovered the poetry of Marvin Francis in a class titled Indigenous Literature, Survival and Sovereignty and for her, the earth moved. Her response was to become one of the tenacious ones who seeks to uncover what some have tried to make us forget. Her photographic work is about creating an image bank demonstrating that in urban spaces a counter-mapping movement is taking place – graffiti tagging, arts activism, and even random formations seem to be giving us a message.
In underpasses, subway stairs and skyscrapers Sarah finds markers that signify we may be at the moment before a seismic shift is about to go down. The ‘Urban Rez’, as Indigenous populations explode, can become a place of renewal and a city, like Toronto / Tkaronto is capable of flexing intuitively – as though it remembers. The shape of the map may not be changing, but the rigid borders of colonial mindsets shift to create a dynamic that will forever change the emotional contours of a city.
Top image of Haida artist Corey Bulpitt’s mural. Bottom image Métis symbol replicates on subway stairs. Both by Sarah Yankoo.
Sarah has also found a way to continue the work that Marvin started by “writing her own treaty poems while exploring the piece [City Treaty] as an installation work and political engagement piece.” For the University of British Columbia’s exhibit Claiming Space: Voices of Aboriginal Youth at the Museum of Anthropology she contributed City Treaty Manuscript. (view City Treaty Manuscript image above)
“Claiming Space: Voices of Urban Aboriginal Youth looks at the diverse ways urban Aboriginal youth are asserting their identity and affirming their relationship to both urban spaces and ancestral territories.” Read more…
KIMIWAN ‘ZINE‘s SIXXX edition featured Sarah’s treaty poem push that bush as well as her work titled your X mark (pictured below)
KIMIWAN ‘ZINE is a quarterly publication that showcases words + art from emerging + established Indigenous, First Nations, Métis, and Inuit writers + artists. Kimiwan is independently published by a collective of Indigenous artists, writers, students + community members.
Kimiwan was started by Joi T. Arcand and Mika Lafond in summer of 2012.”
Top image X marks an urban spot. Bottom image peace and moccasins. Both images by Sarah Yankoo.
The Revolution will be Indigenized.
Marvin, who passed away in 2005, wrote of Toronto:
“Winnipeg, with its high Aboriginal population, is one place where you can walk downtown and meet other Aboriginals. Regina is like that, too, but a city like Calgary or Toronto has few Aboriginals visible downtown.”
In Toronto First Nations, Métis or Inuit populations can become invisible, absorbed into the multicultural mix but as the city becomes more inquisitive about Indigenous histories and contemporary realities after the earth moved during Idle No More, the Toronto of Marvin’s recollection is rapidly changing. A growing Indigenous presence comprised of artists, activists and academics is drafting a new city treaty with their work. This isn’t just taking place behind the institutional walls of universities and museums – their work spills out into the streets.
During the summer of 2013 Ryerson professor Hayden King (Anishinaabe from Beausoleil First Nation on Gchimnissing) along with artist and educator Susan Blight (Anishinaabe from Couchiching First Nation) embarked on an intervention under the name Ogimaa Mikana (Leader’s Trail in Anishinaabemewin). In different locations in downtown Toronto street signs and memorial plaques were subtly counter-mapped by placing Indigenous names and text over the ones put in place by the operating Governments of Canada. Spadina was changed to Ishpadinaa and a plaque was covered at Queen’s Park with the words:
With round dances taking place inside shopping malls and pow wows outside on University campuses even the rhythm of the city has changed.
Sarah also uses music as a way to infuse urban streets with Indigenous vibrations. She makes mouth bows out of branches she searches for when out in the bush. Inspired by the music of Buffy Sainte-Marie as well as A Tribe Called Red she also performs and is often remixing the recordings of her mouth bow on her iPad.
This coming Saturday she will performing alongside Skookum Sound System for Native Women in the Arts Catalyst Series hosted with the BOLD As Love Collective at the Musical Gallery, Toronto. Collectives like BOLD As Love, with their spoken word and musical performances, showcase the plurality of Indigenous voices fleshing out a deeper meaning of diversity.
The words of our lost languages have hidden meaning And while business talks a level playing field Native landscapes can contain asphalt back onto our feet As the land itself invents our soundscape (read Sarah’s full treaty poem Edgewalker Remix below)
Counter-mapping and marking alternate meanings into the urban space becomes a therapeutic act. Time to dig down into the bedrock to excavate those solutions.
We all walk these edges uncertain
On border slippery
Between dirt poor
And filthy rich
Between the bush and city
Between sandy hot beach laughter
& heart breaking tears crying in the snow
We point out the edges that cut off our mind
Invisible borders stronger than barbed wire
Cement our paths to our edge walking ways
To lost children
& a Trail of Beers
When all you really want is to do is just go home
Play in a garden where pedals do not bite
Where the fingers fold in prayer
Where the smile heals eyes
Burnt by too much evening
For the young
& The old experienced love that still dares
The smoke is white and the crackle is electric
So pull your thoughts of others from history into today
And we all emerge from
Actual treaty lines
into the native-aboriginal- First Nation- last chance Indian status- cuz you went
trapping that day universe
The words of our lost languages have hidden meaning
And while business talks a level playing field
Native landscapes can contain asphalt back onto our feet
As the land itself invents our soundscape
What words describe agony of kids torn away
Language ILL legal
Of a circle of a people with their hearts in the fire
spirits in the electric smoke
& Minds in the crackle with knowledge for
To those treaties smouldering and collecting our dust
To loop the difference in times zoned
Flash present to a disguise that fools nobody’s god
Flash back again and again over and under and through the flashing
To the territory as large as the land itself
Reach the borders and the sounds that fit the land contours
And while the rivers wash from the inside and the prairie undulates from the Canadian
Shield up one side of the Rockies and down the Mackenzie. Remember there is no
linear in the bush, and the city only thinks it does. so you can finally figure out that the
land is owned only by our children and never by us
Argue/bitch/question/probe/tear apart/challenge/discuss until everyone is sick of it
Then do it again
For you must remember what the people went through
Above images of Sarah Yankoo by Leah Snyder for Mixed Bag Mag.
EDITOR’S NOTE: Sarah is rocking a jacket by Toronto based Dene designer Sage Paul and boots by Métis owned company Manitobah Mukluks. You can support Indigenous designers by signing a petition against DSquared’s #DSquaw collection from Milan Fashion Week at Change.org. The petition asks that Dan and Dean Caten apologize for their actions and as Canadians donate the profits from their collection to an organization that supports the rights of Indigenous women here in Canada. Click here to sign.
Listen to Sage Paul speak on the issue to Metro Morning’s Matt Galloway here.