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.
Warming up winter with free Indigenous film screenings.
Asinabka, one of Ottawa’s favourite summer film festivals, along with the Ottawa Art Gallery is presenting Unikkaaqtuarniq: Stories from the North just in time to celebrate Ottawa’s favourite season – winter! On Friday an outdoor screening will highlight Indigenous filmmaking from the Arctic and will include “a continuous looping program of short films by Inuit and Sámi filmmakers projected in a theatre made of snow.”
Presented in partnership with Skábmagovat film festival (Inari, Finland), the City of Ottawa, the Embassy of Finland, Gallery 101, the Ottawa Inuit Children’s Centre and Winterlude.
Also, part of the programming is award-winning filmmaker Alethea Arnaquq-Baril’s Angry Inuk
“In her film Angry Inuk, Inuit director Alethea Arnaquq-Baril joins a new tech-savvy generation of Inuit as they campaign to challenge long-established perceptions of seal hunting. Though most commercial sealing is conducted by Inuit in the Arctic, anti-sealing activism has created a perception of the industry that denies their central role in the sealskin market.”
Image: Andrew Alexander. Provided by The Ghomeshi Effect.
Sexual Assault Survivors, Lawyers, and Activists Speak Out Through The Ghomeshi Effect
WHEN: Friday, February 27 @ 7:30 pm & Saturday, February 28 @ 2:30 pm / 7:30 pm WHERE: The Gladstone Theatre, 910 Gladstone Avenue, Ottawa TICKETS: $17.47/$28.09/$31.63 Purchase Here
So many of us felt impacted when the news broke about CBC Q host Jian Ghomeshi. It brought up a lot of mixed emotions for me. When I heard and read the descriptions of his behaviour, they were all too familiar. As the trial started then proceeded many of us felt raw as we witnessed how the proceedings went down. Social media became the public commons where we could work out what was happening and perhaps contribute to some kind of change in policy. The conversation continues with productions like The Ghomeshi Effect.
Words from the Team:
The Ghomeshi Effect’s script uses transcriptions of interviews Jessica Ruano (Director) conducted with local Ottawa residents about their lived experiences in dealing with sexual violence and the justice system. The interviews range from confessional first-person accounts to expert analyses of how the law is constructed to handle these cases.
“Through this process we found that many people have become disillusioned by the court system and do not always see it as the best means for seeking justice,” says Ruano. “In this play we explore why this is and discuss potential alternatives.”
Bringing these stories to life is a broad group of multidisciplinary and bilingual performers: Leah Archambault, Marc-André Charette, Gabrielle Lalonde, Annie Lefebvre, Emmanuel Simon, and Mekdes Teshome. Setting the scene are lighting designer Benoît Brunet-Poirier, sound designer Martin Dawagne, and Métis mixed-media artist Mique Michelle, who will be creating a graffiti-inspired floor design for the stage.
“Ever since we began this project we have known that this conversation was bigger than us,” says Griffin. “Whenever we talk to people about the play, there’s always someone who has a story to share or an opinion to contribute. This performance is about our community and we made a point of including a diverse group of individuals and stories in the script, and opening up the conversation to our audiences.”
Important supplemental programming
Along with the play, there has been auxiliary programming to provide more opportunities for reflection and dialogue. The opening night included a keynote address by Glen Canning, the father of Rehtaeh Parsons, the young girl who took her life in 2013 after she was sexually assaulted and then bullied online. Glen has become an activist against rape culture and how it most often re-victimizes survivors as they move through the ‘justice’ system. He speaks about “youth, consent and the way mixed messages about definitions of rape affected Rehtaeh’s case.”
“Beginning these conversations with our kids when they are teenagers is essential,” says Canning, “because in so many cases we are willing to believe anything about women in order to excuse anything about a man.”
Last Saturday, a fundraiser was held with local pop-band The PepTides.
“It has always been part of our mandate as a band and members of the community to promote equality and human rights. The stories in the script hit close to home and there was no doubt that we wanted to be part of this important conversation,” says band member Scottie Irving.
This is the final weekend for The Ghomeshi Effect at The Gladstone Theatre but there will be one final performance at The Shenkman Centre on Thursday, February 2.
Tickets for this weekend can be purchased here. More info on The Shenkman Centre performance here.
Tipi Confessions Carleton: A Night of Indigenous Sexuality
A little bit about how Tipi Confessions came to be:
Tipi Confessions, inspired by BedPost Confessions and imported by Dr. Kim TallBear (Sisseton-Wahpeton Oyate) from Austin, Texas, is a show that explores sex and sexuality through lenses of humour and vulnerability…Working closely with BedPost co-founders and producers, sex bloggers Julie Gillis and Sadie Smythe and sex podcaster Mia Martina, we followed their sexy storytelling structure of entertainment, ethics, and education for the inaugural Tipi Confessions during the Faculty of Native Studies Indigenous Masculinities Symposium. Performers Josh Whitehead, Billy-Ray Belcourt, Tashina Makokis, Kim TallBear, and Richard VanCamp brought the audience to tears with soul-baring spoken word and raunchy humourous play-by-plays. In January 2016, Carleton University School of Indigenous and Canadian Studies PhD student, Charlotte Hoelke, launched Tipi Confessions for a student audience in Ottawa. (read more on Facebook Page)
WHEN:Friday, January 27th @ 6 – 10 pm WHERE: University Centre Atrium at Carleton University FREE! Multiple Door Prizes from Venus Envy!
Featuring sexy appearances & performances by:
Emcees: Charlotte Hoelke & Tess Laude & your anonymous CONFESSIONS!
Have a listen to the first Tipi Confession session held at the University of Alberta Faculty of Native Studies at the Art Gallery of Alberta’s Ledcor Theatre.
“It was an evening full of fun, sexy, and heartbreaking poetry and spoken word performances by the beautiful and brilliant Joshua Whitehead, Billy-Ray Belcourt, Kim Tallbear, and Richard Van Camp. Your podcast host, Tashina Makokis, was also one of the performers of that night.”
“Taking its title from a Sonny Assu button blanket depicting Spiderman in a traditional Kwakwa̱ka̱’wakw style, When Raven Became Spider is guest curated by Vancouver-based Gitxaala/British, curator, artist and writer Leena Minifie. Minifie’s research examines supernatural characters in Indigenous art and modern comic superheroes. She notes that traditional stories often highlight figures with superheroic traits, but that these figures maintain complexity as they are fallible, and capable of making mistakes. Most pop comic icons lean towards the archetypal, exhibiting simplified ways of being; they are good or evil. This generation of Indigenous artists and storytellers are increasingly depicting modern super-beings and using pop icon images within their work, blurring the line between oral stories and modern comics. Their aesthetics, style, and composition flow between both worlds.
Does the use of these modern-day images generate a space for oral narratives related to super beings? Or does it reduce these characters into one-dimensional archetypes? Does this work make stories more accessible and palatable to audiences and listeners, who may not be familiar with storytelling traditions? Do modernized forms sacrifice a certain degree of the three-dimensionality and nuance of the characters they depict? Can these characters still transmit old-world, oratory tales and teach us something about the frail human condition, as they were intended?
When Raven Became Spider grapples with such questions.”
The CANADIAN MASTERS Series welcomes Abenaki filmmaker Alanis Obomsawin.
This week NFB documentary filmmaker Alanis Obomsawin will be visiting Ottawa as part of the CANADIAN MASTERS series presented by the Canadian Film Institute in collaboration with Carleton University’s School For Studies In Art and Culture: Film Studies.
The Canadian Film Institute’s Canadian Masters series is an annual celebration of excellence in Canadian filmmaking, featuring extensive onstage interviews, special screenings, and audience discussions with some of the greatest names in Canadian film history. In our 2016-2017 inaugural season, we are honoured to present three extraordinary Canadian masters of the moving image: Atom Egoyan (November), Alanis Obomsawin (January), and Guy Maddin (March). more about the CFI
Alanis Obomsawin, OC, is filmmaker, singer, artist, storyteller of Abenaki descent (born 31 August 1932 near Lebanon, New Hampshire). One of Canada’s most distinguished documentary filmmakers, Alanis Obomsawin began her career as a professional singer and storyteller before joining the National Film Board of Canada (NFB) in 1967.
Her award-winning films address the struggles of Aboriginal peoples in Canada from their perspective, giving prominence to voices that have long fallen on deaf ears. An Officer of the Order of Canada, she has received multiple Governor General’s Awards, lifetime achievement awards and honorary degrees. (The Canadian Encyclopedia)
THURSDAY, JANUARY 26 – Alanis Obomsawin in Person: The Interview
7:30 – 9:30 pm
Arts Court Theatre, 2nd Floor of Arts Court, 2 Daly Avenue, Ottawa
$15 (+HST) Tickets available at the door and on sale here Seating for the interview on January 26th is limited. Get your tickets early! More info here
FRIDAY, JANUARY 27 – Screening of “We Can’t Make the Same Mistake Twice” with Alanis Obomsawin in Attendance
7 – 10 pm (doors open at 6:30 pm)
Theatre at Richcraft Hall (Formerly the River Building)
FREE! More info here
Michèle Pearson Clarke, “MJ and Louise” from the “It’s Good to be Needed” series, C-Print, 2013
An exhibit on how loss impacts life opens this weekend at Gallery 101
In viewing the political circus down south there is a concern that we are moving away from consideration of those deep emotions that make us human. The masses are reduced down to behaving with base emotions expressed either as primal rage or manic exhilaration. Initiatives that allow for reflection on what makes us complex as well as beautiful are increasingly important giving us a chance to flesh out what it means to be human.
WHEN: Saturday, January 21 @ 3 – 7pm with panel discussion at 4 pm WHERE: Gallery 101, 51 B Young St, Ottawa
“Loss is the collateral damage of life. All of us, regardless of social status, cultural background, or ideological affiliation, experience a sense of loss, whether it is a state of bereavement at the death of a loved one, the disappearance of an old self, the expiry of childhood, etc., the state of loss permeates our experience and becomes a contrast that enables us to recognize the goodness, to savor the memories, and to keep going.
Universal Loss explores the ways in which artists with various practices, lifestyles, and backgrounds deal with the theme of loss within the context of the contemporary moment. In a world so rife with nationalistic tribalism, instability, uncertainty and conflict, working through (and embracing) this sense of the contingent, makes us better able to deal with the world, with ourselves, and our fellows: friends and strangers alike.”
Image: Oo Aqpik “Crown for Sedna” 2016. Provided by Studio Sixty Six.
Countering celebrations of nationalism with alternate narratives.
Graduating just last year from Carleton University with a Masters in Art History, Rose Ekins has already made her mark on the Ottawa art scene with her ambitious programming at Studio Sixty Six, a commercial gallery located off of Bronson Avenue. Gallery owner Carrie Colton trusted Rose’s vision allowing her the opportunity to consider how a commercial gallery could also play a role in creating a space for art that wasn’t just about saleability but also about provoking tough questions. “I was able to carve out a mandate for myself” and that mandate includes diversity not only in the media that artists work in but more importantly cultural diversity and the stories that get communicated through the work.
In an effort to offer a counter-narrative to the stories of nationalism that will be getting lots of air time in the 2017 celebrations of Canada’s Sesquicentennial, Rose has curated KANATA 150? a show that questions what the celebrations are about and who the celebrations are for. Featuring predominantly Ottawa based artists, KANATA 150? is “a nod to the origin of the country’s name,” and “presents seven emerging Indigenous artists reflecting on the nature of “Canada 150”.”
Image: Barry Pottle “Creeping South.” Provided by Studio Sixty Six
One of these artists is Barry Pottle, whose work documenting the Urban Inuit experience has previously been featured on Mixed Bag Mag. Also, the work of fellow Inuk, artist Oo Aqpik, will be presented in this show that roots Studio Sixty Six’s 2017 provocative programming that will include emerging artists Florence Yee (Menu of Exoticism) and Kosi Nnebe (Coloured Conversations) later on in the year. Originally from Nunavut, Oo is “well known for her roles in the Inuit language programs in television, radio and recently a feature film documentary, Arctic Defenders.” Like Oo, the artists of KANATA 150 are working in the capacity of activists and ambassadors of culture. Their work is about communicating to Canadians that it is a great risk if Indigenous perspectives, on where this country is headed, are not moved to the centre of all national debates.
KANATA 150? opens tomorrow evening and promises to be an engaging way to start a critical year in Canada’s history. ARTISTS:
WHEN: Thursday, January 12 @ 6 – 9 pm WHERE: Studio Sixty Six, 202-66 Muriel Street, K1S4E1
Free – Bar & Food
Physically accessible building
This event is taking place on the unceded territory of the Algonquin Anishinabeg Nation
“The City of Ottawa and Government of Canada are celebrating the 150th anniversary of the Dominion of Canada with events, promotions, and other ambitious goals to increase Canadian pride and patriotism. These festivities are promoting both the history and future of the nation state confederated in 1867. Canada is a country built from settler colonialism, which leaves the question of how the Indigenous peoples of this land are meant to participate in these celebrations. KANATA 150? (January 12 – February 18), a nod to the origin of the country’s name, presents seven emerging Indigenous artists reflecting on the nature of “Canada 150”.”