OPENING TOMORROW @ CENTRAL ART GARAGE: For NAC’s #CanadaScene the 007 Collective of #Ottawa based #Indigenous #artists responds to #Canada150


“It’s Complicated” artists portraits by Rosalie Favell.

IT’S COMPLICATED – Indigenous artists respond to Canada’s Sesquicentennial.

I have been looking forward to this show ever since I first heard the rumour it was going to be happening! Ottawa is home to a great community of Indigenous artists and as part of the National Arts Centre’s Canada Scene the 007 (Ottawa Ontario 7) will be showing at Central Art Garage, a small but mighty gallery located in Chinatown.

This is not the first show for 007. Artist Barry Ace started the collective as a way to create shows that were not curator focused but driven by the decisions and the desires of the artists.

The Ottawa Ontario 7 (OO7) are a group of Ottawa-based emerging, mid-career, and established artists who have come together as a collective for the sole purpose of presenting new work outside of the established curatorial practice and traditional institution art venues. The collective’s philosophy is unrestricted and provides each artist with the freedom and flexibility to take risks, experiment, or present works that are an extension of their current body of work. (read more…)

This year is the collective’s 5th year anniversary. Over the last 5 years 007 has shown in various venues in Ottawa but also at the Gladstone Hotel in Toronto as well as Five Myles Gallery in Brooklyn, New York. Each location the artist list changes to include Indigenous artists practicing in that particular city.  And at each show new artists are given the role of “special agent.” This year the role goes to Barry Pottle, Joi T. Arcand and Meryl McMaster. The other artists featured:


Joi Arcand, kiyām, neon chanel sign, 40.5 x 18, 2017 (www.centralartgarage.com)

This year’s show is in response to #Canada150. Along with the opening there will be a panel discussion and film screening. The panel “will reflect on the five-year anniversary of the OO7 Collective and Special Agents, including their formation and exhibition history. The artists will also share their personal views and response to Canada’s sesquicentennial celebrations in 2017 through a poignant discussion on their works of art in the Central Art Garage exhibition It’s Complicated.”

To Indigenous peoples of this land, from coast to coast to coast, 150 years represents a very minuscule passage of time, especially in terms of the longstanding presence and occupation of homeland territories. Yet this seemingly fleeting moment in time is monumental in its impact on Indigenous communities, culture, language, identity, rights, water, and land.

This exhibition by 10 Indigenous artists working in diverse artistic practices offers an alternative perspective to the widely propagated Canada 150 celebrations by revealing timely and poignant aspects of the convoluted historical and contemporary relationship between Canada and Indigenous peoples. If there is any room for celebration in 2017 from an Indigenous perspective, it is a celebration of survivance, tenacity, and perseverance. It’s a complicated celebration. (read more…)

 

SCHEDULE: 

4 PM PANEL DISCUSSION

The panel will include artists Barry Ace, Howard Adler, Rosalie Favell, Meryl McMaster, Ron Noganosh, Frank Shebageget, and Leo Yerxa.

7-10 PM OPENING

Please join the artists for a sneak preview of the exhibition following the discussion. Food and beverages will be available for purchase, hosted by The Belmont restaurant.

9 PM SCREENING

Special Guest Outdoor Film Screening by Howard Adler (Co-director of Asinabka Film and Media Festival)

The exhibition opening will include a screening of a new film work by Howard Adler at 9:00 p.m.

Join the Facebook Event Page for more info.

Happening now: Installation of Barry Ace's Kitchi Zibi Omàmìwininì Anishinàbe. OO7 Collective, It's Complicated….

Posted by Central Art Garage on Tuesday, June 13, 2017

OTTAWA TOMORROW: “Kanata 150?” critiques #Canada150

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”.”

More info on the Facebook Event Page.

Follow Studio Sixty Six on Facebook, twitter and Instagram.

Image: Krystle Retieffe “Through the Looking Glass – 150 Years” 2016. Provided by Studio Sixty Six

NO SLEEP TILL IN BROOKLYN: Mixed Bag Mag Joins Ottawa Collective “007” at Five Myles

old style typewriter with the words Surveillapocalypse

 “Surveillapocalypse” with artCodex and 007 looking at issues of surveillance. 

Today I leave for the Big Apple with local Ottawa talent 007 to join up with the Brooklyn based collective artCodex for their collaborative show Surveillapocalypse.

“For “Surveillapocalypse” Brooklyn-based art collective artCodex invites Canada-based Native American collective OO7 to collaborate on an exhibition on building trust between communities in the face of a security obsessed society and the ever-increasing surveillance that goes along with it.

This exhibit showcases collaborative work from the two collectives, including a public poster campaign and an interactive community response installation. A screening of several video works will be held on Sunday, June 8.”  Read more…

While in NYC the schedule is packed out!

THURSDAYNew Museum, MoMA, and The Smithsonian’s  the National Museum of the American Indian Museum

FRIDAYThe MET, The Guggenheim & Mixed Bag Mag takes on Manhattan!

SATURDAYThe Studio Museum Harlem, Kara Walker at the Domino Sugar Factory, and the opening reception for Surveillapocalypse

SUNDAY – The Brooklyn Powwow, Surveillapocalypse screening & more exploring in Brooklyn…

old style typewriter with the words SurveillapocalypseInuk artist Barry Pottle’s Keeping Tabs. Part of the poster series for Surveillapocalypse.

 

INUIT IN OTTAWA: Foodland Security, A Taste of The (Edible) Arctic & How To Do Away With Cultural Prejudice While Having Fun!

Antique image of Inuit family, mother, little child and father with traditional clothing Iñupiat family from Noatak, Alaska by Edward Curtis, 1929. Creative Commons. 

Systems Thinking as the Solution. 

The recent #Sealfies hashtag campaign that has trended in response to Ellen Degeneres’ call to arms against the seal hunt demonstrates how out of touch the dominant culture is when it comes to making an informed evaluation regarding people’s (often necessary) lifestyle choices. When communities live off the land they must apply a sophisticated ‘systems thinking‘ approach in the way they engage with the spaces they inhabit because the systems – seasonal, migratory, biological and social – interact and are relational to each other. Disregarding them could result in a community perishing.

The Western approach tends to ignore the systems. It’s why we have developed a taste for out-of-season strawberries on demand and been lulled into thinking ‘Vegan Leather’ is an environmentally sound option. Advertising is the ‘smoke and mirrors’ that makes us feel good about our consumer choices.

While Ellen, one on hand, galvanizes her audience against animal cruelty, on the other hand, she is one of the faces of Cover Girl Cosmetics, owned by Procter and Gamble. Enough said.

As the saying goes ‘don’t fix what ain’t broken’.

On March 18 in Ottawa local members of the Inuit community staged a demonstration with a stylish twist – a fashion show. The cat walk was the steps of Parliament Hill and the show raised awareness about all the ways seals are utilized in Inuit culture – from food, to fuel, to clothing. Even the bones get used as tools, children’s games and art. When it comes to the life-cycle assessment of the products that are derived from the seal the Inuit perfected the cradle-to-grave approach thousands of years ago.



Above images by Barry Pottle as well as image below left.  

The American (& unfortunately Canadian way) is to service one system – the economy – at the expense of all others. We see this represented in the food that has become symbolic of North America’s culture – burgers, bagels and pizza. This is a culture represented by food that is fast, cheap and easy and often processed using factory farmed meat and GMO wheat. It’s all about the dough. And we can’t seem to get enough.

“Avoid Cultural Prejudice”.

Signs held up at the protest promoted seals as a food source that is local, sustainable, and not genetically modified. Westernized foods need to be flown into the region from the south resulting in inflated prices that make healthy eating inaccessible. People are quite literally starving while fossil fuels pollute in the process of distribution.

Food that is fresh, healthy and whole is deeply satisfying because along with the nutritional value it offers emotional sustenance. When Inuk artist Barry Pottle set out to document Inuit food production for his project Foodland Security he also documented people’s responses to ‘country food’ from the North and the way it makes them feel. For Urban Inuit living in the south it connects them back to memories of family, friends and home.

“Country food means maintaining the good health that I was brought up with from birth. It means that I get to eat the freshest and purest forms of vitamins, minerals, and nutrition. If I don’t eat it, I get weak and sick.”

“The satisfaction of eating country foods cannot be described. There is a spiritual and cultural charge that comes from eating country food – especially caribou.”

“Appreciation is always expressed to the hunter who harvested the catch, and to God when receiving country food, while eating, and after.”

Needless slaughtering by those living outside of the community for the sale of skins on the global market is a tragedy that should be addressed, as it perpetuates the devastation of the very ecosystems that nurture an environment where the seal can thrive. It also supports a larger system that strips Indigenous peoples of their right to self-determination. Living off the land is very different than taking without being thoughtful of the gifts nature has provided.

Approaches like Ellen’s tend to take the patronizing know-it-all stance without much actual investment in the community she is negatively impacting with her words. Another approach would be to get a sense of the culture! Starting today, Thursday, April 3 until April 7 the Edible Arctic Festival is on at the Museum of Nature and on Monday Inuit Tapiriit Kanatami is hosting the gala Taste of the Arctic at the National Arts Centre.

Click here for the full Edible Arctic Schedule and here for details on Edible Arctic After Hours Party this coming Saturday night.

Barry Pottle’s Foodland Security photographs will be displayed at the Museum of Nature for the duration of Edible Arctic Festival.

For more information in Inuit Tapiriit Kanatami’s A Taste of the Arctic click here.

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Sanitizing the Kill.

Sign Change.org’s petition against Procter & Gamble’s animal testing here. Animal cruelty in the beauty and hygiene industries is executed behind the closed doors of the laboratory. This technique sanitizes the kill. We think it’s not happening because we can’t see it but everyday billions of dollars are poured into industries that are intentionally and needlessly causing long term suffering to animals. IF we are speaking of systems, this one is archaic and everyday we support it with our dollars.

Cited from Change.org:

You’re funding and supporting animal testing every time you purchase one of these brands owned by P&G.

Cosmetics: Anna Sui, CoverGirl, Dolce Gabbana, Max Factor, Olay
Deodorants: Old Spice, Secret, Sure
Hair Care: A Touch of Sun, Aussie, Clairol, Fekkai, Head & Shoulders, Herbal Essences, Hydrience, Infusium 23, Lasting Color, Loving Care, Men’s Choice, Natural Instincts, Nice ‘n Easy, Pantene, Pert, Physique, Rejoice, Sebastian Professional, Ultress, Vidal Sassoon, Wella
Fragrances & cosmetics: Anna Sui, Baldessarini, Boss/Hugo Boss, Bruno Banani, Christina Aguilera, Dolce Gabbana, Dunhill, Escada, Giorgio of Beverly Hills, Ghost, Gucci, Helmut Lang, Herve Leger, Lacoste, Naomi Campbell, Old Spice, Puma, Valentino
Laundry and Cleaning: Ace, Ariel, Bold, Bounce, Cascade, Cheer, Comet, Dawn, Downy, Dreft, Dryel, Era, Febreze, Gain, Ivory, Ivory Snow, Joy, Mr. Clean, Swiffer, Tide
Oral Care: Crest, Fixodent, Gleem, Oral B, Scope, Whitestrips
Sanitary Products: Always, Prilosec OTC, Tampax
Shaving Products: Bran, Fusion, Gillette, MACH3, Prestobarba/Blue, Venus
Skin Care: Clairol, Clearstick, CoverGirl, DDF, Fekkai, Gillette, Max Factor, Noxzema, Ohm, Olay, SK-II
Soap: Camay, Ivory, Safeguard, Zest
Companion Animal Products: California Natural, Evo, Eukanuba, Healthwise, Iams (www.iamskills.com & www.iamscruelty.com), Innova, Karma, Mother Nature, Natura Pet Products
Food and Beverage: Folgers, Home Cafe, Millstone Coffee, Pringles, Torengoes
Paper Products: Bounty, Charmin, Puffs
Diapers and Baby Care: Luvs, Pampers
Batteries & Electrical Goods: Braun, Duracell, Gilette
Drugs & Health aids: Actonel, Align, DayQuil, Fibersure, Metamucil, NyQuil, Pepto-Bismol, PUR water filtration system, Sinex, Thermacare, Vicks

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Click here to read about how the economics of fashion has created a system of production that is polluting waters around the world but doing irreparable damage to China.

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