Saturday night, due the national and local popularity of A Tribe Called Red, was sold out for the NAC Presents turns 5!event.The NAC basically turned their main foyer into a night club. The effect was brilliant. The NAC definitely knows how to throw a sexy #Decolonize party.
Mehdi Cayenne was also amazing bringing a francophone presence to the event. The importance of the evening was not lost on him and he got the crowd engaged in celebrating the diversity that Canada represents – but a diversity that needs to broaden to recognize First Nations, Inuit and Métis as significant contributors of culture.
Dancer James Jones charmed the crowd during ATCR’s performance combining breakdancing moves with hoop dancing. It was clear from the crowd’s reaction that contemporary Indigenous culture is celebrated and the impact is positive.
If you missed Saturday’s event you can still take advantage of the events the rest of the week. And if you are not in the Ottawa area the Art & Reconciliation Panel Discussion moderated by Truth and Reconciliation Commissioner Marie Wilson will be livestreamed at this link here.
TUESDAY – SATURDAY (January 12 – 16 at various times): Jack Charles V The Crown “Aboriginal. Actor. Addict. Residential School Survivor. Cat Burglar. Homosexual. Jack Charles is an Australian tribal Elder and a living legend. This highly entertaining and autobiographical presentation, which includes a three-piece band, runs the gamut of a life lived to its utmost, spanning Charles’ career as an actor/musician, a lifetime of political activism, and a terrifying descent into heroin addiction and petty crime. His experience as a stolen child echoes the plight of Canada’s own Indigenous people – and his heart-warming presence, generous spirit and unswerving optimism make his journey one of resilience and reconnection. Jack Charles is a theatrical marvel.”
WEDNESDAY (January 13 from 5:30 – 6:30 pm): Rita Joe National Song Project “Students from schools in Nova Scotia and Quebec will perform music they created based on Rita Joe’s I Lost My Talk poem.”
Mi’kmaq youth from ABMHS High School, Eskasoni, Cape Breton, N.S.
Algonquin youth from Kitigan Zibi Kikinamadinan School, Maniwaki, QC
Frances Joe, the daughter of poet Rita Joe
Moe Clark, Host and Multi Media Métis Artist
Alexander Shelley, Music Director of the NAC Orchestra
Annie Smith St-Georges, Algonquin Elder
Jessica Bolduc, 4R’s Youth Movement
THURSDAY (January 14 at 6:30 pm) : Art & Reconciliation FREE & LIVESTREAM! A timely panel discussion on art in the context of reconciliation moderated by Dr. Wilson, Commissioner, Truth and Reconciliation Commission of Canada, and featuring panelists Rachael Maza, acclaimed Australian theatre director of Jack Charles V The Crown, Joseph Boyden, author of the award-winning novels Three Day Road and The Orenda, and composer John Estacio. The panel discussion will be introduced by the Right Honourable Joe Clark. The event will be live streamed at nac-cna.ca/live. Guests to attend the event include Their Excellencies David Johnston the Governor General of Canada and his wife Sharon Johnston, Mrs. Sophie Grégoire-Trudeau, and National Chief Perry Bellegarde of the Assembly of First Nations.
THURSDAY – FRIDAY (January 14 – 15, 8 pm & 7 pm): I Lost My Talk “World premiere of I Lost My Talk, composed by John Estacio and performed in Southam Hall by the NAC Orchestra under the direction of NAC Music Director Alexander Shelley. This immersive, multidisciplinary work – based on the poem by the late Mi’kmaw elder and poet Rita Joe – was commissioned for the NAC Orchestra to commemorate the 75th birthday of The Right Hon. Joe Clark by his family, and features an extraordinary film produced by Barbara Willis Sweete.”
Legacy of Hope exhibit looks the impact of the Residential Schools opens tomorrow at the National Arts Centre
And finally from now until the end of the month the exhibit 100 YEARS OF LOSS: The Residential School System in Canada will be available for viewing from 2 pm onwards each day.
“This bilingual exhibition, created by The Legacy of Hope Foundation, raises awareness and understanding of the history and legacies of the Residential School System in Canada. Through archival photographs and documents, first-person testimonies, and evocative works of art, the exhibition encourages us to learn about this difficult history, to recognize its legacies in our country today, and to contribute our own acts of reconciliation.
Ghost Dance: Activism. Resistance. Art.
Ryerson Image Centre
6 – 8 pm
Runs until December 15
“Ghost Dance examines the role of the artist as activist, as chronicler and as provocateur in the ongoing struggle for Indigenous rights and self-empowerment.”More info…
Farandole: Perspectives on Western Canadian Metis Culture
Textile Museum of Canada
6:30 – 8 pm
Runs until November 14
“The exhibition’s title refers to a traditional French dance involving a chain formed as dancers hold hands, moving along in the leader’s path, captured in the cyclical relationship of collaboration, appropriation, and inspiration at the heart of Farandole. Exploring the ongoing connections between Métis and francophone culture, the exhibition offers a unique look at the continuum of high end fashion and traditional costume, storytelling, beadwork, weaving and embroidery. An innovative examination of 21st-century identity, Farandole reinforces the Textile Museum of Canada’s commitment to engaging experiences and creative practices that provide insight into our global context.” More info…
“Trade Marks presents a new generation of Indigenous artists who, through their various artistic strategies, challenge and interrogate working assumptions of who they are. The exhibition contributes to the recently revived conversation on what it is to be Indigenous in Canada today. It also considers how these artists have responded to the imposition of Western systems of classification on non-Western arts and how their artistic practices have been informed by methodologies of decolonization.” More info…
FYI – As Part of CULTURE DAYS curator Betty Julian will be giving a walk-through of the exhibit on Saturday, September 28 @ 2 – 2:30 pm. More info…
Manifesto’s Sacred Seven Art Exhibition& Heartist Pre-Show Panel Discussion
918 Bathurst St. (Dupont)
Panel Discussion (RSVP to email@example.com )
4- 6 pm
“HEARTIST A pre-show panel discussion and audience talk back about the growth of mentor-mentee collaborations in Canada, how they work, and add value to the health of the Canadian arts sector.”More Info…
Sacred Seven Art Exhibition
6 – 1 am
“The 7th Annual Manifesto Art Show will explore the notions of connectedness and evolution as we present thought-provoking works from over 25 artist across Canada and internationally.”More info…
Land|Slide Possible Futures
Runs until October 14
“Land|Slide Possible Futures is a groundbreaking large-scale public art exhibition which responds to a world in transition where the past, present and future collide. The landscape of Markham will be transformed by the work of over 30 national and international artists to explore themes of multiculturalism, sustainability, and community.”More Info…
For directions on how to get there from Toronto including directions for TTC & Free Shuttle Services from MOCCA on every Saturday starting September 21 as well as this Sunday, September 22 click here.
Lovesick Child: Âhasiw Maskêgon-Iskwêw, Leslie McCue, & Adrian Stimson
A Space Gallery
Runs until October 26
Opening Reception October 18, 5:30 PM – 7:30 PM
“Lovesick Child is Toronto’s first retrospective exhibition between A Space Gallery and the imagineNATIVE Film + Media Arts Festival on Aboriginal new media pioneer Âhasiw Maskêgon-Iskwêw. His work with the Canada Council for the Arts and the Banff Centre on a number of equity and new media initiatives such as Drum Beats to Drum Bytesin 1994 ensured Indigenous presence within the new territory of new media and the Internet.” More Info…
The True North strong and free where nature is cherished and everyone lives happily ever after (?)
This place country we call Canada is kind of a mixed bag. ‘Multiculturalism’ in theory sounds welcoming but in practice can be problematic and is often accompanied by language that renders people tongue-tied and inarticulate.
So it’s easy to leave the talking to logos, slogans, and flags or monuments commemorating memories that are more complex than snapshot on vacay allows. But if you are willing to listen the city speaks!
Why not take a tour right now? If you click on each of the images below you can find out more about the work that’s in the picture as well as the artists and how each piece deepens the dialogue of the narrative of this nation.
Mixed Bag Mag would like to thank all the Cultural Provocateurs encountered while in the Capital visiting the National Gallery’s exhibit Sakahàn and offsite partner events. When it came to food for thought you each provided an all-you-can-eat buffet and I appreciate the exchange of ideas.
Also it was a pleasure to meet one of the international Sakahàn artists’ Nicholas Galanin. Nicholas’ beautiful masks can be seen inside the exhibit but outside, for the next week or so, you can check out Nicholas carving out another commission at the back of the gallery right by Roxy Paine’s One Hundred Foot Line. Suggested donation for watching the performance of what I refer to as ‘artist chipping away’ – a double shot Americano.
Thanks as well to Amy from the UK for being the guinea pig upon which I practiced my tour guide abilities. And to my other bunk mate Candace – Welcome to Canada! May it be a wonderful new home for you!
Niigaan workshops use “blankets to represent the lands of what is now Canada, and the distinct cultures and nations which live on those lands to this day. Participants represent the First Peoples; when they step onto the blanket, they are taken back in time to the arrival of Europeans…the exercise goes through the history of treaty-making, colonization and resistance that resulted in the nation we today call Canada.”
“Anishinaabe prophecy tells of a time when two nations will join to make a mighty nation. These two nations are the original people of Turtle Island (today known as North America) and the settlers of this land. However, it is warned that this mighty peaceful nation will only be built if both nations choose the right path. We all must understand the history behind the current political and social relationship before we can begin the process of decolonization. The legal history includes the treaties of peace and friendship, the British North America Acts, Section 35 of the Canadian constitution, the Indian Act, and the legal duty to consult First Nations; all these agreements and legal documents influence our ability to go forward together on the right path. Our history is littered with forgotten events, either deliberately overlooked, or rationalized away somehow.” (cited from Niigaan’s website)
The day was divided into two panels moderated by independent curator and art consultant Betty Julian and The Power Plant’s new Artistic Director Gaëtane Verna. Each of the presenters shared how their curatorial practices began as intentional acts of defiance against issues regarding historical amnesia, nationhood, exclusion, gender and race.
When speaking about their show 28 Days: Reimagining Black History Month Pamela Edmonds & Sally Frater of Third Space Art Projects said that their motivation “arose from ambivalence that we had towards Black History Month and how it is usually disengaged from contemporary art. There is a typical [predicatable] aesthetic, the content usually reflecting on the subject of slavery.” Pamela and Sally also take issue with how Canada is often left out of the conversation on the Black Diaspora and 28 Days was a deliberate attempt to address this and bring Canada into the dialogue.
Vicky Moufawad-Paul, Artistic Director at A Space Gallery sees the gallery as a social laboratory and her curatorial practice is centred on the ability art has to communicate to its audiences and raise necessary questions. In “Blown Up: Gaming and War”, a provocative exhibit on war games, Vicky asks what happens when the subject finds that they are occupying a contradictory position. One of the works in the show, Weak by Mohammed Mohsen “is a poetic exploration of the architecture of gaming and its impact on a colonized subject who grew up playing these games. Having experienced one of the few ineffectually censored access points to western media in Saudi Arabia in the 1980s, Mohsen suggests ways in which video games were a troubling source of pleasure and political anxiety.” (cited from www.g101.ca)
For Gita it was the personal political that pushed her into curating. “I came to curating because there was a lack of Iranian women but there was a lot of talk about us but not by us.” As an artist, out of necessity, she began to self-curate and says that the “serious separation between artist and curator is a questionable proposition for me.” Is it time that we see more artists like Gita take up a hybridized role of artist / curator? Judging by the presentations of the panel this is already happening. Along with Gita, Camille Turner and Crystal Mowry, Senior Curator at Kitchener Waterloo Art Gallery, also spoke of how they move from artist to curator and back again depending on their project needs.
Camille opened her presentation by asking “why is Blackness still a surprise in Canada?” Good question. Her projects, regardless of the role she takes, are about “locating discarded narratives” as well as challenging our “Nation’s foundational narratives.” Camille’s project Hush Harbour arose from thinking about how space reveals and conceals.
“HUSH HARBOUR is a SonicWalk that incorporates sound, walking through space and listening through headphones to (re)imagine Toronto’s Black past and to remap Blackness onto the Toronto landscape. HUSH HARBOUR transforms the space that currently hides the Black presence and enables participants to travel back in time. Sound is recorded binaurally and creates an immersive three-dimensional world in which to explore the Black experience.” (cited from www.camilleturner.com)
Crossing borders with honest talk about settlers, migrants and Indigenous populations.
The entangled question of how settler / migrant / indigenous dynamics play out in reality against Canada’s well branded status as a progressive Multicultural society was raised by panel members. Srimoyee Mitra, current Curator of Contemporary Art at the Art Gallery of Windsor and former Program Coordinator at SAVAC (South Asian Visual Arts Centre) related that upon coming to Canada as an international student she was confronted with this clear fact – Canada’s “open” society had closed off and concealed narratives below the surface. In her current curatorial endeavour at AGW she explores the contested spaces that geographical borders can become and how in the context of North America’s Indigenous Peoples the creation of the US / Canadian Border fixed fluid populations to a static location / nation slicing through established communities and family lines.
“Taking place annually from 2013 – 2015, Border Cultures is an exhibition-in-progress, conceptualized as research-based platform for artists and cultural producers to explore and examine the border through different lenses: Border Cultures: Part One (homes, land) in 2013; Border Cultures: Part Two (work, labour) in 2014 and Border Cultures: Part Three (security, surveillance) in 2014. The objective of this series is to mobilize and connect the ongoing critical dialogues on national boundaries in Windsor, with multiple and diverse narratives and experiences of border contexts in different parts of the country and the world. Border Cultures: Part One (homes, land) brings together artists working locally and nationally with those exploring these issues in Ireland, Mexico, Palestine to list a few. Using drawing and printmaking, sculpture and photography, video and sound-based installations, artists in this exhibition develop nuanced critiques and perspectives on questions of nationhood, citizenship and identity in the border-lands” (cited from www.artgalleryofwindsor.com)
Putting theory into practice and walking the talk.
It’s not only the programming in the galleries that needs to be revisioned but also the programming in academic institutions. The discourse that occurs in educational settings can filter out into the practice of alumni to have tremendous impact. Programs like OCAD U’s Indigenous Visual Culture Program allow both Aboriginal and Non-Aboriginal students to benefit from the rich artistic history and core values of Aboriginal Peoples.
It is gatherings like these that allow us all to explore language and collaborate on stringing together the words that best express our ideas. It is also in these types of spaces where we are able to see how the cross-cultural nature of artistic expression in Canada has given us a visual legacy that is incredible in its depth. The presentations by curators Yan Wu of Gendai Gallery and Tamara Toledo of LACAP (Latin American-Canadian Art Projects) showcased wonderful portfolios of work by Asian Canadian and Latin-American Canadian artists but in the time allotted they only scratched the surface.
Softening the silos and creating more cross over communication.
Not just about cultural diversity, this event was also about encouraging a multiplicity of professional voices to be heard by softening silos within the institutions as well as igniting dialogue between all types of art spaces. Keynote speaker Dr. David Dibosa’s call to action was to “bring together your skills” as employees of institutions, community activists in artist-run-centres and independent curators, for it is in these overlapping perspectives we can locate the new directions and the right solutions. He also encouraged the audience to go even further outside the comfort of disciplinarily silos. “Don’t reach for solidarity [with your professional community], go beyond!” Part of the team who executed the research on the groundbreaking project Tate Encounters, Dr. Dibosa related that even the “intelligence of the cleaners and the guards” is important as they “have expertise on the exhibitions that is unique.” In other words, for cultural centres and curators to truly reflect the value of their public they must go broad in their inquiries. Dr. Dibosa feels that it is “only with this detailed knowledge we will ensure that the dialogue will reach and we will hear what needs to be said.”
An organization already doing this well is Manifesto, a not-for-profit community-based arts organization that believes in the transformational power of art. Manifesto’s Visual Art Director Ashley McKenzie-Barnes gave great ideas as to how get an audience engaged. Taking advantage of new technologies the Manifesto team encourages attendees to submit post-event digital evaluations. They also utilize low-tech traditional town hall meetings to get important feedback. By doing this Manifesto has been able to galvanize their audience, extend their brand and produce great programming relevant to their community.
Reflecting back on the entire day and the words of each presenter, MIXED BAG MAG was encouraged that in Canada we have a wealth of professionals who approach their practice with rigor and the intention to be self-reflexive, collaborative and inclusive. Quoting Dr. Dibosa “the challenge of democratization is how do we reflect the values of our audiences and [ensure] that their voices are continually heard?” Monday’s event demonstrated that Canada’s new breed of curators is up for that challenge!
Images of Dr. David Dibosa and Manifesto by Leah Snyder for Mixed Bag Mag.
Sheylla by artist Fabrice Landry is the final face that Mixed Bag Mag is showcasing for the Faces of Artist Project Toronto series. A textural work, the backdrop for Sheylla was scored by Fabrice when he discovered the discarded wood awaiting the trash at the school he teaches at. Years of scribbles and scrawls etched into the surface by teens in love, in hate, confused, or inspired made one man’s junk this artist treasure as it spoke to real crises and identities of the kids he taught.
The final image of Sheylla, one of his students, was painted onto the board using Liquid Paper but instead of whiting out what lays beneath, her face is translucent allowing all the hidden stories to filter their way through.