The Curators and Conservators who worked on the new Canadian and Indigenous Galleries speak on their work.
This week the new Canadian and Indigenous Galleries has opened. To celebrate the occasion the NGC is offering tours all day Saturday with the experts who make things happen at the Gallery. All tours are free with admission.
SCHEDULE OF TOURS
10 AM KATERINA ATANASSOVA: Senior Curator, Canadian Art
Room A105 (English with Bilingual Q & A)
Join Katerina Atanassova, Senior Curator, Canadian Art, as she talks about the new installation of works by the Group of Seven and Tom Thomson and provides insight into the artists who shaped the Canadian art landscape in the early 20th century.
11 AM CHRISTINE LALONDE: Associate Curator, Indigenous Art
Room A101 (English with Bilingual Q & A)
Meet Christine Lalonde, Associate Curator, Indigenous Art, as she talks about the Gallery’s new installation of Indigenous art and provides insight into the Indigenous cultures who created the works on view.
12 PM JONATHAN SHAUGHNESSY: Associate Curator, Contemporary Art Room C218 (English with Bilingual Q & A)
Join artists Damian Moppett and Ron Moppett as they discuss their work and exhibition with Jonathan Shaughnessy, Associate Curator, Contemporary Art.
2:30 PM DORIS COUTURE-RIGERT: Chief, Conservation & Technical Research Room A102 (English with Bilingual Q & A)
Join Doris Couture-Rigert, Chief, Conservation and Technical Research, as she address the challenges faced in conserving, restoring and displaying works of art in the Canadian and Indigenous Galleries
3:30 PM GENEVIÈVE SAULNIER: Conservator, Contemporary Art
Room B205 (French with Bilingual Q & A)
Join Geneviève Saulnier, Conservator, Contemporary Art, as she address the challenges faced in conserving, restoring and displaying works of art in the Canadian and Indigenous Galleries.
The National Gallery of Canada opens its doors to a changed story of Canada.
Last night the National Gallery of Canada previewed the new hanging of the Canadian and Indigenous Gallery to members. Today the gallery is open to the public and FREE for the full day. This is a great opportunity to see the NGC’s reinterpretation of their space.
FROM THE NATIONAL GALLERY OF CANADA:
In these transformed galleries, the remarkable stories that have shaped our land are told through art. Beginning with art from 2,000 years ago, and ending with abstract painting in 1960s Canada, this presentation features masterpieces of Canadian and Indigenous art. See renowned works by artists such as Tom Thomson, Emily Carr, Norval Morrisseau and Daphne Odjig, as well as new acquisitions, including works by James Wilson Morrice and the stunning Naskapi
Also on view are thematic displays that explore the magnetic north, inhabited landscapes, Canadians abroad, and the emergence of Inuit art: a true testament to the rich and multifaceted Canadian experience. (read more…)
So much hard work and care has gone into these transformed spaces. Congratulations to everyone who was involved in an important conversation!
Denesuline and Saulteaux artist Alex Janvier’s paintings depict vibrant worlds.
I believe we are all given moments in life where if we pause to be still and present we will know that we have witnessed something truly extraordinary. In the expansive space of the Great Hall of the National Gallery of Canada last night, those of us that were there had the opportunity to feel the burden of history momentarily lifted by the presence of someone who has dedicated his body, mind and soul to beauty and to the upholding of his culture.
The crowd that came out was as expansive as the space. NGC Director Marc Mayer said that he had never seen the place so full for any previous opening. The turnout illustrated how well respected this internationally known artist is and affirmed the place that Indigenous artists hold in the consciousness of the Canadian public.
At 81 years of age, Alex Janvier is a living legend. His paintings are vibrant expressions of dark emotions transformed via vivid memories of his culture that stayed located inside him despite being sent away to residential school. He spoke of his memories of women doing quill work and beading and the “special Friday from 2 to 4” where at school the children were given a few hours to paint. “It was the only time I could express what was down deep within and go back to the creator I believe in…go back to the inside of the little boy…where I wasn’t scared.” He went on to say that in his paintings “you will see what I talked about [the experience of residential school] but also the liberation from it.”
He shared these words on the same day as the US celebrate the arrival of the pilgrims on Plymouth Rock. On thanksgiving eve, in the twilight of the night fall, the backdrop of the American Embassy and Canada’s Parliament Hill was lit up and seen through the glass enclosure of the Great Hall. Ministers and MPs came out to express their admiration. An honouring song was sung. Dances performed. The word reconciliation uttered on more than one occasion.
Has Canada arrived at a new place in time? Has something changed? Perhaps reconciliation is less about a future moment to arrive at and more about a process to begin at.
Last night what we witnessed was the spiritual tenacity that comes from thousands of years of culture stretching back farther than the concept of ‘the West.’ Alex has spent his life time tapping into that “source” as he calls it. What he gave to us all was a gift, pointing to an imagined future in these troubled times. “I believe that this moment is meant for all of us to be here.”
If we accepted his gift, we experienced grace – one moment in a lifetime that has the possibility to change us all.
The exhibit runs through until April 17, 2017. More info on the Alex Janvier exhibit here.
Join curator Greg Hill in conversation with Alex Janvier Saturday, November 25 at 2 pm at the National Gallery of Canada. More info on the Facebook Event Page. Admission is FREE for all.
Charles, or “Chinni Charlie” as he is known to his family, was born in 1839 but despite the 175 years we are removed from his physical presence on earth his spirit continues to speak through the hands of his great grandchildren.
Charles Edenshaw. Sea Bear Bracelet, late 19th century silver. McMichael Canadian Art Collection. Photo: Trevor Mills. Image courtesy The National Gallery of Canada.
The exhibit is housed in the galleries that are usually reserved for the Inuit Collection. This intimate space is well suited for the story of Charles and the family ties that are presented in the exhibit. As you read through the information provided you understand how important family was to him and how important he is today to his descendants that refer to him by the Haida word (Chinni) for grandfather.
When you turn left to enter into the first room of the exhibit you are met with a piece that spiritually roots the work. It is unlike the rest of the collection of platters, hats, walking sticks, and silver spoons that look as pristine as if they have come fresh from the artist’s hands. It is a cradleboard that Charles youngest daughter, Nora, identified as being hers and may have also been used for his other three daughters – Emily, Agnus, and Florence – who came before. It is worn down with the wear of practicality from safely securing babies to backs. Simply carved and embedded with abalone shells, it starts off an exhibit that includes work by the men who are descended through two of these women – James Hart and Robert Davidson.
Just beyond the cradleboard is a fantastic Transformation Mask by James who is also the hereditary Haida Chief. On the other wallNangkilslas: He Whose Voice is Obeyed is the other Transformation Mask by Robert that bookends a bentwood chest attributed to their great-great-grandfather. A photograph on the wall beside Robert’s mask shows the one by their Chinni which inspired both of them as master carvers. Now too fragile to travel with the exhibition the strength of his descendants skill fills the void left by its absence.
Transformation Mask, circa 1882-1890: wood, bird feathers, animal fur, pigment, leather copper. / VANCOUVER ART GALLERY
“Chinni Charlie “wished he could leave his hands to us” meaning he wanted to leave his talent to his family. In the end he did. The ones who carry on in the family like to say that “we get it from Chinni Charlie and Nonni Isabella – it runs in the family.”
Nonni Isabella was Charles wife, known also by her Haida name Qwii.aang. A talented artist in her own right, the exhibit showcases the work that she did with Charles, her partner in life and art.
Her skill as a basket and hat weaver using spruce root can been viewedup close and personal. The exhibit includes many examples of her work woven with tedious precision. Charles would paint her pieces infusing them with more layers of meaning to teach the “Haida Way”. These beautiful objects also speak to the relationship between spouses who were creatively inspired by each other’s talent.
Charles and Isabella Edenshaw (attr.). Eagle Hat, c. 1890 spruce root, paint. Museum of Anthropology, The University of British Columbia. Photo: Trevor Mills. Image courtesy The National Gallery of Canada.
In this generation the spirit of Nonni Isabella is embodied in her great-great-granddaughter Lisa Hageman Yahgulanaas. Lisa is a talented textile artist who “weaves in the geometric style of weaving known as Yelth Koo or Raven’s Tail” embracing the complexities of the art form as her Nonni did.
Charles Edenshaw (attr.) Model Pole, c. 1890–1905. Argillite. Image provided by the National Gallery.
A cultural strand was not severed.
The night of the opening you could witness the thread of Charles’ legacy stitching the past to the present as family members from the temperate West Coast arrived to the chilly winter of Ottawa to be present and pay their respects.
When I ask artist Michael Nicoll Yahgulanaas to tell me what is important about his Chinni’s work when viewed in acontemporary context he replies:
“my great grandfather worked in one the most important traditional styles, the tradition of innovation.”
Long before Picasso happened upon the African masks that inspired him to produce a radical new style of painting, Charles was soaking up what arrived in his world that was ‘exotic’ and foreign to him. Reading the newspapers and books that landed in his lap from faraway lands, he would cut out what interested him to hang like an inspiration board on the walls where he worked. Animals not indigenous to the terrain of Haida Gwaii, like elephants and lions, started to make appearances in his work but with an incorporation that seemed natural when viewed amongst the Haida symbols.
Not only did Charles break new ground with regards to hybridized content but he experimented with materials, like gold and silver, introduced during the Colonial expansion. He incorporated the new with the traditional materials and was able to confidently shift from wood, to metals and then on to argillite as evidenced by the wonderful platters contained in the exhibit. These platters, made of the black slate that was locally quarried yet still labourious to obtain, are transmissions of the oral traditions that still survive in these (post) post modern times.
This contemporary legacy goes beyond family to include so many carvers working today. Tlingit artist Nicholas Galanin recalls how his first instructor (Louis Minard) was taught by A.P Johnson, an artist who had some point learned at the hands of Charles. You see the substantiation of Charles in Nicholas’ work. One of his recent creations is a beautifully carved piece titled Indian Children’s Bracelet, a deceptive title for what it really is – child sized handcuffs used to restrain Aboriginal children who were being separated from their families and taken off to schools. (Read more here.)
Indian Children’s Bracelet. Hand Engraved, Iron. Nicholas Galanin. 2014. Image courtesy Nicholas Galanin.
The Indigenous traditions of the Pacific West Coast, like carving and weaving, have continued to influence the international art scene and the work of Nicholas as well as Charles’ familial successors – Robert, James, Michael and Lisa – are part of collections around the world. But this is nothing new. Even in his time, Charles was recognized widely. In 1902 the ethnographer C.F. Newcombe declared Charles to be “the best carver in wood and stone now living.”
Almost two centuries of international influence! This would be remarkable for any family but the fact we are even able to experience the work is nothing short of miraculous. Charles lived through not one but two small pox epidemics that claimed almost the entire Haida population. The odds were that he should not have survived let alone gone on to thrive as a celebrated artist with an extensive family still practicing in the traditions he learned from his own elders 200 years ago.
Along with the almost complete loss of a people, the traditional ways of being were forced to go underground. The Anglican missionaries condemned the practice of tattooing the Haida clan symbols on skin so bracelets instead of bodies became the place where one could claim their identity. In 1884 the Potlatch was banned and a thriving culture almost came to a halt but was not fully annihilated. Somehow that thinning cultural strand, weakened by ‘progress’ and British expansion, was not entirely severed.The combined four hands of this couple stitched, built, and carved a new path to Sovereignty. They did this all while raising their children – 11 in all.
Today we prosper from the richness they left behind and the talent passed forward.
The Charles Edenshaw exhibit is a love letter to a grandfather, a creative collaborator and a spiritual mentor. This exhibit is a family tale that can inspire us all.
The exhibition ends Sunday May 24 at the National Gallery of Canada, Ottawa. For exhibit hours click here.
More information on the Charles Edenshaw exhibit can be found here.
Created with graphites, crayon, watercolour, ink pen and brush, rice paper and canvas support “Papered Over” is a work Michael writes was “inspired by the winter light on clear days in Calgary Alberta will in residence at Mont Royal University.”
Work by Larissa Healey and Corey Bulpitt (great-great-grandson of Charles Edenshaw) at Sakahàn, The National Gallery of Canada. Image by Leah Snyder for Mixed Bag Mag.
Along with Larissa, Corey explains his process for the above work commissioned as part of last year’s Sakahàn, the National Gallery’s International Indigenous Art Exhibit.
“James Hart, great-great-grandson of Charles Edenshaw, and exhibition curator Robin Wright, discuss what makes the Charles Edenshaw exhibit at the National Gallery of Canada, so special.” View on Youtube here.
The Three Watchmen by Chief James Hart on Sussex Drive in front of The National Gallery of Canada. Image by Leah Snyder for Mixed Bag Mag.
When the curators working with the National Gallery of Canada came together to plan Sakahàn, the largest exhibition of Indigenous work ever held, they couldn’t have known that right before the Spring ’13 opening there would be a political movement that would globally link people in solidarity with Indigenous movements around the world.
And as the Harper Government amped up its campaign of greenbrain-washing this country, a reactionary plan came together quickly because the seeds of change were already being watered and nourished and were ready to bloom.
And blossom they did! The internet was the fertile ground beneath the virtual commons where everyone who wanted to participate could look, listen and learn.
I felt I had a kind of empowerment that I never had before. I could have a say in what was happening in Canada now and play an active part in envisioning what it can become in the future.
I also felt the grounding that hope gives when you know that there are so many people out there who are willing to be uncomfortable for the sake of protecting the land.
Data collection allows for metrics around keywords and hashtags but what cannot be fully quantified are the relationships that have been made because of people coming together around a cause. A system of roots has now spread across cyberspace.
And those roots don’t just exist online. A year after Idle No More started I find that it’s hard to imagine my life without the people I have met due to the divine timing of a political movement, an art exhibit, and computer technologies that allow us to find each other.
Throughout my journey this year I have encountered many who recognize that something important is happening – things have changed, the time is ripe.
The Anishinaabe prophecy of the 7th Fire speaks of an era when people of all races and faiths will unite in an effort to direct the evolution of humanity towards an existence that chooses spirituality over materialism.
I believe that no matter our background we can understand this to be true as well as appreciate the importance of the timing – we have to pick a path.
An organization that works toward facilitation around moving forward with strengthened relations between Indigenous and Non-Indigenous Canadians is Niigaan In Conversation. On March of this year, Niigaan held its first event to a packed out house! Sensing a need for constructive dialogue around Treaties as well as a welcoming space for Non-Indigenous people to learn about Canada’s troubled history Niigaan offered a much needed service in the months following the start of Idle No More.
The legacy of their hugely successful inaugural event lives on because of its accessibility online but the great news is if you want to have a chance to experience the energy of Niigaan in person this coming Tuesday December 10 in Ottawa, on unceded Algonquin Territory, Niigaan is offering us all a chance to celebrate a year of change, begin more new relationships and continue building a plan around solidarity.
Sowing the seeds of change in programming for youth.
All of us have a story or two about a moment that was magical and breathed life into the parts of our mind that weren’t aware that we could dream so big.
Ottawa based Anishinaabe artist Melody McKiver tells of her mother, as a teenager, meeting Daphne Odjig – one of Canada’s great artists. Her father had taken her to an exhibit in Dryden, in the mid-70s. That chance encounter, although short, was powerful and pivotal in her mother’s life because she never knew that a Native woman could aspire to what Daphne had become.
If you can’t locate yourself in the faces of the makers of culture it may be impossible for you to know that the light inside of you has the potential to shine bright. Which is why programs like Sakahàn Youth are so critical. We won’t understand the full generational impact of Sakahànon the Canadian cultural landscape for a long time but I don’t doubt it will be pivotal for this country.
LARA – “She was a young girl who had participated in the Sakahàn summer camp tours. I explained to the youth about “Āniwaniwa” and how a building that the community had a special connection to was overtaken by a flood. This flood was created by industry people in New Zealand who needed a hydro-electric dam to produce energy for the diamond mine they were putting in. She cried because I related it to losing Wabano Centre for Aboriginal Health or the Odawa Native Friendship Centre and having love for a building. [The loss of that building would mean] not being able to practice your culture or traditions or have community gatherings anymore “because, what if the Ottawa River covered it all?” like the Waikato River in Hora Hora did? It was an example of how much this can affect our next generation. The very next visit, she was explaining to a new summer camp youth about Brett Graham’s “Āniwaniwa” piece – she was confident and she wasn’t crying, she was participating and had learned a little piece of Indigenous history.”
Maori artist Brett Graham’s “Āniwaniwa” is one of the moving installations at the National Gallery that communicates, in an aesthetically stunning way, a painful memory. I doubt that there is a single work included at Sakahàn that doesn’t touch on deep pain but with 150 pieces by over 80 Indigenous artists from 16 countries it is clear that there is a growing global movement to express and explore the best way to communicate the legacy of trauma to audiences of all backgrounds.
While visiting Ottawa from New Zealand Brett Graham had a chance to lead a workshop with the summer camp kids. With incredible experiences like this, where the youth are up-close and personal with some of the leading international artists of our time, they get the chance to have many magical moments.
The spark created by Sakahàn will give our youth the chance to go on to create a new cultural legacy for this country. It’s going to be amazing to see the artistic fruits that these children grow.
As well as partnership programs with the Ottawa Aboriginal Coalition:
Sakahàn Youth Summer Camps
Concentric Circles – Artists stay at 3 local reserves (Kitigan Zibi, Pikwàkanagàn, Akwesasne) for 1 week
Sakahan School Programs – this program will continue past Sakahan’s closing date of Sept 2 into the school year.
More than several times a day my heartbreaks as I watch what comes through my Facebook feed, like today as more information regarding the children of Syria killed by chemical weapons punctuated a moment. In these Orwellian times when we discover that Big Brother is indeed watching the wonder of the internet and social media is that we are watching too. We participate in bearing witness.
The other stunning quality of social media is that for every story that crushes me and makes me weep there are double, even triple, stories of action and resistance that offer hope and inspiration.
For example, my feed also includes what’s happening right now at Canada’s major cultural institutions and auxiliary events and projects surrounding these exhibits. We have amazing curatorial teams that have produced shows that challenge the Chinese Government’s position on Human Rights, Canada’s policies on Aboriginal issues and the Economy of Oil, and global attitudes regarding the Environment.
My concern – do we walk away from these shows changed at a deep core level? Do we return to our daily lives radically motivated to stop being part of the problem and act in service of social justice and environmental causes? Will we change our level of comfort for the sake of stopping someone else’s pain or the loss of natural resources?
I pray that all the illumination will indeed cause a spiritual shift towards a tipping point that will alter the world. I want to see civilizations that are socially and environmentally just because today as children’s lives are ended by chemical warfare in Syria in this country Aboriginal women are being sold into the sex trade and the land along with the women is being violated.
It’s time to get radical folks.
What we experience in these exhibits can be our entry points into living with intention.
RECOMMENDED SHOWS THAT WILL CHANGE PERSPECTIVES:
Sakahàn@ The National Gallery, Ottawa on until Sept 2
“For centuries, colonialism has been the cause of suffering, oppression and violence perpetuated against Indigenous people in Canada and many other countries. But attributing the rise of resistance, activism and the associated art to colonialism itself is disingenuous. The destructive ideologies inherent in colonialism are manifest by the interactions of people. The events caused by these interactions change people and their societies. Indigenous art is not predicated on “colonialism,” but on the events that it causes…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.”Steve Loft, more on RIC’s website
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)
I was determined and praying to the Gods & Goddesses of Transport that they would remove all obstacles one may encounter when riding the TTC.
I made it. A little late but it was worth the sprint up to Fort York from Bathurst, camera bag and all.
What a stunning venue! The open air, the smell of the fires, the grass covered hills, old rock walls and the cityscape in behind. The context was beautiful but the visual juxtaposition points to an unfortunate history. The Honouring is:
“a site-specific multi-disciplinary performance honouring First Nations warriors of the War of 1812, featuring Onkwehonwe families who sacrificed to protect Haudenosaunee sovereignty, culture and land. Audiences have the opportunity to understand the complexity of the War of 1812 through the experiential lens of First Nations, offering a human face to our history. All First Nations took part in the War of 1812 as sovereign Nation allies to Britain.The Honouringpays homage to their personal sacrifices and belief in what was the best for their family, community and future generations.” More info…
Here’s a sampling of just how stunning the work of Kaha:wi is:
“Kaha:wi Dance Theatre (KDT) is one of Canada’s leading contemporary dance companies, recognized for its seamless fusing of indigenous and contemporary dance into a compelling signature choreographic vision.”Read more…
All of these organizations, programs, artists, and exhibitions work to dismantle the legacy of stereotypes that has stopped the dominant culture from seeing the dimensionality that we all carry within us as creative human beings as well as offer a critical voice regarding not only Canada’s First Peoples but Indigenous Peoples from around the world.
The below list focuses on Aboriginal arts in Canada and predominantly new media /visual artists. Stay tuned for a part two that will include much more!
ARTS ORGANIZATIONS AND GALLERIES THAT FOCUS ON CONTEMPORARY FIRST NATIONS, MÉTIS, INUIT & INDIGENOUS CULTURE
ImagineNATIVE Film & Media Festival (Toronto) “The imagineNATIVE Film + Media Arts Festival celebrates the latest works by Indigenous peoples at the forefront of innovation in film, video, radio, and new media. Each fall, imagineNATIVE presents a selection of the most compelling and distinctive Indigenous works from around the globe.”More info…
Planet Indigenus (Toronto)
“Since 2004, Planet Indigenus, in partnership with Brantford, Ontario’s Woodland Cultural Centre, has explored such ancestry and cultures through Indigenous artists. Through a 10-day, international, multidisciplinary arts festivals attended by over 700,000 people… Planet IndigenUS has raised public awareness, broken stereotypes and fostered a cross-cultural dialogue between Canadians.”More info…
Woodlands Cultural Centre (Brantford) “The Woodland Cultural Centre was established in October 1972 under the direction of the Association of Iroquois and Allied Indians upon the closure of the Mohawk Institute Residential School. The Centre originally began its focus on collecting research and artifacts to develop its library and museum collections.”More info…
Urban Shaman (Winnipeg) “Urban Shaman Contemporary Aboriginal Art is a nationally recognized leader in Aboriginal arts programming and one of the foremost venues and voices for Aboriginal art in Canada.”More info…
Grunt Gallery (Vancouver)
“Grunt is an artist-run centre founded in 1984 in Vancouver, BC, with a vision to be an international renowned artist-run centre furthering contemporary art practice. Through the exploration of our diverse Canadian cultural identity we offer innovative public programming in exhibitions, performances, artist talks, publications and special projects.” More info…
AbTec (Montreal) “AbTeC is a network of academics, artists and technologists whose goal is to define and share conceptual and practical tools that will allow us to create new, Aboriginally-determined territories within the web-pages, online games, and virtual environments that we call cyberspace.” More info…
CURRENT & RECENT EXHIBITIONS CONTEMPORARY FIRST NATIONS, MÉTIS, INUIT & INDIGENOUS CULTURE
Indigenous & Urban @ The Museum of Civilization (Ottawa) OPENING TODAY! “Live. Engaging. Diverse. Inspired and challenged by contemporary urban life,Canadian Indigenous artists address issues of identity and stereotypes through humorous and thought-provoking works. Indigenous and Urbanis a summer-long program featuring visual and media arts, music, dance, film, readings and interactive workshops.” More info…
IN THE FLESH (Ottawa)
“In the Flesh examines the hierarchical relationship between humans and animals within a cultural and museological context, and investigates colonial politics, as well as issues of gender as they relate to the mastery of the natural world…In the Flesh grants us visual access to nature while calling into question the politics of representation. As the guest catalogue essayist Ariel Smith notes: “With In the Flesh, the Ottawa Art Gallery participates in a city-wide indigenization of gallery spaces to coincide with the National Gallery of Canada’s Sakahàn: International Indigenous Art exhibition. This indigenization does not exist within a vacuum, and we must reflect on the ways in which these acts of claiming space respond to and are in conversation with both the current and historical politics of Indigenous cultural sovereignty.””More info…
Sakahàn: International Indigenous Art (Ottawa)
CURRENTLY RUNNING UNTIL SEPT 2, 2013 “Sakahàn—meaning “to light [a fire]” in the language of the Algonquin peoples—brings together more than 150 works of recent Indigenous art by over 80 artists from 16 countries, celebrating the National Gallery’s ongoing commitment to the study and appreciation of Indigenous art. This exhibition is the first in an ongoing series of surveys of Indigenous art. The artworks in Sakahàn provide diverse responses to what it means to be Indigenous today. Through their works, the artists engage with ideas of self-representation to question colonial narratives and present parallel histories; place value on the handmade; explore relationships between the spiritual, the uncanny and the everyday; and put forward highly personal responses to the impact of social and cultural trauma. The artworks range from video installations to sculptures, drawings, prints, paintings, performance art, murals and other new, site-specific projects created specifically for this exhibition.”More info…
“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” More Info…
Beat Nation (Toronto) 2013 “Beat Nation describes a generation of artists who juxtapose urban youth culture with Aboriginal identity to create innovative and unexpected new works that reflect the current realities of Aboriginal peoples today. ”More info…
Fashionality @ The McMichael (Kleinberg) 2012 “Fashionality” is a newly coined term that refers to the visual culture and semiotics of dress and adornment. Combining the words “fashion,” “personality,” and “nationality,” it reflects the interplay between clothing, identity, and culture.”More info…
Poster for Fashionality featuring the work of KC Adams.
Not So Fast | NSF (Toronto) 2012 “Objects tell a story and reveal a history through the way they are made. In the current state of late-capitalism, value is often measured in terms of speed and efficiency. NOT SO FAST | NSFinvites a reconsideration of time and place to present different kinds of value. This exhibition brings together works by seven Indigenous artists who address the many products and by-products of consumer society.”More info…
2012 “In aboDIGITAL, Mi’kmaw artist Jordan Bennett examines the interface of audio-visual technologies and the internet with his First Nations heritage. Bennett’s art deftly blends such seemingly disparate elements as Mi’kmaq worldview, hip hop culture, ceremonial practice and graffiti aesthetics, creating dynamic works that express the fluidity, vitality and continuity of Aboriginal cultures in the present.” More info…
Decolonize Me (Ottawa) 2011 “Decolonize Me features six contemporary Aboriginal artists whose works challenge, interrogate and reveal Canada’s long history of colonization in daring and innovative ways. Deliberately riffing on the title of Morgan Spurlock’s film, the pop-cultural phenomenon Super Size Me (2004), the exhibition’s title emphasizes the importance of recognizing the role of the individual within larger discussions of shared colonial histories and present-day cultural politics.” More info…
Inuit Modern @ The AGO (Toronto) 2011
“The exhibition considers how the Inuit have coped with and responded to the swift transition from a traditional lifestyle to one marked by the disturbing complexities of globalization and climate change.” More info…
& The Inuit Modern Symposium
“Inuit artists and thinkers reflected on this statement during a three-part online symposium... It explored the questions: What are the current issues affecting Inuit art today and how has modernity complicated life in Canada’s far North? How has Inuit art changed the way that Canada and Inuit are viewed internationally?”More on…
Close Encounters: The Next 500 Years 2011 “A banner project for Winnipeg Cultural Capital of Canada 2010 Program comprised of a large-scale exhibition focused on presenting Indigenous art from around the world. This is an incredibly important show, featuring the work of a number of renowned Canadian Indigenous artists, complemented by some of the most innovative and engaging work drawn from Indigenous populations across the globe” More info…
The content on MIXED BAG MAG is about exploring the possibilities of what a new cultural landscape could look like in Canada. The people in projects listed above are our contemporary storytellers that are assembling an inspired mythology that has as its centre core values regarding the protection of our peoples and our environment.
Aboriginal cultural provocateurs are playing a key role in compelling Canadians to re-think identity and the national narrative.
Louise Bourgeois’ “Maman” in front of the National Gallery in Ottawa. Photo by Leah Snyder for Mixed Bag Mag.
Happy Birthday to French born artist Louise Bourgeois! As with all artists, even though she has past from this earth her spirit remains alive through her art as seen here in the courtyard of the National Gallery of Canada, Ottawa.
Watch the video below for more information on the above sculpture “Maman”.