ONE DAY GET AWAY FROM THE GTA: Edward Burtynsky @ The McMichael & Land|Slide @ The Museum of Markham

A mirror set in grass that reflects the country like scene around it and has the words WONDER.
Land|Slide Possible Futures exhibit at the Museum of Markham. Work by IAIN BAXTER&.

Tomorrow’s forecast in Toronto? Perfect Weather with possibility of plenty of art!

Lots of trees with clearing where there is a sculpture, a path and a group of children walking byMIXED BAG MAG recommends heading North of the city this weekend for 2 important shows that speak to our expanding urban centres / suburbs and promote dialogue around how to be more intentional around our future growth.

Due to popular demand Canadian photographer Edward Burtynsky’s The Landscape that We Change is held over until Thanksgiving Monday at The McMichael in picturesque Kleinburg, Ontario.

“Burtynsky does not seek to position his images into the realm of political polemic. The artist has stated that they “are what they are.” His photographs engage the observer through what the artist refers to as a “duality” in the viewing process. In Burtynsky’s aesthetic interpretation, his images render the subject most often in rich colour, detail, and textural qualities. Simultaneously, the observer is made aware of the devastation and altered state of nature that is portrayed. The tension generated by mediating the dual nature of the individual’s response to the image is intended to provoke a thoughtful dialogue about the environment and societal attitudes.” Read more…

For more information on planning your visit to The McMichael click here.

Stone carving on large boulder with wood cabin and trees in the background
The grounds at The McMichael Museum in Kleinburg, Ontario.
Image of mirror in grass with words REFLECT on it and barn and trees in the background
IAIN BAXTER&’s “Markhamaze” at the Land|Slide Possible Futures exhibit.

Over in Markham is the much talked about Land|Slide Possible Futures exhibit that includes a large group of national and international artists covering the 25 acre grounds of the Markham Museum. Taking art of out the gallery space and plunking it into the perfect autumn setting of changing leaves, grass and blue skies was a pretty brilliant idea! Tomorrow will be my 4th visit. Green space + public art = My Idea of a Day Well Spent!

“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.” Read more…

 

FYI – FREE SHUTTLE SERVICE on Saturday from MOCCA & CSI Bathurst. Below info from Land|Slide’s Facebook page.

The Performance Bus ( Museum of Contemporary Canadian Art (MOCCA) – Varley Art Gallery – Markham Museum):

MOCCA to Varley Art Gallery: 2PM
Varley Art Gallery to Markham Museum: 5PM

Regular Bus:
MOCCA to Markham Museum: 4PM, 6:30PM & 8:30PM
Markham Museum return to MOCCA: 7:30PM & 10PM

And NEWLY ADDED: An Urban Planning bus coming up from the Centre for Social Innovation at Bathurst and Bloor (720 Bathurst St) at 1PM.

This will take you up just in time for a talk by urban planners/artists Department of Unusual Certainties at 2:30PM, and a planning tour led by Land|Slide planning experts Lisa Hosale, Sara Udow and Katherine Perrott.



All above images by Leah Snyder for Mixed Bag Mag.

Art work from top to bottom:
Inside the wigwam of Julie Nagam’s “singing our bones home” install
Close up at video for Camille Turner’s AfroFuturist performance “Time Warp”
Architect Frank Haverman’s install “Untitled” (I call it “Brilliant”)
IAIN BAXTER&’s “Markhamaze” at the Land|Slide Possible Futures exhibit.

Don’t miss these two really important exhibits!

Follow The McMichael on Facebook & twitter @LandSlide2013
Follow Land|Slide Possible Futures on Facebook & twitter @mcacgallery

TIME FOR RADICAL CHANGE: Where to begin?

A line of penguins running off an iceberg plunging into the water.
Chinstrap penguins. South Sandwich Islands. 2009.  © Sebastião Salgado. Courtesy of Amazonas images.

Start with art.

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

Indigenous and Urban @ The Museum of Civilization on until Sept 2

Sebastião Salgado’s Genesis @ The ROM, Toronto on until Sept 2

Edward Burtynsky: Oil @ Museum of Nature, Ottawa on until Sept 2

Decolonize Me @ Art Gallery of Windsor, Windsor on until Sept 15

Edward Burtynsky: The Landscape The We Change @ The McMichael, Kleinburg on until Sept 29

Ai Weiwei: According to What @ The AGO, Toronto on until Oct 27

& BIG FYI

Ghost Dance: Activism. Resitance. Art. @ Ryerson Image Centre, Toronto opening Sept 18 thru to Dec 15

“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

Series of ads for exhibits at Canada's major cultural institutions.

CONTEMPORARY ABORIGINAL ART: Resources for All The Talent

Aboriginal dance troupe performing outside on hills at night with city of Toronto as backdropKaha:wi Dance Theatre performing The Honouring at Fort York, Toronto. Image by Leah Snyder for Mixed Bag Mag.

Experiencing “The Honouring” by Kaha:wi Dance Theatres

It was a mad dash to Fort York from the MacMillan Theatre just coming out of Feng Yi Ting, the contemporary Chinese opera directed by Atom Egoyan as part of Luminato ’13.

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.

Aboriginal dance troupe performing outside on hills at night with city of Toronto as backdrop

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 Honouring pays 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…

As part of a continuation of MIXED BAG MAG’s post on National Aboriginal Day and the challenge put out there to Canadians to find out more about contemporary Aboriginal art here are some MIXED BAG MAG recommendations to get everyone started.

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…

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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…

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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…

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Installation in art gallery
Installation by Roland Souliere at Urban Shaman. Image from www.rolandsouliere.com.

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…

Young naked females wrapped in Hudson Bay blanket holding a teddy bear between the two of them.
Blanket 1 by Keesic Douglas part of Close Encounters exhibit at Urban Shaman. Image from www.artsforall.ca.

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Installation in gallery of patchwork flags and dolls
Work by Natalie Ball at Grunt Gallery. Image from www.grunt.ca.

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…

Gallery room full of canvases painted in West Coast art style
Work by Andrew Dexel at Grunt Gallery. Image from gruntarchives.tumblr.com.

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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…


Work by Skawennati Fragnito of AbTec. Image from www.facebook.com/skawennati.

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Large painting by Isaac Narciso Weber of OCADU’s Indigenous Visual Culture Program, exhibit as part of  Planet Indigenus Festival. Image by Leah Snyder for Mixed Bag Mag.

Indigenous Visual Culture Program @ OCAD U (Toronto)
The program prepares students to engage in complex and evolving global discourses in Aboriginal history, art history and contemporary art practice across a range of expressions, material and media.”  More info…


Work in foreground by Tara Bursey from OCADU’s Indigenous Visual Culture Program, exhibit as part of Harbourfront Centre’s Planet Indigenus Festival. Image by Leah Snyder for Mixed Bag Mag.

CURRENT & RECENT EXHIBITIONS CONTEMPORARY FIRST NATIONS, MÉTIS, INUIT & INDIGENOUS CULTURE

Logo that says Indigenous And Urban

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 Urban is a summer-long program featuring visual and media arts, music, dance, film, readings and interactive workshops.”  More info…

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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…

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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…


Cover of Sakahan Catalogue. Image from www.amazon.com.

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Border Cultures Part One: homes, land (Windsor)
2013

“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…


Installation by Dylan Miner. Image by Frank Piccolo on wcontemporaryart.wordpress.com.

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Contemporary Aboriginal art in a large gallery space with white wallsInstallation view of Beat Nation: Art, Hip Hop and Aboriginal Culture at The Power Plant, Toronto, December 2012 – May 2013. Photo by Toni Hafkenscheid.

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…

Contemporary Aboriginal art in a large gallery space with white walls
Installation view of Beat Nation: Art, Hip Hop and Aboriginal Culture at The Power Plant, Toronto, December 2012 – May 2013. Photo by Toni Hafkenscheid.

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Poster for Fashionality featuring the work of Dana Claxton.

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.

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Art work by Luke Parnell. Image by Leah Snyder for Mixed Bag Mag.

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 | NSF invites 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…


Work by Tania Willard. Image by Leah Snyder for Mixed Bag Mag.

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AboDIGITAL (Kelowna)
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…

Painting of a google search with the words "why are native americans' and the resulting drop down of resultsPainting by Jordan Bennett. Image from www.alternatorcentre.com.

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Artist Sonny Assu with Decolonize Me curator Heather Igloliorte.

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…


Decolonize Me show at Bishop University. Image from www.ubishops.ca.

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Image from www.ago.net.

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…

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Image from the cover of Close Encounters Catalogue.

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…


Work by Pudlo Pudlat. Image from www.closeencounters.ca.

Aboriginal dance troupe performing outside on hills at night with city of Toronto as backdropKaha:wi Dance Theatre performing The Honouring at Fort York, Toronto. Image by Leah Snyder for Mixed Bag Mag.

AN ARCHAEOLOGY OF KNOWLEDGE: Digging Down into the Layers of Institutional Information

A view with the fall colours just outside Ottawa in Chelsea.

Back from the Nation’s Capital!

The one thing I love about living above the 49th parallel is the experience of seasons. Although the fall represents the dying away of the fruits of summer and points towards the contemplative mood of winter, with winter comes the promise of spring’s rebirth and new opportunities for growth. The symbolism is simple but profoundly significant.

A trek north with the chance to leave the concrete jungle of urban Toronto was rewarded by arriving in the Ottawa area at the peak of autumn’s technicolour display augmented by the light of shifting stormy skies. Sometimes you need to get out of the city to see a new view – literally and metaphorically.

French artist Louise Bourgeois' sculpture of a spider titled "Maman" outside the National Gallery in Ottawa, Canada.French artist, Louise Bourgeois’ “Maman” sculpture outside the National Gallery.

French-Canadian artist Joe Fafard's sculpture "Running Horses" outside the National Gallery, Ottawa, CanadaFrench-Canadian artist Joe Fafard’s “Running Horses” sculpture outside the National Gallery.

The purpose of the trip was also to start research into a series of articles that will be featured on MIXED BAG MAG regarding “Curating Identity” so some trips to the National Gallery as well as the Museum of Civilization were on the agenda.

During this time I was also trying (unsuccessfully) to work through French cultural theorist Michel Foucault’s “The Archaeology of Knowledge” because as Foucault proposed the way that we organize, categorize and structure information explains a lot about our worldviews when we dig down into the layers.

“The Description of Statements”

After my first visit to the National Gallery I realized that somehow I missed coming across the Inuit Collection. Upon my second visit I almost missed it again. I circled back around the Contemporary Canadian Collection on the First Floor to try to find what I was looking for as I passed by numerous Groups of Sevens and Michael Snows. Finally I gave in and just asked.

“Where is the Contemporary Inuit Collection?”

The guard didn’t seem to get what I was saying about “contemporary”.

“You mean the Inuit Collection?”

“Yes, but is there a separate contemporary section like here in this section, you know, current work”

“Dunno, but the Inuit Collection is down in the dungeon”

and he pointed to sets of descending stairs.

As much as I adore Moshe Safdie’s architecture somehow in the design the Inuit Collection got relegated to what a National Gallery employee referred to as the “dungeon” in the final structure.

Unfortunately this is telling. The symbolism of the statement, most likely not deliberate or intentionally demeaning, represents a sticky problem with regards to Canadian identity. There is a thorny mess that we can get into when cultural biases that are long due to die away have yet to go through their winter of contemplation.

During the trip I met up with Zimbabwean artist and educator Chiko Chazunguza to discuss, among other things, the hot topic – identity in the visual arts. He shared with me this story. Once, in a class he was teaching back in Zimbabwe, he asked a group of black students to draw portraits. The faces these young African artists depicted were all white. Again – unfortunately telling. How do we begin to structure knowledge so that we build a world where all of us are able to see our own faces reflected back positively?

Haida-Canadian artist Bill Reid’s “Spirit of Haida Gwaii” sculpture inspired by Haida mythology inside the Museum of Civilization. Haida artist Bill Reid’s “Spirit of Haida Gwaii” sculpture inside the Museum of Civilization.

“The Museum is the Medium”

After a workshop at OCAD U on Marshall McLuhan I had a quick discussion with a visiting professor’s presentation on how a museum can be the medium. As an example he described the Museum to the Holocaust in the Jewish Museum, Berlin and its encompassing of a void space of silence with little light. The physical structure of a museum, its internal layout, its contents (or lack of contents) as well as the taxonomy of its collections becomes in itself the medium that delivers the message of that institution’s normatives.

“The criteria of epistemes can be defined through what or whom they exclude or disqualify” ~ Michel Foucault

The Museum of Civilization has a beautiful and substantial collection of Aboriginal artifacts but with a contemporary art section making only a brief appearance at the tail end the feeling I was left with was that perhaps there is still a national episteme that First Nations, Inuit and Métis cultures are buried back in the past with weak relevance to the contemporary Canadian context although their current retrospective exhibit of Métis artist Bob Boyer’s work (curated by Lee Ann Martin) is a step in a progressive direction. This engaging exhibit confirms that there are curators (and even institutions) out there that are eager to redress this issue.

Trains-N-Boats-N-Plains: The Nina, the Santa Maria and a Pinto by Metis-Canadian artist Bob Boyer. View more of Bob Boyer’s work on the Virtual Museum of Canada

Shows like AGO’s Inuit Modern (curated by Gerald McMaster) last year and this year’s Fashionality: Dress + Identity in Contemporary Canadian Art (curated by Julie Pine) at the McMichael illustrate that we have a wealth of contemporary First Nations, Inuit and Métis artists. It is exhibits like these that demonstrate that a dismantling of the old knowledge base stuck in the mire of the one-sided story of colonialism has begun.

It is the vision of curators, like those mentioned above, that will assist us in moving forward to define a new national narrative appropriate to the 21st Century and the spring of our history(s).

“There is no “history” but a multiple, overlapping and interactive series of legitimate vs. excluded histories.” ~ Michel Foucault

Trains-N-Boats-N-Plains: The Nina, the Santa Maria and a Pinto by Metis-Canadian artist Bob Boyer. American artist Roxy Paine’s “One Hundred Foot Line” sculpture outside the National Gallery with statue of Champlain, the Father of New France, in the background.

Photography by Leah Snyder for Mixed Bag Mag.

FASHIONALITY: An Afternoon at the McMichael


Top: Farheen HaQ’s “Endless Tether” Bottom: Dana Claxton’s “On the Red Road”

“Not strictly about fashion, the exhibition explores the ways in which the subjectivities and identities of those living in Canada are expressed, deconstructed, and reconfigured, while raising some intriguing questions about the embodied Canadian subject.” (cited Julie Pine )

Thanks goes out to Mira Coviensky of Harbourfront for organizing this trip up to the McMichael. It was a very special way to spend the afternoon!

And thanks to Anna Stanisz of The McMichael for giving us an amazing tour of the FASHIONALITY exhibit. She expertly broke down the interwoven and often complex issues that each of the 23 artists explored using fashion to display on the outside what is being dealt with on the inside regarding nationality, gender and cultural hybridity.

Our way of dressing is our “code” for signifying who we are and what we stand for but sometimes the codes are misunderstood. They become reductive wrapping us in stereotypes influenced by historical fictions. Over time the real meaning gets lost in translation as though the truth has been purposefully misplaced so as not to interact with the humanity of the subject. This exhibit is about calling up the past and challenging our current assumptions – ultimately restoring that humanity.

Curator Julie Pine successfully gathered together a diverse group of artists that used the accessibility of fashion, tongue-in-cheek humour and texture to beautifully explore the dimensionality of this land we call home.

On until September MIXED BAG MAG highly recommends FASHIONALITY: Dress & Identity in Contemporary Canadian Art – worth the trip to Kleinberg!

Read Juile Pine’s curatorial statement.
More information on FASHIONALITY.
Visit this weekend’s programming for Planet IndigenUS.


Camille Turner as “Miss Canadiana”