The Art Gallery of Ontario along with the Michaëlle Jean Foundation are looking for your digital art work.
Sometimes the best ideas are last minute! The AGO & FMJF are looking for artists to submit their digital art work to a contest in support of the LGBTTIQQ communities in Canada.
The countdown is on! The submission deadline is this week on Thursday April 25 at the stroke of midnight. The winner takes home $1000 and gets the chance to work with a street artist to mount their work outside of the AGO on the Solidarity Wall.
DETAILS FOR THE 4th WALL YOUTH SOLIDARITY PROJECT:
You must be between the ages of 14 – 30
The subject matter is ” make the invisible experiences of Canada’s Two-Spirit and LGBTI2Q youth visible”
Winner gets $1000 grant
The selected art work will be part of the World Pride Exhibition at the AGO
The public will vote online for the competition winner
The winner will be announced on June 22, 2014 at the Youth Solidarity Forum
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.
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.
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
A few times a year Wedge Curatorial Collective produces shows that explore Black Identity from the perspective most often located in the Caribbean Diaspora.
Image by Dennis Morris
My earliest memory of Wedge is back sometime around the early part of the millennium. Wedge’s founder, Kenneth Montague, had set up an exhibit of British-Jamaican photographer Dennis Morris’ work in his home (the original gallery space for Wedge exhibits called Shift Gallery). I met Dennis, who was in attendance, and became interested in the work Ken was doing as he was one of the people working to fill in the gap between fact and fiction when the institutions of culture overlooked contemporary narratives of Blackness.
Fast forward a decade and Ken has turned Wedge Curatorial into something much more than exhibits of photography. Wedge has become about conversations – around race, identity, community and culture. And Wedge has certainly played a part in working towards closing that gap by providing the necessary insertion of Black Identity into cultural institutions like the ROM with exhibits such as Position As Desired / Exploring African Canadian Identity.
This year Wedge has partnered again with the Gladstone Hotel and TD Bank for the “Then & Now Black History Month Series” to present local photographer and youth educator / mentor Jon Blak. Titled HOME Jon’s work is about reaching back to his familial roots in Jamaica while dissecting what it means to be a product of a culture here in Canada, that because of its hybrid mix, can at times cause feelings of dislocation.
Half of the exhibit was photographs of subjects located in Jon’s memories of Jamaica and contemporary youth culture. The other half of HOME spoke to the memories Jon has of the elders in the local Caribbean community who played a critical role in his own youth. There were several rooms full of warm and intimate images of tailors, shopkeepers, and barbers – all the enterprising individuals who added a new layer to Canadian identity while keeping strong ties to the cultural associations back home.
One room was ‘stacked’ floor to ceiling with photographs that almost convince the viewer that the room is stocked with all the staples one needs to cook a satisfying meal. It’s the replication of the West Indian shop that speaks to the collective memory many of us have from growing up in suburban and urban Southwestern Ontario – a place where you could buy a ‘ting’ or two.
On the night of the opening the install was interactive with boxes of the staples come to life – scotch bonnets, plantain, and callaloo as well as loaves of hard do bread were handed out to the lucky guests while peppery corn soup was served hot and fresh by One Love Vegetarian Take-out.
The night was a reminder of how much the culture of the Caribbean has infused the culture of Canada. Maybe now the conversation about what is home will become less dislocating because of projects like Wedge that support emerging artists who document the facts of Blackness in Canada.
Âhasiw Maskegon-Iskwew, isi-pîkiskwêwin-ayapihkêsîsak (Speaking the Language of Spiders), Website, 1994, screen capture courtesy of ImagineNATIVE.
It’s a great feeling to be in a crowded room and seeing that you are surrounded by people whose passion is making this world a more equitable and empathetic place. This is the first year that ImagineNATIVE has included an Art Crawl as part of its programming and judging by the large turnout it was a good call! Partnering with some of the galleries and artist-run-centres at 401 Richmond (also where ImagineNATIVE is located) Friday’s event was about “featuring contemporary Aboriginal new media art, commissions and retrospectives and artist talks by curators and attending artists.”
On left, curator Jimmy Elwood. On right, Executive Director of ImagineNATIVE Jason Ryle.
Love Sick Child at A Space
The crawl began at A Space with Love Sick Child curated by Jimmy Elwood and featuring the work of ÂhasiwMaskegon-Iskwew along with Cheryl L’Hirondelle, Adrian Stimson and Leslie McCue. Leslie’s work was particularly poignant. She explains that the piece was based around an Anishinaabe saying “Make your words as sweet as strawberries.” Poised above a rock secured behind plexi-glass is a funnel of strawberry juice that slowly drips over the stone the duration of the exhibit causing it to become the colour of berries / the colour of blood. The audience is invited to talk into a microphone and speak words to the rock. The words can be thoughtful or thoughtless, kind or angry. Leslie explains that the rock, like our bones, forever holds the energetic vibrations of the words. When asked how one can tell if people are speaking positive or negative words to the rock she says you can’t. The blood red juice drips regardless and like verbal abuse one won’t see the direct impact of the words.
Artist Leslie McCue in front of her work.
Photography by Tyler Hagan courtesy of ImagineNATIVE.
In The Similkameen / Similkameen Crossroads at Gallery 44
Another moving work is “In The Similkameen / Similkameen Crossroads” by Tyler Hagen at Gallery 44. This exhibit is part of an NFB web documentary which can be viewed at nfb.ca/crossroads.
“It’s a highly personal undertaking for Hagan, who, since obtaining his Métis citizenship, has struggled to reconcile his suburban Christian upbringing with the blighted history of the church in Indigenous communities.”
Left to right artist Tyler Hagan, Noa Bronstein of Gallery 44 and Daniel Northway-Frank of ImagineNATIVE.
Photography by Nigit’stil Norbert courtesy of ImagineNATIVE.
“Trade Marks presents a new generation of Indigenous artists who, through newly commissioned photographic, video and audio works, challenge 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.”
Top image: artist Keesic Douglas speaking about his work. Bottom images: Curator Julie Nagam and artist Lisa Reihana. Artist Bear Witness at Prefix Gallery.
Lisa Reihana speaking about her work “in Pursuit of Venus” at A Space Gallery.
in The Pursuit of Venus back at A Space
The finale of the Art Crawl was the incredible work “in Pursuit of Venus” by Maori artist Lisa Reihana and curated by Julie Nagam.
“The video is inspired by the colonial 19thcentury panoramic wallpaper Les sauvages de la merPacifique(180405) which features European impressions of Indigenous South Pacific Islanders from accounts from Captain Cook’s and Louis de Bougainville’s journals, and reworked engravings by Webber and Hodges. Reihana explains that Les sauvages claims to be historical and is presented as such, when in actuality the wallpaper’s creators harvested information from different historical moments and relocated the bodies into a fictional Tahitian landscape, removing these Pacific people from their cultural, historical and political reality. In this work Reihana has restaged, reimagined and reclaimed the panoramic wallpaper by altering its original presentation of print form to liveaction video. She has brought each character alive with breathtaking precision of Maori and Pacific cultural practices and embodied knowledge. Each person on the screen resists the colonial misrepresentations of the past and present encounters with Indigenous people across the globe. Reihana’sin Pursuit of Venus is a live-action masterwork that unbinds the shackles of colonialism by producing a highly refined and dynamic video that brings forth visual poetics of Maori and Pacific cultures and knowledge.”
“in Pursuit of Venus” by Lisa Reihana courtesy of ImagineNATIVE.
If you missed out on last night you can still see these important shows tomorrow, ImagineNATIVE’s last day as well as in the weeks to come.
Settlers came here – many to escape poverty and persecution in their country of origin. The Indigenous people of Turtle Island (North America) responded by sharing Indigenous knowledge such as the ways to prepare the local food during the harvest.
This Thanksgiving we can work towards creating a safe home here for everyone and consider Indigenous Rights as well as Aboriginal visibility in Canadian diversity.
Visit Land|Slide Possible Futures at the Markham Museum today and tomorrow for an engaging outdoor exhibit that dialogues around a deeper idea of diversity in our suburbs and cities as well as how to create sustainable communities on all levels.
Good for you tummy and your soul visitors to Land|Slide last night were treated to both Trinidadian and Anishinaabe comfort food with two types of corn soup and bread by artists Lisa Myers and Richard Fung.
More information on what is happening at Land|Slide Possible Futures this weekend on their website.
Tomorrow’s forecast in Toronto? Perfect Weather with possibility of plenty of art!
MIXED 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.
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.
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.
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…
Curator Sanaz Mazinani’s show The Third Space is wrapping up this weekend at Toronto’s Harbourfront Centre. MIXED BAG MAG caught up with this busy and multi-talented woman whose career as an artist, educator and curator has her bifurcating herself between Toronto and San Francisco. In the second part (read Part 1 here) of MIXED BAG MAG’s look into the work of contemporary Iranian art Sanaz offers historical background to the contemporary foreground of some of the work included The Third Space and the symbolic and visual power of script.
The History of Calligraphy in Persia
Persian Calligraphy has had a significant effect on the enhancement of Persian arts and culture. The various Iranian Calligraphic styles, such as Taliq, Nastaliq, Naskh, Thulth, Reqa, Towqi, Shekasteh, and Kufic each carry with them an emblem of an era of history. These decorative scripts allow the reader to visually enjoy the composition of the word, in a wholly new way, providing the viewer with multiple levels of engagement with the work of art.
Contemporary use of calligraphy by Iranian artists
Many Iranian artists find inspiration in the traditional forms of Persian Calligraphy. However, few are able to successfully marry the traditional forms of calligraphy with a contemporary voice in new and successful ways. One of these artists is Gita Hashemi, whose recent project “The Book of Illuminations” is featured in “The Third Space” exhibition. In this work Hashemi explores the intersection between politics and the personal through calligraphic representations of culturally charged words. Her calligraphy paintings do not merely render poetic verses, but aim to unpack the meaning behind words that we use on a daily basis to symbolically question cultural in-tolerances. One example uses the word “غربتی” which is a derogatory term that comes from the root word “غربت” and means the longing for one’s homeland. But used as an offensive term, it takes on a new meaning and refers to that person as someone who does not belong, and does not fit into the norm. These terms shown here in proximity to the personal narration of the artist’s life writing speak to the expectations placed on us and the limitations of societal benchmarks. Hashemi’sThe Book of Illuminations is a fresh approach to the long tradition of calligraphy from Iran and uses a feminist perspective to challenge this traditionally male-dominated, decorative practice by inserting the political into the equation.
In another project, Toronto based artist, Sona Safaei, uses the Farsi and English alphabet and essay writing styles to uncover the differences in the two languages, which intern demonstrate alternative ways of thinking through a subject. Her process often engages with lost meanings in translations, as she questions the possibility of communications across cultures through looking at the self and the feelings associated with otherness. In The Third Space exhibition, Safaei-Sooreh two works respond to the meeting of two languages (English and Farsi). In Alphabet, the viewer finds herself in front of a split screen video as the camera tracks two alphabets being hand written in pencil – one in English, from left to right, and the other in Farsi, from right to left. A dense and textured sound enhances the experience of watching each gesture. The sounds from the left and right videos combine in a seamless collaboration. An amalgamation occurs precisely at the moment when the video loop comes to a close and both sets of alphabets have been written out tin their entirety. This charming momentary union marks an important occurrence, as the English alphabet includes 26 letters and the Persian alphabet 32, this serendipitous synchronicity signals a potential for cohesion of these two cultures. Safaei-Sooreh’s second work titled, Border is a dual channel video installation in which two sets of texts on the subject of art intersect at the corner of a room. The writing disappears on the borderline where adjacent walls meet, creating a unique experience for the viewer, as the piece examines the duality of experiences always at play in transcultural situations.
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
“Over 600+ native women in Canada have been reported missing or have been murdered in the last 20 years. Many vanished without a trace with inadequate inquiry into their disappearance or murders paid by the media, the general public, politicians and even law enforcement. This is a travesty of justice.
Walking With Our Sisters is by all accounts a massive commemorative art installation comprised of 1,600+ moccasin vamps (tops) created and donated by hundreds of caring and concerned individuals to draw attention to this injustice. The large collaborative art piece will be made available to the public through selected galleries and locations. The work exists as a floor installation made up of beaded vamps arranged in a winding path formation on fabric and includes cedar boughs. Viewers remove their shoes to walk on a path of cloth alongside the vamps.
Each pair of vamps (or “uppers” as they are also called) represents one missing or murdered Indigenous woman. The unfinished moccasins represent the unfinished lives of the women whose lives were cut short. Together the installation represents all these women; paying respect to their lives and existence on this earth. They are not forgotten. They are sisters, mothers, aunties, daughters, cousins, grandmothers, wives and partners. They have been cared for, they have been loved, they are missing and they are not forgotten.”
HOW TO DONATE – By joining WWOS’ auxiliary Facebook Group “Auction for Action” you can take part in the 20 day auction to raise money to fund the costs of this project. Many talented artists have donated their work in an effort to help raise money.
Or make a direct donation the following ways:
Are to be made payable to: Walking With Our Sisters firstname.lastname@example.org
Accepted at any TD Canada Trust branch to the community account: Walking With Our Sisters
Branch #2406 Account #5208603
CHEQUE OR MONEY ORDER
Made payable to Walking With Our Sisters and mailed to:
c/o Christi Belcourt
133 Barber St., P.O. Box 5191