This edition of C Magazine is on Citizenship and features:
“Derrick Chang, Victor Wang on the 12th Bienal de la Habana, Yaniya Lee on citizenship and Canadian art criticism, Krista Belle Stewart, Scott Benesiinaabandan, David Garneau and Cathy Busby responding to Canada’s Truth and Reconciliation Commission Report, and Justin A. Langlois, Amanda Shore, Rinaldo Walcott, Leah Snyder, Elle Flanders, Tamira Sawatsky and Adrian Blackwell questioning citizenship at the Venice Biennale; plus an artist project by Tyler Coburn. Also included are reviews of exhibitions and books, as well as our regular sections On Writing by Critical Art Writing Ensemble, Inventory by Bambitchell and Artefact by acqueline Hoang Nguyen” Read more…
To purchase or download the digital version click here.
From the Creative Time Summit Venice 2015 website:
“As the Director of the American Indian Program and Associate Professor in the History of Art and Art Departments at Cornell University, Jolene Rickard is primarily interested in issues of indigeneity within a global context. Her recent projects include serving as the advisor for “Sakahàn: 1st International Quinquennial of New Indigenous Art” at the National Gallery of Canada in 2013, conducting research through a Ford Foundation Research Grant in 2008-11, participating in New Zealand’s Te Tihi Scholar/Artist Gathering in 2010, and co-curating the inaugural exhibition for the Smithsonian’s National Museum of the American Indian in Washington, D.C. in 2004. She is from the Tuscarora Nation (Haudenosaunee). Her book,Visualizing Sovereignty will be published in 2016.”
Watch all the Creative Time Summit 2015 Venice presentations here.
Oh my! Where does one start?! First let me say this. There is nothing boring about Ottawa. So let’s just put that “it’s the city that rolls up the sidewalks at night” myth to rest. Just when I think I might get a breather from events the Writers Festival ends by seguing this city into another festival celebrating the arts – The National Arts Centre’s Ontario Scene. “Imagine 600 Ontario artists, from all disciplines, performing in the national spotlight on the stages of Ottawa/Gatineau: that’s Ontario Scene.”
The biggest limiting factor to Ontario Scene is that my body only allows for me to be in one place at one time. I may have to settle for 300 Artists, 30-ish events and maybe 1 less day.
I have already clocked two events with back to back nights at Carleton University Art Gallery for the Opening and Artist Walk Thru of the current exhibit “Human Nature.” This show “presents fourteen contemporary Ontario artists whose works look at the state of the natural world and our impact on it.”
Images by Leah Snyder for Mixed Bag Mag.
Graffiti Boxman Project. Photo Flips BSC. Kwende Kefentse.Credit James Park Photography.
“Century Song is a live performance hybrid showcasing the extraordinary Canadian soprano NEEMA BICKERSTETH. A radical revisioning of the recital form from one of Canada’s most exciting theatre companies, it is part classical song, part dance, part projection, and entirely theatrical.” Find outmore…
Digging Roots. Raven Kanatakta and Shoshona Kish. Photo Ratul Debnath.
DECLARATION is a great Ontario Scene initiative that will be running from April 29 to May 3.
“DECLARATION is a celebration of Indigenous peoples’ right to engage in the creation and evolution of arts and culture, as asserted in Article 11 of the 2007 United Nations Declaration on the Rights of Indigenous Peoples. Created by Toronto-based ARTICLE 11, DECLARATION is an immersive, live, sound and image installation and performance-creation lab. It offers the rare opportunity to witness established Indigenous artists mid-process as they take risks and explore new approaches and collaborations in a responsive, interdisciplinary environment.”
Read more about the full DECLARATION programming here.
Santee Smith. Image by Red Works.
John Morris, NAC Executive Chef
Also, on the menu, literally, is food – the best of what Ontario has to offer in the culinary arts.
On Monday night:
“le café presents a WINEMAKER’S DINNER that showcases and complements the delightful wines of Pelee Island, Canada’s oldest and most southerly wine region. For this special occasion, National Arts Centre Executive Chef JOHN MORRIS will prepare a sumptuous five-course menu with all-Ontario ingredients, and every course will be paired with the finest varietals that Pelee Island has to offer. Winemaster MARTIN JANZ, of Pelee Island Winery, will be in attendance.”
On Tuesday night:
“Experience the innovative and mouth-watering creations of more than a dozen top chefs from across the province as they vie for the $10,000 top prize in the ONTARIO CULINARY CHALLENGE. Each chef will prepare uniquely Ontario small plates, using a selection of 100% local and regional meats, cheeses, fruits, and vegetables. With the support of Wine Country Ontario, chefs will be partnered with Ontario wineries to produce the perfect food-wine pairings, which attendees can sample throughout the night. Rub elbows with chefs, sommeliers, and media, sample some of the province’s finest wines, and cast your vote to award the first-place prize for the very best of the best in Ontario’s culinary arts.”
Alright, time for a 2nd shot of espresso and I will be ready to go.
How one woman changed a community then went on to change the world.
So much of the way we think and act around neighbourhood, community and city building in the 21st Century is because of the ideas of a single woman – Jane Jacobs. If you need an example of how one human being can have huge impact, Jane is that inspiring person who walked her talk and went on to inspire an international movement. Her ideas of what a community should be resonated with many because it articulated what people already knew to be true as to why certain spaces become thriving communities.
Every year, to honour Jane’s legacy, cities world-wide hosts walks that allow people to discover some brilliant nuance of the place where they live that they may never have discovered otherwise. All of this is possible due to the thousands of volunteers who get out into their community and share their knowledge during Jane’s Walks.
I just discovered the above video highlighting a great walk I participated in a few years back. This walk, that featured the work of Toronto’s many street artists, had us meandering through the downtown core via the back alleys where a technicolour world awaited us. The tour was given by Jason of the Tour Guys, an organization in Toronto that specializes in giving offbeat tours of one of North America’s most interesting cities.
Women who are Indigenizing city spaces.
This year, in both Toronto and Ottawa, walks will be given that highlight the history of Indigenous Peoples.
“This walk will explore historic land use along Davenport Rd and the lands along the ridge while providing excellent views of the city. How did First Nations people get around? Who were some of the early movers and shakers? What was the origin of Wychwood Park?”
In Ottawa there is a newly launched initiative, Indigenous Walks, and IW’s tour guide, local Metis artist and educator Jaime Koebel, will be sharing her knowledge and passion for Indigenous history on Saturday and Sunday at 2pm each day. Jaime uses the experience of sight-seeing the beautiful monuments in the Capital city to allow people to experience the history of Ottawa, as well as the history of Canada, by walking in the shoes (or moccasins) of an Indigenous person. The tour starts at the Human Rights Monument at City Hall. More info can be found here.
And speaking of Indigenizing public spaces, artist Dana Claxton’s (Lakota) “Indian Candy” is part of CONTACT, Toronto’s annual festival celebrating the art of photography.
Each year CONTACT commissions work to be put up on billboards around the downtown core, activating what is normally a space reserved for spreading a message of commerce to instead spread messages on social issues.
Dana’s work “interrogates the presentation of Indigenous iconography through the digital archive in Indian Candy.
Working from found images of the “Wild West” sourced online, the artist focuses on those connected to Sitting Bull, the iconic tribal leader who led a resistance against government policies in the United States. As a descendant of Sitting Bull’s band who came to Canada, Claxton simultaneously mines her own personal family history and the legacy of racism. Her diverse range of images present aspects of Indigeneity in a new light; from the buffalo, which represents spirituality for Lakota people and was a main source of sustenance until their near annihilation, to signed souvenir cards from Buffalo Bill’s Wild West show. As a whole, Indian Candy uncovers truths and performs as a provisional archive of Aboriginal imagery seen through the lens of colonialism.”
For the month of May you will be able to see Dana’s billboards along Dundas St. West. For more information on the exhibit as well as a map click here.
Also part of CONTACT, some of MIXED BAG MAG’s favourite people, projects and art spaces!
And another favourite MIXED BAG MAG space for the arts, this time in Ottawa, is The National Arts Centre. This week “huff” has opened at the NAC and runs through until May 10. This provocative work has left everyone I know who has experienced it, changed. It’s not a piece of theatre that is easily digestible but despite the heavy subject matter, substance abuse among First Nations’ youth, people seem to walk away feeling that the experience of being uncomfortable witnessing Cliff Cardinal’s one man show was a positive one that includes a message of hope!
FYI- Be a part of the Samba Launch Party Procession Tonight at 6 pm. MIXED BAG MAG’ fave Zahra Ebrahim of archiTEXT will be one of the procession leaders of this walk that is all about PLAY! Details here.
WISHING EVERYONE A WEEKEND WHERE YOU LEARN SOMETHING NEW & HAVE FUN!
All above images of Jane’s Walk 2011 (Graffiti Tour & Samba Procession) by Leah Snyder for Mixed Bag Mag.
Polar opposites in the continuum of contemporary art.
Beat NationandOne, and Two, and More Than Two lie at the contradictory ends of Contemporary Canadian Art and within Micah Lexier’s One, and Two, and More Than Two show more contractions occur. In his video piece and Two refuse is moved around on a clean slate. This is Micah’s collection of cardboard cast-offs that he has curated based on similarities. He carefully choreographs the debris. This is my favourite work in the show. I will miss its precise impreciseness.
Image of Micah Lexier and Two courtesy The Power Plant.
In and More Than Two Micah has gathered together a slice of Toronto’s art community. He visited the studios of over 100 artists working in Toronto and took something from each place. The controversy with this collection is around the issue of whether it is a proper survey of Toronto’s current art scene as it is a selection of predominantly white artists. And More Than Two is the antithesis of how most people regard Toronto – the quintessential Multi Culti city. And for all the material diversity encased in the vitrines the process of categorization renders the work even more homogenous. And More Than Two seems less about diversity and collaboration and more about curation based on a chosen aesthetic. Regardless, the effect is stunning.
Micah’s way of organizing randomness carries over into his own solo work One where what seems like an arbitrary selection of his work notes becomes contained within the even flow of frames spaced without pause across four walls.
Without a doubt this entire show is visually impactful. It is ordered disorder, asymmetrical symmetry, and the visual polarization of black juxtaposed with an abundance of white space. The immediate evaluation tends to be that this exhibit reads as sterile but upon closer inspection it is anything but. What I notice about this show is it slows people down as they meander through the vitrines and then onto the other rooms all the while mesmerized. People stop to take a long look because as you walk through it you get the sense that each object, each page, each cardboard cutout has been chosen with reverence. And therein lies the warmth.
The content of Beat Nation (also at the Power Plant earlier this year) brings us to the intersection where the choice around aesthetics is motivated by agency – a re-mixing of the conscience soul of Hip Hop as applied to the right to embody one’s Indigeneity in a contemporary context.
“Beat Nation: Art, Hip Hop and Aboriginal Culture describes a generation of artists who juxtapose urban culture with Aboriginal identity to create innovative and unexpected new works that reflect the realities of Aboriginal peoples today.” read more…
This show is also about a multi-layered experience using music, dance, and mixed media to indigenize the white cube gallery space.
Beat Nation is an example of another beautiful show that challenges what is contemporary Canadian Art. Originally an online exhibition, it has been hugely successful as it has traveled back and forth across the country at various venues. Each iteration of the show brings in a new arrangement of artists with the MACM show including the following:
Both of these exhibits showcase how Canadian Art is coming into its own a powerful contemporary voice.
ONE, AND TWO, AND MORE THAN TWO
The Power Plant 231 Queens Quay W, Toronto, ON M5J 2G8
Tuesday–Sunday 10–5 PM
Musée d’art contemporain de Montréal
185 Rue Ste-Catherine Ouest, Montréal, QC, H2X 3X5
Tuesday to Sunday: from 11 a.m. to 6 p.m.
RECOMMENDED READING Museum Pieces: Toward the Indigenization of Canadian Museums
“Ruth Phillips argues that these practices are “indigenous” not only because they originate in Aboriginal activism but because they draw on a distinctively Canadian preference for compromise and tolerance for ambiguity. Phillips dissects seminal exhibitions of Indigenous art to show how changes in display, curatorial voice, and authority stem from broad social, economic, and political forces outside the museum and moves beyond Canadian institutions and practices to discuss historically interrelated developments and exhibitions in the United States, Britain, Australia, and elsewhere.” Read more…
Inside the White Cube: The Ideology of the Gallery Space
“….O’Doherty was the first to explicitly confront a particular crisis in postwar art as he sought to examine the assumptions on which the modern commercial and museum gallery was based. Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, he raises the question of how artists must construe their work in relation to the gallery space and system.” Read more…
Beat Nation artist Geronimo Inutiq (madeskimo), curator Candice Hopkins and Beat Nation artist Dylan Miner speak on moving between the past and the present in contemporary Indigenous art in Canada and America.
Re-inventing the wheel – what Duchamp’s Ready-mades, Ai Weiwei and Toronto’s cyclists have in common.
“In 2013, we will celebrate the centenary of the Armory Show, the International Exhibition of Modern Art that was organized by the Association of American Painters and Sculptors in the vast spaces of U.S. National Guard armories, New York and is considered as a breaking point, crucial in the history of modernity. Among the scandalously radical works of art, pride of place goes to Marcel Duchamp’s cubist/futurist style Nude Descending a Staircase. The same year, Duchamp installed a Bicycle Wheel on a chair in his studio and this is considered as well as the starting point of the intrusion of “Ready-mades” (found objects which Duchamp chose and presented as art) in the art world. The idea was to question the very notion of Art and the artistic attitude towards objects. The objects found on the street, chosen by the artist, will take an aura of art object within the frame of the art institution. We now live in a century where objects exist in the museums and the exhibition spaces. If we take the objects back to the street in the context of an event like Nuit Blanche, while allowing the artists to treat and handle them as referenced works of art, we hope to close the loop and reconcile the public with the status of the ubiquity of the object.” ~ Ami Barak, Visiting Curator for Nuit Blanche 2013on “Off to a Flying Start”
While listening to French curator Ami Barak speak at this week’s Power Plant lecture regarding his curatorial choices for Nuit Blanche I couldn’t help but think of one of this city’s advocates for cyclists and how she’s probably excited for all the focus placed on bikes this year.
“In addition to the significant lack of on-street bike infrastructure, one of the biggest issues for those riding bikes to get around the city is the condition of the roadways. Years-old utility cuts and potholes are a major hazard on some of the most heavily used routes. This terrible road surface is often found in the already difficult to navigate space between the doorzone and streetcar tracks on most of the East-West routes – this creates an even more dangerous scenario for even the most experienced riders.“
Toronto’s Arts Festivals seem to have a knack for intuitively selecting themes that are timely – Luminato’s choice for its 2011 production of 1001 Nights and that year’s focus on Arab performers and writers helped expand the dialogue around the Arab Spring immediately after it happened. Ami’s choice for installing Ai Weiwei’s Forever Bicycles at City Hall corresponds well with Ai Weiwei’s current exhibit at the AGO that speaks to human rights abuses by the Chinese government but perhaps unanticipated, although certainly important, is how Forever Bicycles speaks to Toronto’s recent issues and the rights of its citizens to have their concerns regarding cycling acknowledged by our government.
Speaking about Forever Bicycles Yvonne says “It’s such a thrill that it is on the doorstep of City Hall. I can’t think of a better place for it to be! Hopefully it sends a message and is not just seen as a structure made of bikes – that it resonates with people at city hall as relating to current issues.”
Image by Leah Snyder for Mixed Bag Mag.
Deconstructing the object by displacement.
Also an artist, Yvonne’s own bike inspired and politically motivated work was on display recently at the Hashtag Gallery on Dundas Street West. Yvonne snaps the city at street level then uses deconstructed bike wheels as frames – an interesting way to open up dialogue around the issues.
Image by Leah Snyder for Mixed Bag Mag.
Duchamp’s removal of an object from its familiar state and his presentation of it as an objet d’art was one of the actions of modernity that domino affected us into a century of change. The referential impact still reads as contemporary into the 21st Century as exemplified in works like Yvonne’s as well as those selected by Ami for Saturday’s big event. Thanks to Ami the dislocation of both objects of motion and objects of rest can be seen this year at Nuit Blanche – Toronto artist Bruno Brilo’s Familia, Garden Tower in Toronto by Tadashi Kawamata, Tortoise by Michel de Broin, Melik Ohanian’s El Agua de Nieblaand Pascale Marthine Tayou’s stunning presentation efficiently titled Plastic Bags.
For Ami, this idea of the “répétition du même objet” and how objects repeated over and over change the meaning is important. For Yvonne “speaking to this idea of repetition, I think that at this stage in Toronto it is too hard to ignore that so many people are choosing bicycles and that they are everywhere! You can’t ignore that much of the voting population and that how the city functions with regards to transportation includes bicycles.”
Ami’s choice of placing Ai Weiwei’s 3,000+ interconnected bicycles in front of City Hall may just become, for Toronto cyclists, a symbolicist act for contemporary Toronto.
For more information on how you can be a part of the movement to make Toronto a more bike-friendly city Yvonne recommends Cycle Toronto. “They are a city-wide cycling advocacy organization who are working year-round on improving conditions for people riding bikes in the city.”
For more information on Ami’s curatorial statement for “Off to a Flying Start” check out the Consulate General of France’s initiative Paris-Toronto and Nuit Blanche.
FYI – If you missed Ami’s talk this past Monday you can hear him again Saturday afternoon at 2 pm at The Power Plant along with the other Nuit Blanche curators – Patrick Macaulay, Ivan Jurakic and Crystal Mowry.
Every which way, by Kim Adams. Photo by Steven Martin, courtesy Museum London. (Image via Dandyhorse Magazine.) Every which way, by Kim Adams. Courtesy of Diaz Contemporary. (Image via Dandyhorse Magazine.)
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.
And just steps away is The Power Plant “Canada’s leading public gallery devoted exclusively to contemporary visual art” (cited www.thepowerplant.org)
Stunning Contemporary Chinese Dance.
Tonight and tomorrow Fleck features the Chinese dance troupe TAO Dance Theater. Reviews of their show Weight x3 & 2 have been amazing. Time to treat yourself, a little something for your soul!
A Mashup of Music, Art & Dance.
And also on tonight, as part of the programming for Beat Nation, the Power Plant hosts a dance battle bringing into the gallery “dancers representing moments in Aboriginal and hip-hop dance history to create a unique, interdisciplinary event…16 of Toronto’s best dance crews will compete for $1,000 cash prize in a 2-on-2 elimination battle format and time rounds. ” (cited www.thepowerplant.org)
The Beat Nation Exhibit will be open until 9 with the competition beginning at 8:30.
This weekend dance to the south east west north earth sky.
“Bonnie Devine and Dylan Miner will discuss the emergence and significance of the artist/activist in historic and contemporary Indigenous aesthetic practice. Their conversation will address the convergence of art-making and political action to affect social change.” (cited from www.thepowerplant.org)
As a whole we are greater than the sum of our parts.
Not only is Black History Month about celebrating the contributions African Canadians have made to our society but it is also about calling Canada out on its educational amnesia with regards to a history stretching back to our origins as a Nation.
Unfortunately the system has been slow to change and in the 21st Century we still have problems. The Idle No More movement shows that there is much to be done in acknowledging that as a whole we are greater than the sum of our parts. If there is historical or contemporary exclusion of any group of people in this country we all suffer.
So for the month of February, as we draw nearer to the rebirth of Spring, MIXED BAG MAG will be focusing on the process of cultural healing – what does it mean, how can it look, and where can we all go together?
One of the most powerful ways to transform our perspective is when we allow ourselves to see the humanity of another human being as shared with our own. Art, performance, music, and storytelling create spaces of understanding. As we watch with our eyes, listen with our ears, often our hearts open as well.
To kick off Black History Month in the spirit of Sankofa (an African symbol that means to look back at where you have come to understand where you are going) Mixed Bag Mag is going back to the source of this continent by showcasing and posting on Aboriginal Artists as Cultural Provocateurs.
In Toronto we are lucky to have some great events taking place this week into the next.
On now at the Power Plant (on until May 5) is the exhibition Beat Nation.
“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. #PPBeatNation” (cited from www.powerplant.org)
“Justseeds Artists’ Cooperative is a decentralized network of 24 artists committed to making print and design work that reflects a radical social, environmental, and political stance. With members working from the U.S., Canada, and Mexico, Justseeds operates both as a unified collaboration of similarly minded printmakers and as a loose collection of creative individuals with unique viewpoints and working methods. We believe in the transformative power of personal expression in concert with collective action. To this end, we produce collective portfolios, contribute graphics to grassroots struggles for justice, work collaboratively both in- and outside the co-op, build large sculptural installations in galleries, and wheatpaste on the streets – all while offering each other daily support as allies and friends.” (cited from www.justseeds.org)
SATURDAY at Ryerson is the “Pictures of by Indians”Symposium.
“Pictures of By Indians is a one-day symposium and discussion of photo-based art, culture and decolonization. This free public presentation will examine these issues through the practices of five internationally acclaimed Indigenous artists, and provide an opportunity to engage with the ways in which Indigenous photographic practices shape art and cultural discourses in Canada. The work of these artists represents a vast landscape of Indigenous artistic research, methodology and practice in the field of Indigenous photo-based arts and activism: Scott Benesiinaabandan, Rosalie Favell, Mary Longman, Shelley Niro and Jeff Thomas.” (cited from www.ryerson.ca/ric)
“Using the 1948 Universal Declaration of Human Rights as a point of departure, HUMAN RIGHTS HUMAN WRONGS examines whether images of political struggle, suffering and victims of violence work for or against humanitarian objectives, especially when considering questions of race, representation, ethical responsibility and the cultural position of the photographer.” (cited from www.ryerson.ca/ric)
Sunday take advantage of Power Plant’s “Sunday Scene” where a guest comes to give a talk and tour of the latest exhibits. This Sunday artist and writer Kristie McDonald will be giving on Beat Nation.
“Kristie MacDonald is an artist and writer who lives and works in Toronto. She is currently the Archivist at Vtape. Her art practice engages notions of the archive and the collection, as well as their roles in the evolving meanings and contextual histories of images and artifacts. Kristie holds a BFA from York University specializing in Visual Arts, and an MI from the University of Toronto specializing in Archival Studies. MacDonald will speak about our current exhibition Beat Nation.”(cited from www.thepowerplant.org)
Wednesday of next week return to Power Plant for In Conversation with Bonnie Devine and Dylan Miner.
“Bonnie Devine and Dylan Miner will discuss the emergence and significance of the artist/activist in historic and contemporary Indigenous aesthetic practice. Their conversation will address the convergence of art-making and political action to affect social change.” (cited from www.thepowerplant.org)