Tomorrow artist panel with artists Jeff Thomas, Rosalie Favell and filmmaker Isabella-Rose Weetaluktuk speaking on activating the archives.
“The panel of artists includes Onondaga photographer and curator, Jeff Thomas; Métis artist, Rosalie Favell; and Inuk filmmaker, Isabella-Rose Weetaluktuk. All three use archival images in their innovative artistic practice, and will discuss the ways in which they are reclaiming and re-telling their histories and stories. All guests are encouraged to participate in the discussion.”
WHEN: Registration opens @ 9:30 am & panel begins at 10:30 am WHERE: Library and Archives Canada (Pellan Room 2nd Floor), 395 Wellington Street, Ottawa
“Project Naming enables Indigenous peoples to engage in the identification of photographs from Library and Archives Canada. LAC hopes that members of the public will share their knowledge. If you know the names of people depicted in our photographs or have information about an activity, event or place, LAC would love to hear from you. The majority of individuals depicted in the images in LAC’s collections were never identified. Many archival descriptions relating to events or activities are absent or have dated information (e.g. place names, band names or terminology). Or information is based on original inscriptions and captions found on the records, and hence reflects the biases and attitudes of non-Aboriginal society at the time.”
As part of the exhibition a conversation with curator Pamela Edmonds and the artists David Ofori Zapparoli and Yannick Anton will be moderated by Kwende Kefentse (aka DJ Memetic) tomorrow evening.
WHEN: Tuesday, February 27 @ 7 pm WHERE: Carleton University Art Gallery (CUAG), St. Patrick’s Building, Carleton University, Ottawa
More on the Outside These Walls:
“This exhibition brings together photographic works by Toronto-based artists Yannick Anton and David Ofori Zapparoli whose respective imagery share a community-focused and collaborative approach to documenting urban life and its people. Zapparoli has represented the visual history of Canadian cities for over 30 years, the majority of his work is informed by a strong social realist approach. Until 1999, he had focused on the public housing development of Regent Park, putting a human face on the stigmatized and transitional community of which he had been a part of since his teens.Anton’s candid and energetic photographs draw stylistic inspiration from the youthful, street, fashion, music and queer-positive cultures that he captures. Together both artists’ compelling works present unique and unapologetic insights into diverse landscapes and lives, addressing the systemic barriers that they expose and refute, while re-imagining regimes of the image away from fixed inscriptions of race, gender, class and corporeality.” (more info…)
Final day to see Transactions by curator Cara Tierney at CUAG
This amazing show “celebrating queer experiences” closes today after it’s run at the Carleton University Art Gallery (CUAG) in Ottawa. Curator Cara Tierney has created a space that pulsates with jubilation. The artists flesh out what it means to be deeply connected to your community as well as deeply loved by your community. The work in the show positions joy and empathy as resilience. Beautiful portraits of the Queer and allied community are created through visuals, words, and performance. Transactions is a visually stunning show that includes in situ graffiti by Ottawa based artist Kalkidan Assefa that wraps around corners softening the space “as the show unfolds in the visual embrace of this unswerving ally.” This is a not-to-be-missed exhibit!
WHEN: Sunday, February 12 from 1 – 5 pm WHERE: Carleton University Art Gallery, St. Patrick’s Building, Carleton University,
“Celebrating queer experiences that emerge from transactional creative exchanges, the artists in TRANSACTIONS define, refine, redefine, exult themselves today for the (a)genders of tomorrow, linking communities and challenging ideas of authenticity, allyship, belonging and being.”
Images from top to bottom: Portrait of Kama La Mackerel; graffiti by Kalkidan Assefa with work by Elisha Lim in the background; work by Elisha Lim; more work by Elisha Lim, graffiti by Kalkidan Assefa.
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.
“In The Invention of Craft (2013), Glenn Adamson argues that while a hierarchy of artistic disciplines was established during the Renaissance, the modern classification of craft as distinct from fine art and industry developed between 1750 and 1850, during the Industrial Revolution. Fine art and craft have each acquired their particular histories, disciplines, discourses, methodologies, and iconic works. Today, we have inherited a set of persistent binaries that elevates art above craft and defines craft as “non-art.”
Photo of “Making Otherwise” Exhibit by Justin Wonnacott, courtesy of the artists.
In speaking with Heather Anderson, the curator for Making Otherwise: Craft and Material Fluency in Contemporary Art, I asked her if the (considerably more blurred) boundary between art and craft has always been of interest to her. “Yes,” she responds but now that she has had the chance to dive deep into the subject her interest has become more passionate. “You find some threads and you want to keep on pulling them,” she answers.
When you view this exhibit you can definitely see why. The show is full of work that makes you reconsider your first impression and move towards the pieces in an act of discovery – give your mind a little tug to unwind it all. Marc Courtemanche’s porcelain works deceive you. The installation is so convincing I feel that I can sense the density and weight of the wood as the grain is so painstakingly etched into the surfaces.
Paul Mathieu’s hand painted porcelain bowls play tricks with your eyes and illusions are created as you maneouver around their preciousness and precarious positioning in the gallery space.
Above and below photo of Marc Courtemanche’s “The Studio” (stoneware, porcelain, glaze, metal, rope) by Justin Wonnacott, courtesy of the artist.Above photos of Paul Mathieu’s “Odalisque Bowl, Ian / Edouard” (hand-painted porcelain) by Justin Wonnacott, courtesy of the artist.
Sarah Maloney’s Collapse is a chaise longue that dips with feminine curves but becomes anything but inviting upon closer inspection when you realize there are cast bronze flowers jutting up from the soft surface of the upholstery.
Above photos of Sarah Maloney’s “Collapse” (antique fainting couch, bronze, fabric) by Justin Wonnacott, courtesy of the artist.
Nothing is quite as it seems and the ‘craftiness’ of these artists to influence and cajole us into deeper reflection shows that Heather did a fine job in selecting talent from across Canada.
The work of Ursula Johnson encourages the viewer to unravel her deceptively straightforward presentation of woven busts. They are accessible, no glass case to separate. They are supple, constructed from curved strips of smooth wood. They appear uniform and seem almost weightless. The light colouring makes them very contemporary – like a succinct comment on a minimalist aesthetic. But the process by which Ursula has chosen to construct her busts is a deliberate act that binds her contemporary art practice to a tradition that reaches way back. Ursula learned the art of basket weaving from her great-grandmother, master weaver Caroline Gould, a Mi’kmaw elder from Waycobah Reserve in Nova Scotia.
The busts are woven with strips of black ash a wood whose current state has been categorized as an endangered species. It’s a wood that traditionally populated the East Coast, the Mi’kmaq territories of Ursula’s ancestors. The procedure to reduce the wood down to the essential strips is a laborious task. Fewer and fewer people have the how-to expertise. Ursula is one of the knowledge keepers.
The lightness of the materials conceals the weight of the subject matter. The busts are about the policy of assimilation – the convoluted categorization of Indigenous people in Canada by way of the Indian Act.
“L’nuwelti’k (We Are Indian)” is an ongoing series of portrait busts that memorializes individuals and explores Indian Registration and Membership Codes. Johnson called for volunteers who self-identified with a particular code defined by the Indian Act, such as “Male 6.1, Off-reserve.”
Unlike an assigned number that renders an individual’s personality, character and history invisible through the device of a constructed code, when seen as a collective, the busts actually shift in their contour and size, breaking the initial impression of indistinctness. Each bust speaks to the physical form of the sitter who has participated with Ursula. Ursula’s “de-briefing” process as the sitter comes out of the cocoon-like structure she weaves around them ensures that they are more than a number. Hidden from the sight of the viewer, inside the recessed head of the bust, is the person’s name and details of the encounter Ursula has had with them during a performance of her weaving.
Above photos of Ursula Johnson’s “L’Inuwelti’k (We Are Indian)” series (black ash) by Justin Wonnacott, courtesy of the artist.
It is amazing to watch Ursula weave, for many reasons – she is fast and efficient as well as full of grace. She is present with her participant and will do what she can to ensure they are comfortable and supported. Her performance is not set up as though on a stage separated from a crowd of onlookers but rather a shared experience of intimacy she has with both her audience but most especially her sitter.
As I witness Ursula’s performance at Carleton, the beginnings of the framework looks like the yarmulke worn by Jewish men. Soon it resembles the bonnet my Mennonite great-grandmother wore to symbolically identify who she was spiritually and the community she was connected with. Her choice to cover her head was what people would see first, perhaps making assumptions about what they thought she might be before discovering more about the woman she really was.
When completed it reminds me of the medieval chain mail armour that served as a means of protecting but also masking the identity of the men inside the metal mesh. Heather reflects on something a visitor to the gallery had said about how the busts look like the niqab worn by some Muslim women. She shared with Heather that she believed that the western eye is conditioned to see a Muslim woman who covers her head as part of an unknowable mass rather than as an individual. Heather remarks that “our tendency is to assume very quickly that we can’t differentiate but perhaps we can.”
And we should.
Making Otherwise ends this weekend.This great exhibit offers us a chance to see the art of craft and the politics of identity in a new way.
Above image of “Making Otherwise” by Justin Wonnacott, courtesy of the artist.
Images of Ursula Johnson performing “L’Inuwelti’k (We Are Indian)” at Carleton University by Leah Snyder for Mixed Bag Mag.
EDITOR’S NOTE: In the midst of researching and writing about this exhibit I was invited to join the CUAG Advisory Board. This came as a welcomed surprise. My experience with CUAG as a reviewer of their exhibits over the past year has been positive and I look forward to starting a different kind of relationship with the team at CUAG.