Listen, Witness, Transmit

exhibitions

 

Exhibitions and Performances

 
 
 Photo Credit : NASA ESA AURA Caltech

Photo Credit : NASA ESA AURA Caltech

We are Star People

Jason Baerg in collaboration with Jean-Sébastien Gauthier

Installation : June 12, 2018, 6:00 p.m - 9:00 p.m
Location : La Troupe du Jour, 914 20th Street West

We are Star People is an interactive new media journey through Cree cosmology. Inspired by Cree scientist Wilford Buck, and additional research focusing on Cree star constellations, Cree Métis artist Jason Baerg leads us to Pakone-Kisik (Cree) or Behgonay Geeshik (Anishinabe), which is known as the Hole in the Sky. This star cluster of Seven Sisters is also named the Pleiades by the ancient Greeks and is located in the constellation of Taurus. This audio and motion responsive new media installation is created in collaboration with Fransaskois artist Jean-Sébastien Gauthier.

Jason Baerg is a registered member of the Métis Nations of Ontario that serves the community as a curator, educator, and visual artist. 2017 curatorial projects include exhibitions with Toronto's Nuit Blanche and the University of Toronto. Baerg graduated from Concordia University with a Bachelors of Fine Arts and a Masters of Fine Arts from Rutgers University. He currently is teaching as the Assistant Professor in Indigenous Practices in Contemporary Painting and Media Art at OCAD University. Dedicated to community development, he founded and incorporated the Métis Artist Collective and has served as volunteer Chair for such organizations as the Aboriginal Curatorial Collective and the National Indigenous Media Arts Coalition. Creatively, as a visual artist, he pushes new boundaries in digital interventions in drawing, painting and new media installation. Recent international solo exhibitions include the Illuminato Festival in Toronto, Canada, the Royal Melbourne Institute of Technology in Australia and the Digital Dome at the Institute of the American Indian Arts in Santa Fe, New Mexico. Jason Baerg has adjudicated numerous art juries and won awards through such facilitators as the Canada Council for the Arts, the Ontario Arts Council and The Toronto Arts Council. For more information about his work, please visit Jasonbaerg.com.

Jean-Sébastien (J-S) Gauthier (BFA, Concordia University, Sculpture, 2009) is a Fransaskois sculptor and new media artist who adopts inquiry and experimentation to create time-based artworks. Gauthier views collaboration and experimentation as key to his creative process. He actively seeks collaboration, embracing the unpredictability of outcomes and unique results.  His work involves a mix of technical and conceptual approaches from traditional sculpture, video production, performance art, 3D rendering and scientific imaging technologies. Gauthier views collaboration and experimentation as key to his creative process. In 2017 Gauthier became the first Canadian artist to be granted synchrotron beam time for artistic experimentation at the Canadian Light Source. He is continuing this vein of research with his current project All Forms at All Times/Toutes formes en tout temps, which seeks to explore and describe the mutability of life forms using immersive technologies.

 
 Image provided by the Artist

Image provided by the Artist

People You Must Look at Me or Coyote and Badger Were Neighbors or The Origin of Eternal Death

KITE

Performance : June 14, 2018, 7:00 p.m - 7:15 p.m
Location : Event Space, AKA Artist-Run / PAVED Arts

a physical exploration into digitally mapped space, using a body instrument that interfaces with sound/ video/3d space; including video, drawing, animation, dance, interface design. People You Must Look at Me uses chiastic narrative to cocoon the witnessing of an event in layers of narrative, each with different relationships of body to data and space.

Kite aka Suzanne Kite is an Oglala Lakota performance artist, visual artist, and composer raised in Southern California, with a BFA from CalArts in music composition, an MFA from Bard College’s Milton Avery Graduate School, and is a PhD student at Concordia University. Her research is concerned with contemporary Lakota mythologies and epistemologies and investigates the multiplicity of mythologies existing constantly in the contemporary storytelling of the Lakota through research-creation, computational media, and performance practice. Recently, Kite has been developing a body interface for movement performances, carbon fibre sculptures, immersive video & sound installations, as well as co-running the experimental electronic imprint, Unheard Records.

 
 Image provided by the Artist

Image provided by the Artist

paskwâw nîpîy

Amanda Strong | Spotted Fawn Productions

Exhibition : June 1st - August 24, 2018
Location : Wanuskewin Galleries 

paskwâw nîpîy is a compilation of works reflecting on the elemental themes that speak to territory, history and our connection to the beings that reside in those places past and present. Aspects of three differing projects are tied together and exhibited as paskwâw nîpîy which means grass and water in Plains Cree, a northern Plains language connected to this place Wanuskewin.

HOW TO STEAL A CANOE
How to Steal A Canoe, is the story of a young Nishnaabeg woman and an elder Nishnaabeg man rescuing a canoe from a museum and returning it to the lake it was meant to be with. On a deeper level, we witness the act of stealing back the precious parts of us that were always ours in the first place as Indigenous people.
The audio is the film conveys the story both through music and storytelling. Spoken lyrics recorded by Nishnaabeg poet Leanne Betasamosake Simpson. The original score composed by Cree cellist Cris Derksen.

BIIDAABAN THE DAWN COMES
Since time immemorial Indigenous people have harvested sap from trees to produce syrup a practice that continues today. Two main characters Biidaaban, a young Indigenous gender fluid person and Sabe, a Sasquatch shape shifter set out to harvest sap from Sugar Maples in their urban environment and private neighbourhoods of the city. Biidaabaan can see traces of time, people, creatures and land. By harvesting syrup in this way they are continuing of the work of their ancestors.

Ancestors and animals such as Ghost Caribou and Ghost Wolf are imbedded within the landscape but only Biidaaban can see them. These visuals reverberate throughout the work to draw from the past but what we see is steadfast in the present.

FOUR FACES OF THE MOON
Four Faces of the Moon follows the animated journey of an Indigenous photographer as she travels through time. She witnesses moments in her family’s history and strengthens her connection to her Métis, Cree and Anishnaabe ancestors. This is a personal story, told in four chapters through the eyes of director and writer Amanda Strong. The oral and written history of her family reveals the story — we witness the impact and legacy of the railways, the slaughter of the buffalo and colonial land policies.

Four Faces of the Moon contains no English language, relying on sound, image and Indigenous voices to tell the story. This multi-layered approach to storytelling may leave you with more questions than answers: it is an invitation to look into your own understanding of history, legacy and the importance in knowing who you are and where you come from.

Spotted Fawn Productions (SFP) founded in 2010 incorporated in 2014 by owner/director Amanda Strong. SFP works are celebrated globally in festivals, installations, Indigenous community presentations and have received numerous awards. Located in Vancouver, BC we are a creative, community oriented studio with a focus on illustration, stop motion, 2D, 3D and virtual reality animations.

 
   
  
   
  
    
  
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     Only Available Light  (detail), from the series  Only Available Light , 2016. Archival film (Harlan I. Smith,  The Shuswap Indians of British Columbia , 1928), projector, selenite crystals and photons. Film 8:44. Original composition by Leela Gilday. Photo: Dennis Ha. Courtesy the artist and grunt gallery.

Only Available Light (detail), from the series Only Available Light, 2016. Archival film (Harlan I. Smith, The Shuswap Indians of British Columbia, 1928), projector, selenite crystals and photons. Film 8:44. Original composition by Leela Gilday. Photo: Dennis Ha. Courtesy the artist and grunt gallery.

#callresponse

Artists : Christi Belcourt, IV Castellanos, Marcia Crosby, Maria Hupfield, Ursula Johnson, Cheryl L'Hirondelle, Isaac Murdoch, Esther Neff, Tanya Tagaq, Tania Willard and Laakkuluk Williamson-Bathory with local respondents Jennifer Kreisberg and Laura Ortman

Organized by : Tarah Hogue, Maria Hupfield, and Tania Willard

Exhibition : June 1st - July 13, 2018
Location : Aka Artist-Run and Wanuskewin Galleries 

Shining a light on work that is both urgent and long-term, #callresponse acts as a connective support system that begins with commissioned artworks created by Indigenous North American women artists and their invited guest respondents. Moving between specificity of Indigenous nations, site, online space, and the gallery, #callresponse focuses on forms of performance, process, and translation that incite dialogue and catalyze action across borders between individuals, communities, territories and institutions. The hashtag #callresponse connects the geographically diverse sites and provides opportunities for networked exchanges. A touring exhibition, #callresponse opened in Vancouver’s grunt gallery in 2016 and continues to engage each location with specific programming.

This exhibition is organized and circulated by grunt gallery, and presented by AKA Artist-Run and Wanuskewin Gallery. #callresponse is funded by the {Re}conciliation Initiative, a partnership between the Canada Council for the Arts, the J.W. McConnell Family Foundation, and The Circle on Philanthropy and Aboriginal Peoples in Canada.  Additional funding support from The British Columbia Arts Council.

 
 Image provided by the Artist

Image provided by the Artist

Animikiikaa 10-97

Scott Benesiinaabandan

Closing : Friday, June 15, 8:00 p.m - 11:00 p.m
Exhibition : May 11-June 16, 2018
Location : PAVED Arts 

Animiikikaa 10-97 is a 3-channel audio installation originally commissioned by the Winnipeg Art Gallery. The installation, featuring a woman speaking clearly in the Anishinaabe language, develops the notion that the particular sonorous qualities of indigenous spoken word is unfamiliar to the vast majority of people who live in its native country. Benesiinaabandan's gesture also reflects upon a recent history in which the Anishinaabe language was actively subjugated, such that placing it into the public sphere constitutes a political act in itself.

Scott Benesiinaabandan is an Anishinaabe intermedia artist that works primarily in photography,video, audio and printmaking. Scott has completed an international residencies at Parramatta Artist Studios in Australia, Context Gallery in Derry, North of Ireland, and  University Lethbridge/Royal Institute of Technology iAIR residency,  along with international collaborative projects in both the U.K and Ireland. Scott is currently based in Montreal, where he is completing a MFA in Photography and a year long Canada Council New Media Production grant through OBx Labs/Ab-TeC and Initiative for Indigenous Futures where he is currently investigating virtual reality as a medium.