Mushkeke uhkeeng/ Hampi Wiñachiq Pacha / Pohã ñana / Where the Medicine Grows

Principal Investigators: David McIntosh, Robert Houle

Co-investigators: Dot Tuer, Alan Durston, Judith Doyle

Research Assistants: Luke Garwood, Anastasia Tarkhanova, Joaquim Almeida, Jay Cooper, Maju Tavera

Creative Consultants: Stella Bone, Delores Roulette, Marilyn Beaulieu, Sandra Beaulieu, Roberta Riglin, Kim McKay, Brendan McKay, Paul Gardner, Alberto Gomez, Chapu Toba

“Mushkeke uhkeeng / Hampi Wiñachiq Pacha / Pohã ñana / La Tierra que hace crecer los remedios / Where the Medicine Grows: (Re)Generative Translocal, Transmedia Healing Networks” is a working group of indigenous and non-indigenous researchers and creative practitioners building local and translocal, digital and material, research/creation and collaboration networks of artists and healers, on urban and traditional lands, to address legacies and current realities of indigenous peoples. The three primary indigenous cultures/locations/languages represented in this process are: Anishnabe in Manitoba and Ontario (Wasagaming/Riding Mountain, Sandy Bay, Winnipeg, Toronto); Quechua in Perú (Ayacucho, Qeros, Cusco, Lima); Guaraní in Northern Argentina (Iberá, Yahavaré, Corrientes).

This research/creation project rests on a set of ongoing conversations and creative collaborations to build understanding and sharing of histories in and across all three sites, including deep as well as recent histories of colonial rule and genocide of indigenous peoples in each society. The project engages healing based on recuperation and regeneration of language, land and plants. It is based on documentation of oral and audiovisual traditions and knowledges of plants and healing for regeneration in generative media forms to ensure ongoing enactments of traditions and knowledges. In addition to oral storying, the cultures engaged in the project maintain other forms of traditional healing knowledge retention and sharing, for example Anishnabe prescription sticks (sequences of etchings of healing plants in lengths of wood), birch bark biting and beading of plants on regalia, and Quechua and Guaraní songs and weavings referencing healing plants. These oral and representational knowledge forms, and other knowledge forms being researched, are considered in relation to contemporary generative media, digital interactive media, including AR-Augmented Reality, which maintain the contingent, adaptable and embodied power of oral traditions. Local translators ensure that land/language relations are fully maintained in exchanges across the three communities. Oral exchanges are documented and supplemented by audiovisual works including 3D imaging using LIDAR enabled devices such as Iphone 13 and Ipad. The project examines the role of oral storytelling in regenerating memory, time and place in healing processes, and, more specifically, orality as contingent, enacted, embodied, interactive and adaptive to immediate circumstances and contexts. Working in indigenous languages is key to building local teams of practitioners and networks of exchange.

Stories that locate healing relations with plants and the land are at risk of being lost. The process of experiencing, understanding and extending oral histories, and documentation and sharing of those stories, is intended to assist in enhancing community survivance.

 

This project is supported by the Social Sciences and Humanities Research Council of Canada (SSHRC).

SSHRC Logo

 

Photograph of Black Spruce
Photograph of labrador tea
Photograph of southern white cedar
Text "metashape 3D imaging tutorial cover page" on a photo of forest canopy
Thursday, March 31, 2022 - 9:30am

Postcommodity: Time Holds All the Answers

Postcommodity: Time Holds All the Answers – Dr. Gerald McMaster, OCADU and Remai Modern collaborate on major exhibition and publication.

Publication at a Glance 

Wapatah Centre for Indigenous Visual Knowledge at OCAD University and Dr. Gerald McMaster are proud to present a major book project in collaboration with Remai Modern museum - Postcommodity: Time Holds All the Answers. This landmark publication features groundbreaking contributions by Gerald McMaster, Roberto Bedoya, Floyd Favel, Bill Kelley Jr., and Elise Y. Chagas. Building on and published in association with Postcommodity’s major solo exhibition at Remai Modern, Postcommodity: Time Holds All the Answers the publication is an important and timely collaboration between Remai Modern, Postcommodity and Otami- Creative Director Sébastien Aubin that grounds the projection of Indigenous Knowledge Systems within the publication design. As a significant contribution to discourse, Dr. McMaster’s essay proceeds through a series of narrative devices to reimagine the ways in which Postcommodity’s practice can be understood in the contexts of today.   

“By connecting Indigenous narratives of cultural self-determination to the broader sphere of public institutions, Postcommodity use art as a wedge to inject Indigenous knowledge and expand common points of reference beyond the colonial worldview. Through their practice of artmaking, binary ways of thinking, such as “us versus them,” can be rendered absurd, leaving the possibility for syncretic modalities to take their place. The results are reconfigured sites primed for reimagined ceremonial possibilities” 

(Dr. Gerald McMaster, Postcommodity: Time Holds All the Answers, 46) 

“During our brief visit, I was reminded of all of those who had come before us. They had comported themselves with the knowledge that they were not the first to be there, nor would they be the last; that those who had come before them were not behind, but, in fact, were in front of them, ahead of them, and that one day they too would be the future of those following the very same trail of primordial crumbs. With those behind them in mind, generations of our ancestors had placed stone after stone with intention, not only to say, “We are grateful for this place,” but to say, “All willing, you will also find your way to receive her offerings.” With us in mind they collectively, cumulatively, and gently marked a windswept hilltop to draw us to a vista, to point the way, to transfer their knowledge, and to be remembered remembering us—all in a spiral of time and space that defies any foolish notions of linearity.” 

(Dr. Gerald McMaster, Postcommodity: Time Holds All the Answers, 84) 

Publication is available for purchase through Remai Modern

Exhibition at a Glance  

Curated by Dr. Gerald McMaster and hosted by Remai Modern in Saskatoon from September 18, 2021 to January 23, 2022, Time Holds All the Answers was Postcommodity’s most significant museum exhibition to date. In addition to two of Remai Modern’s largest gallery spaces, works were featured throughout the building. With a selection of new pieces created for the occasion, the exhibition included architecturally-scaled sculpture and immersive multimedia installations that incorporate sound and text. The exhibition touched on subjects including resource extraction and land use, toxicity and containment, intersections of the global market with human elders, translation across Indigenous and colonial languages, and the mythologies of modern art and architecture. 

Postcommodity deploy a creative methodology of hacking, intentionally breaking predetermined products or structures in order to modify their original use and inspire alternative outcomes. In practice, hacking undoes, reimagines and resets. How can this be accomplished? Using art as a wedge, Postcommodity inject Indigenous Knowledge Systems into the museum space to expand common points of reference. In their work, the artists transform the museum into a site where their concept of re-imagined ceremony takes shape. While ceremony is generally associated with a religious or spiritual gathering that celebrates a particular event, Postcommodity’s approach creates an immersive narrative environment throughout the museum, welcoming visitors into a realm of symbolic exchange that enacts respect, responsibility and reciprocity. 

Curator and Author  

Gerald McMaster is a leading voice nationally and internationally, with over 30 years of experience in contemporary art, critical theory, museology and Indigenous aesthetics. He is Plains Cree from the Red Pheasant Cree Nation and a member of the Siksika Nation. He served as the Canadian Commissioner for the 1995 Venice Biennale, Artistic Director of the 2012 Biennale of Sydney; and Curator for the 2018 Venice Biennale of Architecture. McMaster has served as Adjunct Curator for Remai Modern since 2018. He is a Tier 1 Canadian Research Chair and Director of Wapatah Centre for Indigenous Visual Knowledge at OCAD University in Toronto. 

Exhibition | Artists 

Postcommodity is an interdisciplinary arts collective, currently comprised of Cristóbal Martínez and Kade L. Twist. They create works of art that personify a shared Indigenous lens and voice, examining aspects of 21st-century life to inspire a uniquely Indigenous futurism. Using provocation as a tool, they spark constructive conversations that challenge the social, political and economic processes that destabilize communities and geographies. 

Cristóbal Martínez is a Mestizo artist, scholar and Chair of the Art and Technology Program at the San Francisco Art Institute. In 2003 he co-founded the artist-hacker performance ensemble Radio Healer, and in 2009 he began working as a member of Postcommodity. In 2018 he co-created, with post-Mexican composer Guillermo Galindo, the experimental electronic music duet Red Culebra. Martínez has dedicated his life and career to interdisciplinary collaboration in contemporary art. 

Kade L. Twist is a member of the Cherokee Nation and grew up in Bakersfield, California, home to one of the largest Cherokee communities in the U.S. Twist is a co-founding member of Postcommodity, and a professor in Art + Social Practice at Otis College of Art, Los Angeles. In addition to his art practice, Twist works as a public affairs consultant specializing in American Indian health care, technology and community development. 

Publication | Contributing Authors 

Roberto Bedoya is Cultural Affairs Manager for the City of Oakland. Bedoya is also a poet, whose work has appeared in numerous publications, and an art consultant, with projects for Creative Capital Foundation, the Ford Foundation, The Rockefeller Foundation, and the Urban Institute. 

Floyd Favel is a cultural theorist, writer and theatre director.  Favel is the curator of the Chief Poundmaker Museum and director of Miyawata Culture Inc., an Indigenous performance festival held yearly on Poundmaker Cree Nation. He has studied theatre in Denmark and Italy and has traveled worldwide in his research on Indigenous Performance 

Elise Y. Chagas is a Ph.D. candidate studying modern and contemporary art at Princeton University. She is a 2021-2022 Mellon-Marron Research Consortium Fellow at the Museum of Modern Art, New York. 

Bill Kelley Jr. is an educator, curator and writer based in Los Angeles. He holds a Ph.D. in Art History, Theory and Criticism from the University of California at San Diego and his current research focuses on collaborative and collective art practices in the Americas. He holds the position of Associate Professor of Latin American and Latino art history at California State University Bakersfield. 

Publication | Designer 

Sébastien Aubin is a freelance graphic artist currently based in Montréal and a proud member of the Opaskwayak Cree Nation in Manitoba. He has worked for Kolegram, one of the most prestigious graphic design studios in Québec, and has done publications for numerous artists, organizations, and art galleries in Winnipeg, Montréal and Ottawa, including Plug In ICA Close Encounters, the next 500 years, Terrance Houle, KC Adams, Carleton University Art Gallery, Thunder Bay Art Gallery, and Art Gallery of South Western Manitoba. Aubin is one of the founding members of the ITWÉ collective that is dedicated to research, creation, production and education of Aboriginal digital culture.  

Supporting Team | Wapatah Centre for Indigenous Visual Knowledge at OCAD University 

Michael Rattray is a Toronto-based creative professional with experience in a wide variety of mediums of expression. As a Postdoctoral Research Fellow under the direction of Dr. McMaster at Wapatah, he acted as the Executive Editor and provided oversight for the editorial, design, and publication process for Postcommodity: Time Holds All the Answers. At OCAD University, he also contributed to projects such as the Virtual Platform for Indigenous Art and Arctic / Amazon: Networks of Global Indigeneity – a major publication in partnership with the Power Plant Contemporary Art Gallery, and the Ryerson Image Centre, for which he managed the publication timeline and editorial process. 

Natalja Chestopalova is a senior researcher and project manager at Wapatah Centre, OCAD University. Her work focuses on immersive installations and new media, animation of museum collections, and blockchain solutions for art and site-responsive projects. At Wapatah, Natalja is providing project management oversight for an array of publications, conferences, and virtual educational projects. These include: Indigenizing the (Art) Museum Virtual Series, HotDocs Series Beauty and Resilience: Indigenous Art in Canada, Arctic/Amazon: Networks of Global Indigeneity exhibition and major publication, and the Virtual Platform for Indigenous Art - a custom digital tool for mobilizing artwork and facilitating Indigenous access and contributions to Indigenous art in museum and gallery collections around the world.  

Brittany Pitseolak Bergin is a research assistant at Wapatah Centre, OCAD University. Raised in Southern Ontario, her family is from Kinngait, Cape Dorset. Inspired by the artists in her family and community, including her great-grandmother and namesake Pitseolak Ashoona, Brittany’s focus at Wapatah is centred in community engagement as she continues to support major projects and outreach initiatives. Her work has been integral to the success of projects such as the Virtual Platform for Indigenous Art, Arctic/Amazon Symposium, Arctic/Amazon: Networks of Global Indigeneity exhibition and publication, and Indigenizing the (Art) Museum Virtual Series. Her most recent conferences include the Frontend Conference (Munich) and Inuit Studies Conference (Montreal). 

Panya Clark Espinal is a multi-media installation artist whose practice investigates the mechanisms of cultural representation and, through site-specific installations, exhibitions and public commissions, explores questions of perception, reproduction, collection, and display. Her CCP thesis titled Between Stories: The Agency of Story and Living Ways was developed while working alongside Elín Agla, a Vernacular Culture Farmer from Árneshreppur County, Iceland. As a senior research assistant at Wapatah, Panya has contributed to writing the Bill Reid publication for the Art Canada Institute and The Entangled Gaze project. 

Alessia Pignotti is a conceptual, multimedia artist and graphic designer whose most recent artistic practice explores the notion of the creative instinct. She holds a Masters of Art from OCAD University in the Contemporary Art, Design and New Media Art Histories program, and received an Honours Bachelor of Arts (2017) from the University of Toronto in a joint program with Sheridan College. As a research assistant at Wapatah, Alessia supported a number of projects including the Bill Reid publication project for the Art Canada Institute. 

 

Coloured barrels stacked inside a gallery
Postcommodity: Time holds all the answers
Indigenous dancers wearing regalia are dancing
Postcommodity - 4
Yellow, red, white and black barrels are stacked floor to ceiling in a gallery
Four people stand in front of a wall of text. Dr. Gerald Mcmaster is second from right.
Yellow, red, white and black barrels are stacked floor to ceiling in a gallery
3D art is displayed in a gallery.
A spread from the Postcommodity book.
A spread from the Postcommodity book.
Work is displayed in a gallery.
Hanging work is displayed in a gallery.
A spread from the Postcommodity book.
A spread from the Postcommodity book.
Musicians perform under purple lighting.
A spread from the Postcommodity book.
A spread from the Postcommodity book.
Work installed in a gallery.
Monday, March 7, 2022 - 10:45am

Red Embers installation at Allan Gardens features work of five OCAD U alumni

Photo courtesy: Red Embers
Thursday, June 20, 2019 - 4:30pm

Red Embers, a public art installation honouring missing and murdered Indigenous women is on display at Toronto’s Allan Gardens. Commissioned featured artists include OCAD U alumni: Catherine Tammaro, Hannah Claus, Hillary Brighthill, Lido Pimienta and Lindsey Lickers.

The artists were chosen along with nine other Indigenous female artists from different parts of the country who were commissioned to be part of the exhibition.

The 13 banners symbolize the 13 Grandmother Moons within the Lunar System. According to the Indigenous tradition, the Grandmother Moon heals those women who have suffered sexual assault or domestic violence.

This is the first time that Toronto is displaying a free installation of this scale featuring Indigenous women artists. The installation is on display at Allan Gardens until the annual October 4, 2019 Sisters in Spirit Vigil.

Red Embers is funded by the Public Space Incubator, an initiative of Park People funded by Ken and Eti Greenberg and the Balsam Foundation. The Toronto Arts Council is supporting Red Embers through a grant. Other donors include ERA Architects, Friends of Allan Gardens, Torys LLP, Andrew Sorbara, ARUP and  University of Toronto School of Cities. The Native Women's Resource Centre of Toronto is the project's charitable partner and collaborator. The organization is also accepting donations.

Poster: 
Photo courtesy: Red Embers

Onsite Gallery Opening draws more than 1000!

Ribbon Cutting Ceremony in front of gallery
Monday, September 18, 2017

On Saturday, Sept. 16, OCAD University’s flagship professional gallery, Onsite, threw its doors open to the public for the first time at its new location, 199 Richmond St. W. Over a thousand visitors toured the gallery and celebrated at the outdoor street party, featuring Indigenous performers including Long Branch, Charlena Russell and DJ Classic Roots. The party was MC’d by Amanda Parris, host of CBC Arts program Exhibitionists.

The gallery’s two powerful inaugural exhibitions are raise a flag: works from the Indigenous Art Collection (2000-2015) curated by Ryan Rice, Delaney Chair in Indigenous Visual Culture at OCAD U, and For This Land: Inside Elemental featuring 2Ro Media: Jackson 2bears and Janet Rogers. The exhibitions are on display through December 10, 2017.

Elder Duke Redbird opened the event with an Indigenous land acknowledgement. Member of Parliament Adam Vaughan (Spadina-Fort York) and City Councillor Joe Cressy made remarks before the ribbon-cutting, joining President Sara Diamond and Francisco Alvarez, the Dorene and Peter Milligan Executive Director of OCAD U’s Galleries System, who spoke about the importance of Onsite both to the OCAD U community and to the residents of Toronto.  

Onsite Gallery gratefully acknowledges that its construction is funded in part by the Government of Canada's Canada Cultural Spaces Fund at Canadian Heritage; the City of Toronto through a Section 37 agreement with Aspen Ridge Homes. Gallery furniture is provided by Nienkämper.

raise a flag: works from the Indigenous Art Collection (2000 – 2015) is produced with the support of the Collection of Indigenous and Northern Affairs Canada, courtesy of the Indigenous Art Centre; Our Children's Medicine program and its HigherMe youth hiring platform; the Canada Council for the Arts; the City of Toronto through the Toronto Arts Council; the Indigenous Visual Culture Program at OCAD University; and the Delaney Family Foundation.

For This Land: Inside Elemental is presented with community partner imagineNATIVE Film + Media Arts Festival and supported by Nexus Investment Management.

 

 

Indigenous Methods & Knowledge Workshop with Kevin Myran

Monday, September 18, 2017 - 4:00pm to 5:00pm

Kevin Myran is the coordinator at the Toronto Council Fire Native Cultural Centre and runs “Little Embers,” a program which educates students on Anishnawbe culture and perspectives through the art and experience of storytelling. Drumming and storytelling will support the student creative process by deepening their self-awareness and connection to their own artistic voice, while fostering respect for ritual and community. Kevin is from the Dakota First Nation of Birdtail Manitoba. He is the father of seven children, and he has one grandchild. Kevin is a First Nations drummer, dancer, and pipe carrier.

Venue & Address: 
RM 510, 205 Richmond St. W.
Email: 
gradstudies@ocadu.ca
Cost: 
Free!
Monday, September 18th 4:00-5:00pm, RM 510, 205 Richmond St. W. Kevin Myran is the coordinator at the Toronto Council Fire Nativ

COYOTE SCHOOL

Coyote School Exhibition
Thursday, June 8, 2017 - 11:00am to Saturday, August 19, 2017 - 5:00pm

COYOTE SCHOOL
June 8 – August 19, 2017

Curator:
Rhéanne Chartrand, Aboriginal Curatorial Resident, McMaster Museum of Art

Artists
Joi Arcand, Sonny Assu, Jason Baerg, Jordan Bennett, Christian Chapman, Amy Malbeuf, Meryl McMaster, and Bear Witness aka Ehren Thomas

Coyote School presents contemporary works by eight mid-career Indigenous artists who acknowledge the influence of senior Indigenous artists on the development of their own artistic practice. Through their visual and verbal stories, we learn that influence comes in many forms; through familial and kinship bonds, through formal and informal mentorships, and through artistic inspiration. Whether literal and visible or conceptual and covert, the influence of senior Indigenous artists on current and future generations of Indigenous artists is not taken for granted, but rather, held up, acknowledged, and honoured.

As Tricksters in training, this exhibition asserts that these eight artists continue to push the boundaries of the institutional spaces carved out for them by senior Indigenous artists by committing their own acts of survivance in ways that further disrupt and subvert colonial narratives. These artists continue to claim space(s) to negotiate Indigenous futurities by (re-)presenting Indigenous identity and (re-)imagining Indigenous creative potentialities in new and provocative ways.

* * * * * * * * * * * * * *

Opening Reception: Thursday, June 8, 6 – 8 pm
6:30 pm Opening Remarks by Elders and the exhibition Curator
7 pm Musical Performance by Jeremy Dutcher, an operatic tenor and composer who blends his Wolastoq First Nation roots into his music

Admission is Free. Light Refreshments will be served.

Coyote School is on view June 8 – August 19, 2017.

Coyote School is the second curatorial project of Rhéanne Chartrand, Aboriginal Curatorial Resident, to be presented at McMaster Museum of Art.  The first, Unapologetic: Acts of Survivance, presented earlier this year, included works from the 1980s by eleven foundational contemporary Indigenous artists. Together, Coyote School and Unapologetic: Acts of Survivance foreground continuity in Indigenous art and honour the interpersonal relationships that buttress the Indigenous art community.

* * * * * * * * * * * * * *

About the Curator

Rhéanne Chartrand (MMSt, Hons. BA) is a Métis curator and creative producer based in Toronto, Ontario. She has spent the past six years creating interdisciplinary and multidisciplinary exhibitions, showcases, and festivals for organizations such as Harbourfront Centre, OCAD University, the Art Gallery of Mississauga, the Indigenous Performing Arts Alliance, the Aboriginal Pavilion at the Toronto 2015 Pan Am Games, Kaha:wi Dance Theatre, and the National Museum of the American Indian (Washington, DC). Currently, Chartrand serves as the Curator of Indigenous Art at McMaster Museum of Art located in Hamilton, Ontario.

Unapologetic is the first of two interrelated exhibitions of Indigenous art curated by Rhéanne Chartrand. The second exhibition, Coyote School, will be on display from June 09 to August 26, 2017 and will feature works by emerging and mid-career Indigenous artists who cite influence via artistic inspiration, mentorship or familial connection to the eleven artists presented in Unapologetic. The intent of Coyote School is to acknowledge and respect the contributions that senior Indigenous artists have made to personal and collective Indigenous artistic practices.

Venue & Address: 
MCMASTER MUSEUM OF ART; Alvin A. Lee Building; McMaster University
Website: 
https://museum.mcmaster.ca/about/news/coyote-school-exhibition-highlights-8-contemporary-indigenous-artists/
Cost: 
Free

Art Intersections Meetup with Adrienne Crossman and Thirza Cuthand

Adrienne Crossman and Thirza Cuthand
Tuesday, May 16, 2017 - 6:30pm

Adrienne Crossman and Thirza Cuthand are two artists who are breaking down barriers in their media artwork. They will each present their work as part of the Mobile Experience Lab's Art Intersection Meetup, a place for artists, moving image-makers, gamers and technologists who are experimenting with art-related digital content and how the moving image is presented in a connected world. Digital culture, social media and networks encourage new ways of storytelling, image making, idea sharing and collaboration. This Meetup celebrates artists and innovators who are embracing change leading the next wave of creativity.

Art Intersections Meetup is a meeting place for artists, moving image-makers, gamers and technologists who are experimenting with art-related digital content and how the moving image is presented in a connected world. Digital culture, social media and networks encourage new ways of storytelling, image making, idea sharing and collaboration. This Meetup celebrates artists and innovators who are embracing change leading the next wave of creativity. 

About Adrienne Crossman:

Adrienne Crossman is an artist, educator and curator. She holds a BFA in Integrated Media and a Minor in Digital and Media Studies from OCAD University. She has completed residencies in Syracuse, NY, Montréal, Windsor, and Artscape Gibraltar Point on the Toronto Islands. Her practice involves the manipulation and deconstruction of digital media and popular culture in order to create new artifacts through formal re-interpretations. In the pursuit of creating a queer aesthetic, Crossman's work is concerned with the exploration of non-normative and non-binary spaces, while attempting to locate queer sensibilities in the everyday. Adrienne is currently an MFA candidate in Visual Art at the University of Windsor.

Website: adriennecrossman.com

Instagram: @fakechildhood

About Thirza Cuthand: 

Thirza Jean Cuthand was born in Regina, Saskatchewan, Canada, and grew up in Saskatoon. Since 1995 she has been making short experimental narrative videos and films about sexuality, madness, youth, love, and race, which have screened in festivals internationally, including the Tribeca Film Festival in New York City, Mix Brasil Festival of Sexual Diversity in Sao Paolo, Hot Docs in Toronto, ImagineNATIVE in Toronto, Frameline in San Francisco, Outfest in Los Angeles, and Oberhausen International Short Film Festival in Germany where her short Helpless Maiden Makes an ‘I” Statement won honourable mention. Her work has also screened at galleries including the Mendel in Saskatoon, The National Gallery in Ottawa, and Urban Shaman in Winnipeg. She completed her BFA majoring in Film and Video at Emily Carr University of Art and Design, and her Masters of Arts in Media Production at Ryerson University. In 1999 she was an artist in residence at Videopool and Urban Shaman in Winnipeg, where she completed Through The Looking Glass.  In 2012 she was an artist in residence at Villa K. Magdalena in Hamburg, Germany, where she completed Boi Oh Boi. In 2015 she was commissioned by ImagineNATIVE to make 2 Spirit Introductory Special $19.99. In the summer of 2016 she began working on a 2D video game called A Bipolar Journey based on her experience learning and dealing with her bipolar disorder. It showed at ImagineNATIVE and she is planning to further develop it. She has also written three feature screenplays and sometimes does performance art. She is of Plains Cree and Scots descent, a member of Little Pine First Nation, and currently resides in Toronto.

Website: thirzacuthand.com

Instagram: @thirzac

Presented by Akimbo, Gamma Space, OCAD University and Charles Street Video. Supported by Social Science and Humanities Research Council.

logos

 

Venue & Address: 
Gamma Space Collaborative Studio 862 Richmond Street West, Toronto, Ontario M6J 1C9
Website: 
https://www.meetup.com/Toronto-Art-Video-Social-Media-Technology-Meetup/
Cost: 
free

Issues of Indigenous Curation

Issues of Indigenous Creation    

           Issues of Indigenous Curation

  • To link to the global cultures, artist work and discourses of the other (in relation to the West)
  • To create a complete bibliography of exhibits and critical essays
  • To create a library of images of art, artists, curators, exhibits, activities etc.
  • To synthesize the key ideas from the research of art, artists, curators, exhibits and activities
  • To identify key curators and their curatorial strategies

In the summer of 2016, Rhéanne Chartrand was invited by Dr. Gerald McMaster to conduct research in relation to the development of the course, Issues in Indigenous Curation. As an emerging curator, Chartrand embraced the opportunity to reexamine the Indigenous art historical record to gain a fuller sense of the emergence and development of Indigenous curatorship, and the key themes, issues, and shifts that emerged out of, or in response to, its articulation.

Issues of Indigenous creation - crowd shot

 

 

    Creator: 
    Issues of Indigenous Curation - INVC Research Centre
    Tuesday, March 21, 2017 - 12:15pm

    Digital Futures & CFC Media Lab welcome Kanien'kehá:ka artist Skawennati

    Skawennati: Becoming Sky Woman
    Tuesday, March 28, 2017 - 6:30pm

    Skawennati makes art that addresses history, the future, and change. Her pioneering new media projects have been widely presented across Turtle Island in major exhibitions such as Now? NOW! at Denver’s Biennial of the Americas; and Looking Forward (L’Avenir) at the Montreal Biennale. She has been honoured to win imagineNative’s 2009 Best New Media Award as well as a 2011 Eiteljorg Contemporary Art Fellowship. Her work in is included in both public and private collections. Born in Kahnawà:ke Mohawk Territory, Skawennati graduated with a BFA from Concordia University in Montreal, where she is based. She is Co-Director of Aboriginal Territories in Cyberspace (AbTeC), a research network of artists and academics who investigate and create Indigenous virtual environments. Their Skins workshops in Aboriginal Storytelling and Experimental Digital Media are aimed at empowering youth. In 2015 they launched IIF, the Initiative for Indigenous Futures. www.skawennati.com

    Venue & Address: 
    205 Richmond St. W. Room 115
    Email: 
    cporemba@faculty.ocadu.ca
    Cost: 
    Free all welcome!
    Skawennati Flyer

    Nigig Artist In Residence Welcome Lunch - Neebinnaukzhik Southal

    Multic-coloured button pins on a white background
    Wednesday, March 1, 2017 - 12:00pm to 2:00pm

    Indigenous Visual Culture with the Faculty of Design at OCAD U welcomes Neebin Southall as our Winter 2017 Nigig Visiting Artist in Residence (February 27 - March 18).

    Welcome Lunch - Buffalo Stew and Artist Talk
    Wednesday, March 1, 2017 from 12 pm - 2pm
    Indigenous Visual Culture Student Centre, Room 410, 113 McCaul at OCAD University.

    The Nigig Visiting Artist Residency, hosted by the Indigenous Visual Culture Program at OCAD University, is a program that provides an opportunity for an Indigenous artist to visit OCAD University for a 3-4 week period to focus on a short-term project and explore in a collaborative environment, issues impacting their work. The visiting artist will engage and interact with students and faculty in the capacity of mentorship, critique, lecture and a public workshop / demonstration.

    The Nigig Visiting Artist Residency supports the dynamism located in Indigenous contemporary art and design practices and is a tremendous educational opportunity for the artist and students.

    Bio

    Neebinnaukzhik Southall, a member of the Chippewas of Rama First Nation, is a graphic designer, photographer, artist, and writer. Neebinnaukzhik means "summer evening" in Ojibwe, and marks the time when she was born. In 2011, Neebin graduated magna cum laude from Oregon State University, earning an honors BFA in applied visual arts with a minor in fine arts, through the University Honors College and OSU’s competitive graphic design program. Neebin works as the public relations and web coordinator at the Wheelwright Museum of the American Indian in Santa Fe, New Mexico, and she also takes on selective projects through her small creative business Neebin Studios. She is particularly interested in graphic design as it relates to Indigenous peoples and cultures, and is passionate about promoting Native graphic designers. She writes articles for the column "Exploring Native Graphic Design" for First American Art Magazine, and manages the Native Graphic Design Project (www.neebin.com/nativedesign), where she is compiling a growing list of Indigenous designers.

    Venue & Address: 
    Indigenous Visual Culture at OCAD University Room 410, 113 McCaul Street, Toronto, Ontario M5T 1W1

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