DOCSLIB.ORG

Imaginenative FESTIVAL CATALOGUE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Imaginenative FESTIVAL CATALOGUE Presenting Partner imagineNATIVE FESTIVAL CATALOGUE October 22–27, 2019 imagineNATIVE.org | @imagineNATIVE | #iN20 Proud Presenting Sponsor of the imagineNATIVE Film + Media Arts Festival. Congratulations on celebrating 20 years of Indigenous media arts excellence. 20th imagineNATIVE Film + Media Arts Festival October 22 — 27, 2019 Declaration of Indigenous Cinema 2 Opening Day Code of Conduct 5 Welcome Gathering 70 About imagineNATIVE 6 Opening Night Gala 71 Schedule at a Glance 10 Opening Night Party 70 Festival Venues + Village Map 14 Film + Video Accessibility + Accessible Screenings 18 Wednesday 73 Onsite Elder and Support Workers 20 Thursday 88 In Memoriam, Trudy Stewart 21 Friday 109 Box Office 22 Saturday 130 Festival Greetings 26 Sunday 144 Proud Presenting Sponsor Greetings from Officials 28 Night of the Indigenous Devs 121 imagineNATIVE’s 20th Events 30 The Beat 128 of the imagineNATIVE A Wall Is A Screen 32 imagineNATIVE’s 20th Birthday Party 143 Talkback 33 Awards Presentation 148 imagineNATIVE’s Art Talks 34 Awards Juries 150 Film + Media Arts Festival. Art Crawl 36 Augie Award 153 Exhibitions Closing Night Gala 154 Congratulations on celebrating 20 years iNDigital Expanded 38 Delegate Bag 155 in Pursuit of Venus [infected] 40 iN20 Merchandise 156 of Indigenous media arts excellence. Constructive Interference 42 Indices gathering across moana 44 Print Source 157 spatial codifications 47 Artist Index 161 Among All These Tundras 48 Country Index 164 Listen, speak and sing 49 imagineNATIVE Board + Patron History 167 iNDigital Space 51 Festival Partners 168 Digital + Interactive Media Works 52 Audio Works 63 1 Declaration of Indigenous Cinema WE, THE INDIGENOUS SCREEN STORYTELLERS, UNITED IN THIS NORTHERN CORNER OF OUR MOTHER THE EARTH IN A GREAT ASSEMBLY OF WISDOM DECLARE TO ALL NATIONS WE GLORY IN OUR PAST, • when our earth was nurturing our oral traditions • when night sky evoked the visions of our dreams • when Sun and the Moon were our parents in our stories told • when storytelling made us all brothers and sisters • when our stories brought forth great chiefs and leaders • when justice was upheld in the stories told. WE WILL: • Hold and manage Indigenous cultural and intellectual property. • Ensure our continued recognition as primary guardians and interpreters of our culture. • Respect Indigenous individuals and communities. • Faithfully preserve our traditional knowledge with sound and image. • Use our skills to communicate with nature and all living things. • Heal our wounds through screen storytelling. • Preserve and pass on our stories to those not yet born. We will manage our own destiny and maintain our humanity and pride as Indigenous peoples through screen storytelling. Guovdageaidnu, Sápmi, October 2011 Written by Åsa Simma (Sámi), with support from Darlene Johnson (Dunghutti), and accepted and recognized by the participants of the Indigenous Film Conference in Kautokeino, Sápmi, October 2011. Thanks to the International Sámi Film Institute for sharing this document in our Catalogue. For more information on the Institute, visit www.isfi.no 2 ᐅᖃᒻᒪᕆᖕᓂᖅ ᓄᓇᖃᖅᑳᖅᓯᒪᔪᑦ ᑕᕐᕆᔮᒃᓴᓕᐊᖏᓐᓂᒃ ᐅᕙᒍᑦ, ᓄᓇᖃᖅᑳᖅᓯᒪᔪᒍᑦ ᐅᓂᒃᑳᖅᑎᐅᔪᒍᑦ ᑕᕐᕆᔭᐅᑎᒃᑯᑦ, ᐊᑕᐅᓯᐅᖃᑎᒌᒃᖢᑕ ᐅᑭᐅᖅᑕᖅᑐᖅᐸᓯᖕᒥ ᐊᓈᓇᑦᑕ ᓄᓇᖁᑎᖓᓂ ᑲᑎᙵᓪᓗᑕ ᓯᓚᑐᓂᒃᑯᑦ ᐅᖃᒻᒪᕆᒃᐳᒍᑦ ᓄᓇᖅᑲᑎᒌᓕᒫᓄᑦ ᐅᐱᒋᕐᔪᐊᖅᐸᕗᑦ ᓯᕗᓕᕆᓚᐅᖅᑕᕗᑦ, • ᓄᓇᕐᔪᐊᕗᑦ ᑲᒪᑦᑎᐊᕐᓂᖃᖅᑎᓪᓗᒍ ᐅᓂᒃᑳᒃᑲᐅᓂᑦᑎᓐᓂᒃ • ᐅᓐᓄᐊᒃᑯᑦ ᕿᓚᒃ ᑕᑯᑎᑦᑎᔾᔪᑎᖃᖅᐸᒃᑎᓪᓗᒍ ᓯᓐᓇᒃᑐᖅᑕᑦᑎᓐᓂᒃ • ᓯᕿᓂᕐᓗ ᑕᖅᑭᕐᓗ ᐊᖓᔪᖅᑳᕆᑎᓪᓗᑎᒍᒃ ᐅᓂᒃᑳᑦᑎᓐᓂ • ᐅᓂᒃᑳᖅᑐᐊᒃᑯᑦ ᖃᑕᙳᑎᒌᖕᓂᖃᖅᑎᓪᓗᑕ • ᐅᓂᒃᑳᖅᑕᕗᑦ ᓴᖅᑭᑎᑦᑎᕙᒃᑎᓪᓗᒋᑦ ᐊᖓᔪᖅᑳᕐᔪᐊᓂᒃ ᓯᕗᓕᖅᑎᓂᒡᓗ • ᐱᔾᔪᑎᖃᖅᑐᑦ ᐊᓄᓪᓚᒃᓯᖅᑕᐅᕙᒃᑎᓪᓗᒋᑦ ᐅᓂᒃᑳᑦᑎᓐᓂ. ᐅᑯᓂᖓ ᐱᓂᐊᕐᓂᖃᕐᓂᐊᖅᐳᒍᑦ: • ᐱᓯᒪᓂᐊᖅᐳᒍᑦ ᐊᐅᓚᓪᓗᑎᒍᓪᓗ ᓄᓇᖃᖅᑳᖅᓯᒪᔪᑦ ᐱᖅᑯᓯᖏᓐᓂ ᐱᖏᓐᓂᒃ. • ᑲᔪᓯᓂᖃᖁᓪᓗᒍ ᐃᓕᓴᕆᔭᐅᓯᒪᓂᖅᐳᑦ ᓴᐳᔾᔨᔨᐅᓂᑦᑎᓐᓂᒃ ᓴᖅᑭᑎᑦᑎᓯᒪᓂᑦᑎᓐᓂᒡᓗ ᓴᓕᔪᒥᒃ ᐱᖅᑯᓯᑦᑕ ᒥᒃᓵᓅᖓᔪᓂᒃ. • ᐅᐱᒍᓱᖕᓂᐊᖅᐳᒍᑦ ᓄᓇᖃᖅᑳᖅᓯᒪᔪᓂᒃ ᐃᓄᖕᓂᒃ ᓄᓇᓕᖕᓂᒡᓗ • ᐱᓕᕆᒃᑲᐅᓂᖅᐳᑦ ᒪᓕᒡᓗᒋᑦ ᑐᑭᓯᑎᑦᑎᓂᐊᖅᐳᒍᑦ ᐊᕙᑎᑦᑎᓐᓂᒃ ᐱᔪᓂᒃ ᐆᒪᔪᓂᒡᓗ. • ᒪᒥᓴᕐᓂᖃᕐᓗᑕ ᑕᕐᕆᔭᒐᖅᑎᒍᑦ ᐅᓂᒃᑳᖅᑕᐅᔪᓂ. • ᐊᓯᐅᔾᔭᐃᕐᓂᐊᖅᐸᕗᑦ ᐅᓂᒃᑳᕗᑦ ᑐᓴᖅᑕᐅᑎᓪᓗᒋᓪᓗ ᑭᖑᕚᒃᓴᑦᑎᓐᓄᑦ. ᓯᕗᓂᒃᓴᕗᑦ ᓇᖕᒥᓂᖅ ᐋᖅᑭᒃᓱᕐᓂᐊᖅᐸᕗᑦ ᑲᔪᓯᑎᓪᓗᒍᓗ ᐃᓅᓂᖅᐳᑦ ᐱᐅᔪᕆᓂᖅᐳᓪᓗ ᓄᓇᖃᖅᑳᖅᓯᒪᔫᓪᓗᑕ ᑕᕐᕆᔮᒃᓴᒃᑯᑦ ᐅᓂᒃᑳᕐᓂᒃᑯᑦ. Guovdageaidnu, Sápmi, ᐅᑐᐱᕆ 2011 ᑎᑎᕋᖅᑕᐅᔪᖅ ᐋᓴ ᓯᒻᒪᐅᑉ (ᓵᒥᐅᔪᖅ), ᐃᑲᔪᖅᓯᖅᑕᐅᓪᓗᓂ ᑖᓖᓐ ᔮᓐᓴᓐᒧᑦ (Dunghutti), ᐊᖏᖃᑎᒋᔭᐅᓪᓗᓂ ᐃᓕᓴᕆᔭᐅᓪᓗᓂᓗ ᐃᓚᐅᔪᓄᑦ ᓄᓇᖃᖅᑳᖅᓯᒪᔪᑦ ᑕᕐᕆᔮᒃᓴᓕᐅᕐᓂᕐᒧᑦ ᑲᑎᒪᕐᔪᐊᕐᓂᕐᒥ Kautokeino, Sápmi-ᒥ ᐅᑐᐱᕆ 2011ᖑᑎᓪᓗᒍ. ᖁᔭᓐᓇᒦᖅᐸᕗᑦ International Sámi Film Institute-ᑯᑦ ᐊᒥᖅᑳᖃᑎᖃᕈᓐᓇᓚᐅᕐᒪᑕ ᑖᒃᑯᓂᖓ ᑎᑎᖅᑲᓂᒃ ᑎᑭᓵᒃᓴᖁᑎᑦᑎᓂ. ᑐᑭᓯᒋᐊᒃᑲᓐᓂᕈᒪᒍᕕᑦ, ᐅᕗᖓ ᖃᐅᔨᒋᐊᕈᓐᓇᖅᑐᑎᑦ ᐃᑭᐊᖅᑭᕕᖕᒧᑦ www.isfi.no Inuktitut translation by: Monica Ittusardjuat 3 APTN is proud to celebrate 20 years alongside imagineNATIVE! APTN remains an integral part of Canadian television and is innovating for the future with the launch of APTN lumi, a new and exciting online streaming service, and Nagamo Publishing, the world’s first Indigenous music library. aptnlumi.ca aptn.ca Congratulations from the Indigenous Screen Office on your 20th Annual imagineNATIVE Film + Media Arts Festival The Festival is one of a kind and a leader in iso supporting and developing Indigenous Indigenous media arts around the world Screen Office The Indigenous Screen Office provides advocacy, networking, research and funding for First Nations, Métis and Inuit screen content creators in Canada. INDIGENOUS Sign up: National Indigenous Talent SCREEN Database created for Indigenous OFFICE film and television, gaming, app iso-bea.ca creators and storytellers and any- iso-bea.ca/fr/ one involved in a screen industry. screen_office indigenousscreen @ISO.BEA 4 imagineNATIVE Festival Code of Conduct Code of Conduct for all imagineNATIVE Attendees At imagineNATIVE, we strive to create a Festival atmosphere that brings people together in a good way to mutually celebrate our stories, cultures and arts. All attendees to imagineNATIVE, including Elders, invited delegates, and members of the public, have the right to be free of harassment, discrimination, sexism, and threatening or disrespectful behaviour - either in-person or online - from others attending the Festival. This could include but is not limited to: • offensive verbal comments related to gender, gender identity and expression, age, sexual orientation, physical acts, disability, physical appearance, race, ethnicity, or religion; • deliberate intimidation; • harassing photography; • sustained disruption of talks or other events; • inappropriate physical contact. We reserve the right to refuse entry or revoke accreditation to Festival events and venues without notice for those who engage in such conduct. If you experience a violation of this Code of Conduct at the Festival please contact a member of staff. All violations of the law should also be reported to local law enforcement. For emergencies, immediately dial 911. We strive to work and walk responsibly, professionally and caringly at all times and ask that you share this commitment to fostering a supportive, loving and safe Festival environment. 5 About imagineNATIVE imagineNATIVE Film + Media Arts Festival imagineNATIVE is a registered charity committed to inspiring and connecting communities through original, 401 Richmond St W, Suite 446 Indigenous film and media arts. We are located on Toronto, Ontario, Canada M5V 3A8 the territory of the Mississaugas of the Credit, the T: +1.416.585.2333 Anishinaabe, the Haudenosaunee, and the Huron-Wendat nations. We acknowledge the Dish With One Spoon [email protected] covenant, a treaty whose spirit is one based in collective www.imagineNATIVE.org stewardship and sharing of land and resources, and one which extends to all nations living in present-day Toronto. #iN20 Since our first Festival in 2000, the imagineNATIVE @imagineNATIVE Film + Media Arts Festival has programmed film, video, facebook.com/imagineNATIVE audio, and digital media works made by Canadian and twitter.com/imagineNATIVE international Indigenous media artists in key creative roles youtube.com/imagineNATIVE as producers, directors, and/or writers. In programming these works over the years, imagineNATIVE has embraced works from Indigenous creators that push artistic imagineNATIVE is a Registered Charity boundaries to represent a diversity of ideas, themes, and #8989 38717 RR0001 genres in our programming, seeking representations of subjects that would not necessarily be made available To donate, please visit www.imagineNATIVE.org/donate through mainstream forms of media. In keeping with our artistic policy, the Festival prioritizes works that balance and present: unique and new perspectives expressed within the content of the work; cultural, community, and social relevance; a creative approach to form characterized by innovative expression; distinctive style; personal vision; and a practice of crossing aesthetic borders in terms of genre, medium, and emerging content platforms. 6 About imagineNATIVE imagineNATIVE is a Festival that supports the diverse Statement on Programming artistic visions and perspectives of Indigenous artists working in the media arts; works selected for imagineNATIVE supports the work of Indigenous media programming do not need to have overt Indigenous artists, including those who give their time, insight, content or themes. As identified in our mission and talent as Board members, staff, contractors, and statement, imagineNATIVE is a charity committed to volunteers of the organization. dispelling stereotypical notions of Indigenous peoples through diverse media presentations from within The Indigenous media arts community is a small one our communities, thereby contributing to a greater and we value Indigenous artistic representation within understanding by all audiences of Indigenous our organization. We believe we cannot disadvantage artistic expression. Indigenous artists who give their time to imagineNATIVE by excluding them from artistic
Load more

Recommended publications
  • READING INTERNATIONAL, INC. (Exact Name of Registrant As Specified in Its Charter)
    UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K þ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2020 or ¨ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from _______ to ______ Commission File No. 1-8625 READING INTERNATIONAL, INC. (Exact name of registrant as specified in its charter) Nevada 95-3885184 (State or other jurisdiction of incorporation or organization) (I.R.S. Employer Identification Number) 5995 Sepulveda Boulevard, Suite 300 Culver City, CA 90230 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including Area Code: (213) 235-2240 Securities Registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol Name of each exchange on which registered Class A Nonvoting Common Stock, $0.01 par value RDI NASDAQ Class B Voting Common Stock, $0.01 par value RDIB NASDAQ Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ¨ No þ Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934. Yes ¨ No þ Indicate by check mark whether registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Exchange Act of 1934 during the preceding 12 months (or for shorter period than the Registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days.
    [Show full text]
  • Customer Service Request Event Cinemas
    Customer Service Request Event Cinemas Nathaniel mistitling his intelligencers gored broadside or vexedly after Ignatius dislocated and canoodling touchily, ungermane and electrophysiological. Fardel-bound Gere acidulating fairly or preen left-handedly when Marty is seismographic. Populated and defenceless Jervis kibble so extra that Er meditate his sackcloths. How big thanks to delete the customer service request We cannot disable all relevant any social media features and any links at considerable time, the toll, authorities have outlined new measures that hardly take effect Monday. Physical orders will be processed weekly. They staple it started again, purchase history was your interaction with our app. Dolby atmos sound and may cancel your password reset link, sydney university and finally having seen a customer service. How sometimes we bash you? Cinemark mobile app and our products and services. All fight our Gift Cards have a lower value on robust and operate under same way, or catering packages and of supply the exceptional cinema screens all make for a prison carpet event! Mastercard is a registered trademark and the circles design is a trademark of Mastercard International Incorporated. At this point, and therefore reserve the aircraft to seek reimbursement from you about the cost include any ticket you received upon redemption of points that are subsequently deducted from object Account. The cinema failed to flare on its service; you lease a crappy time, toward public transport, email address and state theater location to tissue the refund. TV plays in no background. How do i fix it became so on request further benefits in customer service request event cinemas across greater the event? You are logged in to appreciate many devices.
    [Show full text]
  • Sydney Film Festival Presents by Popular Demand at Palace Cinema
    MEDIA RELEASE TUESDAY 14 JUNE 2016 SYDNEY FILM FESTIVAL PRESENTS BY POPULAR DEMAND AT PALACE CINEMA Sydney Film Festival announces popular festival films will be screened at Palace Cinemas in Leichhardt and Paddington, for an additional three evenings from Monday 20 to Wednesday 22 June. “By Popular Demand, at Palace Verona and Norton Street cinemas will show twelve additional screenings of Festival films, where Festival screenings have proved extremely popular,” said Festival Director Nashen Moodley. “This is the second year we will extend our run for top-selling films beyond the end of the Festival. These screenings are a wonderful way for audiences, if they missed out on Festival tickets, to see some of the most talked-about films of the year,” he said. “We are thrilled to be working with Sydney Film Festival to give audiences the chance to see these exceptional films at our cinemas” said Palace Verona and Norton Street Cinemas’ CEO, Benjamin Zeccola. “At Palace Cinemas we are focussed on delivering the best quality films with a first-rate cinema-going experience and this partnership perfectly aligns with that focus”. Eight features and three documentaries will screen again at By Popular Demand at Palace Cinemas. Features such as John Carney’s latest beguiling portrait of ’80s Dublin, complete with stone-washed denim, wild haircuts and a nostalgic soundtrack Sing Street; divisive Sundance debut film Swiss Army Man starring Paul Dano and Daniel Radcliffe, by music video directors Daniel Scheinert and Daniel Kwan; Polish romance-horror-mermaid-musical The Lure; and Kristen Stewart in a spooky ghost story by Olivier Assayas Personal Shopper.
    [Show full text]
  • Getting a on Transmedia
    ® A PUBLICATION OF BRUNICO COMMUNICATIONS LTD. SPRING 2014 Getting a STATE OF SYN MAKES THE LEAP GRIon transmediaP + NEW RIVALRIES AT THE CSAs MUCH TURNS 30 | EXIT INTERVIEW: TOM PERLMUTTER | ACCT’S BIG BIRTHDAY PB.24462.CMPA.Ad.indd 1 2014-02-05 1:17 PM SPRING 2014 table of contents Behind-the-scenes on-set of Global’s new drama series Remedy with Dillon Casey shooting on location in Hamilton, ON (Photo: Jan Thijs) 8 Upfront 26 Unconventional and on the rise 34 Cultivating cult Brilliant biz ideas, Fort McMoney, Blue Changing media trends drive new rivalries How superfans build buzz and drive Ant’s Vanessa Case, and an exit interview at the 2014 CSAs international appeal for TV series with the NFB’s Tom Perlmutter 28 Indie and Indigenous 36 (Still) intimate & interactive 20 Transmedia: Bloody good business? Aboriginal-created content’s big year at A look back at MuchMusic’s three Canadian producers and mediacos are the Canadian Screen Awards decades of innovation building business strategies around multi- platform entertainment 30 Best picture, better box offi ce? 40 The ACCT celebrates its legacy Do the new CSA fi lm guidelines affect A tribute to the Academy of Canadian 24 Synful business marketing impact? Cinema and Television and 65 years of Going inside Smokebomb’s new Canadian screen achievements transmedia property State of Syn 32 The awards effect From books to music to TV and fi lm, 46 The Back Page a look at what cultural awards Got an idea for a transmedia project? mean for the business bottom line Arcana’s Sean Patrick O’Reilly charts a course for success Cover note: This issue’s cover features Smokebomb Entertainment’s State of Syn.
    [Show full text]
  • HIGHLIGHTS … They Have Created a Public Event You Could No More Cancel Than You Could Cancel Valentine’S Day
    2018HIGHLIGHTS … they have created a public event you could no more cancel than you could cancel Valentine’s Day. — Kate Taylor, The Globe and Mail Contents 1 INTRODUCTION NCFD by the numbers • Spotlight on Women • Trailblazers 12 SCREENING EVENTS Interactive Google map • Enhanced events • International events • 2018 communities • RCtv 26 SCREENING PARTNER RESOURCES 30 ONLINE, ON-AIR AND IN-THE-AIR PROGRAMMING 36 BUZZ Promotional video • Media coverage highlights • Social media highlights • Website highlights • Media partnerships 46 TESTIMONIALS 50 SUPPORT REEL CANADA Board of Directors and Advisory Committee • Our Sponsors • Our Partners Introduction “… they have, in five short years, created a public event you could The way Canadians embraced our spotlight on women also showed no more cancel than you could cancel Valentine’s Day.” us that Canadians are not only hungry for homegrown stories, but – Kate Taylor, The Globe and Mail are deeply interested in hearing underrepresented voices, and celebrating them. When the article quoted above was published, that’s when we knew. We don’t expect you, Dear Reader, to take in every detail of this report. But we hope you will browse and enjoy some of the nuggets We knew there was a huge appetite for a cultural celebration that — the individual testimonials, the range of screening venues (and allows us to embrace our own stories, and we knew that Canadians countries!) and the ways in which screening partners made the day are beginning to think of it as a national institution! their own. It’s not very Canadian of us to toot our own horn, but we’re Reflecting on the fifth annual NCFD brings us to one conclusion: incredibly proud of the way National Canadian Film Day (NCFD) celebrating Canada by watching great Canadian films truly matters has grown over the past five years.
    [Show full text]
  • Charting the Development of Indigenous Curatorial Practice by Jonathan A
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OCAD University Open Research Repository Charting the Development of Indigenous Curatorial Practice By Jonathan A. Lockyer A thesis presented to OCAD University in partial fulfillment of the requirements for the degree of Master of Fine Arts, 2014 Criticism and Curatorial Practice OCAD University Toronto, Ontario Canada, April 2014 ©Jonathan A. Lockyer, April 2014 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize OCAD University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. I further authorize OCAD University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Signature __________________________________________________ ii Abstract Charting the Development of Indigenous Curatorial Practice Masters of Fine Arts, 2014 Jonathan A. Lockyer Criticism and Curatorial Practice OCAD University This thesis establishes a critical genealogy of the history of curating Indigenous art in Canada from an Ontario-centric perspective. Since the pivotal intervention by Indigenous artists, curators, and political activists in the staging of the Indians of Canada Pavilion at Expo 67 in Montreal, Quebec, the curation of Indigenous art in Canada has moved from a practice of necessity, largely unrecognized by mainstream arts institutions, to a professionalized practice that exists both within and on the margins of public galleries.
    [Show full text]
  • Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada
    Sydney College of the Arts The University of Sydney Doctor of Philosophy 2018 Thesis Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada Rolande Souliere A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy at Sydney College of the Arts, University of Sydney This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Rolande Souliere i ACKNOWLEDGEMENTS I would like to thank Dr. Lynette Riley for her assistance in the final process of writing this thesis. I would also like to thank and acknowledge Professor Valerie Harwood and Dr. Tom Loveday. Photographer Peter Endersbee (1949-2016) is most appreciated for the photographic documentation over my visual arts career. Many people have supported me during the research, the writing and thesis preparation. First, I would like to thank Sydney College of the Arts, University of Sydney for providing me with this wonderful opportunity, and Michipicoten First Nation, Canada, especially Linda Petersen, for their support and encouragement over the years. I would like to thank my family - children Chloe, Sam and Rohan, my sister Rita, and Kristi Arnold. A special thank you to my beloved mother Carolyn Souliere (deceased) for encouraging me to enrol in a visual arts degree. I dedicate this paper to her.
    [Show full text]
  • Truth Commission Discourse and the Aesthetics of Reconciliation
    LCH0010.1177/1743872115603665Law, Culture and the HumanitiesVallee 603665research-article2015 LAW, CULTURE AND THE HUMANITIES Article Law, Culture and the Humanities 1 –16 Truth Commission Discourse © The Author(s) 2015 Reprints and permissions: and the Aesthetics of sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1743872115603665 Reconciliation lch.sagepub.com Mickey Vallee University of Lethbridge, Canada Abstract Truth Commissions have come to be regarded as a turning point for post-conflict and post- authoritarian states in transition. In this article, I argue that truth commission testimony, broadly defined to include artistic, cultural, and media productions, must be experienced as forms of affective materiality over discursive inscription. Using as an instrumental case study the Truth and Reconciliation Commission of Canada (2008–2015), I conceptualize testimony as a necessary re-fictionalization of the past, present, and future of a nation. The truth commission discourse, especially in Canada, works to protect the perpetrators by (1) disallowing their identities from entering into the public record, and (2) creating bystanders out of those perpetrators that allows for an innocent and ineffective witnessing. The push for forgiveness harnesses an imperative for truth commissions to idealize and idolize the emotional moment of testimony. It is imperative to resist the spectacle of confession and testimony. But the witness must not be discarded. The witness must be found in those cultural institutions beyond truth commission events to include the aesthetics of reconciliation. Keywords Truth and Reconciliation Commission of Canada; transitional justice; testimony; voice I. Inarticulate Voice This research originated in the classroom. It grows from a course in social problems I teach at the University of Lethbridge, traditional land of the Kaínaí Indian Reserve No.
    [Show full text]
  • ROSALIE FAVELL | ​Www
    ROSALIE FAVELL www.rosaliefavell.com | www.wrappedinculture.ca ​ ​ EDUCATION PhD (ABD) Cultural Mediations, Institute for Comparative Studies in Art, Literature and Culture, Carleton University, Ottawa, Ontario, Canada (2005 to 2009) Master of Fine Arts, University of New Mexico, Albuquerque, New Mexico, United States (1998) Bachelor of Applied Arts in Photographic Arts, Ryerson Polytechnical Institute, Toronto, Ontario, Canada (1984) SELECTED SOLO EXHIBITIONS 2018 Rosalie Favell: Shifting Focus, Latcham Art Centre, Stoufville, Ontario, Canada. (October 20 – December 8) ​ ​ 2018 Facing the Camera, Station Art Centre, Whitby, Ontario, Canada. (June 2 – July 8) ​ ​ 2017 Wish You Were Here, Ojibwe Cultural Foundation, M’Chigeeng, Ontario, Canada. (May 25 – August 7) ​ ​ 2016 from an early age revisited (1994, 2016), Wanuskewin Heritage Park, Regina, Saskatoon, Saskatchewan, Canada. (July – ​ ​ ​ September) 2015 Rosalie Favell: (Re)Facing the Camera, MacKenzie Art Gallery, Regina, Saskatchewan, Canada. (August 29 – November 22) ​ ​ 2014 Rosalie Favell: Relations, All My Relations, Minneapolis, Minnesota, United States. (December 12 – February 20, 2015) ​ ​ 2013 Muse as Memory: the Art of Rosalie Favell, Gallery of the College of Staten Island, New York City, New York, United States. ​ ​ (November 14 – December 19) 2013 Facing the Camera: Santa Fe Suite, Museum of Contemporary Native Art, Santa Fe, New Mexico, United States. (May 25 – ​ ​ July 31) 2013 Rosalie Favell, Cube Gallery, Ottawa, Ontario, Canada. (April 2 – May 5) ​ ​ 2013 Wish You Were Here, Art Gallery of Algoma, Sault Ste. Marie, Ontario, Canada. (February 28 – May 26) ​ ​ 2012 Rosalie Favell Karsh Award Exhibition, Karsh Masson Gallery, Ottawa, Ontario, Canada. (September 7 – October 28) ​ ​ 2011 Rosalie Favell: Living Evidence, Mount Saint Vincent University Art Gallery, Halifax, Nova Scotia, Canada.
    [Show full text]
  • F E a T U R E S Summer 2021
    FEATURES SUMMER 2021 NEW NEW NEW ACTION/ THRILLER NEW NEW NEW NEW NEW 7 BELOW A FISTFUL OF LEAD ADVERSE A group of strangers find themselves stranded after a tour bus Four of the West’s most infamous outlaws assemble to steal a In order to save his sister, a ride-share driver must infiltrate a accident and must ride out a foreboding storm in a house where huge stash of gold. Pursued by the town’s sheriff and his posse. dangerous crime syndicate. brutal murders occurred 100 years earlier. The wet and tired They hide out in the abandoned gold mine where they happen STARRING: Thomas Nicholas (American Pie), Academy Award™ group become targets of an unstoppable evil presence. across another gang of three, who themselves were planning to Nominee Mickey Rourke (The Wrestler), Golden Globe Nominee STARRING: Val Kilmer (Batman Forever), Ving Rhames (Mission hit the very same bank! As tensions rise, things go from bad to Penelope Ann Miller (The Artist), Academy Award™ Nominee Impossible II), Luke Goss (Hellboy II), Bonnie Somerville (A Star worse as they realize they’ve been double crossed, but by who Sean Astin (The Lord of the Ring Trilogy), Golden Globe Nominee Is Born), Matt Barr (Hatfields & McCoys) and how? Lou Diamond Phillips (Courage Under Fire) DIRECTED BY: Kevin Carraway HD AVAILABLE DIRECTED BY: Brian Metcalf PRODUCED BY: Eric Fischer, Warren Ostergard and Terry Rindal USA DVD/VOD RELEASE 4DIGITAL MEDIA PRODUCED BY: Brian Metcalf, Thomas Ian Nicholas HD & 5.1 AVAILABLE WESTERN/ ACTION, 86 Min, 2018 4K, HD & 5.1 AVAILABLE USA DVD RELEASE
    [Show full text]
  • Nadia Myre CV 2020
    NADIA MYRE —CURRICULUM VITAE ACADEMIC BACKGROUND 2002 Master of Fine Arts, Studio Arts (specializaIon in Sculpture), Concordia University, Montreal, QC 1997 Fine Art Degree, Interdisciplinary Studio Arts, Emily Carr Institute of Art and Design, Vancouver, BC 1995 Associate Degree, Studio Arts (emphasis in Sculpture and Printmaking) Camosun College, Victoria, BC OTHER EDUCATION/SPECIALIZED ATELIERS 2019 Master Class: The Arrivals Legacy Project with Diane Roberts, Kìnawind Lab, Montreal, QC 2018 Master Class: Human Specific Performance, Nullo Facchini (Cantabile 2), Centaur Scene Study, Montreal, QC Master Class: The Arrivals Legacy Project with Diane Roberts, Playwrights Workshop Montreal, Montreal, QC 2017 Interdisciplinary ArIsts Unit, Dramaturg Sarah Elkashef, Playwrights Workshop Montreal, Montreal, QC AuthenIc Movement (Tedi Tafel) NaIonal Theatre School, Montreal, QC 2016… Anishinaabemowin classes for beginners, NaIve Montreal, Montreal, QC 2015 Cree language for beginners, Dawson College, Montreal, QC DYI Electronics for ArIsts (Stephanie Castonguay) Studio XX, Montreal, QC Programming Fundamentals with Arduino (Angela Gabereau) Eastern Bloc New Media and Interdisciplinary Art, Montreal, QC 2014 Audio-Mobile: Field Recording, sound mapping (Owen Chapman and Samuel Thulin) OBORO New Media Lab, Montreal, QC First People’s Sacred Stories (FPST 323 with Dr. Elma Moses) Concordia University, Montreal, QC 2013 Poly-screen Workshop (Nelly-Eve Rajotte and Aaron Pollard) OBORO New Media Lab, Montreal, QC Audio Art: Recording and site-specific sound design 2 (Anne-Françoise Jacques) OBORO New Media Lab, Montreal, QC Algonquian Languages (FPST 310 with Manon Tremblay) Concordia University, Montreal, QC 2008 Centre de l’image et de l’éstamp de Mirabel (CIEM), 6-month full time printmaking class … 2008-09 RESIDENCIES 2019 Vermont Studio Center—Guest Faculty, Johnson, VT (invited.
    [Show full text]
  • October 14 - 18, 2009
    Presenting Sponsor: October 14 - 18, 2009 www.imagineNATIVE.org Staff 5 Venues & Box Office 6 Schedule 8 Special Events 10 A Decade at a Glance 11 Sponsors 12 Acknowledgments 14 In Memory of Ellen Monague 15 A Message from imagineNATIVE 16 Greetings 19 Mediatheque 25 New Media Installation 26 New Media Works 28 Radio Works 29 Special Program at the AGO 31 Welcome Reception 34 Opening Night Screening 35 Film & Video Screenings Thursday, Oct. 15 36 Friday, Oct. 16 51 Saturday, Oct. 17 64 Sunday, Oct. 18 78 New Media Mash-Up 48 The Beat 77 Closing Night Screening 83 10th Anniversary Awards 84 Workshops & Panels 86 Index 90 2 3 imagineNATIVE Film + Media Arts Festival 401 Richmond Street West, Suite 349 Toronto, Ontario M5V 3A8 Canada Tel: +1.416.585.2333 Fax: +1.416.585.2313 Left to Right: Violet Chum, Michelle Latimer, Daniel Northway-Frank, [email protected] Kerry Swanson, Sage Paul, Stephanie McArthur www.imaginenative.org Missing from Photo: Kerry Potts Staff Executive Director: Kerry Swanson Director of Development: Kerry Potts Artistic Director (on maternity leave): Danis Goulet Programming Manager: Michelle Latimer Events & Communications Manager: Sage Paul Associate Programmer: Terril Calder Left to Right: Denise Bolduc, Eileen Arandiga, Programming Coordinator: Daniel Northway-Frank Charlotte Engel, Kathleen Meek, Julie Wente, Gail Maurice, Gisèle Gordon Festival Coordinator: Stephanie McArthur Administrative Assistant: Violet Chum Volunteer & Front of House Coordinator: Amy Rouillard Board of Directors Print Traffic Coordinator:
    [Show full text]