Adrian Stimson I 17-29 JUNE 2017 from the Artistic Director

Un The Queer Arts Festival (QAF) is an annual Settled Un artist-run multidisciplinary arts festival at the Roundhouse in Vancouver, BC. Each year, the Settled festival theme ties together a curated visual art EXHIBITION CATALOGUE exhibition, performing arts series, workshops, artist talks, panels, and media art screenings. Recognized as one of the top 5 festivals of its kind worldwide (Melbourne Herald Sun), QAF’s programming has garnered wide acclaim as

“concise, brilliant and moving” (Georgia Straight), CURATED BY “easily one of the best art exhibitions of the year” (Vancouver Sun), and “on the forefront of aesthetic and cultural dialogue today” (Xtra). Adrian Stimson

EXHIBITION CATALOGUE

This project has been supported by the Building CURATED BY Communities Through Arts and Heritage Program, Department of Canadian Heritage. Adrian Stimson I 17-29 JUNE 2017 From the Artistic Director

When Canada 150 ‘celebrations’ hit the news, my first So I set out to bring a Two-Spirit and Indigequeer thought was, more like 500 years of colonization. curated festival to you. To not just program Indigenous artists, but to give over curation (control) As we look back,Un we look forward and ask, what’s — to give it back. Every year, I invite a curator to the best way to build a better future for queers? select artists for our visual art exhibition; for 2017, Amplifying the voices of Two-Spirit andSettled Indigequeer I expanded that to all the disciplines. artists was the obvious choice. Many contemporaryEXHIBITION CATALOGUE queer struggles focus on transforming gender The highlights included QAF’s signature visual preconceptions — yet how many know that arts exhibition, curated by Adrian Stimson (Siksika), non-binary gender was once the norm here? as artists explored historic and contemporary experience of colonial gender imposition. Cree scholar Harlan Pruden identifies at least 130 Indigenous languages with 3-6 gender categories, To that end, there is no foreword by me grouped together under the english word Two-Spirit. the Artistic Director — just the voices of the It is a specifically Indigenous term, with cultural QueerIndigequeer Arts and Two-Spirit Festival artists. implications settlers can’t claim as our own. The 2017 people who lived these genders were brutally suppressed by colonial heteronormativity, As SD Holman Leanne Betasamosake Simpson writes: Queer Arts Festival ...we weren’t “queer”, we were normal. CURATED BY Many of our societies normalized gender Adrian Stimson variance, variance in sexual orientation and all different kinds of relationships as long as they were consistent with our basic values of consent, transparency, respect and reciprocity. We weren’t “queer” until settlers ARTISTIC DIRECTOR came into our communities and positioned the “queer” parts of our relationships and SD Holman societies as defiant, abnormal and sinful. ESSAY: Jonathan D. Katz and Conor Moynihan

Publication Notes

Title: UnSettled : exhibition catalogue / curated by Adrian Stimson ; artistic director, SD Holman.

Names: Queer Arts Festival (2017 : Vancouver, B.C.), author. | Stimson, Adrian A. (Adrian Allan), writer of introduction, organizer.

All rights reserved. This book and any versions thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. UnSettled First printing, 2019 EXHIBITION CATALOGUE Description: Catalogue of an exhibition held at the Queer Arts Festival, Vancouver, BC, 2017. |

Includes bibliographical references.

Gender identity in art—Exhibitions. | LCSH: Two-Spirit people—Exhibitions. | LCSH: Art, Modern—

21st century—Exhibitions. | LCGFT: Exhibition catalogs.

Classification: LCC N8217.H67 Q84 2019 | DDC 700/.453—dc23 Foreword: Lacie Burning ...... 1

Introduction: Adrian Stimson, Curator ...... 3

Pride in Art Society #425-268 Keefer St. UnSettled: Catalogue ...... 17 Vancouver, BC V6A 1X5 Canada Website: queerartsfestival.com Bleeding Through: Vanessa Dion Fletcher ...... 62

Cover: George Littlechild, Warrior Indigenous of South America’s Sacred Soil, 2017, Mixed media, 30 x 22 inches, Courtesy of the artist. Artist Biographies ...... 75 Printed in Canada by East Van Graphics

UnSettled Plate List ...... 86

v Turtle Island was, is, and always will be queer, trans & Indigenous

UnSettled: Foreword By Lacie Burning

It is well evident within the past, present and the of nations had their own relationships to gender, future of the Indigenous people of Turtle Island sexuality, or lack of distinguishing both. Remember that Indigequeer people have occupied these we were all loved, that we are loved, and that we lands. That is why when I think of UnSettled I will be loved. So it is important to acknowledge know that it plays in the realm, and is connected individual needs to identify in a way that feels to the reclamation of our identities, our bod- satisfying and to honour our changing bodies, ies as they connect to our presence over these minds, and spirits. lands. This is Native land after all. In remembering all this it is always painful that we To begin I will acknowledge that I use the terms still have to acknowledge the colonial oppression Two-Spirit and Indigequeer interchangeably as that we have faced and overcome. It is the reason it can represent an ever-evolving present in the that young Indigequeer Haudenosaunee people way that we perceive ourselves. It is important to cannot accurately pinpoint a place of belonging remember that we all embody our Indigeneity, within our own culture because the point of queerness, and relationships to gender in such contact and influence over us was so long held; an incomprehensibly vast way. Remember that over 300 years in fact. So goes for many more. “Indigenous” encompasses hundreds of nations. Nations that no longer exist today due to genocide. Remember that the majority of those hundreds Genocide by heteronormative European 1 2 UNSETTLED I Queer Arts Festival I Exhibition Catalogue identity; of being under the LGBTQ+ the of being under identity; umbrella, alienating be could other to the or one identity of how this come understanding an away with you can of many work Two-SpiritIn the artists within apparent is present ever-evolving This umbrella. LGBTQ+ the within and of being Indigenous worlds in two or selves two as exist we — that identity in the present aduality acknowledges sexuality. itself and term The oflack genders that relateidentities to alternative genders/ of varying amultiplicity is 2spirit term the Within embody their within truths world. the art how they and generations several from artists umbrella. You Queer the within Two-Spirit see and meaning Indigenous both Cuthand Thirza Indigequeer, a phrase coined by Cree artist ancestors. of queer our UnSettled fucking. and transitioning, breathing, so we reclaiming, living, creating, will continue here. be will we and always Words are not sufficient We were here of fact. lived realities are matters and presence our that to state just revolutionary or new not claim toI do saying anything be will That will change, that world. of change. the else. in charge did, would Ifbe they they everyone benefit ofliterally daily the for fight and against face they of to violence amount up held the not been have of communities our women and too long femmes are forgotten?women transgender The black and brown transgender The forgotten? gay pride gay are constantly and liberation, we of think we when Why combined. state the and churches of behalf the on states settler-nation UnSettled

is a celebration of our liberated bodies, bodies, of liberated our acelebration is .

Stimson. Adrian from ayoung curator as learned have to and honoured have present been Iam and this with grapples exhibition The more.much We deserved they know way forward. agood be will can we best as continuing to them honour to repay. are impossible by But debts those that space vital such out carved they’d feels it ways, Ahasiw. and In many Maracle-kenha Aiyyana on, likehave deceased recently passed the who time. ones the that Sad first for the people of show Two-Spirit group to aconclusive see are we able that sadness some and glee with It is in his long career. seen and met has he people and of artists Youprivilege. alarge spectrum see incredible an was time this during for Adrian alike.my non-2S peers 2Sand Being to able work influential and manyme incredibly to of was work Raven John. Adrian’s by artist +Design of Art University Emily at Carr my studies during on early of Stimson Adrian to work the introduced I was artist, Indigenous trans and ayoung Queer As until colonization. case not the was this violence; people, for Indigenous state-sanctioned of end the have at been both identities these time Throughout ofand being Indigenous.

Un “For too of long, of representations absence the lesbians they long as as military in the to serve allowed bisexuals and Tell” gays, which directive, “Don’t the Don’t enacted ask, administration Clinton the under year US the the military was That alike. Americans and of Canadians majority the being LGBTQI2S+ for highly unsettling still was in Vancouver.bookstore when were days Those Flesh In 1994, The book Spirit the Ipurchased the and and practice.”and of the reclamation apart as of Two-Spirit identity culture/media, the Two-Spirit movement, and future Western in contemporary gender and sexuality of Two-Spirit people, the lack of alternative aboriginal and in turn, of historical expose extermination the issues I will and being explore of *Two-Spirit the art artists, of colonization. “ hegemonic With practices popular culture has been equally in embedded Two-Spirit people, and being from contemporary art, 1 1 Adrian Stimson– Too Two-Spirited foryou: Theabsenceandpresence ofTwo-Spirit peopleinWestern Culture andMedia2005 by Walter L Williams, from Little Sister’s by Walter LWilliams, Little from AdrianStimson–Too Two-Spirited foryou:Theabsenceandpresence ofTwo-Spirit peoplein Western Culture and Media2005 1 Settled

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3 4 UNSETTLED I Queer Arts Festival I Exhibition Catalogue people. While genocide is pret is genocide people. While of Two-Spirited suppression and extermination of a long history also is there in Americas, the Two-Spirited have existed people always While Two-Spirited of Indigenous being.history suppressed and rich the forward bringing Two-Spirit, term the adopted thus identity queer Indigenous when atime were 90’s also The in power.and hateand of of those some in our communities today, albeit always to ignorance the due fragile to long road that are to we where contributed LGBTQtheyas in fighting back community well ACT as UP, as Mapplethorpe, the led Robert Keith Haring and Iremember in general. LGBTQthe identity homosexual and community toll the HIV/AIDS that about out was having on getting was word the expression, through artistic often of activism, hope, through a few glimmers However enduring. were there were communities in popular culture the pain many reflected that not alot was looked bleak there and future the survival, equalled closet in the staying folk, for many heightened stigma, Queer death and our communities, fearAIDS devastating was HIV/ when time the also commonplace. Itwas murder and assaults wereof in society; us still for many dangerous and stigmatized still was Queer being when atime forces. Itwas the from threat elimination and the ofunder exposure to lived or subjected were longer no members service Queer that sense in the better A bit ty indiscriminate, indiscriminate, ty

In the 70’ssawIn the Little Big Man Ifirst communities. Indigenous within power and due their influencetargetedto were specifically there Two-Spirit that alotis of evidence people 3 2 a powerful video that recounts that the video devastating powerful a Dana viewing while Claxton’s The Red Paper in recognizing the Two-Spirited movement was moments of my One first to ourselves. see began Itwasn’t we that 90’s until the representation. visual void were basically of 80’s anyThe Two-Spirit history. place amazing in our his rightful takes found and is he that hope do Star. Little I for Robert universe searching the Looking called for Little Horse performance time. from did a Ionce to have erased been avail, like Two-Spirit our seems he ancestors, to him?what happened and affiliation noTo tribal tohis out find searches countless done Star remains enigma; an Ihaveday, Little Robert revered human beings that they that revered beings human were. feared the and than himself,fanning rather his eyes and batting sashaying, queen, drag a as characterized culture.in was Cheyenne He Heemaneh of roles the the exploring actually more for there comic relief was than Horse inaccurate, Little movie’s was The depiction took awoman’s man who aCheyenne was role. “Heemaneh”, Star. Little He played by Robert aCheyenne Horse, Little character the was me Two-Spirit ignited that and by surprise flame in Tsleil-Waututhof the me Nation. caught What Chief Dan George, chief and awell-loved actor Big Man and Little as Hoffman Dustin featuring Paraphrased from CelluloidIndians,JaquelynKilpatrick Pg.92 Directed byArthur Penn,basedonthenovelbyThomas Berger. , 2 a western western a 3 To this this To

4 Lol” part! androgynous... Iliked ageless the ageless, Winket character,that’s created the she why Ithink and it running Dana while was Gallery Pitt volunteered and Iworked The at reaction. viewer, of I’m sure type Dana this preferred a as Ifound disturbing scenes mind.in her Some it as could we best as evolvedfollowed direction production. of the don’t but ago have memory years much “I The saw Red Paper video. last acouple that of being in recollections her to ask to Chrissy essay, this to reachout chance Ihadwriting the In genderless. and to sexually as ambiguous me appeared “Winket” video, Chris’sthe character my from Nation, is Red In who Siksika. Chrissy Red Crow, Chris as now known actor Blackfoot the was in particular me. character One haunts still that of view history unsettling an Itis lens. Indigenous and artistic an through of oppression tables consequences the of colonialism, turning Saulteaux artist Robert Houle exhibited Hochelaga Houle exhibited Robert artist Saulteaux Two-Spiritedall. when atime were also 90’s The head ugly to smite us its raised that monster morality well colonial before the Christian to well being the of all Nations our contributed by my and people, away of thrived being that of me, inside respected and accepted known was “normal”; felt sexuality their away of being that my genetic memory in,kicked Winket familiar, felt colonizing countries French and English fought fought English and French colonizing countries two in aplace where sovereignty Indigenous of in Montreal, issues raising Articul Gallery at October15,email reply. 4 I remember it a was moment when Dana Claxton had her vision and we and vision had her Dana Claxton

George Littlechild, Gary Godfriedson and Godfriedson Gary Littlechild, George Rice, Rice, Ryan Aaron including represented, Two-Spirited artists were many the artists, Of us. love of what to is understandings their express could artists of love aspace Indigenous up where 5 warriors and savages. and warriors stoic hunter-gatherers, of stereotypes prevailing love the and were without people Indigenous that euro-notions Native Love challenged Robertson Rice, Native Love. Ryan and curated Tricia Skawennati included which Fragnito, Eric In 1994, collective, Nation to Nation, artist-led an friendship. and of spirit generosity and genius artistic their forever Iam presence. for to them indebted in their Iam haveand when to myself pinch boy, fan their as myself see Istill friends. dear gentlemen would become mentors and ultimately havecould these never both imagined that too! that do said, that Ican At I time that heart in my mind and aspace up mine, opened they were, George ofand to heroes continue be and Both Robert of oppression. colonialthe canon to back in talking courage and pride us giving ourselves, saw way we the changed history pictorial to of me. Indigenous His decolonization familiar became his work and widely exhibited 90’s, influential an University, was hethe force in Valley Fraser of Letters, Doctorate Honorary an Design, Halifax, and ofScotia Art College now his BFA received who Nova the from Littlechild, George nations. of sovereign flourishing and of the expense multitude the at dominance for in the1990’s Rice. Ryan Paraphrased from Presence andAbsenceredux: Indian Art 5 Nation to Nation opened Nation ESSAY: Adrian Stimson ESSAY:

5 6 UNSETTLED I Queer Arts Festival I Exhibition Catalogue 6 Thirza Cuthand. instruction was produced. I decided not to pursue to pursue not decided I produced. was instruction such no for which artist, by the institutions or groups not to loan to certain instruction explicit is there unless toworks, loaning comes it when discretion their at usually is it in acollection, is awork once to me, as suspect seemed Which family. the from would havethey “permission” to get that citing down, us totime turned loan, Glenbow the sexuality. Indigenous However,on came it when discussion to that and continue exhibition for the and cocks glorious vaginas. with paintings Perfect UnSettled the with would work Ithought that paintings to loan them intent of the getting to with view Irequested which afew quite of his works, holds exhibition. Museum Glenbow the that Ifound out UnSettled in the his work to include hoped had I his Two-Spiritedness.researching For instance, to and day, this when disclaimers are odd there for sure atrickster was He embraced. feared but of sexuality,view and sex not to something be his see you can his art Through antics. being and his time, about have heard are and legendary I that are many There stories interventions. artistic sometimes-overt and fluidsexuality his about volumes speaks of; his art spoken not often was his sexuality While Morrisseau. of not me to Norval remiss mention It would be remembering our Two-Spirited exhibition histories. and in cataloging to done be needs research hard is information to by. come more Ifeelthat Two-Spirited artists, featured that exhibitions other Two-Spirited artistsrepresented inthis exhibition. Audra Simpson. Please excuseifImayhavemissed anyother Cyperpowwow.net, NativeLoveoverview andessayby exhibition. I found two wonderful wonderful exhibition. I found two 6 While I hope that there were there that Ihope While

narrative, there remains widespread ignorance ignorance remains widespread there narrative, UnSettled evolving. still is and understandings are there definitions numerous of sexuality, for which concepts Indigenous traditional reclaiming restoring and —in of all inclusive LGBTQI2S+ identity—often spiritual gender, their sexual and to describe people “Two-Spirit” term The by many used Indigenous is hopes. future being, and present of histories, their embodiment are the they and of Two-Spirited core praxis of the the at artists, is colonial of the narrative apply, unsettling the not all definitions Certainly identity. and works Two-Spirited relates it to as Indigenous term artists the explored we exhibition this For definitions. of interchangeable anumber has itself term for original UnSettled premise My of erasure. of colonialcontinuum that practice a is Toit history. art unsettling, is remain unseen of Indigenous part important an is content, or sexual intent the or his sexuality matter no work, Yet of art. me. pains it gatekeepers the Norval’s of remain and suspect yet about forever wonder explanation, their accepting reluctantly further, it equality within a progressive, social justice justice social a progressive, within equality creating and binaries of gender performance dominant the dismantling I2S+ posit movements sharing knowledge and narratives, tradition, body, language, memory, colonial sexuality, power, representation, addressing to Two-Spirit on focus work resilience with deployed artistic and critical discour critical and artistic deployed was that the . As LGBTQ As

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than in mainstream society.” in mainstream than communities, even more so Aboriginal most in now rampant is homophobia experience, school residential of the result adirect As communities. UnSettled being being practice and contemporary excluding Indigenous models, perspectives, of inclusion, systematically while mantra centric aEuro recites of dialogue activism the Where context. art commonalities a within contemporary these dually marginalized voices, to and trace to to priority give important vitally It was milieus. art queer and Indigenous the between innovation intersection at the and experimentation for well providing as as aplatform experiences, and exploringperspective, roles contemporary rich history of Two- history rich aproud and erased Residentialof Schools the religious “The dogma Youth attests, Association Native Urban the colonization, as with came Homophobia important. most ofbeing one the keepers community, knowledge the within roles and responsibilities unique meant carrying as Being identified cultures. often Two-Spirit aboriginal within sexualities and genders of multiple female,nor to primacy the speaking male are neither who those to describe terms have non-negative America in North spoken languages Indigenous Two-thirds 200 of the continent. nothing this is on new sexual diversity and for gender respect that mainstream in the 7 Urban NativeYouth Association, 2SpiritCollective,Vancouver BC. UnSettled. presented work from aTwo-Spirit from work presented S pirit people in most Aboriginal Aboriginal in most people pirit 7

, it is a state of astate is it

8 art” Worse, are notion we “welfare that the checked. have to make boxes sure their are of inclusion who curators and administrators uninformed I’ve had my terribly share of but well-meaning Sadly, and a minefieldignorance. racism of like feels It sometimes and curators. institutions contemporary exclusion by non-Indigenous oh-so-often the and erasure to historical our due yet also first, great art is it that to fact the Bias due have practice. abias toward Indigenous I artists, and forms I totally many appreciate art While days. engaging these and interesting most theit Ifind be to art. ofvanguard contemporary the movement is art I believe Indigenous the that exhibitions and or the lack of exhibitions at all. at of lack exhibitions the or and exhibitions published due the of lack to gauge to difficult remains communities our within exist that of Two-Spirited number the and artists diversity to all. us are inspiration and an Yetart, the of challenging notions contemporary doors, are opening Brian Jungen and Kent Monkman well. are very doing who Two-Spirited artists of are anumber there that acknowledge Idoname? between. are few far They and alone let out, you count can years 30 past the how manypudding, Two-Spirited in exhibitions proof in the is The communities. own our within well, as even cannon sexuality and sex the dodge have we also to but colonial the cannon dodge have we Not do only toto Two-Spirited artists. comes it when exaggerated and complicated more abit all pain This gets ofthe guilt. white rather than it being just art. Still boils my blood when I think of it. rather thanitbeing justart.Stillboilsmybloodwhen Ithinkofit. enous gallery inCalgary, one ofitsboard membersoncereferred toIndig- A storyonceshared withmeaboutawell- 8 and have to be included in order to have and in order ease to included be art as welfare art, that they had to include it as an obligation art aswelfare art,thatthey had toincludeitasanobligation known contemporary art known contemporaryart ESSAY: Adrian Stimson ESSAY:

7 8 UNSETTLED I Queer Arts Festival I Exhibition Catalogue of recognizing those who came before us is not before is us came who of those recognizing importance the communities, In many Indigenous stories. and art their through humanity our of many coming to aspects know of storytelling, traditions our well keep with as as into work their insights share some artist, each to know I came essay,For this Iwould share that how Ithought of building continuum of community. our the more personally, apart be and artist each know to to get exhibition, opportunity well the as as the with would fit thought they work what in selecting artists the with in working adventure in total. exciting an was For it me 18making artists have who passed, of artists three works the of UnSettled a part to agreed be 15 artists to manytalking artists, searching and available.time after end In the and space the of confines the within participate to many I could, as to Two-Spirited get artists as far as net to curatorial I wanted throw the can a budget accommodate. For UnSettled abudget can what yes, and visibility of lack or availability to circumstance, due purposefully, more often being Not excluded. is feeling someone that the always is There process. unsettling an always is for exhibition an acurator,As artists choosing to in UnSettled agreed Many be who Two-Spirited the understanding experience. to building and roads new old barriers the are who breaking savvy, communications down and are tech who wave of Two-Spirited artists However, not downer, to the be anew see Ido , as well I decided to include to include well, as Idecided .

Council’s resident Urban at curator Media New Canada the was while he in 2005 Iskew was Muskegon- Ahasiw met I time only and first The to voice that be of resilience love. and continues and us remains with Aiyyana that ensure to honour an Itwas respect. utmost the with and fondly her remember people, they on and had she impact the see name, feeland you can today. felt still is mentioning her When artists of many mentorship and voice. advocacy Her powerful and yet uncompromising into gentle her in 1995 series gave aglimpse us performance in 1994series Gender and Möbius images, keeping. Two knowledge and decolonization still medicine, of one transformation, was story Her storytelling. core was yet the at disciplines, artistic many the traversed she artist multi-disciplinary a As expression. and sexuality of Indigenous diversity the so allhelped us to understand doing and by gender decolonized She specific. of journey, her to be in Gender aJourney story in 2016,passed amazing an leaving with us vanguard of Two-Spirited expressions. Aiyyana ofvanguard Two-Spirited Aiyyana expressions. the at was of work her,knew performance her yet I Aiyyana, didnot know space. Ipersonally Mike and MacDonald into the Muskegon-Iskew Maracle, Ahasiw of Aiyyana spirits the brought reaching. For far UnSettled is non-Indigenous and both Indigenous on influence manyartists yet their have exhibition in passed the artists of the Three protocols practices. and cultural of many part inherent an but important only Strange Fruit Strange from the Play performance Play the from performance from Half-breed Half-breed from

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him, he is in our hearts. For UnSettled him, hearts. in our is he for of knew and all me of who us forever apart will be Ahasiw us. connect by performance this on body my left The marks flesh. is spirit our that realize me made that moment apowerful It was colonial histories. disparate and violent often our addressing as well as community, for of sacrifice act an to my chest, feathers seven attaching times, Shame White Ichose reimagine of one Ahasiw’s works. to gallery invited grunt by the Iwas when came Ahasiw’s spirit with to connect opportunity Indigenous people experienced. Another many that horrors the tonever expose afraid monster, giant Witiko. was man-eating Ahasiw mythological Cree the through trade sex of the world alight the on shone that performance Children was a the gritty Moon on Shining Gallery. Art Mendel the at series Articulation the previously, Ahisiw’s work I curated in Express today. us far-reaching is sharing impacts still and knowledge and His mentorship it. represent how to on challenging galleries and web the on Indigeneity to excitingand express ways changer, new creating and rules the breaking agame was yet time Ahasiw that at infancy in its still was to media new funny that think all for us to aspace explore. up It’sopened alike, scholars and it but artists Indigenous for of knowledge creatednot aweb only internet for the His work media/digitalnew arts. in Indigenous aleader was Ahasiw that I knew as me, for moment yet abrief important It was in 2006. died he Winnipeg; in Gallery Shaman . I, like Ahasiw, seven pierced myself we used the the used we

often subverting colonial narratives by using colonial narratives subverting often text, and images popular using by colonialism of history the addresses he abstractionist an As art. Indigenous and contemporary of worlds the of vanguard bridging the at was he legendary, Houle is of Robert work The butterfly. of tears the those forever,last in and gardens in those especially will yet his legacy in 2006 Mikefreedom. passed and to place that of beauty struggle, and despair place that of from often of transformation, space for Two-Spirit ametaphor as video being, that Transformation in this many Isaw ways, happens other. each with also but world natural the with not only our on relationships in time, reflecting moments little take notice and of these down surely. but slowly cocoon, Mike slow us made fromits emerging of Itis abutterfly (Vtape). video fauna. and UnSettled For flora and many voice giving tocountry, butterfly the the environment, the across planted he gardens for Mike awarrior was work, Internet and video alike.humans and for his Known for butterflies sanctuary Centre. Apeaceful Banff the at garden Mike his I didnot Ididvisit know MacDonald, but gallery. to grunt ties the had strong Ahasiw and Both Aiyyana of images. of archive their use and support his amazing andtheir Alteen for Glenn specifically gallery to grunt the my gratitude to express like would I Nations in 1992. Series At point this Performance Shame White from images two Touched by the Tears of a Butterfly , part of the First First of the , part we chose the the we chose ESSAY: Adrian Stimson ESSAY: 1995 1995

9 10

UNSETTLED I Queer Arts Festival I Exhibition Catalogue deep in our hearts, photographs can remind us can photographs hearts, in our deep it? Being in does loveidentity, but etched is meant to is conceal partner eyes of aformer over bar black love the the love and lost, 1994 if it as on never happened I go examines Polaroid Living Evidence,enlarged could How culture. colonial Her popular the and both gaze yet interrogate humorous are often portraits Her compositions. traditional and themes in historical portraiture, herself inserting often with deals often work photographic Her time. transcends who Rosalie Favell artist another is to humanity. all our us brought closer and celebrated demystified, was body nude the where class, in life drawing moments to back those me Iknew, that brought it work abstract the from to subtle, be erotic of full and desire. Adeparture in work Paris. Ifound the residency Council Canada a while on drew he of aNude 2007 drawing conté enlightens all. us For UnSettled writing and history, criticism art of Indigenous to grow today,continues knowledge his insight, that resume amazing Civilisation, built an has he of Museum Canadian for the curator Indigenous first the was it! would do else Robert one no as We curators own our had to become art. exhibited Indigenous contemporary reluctantly or refused either of time that institutions art many that educator. to fact the due was This and had to also acurator be but artist an only not 70’s, was and 60’s the during Robert institutions of western out came who artists Indigenous material and culture. Like text many Anishnaabe we chose an early early an chose we

into the gallery. Cease was researching this researching was into gallery. the Cease wu7mesh/Sto:Lo of weaving traditions historical Kwih7aynexw lhenihent Wool/Two-Spirits-SeiusSpinning Anus installation. weaving interactive created an Cease For UnSettled into present. the past the bringing is practice of art her A part up. giving never in alesson and inspiring is of change agent an be all, it yet through Cease’s to unwavering desire defeats and have we years, triumphs our shared over the gardens and abeekeeper) (I am Bees We have about to had act. many conversations me to inspire and amaze me never ceases Cease over land. the sovereignty Indigenous challenge especially the many proposed pipelines that against resourceher development, activism pollinate who them, Bees the protecting and in gardens creating work tireless many her ways, advocacy in manifested has environment for the over many work Her her years. have I witnessed as Isay this powerhouse! acultural is Wyss Cease humanity. and vibrancy presence, to Indigenous atestament is that archive important an is of many artists so other those and moments Rosalie’s these to capture ability not too greedy. Ihope and shifter a shape for Ihave three,for which posed of being abit artists, of Indigenous portraits photographing of project ahuge Rosalie undertaken also has of lived lives. our evidence the never forgets heart how that and into heart, her glimpse love? that change intimate an us Rosalie offers of love. this concealing your love’s Does identity brought the Skwx the brought

materials like capacitors and resistors that imitate that resistors and materials like capacitors he? has or looked back, of His electronic inclusion not has and arts to graphic switched then he electrician, an as trained first Barry that not know materials. Idid contemporary using present the into past the brings but beautiful aesthetically only not is produces he work the way as good leaves exhausted, me practice studio but in a to tirelessly,collector. his dedication Heworks Indigenous and artist an as and organizations at his many accomplishments; in government, in awe Iadmire Barry, often Iam representation. of too challenges well the know vacuum, racist in avery careers their began who artists greatly. He, praxis and like many Indigenous art Indigenous advanced has work his tireless unnoticed, not has gone producers cultural and curators for Indigenous member. His advocacy Curatorial afounding was he for which Collective Aboriginal the through Ace met Barry I first one, joiningbecome blanket. one all us under of weaving, many strands act the Through all. us will affect of ignorance repercussions way, in agood the as act and pay attention all,us to are we of aware doing, to be what for Alife metaphor work. the destroy or doing yet precise, you have to you of aware are be what of weaving contemplative is act The history. and practices cultural to Indigenous closer us brings into UnSettled installation interactive this By bringing are now extinct. dogs particular those yet hair would have dog Comox used been or SalishWool originally and the dog tradition , Cease Cease ,

art, George’s name always comes up. I remember George’s up. Iremember comes always art, name Today, 80’s/90’s the about to Italk friends when widely. exhibited well-known. His was name was message astrong with and playfulness, ofGeorge’s colour, his use gorgeous, is work enticing. was time gay that man at Indigenous George?Two-Spiriteda For man, to see another didn’t on who So have acrush different. 90’s. Well in the do, it’s Istill but Littlechild I’m George on to going Ihad acrush say it, LGBTQI2S+ treated the Ottawa community. changed that activism resulting the in the way of night that and events the recounts video The appearance. their on based hate someone can we how sadly and how judge we deceiving, be can it how to appearance, speaks it appointed, beautifully love, well. with Bandolier made is This very story shoes”. this knew in lives Ottawa, Barry, who “I go let they saying as like your attacker one him let to fall Bridge, then his death, Alexandra of the over edge the him bydangled his ankles him, him beat up, chased appearance, then gay, was he thought to his well-dressed due this Chateauthe Laurier, him, of saw teens agroup in 1989, at work after home walking Alain was gay. was he in Ottawa thought happened This his murderers because murdered was man who astraight was Alain Brosseau Alain Brosseau. of to murder amemorial and the ammunition bandolier, abeautiful is for belt apocketed practices. M’Chigeeng Nation traditional First his to back harkening aesthetic abeautiful creates bead work, Bandolier for Brosseau Alain Bandolier ESSAY: Adrian Stimson ESSAY: , 2017 2017 ,

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UNSETTLED I Queer Arts Festival I Exhibition Catalogue Michelle for that teaching, the importance of doing doing of for teaching, that importance the Michelle Ithank myvoice mind, your homework. enters do Michelle’s project, aresearch Istart time every and moment afunny Itwas your homework! me, yes! Do yet struck it aback, taken been man”.your homework, have Icould For which to me, stated “Do directly she subject, a about vague being very after when forget amoment never I’ll careers. our about small and chat chat introductions, and greetings didour we Gastown, near asmall at her café meeting I remember life experiences. her on and volumes speaks multi-disciplinary and poetry Her Canada. work and Vancouver art community, all across in fact Two-Spirited the within highly regarded is She work. her seen nor her not met had yet Michelle participating of Ihad exhibition. known in this in interested would be she to if see was meeting met Michelle Sylliboy in our I first Vancouver; did. they space? better, They community Ithought! And will allow they thinking, in the this nervously asmile and to Igiggled form. head to cock, my for all to see. my Itmade eyes widen,his glory Thrust Boy painting Cree the included also George environment. land and for the to take astand continue and up stood who warriors those masculinity, celebrate series his warrior from tocontinue shine. For UnSettled humanity being and humble day his art, this too shy to proud, and to say hi,and out was he always himseeing agay at in bar Calgary, Iwas , a beautiful Cree man standing with all with man standing Cree , abeautiful , three paintings paintings three ,

9 for UnSettled work the to choose started we current. This becamewhen apparent more even of his people’s and past history,knowledge both his was me up. struck come What always stories familiar and Nation territories, live First our on both we as issues, to local turned discussions our his studio, In visiting politics. involved in his local is also He nines!knowledge. full and of confident to He’s the likesand fantastic! is dressed always likes, he makes he makes what and what and John’s he what wears he in fashion, I envy taste Iadmit, design. in graphic interior and his work for known also is He designs. Kwak’wakw’wakw his traditional from come his teachings in textiles, schooled Primarily past. of the designs costume of many opera theater and part and renowned is reputation and His work knew John designer. fashion Powellas a I first path.learning will all keep us the on nudges gentle Her process to unfold and support what immerges”. what to unfold support and process philosophy of non-interference, “allow the I feelMichelle’s could to Mi’kmaq dedication Yet hopeful and empowered felt Ialso as I left; flowed me,over video and followed. words tears sadness as the with overcome being listening, space, and in watching the sitting I remember reconciliation. and of loss to legacies speak that video voice land textured and text, Mi’kmaq Reconciliation For matter. your subject knowing and your research https://msylliboy.wixsite.com/website Paraphrased from Michelle’s webpageTeaching Philosophy. UnSettled The Art of The Art video her chose , we , a beautiful and haunting of and mix , abeautiful

. 9

and power.and For UnSettled for inquiry, reflection aspace creates canon art western the and art Indigenous contemporary with rights to link Indigenous ability Her keepers. realm in that her places of knowledge rights Indigenous on research incredible and artists for Indigenous unwavering support Her spaces. oft-colonial in these representation long road the and to Indigenous to history to context gallery, give spaces indigenized AGO the at the presence Her changed has internationally. and in Canada practice curatorial of vanguard the at is she as say this I with! Wanda aforce is to reckoned Nanibush be eyes. our before alive vibrant and keeping history into present, the past the brings that archive incredible an is series people. portrait His and entire family family of his keeping alive history the generations, back dating telling astory language, portrait each and design Kwak’wakw’wakw his tradition in done portrait ofmembers his family Each curated me in a number of exhibitions in anumber me curated but Wanda for many she has not only reasons, love I spaces. white to indigenize those resist, to heard, be to relationships, the fight constant for the ametaphor is it state of our colonial The red the white, absorbs canvas. the onto projected is Raven bullying of fighting acrow a white. the Avideo absorbs surely but red slowly the dyeis added, fluid hold the rice milk, red of canvas reworked gallery, the tofloor white of a Resistance Passive 2010 the on situated awork is , the installation, the

rings speak to the child within and the CNC the and to child within the speak rings stacking rainbow and building blocks lego the viewer, the interrogating pointing, cock, can beer to it’s have appropriate books; the Bay history Bible Hudson’s James and King the built upon piece whimsical it a Ifind with. struggle others more or likely, with, struggle that often we that identities identity, form they how and project colonial of the building blocks The references. colonial and personal both have that objects sculpture into and light. The the dark of the coming out being, ofof Richard’s self, coming to stages know the are light. self-portraits and They colour playing with last at Into Happy and the knowing paintings; three Before the knowing, selected we influence that you. UnSettled For communities one’s relationship to blood relations and of identity, affects specifically,upbringing how questions necessary yet tough poses Richard community. and in self pride also but spectrum flag,colour the not pride only evoking the of colours the uses sexuality. Richard often and to his identity able explore was he where him bringing to world, Vancouver,homophobic racist the Richard traversed erased, heritage old. His Indigenous being months two at adopted after Mennonite raised was Richard Heikkilä-Sawan your back. forever and quo has status the mind, challenges her speaks on, who one count and always can you one afriend, is AGOfor She the collection. work artists’ Indigenous my other and purchased is a collage of objects, objects, of collage a My Spirits Soar is , all perspectives , all perspectives ESSAY: Adrian Stimson ESSAY:

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UNSETTLED I Queer Arts Festival I Exhibition Catalogue the accident, and you can’t always turn away. turn you can’t and always accident, the more,of to inquiry, Iwant know like witnessing in astate me not? yet puts it maybe work Her eye,the you you think get of wink a like whimsy, asexual is there humorous, add I would also life. of domestic photographic constructions by bold, gruesome sexual, her sometimes struck opportunity her, with visit to astudio Iwas do intern. Ihad an the was she where Arts, for the Centre the at met Banff Dayna Danger I first forces. oft-hostile those from us air protects and the sweetens grass, sweet place. us wakes us, It’s shapes up what and, like conservative in of this similar up growing stories share and live both we in Alberta landscape, political the on Jessie, reflecting my with time I enjoyedhave always crossed. first paths our many so of where Centre Banff the at starting for many probably years, Jessie have known loving I relationships. suggest poses yet the are demonic masks yet the eroticeerie moment, Springs, Banff the at taken photograph culture. Her within personal the and culture about questions atension,creates asks sexuality. juxtaposition The personal and practices it ofis cultural coming to know a story sweet suggests, title the As genders. playthe between life, love cultural and rural and urban between video artist and emerging filmmaker. and artist UnSettled For acurator, is writer, Short Jessie multi-disciplinary identities. social to his relationship tospeak cultural/ illuminatedroutered yellow with light cedar bulb Sweet Night Sweet plays with identity, the struggle struggle identity, the plays with Family of Light an is her her

rated into the basket, slowly building into basket, revealingrated slowly the are incorpo they as of birch bark strips of the me remind of figure ahuman sitting drawings of line creation. The process precise and care the and in time caught of ideas moments with plays video dynamic and drawings static of the juxtaposition The over drawings. the projected basket weaving of is Ursula abirch bark video titled of 12 Johnson’sUrsula consists drawings work Indigeneity. collective our of that but of identity our understandings own our only not interrogating them, at are looking me?Maybe Not looking are they only at us, we the mask?behind is Who identity? defines Who Indigeneity? with intersect it How does that mind are seeing? we space. What bending gear, to gay more bondage akin masks, up open of like kind wrestler’s head masks, beaded her in UnSettled four portraits her Dayna, with any mind. Here enters to it’sthat, rattle enough Two-Spirited now add It’s different, being within feminism within the many feminist movements. of notions Indigenous considering challenging when culturally be can evolving. and Which different nations nations within nations, within we are all protocols. and are definite teachings arewe Yet Yes communities. in our wrong and right is there perceive we what line that between straddle we humour. and humility Two-Spirited As people, yet of full generosity, being, questioning her joyous to Dayna explore watch It’s very been Dayna’s on, I’mI love trajectory the afanboy. Making a mark a Making , aligned in rows of, aligned in rows 4, a ,

sexuality and age. Thirza is bold and unapologetic unapologetic and bold is age. and Thirza sexuality to her due festivals more video or one from banned Ibelieve was she works. provocative her through world art the Unsettling was Thirza Well mesmerized. years, beyond her Iwas class, art performance in our shown was Thirza’s work community. Iremember by art that bound I,lived than there, yet longer became we she We both Saskatchewan. Saskatoon, from Thirza Ihave of knowing great honour had the artwise. performance older is yet Thirza agewise older I. than Imay way longer be art in performance been has Cuthand realizedI recently Thirza that community. the stronger the weaving together, of more come we abasket, the evening to this honour unfold, watch like the couple’s for the concern an well being. Itwas love and heartfelt and hilarity offull high camp Palmatar by Candy night hosted afun It was accident. in an been had recently who Parsons Angella wife for her having afundraiser was year, one in Halifax Ursula by and coincidence TruckhouseThe Indian Art of High infomercials, through specifically crafts and arts playedwork commodification on the of Indigenous of sense fantastic humour, her recent performance both a has also object Ursula performance. and in world, art contemporary for the it transformed and skill that taken community, has she Mi’kmaq Ursula is an basket weaver in heraccomplished award in 2017. Art scene, Sobey winning the art Canadian the on amark left Ursulacertainly has history. of Mi’kmaq generations through down passed been has that knowledge the and care . I recall being. Irecall

visit with Raven I’ll with over years. never forget the visit whimsy. to and see I’ve had many opportunities and to details attention posts, her watching enjoy I I love buddies. Raven John, are we instagram palate red. is that colourful and beauty of the infomercialAn a thatdemonstration us gives is replacedembarrassment confidence. with to back aplace where us takes Vanessa using feminine classical hygiene memes, bodies. In Menstrual Accessory arewere of and in control their being, spirit and Indigenous knowledgewomen where systems of expense female the at body, the controls often and men, stigmatizes by Indigenous adopted often colonial all the roles, as male our gaze, life. In fact women’s contemporary and being in traditional in understanding challenging yet is important work Vanessa’s menses. her using paintings brave Centre. At time, that Banff the at work her saw likely Ifirst since both. I’ve Vanessa most known laugh, laugh abelly or anervous is this sure if not loud. Iam makes laugh out me performance Dion Fletcher’sVanessa Menstrual Accessory the Indigequeers! of Queen the all we have hail shared. All moments, Thirza, brings us funny back crazy to rez those and the narrative of fact life.dating pose, matter casual Her love anticipation, the lost, rejection, the the profile, hear we each head when the loves,the nail the the on bone! funny the hits She tickles sitedating meme, aTwo-Spirit from perspective, 2 Spirit Dream Catcher Dot Com funny. very and For UnSettled we chose her video video her chose we performance, . The play . The the on ESSAY: Adrian Stimson ESSAY:

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UNSETTLED I Queer Arts Festival I Exhibition Catalogue Blessing Blessing Raven’s Transformation painting Two-Spirit of experience. human our part play important an is asmileto my on face, put reminding that me world, mysterious, mischievous. Raven never fails raven, the creator of was raven the hat.She her of to mine opening wearing an came day she the the raven bringing life raven bringing to world. the the image, life bringing like to static the forth, and motion, moving stop back playing with prints, ever, as Playful Design. of my took images they and of Art University Emily the at Carr prints Raven, making whileIwas with hung out they was I time manyher animated The films.last for puppets and Fawn Strong in sets creating Spotted Amanda with worked has She sculptor. mediator,consultant, and photographer cultural artist, avisual is she in many directions, protection of rainbow.the Raven’s goes talent the under witch’s and hat exposed cock breasts, with their being; transformed juxtaposed Salish/Stó:lo her using exploration imagery 2017, afantastic aself-portrait, is

Stimson A. —Adrian catalogue. and events exhibition, this for al. et Burning unwavering for support their Lacie SD Holman, Festival, Arts Society-Queer in Art LGBTQAI+ you to Pride community. Thank the Two-Spirited our is that power and hope absolute are we sure to head on, the meet challenges given way, challenges, with road fraught yet still the is Two-Spirited journey. We have all along come Flesh the cover of the at Spiritlooking and bookstore, rememberI that Sister’s day at Little project. archive colonial the to continue unsettle and to reclaim,imperative show, record, educate, is it that history are collective we apoint in at our for, tocontinue play are we roles destined the Two-Spirited have we will beings human and As them. strengthened has it in fact spirits, our yet didnot destroy it colonialthe project, of part is of history are.we our erasure The that community diverse the demonstrated that in time amoment Itwas have curated. UnSettled , knowing I was at the beginning of beginning my the at Iwas , knowing was an exhibition I am proud to Iam exhibition an was

Adrian Stimson CURATED BY

Un Settled EXHIBITION CATALOGUEEXHIBITION Wanda Nanibush Dion Fletcher Vanessa Ursula Johnson Thirza Cuthand Favell Rosalie Houle Robert John Raven Heikkelä-Sawan Richard Mike MacDonald Sylliboy Michelle John Powell Short Jessie Littlechild George Danger Dayna T’uy’t’tanat Wyss –Cease Ace Barry Maracle Aiyyana Ahasiw Maskegon-Iskwew ESSAY: Adrian Stimson ESSAY:

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UNSETTLED I Queer Arts Festival I Exhibition Catalogue Ahasiw Maskegon-Iskwew Photo: Merle Addison, 11 x 14 inches. Courtesy grunt gallery. gallery. grunt 11 Courtesy x14 Addison, inches. Merle Photo: Nations Performance Series First from Shame White Maskegon-Iskwew, 1:Plate Ahasiw , 1992, 1992, ,

Photo: Merle Addison, 11 x 14 inches. Courtesy grunt gallery. gallery. grunt 11 Courtesy x14 Addison, inches. Merle Photo: Nations Performance Series First from Shame White Maskegon-Iskwew, 2: Ahasiw Plate Image on facing page , 1992, 1992, ,

19 20

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Aiyyana Maracle inches. Courtesy grunt gallery. grunt inches. Courtesy Performance Series Halfbreed from Möbius Gender Maracle, Aiyyana 3: Plate , 1995, Photo: Merle Addison, 11 x14 Addison, Merle , 1995, Photo: grunt gallery.grunt 11 Courtesy x14 Addison, series, inches. 1994, Merle Photo: performance Play from Fruit Strange Maracle, Aiyyana 4: Plate Alyyana Maracle Alyyana ARTIST: 21 22

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Detail: Detail: Barry Ace Bandolier for Alain Brosseau Alain for Bandolier Ace, Barry , 2017. , Donated by the artist, 2018. Photo: Justin Wonnacott. Wonnacott. 2018. Justin Photo: artist, the by Donated Gallery: Art x39.4180.3 x19.1 Ottawa of Courtesy cm. wire, brass metal, LED), fabric, inductors, capacitors, (resistors, components electronic horsehair, screen, Digital Ace, 5: Barry Plate Facing page: Bandolier for Alain Brosseau, 2017. Brosseau, Alain for Bandolier

Barry Ace Barry ARTIST: 23 24

UNSETTLED I Queer Arts Festival I Exhibition Catalogue (2) together 72 x 192 inches. Courtesy of the artist. the of Courtesy 72 x192 inches. together (2) shawls 2017, 24 a Blanket, x96 inch Weaving Installation, /twoSpirits] [spinningWool Sèlus Kwelh7áynexw Ánus Lhenlhént Wyss, –Cease T’uy’t’tanat 6: Plate T’uy’t’tanat –CeaseWyss

T’uy’t’tanat – Cease Wyss, Wyss, –Cease 7:Plate T’uy’t’tanat (2) together 72 x 192 inches. Courtesy of the artist. the of Courtesy 72 x192 inches. together (2) shawls 2017, 24 a Blanket, x96 inch Weaving Installation, /twoSpirits] [spinningWool Sèlus Kwelh7áynexw Ánus Lhenlhént

T’uy’t’tanat – Cease Wyss –Cease T’uy’t’tanat ARTIST: 25 26

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Courtesy of the artist. the of Courtesy x75 inches. 60 print, Digital Danger, Dayna 8: Plate Dayna Danger

Adrienne, Adrienne,

2017, 2017,

Courtesy of the artist. the of Courtesy x75 inches. 60 print, Digital Danger, 9:Plate Dayna Dayna Danger Dayna ARTIST:

Lindsay,

2017, 2017,

27 28

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Courtesy of the artist. the of Courtesy x75 inches. 60 print, Digital Sasha, Danger, 10: Dayna Plate 2017, 2017,

Courtesy of the artist. the of Courtesy x75 inches. 60 print, Digital Kandace, 11:Plate Danger, Dayna 2017, 2017, Dayna Danger Dayna ARTIST:

29 30

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Mixed media, 30 x 22 inches. Courtesy of the artist. the of Courtesy inches. x22 30 media, Mixed Warrior Incarcerated Littlechild, 12:Plate George George Littlechild , 2015, 2015, , 2015, Mixed media, 30 x 22 inches. Courtesy of the artist. the of Courtesy inches. x22 30 media, 2015, Mixed Snake, Black The and Warrior Littlechild, 13:Plate George Facing page ARTIST: George Littlechild ARTIST: 31 32

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Courtesy of the artist. the of Courtesy Soil Sacred America’s South of Indigenous Warrior Littlechild, 14:Plate George Facing page , 2017, Mixed media, 30 x 22 inches. , 2017, inches. x22 30 media, Mixed

Mixed media, 50 x 38 inches. Courtesy of the artist. the of Courtesy inches. x38 50 media, Mixed 2017, 2017, Thrust, Cree Boy Littlechild, 15:Plate George ARTIST: George Littlechild ARTIST:

33 34

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Family of Light of Family Short, 16:Plate Jessie Jessie Short Courtesy of the artist. the of Courtesy , 2016, Photographic. , 2016, Photographic.

Courtesy of the artist. the of Courtesy 6:53min. Video, 2016, Night, Sweet 17:Plate Short, Jessie

ARTIST: Jessie Short ARTIST: 35 36

UNSETTLED I Queer Arts Festival I Exhibition Catalogue John Powell Courtesy of the artist. the of Courtesy inches. 23.5 by 18.5 inches media, Mixed Portrait) (self Powell, Winidi 18:Plate John

, 2015-16, 2015-16, ,

18.5 inches by 23.5 inches. Courtesy of the artist. the of Courtesy inches. 23.5 by 18.5 inches Grandmother 19: Powell, Yam’gwasPlate John Great, Great (maternal Facing page ), 2015-16, media, Mixed

ARTIST: John Powell ARTIST: 37 38

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Courtesy of the artist. the of Courtesy inches. 23.5 by 18.5 inches 2015-16, media, Mixed Powell, John 20: Plate Facing page Wa’dzi da laga (maternal Grandmother), (maternal laga da Wa’dzi

Courtesy of the artist. the of Courtesy Grandfather), (maternal 21: lees Plate stah Dzee Powell, Oo John 2015-16, Mixed media, 18.5 inches by 23.5 inches. inches. 23.5 by 18.5 inches 2015-16, media, Mixed ARTIST: ARTIST: John Powell ARTIST: ARTIST:

39 40

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Courtesy of the artist. the of Courtesy mother), inches. 23.5 by 2015-16, 18.5 inches media, Mixed Great Grand Powell, Patila’enukw (maternal 22: John Plate Facing page -

Walas Kyayu’tla’las (maternal Kyayu’tla’las Powell, Walas (maternal John 23: Plate 18.5 inches by 23.5 inches. Courtesy of the artist. the of Courtesy inches. 23.5 by 18.5 inches Great Grandfather), 2015-16, Mixed media, 2015-16, media, Mixed

ARTIST: John Powell ARTIST:

41 42

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Courtesy of the artist. the of Courtesy Mother), (Grandfather’s Gwotl Dlah Powell, Dlah’ 24: John Plate Facing page 2015-16, Mixed media, 26.5 inches by 29.5 by inches. inches 26.5 2015-16, media, Mixed

Mah Q’wa lah oh gwa gwa oh Q’wa lah Powell, Mah John 25: Plate 26.5 by inches 29.5 of the artist. inches. Courtesy Aunt), 2015-16, media, (my Mixed Grandfather’s

ARTIST: John Powell ARTIST:

43 44

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Courtesy of the artist. the of Courtesy 29.5 by inches. inches 26.5 Uncle), 2015-16, media, Mixed (my Grandfather’s Lahss Tlah’ Powell, Goo John 26: Plate

26.5 by inches 29.5 of the artist. inches. Courtesy Aunt), 2015-16, media, (my Mixed Grandfather’s 27:Plate Gwa Kwa lo Gyee Powell, Dlah John Facing page

ARTIST: John Powell ARTIST: 45 46

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Michelle Sylliboy Video, word, 5:44min. Courtesy of the artist. the of Courtesy 5:44min. word, Video, 2016, Reconciliation, of Art The Sylliboy, Michelle 28: Plate 2016, Video, word, 5:44min. Courtesy of the artist. the of Courtesy 5:44min. word, 2016, Video, Reconciliation, of Art The Sylliboy, Michelle 29-30: Plates Michelle Sylliboy Michelle ARTIST: 47 ARTIST: Michelle Sylliboy

Plates 31-32: Michelle Sylliboy, The Art of Reconciliation, Plate 33: Michelle Sylliboy, The Art of Reconciliation, 2016, 2016, Video, word, 5:44min. Courtesy of the artist. Video, word, 5:44min. Courtesy of the artist. I Exhibition Catalogue Queer Arts Festival I Queer Arts Festival UNSETTLED 48 49 50

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Mike MacDonald Butterfly, 1 Butterfly, 34: Plate

Mike MacDonald, 995, Video, 14:30min. Courtesy of Vtape. of Courtesy 14:30min. Video, 995, Touched Tears By The a of

Courtesy of Vtape. of Courtesy Touched Tears By The 1 aButterfly, of clockwise: 35-38 Plates Mike MacDonald, 995, Video, 14:30min. 14:30min. Video, 995,

ARTIST: Mike MacDonald ARTIST: 51 52

UNSETTLED I Queer Arts Festival I Exhibition Catalogue 76.8 x17.9 artist. the of x 17.7 Courtesy inches. tape, duct switch, toggle bulb, light cedar, yellow routered CNC roping, braided stand, valet toy, mahogany stacking wooden children’s paint, spray Band-Aids, shapes, foam bricks, Lego can, beer Rock Big unopened mannequinboots, legs, laquer, Finn chair, Rigas Fluevog John bible, James King book, Soar, 2 Spirits My 39: Plate Richard Heikkilä-Sawan

Richard Heikkilä-Sawan, Richard 015, Hudson’s Bay history 015, history Bay Hudson’s

Courtesy of the artist. the of Courtesy inches. x40 30 linen, brown), on 2016, Oil blue, Heikkilä-Sawan, Richard 40: Plate Before the knowing (green, (green, knowing the Before

ARTIST: RIchard Heikkilä-Sawan ARTIST: 53 54

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Oil on linen, 30 x 40 inches. Courtesy of the artist. the of Courtesy inches. x40 30 linen, on Oil 41:Plate Heikkilä-Sawan, Richard Into the knowing, 2016, knowing, the Into

Courtesy of the artist. the of Courtesy inches. x40 30 linen, on polymer synthetic Oil, Richard Heikkilä-Sawan, 42: Richard Plate Happy at Last, 2016, Last, at Happy

ARTIST: RIchard Heikkilä-Sawan ARTIST: 55 56

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Raven John 2017, Acrylic on paper, 22 x 30 inches. Courtesy of the artist. the of Courtesy inches. x30 2017, paper, 22 on Acrylic Blessing, Transformation Two-Spirit John, Raven 43: Plate Robert Houle Courtesy of the artist. the of Courtesy x 71paper, 50 inches. Nude Houle, Robert 44: Plate , 2007, Conté on arches arches on , 2007, Conté

57 57 58

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Courtesy of the artist. the of Courtesy happened itnever if as on Igo could How Evidence, Living Favell, Rosalie 45: Plate Rosalie Favell , 1994, Photographic, 30 x 35 inches x35 30 , 1994, Photographic, .

Thirza Cuthand 2017, Video, 4:56min. Courtesy of the artist. the of 2017, Courtesy 4:56min. Video, Cuthand, Thirza 46: Plate 2 Spirit Dreamcatcher Dot Com, Dot Dreamcatcher 2Spirit ARTIST: Thirza Cuthand ARTIST: 59 60

UNSETTLED I Queer Arts Festival I Exhibition Catalogue video installation. Courtesy of the artist. the of Courtesy installation. video 47:Plate Ursula AMark Johnson, Making Ursula Johnson , Drawing and and , Drawing video installation. Courtesy of the artist. the of Courtesy installation. video Ursula AMark Johnson, 38: Plate Making , Drawing and and , Drawing Ursula Johnson Ursula ARTIST: 61 62

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Menstrual Accessory stage. the top. on swoop They onto called me a perfect with lipstick; the sides on and shorn my was hair ironed.and My matched pink shoes my nails collared and shorts werebusiness shirt bleached mounting. My white nerves the Roundhouse, to right. just be Iwaited the room in green of it, relieved Iam excited and by it. The timing has toI used dread menstruating, but now, Iwelcome ads, and infomercials. and Menstrualads, Accessory mentioning YouTube, Always Dictionary, Urban in advertising trends I reference cycles. menstrual contemporary of profit and repression capitalist of western acritique through of menstruation, understanding cultural and social the on reflect to critically ByVanessa DionFletcher Bleeding Through is a faux product I created Icreated product afaux is and internet culture; internet and is a is

Pitch, Product Accessory Menstrual performance the In powerful. and desirable is unusual, “disabled” different, is what where Hearing stories bleeding. to embrace Ilearned in-between everywhere are female, bleed that bodies male,where and In communities hidden. of quietly instead loud out are acknowledged bodies bleeding where to able makebeen critique this through. Iwould not have bleed to self disabled allowing queer, time mysame Indigenous, pusher. At product well-meaning the capitalist, of awhite, fem, persona Itake the on where multiple, photo and series, artist performance, as uncomfortable, even shameful. as uncomfortable, experienced Atopic taboo. typically considered atopic about a relaxed conversation that is often to audience Iinvite join Using humor the product.

I introduce audiences to life-changing this audiences I introduce without ceremonies without

Courtesy of the artist. the of Courtesy 2016, Performance, installation, video, 20min. 20min. video, installation, 2016, Performance, #Menstrual Fletcher, Dion Accessory, 49:Plate Vanessa

ESSAY: Vanessa Dion Fletcher ESSAY: 64

UNSETTLED I Queer Arts Festival I Exhibition Catalogue 1 different cultural social and significance; any stains have These does. bloodstain menstrual significance the same notthat carry does a annoying butA coffee it pants stain is your on carries. blood menstrual meaning symbolic and astain it. ruins and Here Iintroduce the cultural you’re when The moment having abeautiful day continues with create the The in discomfort. comfort performance with borrowing ajourney on me afamiliar trope to through critical. is movement Itake the audience Maintaining a relationship with the audience imperfect. as space for that talking perceived is about which presentation oftiming, self creates perfect a femme from aYoutube channel. Perfect beauty agorgeous star or thanking astudio audience thatI imagine I’m television adaytime infomercial This introduction the sets tone of the performance. Excerptsfrom Dion Fletcher, V., (2016-2019). PerformanceText. “…so day, you’re your about you’re going rocking I’m you excited to welcome, so see and “Hello any kind of stain, but likely it’s a period stain.” it’s aperiod likely of but stain, kind any be it could astain you get and pants, white your Pink, Coral, Magenta. Electric and Fluorescent including colors, fantastic in comes It problems. stain period your to all solution Accessory Menstrual you to product, myintroduce new to I’m wrong. go here tonight will nothing that know Ijust hard, so and working been has Everyone exhibition! of this part to be thrilled Festival. Wow, Arts Iam Queer at the tonight Menstrual Accessory . Menstrual is a convenient aconvenient is 1 ”

hair dye. hair air tanning, freshener, top nylons, control lipstick, bodies, biological our to transform or conceal of the using many examples are There façade. afalse with body reproductive the of symbolism the masking more comfortable Menstrual Accessory bodies are interpreted sociallyour and culturally. how and We to bodies our control desire birth. symbolically as that a understood body give can is body Amenstruating abilities. to reproductive attention draw stains R).(Green-Cole, Menstrual censorship involved in exposing parts” body the and organ; sex as reproduction, concerning the vagina influenced role by the of further one semiotic, complicated and afraught developed has “Over time, states menstruation Green-Cole Bloody titled Woman essay In an Artists, menstruate.bodies have can it, on body coffee spilled but not all “ Accessory Menstrual “Keep apply apply to drug the out you run — maybe bathroom your it’s in maybe is a new way to have fun with your period.” your way towith havefun anew is Accessory body.have areproductive Menstrual to you world the announcing colors maroonish reddish brownish are to boring you the tied body, of your longer control no presentation the Accessory Menstrual ugly, dirty, is uncomfortable.” and which period, actual your unlike and desirable… color. prettier amuch it It’s with trendy, fashionable, Menstrual Accessory Menstrual store apinch it in to grab proposes one might one feel proposes gives you the power to power you the gives to your stain covering in your purse — purse your in synthetic synthetic . Simply Simply . Ruth Ruth

Courtesy of the artist. the of Courtesy 20min. video, installation, 2016, Performance, # Menstrual Fletcher, Dion Accessory, Vanessa 50: Plate

ESSAY: Vanessa Dion Fletcher ESSAY: 65 ESSAY: Vanessa Dion Fletcher

“ Now let’s take a look at some of the competition. organized folds. Then there are the stories my are not cute, during their period, or menstrual, so acknowledge the menstrual bloodstain, posing I’m not the only one who thinks the aesthetics grandmother told of helping a family with laundry they don’t ruin the pretty ones.” Many menstruators so that it will be most apparent to the audience. of menstruation can be improved through color will be familiar with this form of regulation and for room and board. And finally, the haunting “I just can’t control my body. At least not as much and pattern…” value of period stained underwear. This narrative images and stories of children in Residential school as I’d like to, I mean my period tracker says of how to limit the staining on underwear reinforces The performance is outlined as if I’m doing a in clean, pressed uniforms, making their beds with this isn’t supposed to happen for another four the idea that menstruation is undesirable and product pitch, so it’s essential to address the crisp white sheets. days. Who’s ever heard of a 23-day cycle? I’m so effort should be made to limit the amount of competition and state why my ‘product’ is embarrassed. It’s my big day, and I’m bleeding “You all know the sinking feeling of pulling clean stained underwear one has. Menstrual Accessory better. An Always ad appears on a projection through my white pants.” laundry out of the washer only to have your proposes that by adding a synthetic color to your behind me. A thin white person in a short skirt persistent period stains staring you in the face. stained underwear, sheets or mattresses, we will Here I use the word control. is reached her hands out. The emotions of failure flooding over you as no longer be subject to shame or embarrassment We want to have agency and self-determination you realize — not only can you not control your “ Always offers powerful protection now in the of menstruation. It’s an essay to “fix to the over/with our bodies but as messy biological body, but you can’t even do laundry properly. prettiest of petals…” problem.” The irony of my faux product is that Worry no more! Apply Menstrual Accessory to the entities, they are unpredictable. Performing I am asking you to purchase another product; it menstruation in Menstrual Accessory means A package and open pad appear in the bottom stubborn stain covering it with fashionable color.” still relies on a capitalist framework and menstrual that I carefully plan and attend to the start and right-hand corner featuring a floral design. shame and stigma. I hold up a pair of large white underwear with end dates of my cycle. I fake my surprise and The word protection in menstrual product ads disappointment that I am bleeding on stage. It’s a washed-out bloodstain to provide a visual for “What could go wrong?” bothers me. We don’t need to be protected from that sinking feeling. To prepare, I have moved much easier for me to perform the act of our hair growing long or passing gas. Those from trying to avoid staining underwear to pouring I was asked months in advance by curator Adrian menstruating instead of embodying it in daily life. I have had many surprising moments where are considered natural bodily functions that little puddles of blood onto piles of it. I let them Stimson to contribute a performance to the 2017 I was unexpectedly bleeding. At this point in the are managed with more neutral language or dry and iron them to make sure the stain sets, Queer Arts Festival exhibition UnSettled. I decided performance, I start my demonstration of how to humor — the use of the word protection before washing the underwear, folding all the to present Menstrual Accessory as a comedic use Menstrual Accessory. reinforces menstrual shame and stigma. stained underwear into perfect piles set out on critique of capitalist profit and consumption of menstruating bodies. As the months drew closer, “I disagree with Always, I don’t think you need my table. “1. Pick up your color. 2. Check it matches your I charted my cycle to see how it was going to line to be protected from your body. With Menstrual shoes lips and nails. 3. Apply color. 4. Apply Accessory you embellish and enjoy.” “ Let’s revalue your bloody underwear, pants, up. Careful planning does not guarantee a body accent color. 5. Now is the time to really get sheets, and mattresses. Don’t throw them will menstruate when you want. I prepared by into it, you can use your beadwork and quillwork Laundry has always been a big deal in my family. away, don’t relegate them to “period panties” freezing some of my menstrual blood, to ensure designs as a reference.” One of my favorite childhood memories is curled only to be worn when you’re sure no one else that it could be slipping out of my vagina and I sit down on my white stool, knees apart, so the up in a warm pile of clean laundry as my mom will see them — delight in the rainbow of into my pants at the right moment. Throughout audience has a good view of the growing stain folded it. Piece by piece the warm pile would menstrual representation.” the performance, a deep red menstrual blood I Exhibition Catalogue and I apply the Menstrual Accessory to the stain. dwindle as she folded. I would gather all the stain has been appearing on my white pants. As clothes close to my body, making a game The top rated definition of “Period Panties” on the performer, I am often unaware of how much “Okay, now that I have Menstrual Accessory on out of who would win, the messy warmth or Urban Dictionary is “Panties that girls wear, that the audience can see the stain. At this point, I I feel so much better. Let’s get some additional Queer Arts Festival I Queer Arts Festival UNSETTLED 66 67 68

UNSETTLED I Queer Arts Festival I Exhibition Catalogue I change the colorI change of the stain to bright pink. patch onto clothing. their slide, the Then next on of apolitical figure,dark a photoshop I red menstruating to body politics. Ipick photographs For the finalslide, I continuethe to connect regalia. in Indigenous dressed bus the on and store town, in agrocery about and Houle out Series Indian Urban one of Ithink Terrance is Houle’sin particular by many used artists, been has approach This in Projected are of me myself images behind of locations those out to have photo documentation menstruating saw me if someone and sought situations uncomfortable that most be Iwould of Ithought spaces. the places or public in come from my menstruation desire to perform Accessory ofThe Menstrual examples Menstrual Accessory. Menstrual Menstrual Accessory Menstrual “I spent the summer in Santa Fe and one lovely lovely one Fe Santa and in summer the “I spent terrified I’m place often one is “The beach was a lifesaver.” a was Plaza; the Accessory around afternoon Menstrual Accessory Menstrual blood; with menstrual leaking of it.” without havedone Iwould what can’t imagine I at airports, okay.was surveillance the With all Accessory Menstrual have, Luckily, astain. Igot would luck As Ihad white. Iwear traveling while professional to look wanting and lately of alot flying doing I’ve been Accessory of Menstrual examples I have all the confidence in the world.” in the confidence the Ihaveall . Photographs that showed showed that . Photographs

with me, and everything everything me, with and in public spaces. public in in action; action; in in action action in

where I was testing how to visualize my menstruation; how to visualize testing my Iwas menstruation; where Accessory Menstrual art. Indigenousqueer performance to contributes it ways The Indigenous. is it ways that ways the about now Ithink of and underwear. Then pair a decorated people as and performance the during exclamations the made and the faces, cheers, laughter, hear the night, that Ican Remembering justice menstruation is also a political issue. apolitical also is menstruation justice reproductive or hygiene on products it’s taxes Whether –policymakers. –unembodied are neutral that politicians to expectations the attention calls body menstruating policy. their than Astained more on being reported having wardrobes their of female politicians along history is There ofphotos the performance. for this part wearing white provided congress in has fantastic More recently politicians of the American image apark in out with princes Charlotte.Cambridge hair, nails, etc. of This the Duchess Ichose night conveyed through well-maintained wardrobes, ‘professionalism’ trustworthiness absolute and to level obtain ahigh of expected are they that politicalI use two figures for isreasons; one “Now would anyone in the audience like to test to like test audience the in anyone would “Now I have a few pairs you can try.” you can I haveafew pairs lovely. else? Anyone especially is yellow the color, accent an use if you you want, can and colors, beautiful those with stain unsightly that Cover decorating. start youand like color the pick you can underwear; stained your is Here underwear? pre-stained this on product the grew out of a series of performances performances of of aseries out grew Menstrual Accessory is queer, is the

laughter, spectacle. the and the conversation, the through but product, of the power the Not through periods. their about better Accessory irony Menstrual The that is better. feel yourself to makeproblems;” product another buy to claimed that “solve stain all your period of alienation humiliation.and I conceived When together, people bring argument, cause or an of power humor. in the diffuse How ajoke can of bodies? our Ihave many so received lessons uncomfortable sometimes and messy the parts of it? at instead How find we could joy body in humor. amenstruating How laugh we could with to turned and my Inarrowed focus process, point in my for violence.target At acertain a become can children to produce potential the female, as has that coded is that a body having how to Iwanted blood. know of menstrual meaning made sight of and the understood saw people ways the to understand I sought significance menstruation. of the understand to wanted I in public spaces. it how to perform Menstrual Accessory has made me and I hope others feel others Ihope and me made has , it was a fake product afake product was , it

term=Period%20panties from https://www.urbandictionary.com/define.php? (n.d.). Period panties. Retrieved Dictionary: Urban text-bloody-women-artists#article org.nz/publishing/the-occasional-journal/love-feminisms/ JOURNAL OCCASIONAL ENJOY artists. woman (2015). R. Bloody Green-Cole, References . Retrieved from http://enjoy. from . Retrieved ESSAY: Vanessa Dion Fletcher ESSAY:

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UNSETTLED I Queer Arts Festival I Exhibition Catalogue obsessed with filming everything of something not not something of filming with everything obsessed Iget and ‘crappy’ tech uses that art making with in love am IhadI yet to conceive. project art future filming also all Iwas for but my a flights people from tape) to applications take oral used still they (when HD camera grade had aconsumer I up. ground the from programs Arts Northern developingthe and Officer Arts Aboriginal the Iwas Council. Arts Ontario for the artists visiting small other towns and Francis Fort Lookout, Bay, in Thunder Rainy north up River,week Sioux second every spending From Iwas 2005-2007, raven. aggressive an and crow courageous atruly Lookout, in Sioux window Resistance Passive work My PASSIVE RESISTANCE started with ahotel with started

ByWanda Nanibush

just hopped over the tiniest amount. The third The amount. over tiniest the hopped just crow again and the strength mighty its showed over Raven atiny The bit. again hopped just guy crow. of the intobeak face little the That impressive its brilliantpressed and wings its spread to into crow bully the leaving. raven The started araven) roof is crow the on and landed every not but a crow raven is raven (every bearded crow’s pleasure. the delight obvious large This with filming my camera grabbed snow.in the Iquickly playing start land crow and building this saw and aneighboring on rooftop the watching Bored, Iwas to warm. and safe back my hotelgo stay room and told to me locals the that Lookout incold Sioux until why later.really knowing so day was One Video installation. Courtesy of the artist. the of Courtesy installation. Video 51:Plate Wanda Nanibush, Resistance, Passive

ESSAY: Wanda Nanibush ESSAY: 71 72

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Video installation. Courtesy of the artist. the of Courtesy installation. Video 52:Plate Wanda Nanibush, Resistance, Passive

sex and human of milk white positive. Ithought were which individuality, traditions our reflect not do are and all colonialracism impositions and patriarchy, homophobia, thought how of I exists. still world our where afuture ing out ceremony, carv and languages, our speaking doing still and Anishinaabe as kids our raising on working how are we still about I thought to colonialism. of means resistance peaceful more choose often we because nations other by passive called are often people Anishinaabe called Years in awork video that to use later Idecided winter territory. snow,the its not having lost playing went it in hahaha).have shoulders Off (do they shoulders its shrug crow that Isaw that to Iswear g’che aggression. manido ineffective fierce all its with flew and off Raventhe turned moved amountonly over abarely perceptible crow the when and of bullying came moment Passive Resistance Passive . I kept thinking of. Ikept how thinking - lost yet. yet. lost have we years not playing 500 snow. in the After to acrow of and white red turning it’s beauty the for me but it’s non-violent because passive seem may system value fundamental our to change colonialism allowing not and space another building Turning them. than stronger of others away and power supposed the off shrugs merely and snow plays all who day to crow in the that I want be Ithought there. you get And you are when who is to to you do freedom get what because ends the as much as matters resistance of means the crow. We little that that have thought always of into slowly Ithought red and evaporating ESSAY: Wanda Nanibush ESSAY: 73 74

UNSETTLED I Queer Arts Festival I Exhibition Catalogue Video installation. Courtesy of the artist. the of Courtesy installation. Video 53: WandaPlate Nanibush, Resistance, Passive

at the Walter Phillips Walter Phillips Stories) the (Healing at Acimowina collaborative series Nanatowihitowin performance artist nine the Piapot, Debra with co-curated, Vancouver. in he to that Prior gallery at grunt the Asowaha project performance collaborative of the coordination and director writer, the artistic was He margins. these empowerment and, too often, at mere survival danger, to negotiate forced are who people Nations First young of those lives the within especially of criminalization, forms other and prostitution, drugs, of influences the including culture fringe street-level of urbanized experience Nations First contemporary within operate and influence language and spirituality, history, Nations First that ways of the examinations on concentrate works creative His practice. arts Nations First of contemporary aspects many addressed magazine Fuse and Magazine Mix in writing critical His Ottawa. in Council Canada the at internship administration arts Nations First year two a including culture, artist-run within artists Nations First for opportunities to contributing administrator arts an as working also while writer and artist performance amedia-integrated as apractice established he Vancouver, in University Fraser Simon and Design & Art of College Carr Emily from graduating After Alberta. Northern in Peace region River the from Métis Cree/French born was Maskegon-Iskwew Ahasiw Ahasiw Maskegon-Iskwew(1958-2006) Artist Biographies

development of media web-based arts. the in particularly community, arts Aboriginal the influenced greatly has who curator and writer artist, abrilliant was Ahasiw to mourn. colleagues and friends many and Hachey Hachey, Patrick Garry Macauley, Jack brothers Malo, three Alain partner his leaving away passed Ahasiw 2006, 26, September On Program. Arts Visual and Media Arts the for Centre Banff the and Computer IntegratedMedia Media Arts Program Council Canada the from of development phase this for acknowledged gratefully is Support Centre. Banff the at Residency Pop, n’ the in Subcultures Mass installation) an as subsequently and aCD-ROM as production (for later Web screenplay/storyboard Wide World a as initiated be will that production collaborative multi-year of alarger part is of Spiders) Language the Ayahpikesisak Isi-pikiskwewin (Speaking project His in Newcastle-upon-Tyne, UK. Festival Art Installation and Performance ‘90 Edge the at coordinators technical assistant of the one was and panels, and advisory committees, recommendation juries, of arts anumber on served City, Quebec centres at in artist-run Vancouverperformed and has He Arts. the for Centre Banff the at Gallery ARTIST BIOGRAPHIES

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UNSETTLED I Queer Arts Festival I Exhibition Catalogue Nations reserve on the Grand River. Grand the on reserve Nations Six on individuals nonconforming gender or trans young for activist and avoice becoming eventually the prevalent dysphoria,’ of ‘gender view Eurocentric to framework alternate an offered Aiyyana lecturing, emerging and 1997), in writing, directors theatre for Prize Hirsch John prestigious the awarded was she (where theatre video, art, performance of fields the Through identity. to trans claims land Indigenous from of issues, arange with dealt work her fronts, many on advocate and activist Apowerful society. of Canadian consciousness Eurocentric the into culture and art Ogwehoweh infusing actively half-century over. a times many spent She great-grandma and and educator, sovereign woman Haudenosaunee scholar artist, amultidisciplinary was Maracle Aiyyana Aiyyana Maracle(1950-2016)

Magazine, 2007). 2007). Magazine, Art life” (Canadian of my contemporary apart much very is it disappearance; of its history whole the as well as source, afood icon, an as considered also is bison The to all Blackfoot. important very and central is bison regeneration. The and cultural survival represents also it of life, way but Aboriginal of the destruction the representing asymbol as bison the “I use Stimson’s in work: appears often Bison series. feather” and “tar his for known particularly is he and Canada, throughout exhibited have been works of his Many women. Aboriginal of missing subject the examines of paintings “Transformation” exhibit his while system, school residential of the legacy the explores “Old Sun” installation his people, Aboriginal about stereotypes to critique satire uses Boy” performance “Buffalo His identity. gender, and of history, themes incorporating of media avariety art his in uses Stimson Saskatoon. in of Saskatchewan University the at Arts of Fine a Master completed since has He 2003. in Arts of Fine Bachelor his received and Alberta Calgary, in Design and Art of College Alberta the at 1999.in studied Stimson art to pursue afterwards leaving 1990s, the in years eight for councillor tribal as served He there. raised was and Alberta), Reserve, (Blackfoot Nation Siksika of the amember is He Ste. Sault in Ontario. Marie, 1964 in born was aTwo-Spirit artist, Stimson, Adrian Adrian Stimson,Curator

Kinsman Robinson Galleries in Yorkville (Toronto). Yorkville in Galleries Robinson Kinsman by represented is and abroad and Canada in collections private and public numerous in found be can work His contemporary. the and historical of the aconvergence to create endeavouring motifs, and forms traditional many utilize that imagery and objects creates he culture, Anishinaabeg of traditional facets multiple from inspiration Drawing 2015. for Award Artist Visual Hunter K.M. of the recipient the and artist visual apracticing is Ace Barry Barry Ace Arts. Media and Visual in Award General’s Governor the 2018, received Stimson lastly, in and program Artists Forces Canadian of the part as to Afghanistan to travel selected 2010,In was he Gallery (Saskatoon).artist-in-residence at the Mendel Art as served Stimson 2006, In (2009). Award Arts Visual Blackfoot the and (2005), Medal Centennial Alberta the the Queen Elizabeth II Golden Jubilee Medal (2003), including awards, and honors received has Stimson

and I find it connects me to the past/ present/future. present/future. past/ the me to connects it Ifind and my in practice engaged and active staying at I work insights. cultural through of oneself apart to share and personal sphere your into others to bring away is stories sharing and Singing healing. and empowering is techniques weaving cultural ancient through art creating and earth into my hands getting my hands, with Working practices. two these in of my involvement years 30 over together woven has technology plant and media digital in work My lifestyle. adecolonized for strive and art, create medicines, gather teach, learn, Iwork, waters. and lands my in traditional life cultural arich Ilive grandmother. amother,I am daughter, and niece sister, cousin, Processes Collaborative & Collective and WetlandsLand Restoration and Remediation/ Communities/ building and Processes/Creating Dye &Wool Weaving/Natural Traditional Knowledge/Cedar Gathering/Sharing Dialogues/Storytelling/Medicine Engagement/ based Art/Communuty Works/Public Inter-disciplinary Digital Media/installation Artist Skwxwu7mesh/Sto:Lo/Metis/Hawaiian/Swiss T’uy’t’tanat –CeaseWyss

ARTIST BIOGRAPHIES

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UNSETTLED I Queer Arts Festival I Exhibition Catalogue Autochtones (ACC/CCA), Canada, since 2013. since (ACC/CCA), Canada, Autochtones Conservateurs des Collectif Collective/ Curatorial Aboriginal the for member a board as serves currently 2014. MB, June Danger Winnipeg in gallery Shaman Big’Uns exhibition, solo first Fe, Danger’s NM. Fe’s Santa in Market Santa Indian Native New 2011 Photography exhibition for Art’s of Museum Mexico New the at displayed was work Her Program. Mentorship Foundation Women’s Art) for of MAWA’s part as Warren Artists (Mentoring Daina and Robe Bear by Amber-Dawn mentored Trading 2012-2013, In residency, Post. was Danger Raven Chacon’s and thematic Hopkins Candice in participated and Centre Banff the at Study Work Studio Arts aVisual held 2010. in Danger of Art School of Manitoba’s University The from (Honours) Arts of Fine Bachelor her with graduated She University. Concordia from Arts Studio in degree Graduate her obtaining while QC Montreal, in based currently is Danger identities. mixed and sexuality, representation, perceptions of power, gender, performativity, challenges and repurposes she pornography, and of fashion language visual the Co-opting work. scale human her with space claiming by objectification thequestions line empowerment and between practice Danger’s video, and sculpture, photography, MB. Utilizing Winnipeg, in raised Polish artist Dayna Danger is an emerging Queer, Métis/Ojibway/ Dayna Danger , was shown at Urban Urban at shown , was

contribute to the betterment of mankind. betterment to the contribute and cultures and people Nations of First beauty and strength pride, the to show my job is It world. worker, abetter is my goal cultural and educator artist, an As injustices. political and social cultural, on focuses that art by creating have endured peoples Nations First that wrongs the to righting committed Iam myIn work, teaching. and lectures, books, and exhibitions school, Art age… an early at began lessons art filled, were me. in Scribblers gift the saw She loving… encouraging, was age. She young avery at atalent Ihad that saw mother boy. asmall as foster My art to create I began of messages… Aconveyer a visualist. astoryteller, Iam my art. through to tell stories emotional the spiritual, the intuitive, the on Irely I envision, to travel. soul the enabling & thus magical &color, energy vibrant, with charged is art My political.” the and social the heart, the from speaks that “It art is by saying, answer Iwould Icreate, of art kind what asked Iwere If my life’s journey!” throughout there been has my joy,passion, my art as my to is do. It born Iwas “It what is have to answer: Ido, Iwould art the Icreate why myself to ask Iwere If George Littlechild

Art Collective. Art coordinator for Contemporary the Ociciwan aproject as works (2016). currently Jessie Calgary in the M:STperformed in Festival Performance Art Toronto in (2015 festival &2016), Arts and Media + imagineNATIVE Film the at films short two screened has Jessie America. North across artists Indigenous of diverse work the promote to better projects multiple managed Coordinator, Jessie National the as time 2012 2014 to Oct Dec from Toronto. in her During (ACC) Collective Curatorial Aboriginal of the Director Executive the as served Jessie this, After culture. visual whereUniversity she wrote Métis about contemporary 2011 in degree MA Brock an from attained Jessie multi-faceted existence, and Métis visual history culture. and emerging filmmakerwhose work involves memory, artist acurator, is writer, multi-disciplinary Short Jessie Jessie Short

can to help the larger population understand. population larger the to help can I what Ido and my in culture up I grew design. graphic fashion design and design, interior commission), (by Traditional in schooled Iwas textiles. generally is Media culture. by driven is my Art for Motivation primarily. adesigner I am people. Kwakwala-speaking as are we who to learn population non–aboriginal larger the for opportunities to hard provide Iwork and all else above this Ivalue ones. old our from knowledge much gained and my in culture up to have grown fortunate I was Olympics. of the 2010 Portion Vancouver Welcome the for Coordinator Design Iwas organizations. Nations Non-First and Nations First various for Graphics of anumber Ihave designed addition, In Society. Opera Vancouver The with worked Ihave also basis. acommission on clothing Ido design, Costume Theatre in alot Iwork textiles. is media My years. 25 last the for Design in Ihave worked Kwak’wakw’wakw. of the Mamalilikulla Iam and Winidi is Name My John Powell Kwak’wakw’wakw design, costume design, ARTIST BIOGRAPHIES

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UNSETTLED I Queer Arts Festival I Exhibition Catalogue Gachet which was curated by Tania curated was Willard. which Gachet Gastown’s Vancouver at exhibition Gallery a successful +image of text anthology Seas: An Salish launched and self-publishing for opportunities Vancouver,in raise B.C. helped She Collective Writers Aboriginal Coast West the with did she work the with artists visual and poets professional and emerging the helped she as community, the temperamentHer has artistic greatly benefited medium. the as art using curriculum Hieroglyphic aMi’kmaq by developing revitalization language creating at aimed are pursuits educational Her University. Fraser Simon at Implementation and Curriculum on afocus with of Education Philosophy in Degree Doctorate her doing currently is SFU, from Sylliboy Education in degree aMaster’s and Carr Emily from degree Arts of Fine aBachelor With Nova Scotia. Island Breton Cape beautiful in located Nation, First of We’koqmaq territory unceded the in raised was who artist aMi’kmaq is Sylliboy Massachusetts, Boston, in love. Born first her to be photography and poetry considers Sylliboy Michelle artist interdisciplinary an As Michelle Sylliboy . As the Art Director, she helped arrange arrange helped Director, she Art the . As

UnSettled 2017 of the part also is and June in only night one for Sechelt in Loud Read Out at witnessed be will work new journey. This a subliminal on you transports imagery and words the while non-intrusive is that a manner in to listen soul the today. enables of cello being The ways our shaped school residential and colonization how and earth of mother protectors as roles our reconciliationUnderstanding is about understanding poetry. and music through dialogue a contemporary in together cultures two to bridge able was Michelle Heather, with By collaborating of asurvivor. achild to be feels it how and trauma, of intergenerational effects the describe Mi’kmaq in words The Hays. Heather Cellist Opera Vancouver with did she work new collaborative was of Reconciliation a The Art piece contributing Her Library. Public Vancouver the at reconciliation about views their to address artists visuals and poets, musicians, together brought of Reconciliation” of 2016 Art “The June in event community curatorial last Her dialogues. meaningful to facilitate others with knowledge sharing in believes Michelle community, the in Engaged Two-Spirit curated Festival by Adrian Stimson. by Adrian Festival Two-Spirit curated

rocking chairs. The video follows the life of a butterfly, of abutterfly, life the follows video The chairs. rocking of of aset front in projected aloop in videotape silent Tearsthe (1994). features of aButterfly installation This Touched in notably most by works, installation video his in seen be can gardens the to create Inspiration environment. of the admiration to and devotion of his examples living tactile are They 1990s. early the since Canada across planted he has gardens butterfly the include projects renowned most MacDonald’s Festival. imagiNATIVE Toronto the at presented Media New for Award Achievement Aboriginal first the received he 2000 in and Arts Visual for Institute Vancouver the from Prize Shadbolt Doris and Jack prestigious the awarded was 1994, In France. Paris, in he Centre Cultural Canadian the and Arizona Phoenix, in Museum Heard the of Civilization, Museum Canadian the as venues such at worldwide exhibitions in featured have been works His ethnobotany. and medicine traditional as well as science from drawing sources, Western and ancestry aboriginal his both in inspiration found He artworks. his in animals and plants incorporating projects. Self-taught, on the environment, he focused media new and photography to pursuing addition in gardener and artist installation avideo as working year every Canada across Mike drove ancestry. Mi’kmaq 1941 in Born of is Sydney, in MacDonald Scotia, Nova Mike MacDonald(1941-2006)

more significant contemporary artists in Canada. in artists more significantcontemporary the of one as a reputation him built has butterfly, the of goings-on quiet the and nature for regard tender his as well as storytelling, Mike’s positive careful, Columbia. British in community Aboriginal of an life contemporary the other, of the top on depicting one Totem Electronic example, For community. and heritage Aboriginal on installations touching most of the some presenting for recognized been also has MacDonald insect. winged acolourful as cocoon its from bursts it until acaterpillar as existence its from Practice and Community Engagement. Community and Practice Social in aminor and Arts 2017 Visual in aMajor with Spring in University Carr Emily from Graduated also Ihave Program. Arts Jewelry Coast Northwest the in College Education Native the at studying currently I am surreality. and installation sculpture, through space by activating this Ido art. in of value systems classist and patriarchal of colonialist, examination the and defiance, existence, mere through ways, many in identity and my past encompass works My in origin. Salish Stó:lo Iam and Coast and Exwetlaq, is name ancestral of B.C. Mainland My Lower the across up grew who Two-Spirit artist Feminist, aNative, am I, Raven John Raven John (1987) showcased a stack of five video monitors, monitors, video of five astack (1987) showcased ARTIST BIOGRAPHIES

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UNSETTLED I Queer Arts Festival I Exhibition Catalogue As a Two-Spirit artist and graduate of Emily Carr Carr of Emily graduate and aTwo-Spirit artist As Richard Heikkilä-Sawan along the way. the along to rest places with my paintings through meander eye can viewer’s the where my work within perceived be can notions of these Aspects considerations. environmental and social aesthetic, functional, echo to space and of form construction and design the from generated is of ambience suggestion the where of realm architecture the within lies also interest My themes. these within condition human to the speaks practice art My dissimilarity/identity. and compassion, violence/ utopia/dystopia, of signifiers cultural with grappling when experiences of my rich recollections upon I draw identity. and of race issues with dealing when artists other afforded not risks take to freedom the me allows This of thirty-two. age the at ancestry Nations my First discovered only having viewpoint aunique from themes Aboriginal I approach my culture, within up brought not artist a biracial As months. of two age the at couple Mennonite by Vancouver, a in adopted born BC and I was art. creating simply just and pictures taking like Ialso sculpture. and of painting realms the within Iwork Art, of Visual School Audain University

Toronto years. for fifteen in University Design and of Art College Ontario the at studies native taught Robert Austria. Salzburg, in arts of Fine Academy Summer International the at drawing and painting studied and University McGill from Education Art in aB.A. and of Manitoba, University the from History Art in aB.A. received He School. High for Winnipeg in School Residential Indian Assiniboia the to moved He School. Residential Bay Indian Sandy the in placed and family his child, from taken was Robert Toronto. in a works and As lives currently and Manitoba Nation, Bay First of Sandy amember is Houle Robert Robert Houle from my work with new insight and perhaps changed. perhaps and insight new with my work from away walk will viewer the that my hope is it themes, current culturally often into infused dynamic this With neighbour.its of colour the affecting and upon impressing shape geometric of one colour the interaction, an engages colour where optics of physiological science the I utilize principles, Gestalt implementing often spaces negative and positive of both shapes geometric into image an down Breaking vibrant. and rich often is palette My

Galleries in Toronto. in Galleries Robinson Kinsman and Montreal; in Robert Nicolas Galerie Paris; in Orenda by Galerie represented is He Paris. in Arts Visual the for Program Residency Council Canada the and of Manitoba, Canadian academy; distinguished alumnus, University royal the in membership 2003, in Fellowship Eiteljorg the Arts; visual the for Award Toronto 2001 Arts the 1993; in History Art Canadian in Excellence for Award Memorial Braide Janet the awarded being to his led has theorist cultural and curator, writer, educator artist, an as influence considerable His identity. indigenous defining in role asignificant played has teaching and writing Houle’s curating, Robert artists. American Native and Nations First contemporary major on extensively written has He exhibitions. groundbreaking co-curated or curated 1977 from to 1981 of Civilization has and Museum Canadian the at art aboriginal of contemporary curator was He abroad. and Canada across exhibition group and solo in widely exhibited has Robert

women’s in groups Kathmandu. and Nepalese groups in Ottawa educational Inuit with Winnipeg in organizations grassroots with worked has level. She post-graduate the at extensively taught and studied has She Mexico. of New University the from degree Arts of Fine aMaster holds Rosalie Institute, Polytechnic of Ryerson Agraduate Award. Karsh the and Award Lynch-Staunten Martyn Victor the Fellowship, Chalmers the as such awards prestigious won and grants numerous York).New received has Rosalie (Corning, Art of Western D.C.), Museum Rockwell and (Washington, Indian American of the Museum National Photography (Ottawa), SmithsonianContemporary of Museum Canadian (Ottawa), of Canada Gallery National including artwork her have acquired institutions Scotland, Paris, France and Taipei, Taiwan. Numerous US, Edinburgh, the Canada, in exhibitions in appeared has work Her woman. aboriginal acontemporary as experiences of her self-portrait acomplex present to culture, to popular albums family from of sources, avariety uses she heritage, (Cree/English) Métis and history family her from inspiration Drawing Manitoba. Winnipeg, in born artist Favell aphoto-based Rosalie is Rosalie Favell ARTIST BIOGRAPHIES

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UNSETTLED I Queer Arts Festival I Exhibition Catalogue ImagineNATIVE $19.99 Special Introductory 2Spirit tomake completed she where Germany, Hamburg, in Magdalena K. Villa at Glass Looking The Through completed she where Winnipeg in Shaman Urban and Videopool at residence in artist an was she 1999 In University. Ryerson at Production Media in Arts of Master her and Design, and Art of University Carr Emily at Video and Film in BFA her majoring completed She Winnipeg. in Shaman Urban and Ottawa, in Gallery National The Saskatoon, in Mendel the including galleries at screened Statement “I” an Makes Maiden Helpless short her where Germany in Festival Film Short International Oberhausen and Angeles, Los in Outfest Francisco, San in Toronto,in Frameline Toronto, in ImagineNATIVE Docs Hot Paolo, Sao in Diversity Sexual of Festival Brasil York Mix New City, in Festival Film screened at festivals internationally, including the Tribeca have which race, and love, youth, madness, sexuality, about films and videos narrative experimental short making been has 1995 she Since Saskatoon. in up grew and Canada, Saskatchewan, Regina, in born was Cuthand Jean Thirza Thirza JeanCuthand won honourable mention. Her work has also also has work Her mention. honourable won Boi Oh Boi Oh Boi . In 2012, she was an artist in residence residence in artist an 2012, was . In she . In 2015 she was commissioned by by commissioned 2015 was . In she

. Her performances are often place-based and employ employ and place-based often are performances Her basketry. Splint Ash Mi’kmaw traditional of methods and techniques traditional utilizes that form non-functional asubtly Basket, O’pltek Century Aboriginal art form of basketry. She is the creator of the 21 the of creator the is She basketry. of form art Aboriginal installation, and sculpture, incorporating the often traditional performance, from traditions of avariety upon draws art Her exhibitions. 5solo and shows group 30 over in participated has Alum, NSCAD Johnson, Ursula Ursula Johnson Toronto. in resides currently and Nation, First Pine Little of amember descent, Scots and Cree Plains of is She art. performance does sometimes and screenplays feature three written also has She it. cooperative intervention. didactic ImagineNATIVE and she is planning to further develop develop ImagineNATIVE tofurther planning is she and at showed It disorder. bipolar her with dealing and learning based on her experience Journey ABipolar called game video a2D on working began 2016, of she summer the In

Institute for Studies in Education, University of Toronto. of University Education, in Studies for Institute Ontario the at politics and history Indigenous on courses doctoral taught Toronto of has and University the from Studies Visual in Degree aMaster’s has She more. and Writing Curatorial Indigenous of anthology an as well as Press), (Arp More No Violence called abook and Vizenor, to People My A Love Letter called film a including projects upcoming tofinish her allows life island The Gallery. Art Kitchener-Waterloo the at exhibition her touring is and Ontario of Gallery Art the at curator aguest is Nanibush Currently, Chimnissing. of territory warrior, curator, andorganizer community living in her word and image Anishinaabe-kwe an is Nanibush Wanda Wanda Nanibush The Fifth World Fifth The which opened January 2016 January opened which , also a documentary on Gerald Gerald on adocumentary , also

this performance and life-changing product to Vancouver. toVancouver. product life-changing and performance this tobringing forward looks Toronto. Fletcher and Dion Chicago, Menstrual Accessory Toronto in 2017. in + Disability Tangledat Art feminist colonial exhibited was Your discourse. Cervix Own a of context the in self-examination for backdrop the become beauty of athletics the and pattern, textiles, where Your Cervix Own work the created Fletcher Dion SAIC at While Women. University American of Association the from fellowship international an on Chicago of Institute Art the of School the Attended Fletcher Dion memory. short-term of alack by caused disability learning her and ancestry, Lenape and Potawatomi her of context the in together brought are themes these of All understanding. and fluency, language, with experiences topersonal ideas these links She culturally. and physically body a defines what of complexities the toreveal blood menstrual and belts, Wampum quills, porcupine employs Fletcher Dion Vanessa Vanessa DionFletcher has been performed in Santa Fe, Miami, Fe, Miami, Santa in performed been has , an immersive installation ARTIST BIOGRAPHIES

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UNSETTLED I Queer Arts Festival I Exhibition Catalogue UnSettled PlateList Courtesy of the artist. the of Courtesy Sasha Danger, Dayna artist the of Courtesy Lindsay Danger, Dayna artist. the of Courtesy Adrienne Danger, Dayna artist. the of Courtesy 72 x192 inches. together (2) shawls inch 24 x96 2017, Installation, aBlanket Weaving /twoSpirits] [spinningWool Lhenlhént Kwelh7áynexw Ánus Sèlus Wyss, –Cease T’uy’t’tanat artist. the of Courtesy 72 x192 inches. together (2) shawls inch 24 x96 2017, Installation, aBlanket Weaving /twoSpirits] [spinningWool Lhenlhént Kwelh7áynexw Ánus Sèlus Wyss, –Cease T’uy’t’tanat Donated by 2018. the artist, Photo: Justin Wonnacott. Gallery: Art Ottawa of x39.4 x19.1 180.3 wire, Courtesy cm. brass (resistors, LED), components electronic inductors, capacitors, fabric, metal, Ace, Barry gallery. grunt Courtesy 11 x14 inches. Addison, Merle Photo: 1994, series, performance Play from Fruit Strange Maracle, Aiyyana gallery. grunt Courtesy 11 x14 inches. Addison, Merle Photo: Series Performance Halfbreed from Möbius Gender Maracle, Aiyyana gallery. grunt Courtesy Series Performance Nations First from Ahasiw Maskegon-Iskwew, Shame White gallery. grunt Courtesy Series Performance Nations First from Ahasiw Maskegon-Iskwew, Shame White , 1992, Photo: Merle Addison, 11 x 14 inches. 11 x14 inches. Addison, Merle Photo: , 1992, 11 x14 inches. Addison, Merle Photo: , 1992, Bandolier for Alain Brosseau, 2017. Brosseau, Digital Alain screen, for horsehair, Bandolier , , , 2017, Digital print, 60 x 75 inches. x75 inches. 60 print, , 2017, Digital , 2017, Digital print, 60 x 75 inches. x75 inches. 60 print, , 2017, Digital , 2017, Digital print, 60 x 75 inches. x75 inches. 60 print, , 2017, Digital

, 1995, , 1995, artist. the of Courtesy inches. 29.5 by inches 26.5 media, Mixed Aunt) Grandfather’s (my gwa oh lah Q’wa Mah Powell, John artist. the of Courtesy inches. 29.5 by inches 26.5 media, Mixed Mother) Gwotl (Grandfather’s Dlah Dlah’ Powell, John artist. the of Courtesy inches. 23.5 by inches 18.5 media, Mixed Walas Kyayu’tla’las Great (maternal Grandfather) Powell, John artist. the of Courtesy inches. 23.5 by inches 18.5 media, Mixed Patila’enukw Great (maternal Powell, Grandmother) John artist. the of Courtesy inches. 23.5 by inches 18.5 media, Mixed Oo Dzee Powell, stahJohn lees (maternal Grandfather), artist. the of Courtesy inches. 23.5 by inches 18.5 media, Mixed 2015-16, Grandmother), (maternal laga da Wa’dzi Powell, John artist. the of Courtesy inches. 23.5 by inches 18.5 media, Mixed Grandmother) Great Great, Yam’gwas (maternal Powell, John artist. the of Courtesy inches. 23.5 by inches 18.5 Portrait (self Winidi Powell, John Night Sweet Jessie Short, Light of Family Jessie Short, artist. the of Courtesy Thrust Boy Cree Littlechild, George artist. the of Courtesy inches. x22 30 media, Mixed Soil Sacred America’s South of Indigenous Warrior Littlechild, George artist. the of Courtesy inches. x22 30 Snake Black The and Warrior Littlechild, George artist. the of Courtesy Warrior Incarcerated Littlechild, George artist. the of Courtesy Kandace Danger, Dayna , 2017, Digital print, 60 x 75 inches. x75 inches. 60 print, , 2017, Digital , 2016, Video, 6:53min. Courtesy of the artist. artist. the of Courtesy 6:53min. Video, , 2016, artist. the of Courtesy Photographic. , 2016, ), 2015-16, Mixed media, media, ), 2015-16, Mixed inches. x38 50 , 2017, media, Mixed , 2015, Mixed media, 30 x 22 inches. inches. x22 30 media, Mixed , 2015, , 2015, Mixed media, media, Mixed , 2015, , 2015-16, 2015-16, 2015-16, , 2015-16, , 2015-16, , 2015-16, , 2015-16, , 2017, 76.8 x 17.9 x 17.7 inches. Courtesy of the artist. artist. the of 76.8 x17.9 x17.7 Courtesy inches. tape, duct switch, toggle bulb, light cedar, yellow routered CNC roping, braided stand, valet toy, mahogany stacking wooden children’s paint, spray Band-Aids, shapes, foam bricks, Lego can, beer Rock Big unopened chair, Finn laquer, legs, mannequin boots, Rigas Fluevog John bible, James King Soar Spirits My Heikkilä-Sawan, Richard Vtape. of Courtesy 14:30min. aButterfly Tears of The By Mike MacDonald, Touched Vtape. of Courtesy 14:30min. aButterfly Tears of The By Mike MacDonald, Touched Vtape. of Courtesy 14:30min. aButterfly Tears of The By Mike MacDonald, Touched Vtape. of Courtesy 14:30min. aButterfly Tears of The By Mike MacDonald, Touched Vtape. of Courtesy 14:30min. aButterfly Tears of The By Mike MacDonald, Touched artist. the of Courtesy Reconciliation of Art The Sylliboy, Michelle artist. the of Courtesy Reconciliation of Art The Sylliboy, Michelle artist. the of Courtesy Reconciliation of Art The Sylliboy, Michelle artist. the of Courtesy Reconciliation of Art The Sylliboy, Michelle artist. the of Courtesy Reconciliation of Art The Sylliboy, Michelle artist. the of Courtesy Reconciliation of Art The Sylliboy, Michelle artist. the of Courtesy inches. 29.5 by inches 26.5 media, Mixed Aunt) Grandfather’s (My Gwa lo Kwa Gyee Dlah Powell, John artist. the of Courtesy inches. 29.5 by inches 26.5 media, Mixed Uncle) Grandfather’s (my Lahss Tlah’ Goo Powell, John , 2015, Hudson’s Bay history book, book, history Bay Hudson’s , 2015, , 2016, Video, word, 5:44min. 5:44min. word, Video, , 2016, 5:44min. word, Video, , 2016, 5:44min. word, Video, , 2016, 5:44min. word, Video, , 2016, 5:44min. word, Video, , 2016, 5:44min. word, Video, , 2016, , 1995, Video, Video, , 1995, Video, , 1995, Video, , 1995, Video, , 1995, Video, , 1995, , 2015-16, , 2015-16, . artist. the of Courtesy Wanda Nanibush, Passive Resistance artist. the of Courtesy Wanda Nanibush, Passive Resistance artist. the of Courtesy Wanda Nanibush, Passive Resistance artist. the of Courtesy 20min. video, installation, # Menstrual Accessory Fletcher, Dion Vanessa artist. the of Courtesy 20min. video, installation, # Menstrual Accessory Fletcher, Dion Vanessa artist. the of Courtesy AMark Making Johnson, Ursula artist. the of Courtesy AMark Making Johnson, Ursula Com Dot Dreamcatcher 2Spirit Cuthand, Thirza artist. the of Courtesy inches. x35 30 Photographic, 1994, happened never it if as on Igo could How Evidence, Living Favell, Rosalie artist. the of Courtesy Nude Houle, Robert artist. the of Courtesy inches. x30 22 at last Happy Heikkilä-Sawan, Richard inches. x40 30 linen, on Oil 2016, knowing, the Into Heikkilä-Sawan, Richard artist. the of Courtesy inches. x40 30 linen, on Oil brown) blue, (green, knowing the Before Heikkilä-Sawan, Richard Raven John, Two- John, Raven artist. the of Courtesy inches. x40 30 Spirit Transformation Blessing , 2007, Conté on arches paper, 50 x 71 inches. x71 inches. 50 paper, arches on Conté , 2007, , Drawing and video installation. installation. video and , Drawing installation. video and , Drawing , Video installation. installation. , Video installation. , Video installation. , Video , 2016, Oil, synthetic polymer on linen, linen, on polymer synthetic Oil, , 2016, , 2016, Performance, Performance, , 2016, Performance, , 2016, , 2017, Acrylic on paper, paper, on , 2017, Acrylic , 2017, Video, 4:56min. , 2017, 4:56min. Video, UNSETTLED PLATE LIST PLATE UNSETTLED , 2016, , 2016, ,

87 From the Artistic Director

When Canada 150 ‘celebrations’ hit the news, my first So I set out to bring a Two-Spirit and Indigequeer thought was, more like 500 years of colonization. curated festival to you. To not just program Indigenous artists, but to give over curation (control) As we look back, we look forward and ask, what’s — to give it back. Every year, I invite a curator to the best way to build a better future for queers? select artists for our visual art exhibition; for 2017, Amplifying the voices of Two-Spirit and Indigequeer I expanded that to all the disciplines. artists was the obvious choice. Many contemporary queer struggles focus on transforming gender The highlights included QAF’s signature visual preconceptions — yet how many know that arts exhibition, curated by Adrian Stimson (Siksika), non-binary gender was once the norm here? as artists explored historic and contemporary experience of colonial gender imposition. Cree scholar Harlan Pruden identifies at least 130 Indigenous languages with 3-6 gender categories, To that end, there is no foreword by me grouped together under the english word Two-Spirit. the Artistic Director — just the voices of the It is a specifically Indigenous term, with cultural Indigequeer and Two-Spirit artists. implications settlers can’t claim as our own. The people who lived these genders were brutally suppressed by colonial heteronormativity, As SD Holman Leanne Betasamosake Simpson writes: Queer Arts Festival ...we weren’t “queer”, we were normal. Many of our societies normalized gender variance, variance in sexual orientation and all different kinds of relationships as long as they were consistent with our basic values of consent, transparency, respect and reciprocity. We weren’t “queer” until settlers came into our communities and positioned the “queer” parts of our relationships and societies as defiant, abnormal and sinful. Un The Queer Arts Festival (QAF) is an annual Settled Un artist-run multidisciplinary arts festival at the Roundhouse in Vancouver, BC. Each year, the Settled festival theme ties together a curated visual art EXHIBITION CATALOGUE exhibition, performing arts series, workshops, artist talks, panels, and media art screenings. Recognized as one of the top 5 festivals of its kind worldwide (Melbourne Herald Sun), QAF’s programming has garnered wide acclaim as

“concise, brilliant and moving” (Georgia Straight), CURATED BY “easily one of the best art exhibitions of the year” (Vancouver Sun), and “on the forefront of

aesthetic and cultural dialogue today” (Xtra). Adrian Stimson

EXHIBITION CATALOGUE

This project has been supported by the Building CURATED BY Communities Through Arts and Heritage Program, Department of Canadian Heritage. Adrian Stimson I 17-29 JUNE 2017