Nadia Myre CV 2020
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ROSALIE FAVELL | Www
ROSALIE FAVELL www.rosaliefavell.com | www.wrappedinculture.ca EDUCATION PhD (ABD) Cultural Mediations, Institute for Comparative Studies in Art, Literature and Culture, Carleton University, Ottawa, Ontario, Canada (2005 to 2009) Master of Fine Arts, University of New Mexico, Albuquerque, New Mexico, United States (1998) Bachelor of Applied Arts in Photographic Arts, Ryerson Polytechnical Institute, Toronto, Ontario, Canada (1984) SELECTED SOLO EXHIBITIONS 2018 Rosalie Favell: Shifting Focus, Latcham Art Centre, Stoufville, Ontario, Canada. (October 20 – December 8) 2018 Facing the Camera, Station Art Centre, Whitby, Ontario, Canada. (June 2 – July 8) 2017 Wish You Were Here, Ojibwe Cultural Foundation, M’Chigeeng, Ontario, Canada. (May 25 – August 7) 2016 from an early age revisited (1994, 2016), Wanuskewin Heritage Park, Regina, Saskatoon, Saskatchewan, Canada. (July – September) 2015 Rosalie Favell: (Re)Facing the Camera, MacKenzie Art Gallery, Regina, Saskatchewan, Canada. (August 29 – November 22) 2014 Rosalie Favell: Relations, All My Relations, Minneapolis, Minnesota, United States. (December 12 – February 20, 2015) 2013 Muse as Memory: the Art of Rosalie Favell, Gallery of the College of Staten Island, New York City, New York, United States. (November 14 – December 19) 2013 Facing the Camera: Santa Fe Suite, Museum of Contemporary Native Art, Santa Fe, New Mexico, United States. (May 25 – July 31) 2013 Rosalie Favell, Cube Gallery, Ottawa, Ontario, Canada. (April 2 – May 5) 2013 Wish You Were Here, Art Gallery of Algoma, Sault Ste. Marie, Ontario, Canada. (February 28 – May 26) 2012 Rosalie Favell Karsh Award Exhibition, Karsh Masson Gallery, Ottawa, Ontario, Canada. (September 7 – October 28) 2011 Rosalie Favell: Living Evidence, Mount Saint Vincent University Art Gallery, Halifax, Nova Scotia, Canada. -
INDIGENOUS NEW MEDIA ART and RESURGENT CIVIC SPACE By
“REPERCUSSIONS:” INDIGENOUS NEW MEDIA ART AND RESURGENT CIVIC SPACE by Jessica Jacobson-Konefall A thesis submitted to the Cultural Studies Program In conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (September, 2015) Copyright © Jessica Jacobson-Konefall, 2015 i Abstract This dissertation investigates Indigenous new media artworks shown at Urban Shaman: Contemporary Aboriginal Art Gallery, located in Winnipeg, Manitoba, Canada. I argue that Urban Shaman is an institution of Indigenous resurgence and translocal citizenship in Winnipeg. The new media artworks I examine operate as authoritative civic spaces by drawing upon Indigenous aesthetic traditions and new media technologies. The first chapter centers on new media artworks by artists Scott Benesiinaabandan (Anishinaabe) and Rosalie Favell (Métis), conveying Winnipeg’s histories through their artistic renditions of personal and public archives that frame Winnipeg’s city spaces. The chapter locates these works in conversation with artists Terril Calder (Métis) and Terrance Houle (Blood) whose new media artworks reframe and restage civic archives in Toronto and Calgary. The next chapter considers how new media artworks at Urban Shaman by Jude Norris, Nadia Myre, Jordan Bennett, and Terril Calder enact what I am calling Indigenous civic ecology, relating human and non-human elements of the city through Cree, Anishinaabe, Mi'kmaq and Métis genealogies. The final chapter discusses how new media artworks by Jason Baerg (Cree/ Métis), Rebecca Belmore (Anishinaabe), and Scott Benesiinaabandan (Anishinaabe) advance a lexicon of aesthetic values, particularly “travelling traditional knowledge” and “blood memory,” in response to globalization. This dissertation illustrates how new media artworks shown at Urban Shaman embody critical Indigenous methodologies in relationships of ongoing praxis. -
The Concordia Undergraduate Journal of Art History (CUJAH) Is A
Concordia Undergraduate Journal of Art History Journal of Undergraduate Concordia The Concordia Undergraduate Journal of Art History (CUJAH) is a student-run association that aims to showcase the talents of Concordia University’s undergraduate Art History and Fine Arts students. CUJAH strives to provide students with academic and professional opportunities through workshops, events, and online resources. CUJAH is composed of an executive team, an editorial team, a design team, and is assisted by faculty members in the Department of Art History. As a journal, we strive for academic excellence and believe in the importance of undergrad- uate research and creation. Through a blind review process, CUJAH selects essays for our published volumes which best exemplify the diversity of talents within the Faculty of Fine Arts and the Concordia community at large. We have been publishing since 2004–2005. In addition to the publication of our annual journal, CUJAH hosted, in collaboration with the Fine Arts Student Alliance (FASA), Concordia University’s 8th Annual Undergrad- uate Art History Conference, (dis)location: art in a mobile age. The CUJAH team would like to dedicate this volume to Dr. Anna Waclawek Volume: XV Volume: Your encouragement, guidance, and All rights reserved Copyright © 2019 CUJAH no small amount of humour has Concordia Undergraduate Journal of Art been invaluable to CUJAH. We wish History 1515 St-Catherine St. W, EV 3.780 you nothing but the best in your Montreal, Quebec, Canada new position, you will be greatly H3G 2W1 cujah.ca missed by the entire Department of Legal Deposit—Library and Archives Art History. -
Romance Weekend Package - 2Ppl Drama 15Th Anniversary (Fri After 6Pm, Sat & Delegate Packages + Passes Flexi Package Action Package Sun Screenings Only) Pass
NATIV E to aactionction NATIV E to Presenting Spon aactionction sor: FILM NATIVE to + MEDIA ARTS FESTI VAL OCT. 22-26, 2014 Romance imagineN Download the imagineN ATIVE Apple + AndroidATIVE App .org NATIVE to DRAMA Photo Credit: Roger Manndal WE, THE INdigENous scREEN stoRYTEllERS, UNitED IN THis NoRTHERN coRNER of ouR MotHER THE EaRTH IN A GREat assEMBLY of wisdom DEclaRE to all NatioNS WE GLORY IN OUR PAST, • when our earth was nurturing our oral traditions • when night sky evoked the visions of our dreams • when Sun and the Moon were our parents in stories told • when storytelling made us all brothers and sisters • when our stories brought forth great chiefs and leaders • when justice was upheld in the stories told. WE WILL: • Hold and manage Indigenous cultural and intellectual property. • Ensure our continued recognition as primary guardians and interpreters of our culture. • Respect Indigenous individuals and communities. • Faithfully preserve our traditional knowledge with sound and image. • Use our skills to communicate with nature and all living things. • Heal our wounds through screen storytelling. • Preserve and pass on our stories to those not yet born. We will manage our own destiny and maintain our humanity and pride as Indigenous peoples through screen storytelling. Guovdageaidnu, Sápmi, October 2011 Written by Åsa Simma (Sámi), with support from Darlene Johnson (Dunghutti), and accepted and recognized by the participants of the Indigenous Film Conference in Kautokeino, Sápmi, October 2011. Thanks to the International Sámi Film Center (Åsa Simma and Anne Lajla Utsi) for sharing this document in our Catalogue. For more information on the Center, visit www.isf.as. -
Making Art Work: a Labour Arts Manual
MAKING ART WORK A LABOUR ARTS M ANUAL COORDINATED BY INGRID MAYRHOFER CONTRIBUTIONS BY KARL BEVERIDGE LORNA BOSCHMAN KLYDE BROOX CAROLE CONDÉ MARIA DUNN AIDA JORDÃO INGRID MAYRHOFER ROCHELLE RUBINSTEIN CHECOVALDÉZ i MAKING ART WORK A LABOUR ARTS MANUAL Making Art Work, A Labour Arts Manual ISBN 978-1-896786-30-8 Coordination and Design: Ingrid Mayrhofer Cover: Andrew Lochhead Image Credits: first edition, 2009 Colina Maxwell - 3 © WAHC, all or parts of this publication may Dámarys Sepúlveda - 4, 30 be copied for use in labour arts and community Rafael Goldchain - 5 arts workshops, all other reproductions with Aida Jordão 11, 68, 82 permission from the publisher. The Print Studio - 14, 16, 37, 86 Anne Gillespie - 17 Every reasonable effort has been made to obtain Carole Condé/Karl Beveridge - 20, 58, permission for images and text reproduced in this 108,146 publication. The publishers will be grateful for any Red Tree - 23, 31, 63, 112, 126, 137, 154 Chris Tanner - 26 information that will enable errors or omissions Ian Walker - 32 to be rectified in subsequent editions. Ingrid Mayrhofer - 34, 76, 104, 147 Sady Ducros - 36 Special thanks to Red Tree Artists’ Collective, Jeff Bush - 74, 94, 95 The Print Studio (Hamilton), A Space (Toronto), Janice Bennik - 101 Common Weal Community Arts (Saskatchewan), Sally Frater - 110, 131 CAW/McMaster Certificate Program (Hamilton), Sean Mapp - 115, 117 Autonomous University of Mexico-Xochimilco Shelley Niro - 135 (Mexico City) and to Ricardo Valdéz for technical advice. WORKERs’ art AND HERItage CENTRE 51 Stuart Street HAMIltON, ONtarIO, L8L 1B5, CANADA ii MAKING ART WORK A LABOUR ARTS MANUAL TABLE OF CONTENTS : Forward – Elizabeth McLuhan - v Editor’s Notes - Ingrid Mayrhofer - 1 Project Summaries: I. -
Spring Summer 2019
Spring/Summer 2019 Vol. 26, No. 2 Photo by Mike Phillips Budding Artist Exhibition, Shenkman Arts Centre Photo by Mike Phillips Budding Artist Exhibition Exposition des artistes débutants May 23 to July 15, 2019 du 23 mai au 15 juillet, 2019 By Laurie Hemmings and Leslie Lambert This year, Arteast celebrated the re-launch of the Budding Artist Cette année, Arteast a célébré la réouverture de l'Exposition des artistes Exhibition on the Promenade Arteast wall at the Shenkman Arts débutants sur le mur de la Promenade Arteast du Centre des arts Shen- Centre with a wonderful opening reception on May 26. In attend- kman, avec une magnifique réception qui s’est tenue le 26 mai dernier. Le ance was Mayor Jim Watson, who took the time to greet the art- maire Jim Watson était présent, il a pris le temps de saluer chaque artiste ists and get some photo-shots in with many of the participants. It et a pris quelques photos avec de nombreux participants. C'était un vrai was a true celebration to have live music in the form of celebrato- régal d'avoir le son des tamtams pour accompagner et célébrer cet événe- ry drumming for this event. Thank you to Hamid Ayoub and Ma- ment. Merci à Hamid Ayoub et à Mado Limoges pour avoir participé à cet do Limoges for being a part of this event. There were lots of évènement. Il y avait beaucoup de gourmandises offertes à la réception, treats offered at the refreshments table, thanks to all the partici- merci à tous les participants. -
Voyage Au Cœur Des Collections
| CAHIER SPÉCIAL D | LES SAMEDI 9 ET DIMANCHE 10 MARS 2019 MUSÉES Cultures du monde et arts décoratifs, sculptures, mobilier et objets du Voyage au cœur quotidien, design, arts graphiques, dessins, étampes, peintures d’hier et d’aujourd’hui… les collections permanentes des musées québécois regorgent de trésors, œuvres d’artistes québécois, canadiens et inter- des collections nationaux à découvrir et redécouvrir. Visite guidée. D 2 MUSÉES — LE DEVOIR, LES SAMEDI 9 ET DIMANCHE 10 MARS 2019 MUSÉE MCCORD Faire dialoguer les collections Le Musée McCord ouvre chaque je me rapproche du processus du année ses collections perma- perlage, dans la manière de placer, nentes à une artiste en résidence. de répéter et d’accumuler», souligne l’artiste d’ascendance Kanien’kehá: Hannah Claus explique ce que lui ka (mohawk) devant sa création. a inspiré la réserve de l’établisse- De l’autre côté de la pièce, cer- ment avec l’exposition C’est pas tains des objets, dont les détails ont pour rien qu’on s’est rencontrés. été photographiés pour son installa- tion, sont exposés dans une vitrine. Le Devoir est allé la voir alors Le programme Artiste en résidence qu’elle mettait la dernière touche de l’établissement muséal, lancé en à ses installations, dévoilées 2012, semblait tout indiqué pour elle. ce week-end. Parmi ses sources d’inspiration figu- rent les cosmogonies autochtones, particulièrement celle des Mohawks, ETIENNE PLAMONDON EMOND qui l’amène à remettre en question Collaboration spéciale notre perception linéaire du temps, de l’espace et de la mémoire. «Les objets du Musée McCord ne sont annah Claus venait de terminer pas figés dans le passé et restent H le montage d’un mobile qui contemporains dans une culture vi- évoque les châles portés dans cer- vante, observe-t-elle. -
Annual Repo Rt
ANNUAL REPORT Et tu, Machine. OUFF. Performer: Alexis O’Hara. From the exhibition series ISKWEWOK by Meky Ottawa. Maison de la photo MTL and the Mezzanine Credit: Lucie Rocher at the Conseil des arts de Montréal . 2SPIRITSGHOST. Photograph printed on vinyl. 60’’ X 40’’. 2019. Model: Charlotte Poitras. Credit: Meky Ottawa Repercussion Theatre. Romeo and Juliet by Amanda Kellock. Performers, from left to right: Cara Krisman, Shauna Thompson, Gitanjali Jain, Ray Jacildo, Adam Capriolo, Patrick Jeffrey, Nadia Verrucci, Michelle Rambharose, Anton May. Credit: Valerie Baron @studiobaronphoto MESSAGE FROM THE CHAIRMAN As I write this, we are all in confinement in the midst of the pandemic. So today I’d like to send out a message of hope. Despite the uncertainty that has hounded us for the past months in our homes, our workplaces and our communities, we must demonstrate solidarity and openness. More than ever before, our society needs art, beauty and the ability to dream. We’ve seen how adaptable several organizations have been, quickly finding solutions to make sure works of art reach their audiences. It is our responsibility to remind people that arts and culture can have a positive impact on their lives and on the life of their community, especially in Montreal. There’s a long road ahead, but together, the Conseil’s members and employees along with arts collectives and companies, will make it through. In the meantime, this 2019 annual report is an opportunity for us to look back on key events that marked the year for the Conseil des arts de Montréal. In 2019, the Plante administration reiterated its confidence in and commitment to the Conseil Credit: Bernard Préfontaine by granting us a second increase of $1.5 million, bringing our total budget to $18,450,000. -
In the Balance
In the Balance In the Balance Indigeneity, Performance, Globalization Edited by Helen Gilbert, J.D. Phillipson and Michelle H. Raheja Liverpool University Press First published 2017 by Liverpool University Press 4 Cambridge Street Liverpool L69 7ZU Copyright © 2017 Liverpool University Press The right of Helen Gilbert, J.D. Phillipson and Michelle H. Raheja to be identified as the editors of this book has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. British Library Cataloguing-in-Publication data A British Library CIP record is available ISBN 978-1-78694-034-6 paperback https://doi.org/10.3828/9781786940803 Typeset by Carnegie Book Production, Lancaster Printed and bound in Poland by BooksFactory.co.uk Contents Contents Introduction Helen Gilbert 1 1. Inside the Machine: Indigeneity, Subversion and the Academy Michael Greyeyes 25 2. Beyond the ‘Nação mestiça’: Post-Racial Performance, Native Sovereignty and Political Community in Contemporary Brazil Tracy Devine Guzmán 45 3. Assimilating Globalization, Performing Indigeneity: Richard Loring’s African Footprint Arifani Moyo 65 4. Repatriation, Rights and the Political Lives of the Dead Margaret Werry 83 5. Indigenous Cinema, Hamlet and Québécois Melancholia Kester Dyer 105 6. Beyond the Burden in Redfern Now: Global Collaborations, Local Stories and ‘Televisual Sovereignty’ Faye Ginsburg 123 • v • In the Balance 7. Her Eyes on the Horizon and Other (un)Exotic Tales from Beyond the Reef Rosanna Raymond 143 8. -
2018 Annual Report
POINTE-À-CALLIÈRE 2018 ANNUAL REPORT A MUSEUM OF BUILDERS Building a culture of archaeology and history Once again Building the future Since it first opened, Pointe-à-Callière this year, Pointe-à-Callière succeeded in piquing public interest has turned the spotlight on builders from the past, making the in the history of Montréal and the world’s great civilizations. achievements of exceptional women and men and remarkable Nearly 527,000 people visited the museum, up by 14% from civilizations as widely accessible as possible. Through 2017. What’s more, a study found that 14% of visitors from our exhibitions, they have shared with us their passion, outside the city came to Montréal specifically to see Pointe- determination and humanity, all extraordinary sources of à-Callière or the Queens of Egypt exhibition. These figures inspiration for our visitors. exceeded our expectations, and we owe this success to the This year, the Museum paid tribute to the splendours of the undeniable expertise of the Museum team and the talents of Queens of Egypt. These powerful women, too often forgotten, top professionals. marked ancient Egypt with their charisma and shining In addition, the Museum received a number of prestigious intelligence. Thanks to our original perspective on this epoch awards this year, recognizing Pointe-à-Callière’s influential and the exceptional quality of the objects and digital decors in role as an entrepreneur and cultural innovator. The Société des the exhibition, Queens of Egypt attracted 316,000 visitors – an all- musées du Québec gave the Museum its Prix d’excellence for the time record for Pointe-à-Callière. -
Code Switching and Other Work Nadia Myre
CODE SWITCHING AND OTHER WORK NADIA MYRE 1 CODE SWITCHING AND OTHER WORK NADIA MYRE 25. September bis 10. November 2018 September 25 – November 10, 2018 Öffnungszeiten: Mittwoch – Samstag: 11 Uhr – 18 Uhr Opening hours: Wednesday – Saturday: 11 a.m. – 6 p.m. Art Mûr Hessische Str. 9 10115 Berlin +49 30 49 958 119 www.artmur.com/de POSITIONS BERLIN ART FAIR Patrick Bérubé, Nicholas Crombach, Laurent Lamarche, Marie-Eve Levasseur, Karine Payette 27. bis 30. September 2018 September 27 – 30, 2018 Flughafen Tempelhof - Hangar 4 Columbiadamm 10 10965 Berlin positions.de MONTRÉAL BERLIN Deckseite / Cover: Nadia Myre, Code Switching: Pipe Beads (Detail), 2017, Digitaldruck unter Plexiglas auf Dibond montiert / Digital print under plexiglass mounted on Dibond, 122 x 325 cm (48 x 128 in) Grafikdesign / Graphic design: Michael Patten Ausstellungsdokumentation / Exhibition Documentation: Ross Fraser Mclean 2 INHALTSVERZEICHNIS | TABLE OF CONTENTS 9 Vorwort von Anaïs Castro Übersetzt von Julia Theobalt 9 Foreword by Anaïs Castro 17 Code Switching and Other Work Text von Mother Tongue - Tiffany Boyle & Jessica Carden Übersetzt von Julia Theobalt 22 Code Switching and Other Work Text by Mother Tongue - Tiffany Boyle & Jessica Carden 6 7 VORWORT FOREWORD Art Mûr Berlin freut sich, Nadia Myre’s Code Art Mûr Berlin is delighted to present Nadia Myre’s Switching and Other Work zu präsentieren, eine Code Switching and Other Work, an exhibition Ausstellung, die erstmals von Mother Tongue während first presented by Mother Tongue during Glasgow der Glasgow International 2018 gezeigt wurde. International 2018. This is a body of work that Die Werkserie entstand 2015 am Ufer der Themse, came into existence in 2015 on the banks of the direkt gegenüber der Tate Modern in London. -
Le Corps En Question(S) Exhibition + Dance World Première May 29 + 30 + 31 + June 1 + 2, 2012
6TH EDITION MAY 24 – JUNE 9, 2012 PRESS KIT LE CORPS EN QUESTION(S) EXHIBITION + DANCE WORLD PREMIÈRE MAY 29 + 30 + 31 + JUNE 1 + 2, 2012 ISABELLE VAN GRIMDE VAN GRIMDE CORPS SECRETS MONTRÉAL Press kits consist of material sent by the company that produces the show, original material and research conducted by the festival team. LE CORPS EN QUESTIONS (S) (THE BODY IN QUESTION(S)) PRODUCED BY Van Grimde Corps Secrets CURATOR AND CHOREOGRAPHY Isabelle Van Grimde ASSISTANT CHOREOGRAPHER Soula Trougakos PERFORMED BY Marie Brassard + Sophie Breton + Robin Poitras + Soula Trougakos + Brian Webb VISUAL AND MEDIA ARTISTS Derek Besant + Brennan/Caulfield/Mills + Kate Craig + Nadia Myre + Marilène Oliver + Monique Régimbald-Zeiber MUSIC Thom Gossage ARCHITECT AND SET DESIGN Anick La Bissonnière IN ASSOCIATION WITH Éric O. Lacroix LIGHTING DESIGN Lucie Bazzo VIDEO Foumalade ESSAYS Dr Cristian Berco + Dr Dawna Gilchrist VISUAL ARTS ADVISORY COMMITTEE Louise Déry + Kitty Scott IN ASSOCIATION WITH Brian Webb Dance Company (Edmonton) COPRODUCTION Festival TransAmériques + Brian Webb Dance Company + CanDance Canadian Network of Dance Presenters (Toronto) + Festival Danse Canada (Ottawa) + Centennial Theatre (Lennoxville) + University of Alberta CREATIVE RESIDENCIES The Banff Centre + Agora de la danse CODIFFUSION Galerie de l’UQAM PRESS KIT THE BODY IN QUESTION(S) 1 PRESS QUOTES ABOUT BODIES TO BODIES I ET II « Isabelle Van Grimde fait littéralement vibrer les corps. Et les spectateurs. […] Le travail sur la lumière, qui souvent échappe, se remarque ici tant il est délicat, harmonieux et jamais démonstratif. […] Une danse en partage, voilà le spectacle d’Isabelle Van Grimde. À voir absolument. » Gaël CALVEZ, Le Républicain Lorrain, 5 mars 2009 « Côté danse, une création très réussie.