NEXT YEAR’S COUNTRY

Sandra Fraser, Curator (Collections) Curated by

ARTISTS Kim Adams Grant Arnold Lorne Beug Raymond Boisjoly Eleanor Bond Randy Burton Victor Cicansky Dana Claxton Marlene Creates Wally Dion Joseph Fafard David Garneau Gregory Hardy Richard Holden Geoffrey James Brian Jungen William Kurelek Jean Paul Lemieux Mary Longman Tanya Lukin Linklater Ken Lum Lynne Marsh WC McCargar Fred Moulding Ann Newdigate Louise Noguchi Graeme Patterson Edward Poitras Richard E. Prince Allen Sapp Danny Singer David Thauberger Alex Wyse

102 Spadina Crescent East , SK, , S7K 0L3

This text accompanies, Next Year’s Country, curated by Sandra Fraser, and presented at from February 1–October 12, 2020.

© Remai Modern 2020 ISBN: 978-1-896359-93-9

Remai Modern is situated on Treaty 6 Territory and the Traditional Homeland of the Métis. We pay our respects to and Métis ancestors and reaffirm our relationship with one another.

I want to express my thanks for the gracious teachings I have received from those who call home. I am grateful for the opportunity to work with the collection at Remai Modern, my colleagues and the artists in the exhibition. I am indebted to the insights of many, especially artist Barbara Meneley, whose work deals critically with the settlement of the west, documented in Unsettling the Last Best West: Restorying Settler Imaginaries (2015), and of Tim Ingold’s book The Perception of the Environment: Essays on Livelihood, Dwelling and Skill (2011).

– Sandra Fraser NEXT YEAR’S COUNTRY

introduction

The title of this exhibition is a reference to Saskatchewan’s settler history. The expression originates from their experiences of learning to live and farm on what they considered to be a land of promise, even though neither success nor survival could be assured. The common refrain “next year things will be better” conveys both a tireless optimism and a struggle to belong. Such an attitude has shaped the province’s political, social, economic and cultural activities. However, it fails to address the relationship between Indigenous and non-Indigenous communities and the displacement and assimilation associated with settlement.

For settler and Indigenous people facing isolation, theft of territory, lack of resources, harsh weather, food shortages due to crop failure and the eradication of the bison, hope and persistence made the present more bearable and fuelled ambitions for a better tomorrow. Geography can create, and sometimes impose, the conditions for inter- relationships. Knowledge is acquired, bonds are established and communities are formed through the accumulated experiences of inhabiting a place. Next Year’s Country begins with Wally Dion’s Steel Star, which refers to the eight- pointed star blanket of Ojibwa culture. Traditionally gifted to acknowledge a significant event, star blankets are cherished objects. By creating a shiny surface of stainless steel, Dion’s NEXT YEAR’S COUNTRY

work seems futuristic. The work is a critique of both Indigenous and non-Indigenous people who attempt to keep traditions locked in the past as a sign of so-called authenticity, instead of embracing how culture evolves. Relationships and interactions constantly move, change, and shape one’s understanding of self in relation to the world.

Next Year’s Country seeks to re-examine ideas of place, belonging and history through a wide range of Canadian artists in Remai Modern’s outstanding permanent collection. Some of the artists have deep roots in the Prairies, while others have been selected to convey similar experiences and offer a view of this region from a distance. The exhibition uses the historical Prairie perspective “next year things will be better” to frame an impulse to resist the present moment and the anxieties that accompany it. How might this impulse generate a desire to return to the past or to dream of the future? The exhibition considers ideas about collectivity and progress with an eye to current environmental, economic and political issues. Gallery A / MLT Aikins LLP Gallery grounding

The feeling in the gallery is one of quiet melancholy, allowing the viewer to imagine the landscape as a site of reflection. Yet this space is not truly quiet; the works here offer a tangle of perceptions, connections, knowledge, loss and misunderstandings. The landscape’s surface is not inscribed through use, nor by its representations—instead, the landscape is already an accumulation of activity, a constant reimagining. As a viewer, we must always take a position or a point of view to encounter it. Some of the themes raised through the exhibition reflect lived experience on the land or critique the settlement of Canada by interogating institutional knowledge and how history is recorded.

This section of the exhibition is anchored by three large landscape , each offering a different perspective. Gregory Hardy’s immense drawing is a spare and sensitive, yet realistic depiction of the expansive grasslands in southern Saskatchewan, created by carefully looking at and being in that place. At the same time, it reinforces the Euro-Canadian mythos of Canada as an untouched wilderness and the Prairies as a terra nullius. In contrast, Edward Poitras tackles treaty rights and displacement that occurred around Last Mountain Lake, depicted almost like a map. The title, Optional Modification in Six Parts, refers to Bill C-79, which sought to change the Indian Act without the support of many Indigenous leaders. The bill failed due to the dissolution of Parliament in April 1997, and was not revisited. Poitras’ use of encaustic wax, screws and fragments of text point to the many layers of history and the complexity of moving forward. The monochromatic greys seem to suggest that this landscape cannot be understood in black- and-white. Eleanor Bond’s bird’s-eye view of the landscape conveys a sense of movement and the uncertainty of lacking a fixed or authoritative position. The unstretched canvas is painted in acidic oranges, greens and blues, dotted with buildings. What at first appears to be a graveyard is actually an airport or hangar with a runway. An accompanying audio track layers the invisible and anxious voices of three women sharing personal narratives with this site of arrivals and departures.

Ann Newdigate challenges the use of women as currency in the transactions of colonization and settlement. One passage in her work reads: “Nor were the army officers who remained in the colony forgotten. They belonged to the gentleman class, and therefore a number of young ladies were sent out to suit their taste.” Newdigate draws these passages from the book, The Romance of Canada (1945), once used to teach elementary school students the history of Canada’s settlement. Text and image are woven together, referencing the Bayeux Tapestry, a famous textile that depicts the Norman conquest of . Richard E. Prince’s work consists of four elements that the viewer must piece together. Wings etched on a sheet of glass and a piece of broken, sky-blue glass frame a barkless lilac branch and a stack of books. The titles of the books have been obscured and include The Works of Plato and Thomas Moore’s Utopia. Prince asks what can be salvaged from the past in literary and philosophical traditions that might still be relevant in the present, especially in the context of colonization and repression. Tanya Lukin-Linklater examines the lack of opportunities for Indigenous people to inform museum collections—from how objects are acquired to how, and by whom, they are interpreted. Reproductions of art sit alongside horsehair and seives used in archeological digs. This material juxtaposition resists any notion of Indigeneity as being buried in the past, while alluding to the careful work of piecing history back together.

Lorne Beug created an object that is both a ceramic and display case. His grid of clay tiles is comprised of earth from different areas in Saskatchewan, referencing the system used to domesticate, survey and map the land. Its fragile legs acknowledge the foundation of bison bones in the development of the province. William Kurelek’s is quaint, sorrowful and uplifting. A young man pauses with his horse, looking up at the stars as his warm breath hits the cold, night air—utterly alone. The title, How Often at Night, is a line from folk anthem and love song to the west, Home on the Range. Both the song and the image idealize rural life, emphasizing the moral purity of hard work. A profound sense of loneliness and isolation is captured in artist Jean Paul Lemieux’s painting of the forest. The three shades of green in the foreground suggest the presence of the sun in an otherwise haunting and stark image. For Lemieux, the landscape provides a visual language with which to depict his inner world and express an emotional sensibility.

Gallery B / Dr. Ivan Jen and Dr. Suzanne Yip Family Gallery a path here

Representations of Canada from pro-settlement advertisements are interwoven with lived experience, forming part of our country’s cultural memory. On the Prairies, this has been informed by the “Last Best West” campaign, initiated by federal minister of the interior and superintendent general of Indian Affairs Clifford Sifton in 1896. It promised abundant fertile land and “homes for millions” of Europeans, while cutting allocations to Indigenous education. For some, the reality of immigration failed to live up to the promises made. Its impacts on Indigenous people were often violent. Policies, practices, and access to resources and economies benefitted some while discriminating against others. Some communities found strength, others were torn apart.

The idea of Indigenous and settler interests being in opposition to one another is a symptom of colonialism that strategically emphasized difference over collaboration. David Garneau’s diptych conveys a disparity between Indigenous and settler knowledge. One half of the diptych contains a bison skull sitting on a rubbing stone, evoking a migratory life determined by the movement of bison and the changing seasons. The other half is a mirror-like reflection representing the contemporary west, where a cow’s skull is placed on a pile of books. Here, the domestication of the land, livelihood and the food supply is placed alongside academic knowledge. The items contrast with both direct and spiritual ways of knowing and being. Garneau seems to suggest that both ways of life are equally important.

Kim Adams’ playful Mini-Ride recalls amuseument parks and fairs. Here, the artist nods to the industrial rail system that connects Canada from “coast to coast,” first built to facilitate rapid settlement and economic development. Rather than the image of a powerful iron horse, Adams’ work offers an imaginary space in which to enter and dream of the journey. In folk artist WC McCargar’s works one often finds trails of steam coming from a train on the distant horizon, an image of an essential link for the Prairies to the rest of Canada. Geoffrey James’ railyard forgoes the pastoral frame of tracks running through wheatfields and focuses instead on its industrial uses. The work reminds us that towns were set up along the train tracks and main routes, dependant on the booms and busts of resource extraction and agricultural economies.

Community and collectivity emerge in the face of isolation. David Thauberger has a keen ability to interpret what he observes. His rendering of an architecturally outmoded hall in Penzance, a gathering place for dances and other activities, challenges the romance of nostalgia. It holds up a mirror that reflects both authencity and stereotype. A path in Allen Sapp’s painting goes from the house to the wood lot; retrieving wood was an essential task to survive the winter. This reminiscence of life growing up on Red Pheasant First Nation also shows the joyfulness of a child’s sleigh and children playing nearby. Ken Lum’s Cheeseburger, set in Vancouver, shows a kitchen worker on a break and includes a list that resembles a menu. Menus featuring Chinese-Canadian cuisine can be found in cities and towns across Canada, the result of new immigrants integrating family recipes with North American diner favourties. These restaurants are an example of hard work and the community bonds created by family-run businesses.

Gallery C / Duff Spafford Gallery fragments of history

Together and individually, the works in this section of the exhibition demonstrate that knowledge is not fixed, but always dependent on context and perspective. Knowledge may be contained in objects, texts or oral history, where its importance is conveyed through preservation and sharing. The use of grids and repetition is a strategy to convey that knowledge is comprised of fragments and accumulation rather than a single source. The pursuit of understanding and truth requires labour, compassion, communal efforts, shared cultural activity and storytelling.

Here, a selection from the series Finders, Keepers by Grant Arnold and Randy Burton documents community museums across Saskatchewan, which once had one museum for every 5,000 people. The photographs show historic buildings, taxidermy animals, household objects, equipment, license plates, and paintings alongside their caretakers. Through the repetition of images, similarities are revealed and absences are suggested, as both museums and individuals determine what has enough value to be kept. The images in Finders, Keepers suggest care and safekeeping, but the title is an old adage with legal ramifications related to possessing things that appear to have been abandoned or have no owner. This spirit was employed in the settlement of Western Canada and the USA, effectively appropriating land and displacing Indigenous ways of life to make way for the railway and immigrant farmers. Fred Moulding’s small, hand-carved document his memories of rural Saskatchewan with charming simplicity. Here he depicts the repetitive, and often invisible, labour of women’s domestic work: carding wool, shelling peas and washing the floor. Graeme Patterson’s delightful animation of rural life follows the antagonistic interactions of the mischievous Monkey, as the artist’s avatar, and Deer, who stands in for nature. They track the Monkey’s hat through the town of Woodrow, which is decaying and transitioning into a Gothic ghost town, an emblem of the fade-out of settler aspriations. The maudlin music adds to the wistful and tragic scene, where human and nature only reconcile in dreams. In Alex Wyse’s whimsical construction, Rutherford Steam-Driven Partial Horse Building , viewers find themselves in the workshop of fictious characters Charles Rutherford and his sister Louise. The hapless Mr. Rutherford is working on an ingenious, steam-powered flying horse that is doomed to fail, despite the enthusiasm of the inventor.

Raymond Boisjoly’s installation is comprised of many sheets of coloured paper with the words “PLACES BEYOND BECOME ANOTHER.” The words are broken up by the grid, making them difficult to read. Information appears to be missing in the gaps between the papers. Boisjoly often uses ambiguous, open-ended phrases that encourage the viewer to feel self-conscious about the act of looking and that point to knowledge as something that depends on context for meaning. Mary Longman uses lenticular technology to juxtapose a photograph taken by O.B. Buell in 1885 of an “unidentified Cree man,” possibly of Chief Big Bear (1825- 88), with a self-portrait of the artist wrapped in a Hudson’s Bay blanket. The blanket alludes to the dominant role of the Hudson Bay Company’s trading posts and is seen as a colonialist symbol of the deliberate spread of the smallpox virus. Longman’s work argues that while historical records may be incomplete or inaccurate, and the built environment is subject to constant change, the land bears witness to the truth. Gallery D / Mendel Gallery waiting

In Anna and the Tower, Lynne Marsh films an encounter with “Anna,” a newly trained air traffic controller. The work was made on location at Magdeburg-Cochstedt International in , a former Soviet airbase that was revitalized into a commercial airport in 1994. After decades of improvements, very few flights ever came through the airport and it closed in 2016. The camera alternates between Anna and the empty landscape outside, as the weather and time of day change. With the control tower acting as a stage, she repeats air-to- ground commands in a scripted performance of readiness, as if to conjure an imaginary choreography of flights. Anna rehearses the tasks of her job almost as rituals to pass the time, while the airport lies quiet, waiting for economic prosperity to come. Anna’s isolation is infused with optimism for an uncertain future.

Gallery E / Grit and Scott McCreath Gallery marking time

In this section of the exhibition, many of the works explore how identity is formed through lived experience. These works address issues of authenticity and the creation of stereotypes. Who holds the power to record history and shape cultural memory? When a dominant culture is concerned with progress and the future, this can cast history and memories of the past as nostalgic, outmoded or even idealized. Artists offer insights and investigations into representations of culture as evolving, complex, and not without contradiction.

Victor Cicansky draws on personal experience as his subject matter, in this case represented by jars and baskets of garden produce rendered in clay. Works such as Pink Pantry point to the labour and collective effort of growing one’s own food. Rather than a quaint nod to the past, such gardens are ideological choices that centre around contemporary issues of urban ecology and sustainability within a global context. Joseph Fafard imbues his Ceramic Bull with a gentle expression and majestic bulk, as well as a sense of humour. In his sensitive portrayals, Fafard taps into childhood innocence and curiosity, capturing specific experiences with great clarity and fondness.

Staged outside a Wild West bank, Louise Noguchi presents a gun-yielding figure in chaps knocked off their feet, presumably by a shooter outside the frame of the photograph. Noguchi’s experience of the west is informed not by direct experience, but by popular culture’s representations and fantasies of frontier justice and cowboy culture. Dana Claxton rebuffs sexualized stereotypes and violence in her work, especially for Indigenous women. With Momma Has a Pony Girl…(Named History and Sets Her Free) Claxton releases women from the binds of history, represented by a prancing Caucasian “Pony Girl” wearing blinders and a tail of rope. Banished by the medicine woman, “History” makes way for a different kind of future.

The former Capitol Theatre in Saskatoon is captured in a series of photographs by Richard Holden. The Spanish- influenced architecture and lavish detail reinforce the role of fantasy in the film industry. The theatre was known as a palatial and sophisticated building, signaling the grand aspirations of a young city. The Capitol Theatre opened in 1929, only months before the start of the Great Depression. When these photographs were taken in 1975, Flesh Gordon, a soft-pornographic parody, was playing—a contrast from the theatre’s glamorous days of screening Hollywood films. Its destruction in 1979 was highly contested and continues to be controversial, making the theatre a symbol of the battle between the value of history and the push to modernize. In his photographs of Prairie streets, Danny Singer shoots each building straight on, stitching them together so that both sides of the main street are represented in a panorama with multiple vanishing points, exceeding the limits of human perception. This technique has the effect of flattening the buildings, giving the impression that there is no substance behind their facades. The facades and false fronts accentuate the flatness of the Prairie landscape. They appear as flimsy as paper cards that could easily be knocked down. Marlene Creates’ Points of Interest draws attention to a number of historical sites, pointing to layered histories embedded in the landscape. The signs draw attention to sites without physical traces of the past, leaving visitors to rely on the knowledge they carry with them to animate the site’s “interest.” These hints of history beg for more information and, at times, justification for their noteworthy status. The photographs also pose the question as to whether perception of the landscape and the act of remembrance always go hand-in-hand.

Brian’s Jungen’s Mother Tongue draws on a deep knowledge of place, in this case Jungen’s home territory of Dane-zaa First Nation, also known as Fort St. John in northern British Columbia. It also considers the impact of global capitalism on Indigenous cultures and communities. In this work, Jungen uses childhood memories and traditional practices to create a sculpture that also engages aesthetically with tropes from Western . The drum component is fashioned from hide, sinew and car parts. The readymade freezer, while referring to the preservation of meat from hunting and trapping in the north, also operates as a modernist base or plinth on which to display the drum. The work shares a connection to sculptors in Saskatchewan who scavenged old metal equipment and car parts from farmers’ fields and welded them into dynamic forms.

List of works for Next Year’s Country

1. Wally Dion, Steel Star, 2009, stainless steel on plywood, 105.4 x 109.2 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased with assistance of the Canada Council for the Arts and funds raised by the Gallery Group, 2009.

GALLERY A

2. Eleanor Bond, Lake Community, 1994, oil on canvas, with audio component, 235 x 364.8 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased with support from the Canada Council’s Acquisition Assistance Program, 1997.

Accordion: Francine Adelman Recordings of: Lorri Millan, Wanda Koop, Diane Whitehouse

3. Gregory Hardy, Bison in March, 2011, charcoal and pastel on canvas, 162.6 x 487.7 cm. The Mendel Art Gallery Collection at Remai Modern. Gift of the artist, 2016.

4. Lorne Beug, Piles O’Bone, 1985, ceramic, leaded glass, wood, oil paint, 120 x 48.2 x 48.2 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased with funds raised by the Gallery Group, 1986.

5. Tanya Lukin Linklater, Horse Hair Question 2, 2016, paper, ink, horse hair, cotton, brass hardware, wood, screens, dimensions variable. Collection of Remai Modern. Purchased with the support of the Canada Council for the Arts Acquisition Grants program, 2016.

6. Jean Paul Lemieux, Le Bois de St. Antoine [The Woods of St. Antoine], 1958, oil on canvas, 73.5 x 127.3 cm. The Mendel Art Gallery Collection at Remai Modern. Gift of the Mendel family, 1965.

7. Richard E. Prince, Landscape with Literature, 1992, glass, Hydro-Stone, metal, wood, 127 x 254 x 17.7 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased with support from the Canada Council’s Acquisition Assistance Program, 1996.

8. Edward Poitras, Optional Modification in Six Parts, 2002, encaustic on plywood, 244.4 x 732.6 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased with the assistance of the Canada Council for the Arts, the Mendel Art Gallery Foundation and the Gallery Group, 2003.

9. Ann Newdigate, Ciphers From the Muniments Room: Arrival, 1994, tapestry, painted boxes, audio, 63.4 x 590.5 x 15.2 cm. The Mendel Art Gallery Collection at Remai Modern. Gift of the artist, 1998.

10. William Kurelek, How Often at Night, 1972, mixed media on Masonite panel, 122.4 x 85.6 cm. The Mendel Art Gallery Collection at Remai Modern. Gift of the artist, 1972. GALLERY B

11. David Garneau, Ways of Knowing; Ways of Being, 2003, oil on canvas, 122.5 x 153 cm each. The Mendel Art Gallery Collection at Remai Modern. Gift of the artist, 2010.

12. Allen Sapp, A Nice Sunset, 1990, acrylic on canvas, 122 x 76.8 cm. The Mendel Art Gallery Collection at Remai Modern. Gift of the artist, 1993.

13. WC McCargar, #10 Red Sky, 1975, pastel, watercolour, graphite, ink on card, 28.2 x 35.8 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased 1985.

14. WC McCargar, The Old Steamer, 1970, graphite, watercolour, gouache, coloured pencil, ink on card, 30.7 x 40.4 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased 1987.

15. WC McCargar, Winter Hi-Way, 1963, oil on board, 30 x 39.5 cm. The Mendel Art Gallery Collection at Remai Modern. Gift of Matthew Teitelbaum in honour of Helen “Bubs” Coleman, 2015.

16. Kim Adams, Mini-Ride, Heliport Project, 1983, metal car parts, track, 183 x 91 x 152 cm. The Mendel Art Gallery Collection at Remai Modern. Gift of the artist, 2013.

17. Geoffrey James,Lethbridge, (Ellison), 1999, gelatin silver print on paper, 75.9 x 83.3 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased with the assistance of the Canada Council for the Arts and the Mendel Art Gallery Foundation, 2003.

18. David Thauberger, Dance Hall, 1980, acrylic, glitter on canvas, 115 x 172.9 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased 1981.

19. Ken Lum, Cheeseburger, 2011, Chromogenic print on archival paper, 196 x 257 x 5 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased with the support of the Canada Council for the Arts Acquisition Assistance program, 2012.

GALLERY C

20. Grant Arnold and Randy Burton, Finders, Keepers, 1982, gelatin silver prints, dimensions variable. The Mendel Art Gallery Collection at Remai Modern. Photographers Gallery Collection. Gift of PAVED Arts, 2011.

21. Alex Wyse, Rutherford Steam-Driven Partial Horse Building Alberta, 1979-1980, painted wood, hardware, glass, 198 x 62 x 89 cm. The Mendel Art Gallery Collection at Remai Modern. Gift of Beth Noble, 2019. 22. Raymond Boisjoly, Some things remain themselves even when they change, 2017, inkjet on construction paper, 498 x 422 cm. Collection of Remai Modern. Purchased with funds from the Mendel Art Gallery Foundation, 2018.

23. Mary Longman, Hills Never Lie - Lebret Graveyard, 2009, lenticular photograph on paper board, 68.8 x 114.2 cm. The Mendel Art Gallery Collection at Remai Modern. Gift of the artist, 2010.

24. Fred Moulding, three untitled works, 1980. The Mendel Art Gallery Collection at Remai Modern. Purchased 1980.

Woman washing floor, wood, plaster, acrylic, tin, wire, cloth, Styrofoam, Masonite, 4.9 x 8 x 14 cm.

Woman carding wool, wood, plaster, acrylic, wool, string, wire, 10.6 x 9.5 x 14.6 cm.

Woman shelling peas, wood, plaster, acrylic, tin, Styrofoam, plastic beads, 10.8 x 11.6 x 11.7 cm.

25. Graeme Patterson, Monkey and Deer, 2005, video with sound, 12 min, dimensions variable. The Mendel Art Gallery Collection at Remai Modern. Gift of Graeme Patterson, 2006.

GALLERY D

26. Lynne Marsh, Anna and the Tower, 2014, video with sound, 20:24 min, dimensions variable. The Mendel Art Gallery Collection at Remai Modern. Purchased with the support of the Canada Council for the Arts Acquisition Grants program, 2015. GALLERY E

27. Richard Holden, Untitled, 1975, gelatin silver prints, 15 x 18 cm each. The Mendel Art Gallery Collection at Remai Modern. Photographers Gallery Collection. Gift of PAVED Arts, 2011.

28. Dana Claxton, Momma’s Got a Pony Girl… (Named History and Sets Her Free), 2008, Light Jet C-print, 156 x 126 cm. The Mendel Art Gallery Collection at Remai Modern. Gift of the artist, 2019.

29. Marlene Creates, Points of Interest, Saskatchewan 1999: Trails used by the North West Mounted Police, Indians, outlaws, hunters, settlers, travellers, traders, Sitting Bull and his followers; Métis cabins and fur-trading posts; clashes between Cree, Assiniboine, Sioux, and Blackfoot; a World War II bombing and gunnery school; an abandoned townsite where rail lines from the east and west met; the boyhood home of a governor of the Bank of Canada; a park in recognition of two people who served their town for fifty- five years; a cart track used by the Hudson’s Bay Company, the Dominion telegraph, and Her Majesty’s mail; the first stage robbery in the Canadian West; and an old ford on the river where nine important trails converged, 1999, 12 vintage colour Endurochrome photographic prints, 61 x 91.4 cm each. Collection of Remai Modern. Purchased with the support of the Frank and Ellen Remai Foundation, 2019.

30. Victor Cicansky, The Pink Pantry, 1981, fired clay, glaze, wood, acrylic, 191.3 x 121.8 x 31.9 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased with funds from the Canada Council Special Purchase Assistance Program, 1981.

31. Danny Singer, Brock, 2004, colour photograph on paper, 38.2 x 209.2 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased with the assistance of the Canada Council for the Arts, 2005.

32. Joseph Fafard, Ceramic Bull, 1980, earthenware, acrylic, glaze, 29.4 x 43.5 x 6.9 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased with funds from the Canada Council Special Purchase Assistance Program, 1980.

33. Louise Noguchi, Blow-Back, 2004, transmounted digital print, 100.9 x 75.5 cm. The Mendel Art Gallery Collection at Remai Modern. Purchased with the support of the Canada Council for the Arts Acquisition Assistance program, 2011.

34. Brian Jungen, Mother Tongue, 2013, steel, deer hide, VW fenders, freezer, 256.5 x 129.5 x 71.1 cm. Collection of Remai Modern. Purchased with the support of the Frank and Ellen Remai Foundation, 2020.

Gallery C Gallery D 25. 24. 21.

26. 23.

22. 20. 19. 29. 30. 18. 27. 17. 31. 16. 28. 13–15. Gallery E Gallery B 32. 12. 11. 33. 34. 9. 10.

2. 8. 5. 5.

1. ENTRANCE 7. 6. 4. 3. Gallery A