PROGRAM GUIDE JANUARY 22 TO MAY 08 2011 TABLE OF CONTENTS CLOSE ENCOUNTERS P.04-05

WINNIPEG CULTURAL CAPITAL OF 2010 P.06-07

SUPPORTERS P.07

VENUES P.08-09

DATES P.10-11

BIOGRAPHIES P.12-29

PARALLEL PROGRAMMING P.30-31

MAP P.32

INDEX P.33 CLOSE ENCOUNTERS CLOSE ENCOUNTERS: THE NEXT 500 YEARS INTERNATIONAL EXHIBITION OF CONTEMPORARY INDIGENOUS ART

Presented by Cultural Capital of Canada 2010

Organized by Plug In Institute for Contemporary Art with the Winnipeg Art Gallery, URBAN SHAMAN: Contemporary Aboriginal Art, PLATFORM centre for photographic + digital arts, Gallery 1C03, La Maison des artistes visuels francophones, North End Arts Centre and Graffiti Art Programming Inc.

Curatorial Collective: Candice Hopkins, Steve Loft, Lee-Ann Martin and Jenny Western

The world is at a crossroads. Now is the moment to reconfigure our notions of time to reveal alternative ways of thinking and being for the future. In Close Encounters: The Next 500 Years, Indigenous art- ists imagine the future within the context of present experiences and past histories. By radically reconsidering encounter narratives between native and non-native people, Indigenous prophecies, possible utopias and apocalypses, this exhibition proposes intriguing possibilities for the next 500 years. “We all in different measure have carved out the future,” observes Hopi photographer and filmmaker Victor Masayesva in his book Husk of Time. “We are all clairvoyants, soothsayers, prophets, knowingly assuming our predictions.”

Close Encounters brings together over 30 Indigenous artists from across Canada, the United States, South America, Europe, and New Zealand, including newly commissioned work from Rebecca Belmore, Faye HeavyShield, and Edward Poitras. Jimmie Durham’s long-term sculptural work Pole to Mark the Centre of the World (at Winnipeg) chal- lenges widely held ideas surrounding space and location, while James Luna’s poignant installation Spirits of Virtue and Evil Await My Ascension addresses issues of ritual and the passing of time. Close Encounters showcases artists and artworks that collectively invent provocative futures from a diversity of perspectives and practices.

With its myriad histories, trajectories, tensions, collisions, and self- image(s), the city of Winnipeg offers an intriguing juxtaposition for these artistic mediations. Close Encounters: The Next 500 Years presents international Indigenous perspectives in a city that in many ways also epitomizes the future of Aboriginal people in Canada. Works in multiple venues throughout the city will serve as catalysts to invent different ways of thinking, acting, and being in the world of our shared future. At this pivotal moment in time, Close Encounters invites engagement with the speculative, the prophetic and the unknown.

05 WINNIPEG CULTURAL CAPITAL OF CANADA 2010 Through the Cultural Capitals of Canada national program, the Depart- ARTS FOR ALL ment of Canadian Heritage named Winnipeg the Cultural Capital of Canada for 2010. On behalf of the City of Winnipeg, the Winnipeg Arts Council planned a year of extraordinary cultural events and arts programming. Activities and events were designed to harness the many benefits of arts and culture in community life and celebrate our artists as unique and vital to the fabric of Canadian culture. The River Barge Festival, The BIG DANCE on Broadway and City Stories with the Winnipeg Tarot Company were all events planned with the vision of ARTS FOR ALL that brought the arts into the lives of thousands of Winnipeggers in the year 2010. Close Encounters: The Next 500 Years is a unique and remarkable exhibition that will continue to enrich the lives of our citizens and help us carry this important designation well into 2011.

The mission of Winnipeg Cultural Capital of Canada 2010 is to ensure that all people have access to the arts, are able to participate in the arts, and value and are enriched by the arts. In other words: ARTS FOR ALL. Close Encounters is a materialization of that vision, providing a massive multi-site exhibition of groundbreaking work free of charge to the public, and providing a platform to present work by leading Indigenous artists.

Find out more at artsforall.ca

Close Encounters is generously supported by:

07 CLOSE ENCOUNTERS EXHIBITION VENUES PARALLEL PROGRAMMING SITES VENUES CLOSE ENCOUNTERS URBAN SHAMAN: MAIN EXHIBITION SITE CONTEMPORARY ABORIGINAL ART 109 Pacific Ave 203–290 McDermot Ave

PLUG IN ICA PLATFORM CENTRE FOR PHOTOGRAPHIC 460 Portage Ave + DIGITAL ARTS 121-100 Arthur St WINNIPEG ART GALLERY (Artspace Building) 300 Memorial Blvd GALLERY 1C03 HYDRO 515 Portage Ave 360 Portage Ave LA MAISON DES ARTISTES VISUELS MANITOBA MUSEUM FRANCOPHONES 190 Rupert Ave 219 Boul Provencher

NORTH END ARTS CENTRE 472 Selkirk Ave

GRAFFITI ART PROGRAMMING 109 Higgins Ave

09 ← Circuit City III | KC Adams | 2007 | Digital print CLOSE ENCOUNTERS MANITOBA HYDRO OPENING PARALLEL PROGRAMMING DATES DATES Tuesday, January 18, 12:00pm URBAN SHAMAN: featuring work by KC Adams, Contemporary Aboriginal Art Postcommodity and Linus Woods TRADE ME Keesic Douglas Artist talk with Postcommodity Opening reception: and Linus Woods at 12:30pm Friday, January 28, 8:00pm Location: Manitoba Hydro, Location: 203–290 McDermot Ave 360 Portage Ave Screening of Bringing It All Back Home, Chris Eyre’s film about PANEL DISCUSSION James Luna Saturday, January 22, 10:45am Tuesday, January 18, 7:00pm Candice Hopkins, Mary Anne Location: Winnipeg Art Gallery Barkhouse, Faye HeavyShield and Nadia Myre Frontrunners Opening Reception: Saturday, January 22, 1:30pm Saturday, May 28 Lee-Ann Martin and Rebecca Belmore Location: Plug In ICA

Presented by the Winnipeg Art PLATFORM centre for photographic Gallery and Mentoring Artists for + digital arts Women’s Art as part of Sculptural Acting Up! Performing the Indian Vocabularies: A symposium exploring Opening reception: the sculptural practices of contem- Friday, January 21, 7:00pm porary Canadian women artists Curatorial Lecture by Location: Winnipeg Art Gallery, : 300 Memorial Blvd Thursday, January 20, 7:00pm Artist Talk with Jackie Traverse: EXHIBITION OPENING Saturday, February 19, 3:00pm Saturday, January 22, 7:00pm Location: 121-100 Arthur St Location: Close Encounters Main Exhibition Site, 109 Pacific Ave GALLERY 1C03 unSacred BUS TOURS Scott Benesiinaabandan (stephens) Sunday, January 23, 12:00pm-4:00pm Opening reception at Gallery 1C03: Artist talks and visits to all Thursday, January 20, 4:00pm-6:00pm Close Encounters venues Public artist talk (Room 2C14): visit www.artsforall.ca Friday, January 21, 12:30pm-1:30pm Location: The University of Winnipeg EXHIBITION CLOSING RECEPTION 515 Portage Ave Saturday, May 7, 7:00pm Preview of Frontrunners exhibition LA MAISON DES ARTISTES VISUELS Location: URBAN SHAMAN: FRANCOPHONES Contemporary Aboriginal Art, The Forgiveness Project 203–290 McDermot Ave (Pardoner Moi) Nadia Myre Opening reception: Thursday January 20, 7:00pm Location: 219, boul Provencher

GRAFFITI ART PROGRAMMING Opening reception: Thursday, April 28, 6:00pm-8:00pm Location: Plaza at the Forks

11 ← Lucinations (detail) | Doug Smarch Jr. | 2005-2006 | Installation CLOSE ENCOUNTERS KC ADAMS CAN MARIA THEREZA ALVES BRA BIOGRAPHIES As an artist, KC Adams focuses on Maria Thereza Alves is a Brazil- the investigation of the relation- ian artist living in Europe who ship between nature (the living) researches social and cultural phe- and technology (progress). Her work nomena, working particularly with includes sculpture, installation, situations that question social drawing, painting, photography, circumstances. Her work examines ceramics, printmaking and kinetic what we think we know, who we think art. KC Adams has had several solo we are, and the realities of where exhibitions, most recently Cy- and how we actually are at this borg Hybrids at the Odd Gallery time. Alves has recently exhibited in Dawson City and Modern Fuel in in the Guangzhou Triennal, Kingston. She has also been fea- Manifesta in Trento, the Prague tured in numerous group exhibi- Biennal, the Athens Biennal and tions; Cyborg Living Space II, The the Lyon Biennal where she received Language of Intercession at the the Francophonie prize. OBORO Gallery in Montreal, Cyborg Hybrids at the PHOTOQUAI: Biennale WORK des images du monde in Paris. She IRACEMA (DE QUESTEMBERT), 2009 has participated in residencies at Courtesy the Artist The Banff Centre, the Confederation Visit www.artsforall.ca for Art Centre in , PEI screening dates and times. and the Annex Gallery in Winnipeg. She has received several grants and LOCATION awards from Winnipeg Arts Council, Winnipeg Art Gallery Manitoba Arts Council and for the Arts. Twenty pieces from the Cyborg Hybrid series are in the permanent collection of the National Art Gallery in . She graduated from Concordia University with a BFA and is based in Winni- peg.

WORK CIRCUIT CITY II, 2007 CIRCUIT CITY III, 2007 CIRCUIT CITY V, 2007 CIRCUIT CITY VI, 2007 CIRCUIT CITY IX, 2007 Courtesy the Artist

LOCATION P

hoto credit: Jason Manitoba Hydro, Head Office G rubb

13 ← Repellent Eye (Winnipeg) 2011 (detail) | Postcommodity | 2011 | Installation SHUVINAI ASHOONA CAN CAN MICHAEL BELMORE CAN REBECCA BELMORE CAN

Shuvinai Ashoona was born in Cape Mary Anne Barkhouse was born in Michael Belmore is a member of Born in Upsala, ON, Rebecca Belmore Dorset, NU, and began drawing in Vancouver, BC, and belongs to the the Royal Canadian Academy of Arts is an artist currently living in 1995. Ashoona's work was first Nimpkish band, Kwakiutl First Na- and graduated with an A.O.C.A. in Vancouver, BC. She attended the On- included in the Cape Dorset annual tion. She is a descendant of a long sculpture/installation from tario College of Art and Design and print collection in 1997, with two line of internationally recognized College of Art & Design in 1994. is internationally recognized for small dry-point etchings entitled artists that includes Ellen Neel, Michael works in a variety of media her performance and installation Interior (1997-33) and Settlement Mungo Martin and Charlie James. She including plastic, metal and wood. art. Since 1987, her multi-disci- (1997-34). Since then, she has graduated with honours from the He also works with graphite on plinary work has addressed history, become a committed and prolific Ontario College of Art and Design matte film, which he incorporates place and identity through the graphic artist, working daily in and has exhibited widely across into large format light boxes. His media of sculpture, installation, the Kinngait Studios. Her impres- Canada. Working with a variety of work has been exhibited nationally video and performance. Belmore was sive sensibility for the landscape materials and processes, Barkhouse and internationally and is repre- Canada's official representative at around the community of Cape Dorset examines environmental concerns sented in the permanent collec- the 2005 Venice Biennale. Her work has attracted the attention of sev- and Indigenous culture through the tions at the Indian Art Centre in has appeared in numerous exhibi- eral notable private galleries, as use of animal imagery. A member of Gatineau, the McMichael Canadian tions both nationally and interna- well as public institutions such as the Royal Canadian Academy of Art, Art Collection in Kleinburg, Thun- tionally including two solo tour- the McMichael Canadian Collection's Barkhouse’s work can be found in der Bay Art Gallery, Agnes Ether- ing exhibitions, The Named and the 1999 exhibition entitled Three the collections of the Art Bank of ington Art Gallery in Kingston, Unnamed, Morris and Helen Belkin Women, Three Generations. Her most the Canada Council for the Arts, and in numerous private collec- Art Gallery in Vancouver (2002); recent exhibition presented her Museum of Anthropology at the Uni- tions. He has also shown at several and 33 Pieces, Blackwood Gallery, work alongside Toronto-based artist versity of British Columbia, The artist-run centres and collectives University of Toronto at Missis- Shari Boyle at the Justina Barnicke Banff Centre and the Department of across Canada and has created site- sauga (2001). Her group exhibitions Gallery at Hart House in Toronto. Indian and Northern Affairs. In specific installations for Thunder include Houseguests, Art Gallery of Ashoona is also the subject of a addition she has public art instal- Bay Art Gallery and the City of Ontario (2001); Longing and Be- documentary art film to be released lations at Thunder Bay Art Gal- Peterborough. longing: From the Faraway Nearby, next year. lery, University of Western Ontario SITE Santa Fe in New (1995); in London, McMichael Canadian Art WORK Land, Spirit, Power, National Gal- WORK Collection in Kleinburg, Robert SMOULDER, 2010-2011 lery of Canada (1992); and Creation UNTITLED (ROCK LINES WITH ANIMAL McLaughlin Gallery in Oshawa, Mac- Courtesy the Artist or Death: We Will Win, at the Ha- FORMS), 2003 donald Stewart Art Centre in Guelph vana Biennial, Cuba (1991). Collection of the Winnipeg Art and the Millennium Walkway in Pe- LOCATION Gallery; Acquired with funds from terborough. Main Exhibition Site WORK the Winnipeg Rh Foundation Inc., THE BLANKET, 2010 2004-75 WORK Courtesy the Artist UNTITLED (CHAPEL), 2004 THE FOUR HORSES OF THE APOCALYPSE Collection of the Winnipeg Art AND THE DONKEY OF ETERNAL LOCATION Gallery; Acquired with funds from SALVATION, 2008 Plug In ICA the Winnipeg Rh Foundation Inc., Courtesy the Artist 2004-74 LOCATION LOCATION Main Exhibition Site Winnipeg Art Gallery

14 15 COLLEEN CUTSCHALL USA WALLY DION CAN JIMMIE DURHAM USA ROSALIE FAVELL CAN

Colleen Cutschall's tribal affilia- Wally Dion lives and works as an Jimmie Durham is an American-born Rosalie Favell was born and raised tion is Oglala-Sicango Lakota, Pine artist in Saskatoon, SK. Dion is a sculptor, essayist and poet cur- in Winnipeg, MB. Much of her work Ridge, SD. She received her BFA member of Yellow Quill First Nation rently living in Europe. He has draws upon both her family history from Barat College, Lake Forest, (Salteaux). In 2004, Dion graduated been active in theatre, performance and Métis (/English) heritage IL in 1973 and a MS Ed, from Black from the University of and literature and was a prominent that goes back many generations in Hills University, Spearfish, SD. with a BFA. His work has typically figure in the U.S. Civil Rights Winnipeg and surrounding areas. She She currently teaches at Brandon consisted of large scale painted Movement. He served as a political uses many sources to present a com- University in the Visual Arts De- portraiture sometimes working with organizer in the American Indian plex self-portrait of her experi- partment on Native Issues. Her solo themes including social-realism Movement from 1973-1980. He was the ences as a contemporary Aboriginal exhibitions include Voice in the and First Nations class struggles Director of the International In- woman. In addition to scouring her Blood, organized by the Art Gallery in modern Canadian life, specifi- dian Treaty Council and representa- family albums for visual material, of Southwestern Manitoba, which cally in Saskatchewan. More re- tive at the United Nations and the she finds inspiration in popular toured to Oscar Howe Art Center in cent work has involved the use of Director of the Foundation for the culture and has incorporated a num- Mitchell, SD; Dakota Gallery in recycled computer circuit boards Community of Artists (FCA) New York ber of warrior women from televi- Sioux Falls, SD; Minnesota State for large sculptural pieces. As an City from 1981-1983. He has lived sion series and movies into her University in Moorhead; Thunder Bay active artist, Dion has been met and worked all over the world in- works. Her recent work undertakes Art Gallery; MacKenzie Art Gallery with positive support from both the cluding in the United States, Swit- a spiritual quest, drawing upon a in Regina; North Dakota Heritage local and national art communities. zerland and Mexico. His poetry has number of religions and beliefs. In Center in Bismarck, ND; Art Gal- He is the recipient of numerous been published in Harper’s Anthol- 1998, she earned an MFA from the lery of Mississauga, and Wauskewin grants from agencies including the ogy of 20th Century Native American University of New Mexico, in Albu- Heritage Center Art Gallery in Canada Council for the Arts and the Poetry and various small magazines. querque. Saskatoon. Her work is represented Saskatchewan Arts Board. In the His book of poems, Columbus Day, in the collections of the Manitoba summer of 2008, Dion held his first was published by West End Press WORK Arts Council Art Bank, The Canada major solo exhibition: Wally Dion in 1983. His essays and articles THE SEARCH FOR LIFE BEYOND Council Visual Art Bank, the Gov- at the MacKenzie Art Gallery in have appeared in Los Angeles Times, OUR PLANET, 2010 ernment of Manitoba, the MacKenzie Regina. His work has been included Art Forum, Black Scholar and Third Courtesy the Artist Art Gallery, Indian and Northern in several group shows: Flatlanders Text among others. His work has be Visit www.artsforall.ca for Affairs, the Oscar Howe Art Center, (2008), Honouring Tradition (2008) exhibited in Museum van Hedendaagse screening dates and times. the Sioux Indian Museum and the and No Word for Good Bye (2006). Kunst in Gent, Palais des Beaux Winnipeg Art Gallery. His work can be found in sev- Arts in Brussels, ICA London, Docu- LOCATION eral prominent public collections menta in Kassel, Hamburg Kunstver- Manitoba Museum WORK including the Saskatchewan Arts ein, FRAC in Reims, Wittgenstein SONS OF THE WIND, 1996 Board, Canadian Museum of Civiliza- Haus in Vienna, Whitney Biennial, SYNCHRONIZATION WITH THE tion, Canada Council Art Bank and Kunstverein in Munich, Venice Bien- BEYOND 2012, 1996 the MacKenzie Art Gallery. nale, among others. In 2009 Jimmie MILKY WAY, SPIRIT TRAIL, 1996 Durham had a survey at Musée d’Art THE ANDROGYNOUS LANDSCAPE, 1996 WORK Moderne de la Ville de Paris and SIGHTING CYRIUS, 1996 THUNDERBIRD, 2008 participated at the Lyon Biennal. AMMUNAKI, 1996 Collection of the Mackenzie Art Courtesy the Artist Gallery, Regina WORK POLE TO MARK THE CENTRE OF THE LOCATION LOCATION WORLD (AT WINNIPEG), 2010 Main Exhibition Site Plug In ICA Courtesy of Plug In ICA

LOCATION Plug In ICA

16 17 JEFFREY GIBSON USA BRETT GRAHAM NZL FAYE HEAVYSHIELD CAN MARJA HELANDER FIN

Jeffrey Gibson is a painter and Brett Graham is one of New Zea- Faye HeavyShield was born and Marja Helander is an artist of Sámi sculptor living in Brooklyn, NY. He land’s most exciting and accom- raised on the Blood Reserve in the heritage. She originally graduated began exhibiting regularly in the plished sculptors, highly regarded southern Alberta foothills. She as a painter from the Lahti Insti- United States in 1999. Previously, for his ability to abstract com- has studied at the Alberta College tute of Fine Arts, in 1992. he had been living abroad and ex- plex historical and cultural ideas of Art and Design and the Univer- Ultimately, Helander focused more hibiting and publishing in England, into formally strong and beautiful sity of Calgary. Since the early on using photographs in her works Norway and . Exhibitions in- sculptural forms. Graham places 1990s her work has been exhibited and went on to study photography at clude Le Désert de Retz at Massimo strong emphasis on materiality and throughout Canada in numerous im- the University of Art and Design Audiello in New York, From the Root surface with the formal simplic- portant solo and group exhibitions in Helsinki, where she graduated to the Fruit at Alona Kagan Gal- ity of his sculptural pieces and including; Land, Spirit, Power, in 1999. In 1994, Helander was one lery in New York, Out of Bounds predominant use of wood and stone. National Gallery of Canada; Heart, of the ten finalists in the Foto at Glyndor Gallery in the Bronx, Graham’s work engages in a dual di- Hoof, Horn, Glenbow Museum in Finlandia competition. Her work has Play at Iandor Fine Arts in Newark, alogue of Maori and European histo- Calgary; She: A Roomful of Women, been presented in solo and group Working Space at Cuchifritos Gal- ries whilst adhering to the modern- Thunder Bay Art Gallery; Nations exhibitions both in Finland and lery in New York, Evolving Pattern ist emphasis on form and material in Urban Landscapes, Contemporary abroad, including the Hasselblad at New Jersey City University and quality. Although his works may not Art Gallery in Vancouver; Spiral Center in Gothenburg, BildMuseet Spectro Surface at Freeform Gallery directly invoke Maori sculptural and Other Parts of the Body, La in Umeå, Charlottenborg Exhibition in Philadelphia. His solo exhibi- tradition, they nonetheless speak Centrale/Powerhouse in Montreal; Hall in Copenhagen, and Galleri F15 tion at The American Indian Com- of that tradition in their titles In My Lifetime, Canadian Museum in Moss, Norway. munity House Gallery in New York, and concept. His work is acces- of Civilization in Gatineau; and Indigenous Anomaly, was curated by sible on an aesthetic, personal and Blood, Southern Alberta Art Gallery WORK Kathleen Ash-Milby, Associate Cura- historical level, enabling both in Lethbridge. HeavyShield's work MOUNT ANNIVAARA UTSJOKI, 2002 tor at The National Museum of the the object and viewer to occupy a is held in public and private col- Courtesy the Artist American Indian, Smithsonian Insti- common ground. In the last decade lections throughout North America, tution. The Smithsonian Institution Graham has exhibited extensively, including the National Gallery of LOCATION also purchased the first work of locally and internationally, as Canada, the Kelowna Art Gallery and Plug In ICA the series to be included in their well as being regarded as a lead- the Heard Museum in Phoenix, AZ. permanent collection. ing authority on contemporary Maori sculpture. WORK WORK SLIVERS, 2011 UNTITLED, 2011 WORK Courtesy the Artist Courtesy the Artist TE HOKIOI, 2008-2009 Courtesy Auckland Art Gallery Toi LOCATION LOCATION o Tamaki; gift of the Patrons of Winnipeg Art Gallery Plug In ICA the Auckland Art Gallery, 2009.

LOCATION Plug In ICA

18 19 JONATHAN JONES AUS BRIAN JUNGEN CAN JAMES LUNA USA KAVAVAOW MANNOMEE CAN

Whether in discrete sculptural Brian Jungen was born in Fort St. James Luna is a Luiseno Indian Kavavaow Mannomee was born in Bran- forms or large-scale installa- John, BC, to a Canadian father and who resides on the La Jolla In- don, MB and now lives with his wife tion works, Jonathan Jones acti- a Dunne-za mother. He studied visu- dian Reservation. He holds a BFA and son Peter in Cape Dorset, NU. vates spaces between light and al art at the Emily Carr University from the University of California, Kavavaow has demonstrated a range its absence, between the material of Art + Design, graduated in 1992, Irvine and an MS in Counseling from of stylistic abilities over the and ephemeral – spaces that are and now lives and works in Vancou- San Diego State University. Luna years - from the very literal to also distances to be traversed ver. Jungen has exhibited exten- has stated that "art work in the the more expressive. His thematic between cultures, between history sively in Canada and internation- media of performance and installa- concerns include depictions of and memory, between past, present ally, in venues including the Tate tion offers an opportunity like no Inuit legends and mythology, Arctic and future. Jonathan Jones is a Modern in London, the New Museum in other for Native people to express wildlife and an interest in some of Sydney-based artist of Kamilaroi/ New York, the Biennale of Sydney, themselves without compromise in the more contemporary aspects of Wiradjuri heritage. His major solo the Gwangju Biennial in South Ko- the Indian traditional art forms of Inuit life. Mannomee is the lat- exhibitions include Jonathan Jones: rea, and Secession in Vienna. From ceremony, dance, oral traditions est among the second generation to untitled [the tyranny of distance] 2005 to 2007, he was the subject of and contemporary thought.” His attract critical acclaim from the at Sherman Contemporary Art Foun- a major exhibition organized by the installations have been described contemporary arts audience in the dation in Sydney (2008) and Jona- Vancouver Art Gallery that traveled as transforming gallery spaces into south. He and Shuvinai Ashoona have than Jones at Newcastle Region Art to New York, Montreal, Rotterdam, battlefields, where the audience is been profiled, along with Nick Sik- Gallery (2007). His work has been and Munich. His work is included confronted with the nature of cul- kuark of Gjoa Haven, in the arts included in a range of group exhi- in the collections of the National tural identity, tensions generated magazine Border Crossings. He trav- bitions both around Australia and Gallery of Canada, the Art Gal- by cultural isolation and dangers elled to Toronto in June of last internationally, including NEW08 at lery of Ontario, the Vancouver Art of cultural misinterpretation — all year for his first solo exhibition Australian Centre for Contemporary Gallery, and the National Museum from a Native perspective. He ad- of original drawings, and this year Art in Melbourne (2008), Adven- of the American Indian, as well as dresses the mythology of what it to Vancouver for another exhibi- tures with form in space at Art numerous private collections. means to be “Indian” in contempo- tion featuring his contemporary Gallery of NSW (2006), Primavera rary American society and exposes work. For several years Mannomee at Museum of Contemporary Art in WORK the hypocrisy of the dominant has worked for the Kinngait Studios Sydney (2003) and the 2002 Adelaide BUSH CAPSULE STUDY, 2000 society, which trivializes Indian as a printmaker, first in the li- Biennial of Australian Art. Jones Courtesy John Cook, Ottawa people as romantic stereotypes. thography studio and more recently was recipient of the Xstrata Coal LITTLE HABITAT II, 2004 Luna has exhibited across the US, in the stone cut studio. He is an Emerging Indigenous Art Award from Courtesy Brett Shaheen, Cleveland Canada, Japan and the UK. accomplished and precise printmaker the Queensland Art Gallery in 2006. who enjoys the opportunity to dem- LOCATION WORK onstrate printmaking techniques to WORK Plug In ICA SPIRITS OF VIRTUE AND EVIL AWAIT young artists and visitors to the UNTITLED, 2010 MY ASCENSION, 1998 studio. Courtesy the Artist Courtesy the Artist WORK LOCATION LOCATION DARK FANTASY, 2008 Plug In ICA Main Exhibition Site Private Collection AIRLIFT, 2009 Private Collection

LOCATION Main Exhibition Site

20 21 TRACEY MOFFATT AUS KENT MONKMAN CAN REUBEN PATERSON NZL ARCHER PECHAWIS CAN

Tracey Moffatt is an Australian Kent Monkman is an artist of Cree Reuben Paterson is of Maori descent Performance artist, new media art- photographer and filmmaker. Her ancestry who works in a variety of (Ngati Rangithi) from the Bay of ist, filmmaker, writer, curator and work reflects her views on Ab- media including painting, film/vid- Plenty region of the North Island educator, Archer Pechawis was born originality and the misconceptions eo, performance and installation. of New Zealand. After receiving in Alert Bay, on Vancouver Island. about and representations of her Monkman has exhibited widely within a postgraduate in Fine Arts from He has been a practicing artist people in art and cinema. Her ear- Canada and is well represented in Auckland University 1997, Paterson since 1984 with particular inter- liest photographic work, a series numerous private and public col- went on to receive New Zealand’s est in the intersection of Plains of black-and-white portraits of lections including the National prestigious Moet et Chandon Award Cree culture and digital technol- members of the Aboriginal and Is- Gallery of Canada, the Art Gallery to Avize, France as its young- ogy, often merging "traditional" lander Dance Company, was entitled of Ontario and the Montreal Museum est recipient. He returned to New objects such as hand drums with Some Lads (1986), and was a subtly of Fine Arts. He is represented by Zealand to complete a Post Graduate "forward engineered" devices such subversive take on the 19th-century Stephen Friedman Gallery in Lon- Diploma in Primary School Teach- as Mac PowerBooks. His work has ethnographic photograph. Using a don, UK, and Bailey Fine Arts in ing in 2001. Paterson exhibits been exhibited across Canada and documentary style, Moffatt of- Toronto. nationally and internationally, featured in publications such as ten draws on images from film and most recently in the Sydney Bien- Fuse Magazine and Canadian The- television made during her youth in WORK nale, Prague Biennial and Centro de atre Review. Archer has been the the 1960s and 1970s as an adopted UNTITLED, 2011 Arte Caja De Burgos in Spain, The recipient of many Canada Council half-Aboriginal child in a white Courtesy the Artist Cambridge Museum in England and the for the Arts and British Columbia family. She carefully stages images Institute of Modern Art in Bris- Arts awards and was the recipient to reflect familiar tableaux, but LOCATION bane, Australia. of the Best New Media award at the with a twist. Plug In ICA imagineNATIVE Film + Media Arts WORK Festival in 2007. Archer also works WORK NIGH, 2005 extensively with Native youth as NIGHT CRIES: A RURAL TRAGEDY, 1990 TE PUTAHITANGA O REHUA, 2005 part of his art practice, teach- BEDEVIL, 1993 Courtesy the artist and Gow ing performance and digital media Courtesy Women Make Movies, Langsford Gallery, Auckland for the Indigenous Media Arts Group New York and in the public school system. Of LOCATION Cree and European ancestry, he is a LOCATION Main Exhibition Site member of Mistawasis First Nation, Winnipeg Art Gallery Saskatchewan, and currently resides Visit www.artsforall.ca for in Vancouver, BC. screenings dates and times. WORK HORSE (re-performance)

LOCATION Winnipeg Art Gallery Visit www.artsforall.ca for performance dates and times.

22 23 EDWARD POITRAS CAN POSTCOMMODITY USA PUDLO PUDLAT CAN

Edward Poitras was born in Regina, Postcommodity is a contemporary Pudlo Pudlat lived as a hunter and Arrival of the Prophet, 1983 SK. He is a member of the Gordon American Indian artist collective made his home in small camps along Collection of the Winnipeg Art First Nation and resident of Treaty comprised of Raven Chacon (Navajo), the southwest coast of Baffin Is- Gallery, G-84-28 Four Territory. Poitras has been Kade L. Twist (Cherokee), Nathan land until the early 1960s. It was Journey into Fantasy, 1983 active as an artist since the early Young (Delaware/Kiowa/Pawnee) and upon moving to Kiaktuuq during a Collection of the Winnipeg Art 1970s, when he began his studies Steven Yazzie (Laguna/Navajo) that bout of tuberculosis, that Pudlat Gallery; Gift of Indian and at the Saskatchewan Indian Cul- was founded in 2007. Postcommodity met James Houston, who encouraged Northern Affairs, Canada, G-89-1073 tural College in Saskatoon and then combines their intertribal Indig- his talent. Pudlat then began a Vision of Two Worlds, 1983 Manitou College in Quebec. Over the enous worldview with interdisci- practice that would come to en- Collection of the Winnipeg Art past twenty years he has exhibited plinary actions and conceptual art compass over 4,500 drawings, 180 Gallery; Gift of Indian and extensively, in 1995 representing practice as a means to engage in prints and several sculptures, many Northern Affairs, Canada, G-89-1763 Canada at the prestigious Venice Indigenous human rights advocacy of which can be found in the Cape Biennial and most recently winning and decolonize the geographies and Dorset Graphics Collection. Pudlat, Location The Governor General's Awards in discourse of the Western Hemi- due to his illness, flew south, Winnipeg Art Gallery Visual and Media Arts. sphere. Postcommodity is a proud as well as to other areas in the descendent of the American Indian north, on several occasions. The WORK self-determination movement that objects he encountered during his BALUSTRADE, 2011 seeks to contribute to the larger travels are prominent in his sub- Courtesy the Artist postcolonial Indigenous narrative ject matter. of social, cultural, political and LOCATION economic perseverance. WORK Plug In ICA Avingaluk (The Big Lemming), 1961 WORK Collection of the Winnipeg Art MOTHER, TEACHER, DESTROYER, 2010 Gallery; Gift of the Women’s Courtesy the Artists Committee, G-75-84 LOCATION Ecclesiast, 1969 Main Exhibition Site Collection of the Winnipeg Art Gallery, 2003-99 WORK Aeroplane, 1976 REPELLENT EYE (WINNIPEG) 2011 Collection of the Winnipeg Art Courtesy the Artists Gallery, G-84-299 LOCATION Jet Trails over the Sea, 1976-1977 Manitoba Hydro, Head Office Collection of the Winnipeg Art Gallery; Gift of Indian and Northern Affairs, Canada, G-89-1082 In Celebration, 1979 Collection of the Winnipeg Art Gallery; Gift of Indian and Northern Affairs, Canada, G-89-1064 Two Loons at Sea, 1979 Collection of the Winnipeg Art Gallery; Gift of Indian and Northern Affairs, Canada, G-89-1057 Umimmak Kalunaniituk (Muskox in the City), 1979 Collection of the Winnipeg Art Gallery; Gift of Indian and Northern Affairs, Canada, G-89-1061

24 25 LISA REIHANA NZL PAUL-ANDERS SIMMA FIN DOUG SMARCH JR. USA SKAWENNATI CAN

Lisa Reihana is a Maori artist who Paul-Anders Simma is a Sámi film- Doug Smarch is from the Tlingit na- Skawennati is an artist, writer and has played a leading role in the maker, who grew up in a nomad fam- tion and grew up in Teslin, a small independent curator who is cur- development of film and multime- ily. He was educated at the Swedish Yukon community. Smarch attended rently focused on creating proj- dia art in Aotearoa, NZ. Her work Film Institute and has worked in TV San Francisco Arts Institute and ects for the World Wide Web, which demonstrates a keen interest to production since the mid-1980s. All earned a BFA. He then went on to she believes, is an extraordinary communicate complex ideas about his films have a close connection earn a Graduate Degree in Design art delivery system. Projects have Indigenous identity and bi-cultural with Sámi culture. His breakthrough Media Arts from the University of included CyberPowWow, a virtual living. Reihana’s desire to ad- short film Let’s Dance! (1991) is California, Los Angeles. Smarch is gallery and chat space; Imagining dress and engage with contemporary a humorous story about a Sámi boy an emerging artist and has had his Indians in the 25th Century, a web- experience through diverse media going to his first dance. Simma's work in several significant nation- based paper doll/time-travel jour- is expressed in installations that feature films include The Minister al and international exhibitions nal; and her current obsession, 80 are collages drawn from eclectic of State (1997) and The Legacy of that include Traditions of Change Minutes, 80 Movies, 80s Music. In sources. Her examination of cultur- the Tundra (1995), which explores in the Nordamerika Native Museum in 1994, Skawennati co-founded Nation al histories utilizes photography, the psychological dimensions of Zurich, and The Road: Constructing to Nation, a First Nations artist sculpture and time-based arts. She reindeer herding Sámi. His documen- the Alaska Highway, which has been collective. As Curatorial Resident represented New Zealand in Paradise tary work includes the celebrated exhibited at the Art Gallery of at the Walter Phillips Gallery at Now? at the Asia Society Museum in Give Us Our Skeletons! (1999) about Alberta and the Yukon Arts Centre The Banff Centre, she mounted Blan- New York; the 2000 Sydney Biennale, Sámi activist Nils Somby and his Public Art Gallery. His work is ket Statements, an exhibition of the Noumea Biennale (2002) and the quest for the repatriation of the in several collections including art quilts, and The People's Plas- Asia Pacific Triennial (1996 and human remains of Sámi ancestors. North West Territories Arts Centre tic Princess, a survey of more than 2003). The significant work Native in Iqaluit, NWT and the Museum of thirty years of Barbie art. During Portraits was commissioned for the WORK Civilization. her two-year stay in San Francisco, opening of Te Papa Tongarewa in GIVE US OUR SKELETONS! Skawennati produced Arts Alliance Wellington, NZ, and has received (ANTAKAA MEILLE LUURANKOMME), 1999 WORK Laboratory's monthly CRIT (Critical much critical acclaim. Reihana has Courtesy the Finnish Film LUCINATIONS, 2004 Reviews of Interactive Technology) undertaken residencies at the In- Foundation Courtesy the Artist nights and co-curated New Fangle stitute for Modern Art in Brisbane for GenArtSF. Her articles have and at The Banff Centre. She was LOCATION LOCATION appeared in Fuse Magazine, Horizon the Digital Artist-in-Residence at Winnipeg Art Gallery Main Exhibition Site Zero and Mix Magazine. Waikato University in New Zealand Visit www.artsforall.ca for (2006). screening dates and times. WORK TIME TRAVELLER ™, 2121 WORK Courtesy the Artist MAHUIKA, 2001 RANGINUI, 2001 LOCATION MARAKIHAU, 2001 Plug In ICA HINEPUKOHURANGI, 2001 Courtesy the Artist

LOCATION Plug In ICA

26 27 CHRISTIAN THOMPSON AUS MARIE WATT USA LINUS WOODS CAN LAWRENCE PAUL YUXWELUPTUN CAN

Christian Thompson is a contempo- Marie Watt is a multidisciplinary Linus Woods is a Dakota/Ojibway Lawrence Paul Yuxweluptun gradu- rary artist born in Gawler, South artist who lives and works in artist from the Long Plain First ated from the Emily Carr University Australia. He has presented his Portland, OR. Born to the son of Nation in Southern Manitoba, where of Art + Design in 1983 with an photographs, videos and performance Wyoming ranchers and a daughter of he was born. While he has taken a honours degree in painting. Yuxwe- works in numerous solo and group the Turtle Clan of the Seneca Na- few art and Native studies courses luptun's strategy is to document exhibitions nationally and inter- tion (Iroquois/Haudenosaunee) Watt at Brandon University, and has and promote change in contemporary nationally. Recent group exhibi- identifies herself as "half Cowboy studied with artists such as Jane Indigenous history in large-scale tions include Andy and OZ: Paral- and half Indian." Formally, her Ash Poitras, he is largely self- paintings (from 54.2 x 34.7cm to lel Visions, Andy Warhol Museum in work draws from Indigenous design taught. Woods sees his paintings 233.7 x 200.7cm), using Coast Sal- Pittsburgh; Workin Down Under, Wood principles, oral tradition, person- as expressions and extensions of ish cosmology, Northwest Coast Street Galleries in Pittsburgh; al experience and Western art his- his spiritual journey. His art; formal design elements, and the Brilliance, Aboriginal Art Museum tory. Her approach to art-making is acrylic, oil and collage on canvas; Western landscape tradition. His in Utrecht, The Netherlands; This shaped by the protofeminism of Iro- are subtle works featuring pastel painted works explore political, Crazy Love, Linden Centre for Con- quois matrilineal custom, political pallets and geometric shapes and environmental and cultural issues. temporary Art in Melbourne; Cul- work by Native artists in the 60s, often include collaged images. Li- His personal and socio-political ture Warriors, National Indigenous a discourse on multiculturalism, nus Woods is a winner of the Peace experiences enhance this practice Art Triennial, National Gallery of as well as Abstract Expressionism Hills Trust Company Art Competition of documentation. Yuxweluptun's Australia in Canberra; Raised by and Pop Art. Like Jasper Johns, she and his work is in the Peace Hills work has been included in numer- Wolves, Art Gallery of Western Aus- is interested in "things that the Trust Collection and in a number of ous international group and solo tralia in Perth and Gertrude Studio mind already knows." Unlike the other collections including Winni- exhibitions, such as INDIGENA: Artists Show, Gertrude Street Con- Pop artists, she uses a vocabu- peg Children's Hospital, Long Plain Contemporary Native Perspectives in temporary Art Spaces in Melbourne. lary of natural materials (stone, First Nation, Curtis Joony Produc- (1992). He was the recipient of the He was a studio artist at Gertrude cornhusks, wool, cedar) and forms tions, Brandon University and Mae Vancouver Institute for the Visual Street Contemporary Art Spaces from (blankets, pillows, bridges) that Moore. Arts (VIVA) award in 1998. 2006 to 2008. He is currently in a are universal to human experience residency program at DasArts Ad- (though not uniquely American) and WORK WORK vanced Studies for Performing Arts noncommercial in character. SPACESHIP OVER TROUBLED WATER, 2010 KILLER WHALE HAS A VISION AND COMES in Amsterdam and a residency and THE SPEED OF LIGHT, 2010 TO TALK TO ME ABOUT PROXIMOLOGICAL public art project with the Centre WORK Courtesy the Artist ENCROACHMENTS OF CIVILIZATIONS IN for Future Art Research at Arizona STAFF: CUSTODIAN, 2007 THE OCEANS, 2010 State University. Courtesy PDX Contemporary, Portland LOCATION Private Collection Manitoba Hydro, Head Office WORK LOCATION LOCATION HEAT, 2010 Main Exhibition Site Plug In ICA Courtesy the Artist and Gallery Gabrielle Pizzi

LOCATION Plug In ICA

28 29 CLOSE ENCOUNTERS URBAN SHAMAN: Contemporary Aboriginal Art - 203–290 McDermot Ave PARALLEL PROGRAMMING TRADE ME Keesic Douglas January 28 - March 19, 2011 The close encounters between the Canadian fur trade, First Nations people and the Hudson Bay Company are explored by artist Keesic Douglas.

Frontrunners - Curated by Cathy Mattes May 28 - July 17, 2011 (preview May 7) Frontrunners will focus on the role of the Professional Native Artists Inc.’s impact within Manitoba. Presented in conjunction with Plug In ICA.

PLATFORM centre for photographic + digital arts - 121-100 Arthur St Acting Up! Performing the Indian Curated by Rosalie Favell, featuring work by Jeff Thomas, Kent Monkman, Lori Blondeau, , Adrian Stimson, Larry McNeil, Jackie Traverse and Hulleah J. Tsinhnahjinnie January 21 – March 4, 2011 Acting Up!: Performing the Indian will focus on how Aboriginal artists, both in the past and the present, have used photographic space as a performative arena in which to explore issues of identity and culture.

GALLERY 1C03 - The University of Winnipeg, 515 Portage Ave unSacred Scott Benesiinaabandan (stephens) January 20 – February 19, 2011 Benesiinaabandan contends that, like clowns or misfits in other cul- tures, Windigokaan use their backwardness to teach others, and that their contrary nature represents a powerful symbol that has received little attention to date, both within and outside of Anishinabe society.

LA MAISON DES ARTISTES VISUELS FRANCOPHONES - 219 Boul Provencher Solo Exhibition: Nadia Myre January 20 - March 17, 2011 Nadia Myre proposes The Forgiveness Project (Pardonnez moi), a new open-ended art project where people anonymously send via email, post or online comment, things (ideas/words) for which they would like to be forgiven.

NORTH END ARTS CENTRE - 472 Selkirk Ave The North End Arts Centre will have a series of emerging artists and mentor artists’ openings throughout the Close Encounters: The Next 500 Years schedule. Featured artists include: Jason Baerg, Darryl Nepinak, Jordan Bennett and KC Adams.

GRAFFITI ART PROGRAMMING INC. Local visual artist Jordan Schacht will work with Graffiti Gallery’s young participating artists in exploring the Seven Sacred Grandfather Teachings of the Anishinabe (Ojibway) Peoples.

31 ← Hinepukohurangi from Digital Marae (detail) | Lisa Reihana | 2001 | Photograph

INDEX

S T EL A S KI RK R A zArtist Biographies P.12-29 zTracey Moffatt P.22 E VE T L A zKC Adams P.09,13 zKent Monkman P.22 S D UF zMaria Thereza Alves P.13 zMap P.32 FE R IN A zShuvinai Ashoona P.14 N VE B zNorth End Arts Centre

zBus Tours P.11 P.05,09,31,32 zMary Anne Barkhouse P.14 P

T zMichael Belmore P.15 zPanel Discussion P.11 S T S N E I zRebecca Belmore P.15 zParallel Programming K A O M O C P.09,31 R L B OG R AN E A zClose Encounters P.05 zParallel Programming Sites P.09 H T VE S S HI GGINS AVE zClose Encounters Main Exhibition zParallel Programming Dates P.11 L

E B A Site P.09,11,14,15,16,21,23,24, zPLATFORM centre for photographic S I T S 27,28,32 + digital arts P.05,09,11,31,32 W S IL S T L E zColleen Cutschall P.16 zPlug In ICA I S AM C TP A A N G S C B V I R I A E N UP F zCurators P.05 P.05,09,11,15,16,17,18,19,20,22, NA R I N E IC TY P K I RT A MCDERMOTN EAVE A A VE A M V D 24,26,27,28,29,31,32 VE E zDates P.11 zReuben Paterson P.23 N OT RE D E W zWally Dion P.16 zArcher Pechawis P.23 C AM V A U E T MB A T A E ER VE zJimmie Durham P.17 zEdward Poitras P.24 S LA R R

T U F E ND H S R E SARGENT AVE V AV T O K A E E zPostcommodity P.13,24 R

D N O A

N T O L

A R A zExhibition Venues P.09 zPudlo Pudlat P.25 D L B R

R Y R O

R E M zExhibition Opening P.11 R

A H L

M S A AVE B E zExhibition Closing Reception P.11 zLisa Reihana P.26,31 T LIC T S EL S M VD E L E A B F S

G C V R A I HE N N E N NC

U E E G A SMITH ST OV zRosalie Favell P.17 zSupporters P.07

O P T S R R D P

Y S O T P O N G zPaul-Anders Simma P.26 A L D zGallery 1C03 P.05,09,11,31,32 zDoug Smarch Jr. P.11,27 S M T E M zGraffiti Art Programming zSkawennati P.27 O R I P.05,09,11,31,32 T PORTAGE AVE A L

B zJeffrey Gibson P.18 zTable of Contents P.03 L V D BROADWAY zBrett Graham P.18 zChristian Thompson P.28

H U BR OADWAY zFaye HeavyShield P.19 zURBAN SHAMAN: Contemporary

zMarja Helander P.19 Aboriginal Art P.05,09,11,31,32 CLOSE ENCOUNTERS MAIN EXHIBITION SITE URBAN SHAMAN: CONTEMPORARY ABORIGINAL ART J V 109 Pacific Ave 203–290 McDermot Ave zJonathan Jones P.20 zVenues P.09 PLUG IN ICA PLATFORM CENTRE FOR PHOTOGRAPHIC + DIGITAL ARTS zBrian Jungen P.20 W 460 Portage Ave 121-100 Arthur St (Artspace Building) L zWinnipeg Art Gallery

WINNIPEG ART GALLERY GALLERY 1C03 zLa Maison des artistes visuels P.05,09,11,13,14,19, 300 Memorial Blvd 515 Portage Ave francophones P.05,09,11,31,32 22,23,25,26,32 zJames Luna P.21 zWinnipeg Cultural Capital MANITOBA HYDRO LA MAISON DES ARTISTES VISUELS FRANCOPHONES 360 Portage Ave 219 Boul Provencher M of Canada 2010 P.07 zManitoba Hydro zMarie Watt P.28 MANITOBA MUSEUM NORTH END ARTS CENTRE P.07,09,11,13,24,29,32 zLinus Woods P.29 190 Rupert Ave 472 Selkirk Ave zManitoba Hydro Opening P.11 Y GRAFFITI ART PROGRAMMING zManitoba Museum P.05,09,17,32 zLawrence Paul Yuxweluptun P.29 109 Higgins Ave zKavavaow Mannomee P.21

CONCEPT, DESIGN AND LAYOUT BY SÉBASTIEN AUBIN DESIGN & TYPOGRAPHY PRINTED ON 100% POST CONSUMER PAPER USING VEGETABLE BASED INKS