Acknowledgements: 2018 RESEARCH RESIDENCY Crew: Sharon Kahanoff, Noel Begin, seth cardinal dodginghorse, Jordan Schinkel, Desiree Nault; Knowledge Keepers: seth cardinal dodginghorse, Ethel Jacobs, Emil Starlight, Skylar Starlight, Glenna Cardinal, Cory Cardinal, Cateri Cardinal Dodginghorse, Katherine Ylitalo, Earl Jacobs; Float Participants: Ashley Bedet, seth cardinal dodginghorse, Natasha Chaykowski, Merray Gerges, Alexandria Inkster, Tomas Jonsson, Desiree Nault, Pan Preibe, Jordan Schinkel, Jessie Short, Sachin Sudra; Thank You: Tsuut'ina Nation, The Military Museums, Tsuut'ina Cultural Museum, CJSW 90.9, Calgary Society of Independent Filmmakers | 2019 PRODUCTION RESIDENCY Actors: seth cardinal dodginghorse, Hanum Yoon-Henderson; Elders: Ethel Jacobs, Marie Dodginghorse, Glenna Cardinal, Jin-Sun Yoon; Performers: Brandon Anderson, Kirsten Cardinal, Richelle Bear Hat, Cateri Cardinal Dodginghorse, Areum Kim, Gwenessa Lam, Ann Le, Nikki Martens, David Videla, Palmer Olson, Latifa Pelletier-Ahmed, Nathan Pohan, Pan Priebe, Alberta Rose W., Uii Savage, Ursula Sokol, Sachin Sudra, Mike Tan, Marshall Two Guns, Ana Villanueva; Line Producer/Production Manager: Sharon Kahanoff; Cinematographer/Editor: Ian Barbour; Photography Camera Operator/2nd Video Camera Operator: Noel Bégin; Camera Assistant: Jordan Schinkel; Location Scout: seth cardinal dodginghorse; Props Maker: Anna Semenoff; Unit Manager: Desiree Nault; Production Assistants: Ginger Carlson, Glenna Cardinal, Gwenessa Lam, Palmer Olson; Cast Production Assistant: Richelle Bear Hat; Indigenous Consultant: seth cardinal dodginghorse; Ring Road Liaison: Ian McColl from KGL Construction; Catering: Al Kahanoff, Lacey’s Catering, Taste of Korea; Musicians: Hanum Yoon-Henderson, seth cardinal dodginghorse; Thank You: Ethel Jacobs, Marie Dodginghorse, Glenna Cardinal, Katherine Ylitalo, Al Kahanoff, Tiaré Jung and Sam Bradd from Drawing Change, Randy Niessen and Tomas Jonsson from Calgary Public Art, Tsuut'ina Nation, CJSW 90.9, Calgary Society of Independent Filmmakers, EMMEDIA Gallery & Production Society, Long & McQuade, Presented by Located at Artist talk CommunityWise Resource Centre; Acknowledgements: KGL Construction, Alberta Transportation, Jacobs Construction, Heritage Park, Calgary Economic Development and The City of Calgary, The Military Museums 2020 EXHIBITION Preparators: Anna Semenoff, Alberta Rose W.; Post-Production Stills Editor: Rachel Topham; Post-Production Printing: August Art Reproduction; Image Mounting: Resolve Photo; Framing: Jarvis Hall M:ST Performative Art 2009 10 Ave SW Wednesday, October 2 TRUCK Contemporary Art Mohkinstsis | Calgary In partnership with the Gallery + Fine Frames; Stretcher Construction: Upper Canada Stretchers; Asphalt: Fish Creek Excavating; Media Partners: Rungh Cultural Society, C Magazine; Thank you: Kihan Yoon-Henderson, The New Gallery, Oil City Illingworth Kerr Gallery Press Ltd.; Funders: Alberta Culture's Anti-Racism Community Grant, Alberta Foundation for the Arts, Alberta Lottery Fund, BC Arts Council, Calgary Arts Development, Canada Council for the Arts, Rozsa Foundation People suspend in float tanks; their nervous systems slow down. They float for mixed with jump cuts; and the emergence of a strange figure– part Rodeo Clown, Other Ways Through (Saekdong Skies) addresses this worldview directly, opening ninety minutes and their sense of self loosens. They are preparing for a part cheerleader, part Korean folk dancer?– appearing mysteriously the tunnel form itself to alternate routes. Eight feet long and six feet in conversation, tending to their bodies before discussing the effects of colonialism throughout. Divided in three parts, just as the film starts to diameter, this artwork is a CNC rendering of the and racism. Called Relaxing into Relation, this experiment was proposed and led cohere into a story, it seems to shift stories connector tunnel when it was under by Jin-me Yoon for the 9th M:ST Performative Art Biennial in 2018, and it emerged altogether. Is that the vision being construction. The work offers from the following question: “untunnelled”—our relentless drive multiple ways through this for a singular story, told from one linear form, one through Can another form of being together be brought forth, one perspective? photographs that that is less prone to violence and oppression? skin the outside Despite the many of the tunnel, This is where Untunnelling Vision began and the gallery located on the second differences, all the works in another floor of TRUCK Contemporary Art includes a work inspired by these float Untunnelling Vision were through the experiences. Openings (Saekdong Seas) is a video that aims to unleash a potential produced at the same physical model, carried in these altered-state conversations, as does the exhibition as a whole. locations. Two feature energetically enlivened predominantly, both marked by by the coloured stripes that line Three years, two residencies, and one workshop later, Untunnelling Vision is the historical twists and turns in the the inside. The stripes reference the culmination of Yoon’s site-specific research in combination with an artistic practice sedimented narratives they tell. These sites are “saekdongot”, a traditional Korean pattern especially focused on the entanglements of militarism, tourism, and colonialism. The located on either side of the border between Tsuut’ina Nation and the City of associated with children’s clothing. The saekdongot symbolizes resilience; its exhibition was enabled by many IBPOC workshop participants, as well as Elders Calgary. The first is on land leased to the Canadian Armed Forces from 1910 to colours vibrate together. For Jin-me Yoon, this vibration carries a potential future. and Knowledge Keepers from the Treaty 7 Nations, particularly from Tsuut’ina. 1998. Used for manoeuvre training that included land and air launched rockets Untunnelling Vision opens a set of relations, amongst those who have been a part and grenades, it was returned to Tsuut’ina Nation contaminated with unexploded So, too, does the video in the screening room of TRUCK. In Untunnelled: Sonic of the process, and between the final works themselves. It is possible to look at munitions from ‘war-play.’ Ten years later, ordnances were cleared and a movie set Transformations #1, two of the characters from the main video are witnessed the artworks as discrete objects, but they say much more when considered was erected for the shooting of the Canadian WWI film Passchendaele. Years after playing instruments inside the Ring Road tunnel. (Their sonic bass is also the alongside one another. the movie left theatres, the set remains—a place reduced to rubble by war. source material for the sound in the main video.) In their performance, seth cardinal dodginghorse (who contributed significantly throughout the research In the main gallery of TRUCK, multiple approaches to photography are present: Not far from the film set is a construction site on land obtained from the Tsuut’ina and production) and Hanum Yoon-Henderson (Yoon’s son) are seen improvising pictorial representations, staged representations, photoshopped images, Nation by the City of Calgary for its South West Ring Road. When complete, it will with each other and with the effects generated by the tunnel itself. In the act of three-dimensional photographs, even photographs made without a camera. What include 31 km of six and eight-lane divided highways, 14 interchanges, and 49 creation, the tunnel transforms. It exceeds what it was intended to be, and in so does it mean to look at all these different images gathered together? It’s as if bridges. “Destined to become part of a large east-west trade corridor that will doing, expands the set of possibilities. “A future, potentialized, haunts that tunnel photography itself were on display. The eponymous video is similar, it strains at enhance access to markets in and out of Alberta,” part of the transportation now; it is carried in the very vibrations they created. Unlike images, sound can’t be the seams from its own difference. Skirting the borders between narrative, design includes a tunnel that leads to the Tsuut’ina Nation. This tunnel, and contained, it can’t be captured in the same way. Their sounds reverberate, documentary, and experimental film, the video contains black and white, and tunnels in general are a recurring motif throughout the exhibition, standing in for carrying the history of a future that could be.” colour footage; conventional and 360 degree images; long, durational shots worldviews that privilege a direct route from point A to point B. Learn more about the exhibition online: www.mountainstandardtime.org | www.truck.ca.