“150 ACTS: ART, AC­TIVISM, IM­PACT”

ART GALLERY OF GUELPH Septem­ber 14 to February 11

Canadian Art - - Preview -

Draw­ing from the gallery’s col­lec­tion of Indige­nous art and timed to co­in­cide with Canada’s sesqui­cen­ten­nial, this ex­hi­bi­tion aims to prompt re­flec­tion about the re­la­tion­ship be­tween na­tion­hood and Indi­gene­ity in Canada. Di­rec­tor Shauna Mccabe be­lieves art and pol­i­tics can­not be sep­a­rated.

SHAUNA MCCABE: Shel­ley Niro ex­plores myth­mak­ing and sto­ry­telling through por­trai­ture in her se­ries Ghosts, Girls, Grand­mas. Ghost im­agery re­curs in her work to pro­vide al­ter­na­tive read­ings to his­tor­i­cal events, to trou­ble the bound­ary be­tween past, present and fu­ture. The wam­pum frame and the Þgure with its psy­chic dou­ble hov­er­ing over his shoul­der sig­nify Iro­quois an­cient his­to­ries that are ßuid in their telling of time.

Michael Massie is a carver and sil­ver­smith who is renowned for his teapot sculp­tures. They high­light ten­sions be­tween the or­ganic and the do­mes­tic through iconog­ra­phy from Inuit cul­ture blurred with Euro­pean tra­di­tions. The hu­mour en­hances the par­tic­i­pa­tory di­men­sion of the tea cer­e­mony.

In his larger-than-life per­for­mance-por­trait se­ries Masks, Arthur Ren­wick asked Indige­nous artists, writ­ers and thinkers to cre­ate masks of their own faces. Each of th­ese per­form­er­sñin this case, Re­becca Bel­moreñ con­sid­ers the difþcult re­la­tion­ship be­tween them­selves and how Indige­nous peo­ple have been rep­re­sented, then mock it in this play­ful yet crit­i­cal way.

FROM TOP: Shel­ley Niro Ghost 2004 Michael Massie let me whip you up a cup of tea 2007

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