1. In my practice, I bring bodies into the museum. I choose to do this—position bodies in relation to objects—because for so long they have been absent from one another. Through scores, I work with dancers as a way to transmit knowledge and Indigenous ideas, particularly in relation to those structures that limit our mobility or attempt to contain us. Structures like the museum, which has controlled ideas about Indigenous peoples and in most instances separated our objects or cultural belongings from us, decontextualizing them.
I am interested in the ways in which both ideas and actions are mobile, ephemeral and ultimately uncontainable.
And how bodies in relation to objects might allow us to reconnect, even in some small way. 2. Kari Cwynar in a Skype conversation on March 12, 2016, described my practice as “sparse and melancholic.” “An Event Score for Kodiak Alutiit 1 (Helen Simeonoff)” and “An Event Score for Kodiak Alutiit 2 (To Ales˘ Hrdlic˘ka)” were previously published in the exhibition catalogue for A Parallel Excavation: Duane Linklater and Tanya Lukin Linklater at the Art Gallery of Alberta from April 30 to September 18, 2016.
1 Coral Chernoff and 2 Lena Amason-Berns study masks at the Musée de Boulogne-sur-Mer in 2006 Photos William Anderson with grant funding from the Institute for Museum and Library Services 3 Kugukauk (Sugpiaq/Alutiiq)
Untitled (Mask) before 1872 White oak and paint 22 x 12 x 9.5 cm and
4 Unidentified artist (Sugpiaq/ Alutiiq) Untitled (Mask) before
1872 White oak and paint
22 x 12 x 9.5 cm Both Collection Musée de Boulogne-sur-Mer
Photos Philippe Beurtheret