NOTES

Inuit Art Quarterly - - COMMENT -

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

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