From the Editor
It is what scholar Jason Edward Lewis terms the future imaginary, a concept which “seeks to capture the ways people imagine the futures of their societies.” He continues, “One can think of the future imaginary as a distinct part of the current ‘social imaginary,’ described by Charles Taylor as ‘the way ordinary people ‘imagine’ their social surroundings… not expressed in theoretical terms, but carried in images, stories, and legends.’ It forms the popular vocabulary that we use to describe what we see when we see the future.”¹ In the following pages, you will encounter artists whose practices are visualizing these futures and who refuse to sit tidily within disciplinary confines. These are artists who occupy both public and private spaces, pulling the edges of the white cube into the streets and onto the screen. They continue to engineer new forms atop the scaffolding of archives and traditional knowledge and stories, while foregrounding the continuity of narrative and community that has held the centre of Inuit art since the beginning. Finally, they are but a small sampling of artists who are radically changing the face of the field. Our Features section opens with a look at the next generation of Kinngait, NU, artists—a talented group of youth who have yet to graduate high school but whose robust and confident graphic sensibilities point to promising careers in the making. Anchorage, Alaska-based Allison Akootchook Warden, who reimagines historic photographs as otherworldly spaces and harnesses the power of digital media to craft alternate realms, is highlighted in a feature by Priscilla Naunġaġiaq Hensley Holthouse. In a sweeping interview with Patricia Feheley, graphic artist Siassie Kenneally meticulously narrates a her work All the Things That I Have Seen (2016). Intimate and illustrative, this work captures the full scope of the artist’s visual vernacular within a micro-universe, marrying traditional life with the relentless and accelerating pace of change since Contact. Finally, we move from the page to the screen in “The Quest for New Arctic Visions: Never Alone (Kisima Ingitchuna) and Indigenous Digital Storytelling”. This Portfolio documents the evolution from development to launch of a groundbreaking video game, produced by the Cook Inlet Tribal Council of Alaska. Across film, virtual reality and installation to performance, music, works on paper and sculpture, Inuit artists are creating tomorrow, today. I hope you enjoy this small glimpse into these new worlds.