This paper, published in The Body: Out of time and Without a Place (Vilniaus Dailes Academijos Leidykla, 2016) looks critically at the role of the body as a mnemonic writing tool in a video work by Lithuanian artist group ŽemAt. The work, around 10 minutes in length, is a post-socialist piece that returns through spoken words and choreographed imagery to the early days of post-Soviet reform in Lithuania. This essay asks “how the body, the classical art of memory, and unprocessed histories like the one of Sąjūdis could be thought together”.
Two poems by Cree/Metis writer Samantha Marie Nock. Kinanaskomitin (thank you) for these poems.
Read here on Guts Canadian Feminist Magazine.
LGBTQI+ refugees and activists take action against documenta14 and release a poignant statement about the location of the work. I think this is a strong and clear political action that justly critiques large art money and events.
Read Here: https://hyperallergic.com/382407/lgbtq-refugee-rights-group-steals-artwork-from-documenta-in-athens/
Documenta site: http://www.documenta14.de/en/
Out of pure luck I ended up in an alternative firing ceramics workshop at the Vilnius Art Academy this week. After months away from a potter’s wheel, I was more than happy to get my hands dirty and finally learn about alternative firing. The raugas (also known as obvara) method was loads of fun and full of international students who came for the week long session. I spent Monday on the wheel, Tuesday trimming, a couple days drying and then Thursday and Friday firing – which is quite the chaotic experience!
After reading a quick indigenous perspective of the 57th Venice Biennale, I found time to look closer into the Nigerian pavilion, in which the “now”, through it’s urgency, expands into a future that challenges the established colonial narrative.
Read here on Hyperallergic
In preparation for my ekskursija to the 57th Venice Biennale and out of my continued interest and research into indigenous critique, I read Ryan Rice’s review in CanadianArt Magazine. Articles and reviews such as these are of extreme importance. In my own short time in Lithuania, I have been able to discuss in academic and artistic settings about my relationship to my own indigeneity and the complex history of lands now known as Canada. What is most remarkable, is that the history and contemporary situation of indigenous people of Canada is very little known by those with whom I discuss. What this shows is that despite these conversations being held at events such as the Biennale, is that there is much work to do to alter the conception of global history.
Read here: Trouble Me Venice: An Indigenous Curator’s View of the Biennale
To be more precise, I was able to work on artwork and texts about the “Indian” Status Card and Metis citizenship during the SOURCE workshop at the Vilnius Art Academy Klaipeda Faculty. In addition, I also presented a 20 minute paper about Religion and Politics in 19th Century Canada for a course at the Vilnius University. The main thread of this paper investigated the oppositions colonial governments have and continue to pose against indigenous spiritual practices, and the current threats to indigenous spiritual practices that proposed resource extraction projects create.
I don’t have enough energy to comment on my visit to the Contemporary Art Center’s current exhibitions after my long day in the sun. I am just leaving this here now as a little introduction into what I think is a worthwhile and imaginative look at retro-futurism.
Full commentary to come.
About the “Futures” Exhibition