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Alex Janvier & Joseph Sanchez Frontrunners is a multi-exhibition

the National Gallery of Canada, Winnipeg

project that recognizes the impact of the

Art Gallery and the Mendel Art Gallery.

Professional Native Indian Artists’ Inc., also known in Winnipeg as the Indian

Juxtaposing Aboriginal philosophies,

Group of Seven. Their story, and the

oral history and experience with

context and time in which it happened, is a

modern “artspeak”, Joseph Sanchez’s

starting point for discussing the history of

performance character Indio Dali, who is

artistic and political action within Winnipeg

very opinionated and critical of current

by artists of Aboriginal ancestry. Plug In

descriptions of fine art, rants about

ICA will present work by Alex Janvier and

ecology, acceptable aesthetics and art

Joseph Sanchez while the work of other

themes and the role that the Professional

artists will be located at Urban Shaman

Native Indian Artists’ Inc. played in

Contemporary Art Gallery.

challenging hegemony in the Canadian art world. Joseph Sanchez is a mixed

During his long artistic career, Alex Janvier

media artist and arts administrator of

has mapped Aboriginal and non-Aboriginal

Taos Pueblo descent living and working

engagement with the land, using fluid

in Santa Fe, New Mexico as Chief Curator

lines and bold colours which are inspired

and Interim Director at the Museum

by quillwork and bead design. A Dene

of Contemporary Art. Sanchez has

Suline and Saulteaux painter from Cold

participated in numerous solo and group

Lake, Alberta, Janvier received his fine

exhibitions in Canada, the United States

arts education from what is now the

and Mexico. His work can be found in

Alberta College of Art and Design and has

public and private collections around the

been a full time artist since 1971. Janvier

globe. In addition to being one of the

has participated in numerous solo and

founders of the P.N.I.A. inc., Sanchez also

group exhibitions around the globe and

co-founded the Moviemento Artistico

has executed many public commissions,

del Rio Salado (MARS) and the National

including the famous Morning Star, located

Association of Artist Organizations (NAAO).

at the Canadian Museum of Civilization.

Joseph Sanchez’s performance takes

Janvier’s work can be found in numerous

place at the opening of Frontrunners at

public and private collections, including

Plug In ICA.

Gallery 1: May 29, 2011 – July 24, 2011 Opening Reception: May 28, 7:00 p.m. with a performance by Joseph Sanchez at 8:00 p.m. The artists will be in attendance Curator: Cathy Mattes Organized with Urban Shaman: Contemporary Aboriginal Art

My Winnipeg An exhibition of over 70 Winnipeg Artists My Winnipeg is an exhibition project

obsession and desire. One may begin to

featuring over 70 artists from or connected

understand a city that is breathtakingly

to Winnipeg, Manitoba, Canada. Spanning

beautiful, and grounded in a revolutionary

decades and genres, including archival

past. My Winnipeg, taking its name from

material, this contemporary art exhibition

Guy Maddin’s award-winning film, forms

explores Winnipeg as a mytho-poetic

subjective impressions of this mid-sized

territory of reverie, catastrophe, carnal

prairie capital – versions of Winnipeg

desire, and (sub)conscious inspiration.

that mingle truth with fiction, history

In both form and materials these works

and speculation. Some of Winnipeg’s

are variously dream-like, narrative-

best-known artists – including, Maddin,

based, representational, and vernacular.

Marcel Dzama, and Diana Thorneycroft,

Through this lens, the exhibition depicts

have rarely exhibited together before, but

a landscape that appears alternately

arguably share these sensibilities. One

somnambulant, panic-ridden, disquieting

may trace their practices to their artistic

and homely. Nevertheless, these

predecessors – Winnipeg’s 20th century

captivating works inspire fascination,

practitioners of “prairie surrealism.”

Curators: Paula Aisemberg, Sigrid Dahle, Hervé di Rosa, Noam Gonick, Anthony Kiendl Organized by Plug In ICA, la maison rouge, MIAM, with University of Manitoba, Gallery One One One and National Arts Centre At la maison rouge, Fondation Antoine de Galbert, Paris, France June 23, 2011 – September 25, 2011 Opening Reception: June 22 At le musée international des arts modestes (MIAM), Sète, France November 5, 2011 – May 20, 2012 Opening Reception: November 4

(the heart that has no love/pain/ generosity is not a heart)

Jayce Salloum & Khadim Ali In April 2008, Vancouver-based artist

and video since 1976, as well as curating

Jayce Salloum travelled with Afghan-

exhibitions, conducting workshops, and

Hazara artist Khadim Ali from Karachi,

coordinating a vast array of cultural

Pakistan to Kabul, Afghanistan and then

projects. His practice exists within

overland into the Bamiyan Valley in Central

and between the personal, local, and

Afghanistan. Of specific interest to the

the transnational. Currently residing in

artists were the ruined cave sites of the

Vancouver, Canada, Salloum recently held

c. 5th century Buddhas, destroyed by the

a solo show at Artspace in Sydney. He

Taliban in March 2001. The ruins of the

has exhibited widely, from the smallest

Bamiyan Buddhas provided a site from

unnamed storefronts to institutions

which to examine the situation of the

such as the Musée du Louvre, Paris;

Hazara people, a persecuted Shi’a Muslim

The Museum of Modern Art, New York;

minority, who believe themselves to be

National Gallery of Canada; Kunstlerhaus

descended from the sculptors who produced

Bethanien, Berlin; Centre Pompidou, Paris;

the colossal figures of the Buddha.

CaixaForum, Barcelona.

(the heart

Khadim Ali is a Hazara artist, currently

that has no love/pain/generosity is not

based in Sydney, Australia. He trained

a heart) is a multi-media installation

in contemporary miniature painting at

that records the destitution of current

the prestigious National College of Art,

conditions in Bamiyan, reflecting on the

Lahore, Pakistan, and in mural painting

tensions shaping an incipient modernity

and calligraphy at Tehran University, Iran.

in Afghanistan. The exhibition engages

His work has been exhibited in museums

a sense of the complexity of the current

and biennales including the Fukuoka

situation in Afghanistan, taking up themes

Asian Art Museum, Japan; The Asia Pacific

of the possibility of resistance, hope and

Triennial, Queensland Art Gallery, Brisbane,

beauty in the context of ongoing conflict.

Australia; the Commonwealth Games

Cultural Festival, Melbourne, Australia; the Jayce Salloum has worked in installation,

Venice Biennale, Italy; the British Museum,

photography, drawing, performance, text

London, UK.

Gallery 1: August 13, 2011 – October 9, 2011 Opening Reception: August 12, 7:00 p.m. Curator and artist’s talk: Saturday, August 13, 3:00 p.m. Jayce Salloum will be in attendance Organized by SAVAC (South Asian Visual Arts Centre)

“her rain” Lani Maestro Plug In Institute of Contemporary Art is

and body posing questions of positionality.

pleased to present work by internationally

Who is speaking? It raises questions

acclaimed Canadian artist Lani Maestro,

of subjectivity, agency, and worldview

“her rain.” Maestro often uses minimal and simple visual language to address

that ultimately bring us to a coming to “difference.”

the complexities of human nature, dignity and conditions in our social, cultural

Lani Maestro is a Canadian artist born in

and political realities as we experience

the Philippines, who now divides her time

them in everyday life. Her works are

between France and Canada. Maestro

poetic, powerful and complex and defy

has been a Canadian representative

conventional interpretation. In the space

to numerous international exhibitions

Maestro creates with “her rain”, she poses

including 9th Sharjah Biennial, Sharjah,

an open-ended philosophical question: “how is subjectivity situated?”

United Arab Emirates (2009); Mixed Bathing Worlds, The Beppu Project, Beppu, Japan (2009); 3rd Shanghai Biennial,

In her new site-specific installation,

Shanghai, China (2000); 11th Biennale

entitled No Pain Like This Body, Maestro

of Sydney, Sydney, Australia (1998); 5th

transforms the entire gallery space into

International Istanbul Biennial, Istanbul,

a large sculpture using very minimal

Turkey (1997), Asia Pacific Triennial,

elements; a text fabricated by neon sign

Brisbane, Australia (1997); and Traversées/

and its reflection on the floor where

Crossings at the National Gallery of

the artist invites visitors to physically

Canada, Ottawa (1998).

experience a sensual feeling of selfemancipation, a “mindful presence.” It

The exhibition publication includes an

is accompanied by the animated text

introduction by the curator, Makiko

video entitled brenda console, that acts

Hara, and an essay by the award-winning

simultaneously as sculpture, architecture

Montréal-based poet Erin Moure.

Gallery 1–4: October 29, 2011 – January 8, 2012 Opening Reception: Friday, October 28, 7:00 p.m. Artist’s talk: Saturday, October 29, 3:00 p.m. The artist will be in attendance at the opening reception Curator: Makiko Hara | Organized by Centre A and Plug In ICA

Farandole Colette Balcaen, Sarah Houle and Pascal Jaouen Farandole is a partnership project

shedding light on innovations within Métis

between La Maison des artistes visuels

culture today.

and Plug In Institute of Contemporary Art which combines a textile installation by

Exhibited between the partnering

Franco-Manitoban artist Colette Balcaen,

institutions, La Maison des artistes visuels

French designer / embroiderer Pascal

will present new work by Colette Balcaen

Jaouen, and visual artist / musician Sarah

in conjunction with clothing pieces by

Houle of the Alberta-based Métis rock

Pascal Jaouen, while Plug In ICA will host

band Ghostkeeper.

further work by Jaouen alongside Sarah Houle’s video and multimedia installation

The Farandole, a traditional French dance,

Luella. Making use of recycled and found

evolves and shapes itself according to its

materials, such as vintage leather jackets,

dancers and environment. Dancers form a

Houle’s work furthers the dialogue

chain, holding each other by the hand and

begun by Balcaen and Jaouen during a

snake along, following the leader’s path.

cultural exchange organized by L’Alliance

Its fluidity and strength echo the response

Francaise du Manitoba around Métis

to obstacles that many communities

textile techniques. The result is a modern

face. The Farandole partnership project

meditation on the sometimes cyclical

addresses cultural identity and dialogue

relationship of collaboration, appropriation,

through renewed and adapted traditions in

and inspiration in contemporary

Métis and francophone cultures, as well as

artistic production.

Gallery 3 & 4: September 10 – October 9, 2011 Opening reception: TBA please check Curator: Jenny Western Co-presented with la Maison des Artistes

Summer Institute The Summer Institute is an international

Gallery, au cœur d’une ambiance

post-graduate artist residency for

urbaine dynamique.

professional artists working in all disciplines. 13 artists, architects, designers, curators,

La faculté invitée sont assume vivid astro

scientists, musicians, dancers, and

focus, la conservatrice Natalie Kovacs et

writers will share a collegial, open-studio

Philip Pocock. Le directeur de l’institut

environment. This opportunity for critique

d’été est Anthony Kiendl.

and discovery will take place in Plug In ICA’s new purpose-built facilities, with an

assume vivid astro focus

adjoining workshop, art research library, gallery, bookshop and café.

assume vivid astro focus (avaf) is an

Plug In ICA is located at the perimeter

artist duo made up of Eli Sudbrack and

of the University of Winnipeg campus,

Christophe Hamaide Pierson. Born in

adjacent to the Winnipeg Art Gallery, and

different parts of the world, sometime

in the heart of an urban environment.

between the 20th and 21st centuries, they are currently based in Paris, New York

The 2011 participating faculty are assume

and São Paulo. Drawing inspiration from

vivid astro focus, curator Natalie Kovacs

Sonia Delaunay, Jim Lee/Rob Liefeld/Bill

and Philip Pocock. The director of The

Sienkiewicz/Arthur Adams/Neal Adams

Summer Institute is Anthony Kiendl.

(illustrators for X-Men, New Mutants and X-Force), inuit modern art, Robert

L’institut d’été est un programme

Motherwell, Minimalism, Coco (Ice

international de résidence post-universitaire

T’s girlfriend), Smooth Magazine, Dzi

pour les artistes professionnels de toutes

Croquettes, Gaetano Pesce, George Plank,

les disciplines. Il consiste du partage d’un

inflatable sex dolls, Kay Nielsen, trannies,

environnement de studio ouvert de style

spandex, inflatable body suits and zentai,

collégial par un group de 13 artistes,

the duo’s explosive works are a chaotic,

architectes, designers, conservateurs,

visually stimulating mash-up of references.

scientifiques, musiciens, danseurs et écrivains. Cette opportunité de production

avaf’s work has been exhibited at the 2004

discursive et incluant des critiques, aura

Whitney Biennial; the 2008 São Paulo Art

lieu dans le nouveau complexe spécialisé

Biennial; Deitch Projects in New York; and

de Plug In ICA, avec atelier, bibliothèque

the Hiromi Yoshii Gallery in Tokyo, Japan,

de ressources artistiques, librairie et

among numerous other international venues.

café adjacents. Plug In ICA est situé aux abords du campus de l’Université de

Les membres d’assume vivid astro focus

Winnipeg et à côté de la Winnipeg Art

(avaf) sont nés à une variété d’endroits

à travers le monde entre les 20e et 21e

2004 Whitney Biennial. avaf a développé

siècles. avaf a eu des expositions solo au

un projet de graffiti et de labyrinthe pour

National Museum of Art, Architecture and

The Wynwood Walls, pendant Art Basel

Design à Oslo, en Norvège; au centre d’art

Miami Beach l’année passée, et aura une

contemporain La Conservera, à Murcia, en

exposition solo au KadE, à Amersfoort,

Espagne; au MOCA Cleveland; à la Galerie

aux Pays-Bas, en 2012. La première

Hussenot, à Paris; au Deitch Projects, à

monographie de l’œuvre d’avaf, publiée

New York; à la galeria Triângulo, à Sao

par Rizzoli International Publications, Inc.,

Paulo, au Brésil; à la Hiromi Yoshii Gallery,

est maintenant disponible globalement.

à Tokyo, au Japan et à la Galleria Massimo

assume vivid astro focus est représenté

de Carlo, à Milan, en Italie. Il a également

par Peres Projects, à Berlin.

participé aux suivantes expositions de groupe récentes : Skin Fruit: Selections

Philip Pocock

from the Dakis Joannou Collection, à The New Museum, à New York, en 2010;

Philip Pocock is a Canadian artist currently

Scorpio’s Garden, au Temporare Kunsthalle

based in Berlin. He has led an ‘Open Lab’

à Berlin, en 2009; New York Minute, à

developing numerous projects with the ZKM

Macro, à Rome, en 2009; à la 28e Sao Paulo

Center for Art and Media Technology in

Biennial, In Living Contact, à Sao Paulo,

Germany since 1999. For a decade he was

au Brésil, en 2008; New Perspectives in

a faculty member of the International

Latin American Art, de 1930 à 2006, au

Center of Photography, New York and has

Museum of Modern Art, à New York, de

been a tenured professor in Germany

2007 à 2008; Destroy Athens, à la Athens

since 1994. A graduate of the Film School

Biennale, en 2007; Sympathy for the Devil:

at New York University, his art work and

Art and Rock and Roll Since 1967, au MCA

collaborative projects have been widely

Chicago, de 2007 à 2008; Space for Your

exhibited, at venues including the Art

Future, à MOT, à Tokyo, de 2007 à 2008.

Gallery of Ontario; The Walter Phillips Gallery

Les projets publics incluent : PS1 Concrete

Banff; Oboro Montreal; The Kiasma Helsinki;

Waves (Art Basel Miami Beach), à Miami

Nam June Paik Art Center Seoul; The Museum

Beach, en 2007; Make It With You: A Slow

of Modern Art Paris; Venice Biennale; Whitney

Dance Club, Frieze Art Fair, à Londres, au

Museum; and Documenta X, Germany.

Royaume-Uni, en 2004; antonella varicella arabella fiorella, à Largo di Torre Argentina,

Philip Pocock est un artiste canadien

à Rome, en 2008; ainsi qu’un projet

basé actuellement à Berlin. Il a mené

d’art avec Central Park Dance Skaters

plusieurs projets « lab ouvert » avec le

Association financé par le Public Art Fund,

ZKM Center for Art and Media Technology

à New York, aux États-Unis, en lien avec la

en Allemagne, depuis 1999. Il a été

membre de la faculté du International

Natalie Kovacs est conservatrice

Center of Photography New York, et

indépendante d’envergure internationale,

depuis 1994 il est professeur titulaire en

spécialisée dans les projets d’art publics

Allemagne. Diplômé de l’école du film à

basés sur la performance et comprenant

New York University, son œuvre et ses

ou explorant les nouveaux médias. Elle

projets collaboratifs ont été exposés à

travaille autant avec des artistes (rAndom

l’échelle internationale, à la Art Gallery of

international, Troika, Atelier van Lieshout

Ontario, à la Walter Phillips Gallery Banff,

et avaf, entre autres), des institutions et

à Oboro Montréal, à la Kiasma Helsinki, au

des collectionneurs, afin d’encourager

Ham June Paik Center Seoul, au Museum

l’interaction et d’engager le public avec

of Modern Art Paris, à la Venice Biennale,

l’environnement. Ses projets récents

au Whitney Museum et à Documenta X

incluent avaf, un livre publié par Rizzoli;

en Allemagne.

Incubator – une plate-forme alternative pour l’art et l’expérimentation; The Darwin

Natalie Kovacs

Project à Paris, P.D.A. Public Display of Art à Art Basel Miami Beach, Design High à

Natalie Kovacs is an international

la LTB Foundation à Londres : Audience

independent curator specializing in

at Design Miami et Never-Everland à

performance-based public art projects

Design Miami Basel. Kovacs a donné des

which involve and explore new media.

conférences à la Serpentine Gallery,

Working with artists (rAndom international,

au Canadian Film Centre et à l’Université

Troika, Atelier van Lieshout, and avaf to

du Manitoba.

name a few), institutions and collectors alike, Kovacs’ practice engages audiences with the environment and encourages interaction. Her recent projects include: the book avaf published by Rizzoli; Incubator – an alternative platform for art and experimentation; The Darwin Project in Paris; P.D.A. Public Display of Art at Art Basel Miami Beach; Design High in London at LTB Foundation; Audience at Design Miami; and Never-Everland at Design Miami Basel. Kovacs has lectured at the Serpentine Gallery, the Canadian Film Centre and University of Manitoba.

As long as the moon shall rise as long as the rivers flow concrete, dada, abstract expressionism, non-objective, non-representional, Over the time we have been here, we have built cultural ways on and about this land. The Senecas are an Indian tribe of the Iroquios nation Down on the color field, chicago imagism, neo dada, paradox, ambiguity, el paso, situationism We have our own respected versions of how we came to be. –These origin storiesNew York Pennsylvania Line you’ll find their reservation After the noveau realism, pop art, hard edge, action spiritual, social, political, actionism, that we emerged or fell from the sky or were brought forth- connect us to this land U.S. revolution, cornplanter was chief He told the tribe these men artist as shaman, snapshot aesthetic, antipodean group, fluxus, academic, color field, and establish our realities, our belief systems. We have spiritual responsibilities to they could trust that was his true belief He went down to Saint Ives painters, spatialism, Dau Al Set, CoBra, Bay area figurative, art informal renew the Earth and we do this through our ceremonies so that our Mother, the Earth Independence Hall and there was a treaty signed That promised peace Shaped canvas, Minimalism, School of London, Copy art, Happening, Op art, can continue to support us. Mutuality and respect are part of our tradition-give and with the USA and Indian rights combined George Washington gave his L A “Look”, finish fetish, Art and Technology, Funk art, Process art, Photo-realism, take. Somewhere along the way, I hope people will learn that you cant just take, signature the Government gave its hand They said that now and Arte Povera, Conceptual art, Earth art, New realism, Video art, Computer art, that you have to give back to the land. (Henrietta Mann) forever more that this was Indian land As long as the moon shall Artist books, Body art, Light and space art, Feminist art, Performance art, I want a good, strong, and lasting peace. When God made the world, he gave one rise… On the Seneca reservation there is much sadness now “Bad” painting, Sound art, Installation, Media art, Sots art, clichéd, nationalism, part to the white man and another to the Apache. What was it? Why did they come Washington’s treaty has been broken and there is no hope no how Parody, New image, Pattern and decoration, Fabricated photography, Manipulated together? Now that I am to speak, the sun, the moon, the earth, the air, the water, the

Across the Allegheny River they’re throwing up a dam It will flood Photography, Graffiti art, Neo-expressionism, Transavantgarde, Mulheimer Freiheit, birds and beasts, even the children unborn shall rejoice at my words… When I was the Indian country a proud day for Uncle Sam It has broke the ancient freedom, liberation, Appropriation, East village art, Neo-geo Pathetic art, failure, young I walked all over this country, east and west, and saw no other people than the treaty with a politician’s grin It will drown the Indians graveyards ineptitude, Pluralism, Naïve, Art brut, Primitivism, multiculturalism, Scatter art Apaches. After many summers I walked again and found another race of people had cornplanter can you swim, The earth is mother to the Senecas Enough of Art. It’s the Art that kills us. People no longer want to do a painting; they come to take it. How is it? Why is it that the Apaches wait to die-that they carry their they’re trampling sacred ground Change the mint green earth to black make Art. People want Art. And they are given it. But the less Art there is in painting lives on their fingernails? They roam over the hills and plains and want the heavens mud flats as honor hobbles down As long as the moon shall rise... the more painting there is. Everyone wants to understand Art. Why not try to to fall on them. The Apaches were once a great nation; they are now but few, and The Iroquios Indians used to rule from Canada way south But no one understand the songs of a bird? Why does one love the night, flowers, everything because of this they want to die and so carry their lives on their fingernails. Many fears the Indians now and smiles the liar’s mouth around one, without trying to understand them? But in the case of painting people have been killed in battle. You must speak straight so that your words may go as The Senecas hired an expert to figure another site have to understand. If only they would realize above all an artist works of necessity, sunlight to our heart. Tell me, if the Virgin Mary has walked thoughout all of the land, But the great good army engineers said that he had no right that he himself is only a trifling bit of the world, and that no more importance should why has she never entered the wickiups of the Apaches? Why have we never seen or Although he showed them another plan and showed them another way be attached to him than to plenty of other things which please us in the world, though heard her? (Cochise)

They laughed in his face and said no deal Kinuza dam is here to stay we can’t explain them. We all know that Art is not truth. Art is a lie that makes us If you take Mt. Graham away from us, you will take our culture. You have killed many Congress turned the Indians down brushed off the Indians plea realize truth, at least the truth that is given us to understand. For instance, universal of us. You killed my grandfather. You have tried to change us, you forced me to go to So the Senecas have renamed the dam they call it Lake Perfidy definitions of art may imply that artists from different cultures make art for the same your schools. But still I treat you with respect. I do not go to your church and hold my As long as the moon shall rise... Washington, Adams and Kennedy now reasons; An artwork can be valued for its expressiveness, complexity, creativity, or services. Why do you come and try and take my church away and treat the mountain hear their pledges ring The treaties are safe we’ll keep our word but formal structure-qualities that make up aesthetic experience-without artificially; as if it was about money instead of respect? No where else in the world stands what is that gurgling It’s the back water from Perfidy Lake it’s rising separating the experience of art from other valuative dimensions of experience: another mountain like the mountain you are trying to disturb. On this mountain is a all the time Over the homes and over the fields and over the promises the moral, economic, political, interpersonal or spiritual. Where contemporary art great life-giving force. You have no knowledge of the place you are about to destroy. (Franklin Stanley) fine, No boats will sail on Lake Perfidy in winter it will fill in the West invites us to theorize to understand its role and complexities, traditional …only water existed at the dawn of time. From water came land; from land and water In summer it will be a swamp and all the fish will kill indigenous arts involve embodied, and often religious, experience...Thinking of all forms of life were created, including mankind. Because all life comes from the But the Government of the USA has corrected George’s vow Native expressive work as art may be a projection of a Western framework onto same source, we are all interconnected, and I am as much a part of the clouds as they The father of our country must be wrong what’s an Indian anyhow indigenous expression. This is a weaker sense of the concept of art, a case of partial are of me… Hopi see the water underneath us as a living, breathing world we call

As long as the moon shall rise (look up) as long as the rivers flow compliance, where “our” concept is not the same as “theirs” but similar. Should we Patuwaqatsi or “water life”. Plants breathe moisture from the sky, and cloud (are you thirsty) As long as the sun will shine take primitive art out of museums and galleries, “not at all.” We must simply make it people reciprocate by pulling the moisture to the plant roots. Hopi believe that when (my brother are you warm) as long as the grass shall grow clear that we are shifting to a partial and therefore weaker sense of “work of art” we die, we join the cloud people and join in their journey home to Patuwaqatsi, Hoof prints and foot prints deep ruts the wagons made in which we, the aesthetic audience and consumer, determine the aesthetic context and so all Hopi ceremonies are tied to the water world, and all the springs along the The victor and the loser came by here which qualifies the objects as works of art, not their makers. southern cliff of Black Mesa serve as religious shrines or passageways to water-life. No head stones but these bones bring Mescalero death moans Modernist art theory never really sought out indigenous ideas about art as much as it The water model developed by western scientists does not include any of these values See the smooth black nuggets by the thousands laying here appropriated non-western artworks; there it could not accurately translate those ideas because they cannot be measured or quantified. (Vernon Masayesva) Petrified but justified are these Apache tears by discovering corresponding ideas within Western culture. Rather, it projected Tell General Howard I know his heart. What he told me before I have in my heart. I am Dead grass dry roots hunger crying in the night descriptive and evaluative terms onto “primitive”art. tired of fighting. Our chiefs are killed. Looking Glass is dead. It is the young men Ghost of broken hearts and laws are here Art should be community oriented; that art is an expression of the sacred; who say yes or no. He who led the young men is dead. It is cold and we have no And who saw the young squaw they judged by their whiskey law I was a typical Indian in that sense, but because of meeting different people blankets. The little children are freezing to death. My people, some of them have run

Tortured till she died of pain and fear I was an artist. I was not a good artist, but I wasn’t a horrible artist. away to the hills and have no blankets, no food; no one knows where they areWhere the soldiers lay her back are the black Apache tears I was not a completely dishonest artist, I was never an artist with the idea of doing art perhaps freezing to death. I want to have time to look for my children and see how The young men the old men the guilty and the innocent as a way of representing some Indian-ness for sale. Not once. I had a mixed up idea many I can find. Maybe I shall find them among the dead. Hear me my chiefs. Bled red blood and chilled alike with fears that it was a way to make some money, but certainly not very much money; not as I am tired; my heart is sick and sad. From where the sun now stands, The red men the white men no fight ever took this land much as I could make driving truck, not as much as I could make as a carpenter… I will fight no more forever. (chief joseph) So don’t raise the dust when you pass here I tried to see what sort of art could work, what art could do, but with no vocabulary, Oh, yes, I went to the white mans schools. I learned to read from school books, They’re sleeping and in my keeping are these Apache tears no discourse, no education, so I was groping in the dark, but I wasn’t pretending that newspapers, and the Bible. But in time I found that these were not enough. Ira Hayes, Ira Hayes, Call him drunken Ira Hayes it was a beautiful twilight. I had my own something as an artist, as an Indian who was Civilized people depend too much on man-made printed pages. I turn to the He won’t answer anymore, Not the whiskey drinkin’ Indian an artist. …yes, I’m an artist, I like this art business. I can make things and get Great Spirits book which is the whole of his creation. You can read a big part of that Nor the Marine that went to war money. Little pieces of money, $200, $300, for what basically were tchatchkas, little book if you study nature. You know, if you take all your books, lay them out under Gather round me people there’s a story I would tell decorative things that would sit around your house to collect dust. I think I would the sun, than let the snow and rain and insects work on them for a while, there will be

About a brave young Indian you should remember well have used all my stupidity to become successful in a certain vein, maybe similar to nothing left. But the Great Spirit has provided you and me with an opportunity From the land of the Pima Indian, A proud and noble band Joseph Beuys, similar to somebody, instead of using my intelligence to develop for study in natures university, the forest, the rivers, the mountains, and the animals Who farmed the Phoenix valley in Arizona land something. I could have escaped into success if I had been less fearful which include us. (Tatanga Mani-Stoney Nation) I might be one of the famous has-been artist of that time by now, Brothers! I have listened to many talks from our great father. Down the ditches for a thousand years and I think it would have been to my detriment; I would not have developed at all... When he first came over the wide waters, he was but a little man… very little. The water grew Ira’s peoples’ crops I could have become a Fritz Scholder, who was the famous Indian artist in the US, His legs were cramped by sitting long in his big boat, and he begged for a little land ‘Till the white man stole the water rights who paints pictures of Indians. …so I did a series of collage assemblage paintings. to light his fire on… But when the white man had warmed himself And the sparklin’ water stopped, Now Ira’s folks were hungry They were about our political situation, they tried to have nothing to do with before the Indians fire and filled himself with their hominy, he became very large. And their land grew crops of weeds aesthetics, which I had already been trying to do in different ways. You would get With a step he bestrode the mountains, and his feet covered the plains When war came, Ira volunteered something from them emotionally and visually, but not a typical aesthetic level, and the valleys. His hand grasped the eastern and the western sea, And forgot the white man’s greed with the world that the world never wanted and still doesn’t want. and his head rested on the moon. Then he became our Great Father.

Call him drunken Ira Hayes, He won’t answer anymore something much stronger I thought, in a kind of a romantic way maybe, but the He loved his red children, and he said, “Get a little further, lest I tread on thee… Not the whiskey drinkin’ Indian Nor the Marine that went to war reason for them was a political text…..I was just trying to continue a conversation Brother I have listened to a great many talks from our great father. There they battled up Iwo Jima’s hill, Two hundred and fifty men I saw the weakness of doing that kind of work, it looked like the art crowd of But they always began and ended in this – ‘Get a little further; you are too near me’. (Speckled Snake-Creek) But only twenty-seven lived to walk back down again New York was being entertained by the sorrows of my people and I was the agent The earth was created by the assistance of the sun, and it should be left as it was… And when the fight was over And when Old Glory raised who allowed them to be entertained. I felt that I had betrayed my own fold The country was made without lines of demarcation, and it is no mans business to Among the men who held it high Was the Indian, Ira Hayes and betrayed my own struggle because the work was popular. (Jimmie Durham) divide it… I see the whites all over the country gaining wealth, and see their desire to Call him drunken Ira Hayes, He won’t answer anymore Within the discipline of art history, the following words are continuously used to give us lands which are worthless… The earth and myself are of one mind. Not the whiskey drinkin’ Indian Nor the Marine that went to war characterize what has been called “high art”: man, mankind, the individual man, The measure of the land and the measure of our bodies are the same. Ira returned a hero Celebrated through the land He was wined individuality, humans, humanity, the human figure, humanism, civilization, culture Say to us if you can say it, that you were sent by the Creative Power to talk to us. and speeched and honored; Everybody shook his hand But he was the Greeks, the Romans, the English, Christianity, spirituality, transcendence, religion, Perhaps you think the Creator sent you here to dispose of us as you see fit. just a Pima Indian No water, no crops, no chance, At home nobody nature, true form, science, logic, purity, evolution, revolution, progress, truth, If I thought you were sent by the Creator I might be induced to think you had a right

cared what Ira’d done And when did the Indians dance freedom, creativity, action, war, virility, violence, brutality, dynamism, power and to dispose of me. Do not misunderstand me, but understand me fully with reference Call him drunken Ira Hayes He won’t answer anymore greatness. In the same texts other words are used repeatedly in connection with the to my affection for the land. I never said the land was mine to do with it as I chose. Not the whiskey drinkin’ Indian Nor the Marine that went to war so-called “low art”: Africans, Orientals, Persians, Slovaks, peasants, the lower classes, The one who has the right to dispose of it is the one who has created it. I claim a right Then Ira started drinkin’ hard; Jail was often his home women, children, savages, pagans, sensuality, pleasure, decadence, chaos, anarchy, to live on my land, and accord you the privilege to live on yours. (Chief Joseph) They’d let him raise the flag and lower it like you’d throw a dog impotence, exotica, eroticism, artifice, tattoos, cosmetics, ornament, decoration, We were on pretty good terms with the Great Spirit, creator and ruler of all. a bone! He died drunk one mornin’ Alone in the land he fought carpets, weaving, patterns, domesticity, wallpaper, fabrics, and furniture. (Valerie Jaudon and Joyce Kozloff) to save Two inches of water in a lonely ditch Was a grave for The great artist has wielded his art as a magnificent weapon truly mightier than the sword… (Joseph Hirsh) You whites assumed we were savages. You didnt understand our prayers. Ira Hayes Call him drunken Ira Hayes He won’t answer anymore I want to use my art as a weapon. (Diego Rivera) You didnt try to understand. When we sang our praises to the sun or moon or wind, Not the whiskey drinkin’ Indian Nor the Marine that went to war No, painting is not done to decorate apartments, It is an instrument of war for attack and defense against the enemy. (Pablo Picasso) you said we were worshipping idols. Without understanding, you condemned us as Yeah, call him drunken Ira Hayes But his land is just as dry Decorative art is dead… An immense, devastating brutal evolution has burned the bridges that link us with the past. (Le Corbusier) lost souls just because our form of worship was different from yours.

And his ghost is lyin’ thirsty In the ditch where Ira died We reject the decorative line. We demand of every work of art that it shall serve We saw the Great Spirits work in almost everything: Ii Ii ou Ii Ii Ii ou Ii Ii ou solely to define the inner directions of force in the body to be portrayed. (Naum Gabo and Antoine Pevsner) sun, moon, trees, wind, and mountains. Sometimes we approached him Oh wagon trains rollin’ along they fade from my visions The decorative must be abolished! ...Let us throw away monuments, sidewalks, Through these things. Was that so bad? I think we have a true belief in and in time will be gone I see an eagle in space arcades, steps: let us sink squares into the ground, raise the level of the city. (Filippo Tommaso Marinetti and Antonio Sant’Elia) my people will follow oh oh a vanishing race Destruction of the traditional… War has been declared on the aesthetic of chaos. the supreme being, a stronger faith than that of most whites who have called us Ii Ii ou Ii Ii Ii ou Ii Ii ou An Indian brave rolled along An order that has entered fully into consciousness is called for. (El Lissitsky) pagans… Indian living close to nature and natures ruler are not living in darkness. one day on a lonely mountain trail And he gazed below The dead shall be buried in the earth’s deepest bowels! The threshold of the future Did you know that trees talk? Well they do. They talk to each other, and theyll talk with a heart of woe where the prairie schooners sail will be free of mummies! Make room for youth, for violence, for daring! (Manifesto of the Futurist Painters) to you if you listen. Trouble is, white people dont listen. A vision formed like a mortal storm in the dust I want to reo-enchant and remythologize. They never learned to listen to the Indians so I dont suppose theyll listen to other of the wagon train A vanishing race appeared in space I want to drill a hole deep-down in art to discover the mythic infrastructure. voices in nature. But I have learned a lot from trees: sometimes about the weather, and he sang his sad refrain Ii Ii ou Ii Ii Ii ou Ii Ii ou (I am less interested in the form art takes than the meaning an image evokes) sometimes about animals, sometimes about the Great Spirit. (Tatanga Mani-Stoney)

Oh wagon trains rollin’ along... Oh now great spirits on high (I am interested in art as a way of knowing.) Behold, my brothers, the spring has come; the earth has received the embraces please spare them the sorrow you show to my eye oh oh I want to express myself in archetypal imagery. of the sun and we shall soon see the results of that love! Now my blankets are roll and I ride I want to stand at the edge rather than the center. Every seed is awakened and so has all animal life. It is through this mysterious power to the valley of the brave Navajo oh oh Ii Ii ou Ii Ii Ii ou Ii Ii ou I want to recall what I always knew. (I am interested in what thinks me.) that we too have our being and we therefore yield to our neighbors, even our animal And I ride to the valley of the brave Navajo oh oh Oh oh (I would rather discover the memory of the soul than to be correct in thought.) neighbors, the same right as ourselves, to inhabit this land. a vanishing Navajo oh the vanishing Navajo Ii Ii ou Ii Ii Ii ou Ii Ii I want to move away from racial amnesia. Yet, hear me, people, we have now to deal with another race-small and feeble when Sequoia’s winters were sixteen silent tongue spirit clean I want to produce images that startle one in recollection. our fathers first met them but now great and overbearing. Strangely enough He walked at his father’s side Across the smoking battle ground I want to think of history so that it is not a record of events but a method of release. they have a mind to till the soil and the love of possession is a disease with them. where red and white men lay all around So many here had died I want to see the world as something else than serial progression. These people have made many rules that the rich may break but the poor may not. The wind had scattered around snow white leaves I want to know the matrix of events in history. They take tithes from the poor and weak to support the rich who rule. upon the ground Not leaves like leaves from trees (What appears to be trivial in a fairy tale, etc. could be the lingering remnant of the memory of the soul.) They claim this mother of ours, the earth, for their own and fence their neighbors

Sequoia said what can this be what’s the strange thing here I I want to engage in the spiritualization of matter and the materialization of the spirit. away; they deface her with their building and their refuse. That nation is like see From where come leaves like these Sequoia turned to his I want to think of time as synchronic. a spring freshet that overruns its banks and destroys all who are in its path. father’s eyes and he said father you’re wise I want to see all variants of a myth in a single imaginary space without regard to historical context. We cannot dwell side by side. Only seven years ago we made a treaty by which From where come such snow white leaves With such strange I want to sift information from noise. we were assured that the buffalo country should be left to us forever. Now they marks upon these squares Not even the wise owl I want to avoid the tedium of sectarianism and dogma. threaten to take that away from us. My Brothers shall we submit or shall we say to could put them there So strange these snow white leaves I want to consider language as an articulation of the limited to express the unlimited. them: ‘First kill me before you take possession of my Fatherland…’ (Sitting Bull) His father shielding his concern resenting the knowledge I want to be at home with the paradoxical, the ambiguous, and the random. When the last Red Man shall have perished, and the memory of my tribe shall have Sequoia yearned Crumbled the snow white leaves I want to eroticize time, consciousness, and human culture. become a myth among the white man, these shores will swarm with the invisible He said when I explain then it’s done these are talking leaves I want to blur the boundaries between truth and fiction. (John Baldessari) dead of my tribe, and when your childrens’ children think themselves alone my son The white men’s talking leaves in the fields, the store, the shop or in the silence of the pathless woods, they will not The white man takes a berry of black and red be alone... At night when the streets of your cities and villages are silent and you think And an eagle’s feather from the eagle’s bed them deserted, they will throng with the returning host that once filled them

And he makes bird track marks And the marks on the leaves and still love this beautiful land. The White Man will never be alone. they say carry messages to his brother far away Let him be just and deal kindly with my people, for the dead are not powerless. And his brother knows what’s in his heart They see these marks Dead – I say? There is no Death. Only a change of worlds. (Chief Seattle) and they understand the truth in the heart of the far off man One day maybe if theres another Centennial, I wouldnt like the whiteman to say he The enemies can’t hear them Said Sequoia’s father can trace himself back right to the cave days, but whats the Indian got, nothing! son they weave bad medicine on these talking leaves Theyre gonna say what the whiteman writes about him. Its not good. Even if they Leave such things to them Then Sequoia walking lightly never mention my name, you cannot stop progress I laid the first cornerstone already, followed his father quietly but so amazed was he whether Im a drunkard or not, sober, or whatever kind of person I am, I led that thing. If the white man talks on leaves why not the Cherokee Thats for the betterment of our people in the future, not today. (Norval) Vanished from his father’s face Sequoia went from place to My aim is to reassemble the pieces of a once proud culture, and to show the dignity place But he could not forget Year after year he worked and bravery of my people. (Norval Morrisseau) on and on till finally he cut into stone The Cherokee alphabet Sequoia’s hair by now was white his eyes began to lose their light But he taught all who would believe That the Indian’s thoughts could be written down Just as the white men’s there on the ground and he left us these talking leaves Listen my people to what you know or listen to what the white man is telling you. His offer is one Frog skin for compliance or in Alex Janviers case its one Looney.

Music: Bitter Tears, John R. Cash Art words: Theories and Documents of Contemporary Art, A Sourcebook of Artists’ Writings, edited by Kristine Stiles and Peter Selz, University of California Press, 1996 Words of the Ancestors: various sources, mostly a children’s handout for Native American day created by 7 Mile Elementary School, Ft. Apache, Arizona.

GORDON LEBREDT Nonworks 1975–2008 Plug In Editions with the Centre for Contemporary Canadian Art The work of former Winnipeg artist Gordon Lebredt is well known for its rigorous conceptualism and ambitious materiality. For more than 30 years Lebredt proposed ambitious, unwieldy, tangential, extreme, arid, brilliant architectural installations. 177 Pages | $50.00

AA BRONSON AND PETER HOBBS Queer Spirits Plug In Editions with Creative Time From 2006 to 2009, AA Bronson collaborated with artist Peter Hobbs on the project Invocation of the Queer Spirits. The rituals that resulted are evoked, and invoked in Queer Spirits, Bronson and Hobb’s diaristic and imagistic exploration of the project. 176 Pages | $34.95

My Winnipeg Plug In Editions with FAGE, la maison rouge and le Musée International des Arts Modestes The exhibition My Winnipeg is accompanied by a publication featuring over 70 artists, illustrating over 200 works. It features writing by Sigrid Dahle, Robert Enright, Noam Gonick, Anthony Kiendl, Cathy Mattes and Meeka Walsh. The catalogue is published as a travel guide, and features maps, listings, and significant recommendations and addresses for visiting Winnipeg. 248 Pages | $40.00

COMING SOON Close Encounters: The Next 500 Years Plug In Editions For the exhibition, Close Encounters: The Next 500 Years, 33 international Indigenous artists produced artworks that reconfigure ways of thinking and being for ourimagined future. Organized by Plug In ICA, acting as the banner project of Winnipeg as Cultural Capital 2010, the exhibition spanned five venues across the city and a five month time period from January 22 to May 8, 2011. 176 Pages | $50.00

Plug In, in association with McNally Robinson booksellers, is pleased to offer Winnipeg’s best art, architecture and design bookshop at 460 Portage Avenue. We also stock magazines, gifts and art-related objects.

The Plug In online shop is an easy way to browse and buy artwork, books, catalogues, multiples and merchandise from Canada’s only Institute of Contemporary Art. We have an expanding list of artists, publications and items to choose from.

Stop by our newest addition to the family. Stella’s in the Buhler Center will offer a fresh take on your dining experience. Open daily 6:30 a.m. to 11:00 p.m., the café will offer a full service, licensed dining room as well as a fresh take away area. If you’re in a rush, picking up a latté and a Stella’s Breakfast Muffin, or a smoothie with a sandwich will only take a matter of minutes. Stella’s... healthy ingredients & inspired taste. The right way.

Inform: May to December 2011  

A publication of Plug In Institute of Contemporary Art

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