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DTSTART:20180101T000000
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DTSTART;TZID=UTC:20180120T140000
DTEND;TZID=UTC:20180120T160000
DTSTAMP:20260522T032359
CREATED:20180207T224220Z
LAST-MODIFIED:20180320T223221Z
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SUMMARY:Respondent Series | Artist Talk with Bracken Hanuse Corlett
DESCRIPTION:Programmed as part of our winter solo exhibition Sweetgrass and Honey by Skeena Reece\, Plug In Institute of Contemporary Art is extremely pleased to present interdisciplinary artist Bracken Hanuse Corlett\, who will present an artist talk as part of our ongoing Respondent Series on Saturday\, January 20 at 2pm. \nFor Sweetgrass and Honey\, Corlett has been commissioned by Reece to paint a new mural\, Stekyawden Syndrome\, 2018. Created in collaboration with Reece\, the mural reinterprets a Gitksan myth\, The Mountain Goat\, in which village people are punished for their poor treatment of mountain goats who they kill or harm cruelly without reason. For the mural\, Corlett and Reece frame this myth within a psychological trauma (Stockholm Syndrome) that leaves captives overly sympathetic with their capturers. Contextualized within the frame of the exhibition\, Corlett will give an introduction and overview of his most recent works\, and upcoming projects\, with insight into what drives him as an Indigenous person\, writer and artist. \nWorking in a breadth of forms and media\, including mural painting\, animation\, and VJing\, for this talk\, Corlett will speak about the mural at Plug In ICA\, as well as his large-scale public art projects\, such as Listening. On. Waking Terrain\, 2017\, a recent commission from the city of Vancouver; his animation Ghost Food\, 2017; and SEE Monsters\, an audio-visual collaboration with his cousin Dean Hunt. \nBracken Hanuse Corlett is an interdisciplinary artist who hails from the Wuikinuxv and Klahoose Nations\, currently based in Vancouver and the Sunshine Coast. With formal training in theatre and performance\, Northwest Coast art\, and visual arts\, Corlett’s work is a hybrid that incorporates Northwest Coast aesthetics and symbols\, and fuses painting and drawing with digital media\, audio-visual performance\, animation and narration. He is a graduate of the En’owkin Centre of Indigenous Art\, Penticton and has a B.F.A. from Emily Carr University of Art and Design\, Vancouver. He studied Northwest Coast carving\, art and design with the acclaimed Heiltsuk artist Bradley Hunt\, and his sons Shawn Hunt and Dean Hunt. In 2014 he was awarded the BC Creative Achievement Award for Aboriginal Art\, and in 2017 he received a large-scale public art commission for the City of Vancouver\, and the Vancouver Mural Festival. His work has been exhibited widely\, including at Grunt Gallery\, Vancouver; Museum of Anthropology (MOA)\, Vancouver; Urban Shaman\, Winnipeg\, and the MacKenzie Art Gallery\, Regina; and the ImagineNative and Toronto Film Festivals\, Toronto. His work Electricity Blanket Protoype 004\, 2017 is currently included in the exhibition INSURGENCE/RESURGENCE at the Winnipeg Art Gallery. \n\n\nThis artist talk is programmed in conjunction with Skeena Reece: Sweetgrass and Honey  | January 19 – March 18\, 2018. \nOpening Reception:\nFriday\, January 19 | 7-11pm * artists in attendance \nPerformance:\nSkeena Reece Looks Like a Suicide | Friday\, January 19 | 7pm \nRespondent Series artist talk:\nBracken Hanuse Corlett | Saturday January 20 | 2pm \n\nInterpreting [Interrupting] Youth screening and panel discussion\nSaturday\, February 10 | 2pm \nRespondent Series performance:\nDarryl Nepinak | Thursday\, February 15 | 7pm \n\nSkeena Reece is best-known for her critically penetrating and humourous performances\, in which she portrays a range of personas that are often driven by the potential of a raw exchange with audiences. For Sweetgrass and Honey\, she builds on her lexicon of characters at times ramping up the clichés and emboldening stereo-types while sincerely trying to unearth their origins and stonewall their continued perpetuation. From Stockholm Syndrome to Indian Princesses\, Reece uses various subjects in building a new lens with which to examine her personal history within a rereading of the displacement and continued disregard of indigenous people in North America. \nSweetgrass and Honey is a concatenation of works from a photographic series to mass-produced posters. This exhibition will feature several newly commissioned works\, including a specific installation that challenges the racist history of the Hudson’s Bay\, which sits across the street from Plug In. As well she will create a mural that offers a psychological look at the relationship between captor and captive; and another artwork that visualizes the ghosts in our history – buried in the land we occupy. Many of the artworks presented in this solo exhibition were produced in collaboration with other artists who Reece ignites as producers and translators.  \nSkeena Reece is a Tsimshian/Gitksan and Cree artist based on the West Coast of British Columbia. She has garnered national and international attention most notably for Raven: On the Colonial Fleet (2010) her bold installation and performance work presented as part of the celebrated group exhibition Beat Nation. Her multidisciplinary practice includes performance art\, spoken word\, humor\, “sacred clowning\,” writing\, singing\, songwriting\, video and visual art. She studied media arts at Emily Carr Institute of Art and Design\, and was the recipient of the British Columbia award for Excellence in the Arts (2012) and The Viva Award (2014). For her work on Savage (2010)in collaboration with Lisa Jackson\, Reece won a Genie Award for Best Short Film\, Golden Sheaf Award for Best Multicultural Film\, ReelWorld Outstanding Canadian Short Film\, Leo Awards for Best Actress and Best Editing. She participated in the 17th Sydney Biennale\, Australia. Recent exhibitions include\, The Sacred Clown & Other Strangers (2015) a solo exhibition of her performance costumes and documentation at Urban Shaman Contemporary Aboriginal Art\, Winnipeg and Moss at Oboro Gallery\, Montreal (2017). An iteration of Sweet Grass and Honey will travel to the Comox Valley Art Gallery. \n\nParts of Sweetgrass and Honey were produced in collaboration with Oboro\, Montreal exhibited as part of the exhibition Moss. \nPlug In ICA gratefully acknowledges the support of the Canada Council for the Arts\, the Manitoba Arts Council and Winnipeg Arts Council. We extend gratitude to our Director’s Circle\, valued members and dedicated volunteers. \n\n\n\nAll public programming is FREE and open to the public. Everyone welcome! \n\nPlug In ICA extends our gratitude to our artists\, generous donors\, valued members and dedicated volunteers. With special thanks to our Director’s Circle. \nWe gratefully acknowledge the support of the Canada Council for the Arts\, the Manitoba Arts Council and Winnipeg Arts Council. We thank the Andy Warhol Foundation for the Visual Arts for their support of our 2016 and 2017 program\, as well as Payworks and Wawanesa Insurance for the direct support of our youth programs. \nPlug In ICA relies on community support to remain free and accessible to all\, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/supportor by contacting Angela Forget: angela@plugin.org \nFor media inquiries please contact: Sarah Nesbitt at sarah@plugin.org or by telephone at (204) 942-1043. \n\n\n  \n\n\n\nRelated exhibit:\nSkeena Reece: Sweetgrass and Honey
URL:https://plugin.org/event/respondent-series-artist-talk-with-bracken-hanuse-corlett/
LOCATION:Manitoba
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180126
DTEND;VALUE=DATE:20180319
DTSTAMP:20260522T032359
CREATED:20180202T123642Z
LAST-MODIFIED:20180202T123643Z
UID:1682-1516924800-1521417599@plugin.org
SUMMARY:Skeena Reece: Sweetgrass and Honey
DESCRIPTION:Skeena Reece is best-known for her critically penetrating and humourous performances\, in which she portrays a range of personas that are often driven by the potential of a raw exchange with audiences. For her solo exhibition Sweetgrass and Honey\, she builds on her lexicon of characters at times ramping up the clichés and emboldening stereo-types while sincerely trying to unearth their origins and stonewall their continued perpetuation. From Stockholm Syndrome to Indian Princesses\, Reece uses various subjects in building a new lens with which to examine her personal history within a rereading of the displacement and continued disregard of Indigenous people in North America. \nSweetgrass and Honey is a survey of sorts\, recontextualizing some of Reece’s earlier works\, showing out-takes from a 2005 video An Indian Guide: Self Preservation and animating the photo shoot from We Still Know\, 2007. Even the exhibition title is pulled from her debut folk music album released in 2011. This revisiting is in constant motion as a series of exposes\, demonstrating Reece’s artistic processes as well as sharpening the focus on her layered but direct subject; her process being one of structured improvisation and intimate collaboration. And her subject formed by the outlines of the long\, reoccurring and transmuting effects of colonization while effacing racial stereotypes used to relegate Indigenous culture into the past. \nReece often works within a narrative structure she devises to invisibly pulse under the surface of the work she produces. For We Still Know\, Reece imagines a moment in the past\, set in the 50s and 60s when young native men just graduating from residential schools were entering city life\, looking stylish\, moving with confidence and optimism\, free and unencumbered. Reece posits and attempts to capture this moment\, depicting a time of transition encapsulated by potential. This is an experience she imagines as her father’s\, and one she knows could have only been fleeting – before the effects of racism and past traumas surfaced\, at times expressing themselves in self-destructive and violent ways. But this moment of power no matter how real or sustained\, is important for Reece to express as an illustration of strength and survival. This resolute and hopeful moment is the establishing shot for Sweetgrass and Honey\, determining a resilient image that should linger steadfast as other narratives and exposures unfold throughout the exhibition. \nThe out-takes from An Indian Guide: Self Preservation express a struggle of identification\, where understandings of indigeneity come into conflict with day to day experiences. At one point in the filming\, Reece\, who is behind the camera\, asks each of the three actors how they would respond to being called a typical native man. This draws out the performers who address the multiplicity of what that description might mean as well as leads them to identify the derogatory inference of being called ‘typical’ anything. The embodiment of a typical native-ness is transformed into caricature in Entitled\, 2017\, a painting for which Reece commissioned the west coast painter and illustrator Collin Elder to portray her using the clichéd aesthetic devices common to paintings of the glorified Native Maiden\, but her portrait sits in stark contrast to the romanticism of the Indigenous female\, as she invites the voyeur to gaze upon her self-aware smirk with an air brushed double chin. Reece’s portrait has her dressed in a feather cape\, posed stoically in the center of a barrage of wilderness signifiers from the wolf to the grizzly bear\, but she asked for a bored wolf\, a dumb spirit bear\, a contentious totem pole made in the US in Haida style made by non-Haida cravers and the 2010 Vancouver Olympics inukshuk logo in a nauseating mash up of cultural clichés. She is presented as a pervasive image of the Native Indian in her natural habitat\, but skewed in parody. She is an absurd dream and flawed vision of the past. Reece exacerbates this relegation to the past\, by placing velvet stanchions in front of the painting as if it was in the historical section of a major museum. She further propagates this prolific image as she turns it into a mass-produced poster available for purchase in the gallery’s shop. \nThe past is an ever-present and fraught subject in Sweetgrass and Honey– one that Reece is constantly pushing back at and pulling into current times. In the photographic series\, Un-Entitled\, 2017\, Reece wears “herstory” on her body. She invited the artist Gord Hill\, a deeply politically charged writer and activist who is a member of the Kwakwaka’wakw nation\, to illustrate aspects of colonial occupation and its destructive force\, which Reece placed on her body as tattoos. Pictured on her skin are line drawings of men ready for battle. A conquistador\, an Oka stand off with a Canadian soldier and an Indigenous warrior are part of her flesh. As if rising from the historic depths of battle there is also an illustration of mother and child that on the artist’s skin endure into the present\, inviting viewers as caregivers to question why violence is perpetuated. Reece’s Moss Bag\, 2015/17 renders this parental relation even clearer as she frees a relic from the confines of museological display. She has made an adult sized moss bag and cradleboard traditionally used as part of child rearing to carry newborns until they could walk. The sculpture\, hangs on the wall like an over-sized and kitsch crucifix – a reference that shows the sacrifice of motherhood while also locating it as a place for healing and contemplation. \nThis unsettled encounter between past and present is part of We Are All One\, which she first produced in response to Tsimshian Treasures an exhibition of Tsimshian ceremonial masks and objects at the University of British Columbia’s Museum of Anthropology (MOA) in 2007. Reece commissioned Vancouver-based artist Nathalee Paolinelli to paint a series of child-like black and white water-colours of some of the objects represented as artifacts in the exhibition. The humble depiction of the objects’ has an ethereal quality that reflects meaning that cannot be found in the objects themselves\, but instead resonates as a cultural practice. Reece’s representations are an act of reclamation\, and an acknowledgement that value is situated within the people and culture who made them and continues to produce them. A re-commissioned series of these water-colours are scattered around the exhibition as stickers on the walls. They are presented in Sweetgrass and Honey as disposable cheap renditions\, again undermining their value as objects – now presented as artifacts which in MOA’s exhibition catalogue suggests were originally acquired by Reverend Robert J. Dundas as gifts or purchased for little in the mid to late 1800s\, and were last auctioned off in the early 2000s by Sotherby’s for over $20\,000 each\, breaking records for these types of objects sold at auction. But this monetary value is not where their worth lies. \nThis economic schism is brought to the fore in Access Denied\, a site-specific work that challenges the racialized capitalism of The Hudson’s Bay’s origins in the fur-trade. One of the company’s early flagship stores sits across the street from Plug In Institute of Contemporary Art and can be viewed through the windows of one of the institute’s gallery’s. Reece blocks the view by stacking burlap sacs from floor to ceiling. From the street\, the gallery appears to be a storehouse tightly stocked full of goods. The filled room mockingly sits in opposition to The Bay in acknowledgement of Reece’s awareness of the past\, and how deeply disturbing is this knowledge. This particular branch of the department store has closed three of its massive floors\, amalgamating into two floors. Even with the merging of departments\, the store feels barren and on the edge of closure. But Access Denied is a bluff. Once at the interior entrance to the gallery\, the viewer can see that the room’s fullness is staged; it is a façade. In actuality\, the gallery’s windows are only lined with stuffed sacs that sit in front of a prop wall. Even with the illusion broken\, Reece denies visitors access to the gallery space. The ‘goods’ (sacs filled with air) are inaccessible – just out of reach\, annunciating an economic rift that is still felt in Indigenous communities who continue to be systemically denied access to the benefits of our country including accurate historical accounting for the disabling injustices of then and now. \nReece’s challenge to historic oppression and cultural genocide is a gesture that carries consequence in that it posits a future to come. InThe Mountain Goat\, a Gitksan myth\, village people are punished for their poor treatment of mountain goats who they killed or harmed cruelly without reason for food. There are deadly consequences for their brutal and unreasoned actions because retribution from the mountain goats is inevitable. In cultural contrast\, the mountain goats sees animals as equals to the villagers\, whose moral and physical high ground implies that cruelty is dealt with swiftly and totally as they bring a mountain crashing down on the village. The new work Stekyawden Syndrome\, a large-scale mural done in collaboration with Northwest Coast\, Wuikinuxv and Klahoose Nations’ artist Bracken Hanuse Corlett\, frames this myth within a psychological trauma that leaves captives overly sympathetic with their capturers. Reece has diagnosed Indigenous people as having Stockholm Syndrome\, but this blinding condition is breaking as reprisals must be discussed. \nCurated by Jenifer Papararo \nSkeena Reece is a Tsimshian/Gitksan and Cree artist based on the West Coast of British Columbia. She has garnered national and international attention most notably for Raven: On the Colonial Fleet (2010) her bold installation and performance work presented as part of the celebrated group exhibition Beat Nation. Her multidisciplinary practice includes performance art\, spoken word\, humor\, “sacred clowning\,” writing\, singing\, songwriting\, video and visual art. She studied media arts at Emily Carr Institute of Art and Design\, and was the recipient of the British Columbia award for Excellence in the Arts (2012) and The Viva Award (2014). For her work on Savage (2010)in collaboration with Lisa Jackson\, Reece won a Genie Award for Best Short Film\, Golden Sheaf Award for Best Multicultural Film\, ReelWorld Outstanding Canadian Short Film\, Leo Awards for Best Actress and Best Editing. She participated in the 17th Sydney Biennale\, Australia. Recent exhibitions include\, The Sacred Clown & Other Strangers (2015) a solo exhibition of her performance costumes and documentation at Urban Shaman Contemporary Aboriginal Art\, Winnipeg and Moss at Oboro Gallery\, Montreal (2017). An iteration of Sweetgrass and Honey will travel to the Comox Valley Art Gallery.
URL:https://plugin.org/event/skeena-reece-sweetgrass-and-honey/
LOCATION:Manitoba
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