Experience the bold artistry of The Clichettes in their first-ever retrospective, showcasing a vibrant collection that challenges and inspires
The Clichettes, a retired trio of Canadian artists, combine comedy and feminist satire to explore political themes through performance art. The trio was featured in their first retrospective, The Clichettes: Lips, Wigs, and Politics, at the McMaster Museum of Art. This exhibition, curated by Ivana Dizdar, is dedicated to the group's career between 1978 and 1993.
The Clichettes consisted of three women: Louise Garfield, Janice Hladki and Johanna Householder. The group performed shows in theatres and venues across Toronto and internationally. Through a unique blend of humour and political critique, they tackled significant societal issues, using their artistry to advocate for a better future.
On Sept. 19, 2024, the opening reception and publication launch was held at the museum. The opening reception showcased the exhibition which features the many works of The Clichettes including over 150 of their costumes, props, videos, photographs, drawings, scripts and archival materials.
The museum is also featuring a new publication of the same name as the exhibition, an incredibly detailed catalogue that was published in succession with The Clichettes' first retrospective.
The catalogue was edited by Ivana Dizdar and designed by Rob Gray. It includes multiple collaborations between the Clichettes and other artists, directors, designers and writers. These include essays by Ivana Dizdar, Marni Jackson, John Greyson, Alexandra Schwartz, Mark Kingwell, rl Goldberg, Lillian Allen and Wanda Nanibush.
Ivana Dizdar, an art historian and PhD candidate at the University of Toronto, carefully curated the exhibition for over three to four years. “It takes that long for a major exhibition at every museum. Usually for exhibitions, curators start working about four or five years in advance. Sometimes more depending on the scale and depending how much money and resources they have,” explained Dizdar.
Dizdar’s journey with The Clichettes began over a decade ago in a performance art seminar, where she was immediately captivated by their blend of political commentary and humour. “I realized that an artist could use humour in such a profound way,” she said. This early fascination ultimately led to her role as curator, where she closely collaborated with the artists throughout the process.
Dizdar expressed that her journey curating the exhibit was both enjoyable and chaotic as she worked alongside the trio, all of whom are now in their seventies. “It was really wacky. We brainstormed the title together and made decisions about what to include in the exhibition. Their involvement was crucial, as it’s their first retrospective, and I wanted to ensure they were happy with how their work was presented,” she said.
Their involvement was crucial, as it’s their first retrospective, and I wanted to ensure they were happy with how their work was presented.
Ivana Dizdar, Curator
The Clichettes' exhibition
The exhibition honours The Clichettes’ past while aiming to inspire future generations of artists. Their distinctive combination of humour and political critique continues to resonate today, inviting audiences to reflect on societal issues.
Visitors of this retrospective will encounter an array of materials that exemplify The Clichettes' artistic journey. From humorous performances that challenge patriarchal norms to thought-provoking installations, the exhibition serves as a celebration of their innovative spirit.
"The mark of a good exhibition is that you don’t notice the hard work behind it. You simply enjoy the experience," said Dizdar. This retrospective, with its seamless design and engaging content, invites attendees to engage with The Clichettes’ vision for a better world.
The mark of a good exhibition is that you don’t notice the hard work behind it. You simply enjoy the experience.
Ivana Dizdar, Curator
The Clichettes' exhibition
The Clichettes: Lips, Wigs, and Politics not only showcases their unique contributions to performance art but also highlights the ongoing relevance of their work. Check out the exhibit conveniently located for students at the McMaster Museum of Art. You can also buy a copy of the elaborate publication at the MMA to receive an in-depth catalogue of their works.
McMaster Museum of Art exhibition We Remain Certain portrays Haudenosaunee’s complex history to strike conversations about our future
The We Remain Certain exhibition had its opening reception on Jan. 11 from 5-8 p.m. at the McMaster Museum of Art, and will be available for public viewing until Mar. 22, 2024.
This exhibition was funded in part by the Social Sciences and Humanities Research Council and Lush Fresh Handmade Cosmetics. Their other supporters include the Ontario Arts Council.
We Remain Certain depicts the lasting connection between the Haudenosaunee people and their Grand River Territory home. The Haudenosaunee, also known as “people of the longhouse,” Iroquois or Six Nations, are members of a confederacy of Aboriginal nations that reside across southern Ontario, eastern Quebec and south into New York State. This exhibition is curated by a collective of Haudenosaunee artists, and the contemporary pieces delve into Haudenosaunee land tenure, exploring the intricate history, treaty agreements and displacements along the Grand River. It ultimately aims to ignite conversations and thoughts around our collective future, utilizing Haudenosaunee "Original Instructions" as a foundation for understanding and collaboration.
This collection was curated by Protect the Tract Collective, a Haudenosaunee-led project that conducts research, policy development and encourages civil engagement through the promotion of land stewardship (caring for and continuously learning about a piece of land despite its ownership) over the Haldimand Tract, featuring artists Dakota Brant, Denny Doolittle, Betts Doxtater, Kaya Hill, Rick Hill, Arnold Jacobs, Ken Maracle, Steve Maracle, Shelley Niro, Greg Staats, Steve Smith, Kristen Summers and Jeff Thomas.
The exhibit aims to communicate that, while the past remains certain, the future can be changed based on what we learn from our history.
“Arenhátyen tsi ní:tsi teyottenyonhátye’ kwató:ken tsi nī:tsi yonkwa’nikonhrayén:ta’s. Awęhęgyeh shęh hodęˀ dewahde:nihs, haˀgadagyeˀshǫˀ shęh nˀagwanigǫ̲ha:do:gę: It does not matter what continually changes, our understanding remains certain,” as stated on the M(M)A website.
Arenhátyen tsi ní:tsi teyottenyonhátye’ kwató:ken tsi nī:tsi yonkwa’nikonhrayén:ta’s. Awęhęgyeh shęh hodęˀ dewahde:nihs, haˀgadagyeˀshǫˀ shęh nˀagwanigǫ̲ha:do:gę: It does not matter what continually changes, our understanding remains certain
M(M)A website
C/O nichola feldman-kiss | Artist, Bob McNair | Photographer
Artist nichola feldman-kiss presents Scapegoat, a critique of the colonial paradigm
CW: Death, implied violence
The latest exhibition at the McMaster Museum of Art, Scapegoat, critiques the colonial paradigm—the violent story of domination and submission—through displays of biological metaphors for the geopolitics and conflict. The exhibition will be available until Mar. 18 with advanced admission booking.
Artist nichola feldman-kiss began Scapegoat in 2015 following a series of works after the their deployment on a United Nations Mission to Sudan in 2011 as part of the Canadian Forces Artists Program.
The exhibition features hybrid-media installations, including photography, audio, video, digital and performative pieces. The aim is to bring to attention the injustices perpetuated by settler-colonialism structures. In the current era of heightened social awareness and responsibility, feldman-kiss’ work creates space for conversation around peace, reconciliation, recognition, decolonization and repatriation.
Since returning from Sudan in 2011, feldman-kiss has been attempting to make sense of what they saw and experienced through projects such as Between here and there.
Scapegoat attempts to uncover what is missing or left unspoken in the narrative about wars and world conflicts which are often told and fragmented by those who dominate the conversation, particularly those in power.
“I’m very suspicious about what is written down because when I approach what is written down, I know there is something missing. Sudan revealed to me a lot about what is missing, what is all contained in the narrative, what kinds of narratives are crafted for the Western press audience and how those of us who have not seen [the conflict first-hand] have very little capacity to imagine.
nichola feldman-kiss
Part of what is missing in these narratives are the identities and lives behind the death toll statistics. When human bodies are reduced to mere numbers, questions remain about their story, including who they were, where they lived, who is missing them, who is grieving them and why they went to war. An initial aversion to the plight of the sufferer (Pietà), was built upon these questions to reconnect the disembodied souls.
Between here and there / Human Toll is a sound piece in which a speech synthesizer reads the worldwide death statistic database from the Uppsala Conflict Data Program.
feldman-kiss’ worked with human skeletal sets to personify the death statistics further. . An initial aversion to the plight of the sufferer (Pietà is a series of photographic portraits of young men cradling the skeletal set by those who approximate the age of the specimen. It may be discomforting to see — but that is the point. The demographic in the pieces reflect the victims of state violence in the global statistical records.
The human skeletal sets used in the piece, originally intended for use in the medical field, were obtained from a Canadian osteological specimen supplier.
“I made that purchase [of human osteological specimens], that gesture, as another demonstration of the sort of between-here-and-there that I was experiencing from the original trip to Sudan. . .I, as a regular Canadian person, that world was so far away from my capacity to perceive it through this constant [thought] of, ‘Yes, this really happened,’” said feldman-kiss.
An important experience part of the previous project, Between here and there, and the current exhibition, Scapegoat, was feldman-kiss’ trip to India to learn about the human bone trade. A human bone specimen supplier gave feldman-kiss access to his full inventory for the video piece Scales of Justice and was a valuable resource for this project.
Caption: Still from The King’s two Bodies Scales of Justice 2016. Video projection (performance mediation).
“[Scales of Justice] came out of that experience. . .So that was an important experience for me to be able to bring empathy to the body of work which is in the exhibition Scapegoat,” explained feldman-kiss.
Altogether, Scapegoat allows its audience to reflect on the colonial paradigm by demanding confrontation with the reality of the current geopolitical landscape—a world in which marginalized folks, including people of low socioeconomic status and Black, Indigenous and People of Colour are disproportionately targeted and represented in armed casualties.
Through the culmination of works since 2015, Scapegoat facilitates grief, reflection and reimagination of a different, decolonized world.
*This article has been updated for clarity. We thank our friends at McMaster Museum of Art for clarifying key aspects of Scapegoat. For more information, visit museum.mcmaster.ca/exhibition/nichola-feldman-kiss-scapegoat/.
Photo C/O Motel
By Adrian Salopek, Staff Writer
News of the first COVID-19 related death in Hamilton came just two weeks ago. The outbreak has had devastating effects on communities across Canada, and Hamilton is no exception. Local businesses and members of the Hamilton arts community have suffered economically, as many have had to shut their doors to prevent the spread of the virus. However, in the midst of this stress and uncertainty, community members are coming together through acts of generosity and resourcefulness.
As all non-essential businesses were recently forced to close, most businesses across Hamilton have indefinitely closed their doors. Small businesses like Big B Comics (1045 Upper James St.), a local comic book store, have suffered major losses and so have their entire staff. For many, the COVID-19 outbreak has meant disappearing paychecks or even sudden unemployment.
“Our staffing needs were cut dramatically in the blink of an eye,” said Dylan Routledge, manager of Big B Comics.
However, businesses are not losing hope. Many businesses, Big B Comics included, have implemented new methods of serving their customers while taking all precautions to avoid spreading the virus.
“[We had to] be innovative and inventive in our approach to business,” explained Routledge, “We instituted a ‘door pick up’ system, wherein customers can collect their products at the door but aren't allowed to enter the store.”
Businesses within the food industry have also been stepping up. Motel (359 Barton St. East), a local brunch restaurant, created take-out packages for their customers. These allow customers to still enjoy their food while trying to give them a taste of the experience that they would have had in the restaurant.
“We created brunch packages that mirror the fun you would have in the restaurant,” said Chris Hewlett, owner of Motel. Hewlett and his team are now offering specials that include two entrées and a side dish. To further push the limits, the brunch restaurant is also including decorative tropical decor, including palm leaves, cocktail beach umbrellas, and a light-up neon sign of your choice. The special and regular menu items can all be picked up curbside to help reduce contact between customers and employees.
Businesses and community members alike are not only being resourceful in this dark time, but are also coming together through acts of generosity. It is often said that in the hardest of times, the best in people is revealed, and the actions of many in Hamilton have lived up to this. Vintage Coffee Roasters (977 King St. East), a local family-run coffee shop, has witnessed this in both their own customers and the wider Hamilton community.
https://www.instagram.com/p/B9__Wq-Hjjc/
“I have been seeing so many posts on social media of [both] our customers and community members reaching out to neighbours and helping out with food purchases or other errands,” explained Lisa Stanton, Vintage Coffee Roasters owner. “Many of our customers were buying beans to be delivered to their friends who may be in quarantine.”
Some businesses have even attempted to give back to the community by making tangible efforts to help those at the front lines of the fight against COVID-19. A notable example of this is Motel with their generous support for healthcare workers.
“We also decided that at this time we wanted to do business mixed with ways to help our community,” said Hewlett, “We offer call ahead free coffee for healthcare workers. We are also using our suppliers to get produce packs to people so they can purchase eggs, bread and fresh produce.”
While local businesses have suffered major financial losses, the arts community has also suffered due to the outbreak and closures. Hamilton Artists Inc. (155 James St. North), an art gallery downtown, had to close its doors to the public and spring exhibitions had to be cancelled. This was a blow to not only the gallery and the Hamilton community, but also to local artists.
https://www.instagram.com/p/B5kudmaFi5L/?utm_source=ig_web_copy_link
“I want to remind people that nonprofits and charities are struggling too, and that even small donations towards these organizations can go a long way,” stressed Julie Dring, Hamilton Artists Inc. Executive Director. "Many of the artist-run centres and arts organizations in Hamilton support artists by paying Canadian Artists’ Representation rates to artists. Donating to your local artist-run centre is a great way to aid artists who are experiencing lost income during this time.”
McMaster’s very own Museum of Art has also suffered in this stressful time, having to close its doors and cancel all events. This has not only affected the museum and its staff, but also McMaster students.
https://www.instagram.com/p/B2ww7_JnE23/?utm_source=ig_embed
“One of the most significant cancellations at this time is the annual student studio programme (SUMMA) graduation exhibition,” explained Carol Podedworny, the museum’s director. “[It is] cumulative, following four years of study for the students . . . We engage a guest curator for the project from the Canadian arts community — this year, local artist Stylo Starr. It is disappointing that the students will not experience this event.”
Much like their business counterparts, the arts community has had to become resourceful in order to survive the pandemic.
“I think art can be a balm,” said Podedworny. “I think in the COVID world, art museums through a virtual presence (exhibitions, programs, inter-actives, didactics) can provide answers, reflections and opportunities for wellness and self-care.”
It is saddening to see so many businesses, art services and community members negatively impacted by COVID-19. On a positive note, much good has come from this dark time as Hamiltonians make efforts to support one another. Here’s hoping that we don’t forget the lessons learned and the efforts that people have made to help one another.
Get free museum admission with your hamilton public library card
With a Hamilton Public Library card, you can access any of the Hamilton Civic museums for free. If you live, work or study within the city, you can drop by any library location to get yourself a card — there’s even one in Westdale (955 King St. West).
There are nine museums included in this offer, with a full list available on the city website. The city website features a 360° virtual tour for each site, so you can still experience them even if you can’t make it in person. Below you’ll find a brief taste of two of the museums that are included in the offer.
At its height, Dundurn was a monument of money and power, owned by Sir Allan Napier Macnab. The piano resting in the parlour would have cost more than a house at its time. The house was so impressive that it became generally known as a castle. The tour charts the building from top to bottom, covering the lives of both the Macnab family and their servants. For an hour, you’ll find yourself transported to the 1850s. There is information about the norms of this time period and most importantly, free food tastings. The shortbread is absolutely delicious.
[media-credit name="Photo by Lauren O'Donnell, A&C Reporter" align="alignnone" width="2176"]
[/media-credit]
The building was restored in the late 1960s as part of the 100 years of Canadian Confederation celebration.
Dundurn and Hamilton’s Urban Indigenous Strategy currently have an exhibit open to the public that seeks to highlight violence that resulted from the Confederation. The exhibit was created by local Indigenous youth to call attention to Canada’s missing and murdered Indigenous women.
Money raised by the Indigenous exhibition will be donated to the Drag the Red campaign, a volunteer-led organization searching the Red River in Winnipeg for evidence in unsolved cases of missing and murdered Indigenous women. The exhibit runs each week from Tuesday to Saturday until Nov. 5. Indigenous Elder and activist Wilamina McGrimmond is there on Wednesdays and Fridays to answer any questions about the exhibit and the issues it raises.
[media-credit name="Photo by Lauren O'Donnell, A&C Reporter" align="alignnone" width="2288"]
[/media-credit]
Battlefield commemorates the Battle of Stoney Creek during the War of 1812, a significant battle in Canadian history. The tour includes an inside look at Battlefield House, owned by the Gage family at the time — the namesake for Gage Park. There is also an optional opportunity to go inside the war memorial that sits at the top of the hill. It’s truly an impressive sight, visible even at a distance, and offers a breathtaking view of the surrounding area.
Similar to Dundurn, Battlefield gives insight into the social climate of the 1800s, with a particular emphasis placed on familial bonds and expectations. If you’re interested in Canadian history, this is the place for you. It also includes information about how Battlefield became a museum, largely due to the contributions of Sara Calder and the Women’s Wentworth Historical Society.
[media-credit name="Photo by Lauren O'Donnell, A&C Reporter" align="alignnone" width="1040"]
[/media-credit]
The grounds of Battlefield are currently dappled with autumn leaves. Beyond the historic significance, it’s a beautiful place to visit and explore.
The grounds of Battlefield are currently dappled with autumn leaves. Beyond the historic significance, it’s a beautiful place to visit and explore.
These are just a taste of the museums that you may visit with a library card. Since it’s spooky season, you could also go visit Whitehern HIstoric House and Garden. Remotely, you may access an online tour of two different underwater shipwrecks.
Make sure to take a trip to your local library to pick up a library card. The cards themselves are absolutely free and guarantee you admission to any civic museum, in addition to free books. Get out there and take a trip into Hamilton’s past.
By: Alannah DeAngelis, Contributor
Dates can be a fun way to get to know your partner better and try new things together. Between school, catching up on all your Netflix shows and hanging out with your friends, it can be tough to make time for date nights. Try out these five date ideas where you can stay on campus and avoid breaking the bank!
https://www.instagram.com/p/BcsJ1rAnxk_/
Planetarium Show
The W. J. McCallion Planetarium, in the basement of BSB, is an out-of-this world date idea! Shows run Wednesday nights and there is a new theme each week. Learn about outer space, stars, planets, comets and more. For more information, check out the McMaster Planetarium website.
Cost: $7 per person.
Photo by Matty Flader / Photo Reporter
Video Game Room in Lyons New Media Centre
Get your game on in the Video Games room on the 4th floor of Mills to find out which of you is the “Mario Kart” champion! There are five game consoles that you can choose from: Wii, Xbox One, Xbox 360, PS3 and PS4. They offer many games to play, all of which are available to rent for free. Bookings for this space can be made for up to 2 hours per day for all McMaster students.
Cost: Free! Just bring your student card to rent the controllers and games.
https://www.instagram.com/p/B2mcPb2HV0q/
McMaster Museum of Art
Check out some cool art with your partner at the McMaster Museum of Art right on campus. The museum is recognized internationally for its European paintings, drawings and prints. It is also known for its specialist collection of early 20th century German prints. This highly notable museum is just steps away from the Student Centre.
Cost: Pay what you can (suggested donation is $2).
Silhouette Archives
Trivia Night at the Phoenix
Test your knowledge at the Phoenix Bar and Grill’s Trivia Night, which happens every Tuesday at 7 p.m.. The theme changes each week, so you are sure to never be bored. Top teams will win gift cards to the Phoenix; perfect to use for another date night!
Cost: Free when you purchase food or drinks.
Silhouette Archives
Hike at Cootes
McMaster is surrounded by beautiful hiking trails with breathtaking views. Go for a hike at Cootes (start at the trail behind the Alpine tower) and explore what nature has to offer in McMaster’s backyard. Notably, the Sassafrass trail includes a lookout platform onto Lake Ontario. Who knows, maybe you will even see some deer along the way!
Cost: Free!
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
When Hamilton designer Jennifer Kaye visited the Hamilton Museum of Steam and Technology National Historic Site, she was struck by the beauty and craftsmanship of the 19th century steam-powered water pumping engines. It was something that couldn’t quite be captured in a 2D image. That is why her images of the 1859 Waterworks are in 3D.
From Jan. 19 to Sept. 8, the Museum of Steam and Technology National Historic Site will host an exhibit of Kaye’s photography entitled Doing It Justice: The Steam Museum. The free exhibit will be housed in the Woodshed that forms part of the Victorian industrial building complex.
Kaye recently did a graphic design program at Mohawk College, during which she took a photography course. In that class, she was assigned to use an advanced photography technique and chose 3D photography. She felt the museum lent itself perfectly to the medium.
“It's interesting to stand in the woodshed space and experience the engine in three dimensions without actually being there and looking at them. It has sort of a retro feel to it actually because we are using the old school three dimensional glasses, with the red and blue panes and the red and blue offset images. So it feels a bit like all the old school movies or even three dimensional comics,” said museum curator Richard Barlas.
3D photography is created by mimicking the way each human eye perceives a slightly different view. For each photograph, Kaye had to take two shots from slightly different angles and bring them together. When she reached out to the museum for help with the assignment, they loved it so much that they asked her to expand it so it could be displayed at the museum.
On Jan. 19, the opening reception for Doing It Justice took place, coinciding with the birthday of James Watt. Watt was an 18th century Scottish inventor and mechanical engineer who made significant improvements to the steam engine and thus contributed to the Industrial Revolution. The exhibit opening honoured his contributions to the modern world with birthday cake.
Aside from showcasing the machinery, the exhibit will educate patrons on 3D photography and machine art. Kaye prepared an essay highlighting the history of the two forms and the museum staff have been given information on the topic in order to engage visitors. As well, movies from the 1920s and 1930s with machinery in them will be playing in the exhibit.
3D photography became popular around the same time as the steam museum was built, making the use of one to illustrate the other even more fitting. Kaye also wrote in her essay about the early 20th century history of machine art, tracing its usage as a metaphoric icon to the modern acknowledgement of machines as beautiful objects.
“[There’s] real beauty in that kind of machinery. You know it's big and it's almost like it was made to be looked at and admired, you know, beautiful materials and… a real pride in the craftsmanship that I find really inspiring… And the art that uses that uses that iconography, I just find it appealing,” Kaye said.
Kaye hopes that the appreciation for the museum will increase and the exhibit helps to bring new visitors to see the steam engines. Barlas hopes that the exhibition gives those who cannot see the steam engines due to the lack of accessibility a way to experience the historic machinery.
“[T]he industrial past of Hamilton is so tied to its present and maybe to its future… we'll have to see. So I think places like the steam museum… honor a past about Hamilton that sometimes we prefer not to spend too much time thinking about, you know dirty industry and all of that, but that's who we are here. So yeah, I find that inspiring,” Kaye said.
The main goal of the steam museum is to promote education about the industrial and scientific history of Hamilton. Kaye has found a way to take a symbol of that history, the steam engines, and do it justice through art.
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
By Drew Simpson
The museum is still and rested thirty minutes after opening at 11 a.m. Light grey undertones of the tile, the walls and even the clear glass feed into this state. The only audible sounds are the receptionist chatting with the artist, Ursula Johnson.
Another glass door with grey undertones opens to Rheanne Chartrand, the museum curator. It is as if the grey cancels out the obnoxious glare of light the door would have produced. Chartrand motions towards the exhibit entrance.
[spacer height="20px"]At first sight, the exhibit seems simple. A side room leads into what feels like a room filled with statements. Baskets seemingly non-functional sit on metal shelving with tags attached. A database, a scanner and a pair of delicate white gloves demonstrate otherwise.
Exhibit attendees are encouraged to wear the gloves, choose a basket and scan the tag as a database educates them in seconds on what the artifact they are holding is. This one is a puppy holder.
The process of the gloves, scanning and reading the information resembles a museum’s archive room. As Chartrand mentions, Johnson points out the limitations of the database’s structure.
“A lot of cultural signifiers or references or terms and their use cannot fully be archived within that database. There’s also no space for a lot of community information or space for contested stories or histories related to that object,” explained Chartrand.
Leaving the Archive Room and entering the main room, black text describing the exhibit sits on a lamented white background stuck to the wall. The description of the exhibit entails three distinct spaces: The Archive Room, the Museological Grand Hall and the Performative Space.
[spacer height="20px"]The Museological Grand Hall holds empty exhibit glasses with white etchings on two sides, labeling the basketry. Johnson clarifies the archive room's parody permitting persons to touch the artifacts, yet the empty exhibit glasses do not allow people to touch anything even though the cases are empty.
Furthermore, the Museological Grand Hall reiterates the history of institutions bringing back artifacts from the Indigenous maker. Often times it is in awe of the spectacle without aiming to understand how the artifact was made.
Historically, many ‘artifacts’ have been mislabelled and misnamed. The etchings and labels pose as recipes and when coupled with the language they tell how each basket was made.
Paired with the Archive Room, the Museological Grand Hall also gambles the idea of who has the authority to name things and to describe their history. Mirroring Johnson’s sense of humour, the Archive Room does so with a comical twist.
If these neo-artifacts and their descriptions take their place in the chronological database, years later the discussion of pairing history to understand these artifacts will be comical to those aware of the satire.
[spacer height="20px"]Within the main room and behind a parting wall there is a long tool about three inches wide and three feet long, sitting on a couple of blonde plywood. It has a seat for the performer to sit and split the wood. There are wood shavings like locks of curly blonde hair scattered on the ground. Other smaller tools sit to the side.
The Performative Space is where Johnson performs traditional Mi’kmaw basket-making for the audience. However, she purposely produces unusable splints, as an opposition to set the Indian on display. The entire exhibit is a humorous yet challenging discursion concerning the institution's treatment of Indigenous material and linguistic culture.
The performance is loud. I helped lift the wood while two other persons scattered squares of mats underneath it. It is ironic that the performance is loud given how institutions like museums have set the Indigenous maker on display to perform their knowledge.
[spacer height="20px"]Except for this time, what is being performed is false knowledge, as Johnson purposely makes beginner mistakes when processing the wood, which also speaks to the disconnection between generations.
Ultimately, the three spaces combine to describe a long and large discussion around colonialism and the impact on Indigenous material and linguistic culture. Specifically, it challenges the museums. Certain museums still find this show controversial, although the exhibit has been touring for the past four years.
“All the institutions that have taken the show are always doing things to open up their collections. They are already doing things to break down the idea of the Indian on display. The institutions that don’t have those practices, that are mandated in their policies are the ones that are terrified of the show. They are the ones that can’t take it because it’s too risqué for them,” explained Johnson.
Ultimately hearing Johnson describes the deeper roots of the exhibit changed the visuals of the room. Mi’kwite’tmn (Do You Remember) takes a simple room and fills it with rich stories. These stories are finally told by the right person who simultaneously parodies that authority.
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
[feather_share show="twitter, google_plus, facebook, reddit, tumblr" hide="pinterest, linkedin, mail"]
By: Crystal Lobo
The “SHIFT: Environmentally Responsible Print Practice Exhibition,” is currently on display at the McMaster Museum of Art. Professors Judy Major-Girardin and Briana Palmer present this exhibit, which displays work from applicants across North America.
Printmaking typically consists of heavy chemical use and other toxic substances. This exhibition aims to approach this art form from an environmentally responsible perspective.
78 artists across Canada and the United States applied to have their work showcased. Only 28 were chosen.
“We really wanted to maintain a high standard of quality. So all along this initiative, the idea has been that we can do things in a more responsible way without sacrificing quality,” said Major-Girardin.
The exhibit served as one part of the greater movement towards environmentally responsible art. The second component was a symposium held on Fri., Feb. 26th. This symposium consisted of workshops displaying the processes used by the artists of the exhibit in creating their works. It also included a discussion panel, as well as showcasing of faculty and student work.
“It was a really kind of lively day of exchange. Everybody was able to talk to people who had like interests and really begin to build the network … We felt like we got the word out in a short amount of time with art pieces and the symposium,” said Major-Girardin.
The exhibit shows the McMaster community that meaningful change in society stems from small circles, something Major-Girardin takes great pride in.
“One of the quotes that I always reference is one from Margaret Reed that goes something like ‘Don't ever doubt the power of a group of small individuals in changing the world because really that's the only way that the world has ever changed with a group of small committed passionate individual.’ So I guess that's the message. We really are empowered to make change here and it starts with a small group but that builds and can build a whole movement,” said Major-Girardin.
Judy Major-Girardin would like to recognize the Forward with Integrity President’s Grant for funding this project.
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
[feather_share show="twitter, google_plus, facebook, reddit, tumblr" hide="pinterest, linkedin, mail"]
For Amber Wilson, Vice-President of Internal Affairs with the McMaster Humanities Society, art is a huge part of her life — and everyone else’s. “There's art everywhere. I know it's corny, but there is,” the fourth year Philosophy student said.
The universality of art is something Art Matters Week aims to draw attention to. A collaboration between the MHS and Humanities SRA members, Art Matters Week offers a variety of free events for students in all faculties to enjoy. “This year we've really opened it up to the whole school, which is really important so we've changed the focus from humanities to art and the arts,” Wilson explained.
Running from Mar. 7 to 11, Art Matters Week is made up of a diverse array of activities and events. These include a panel discussion involving a member of each faculty explaining how they use art in their teaching, workshops led by Humanities-affiliated clubs, an arts alumni mixer and a wine and cheese night at the McMaster Museum of Art. Wilson and the Art Matters Week planning team hope these events will appeal to students in all faculties.
Wilson is most excited for the events of Mar. 11, however. Between 10 a.m. and 3 p.m. the MUSC Atrium will be transformed into an art gallery. “We have students from all faculties submitting their art. We're bringing Art Crawl to us. So we'll have tables set up with Mac student art and at the same time the Jazz Ensemble and the Flute Ensemble will be playing,” she said, adding that student art submissions are welcome until Mar. 10.
The exhibit will also feature Robbie J, a well-known live painter. “He's going to bring all of his materials and you can just come and watch him paint ... In his 'artist's requirements' he said it's required that he have a fun atmosphere. So however whatever's going inspires him, he's going to put it into that piece. And then he's going to be donating that piece to us.”
This year marks a new chapter for Art Matters Week. In the past, the week had a minimal presence on campus. Events were sparse and quiet, the highlight being a coffeehouse at Bridges. “Gauging interest is what we're trying to do this year, so if people are excited about it, we're just going to keep making it bigger,” Wilson explained.
She added that she was inspired to revamp the event after giving a campus tour. “One of the parents of the tour I was giving asked if I liked living in Hamilton ... There’s so much culture in Hamilton and a lot of people don't realize it.” As this is the first year the events have been planned to have a greater reach on campus, most of the events are tied to McMaster. However, Art Crawl and other off-campus events will also be promoted throughout the week.
Wilson hopes the events will entice students to look at all the ways art factors into their lives and the Hamilton community at large. “People don't realize how amazing the arts community is in Hamilton ... it's just sitting there and it's waiting to be realized.”
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
