love, intimacy and (com)passion, in a geopolitical context
A monthly series of video, film, performance and ceremony events
Project curator/artist-in-residence Jayce Salloum
THURSDAY OCTOBER 27 7.30pm
Curated by Tannis Nielsen + Jenny Fraser
Video by & featuring: Lee Maracle (Stó:lō nation), Mique’l Dangeli (Tsimshian), Jenny Fraser (Yugambeh), Zoila Jiménez (Mayan), Jules Koostachin (Cree/Attawapiskat), Tannis Nielsen (Métis/Anishnawbe + Danish), Rona Scherer (Mamu + Kuku Yalanji), Alex Wilson (Neyonawak Inniwak Opaskwayak Cree), Rita Wong
Performance: Lori Blondeau (Cree/Saulteaux)
With this video program we affirm the urgency of defending land and water, now and for the next seven generations to come. We compel the viewer towards taking action in the protection of our planet and present some of the voices of international indigenous women’s struggle and resistance, safeguarding our inter-connectedness with the sacredness of all living things. These voices speak to the recognition and respect of indigenous sovereignty and against the colonial, capitalist resource extraction industries that rape our ancestral territories. They speak toward the seen and the known; animated in their resistance by the fires of prophecy, the love of the land, the people(s), and all of our relations. By sharing these subjectivities and prophecies we hope to begin to recognize each other, to unify and work together toward building an encyclopedia of international emancipatory strategies.
~ Tannis Nielsenn + Jenny Fraser
Stream it LIVE at:
thirstDays No.09 Gallery:
VIVO is located in the homelands of the xʷməθkʷəy̓əm (Musqueam) Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaɬ (Tsleil-Waututh) peoples in a warehouse space at 2625 Kaslo Street south of East Broadway at the end of E 10th. Transit line 9 stops at Kaslo Street on Broadway. From the bus stop, the path is paved, curbless, and on a slight decline. The closest skytrain station is Renfrew Station, which is three blocks south-east of VIVO and has an elevator. From there, the path is paved, curbless, and on a slight incline. There is parking available at VIVO, including wheelchair access parking. There is a bike rack at the entrance. The front entrance leads indoors to a set of 7 stairs to the lobby.
A wheelchair ramp is located at the west side of the main entrance. The ramp has two runs: the first run is 20 feet long, and the second run is 26 feet. The ramp is 60 inches wide. The slope is 1:12. The ramp itself is concrete and has handrails on both sides. There is an outward swinging door (34 inch width) at the top of the ramp leading to a vestibule. A second outward swinging door (33 inch width) opens into the exhibition space. Buzzers and intercoms are located at both doors to notify staff during regular office hours or events to unlock the doors. Once unlocked, visitors can use automatic operators to open the doors.
There are two all-gender washrooms. One has a stall and is not wheelchair accessible. The other is a single room with a urinal and is wheelchair accessible: the door is 33 inches wide and inward swinging, without automation. The toilet has 11 inch clearance on the left side and a handrail.
To reach the bathrooms from the studio, exit through the double doors and proceed straight through the lobby and down the hall . Turn left, and the two bathrooms will be on your right side. The closest one has a stall and is not wheelchair accessible. The far bathroom is accessible.
Lori Blondeau is an interdisciplinary artist working primarily in performance and photography. She is Cree/Saulteaux/Métis from Saskatchewan. Her mother is Cree/Saulteaux from George Gordon First Nation, located in Treaty 4, and her late father was Métis from Lebret, Saskatchewan. Blondeau holds an MFA from the University of Saskatchewan. In addition to her extensive exhibition history, Blondeau is co-founder of the Indigenous artist collective, TRIBE, and has sat on the Advisory Panel for Visual Arts for the Canada Council for the Arts. Blondeau has exhibited and performed nationally and internationally including at the Banff Centre; Mendel Art Gallery, Saskatoon; Open Space, Victoria and FOFA, Montreal. In 2007, Blondeau was part of the Requickening project with artist Shelly Niro at the Venice Biennale. She recently had a solo exhibition at Urban Shaman Contemporary Aboriginal Art Gallery, Winnipeg and was part of the Scotia Bank Contact Festival in Toronto. Her art is held in both public galleries and private collections.
Tannis Nielsen is of Metis (Anishnawbe) and Danish ancestry. She holds a Masters in Visual Studies from the University of Toronto. Her dissertation addresses the need for asserting localized Indigenous contexts accurately within the structures of the academy by illustrating the negative consequence of colonial trauma on Indigenous culture, land, language, familial relationships, and memory. Tannis’ thesis also sought to decolonize the structures of an English literacy, by repudiating the politicized devices of punctuation and capitalization. In doing this, she refused to use the language of the colonizer because “to use the language of the colonizer was to pay homage to them” (Ngũgĩ wa Thiong’o). Tannis is currently teaches at The Ontario College of Art and Design University.
Jenny Fraser was the first Murri to have her video art broadcast into outer space in the 2015 Forever Now project – a follow-up to the NASA Voyager Golden Records sent into space in 1977. She has a PhD in the Art of Healing and Decolonisation from Batchelor Institute in the Northern Territory (Australia). Jenny recently received the 2016 Mana Wairoa Award for Advancing Indigenous Rights, and she received an Australia Council fellowship for her project Midden in 2012. She founded the online gallery cyberTribe in 1999, the Blackout Collective in 2002, and World Screen Culture in 2015. She is on the National Advisory Group for the Centre for Indigenous Story, and is an Adjunct Research Fellow at The Cairns Institute.