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ᐊᕙᑖᓂᑦ ᑕᒪᐃᓐᓂᑦ ᓄᓇᑐᐃᓐᓇᓂᑦ
Among All These Tundras
Barry Pottle, After the Cut, 2012. From the « Foodland Security » series. Courtesy of the artist

ᓯᑎᐱᕆ 4-ᒥᑦ ᐅᑐᐱᕆ 27-ᒧᑦ, 2018

September 4 – October 27, 2018

ᑕᑯᔭᒐᖃᕐᕕᖕᒥ ᑲᒪᔨᑦ: ᐃᑐ ᐃᒡᓗᓕᐅᖅᑎ, ᐋᐃᒥ ᐳᕈᑎ ᐊᒻᒪᓗ ᓴᕆᓴ ᐹᓐ ᕼᐃᐅᓕᒐ

Curators: Heather Igloliorte, Amy Prouty and Charissa von Harringa

ᐊᓯᓐᓇᔭᖅ, ᓛᑯᓗᒃ ᒍᓕᐊᒻᓴᓐ ᐹᑦᑐᐊᓕ, ᔭᐃᑦ ᓇᓱᒐᓗᐊᖅ ᑳᐱᓐᑐ, ᑲᕈᓚ ᑯᕋᕼᐊᓐ, ᒫᔾᔭ ᕼᐋᓕᓐᑐ ᐅᓇᓗ ᓵᒥ ᕕᓐᓚᓐᒥᐅᑕᖅ, ᓵᓐᔭ ᑲᓕᕼᐅ-ᑰᒻᔅ, ᔪᐊᖅ ᓇᓐᑰ, ᑕᕐᕋᓕᒃ ᐸᑐᓕᑦᔾ, ᐱᐅᓕ ᐸᑐ, ᐃᓅᑎᖅ ᓯᑐᐊᑦᔅ, ᑲᔨᓐ ᐸᓐ ᕼᐅᕕᓕᓐ, ᐊᓕᓴᓐ ᐊᑰᑦᓲᒃ ᒍᐊᑕᓐ

Asinnajaq, Laakkuluk Williamson Bathory, Jade Nasogaluak Carpenter, Carola Grahn, Marja Helander, Sonya Kelliher-Combs, Joar Nango, Taqralik Partridge, Barry Pottle, Inuuteq Storch, Couzyn van Heuvelen, Allison Akootchook Warden

ᓴᓇᑦᑕᐃᓕ, ᓯᑎᐱᕆ 8-ᒥ

Saturday, September 8

ᐊᕙᑖᓂᑦ ᑕᒪᐃᓂᑦ ᓄᓇᑐᐃᓐᓇᓂᑦ, ᐊᑎᖓ ᐱᔭᐅᓯᒪᔪᖅ ᑕᐃᒎᓯᕐᒥᑦ “ᐊᖕᖏᕋᕋ ᐆᒻᒪᑎᓐᓃᑦᑐᖅ” ᑎᑎᕋᖅᓯᒪᔭᖓ ᓵᒥᒥᐅᑕᖅ ᓂᐅᔅ-ᐊᔅᓚᒃ ᕚᑭᐊᐹ, ᓴᕿᔮᖅᑎᑕᐅᔪᖅ ᓄᓇᖅᑲᖅᑳᖅᓯᒪᔪᑦ ᓴᓇᖕᖑᐊᖅᑎᖏᓐᓂᑦ ᓇᑭᑐᐃᓐᓇᖅ ᑲᔾᔨᐊᓂ ᓄᓇᕐᔪᐊᑉ ᐅᑭᐅᖅᑕᖅᑐᐊᓂ ᐅᑯᐊ ᓴᓇᔭᐅᔪᑦ ᐅᖃᐅᓯᑦ ᐊᒻᒪᓗ ᓂᕈᐊᖅᑕᐅᓯᒪᔪᓄᑦ ᐃᓄᖕᓄᑦ ᐅᖃᖅᓯᒪᔭᐅᔪᑦ ᒫᓐᓇ ᐅᑭᐅᖅᑕᖅᑐᖅ ᐃᓱᒫᓘᑎᒋᓪᓗᒍ ᑐᑭᓯᓇᖅᓯᑎᑕᐅᕙᓪᓕᐊᑎᓪᓗᒋᑦ ᓄᓇ, ᐅᖃᐅᓯᖅ, ᓄᓇᖃᖅᑐᑦ ᐊᒻᒪᓗ ᐅᒃᐱᕐᓂᖅᑖᑲᓐᓂᕐᓂᖅ. ᓴᓇᖑᐊᖅᑎᑦ ᓄᓇᖅᑲᖅᑳᖅᓯᒪᔪᑦ ᓄᓇᖏᓐᓂᑦ ᑕᒫᖓᑦ ᓄᓇᕐᔪᐊᑉ ᑲᔾᔨᐊᓂᑦ ᐅᑭᐅᖅᑕᖅᑐᖅ ᑐᓴᕐᑎᑦᑎᔪᑦ ᐃᒻᒪᑲᓪᓚᓂᑦ ᖃᓪᓗᓈᖑᖅᑎᑕᐅᓯᒪᒐᒥᒃ ᐊᒻᒪᓗ ᐊᑐᖅᓯᒪᔭᑎᒃ ᐳᐃᒍᓇᓐᖏᑦᑐᑦ ᐃᓅᓯᕆᓚᐅᖅᑕᒥᖕᓂᑦ, ᐊᒻᒪᓗ ᐊᑕᐅᓯᐅᓕᕐᓂᖅ ᓴᐳᒻᒥᓂᐊᕐᓗᒋᑦ ᐅᑭᐅᖅᑕᖅᑐᖅ ᐆᒪᔪᓕᒫᖏᑦ ᐊᕙᑎᓕᒫᖏᓪᓗ, ᐅᖃᐅᓯᖏᑦ, ᐃᓄᖏᑦ ᐊᒻᒪᓗ ᖃᐅᔨᒪᓂᖏᑦ ᑕᒫᖓᑦ ᐱᐅᓐᖏᑦᑐᐋᓗᖕᓂᑦ ᐊᒃᑐᖅᑕᐅᓂᖓᓄᑦ ᓯᓚ ᐅᖂᓯᓂᖓᓄ ᐊᓯᑦᔨᕐᓂᖓᓄᑦ, ᓄᓇᕐᔪᐊᖅ ᓄᓇᒥᑦ ᐲᔭᐃᔪᒪᔪᑦ, ᐱᕈᖅᑎᑦᑎᕙᓪᓕᐊᔪᑦ ᑲᓐᐸᓂᕐᔪᐊᓂᒃ, ᐊᒻᒪᓗ ᓄᓇᖃᑎᒌᓐᖏᑦᑐᕐᔪᐊᑦ ᓵᓚᒌᖃᑦᑕᐅᑎᒐᓱᐊᖅᑐᑦ. ᑲᑐᔾᔨᓗᑕ, ᐅᑯᐊ ᓴᓇᔭᐅᔪᑦ ᑕᑯᑎᑦᑎᕗᒍᑦ ᐃᓚᒌᒍᓯᖏᓐᓂᒃ ᐊᕙᑖᓂᑦ ᐊᒃᑐᒐᒃᓴᐅᔪᑦ ᐊᒻᒪᓗ ᑭᓱᓕᒫᑦᓯᐊᖏᑦ ᓄᓇᖅᑲᖅᑳᖅᓯᒪᔪᑦ ᖃᐅᔨᒪᓂᖏᑦ ᐊᑐᖅᑕᐅᓗᑎᒃ, ᓄᑖᓂᒃ ᐱᓕᕆᔾᔪᑎᖃᕐᓕᕐᓂᖅ ᐊᒻᒪᓗ ᓄᖑᑉᐸᓪᓕᐊᓂᖏᑦᑐᓂᒃ, ᑎᔅᓯᓇᖅᑐᑦ ᐊᒻᒪᓗ ᐊᑐᕐᓗᒍ ᐊᓐᓇᒍᓐᓇᕐᓂᖅ, ᐊᒻᒪᓗ ᑕᒪᑦᑕ ᑲᑐᑎᓗᑎᒍᑦ ᐱᔭᒃᓴᕆᔭᕗᑦ ᐅᑭᐅᖅᑕᖅᑐᑉ ᐃᓅᓯᖓ ᐊᒻᒪᓗ ᓄᓇᖓ.

Among All These Tundras, a title taken from the poem ‘My Home is in My Heart’ by famed Sámi writer Nils-Aslak Valkeapää, features contemporary Indigenous artists from around the circumpolar world whose works poetically and politically express current Arctic concerns with an orientation towards land, language, sovereignty and resurgence. Artists from Indigenous nations located throughout the circumpolar north share histories of colonialism and experience its ongoing legacies, and are united in their desire to protect northern ecologies, languages, peoples and knowledge from the nefarious effects of climate change, global resource extraction, encroaching industry, and transnational competition. Together, these works invite viewers to contemplate relationships between textual and embodied Indigenous knowledge, innovation and sustainability, humour and resilience, and our collective responsibility to Arctic life and land.

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Vincent Meessen, Ultramarine, 2018. Still from the video commissioned by Le Printemps de septembre (Toulouse). Produced by Jubilee (Brussels) in collaboration with the Leonard & Bina Ellen Art Gallery and The Power Plant (Toronto)

November 10, 2018 – February 2, 2019

Curator: Michèle Thériault

The Ellen Gallery is presenting the first solo exhibition in Canada of the Belgian artist Vincent Meessen. Meessen has developed a project around his new film Ultramarine featuring Kain the exiled founding member of The Last Poets, a New-York based group that came together in the late 60s in the midst of Black Power, and were precursors to rap and hip-hop. In relation to notions of errancy, exile, identity and the revolutionary power of the word, Meessen’s project excavates the archive of Patrick Straram, an exiled French situationist who immigrated to British Columbia in the mid 50s, then Montreal where he lived freely as a writer, poet, actor, music and film critic.

Vincent Meessen represented Belgium at the 56th Venice Biennial in 2015 with the project Vincent Meessen and Guests.