Mamanaw Pekiskwewina gathering is an all-day discussion with artists from Taskoch pipon pesim kah nipa muskoseya, nepin pesim eti pimachihew in conversation with knowledge keepers and elders.

In Joi T. Arcand’s solo exhibition “she used to want to be a ballerina.” Arcand suggests a way to exist and dream in a re-imagined world, while not forgetting her indigeneity.

Craig Leonard’s Casting the Conference, a five-part theatrical re-enactment of the 1970 Halifax Conference, was staged at Anna Leonowens Gallery in June 2016. The roster of participants of the conference included Joseph Beuys, Lawrence Weiner, Michael Snow, Carl Andre, Robert Morris and N.E. Thing Co., among others. Craig Leonard is an associate professor at NSCAD.

To me, Arcand’s work is land and spirit medicine (maskihki), taking up space and commanding presence in materiality, form and location. Arcand honours the Indigenous grandparents by marking the space for Cree speakers and shifting the balance of power in colonial structures.

Adrian Göllner’s All the Birds I Saw Last Year, at Central Art Garage tracks the number of birds he observed and recorded on his cellphone in the course of his day-to-day life in Ottawa over one year. The result is an exercise in conceptual ornithology that draws critical attention to environments both inside and outside the gallery.

A small second-floor gallery, was recently the site of Kennedy’s exhibition “Remembering Names.” Here Gary Neill Kennedy (now 83 with dementia) has extended a project initially conceived in the early 1970s, in which he attempts to recall and record the names of people he has met since childhood. Review in Canadian Art by Craig Leonard, Najet Ghanai, and Ryan Witt.

What occurred at Beaux-arts during BACA was an intervention on said community. Joi T. Arcand’s The Beautiful NDN Super Maidens (2014) took up an entire wall alongside her NDN super-maiden trading cards.

Artist Joi T. Arcand, who is from the Muskeg Lake Cree Nation, presented a neon work entitled ᐁᑳᐏᔭ ᓀᐯᐃᐧᓯ (ekawiya nepewisi) (2017). Arcand embeds Cree syllabics, thus interpolating into the symbolic order (capitalism, patriarchy) a language for the most part readable only by the members of her own community.

Gallery 101 in partnership with ASINABKA proudly presents “Hot Culture,” an art show focused on Indigenous made fashion, textile and crafts, bringing together designers and creators working with traditional and contemporary materials.

Canadian Art's Agenda report on Michael Belmore’s solo exhibition, 'thunder sky turbulent water' at Central Art Garage. Work resembling the hood of a classic Firebird Trans-Am is cut and shaped out of huge sheets of copper and suspended from the ceiling with mechanic’s hoist, representing the upper and lower worlds in the Anishinaabe universe.

Arcand has become known for creating public signage in Plains Cree syllabics. Arcand has said, as a person just walking down the street, I started to see the shapes of the syllables in traffic signs…So I just decided — what would the world look like through this lens?

In this exhibition Joi T. Arcand’s neon channel sign presents language as a medium of communication between Indigenous persons, but also as a potential tool for coalition-building outside of the Indigenous community.

The stakes in the Sobey Art Award have been raised significantly for its 2018 edition—doubled, in fact. And now we know who is in the running for them.

The Thunder Bay Art Gallery is getting closer to reaching the fundraising goal for its new building. Among the artists reportedly doing new commissions are 2017 Sobey Award winner Ursula Johnson, as well as Sonny Assu and Frank Shebageget.

Joi T. Arcand’s Cree syllabic neon sign, ᐁᑳᐃᔹ ᓀᐯᐃᓸ (ēkāwiya nēpēwisi, which translates to “don’t be shy”), starts the temporal occupation, visually and conceptually commanding attention, overcoming the intense architectural elements of the space.

The continued work of Black women curators in Canada shapes a distinct conversation responsive to settler-colonial histories and the unique experiences of the Black diaspora.

Four distant sites. One glacial history. That’s the context for Ontario-based artist Michael Belmore’s Coalescence, a multi-part sculptural project. Carving and inlaying copper on 16 granite and bedrock boulders sourced from around Churchill, Manitoba, Belmore will create hearth-like arrays that appear to radiate heat. Central Art Garage Gallery news.

Here on Future Earth is a series of photographs in which Arcand manipulated signs and replaced their slogans and names with Cree syllabics. Arcand wants us to think about these photographs as documents of “an alternative present,” of a future that is within arm’s reach.

Michael Belmore, Ursula Johnson and Frank Shebageget are among the 150 artists selected to receive an award. Laureates were selected by a national jury of peers led by Victoria Henry, chair of the Hnatyshyn Foundation.

Cheryl L’Hirondelle and Camille Turner’s individual practices are each concerned with walking, touring, questioning archives and uncovering alternative histories, particularly in regards to black and Cree worldviews. For LandMarks2017 the artists will host tour through National Parks “for more stories to be heard, and more voices to be reflected.”