Bozica Radjenovic's Included/Excluded is one of five performance artworks featured in the inaugural exhibition at the Ottawa Art Gallery. Radjenovic works in sculpture and performance, with an interest in soft materials. Using balls of red wool and two red knitted wearable sculptures, this art piece and performance is a Sisyphean labour.

Blogger Zara (xolovexo) explores Ottawa by bike for ALT Hotel Ottawa. A bike ride through Hintonburg, Little Italy and Chinatown, hidden away in this part of the city is Central Art Garage. The gallery, located in a reclaimed auto mechanic garage, contains carefully curated contemporary shows of local, national and international artists.

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.

For visual artist Joi Arcand, the written Cree language is not only imbued with cultural significance - it's an aesthetically beautiful form all unto itself. Some of her past work depicts a world where English and French signage is replaced with the Cree language. Insurgence/Resurgence is on display at the Winnipeg Art Gallery.

The Toronto Friends of the Visual Arts Awards have been announced for 2018. Camille Turner is a Finalist for the Artist Prize.

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.

Artist Ursula Johnson describes her practice and her multi media installation and performance, the exhibition the 'Indian Truckhouse of High Art' at Central Art Garage gallery. Ursula Johnson is a multidisciplinary Mi'kmaq artist based in Nova Scotia, Canada. Her work combines the Mi'kmaq tradition of basket weaving with sculpture, installation, and performance art.

In huge neon, Joi T Arcand is rewriting everyday signs in Cree‘The language wasn't lost — it was taken. And we're here to take it back.’

CBC Arts: In Truckhouse, artist Ursula Johnson is selling the kind of "Indian" knick-knackery that should, by now, make us angry: conveniently-sized dreamcatchers, baskets, beaded necklaces. For Johnson, it is as much about getting rid of these items of cultural commodification as it was about buying them for her participants.

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.

Nova Scotian artist Ursula Johnson's remarkable practice is built on memory and community. At this time when Canadians are celebrating and challenging the memory of nationhood, Johnson's work embodies a considered, critical, yet generous lens through which multiple histories and communities may be considered.

ᓇᒨᔭ ᓂᑎᑌᐧᐃᐧᓇ ᓂᑕᔮᐣ is an installation displayed on the archway outside the Walter Phillips Gallery by Cree artist Joi T. Arcand. The piece is a visual reminder of the Nêhiyawêwin or Plains Cree (Y dialect) language, and translates into "I don't have my words."

I came upon one of Joi T. Arcand’s now-viral syllabic interventions installed into the staircase leading up to the second floor of the WAG: Don’t Speak English (2017). Arcand, a renowned syllabics nerd, restructures spatialities with her mediations that immediately alienate settlers with their presence.

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.

Johnson’s installation at the Sobey Art Award exhibition at U of T’s Art Museum is Moose Fence, based on fencing used to prevent animals from straying into traffic. NOW spoke with Johnson about the piece and her wider practice.

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.

Reading this piece requires active engagement, and like traditional wampum, insists on a responsibility in that interaction.

Ursula Johnson, winner of the 2017 Sobey Art Award is interviewed by Helen Mann of CBC’s As it Happens. Johnson is a performance artists who uses traditional practices like weaving. Much of her work focuses on colonialism and her Indigenous heritage. Johnson discusses how her great-grandmother, a queen of Mi'kmaq basketry, influenced her art practice.

Ursula Johnson is a performance and installation artist of Mi’kmaw First Nation ancestry and winner of the 2017 Sobey Art Award. Johnson explores various mediums including performance art, sculpture, music and printmaking, while utilizing delegated performers as well as collaborative processes in the making of new works. Central Art Garage Gallery News.