The Native American and Indigenous Studies Association (NAISA) is an interdisciplinary, international membership-based organization, comprised of scholars working in the fields of Native American and Indigenous Studies, broadly defined. From May 17-19, 2018, the American Indian Studies Center at University of California, Los Angeles and its Southern California co-hosts will welcome NAISA, the largest scholarly organization devoted to Indigenous issues and research, to Yaanga (Downtown Los Angeles) on the traditional, ancestral, and unceded territory of the Tongva. This years Conference entitled ‘Aweeshkore xaa, ‘ekwaa’a xaa (We are happy you are here) Los Angeles is home to the largest Indigenous populations in the United States. With the an aim to highlight the incredibly rich landscape of Indigenous Los Angeles, NAISA 2018 is set in downtown on what used to be the village of Yaanga before Tongva dispossession. For more information please visit: https://www.aisc.ucla.edu/naisa2018/default.aspx
ACC-CCA presents Post-Reality NDN Art: Disrupting Indigenous Art and its Cannon
Panelists: Adrienne Huard, Lindsay Nixon, Aylan Couchie, Ryan Rice and Heather Igloliorte.
The Aboriginal Curatorial Collective hosts a conversation between artists, art historians, and curators considering, what is NDN art in a post-reality world? NDN is shorthand/slang used online in place of “Indigenous.” A term that has made its way outside virtual spaces and into Indian country, NDN provides a parallel to the content discussed on this roundtable. Namely, what defines reality, when the digital world profoundly affects the physical? Indigenous thinkers and creators extend ethical relationality throughout post-reality worlds, having always been industrious, adaptive, and technological leaders. It’s not what’s real, or where the virtual begins, but how can we use webs of connection for kin-making?
Post-reality has facilitated multiple perspectives in fields traditionally monopolized by non-Indigenous peoples and/or hegemonic structures, including Indigenous art. Indigenous artists, curators, and academics embrace post-reality, and its multiple forms of truth that escape dominant discourses about Indigenous art and its cannon. What does it mean that Inuit peoples don’t identify as “NDN “and are constantly battling the conflation of “First Nations” with “Indigenous” — leading to their marginalized status within Indigenous thought in Canada? And how are Inuit engaging internet cultures to open give voice to their realities and contest their erasure within Indigenous communities? How do we account for the monumental changes in public opinion that result from new forms of digital activism such as online “calling out” of appropriation? Has the internet facilitated spaces for Indigenous LGBTQ2+ artists to speak their truth and take up space, in ways they were unable to in previous decades?
ACC-CCA is proud to support this panel discussion and looks forward to the resulting conversations that it encourages.
Aylan Couchie is an interdisciplinary Anishinaabe artist and writer from Nipissing First Nation in Northern Ontario. She received her BFA from NSCAD University and her MFA in Interdisciplinary Art Media and Design from OCAD University with a focus on monument and public art. She’s been the recipient of several awards including “2015 Outstanding Student Achievement in Contemporary Sculpture” through the International Sculpture Center, a Premier’s Award through Ontario Colleges and the Inaugural Barbara Laronde Award from the Native Women in the Arts organization. Her public commissions can be seen in the City of Barrie and at Halifax’s Stanfield International Airport. She’s sits on several boards, advisory committees and juries and most recently received a nomination for an OAC Indigenous Arts Award.
Heather Igloliorte is an Inuk from Nunatsiavut. She is an Assistant Professor and Concordia University Research Chair in Indigenous Art History and Community Engagement in Montreal and an independent curator of Inuit and other Indigenous arts. Heather’s teaching and research interests center on Native North American visual and material culture, circumpolar art studies, performance and media art, the global exhibition of Indigenous arts and culture, and issues of colonization, sovereignty, resistance and resilience. Recent exhibitions include: the two-person show Disrupt Archive: Dayna Danger and Cecilia Kavara Verran at Galerie La Centrale (March-April); the permanent exhibition Ilippunga: The Brousseau Inuit Art Collection at the Musée National des Beaux-Arts du Québec (opened June 2016); the co-curated circumpolar Inuit night festival iNuit blanche (October 2016); and the nationally touring SakKijâjuk: Art and Craft from Nunatsiavut (opening October 2016 at The Rooms Provincial Art Gallery).
Adrienne Huard is a Two-Spirit Anishinaabekwe born in so-called Winnipeg, Manitoba and is now currently based in Tioktià:ke/Montréal, Québec. She is registered at Couchiching First Nations, Fort Frances, Ontario however, her ceremonial practices are held in Brokenhead First Nations, Manitoba. Adrienne will be completing her third year of sundancing this summer and she is turtle clan. After graduating from the University of Manitoba with a Bachelor of Fine Arts, majoring in Photography in 2012, she decided to pursue a Bachelor of Fine Arts, majoring in Art History at Concordia University. She will be graduating in April 2018 and has been accepted into OCAD University’s Critical and Criticism Practice (MFA) which she will be attending in the Fall 2018. Her area of focus is to challenge the positioning of Indigenous art and artists within cultural institutions and how to better improve these relationships to facilitate the process of resurgence. Through inclusion and self-representation of Indigenous people within the art realm, her goal is to bridge the gap between Indigenous and non-Indigenous people to therefore, Indigenize the art world. Adrienne curated her first program of queer Indigenous/Two-Spirit short films titled Kinship and Closeness, co-presented by Mediaqueer.ca, which will be exhibited Calgary’s Fairy Tales Film Festival in May 2018.
Lindsay Nixon is a Cree-Métis-Saulteaux curator, editor, award nominated writer and art history grad student. Nixon’s writing has appeared in Malahat Review, Room, GUTS, Mice, esse, The Inuit Art Quarterly, Teen Vogue, The New Inquiry, and other publications. Their forthcoming creative non-fiction collection, nîtisânak, is to be released in fall 2018 through Metonymy Press. Nixon currently resides in Tio’tia:ke/Mooniyaang, unceded Haudenosaunee and Anishinabe territories (Montreal, QC), where they co-founded the Black Indigenous Harm Reduction Alliance.
Ryan Rice, Kanien’kehá:ka of Kahnawake, is an independent curator and the Delaney Chair in Indigenous Visual Culture at the Ontario College of Art and Design University (Toronto, ON). His curatorial career spans over 20 years in museums and galleries. Rice served as the Chief Curator at the IAIA Museum of Contemporary Native Arts in Santa Fe, NM and also held curatorial positions at the Aboriginal Art Centre (Ottawa, ON), named curatorial fellowships with the Art Gallery of Greater Victoria (Victoria, BC) and the Walter Phillips Gallery (Banff, AB), and Aboriginal Curator-In-Residence at the Carleton University Art Gallery. He received a Master of Arts degree in Curatorial Studies from the Center for Curatorial Studies, Bard College, New York; graduated from Concordia University with a Bachelor of Fine Arts and received an Associate of Fine Arts from the Institute of American Indian Arts, Santa Fe, New Mexico. Rice’s writing on contemporary Onkwehonwe art has been published in numerous periodicals and exhibition catalogues, and he has lectured widely. Some of his exhibitions include ANTHEM: Perspectives on Home and Native Land, FLYING STILL: CARL BEAM 1943-2005, Oh So Iroquois, Scout’s Honour,LORE, Hochelaga Revisited, ALTERNATION, Soul Sister: Re-imagining Kateri Tekakwitha, Counting Coup, Stands With A Fist: Contemporary Native Women Artists and ARTiculations in Print. In the Fall of 2017, he presented the inaugural exhibition of the Onsite Gallery in Toronto with his exhibition “raise a flag: work from the Indigenous Art Collection 2000-2015.”