What is the reception and place of Indigenous art in an international context? How has this reception changed in recent years? Candice Hopkins will speak about two recent and separate projects—the inaugural Toronto Biennial of Art, which launched in September 2019, and the most recent Canadian Pavilion at the 58th Venice Biennale featuring the media art collective Isuma—with both having a focus on Indigenous art.
The Toronto Biennial of Art addresses how a biennial can be responsive to place and expand historical knowledge while at the same time reflect on how these places are in flux. Titled The Shoreline Dilemma, this iteration acknowledges these complexities. “The Shoreline Dilemma” is a term used to speak about the impossibility of measuring (or quantifying) any shoreline because of their fractal nature. For Hopkins and her team of collaborators, the challenge was as though nature was pushing against attempts to rationalize it.
This focus on the environment also carries forward to the Canadian Pavilion at the 58th Venice Biennale with the collective Isuma, who originated in Igloolik, in the Arctic. Their new feature film, One Day in the Life of Noah Piugattuk, is centered on an encounter between two men, Noah and Boss. Boss, who on behalf of the Canadian government, is trying to get Noah to move off of his homeland—now the site of a Baffinland’s mine in expansion—and into a settlement.
The context of art, particularly non-western art, is an important consideration in international exhibitions. A following workshop will focus on how Hopkins has built this context in the past, using documenta 14 as an example.
Open to all levels and backgrounds. Applicants with Indigenous background or working with Indigenous contexts are strongly encouraged to apply. (Apply through www.bit.ly/candicebap)
About Candice Hopkins:
Hopkins recently has been appointed as senior curator of the inaugural 2019 Toronto Biennial of Art and co-curator of the Canadian Pavilion at the 58th Venice Biennale featuring the media-work of Igloolik Isuma Productions Inc., opening in May. She was the co-curator of SITElines 2018 Biennial in Santa Fe, New Mexico and was part of the curatorial team for documenta 14 in Athens, Greece and Kassel, Germany in 2017. Previous curatorial posts include at IAIA Museum of Contemporary Native Arts, the National Gallery of Canada, the Western Front Society, and The Walter Phillips Gallery at the Banff Centre. She’s received the prestigious Hnatyshyn Foundation Award for Curatorial Excellence in Contemporary Art. Originally from Whitehorse, Yukon, she is a citizen of the Carcross/Tagish First Nation. She is currently based in Toronto, Canada.