{"version":"1.0","provider_name":"La Biennale d\u2019art contemporain autochtone","provider_url":"https:\/\/www.baca.ca\/en\/","title":"Juliet Mackie : M\u00e9moire matrilin\u00e9aire | La Biennale d\u2019art contemporain autochtone","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"mGzZJLtLL5\"><a href=\"https:\/\/www.baca.ca\/en\/newsletter\/juliet-mackie-memoire-matrilineaire\/\">Juliet Mackie : M\u00e9moire matrilin\u00e9aire<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.baca.ca\/en\/newsletter\/juliet-mackie-memoire-matrilineaire\/embed\/#?secret=mGzZJLtLL5\" width=\"600\" height=\"338\" title=\"&#8220;Juliet Mackie : M\u00e9moire matrilin\u00e9aire&#8221; &#8212; La Biennale d\u2019art contemporain autochtone\" data-secret=\"mGzZJLtLL5\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.baca.ca\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","description":"{preheader} [Logo] \u200c \u200c [020-Juliet Mackie-Memoire matrilineaire-photo Michael Patten] [1] \u200c JULIET MACKIE :\u00a0_M\u00e9MOIRE MATRILIN\u00e9AIRE_ Du 9 septembre au 22 d\u00e9cembre 2023 Juliet Mackie : _M\u00e9moire matrilin\u00e9aire_ Commissaire : Alexandra Nordstrom Galerie Sh\u00e9:kon 5826, rue St-Hubert, 2\u00e8me \u00e9tage Tiohti\u00e0:ke \/ Mooniyang \/ Montr\u00e9al (QC) H2S 2L7 Texte de Alexandra Nordstrom Le dernier corpus d\u2019\u0153uvres de Juliet Mackie est un poignant et puissant hommage \u00e0 ses a\u00efeules m\u00e9tisses. En tissant ensemble des fragments de m\u00e9moire, des histoires de famille et des photographies, Mackie retrace la vie et l\u2019h\u00e9ritage des femmes qui l\u2019ont pr\u00e9c\u00e9d\u00e9e. L\u2019arri\u00e8re-grand-m\u00e8re de Mackie, Evelyn Oak, appara\u00eet comme une figure centrale de son travail. N\u00e9e dans la communaut\u00e9 m\u00e9tisse de Fort Chipewyan, en Alberta, au d\u00e9but du XXe si\u00e8cle, la vie d\u2019Evelyn est un mod\u00e8le de courage, d\u2019aventure, d\u2019adaptabilit\u00e9 et d\u2019ing\u00e9niosit\u00e9. Depuis ses exp\u00e9riences dans le Nord sur une ligne de pi\u00e9geage avec son mari Alvar, jusqu\u2019\u00e0 la navigation \u00e0 travers les pi\u00e8ges de l\u2019assimilation en milieu urbain, la vie d\u2019Evelyn r\u00e9sume \u00e0 la fois les \u00e9preuves et les triomphes d\u2019une femme autochtone qui se fraye un che-min dans un monde en \u00e9volution. La fille d\u2019Evelyn, Greta, incarne le r\u00f4le de gardienne du savoir, pr\u00e9servant les traditions ancestrales et les pratiques culturelles. Le parcours de Greta, passant du rejet de son identit\u00e9, et de la honte \u00e0 l\u2019acceptation d\u2019elle-m\u00eame en tant qu\u2019\u00eatre culturel, refl\u00e8te les luttes plus larges auxquelles sont confront\u00e9es les communaut\u00e9s m\u00e9tisses aujourd\u2019hui. Sa transformation en \u00e9ducatrice, en gardienne des com-p\u00e9tences et des savoirs culturels, signifie une reconnexion profonde avec son identit\u00e9 m\u00e9tisse. L\u2019exploration artistique de Mackie rend non seulement hommage \u00e0 ces femmes remarquables, mais plonge \u00e9galement dans leurs histoires, leurs r\u00eaves et leur h\u00e9ritage. Le fait de repr\u00e9senter chaque femme, de ses arri\u00e8re-arri\u00e8re-arri\u00e8re-grands-m\u00e8res \u00e0 sa propre m\u00e8re, cr\u00e9e un espace de m\u00e9moire et de reconnexion, o\u00f9 l\u2019artiste et ses proches se rencontrent. La peinture et le perlage sont des moyens de communication qui permettent \u00e0 Mackie d\u2019engager une conversation intime avec ses a\u00efeules, de leur rendre visite, de r\u00e9fl\u00e9chir aux histoires familiales qui ont fa\u00e7onn\u00e9 son identit\u00e9 et d\u2019honorer l\u2019impact qu\u2019elles con-tinuent d\u2019avoir sur sa vie. De plus, ces pratiques lui permettent d\u2019explorer et de d\u00e9velopper son propre sentiment d\u2019identit\u00e9 et d\u2019appartenance en tant que femme m\u00e9tisse. Dans ce contexte, le travail de Mackie t\u00e9moigne de la mani\u00e8re dont ses a\u00efeules m\u00e9tisses continuent de fa\u00e7onner, d\u2019ancrer et de guider son mouvement dans le monde. Son travail nous invite en tant qu\u2019observateurs \u00e0 nous engager dans la contemplation, retra\u00e7ant les fils complexes du temps, de la m\u00e9moire et des exp\u00e9riences qui nous lient \u00e0 ceux qui nous ont pr\u00e9c\u00e9d\u00e9s. Juliet Mackie (Crie, Gwich\u2019in et Anglaise) est citoyenne de la M\u00e9tis Nation of British Columbia avec des racines maternelles \u00e0 Fort Chipewyan et Red River. Juliet est une artiste visuelle vivant \u00e0 Tiohti\u00e0:ke\/Montr\u00e9al. \u00c9lev\u00e9e dans la vall\u00e9e de Cowichan sur l\u2019\u00eele de Vancouver, sa pratique artistique s\u2019inspire de son amour de la nature, de sa famille et de la culture m\u00e9tisse. Peintre, perleuse et \u00e9tudiante, elle d\u00e9tient un baccalaur\u00e9at en peinture et en dessin et est pr\u00e9sentement candidate au doctorat dans le programme individualis\u00e9 de l\u2019Uni-versit\u00e9 Concordia. La recherche multidisciplinaire de Juliet explore le portrait comme moyen de renforcer l\u2019identit\u00e9 culturelle des femmes autochtones. Alexandra Nordstrom est une historienne de l\u2019art, une conservatrice et une \u00e9crivaine \u00e9tablie \u00e0 Montr\u00e9al, au Qu\u00e9bec. Elle poursuit actuellement son doctorat dans le cadre du programme de doctorat interuniversitaire en histoire de l\u2019art de l\u2019Universit\u00e9 Concordia, avec le soutien de la bourse de doctorat Joseph-Armand-Bombardier du CRSH. R\u00e9cemment, elle a organis\u00e9 Miyo Nepin (2022) avec Floyd Favel au lieu historique national du Fort-Battleford, Braiding Our Stories (2019) avec Juliet Mackie \u00e0 la VAV Gallery, et a organis\u00e9 Poundmaker : Life, Legacy and Liberation (2019) au Poundmaker Museum and Gallery. Ses \u00e9crits ont \u00e9t\u00e9 pr\u00e9sent\u00e9s dans RACAR, C Magazine et Room magazine, ainsi que dans le catalogue de la 6e Biennale d\u2019art contemporain autochtone \/ Contemporary Native Art Biennial (BACA). Nordstrom est titulaire d\u2019une ma\u00eetrise en histoire de l\u2019art de l\u2019Universit\u00e9 Concordia (2020) et d\u2019un baccalaur\u00e9at en histoire de l\u2019art de l\u2019Universit\u00e9 de la Colombie-Britannique (2018). Nous tenons \u00e0 remercier le Conseil des arts du Canada, le Conseil des arts de Montr\u00e9al et le Conseil des arts et des lettres du Qu\u00e9bec pour leur g\u00e9n\u00e9reux soutien \u00e0 la galerie Sh\u00e9:kon, un espace d\u00e9di\u00e9 aux artistes et commissaires autochtones \u00e9mergents du Qu\u00e9bec. \u200c \u200c \u200c [021-juliet-mackie-memoire-matrilineaire-photo-michael-patten] [2] \u200c JULIET MACKIE:_\u00a0MATRILINEAL MEMORY_ September 9 \u2013 December 22, 2023 Juliet Mackie:_\u00a0Matrilineal Memory_ Curator: Alexandra Nordstrom Sh\u00e9:kon Gallery 5826 St-Hubert Street, 2nd floor Tiohti\u00e0:ke \/ Mooniyang \/ Montreal, QC, H2S 2L7 Text by Alexandra Nordstrom Juliet Mackie\u2019s latest body of work is a poignant and powerful tribute to her M\u00e9tis foremothers. By weaving together fragments of memory, family stories, and photographs, Mackie traces the lives and legacies of the women who came before her. Mackie\u2019s great-grandmother, Evelyn Oak, emerges as a central figure in her work. Born in the M\u00e9tis community of Fort Chipewyan, Alberta, in the early 20th century, Evelyn\u2019s life unfolds as a testament to courage, adventure, adaptability, and resourcefulness. From her experiences in the North on a trapline with her husband Alvar to navigating the challenges of assimilation in urban environments, Evelyn\u2019s life encapsulates both the trials and triumphs of an Indigenous woman forging her path in a changing world. Evelyn\u2019s daughter, Greta, embodies the role of a knowledge carrier, preserving ancestral traditions and cultural practices. Greta\u2019s journey from grappling with identity and shame to embracing herself as a cultural being mirrors broader struggles faced by M\u00e9tis communities today. Her transformation into an educator and guardian of cultural skills and knowledges signifies a profound reconnection with her M\u00e9tis identity. Mackie\u2019s artistic exploration not only pays homage to these remarkable women but also delves into their stories, dreams, and legacies. The act of portraying each woman, from her great-great-great grandmothers to her own mother, creates a space of remembrance and reconnection, where the artist and her relatives meet. Painting and beading are means of communication that allow Mackie to engage in an intimate conversation with her foremothers, to visit with them, reflect on the familial stories that have shaped her identity, and honor the impact they continue to have on her life. Further, these practices allow her to explore and develop her own sense of self and belonging as a M\u00e9tis woman. In this context, Mackie\u2019s work serves as a testament to the ways in which her M\u00e9tis foremothers continue to shape, anchor, and guide her movement in the world. Her work beckons us as observers to engage in contemplation, tracing the intricate threads of time, memory, and experiences that bind us to those who came before. Juliet Mackie is M\u00e9tis (Cree, Gwich\u2019in and English) with maternal roots in Fort Chipewyan and Red River. She is a citizen of the M\u00e9tis Nation of British Columbia. Juliet is a visual artist currently located in Tiohti\u00e0:ke\/Montreal. Raised in the Cowichan Valley on Vancouver Island, her art practice is inspired by her love of nature, her family and M\u00e9tis culture. Juliet is a painter, beader, and student. She holds a BFA in painting and drawing and is cur-rently a PhD candidate in the Individualized Program at Concordia University. Juliet\u2019s multidisciplinary research explores portrait painting as a means of strengthening cultural identity for Indigenous women. Alexandra Nordstrom is an art historian, curator, and writer based in Montreal, Quebec. Currently, she is pursuing her PhD in the Interuniversity Doctoral Program in Art History at Concordia University, with the support of the SSHRC Joseph-Armand Bombardier Doctoral Scholarship. Recently, she co-curated Miyo Nepin (2022) with Floyd Favel at Fort Battleford National Historic Site, Braiding Our Stories (2019) with Juliet Mackie at the VAV Gallery, and curated Poundmaker: Life, Legacy and Liberation (2019) at Poundmaker Museum and Gallery. Her writing has been featured in RACAR, C Magazine, and Room magazine, as well as the catalogue of the 6th Contemporary Native Art Biennial \/ Biennale d\u2019art contemporain autochtone (BACA). Nordstrom holds an MA in art history from Concordia University (2020) and a BA in art history from the University of British Columbia (2018). We would like to thank the Conseil des arts du Canada, the Conseil des arts de Montr\u00e9al, and the Conseil des arts et des lettres du Qu\u00e9bec for their generous support towards Sh\u00e9:kon Gallery \u2013 a space dedicated to emerging Indigenous artists and curators from Qu\u00e9bec. \u200c HEURES D'OUVERTURE Lundi : ferm\u00e9 Mardi et mercredi : 10 h \u2013 18 h Jeudi et vendredi : 11 h \u2013 19 h Samedi : 12 h \u2013 17 h Dimanche : ferm\u00e9 GALLERY HOURS Monday: Closed Tuesday \u2013 Wednesday: 10 a.m. \u2013 6 p.m. Thursday \u2013 Friday: 11 p.m. \u2013 7 p.m. Saturday: 12 p.m. \u2013 5 p.m. Sunday: Closed \u200c \u200c \u200c [Share this on Youtube] [3][Share this on Instagram] [4][Share this on Facebook] [5] You have received this email because you have subscribed to La Biennale d\u2019art contemporain autochtone [6] as {email}. 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