{"id":76420,"date":"2018-04-12T15:36:42","date_gmt":"2018-04-12T15:36:42","guid":{"rendered":"https:\/\/www.baca.ca\/?page_id=76420"},"modified":"2018-07-26T14:46:10","modified_gmt":"2018-07-26T14:46:10","slug":"2018-theme","status":"publish","type":"page","link":"https:\/\/www.baca.ca\/en\/2018-theme\/","title":{"rendered":"2018 Theme"},"content":{"rendered":"

[vc_row][vc_column width=”1\/1″][vc_single_image media=”75874″ media_lightbox=”yes” media_width_percent=”100″ lbox_caption=”yes”][vc_column_text]Contemporary Native Art Biennial (BACA) \u2013 4th edition
\nn\u00edchiwamiskw\u00e9m | nimidet | ma soeur | my sister<\/em>
\nGuest curators: Niki Little and Becca Taylor<\/p>\n

The fourth edition of the Contemporary Native Art Biennial opens shortly with four exhibitions and a rich program of events that includes performances, roundtables and screenings. Over two months, Montreal and Sherbrooke will present the best of recent contemporary Indigenous art. The guest co-curators, Niki Little (Winnipeg\/winnipi, MB) and Becca Taylor (Edmonton\/amiskwaciw\u00e2skahikan, AB) have brought together forty-five artists from across America for this edition entirely dedicated to women. The exhibition n\u00edchiwamiskw\u00e9m | nimidet | ma s\u0153ur | my sister<\/em> will explore multiple relationships that relate to the concept of sisterhood, whether these be intergenerational or through friendship, based on blood or solidarity, born of adversity, struggle and joy.<\/p>\n

Spread between four venues, the Biennial will be hosted by the Stewart Hall Art Gallery in Pointe-Claire, Art M\u00fbr, La Guilde and the Sherbrooke Museum of Fine Arts. The McCord Museum will host an evening dedicated to screening Indigenous films as well as a round table.<\/p>\n

The program of this fourth edition \u2013 rich in events \u2013 will reveal the diverse perspectives that Indigenous female, queer and two-spirit artists hold. Their practices employ a variety of strategies from appropriation to transgression. They reinvent their identities, activating traditional methods of making and disrupting stereotypes. From sculpture to video, installation, engraving, textile and sound art and political postering, a wide range of mediums will be used to evoke, share and illuminate the many narratives that shape the identity of Indigenous women.<\/p>\n

Translation in Mohawk by Hilda Nicholas<\/p>\n

Tho \u2018onth\u00f3nhnhete ki we\u2019n\u00e9hston sha\u2019teionkwatsk\u00e1:hon ne iakwatat\u00e9:ken, ne ne konn\u00f3n:kwe iotii\u00f3te ne kanakerahser\u00e1:kon nia\u2019t\u00e9:kon kont\u00ed:rek\u2019s aonterihwaht\u00e9n:ti. Ne ia\u2019tiakwanonht\u00f3nnionhwe oh nikakar\u00f3:ten\u2019s kontihthar\u00e1hkwahkwe\u2019 tsi n\u00f3n:we tekontatkenhskwe\u2019. Ne iakhii\u00e8n:tere\u2019s ne ioti\u2019shatstenhserow\u00e1:nen\u2019s konn\u00f3n:kwe sk\u00e1tne teionkwat\u00f3nton, ioti\u2019nikonhrow\u00e1:nen\u2019s. Tsi ionkwatenro\u2019ser\u00f3n:ni tionkw\u00e1:wis ne ion\u2019w\u00e9:sen tsi na\u2019teiakwater\u00f3nnion, t\u00e1non \u2018onkwanakerahserakk\u00f3nhson ne iakwatat\u00e9:ken ionkwahiahrahst\u00e9n:ni tsi na\u2019teionter\u00f3nnion tsi teionkwaienaw\u00e1:kon t\u00e1non tsi iakwatia\u2019tar\u00f3:rok\u2019s. Tho ki n\u00ed:ioht tsi iakwatk\u00e1hthos tsi teionkwaiewnaw\u00e1:kon ne 40 nih\u00e1:ti ratir\u00e1hstha, akwe tekonttih\u00e1nion tsi nihotiio\u2019tenhser\u00f3:ten\u2019s.<\/p>\n

Tewat\u00e1teken, sha\u2019teionkw\u00e1:wen tsi na\u2019tetew\u00e1teron ne \u00ed:I t\u00e1non n\u00ed:se\u2019 tionkweht\u00e1hkwen sk\u00e1tne tewai\u00e0:tare ne onkwanakerahserak\u00f3nhson ne n\u00ed:i t\u00e1non \u00ed:se\u2019.<\/p>\n

Tiatat\u00e9:ken<\/p>\n

Iakwawennakw\u00e9:kon tsi wa\u2019tkwanonhwer\u00e1:ton sewakw\u00e9:konne sewar\u00e1hstha ne sewaio\u2019t\u00e9nhsera, sewawenna\u2019sh\u00f3n:\u2019a,t\u00e1non sewanonhtonni\u00f3htshera wahskwai\u00e9:nawa\u2019se tsi n\u00ed:ioht tsi eniakw\u00e9:nenste\u2019 t\u00e1non tsi \u2018onthi\u00e1:ton, sewakw\u00e9:kon wa\u2019kwai\u00e8n:tere\u2019ne k\u00e9n:thon sewai\u00e0:tare.
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