{"id":90490,"date":"2026-02-14T15:34:01","date_gmt":"2026-02-14T19:34:01","guid":{"rendered":"https:\/\/www.baca.ca\/exhibitions\/to-move-across-the-land\/expression-centre-dexposition-de-saint-hyacinthe\/"},"modified":"2026-06-03T05:53:47","modified_gmt":"2026-06-03T09:53:47","slug":"expression-centre-dexposition-de-saint-hyacinthe","status":"publish","type":"page","link":"https:\/\/www.baca.ca\/en\/exhibitions\/to-move-across-the-land\/expression-centre-dexposition-de-saint-hyacinthe\/","title":{"rendered":"EXPRESSION, Centre d\u2019exposition de Saint-Hyacinthe"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row][vc_column width=&#8221;1\/2&#8243;][vc_column_text uncode_shortcode_id=&#8221;124238&#8243;]June 6 to September 13, 2026<br \/>\nOpening: Saturday June 6, 2026, 3 pm to 5 pm<br \/>\n<em>Iaohontso\u2019kt\u00e1:tie \/ To Move Across the Land<br \/>\nMarket as Archive: Economy, Women\u2019s Knowledge, and Survival<\/em><br \/>\nCurators: Armando Perla &amp; Michael Patten<br \/>\nLa Biennale d\u2019art contemporain autochtone (BACA), 8th edition<br \/>\n<a href=\"https:\/\/www.expression.qc.ca\/\">EXPRESSION, Centre d\u2019exposition de Saint-Hyacinthe<\/a><br \/>\n495, avenue Saint-Simon, Saint-Hyacinthe Qu\u00e9bec, J2S 5C3<\/p>\n<p>Tessa Alexander, Arawhet\u016b Berdinner, Jacqueline Bishop, Josue Castro, Silvia Caxi, Filiberto Chali, Venuca Evanan, Carlos Lara, Luisfer Morales, Ehikoo Odeh, Jakob Olive, Paula Rivera, TRAMA Textiles, Matt Tini, ARIA XYX.<\/p>\n<p>Markets of Memory: The Archive of Exchange<\/p>\n<p>Situated above an active public market, this exhibition approaches the market as a living Indigenous archive shaped through trade, movement, and women\u2019s knowledge systems. Across Mesoamerica and beyond, markets have long functioned as spaces where Indigenous women sustained economies, preserved ceremonial materials, transmitted artistic and medicinal knowledge, and maintained cultural continuity despite colonial disruption.<\/p>\n<p>Rather than treating exchange as separate from culture, the works presented here understand circulation itself as a form of memory. Textiles, foodways, fibres, adornment, plants, and handmade objects move through relationships of barter, care, and reciprocity that continue to structure Indigenous life across territories. Throughout the exhibition, adornment appears as a living market practice, circulating through powwows, Indigenous trade networks, street markets, and intergenerational systems of making that connect aesthetics, ceremony, and exchange. In this context, the market operates simultaneously as school, social infrastructure, ceremonial site, and public space of Indigenous presence.<\/p>\n<p>The exhibition also challenges museum models rooted in accumulation and permanence. Value emerges through movement, reuse, encounter, and redistribution. Through sculpture, textile, installation, adornment, and performance, the artists foreground economies grounded in relationality and survival, where objects remain alive through exchange and where women\u2019s labour continues to sustain collective memory across generations.<\/p>\n<p>The Market Woman<\/p>\n<p>Centered around artist and scholar Jacqueline Bishop\u2019s Fauna (2024) tea service and related textile, painting, and poetic works, this installation examines the market woman as a keeper of botanical knowledge, reproductive autonomy, and cultural continuity within the violent economies of colonialization, the transatlantic slave trade and plantation economies. Works such as The Keeper of All the Secrets (2023), printed on Sea Island cotton, foreground the exchanges of plant knowledge between Indigenous women of Abya Yala and forcibly displaced African women, tracing how these forms of knowledge became crucial to survival, healing, and reproductive care within the Caribbean. Bishop follows how these systems of medicinal practice and communal support moved through markets, shaping Caribbean women\u2019s worlds across generations. Within these histories, Black women used plants, herbs, and market exchange networks to regulate fertility, terminate pregnancies resulting from sexual violence, and sustain forms of care excluded from colonial archives.<\/p>\n<p>Installed on a textile by Trama Textiles, a cooperative of Maya women weavers formed during the Guatemalan genocide, the tea service situates women\u2019s knowledge within broader Indigenous and diasporic systems of survival carried through markets, fabric, foodways, and oral transmission. Bishop\u2019s paintings, garments, and poem Island Women extend this reflection, foregrounding women whose knowledge circulated through gesture, memory, and trade despite displacement and rupture.<\/p>\n<p>Surrounding the installation, works by Black women artists including Ehiko Odeh and Tessa Alexander further engage plant knowledge, market economies, and the layered relationships between Blackness and Indigeneity across the Caribbean and the broader African diaspora. Together, the works ask what it means to remain Indigenous after forced displacement, enslavement, and rupture from ancestral territories, foregrounding the market as a space where memory, land-based knowledge, and cultural continuity continue to be carried through women\u2019s labour and exchange.<\/p>\n<p>Market Skin<\/p>\n<p>This hallway installation presents photographs from Paula Rivera\u2019s series La suma de todas las madres (The sum of all the mothers, 2024\u20132025), including portraits of market women, and Xipe Totec (2025). The women of the markets and their families stand at the center of these works, filling the frame like charged interiors, dense with memory, labour, and inheritance. Rivera turns her attention to the apron: the garment repeatedly described by Salvadoran market women as their adornment. In K\u016bskatan (El Salvador), after the 1932 genocide and the violent repression of Indigenous visibility, many forms of Indigenous dress receded from public life. Textile knowledge shifted. Lace, ribbons, pleated synthetic fabrics, and aprons became part of a transformed visual language carried through markets, domestic labour, and everyday movement. The apron became protection, adornment, and continuity all at once. In the Xipe Totec portraits, Rivera reimagines the Nahua deity Xipe Totec, Our Lord the Flayed One, through bodies covered in lace aprons worn by market women, turning garments of labour into sacred skin.<\/p>\n<p>Despu\u00e9s de M\u00ed Nada Existir\u00e1<\/p>\n<p>Centered around ARIA XYX\u2019s Pezu\u00f1a (Hoof, 2025), this installation functions as a funerary altar for queer and trans Central American lives shaped by disappearance, slur, exile, and social death. Four monumental clay hooves rest on volcanic stone beneath suspended crimson textile forms evoking violated flesh, absent bodies, and four trans sex workers disappeared during the Salvadoran armed conflict. Intermittent blue and white light floods the space with the colours of the Salvadoran flag, turning national symbolism into an atmosphere of surveillance and mourning. On one wall, Pipi\u00e1n, Culero, and Maric\u00f3n from ARIA XYX\u2019s El peso de tus palabras (The weight of your words, 2019\u2013ongoing) confront the slurs imposed onto queer children across K\u016bskatan (El Salvador). Opposite them, six additional perforated works extend this cartography of colonial homophobia and transphobia across Central America.<\/p>\n<p>Installed alongside Volcancitto\u2019s (Juan Jos\u00e9 Guill\u00e9n) poem Dice la Wanda (La Wanda says), the room also insists on the market as a contradictory social space. Across Central America, markets have long been places where queer, trans, and gender-expansive people worked, survived, sold goods, formed kinship, carried out sex work, and occupied public life despite constant exposure to harassment, ridicule, policing, and violence. Connected through a secondary chamber, Josu\u00e9 Castro\u2019s video installation La Otra Quema (The Other Quema, 2025) extends these reflections through the Guatemalan tradition of La Quema del Diablo. Castro turns toward the figure of the devil as a mirror held against contemporary masculinities. Fire, spectacle, and ritual destruction become a way of asking what kinds of violence are continually projected outward and who is ultimately consumed by them. Together, the works position queer and trans Central American survival within an ongoing landscape shaped by colonial religion, machismo, state violence, and the unresolved promise that things might one day change<\/p>\n<p>The Biennale d\u2019art contemporain autochtone (BACA) would like to thank its partners the Canada Council for the Arts, the Government of Quebec, the Conseil des arts et des lettres du Qu\u00e9bec, the Secr\u00e9tariat aux relations avec les Premi\u00e8res Nations et les Inuit, the Conseil des arts de Montr\u00e9al, Tourisme Montr\u00e9al, the Collection Desjardins and Creative New Zealand.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/2&#8243;][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column width=&#8221;1\/2&#8243;][vc_column_text uncode_shortcode_id=&#8221;124238&#8243;]June 6 to September 13, 2026 Opening: Saturday June 6, 2026, 3 pm to 5 pm Iaohontso\u2019kt\u00e1:tie \/ [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":90960,"parent":90463,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-90490","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>EXPRESSION, Centre d\u2019exposition de Saint-Hyacinthe | La Biennale d\u2019art contemporain autochtone<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.baca.ca\/en\/exhibitions\/to-move-across-the-land\/expression-centre-dexposition-de-saint-hyacinthe\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"EXPRESSION, Centre d\u2019exposition de 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