Carleton University Art Gallery CUAG

Upcoming Exhibitions

UPRISING: THE POWER OF MOTHER EARTH — Christi Belcourt — A Retrospective with Isaac Murdoch

Curated by Nadia Kurd

21 January – 28 April 2019

A National Touring Exhibition co-produced by Thunder Bay Art Gallery and CUAG

Over the last two decades, the renowned Michif (Métis) artist Christi Belcourt has developed a holistic social practice combining art and activism. This is the first retrospective of Belcourt’s work. It traces her practice from its beginnings, in the early 1990s, to the present, and concludes with recent works made collaboratively with Isaac Murdoch, an Anishinaabe knowledge keeper and emerging visual artist.

The exhibition is comprised of more than thirty major Belcourt paintings, loaned by numerous private collectors and by such public institutions as the National Gallery of Canada, Wabano Centre for Aboriginal Health, Art Gallery of Ontario, Canadian Museum of History, Thunder Bay Art Gallery, and Crown-Indigenous Relations and Northern Affairs Canada. It also includes Murdoch’s iconic images, such as Thunderbird Woman, which feature prominently on the front lines of the resistance movement against resource extraction.

Since forming the Onaman Collective with Erin Konsmo and Isaac Murdoch in 2014, Belcourt’s advocacy work has intensified. She shares with Murdoch what she describes as the most important professional and creative partnership of her life. At their community-based art events, Belcourt and Murdoch mobilize and motivate people to get informed, to care, to take action. UPRISING: THE POWER OF MOTHER EARTH is a touring retrospective that brings Christi Belcourt’s and Isaac Murdoch’s shared vision to audiences across Canada.

Re: Working Together / Re: Travailler ensemble

Curated by Heather Anderson and Marie-Hélène Leblanc

21 January – 28 April 2019

Co-produced by GUQO and CUAG, with the support of the Reesa Greenberg Digital Initiatives Fund, the Stonecroft Foundation for the Arts Daïmōn and Transistor Média

Collaboration has long been integral to art practice, but over the past two decades it has become the focus of deeper, more self-reflexive attention across wide-ranging artistic and curatorial practices. In her text “The Collaborative Turn,” Maria Lind observes that the art world’s embrace of collaboration is “intertwined with other contemporary notions concerning what it means to ‘come together’, ‘be together’ and ‘work together’.”

Concurrent exhibitions at GUQO and CUAG will explore various facets of collaboration in art practice, including the relationship between the individual and the collective; intergenerational collaboration and knowledge-making; kids as artistic producers and as audiences; and the potential of collaboration to transform institutions and structures. GUQO will present works by Emmanuelle Léonard, Ahmet Öğüt, Redmond Entwistle, while a concurrent exhibition at CUAG will feature works by Hannah Jickling and Helen Reed, Mikhail Karikis and Kim Waldron. A commissioned work by Émilie Monnet will span both galleries.

As part of their exploration of collaboration in artistic practice, co-curators Marie-Hélène Leblanc and Heather Anderson are thinking about their ways of working at multiple levels, including collaborative authorship and collaboration between and within small-sized institutions. Re: Working Together / Re: Travailler ensemble is taking shape as an inter-institutional curatorial experiment that includes practical implications such as working across languages and sharing resources.
Check out the series of podcasts produced in partnership with Transistor Média with the support of the Reesa Greenberg Digital Initiatives Fund that will roll out over the course of the exhibition. The first episode is available here:

My Mom, kahntinetha Horn, the “Military Mohawk Princess”

Curated by Kahente Horn-Miller

21 January – 28 April 2019

The public life of kahntinetha Horn has largely been shaped by the camera lens and reporters’ pens. In the early 1960s, she modeled fashion for print magazines and then the runway in Montreal, Toronto and New York City, garnering attention as a rare Indigenous face in an industry dominated by whiteness. She turned this early attention into an activism fuelled years earlier by the destruction of her grandparents’ home on the Caughnawaga Indian Reserve after the expropriation of their land for the St. Lawrence Seaway. She became the Indian Princess in the Indigenous and Canadian imaginations. She just might be one of the first modern-day Indigenous celebrities. This exhibition is a snapshot of the years my mother spent in the eye of the storm, as an Indigenous celebrity and activist in the 1960s. What kind of Indian spoke out? Said anything? Was heard, no less? Especially a woman.