#callresponse
March 23—May 5, 2018
Organized by Tarah Hogue, Maria Hupfield, and Tania Willard
Christi Belcourt
IV Castellanos
Marcia Crosby
Maria Hupfield
Ursula Johnson
Cheryl L'Hirondelle
Isaac Murdoch
Esther Neff
Tanya Tagaq
Tania Willard
Laakkuluk Williamson-Bathory
with local respondents Jennifer Kreisberg and Laura Ortman
Shining a light on work that is both urgent and long-term, #callresponse acts as a connective support system that begins with commissioned artworks created by Indigenous North American women artists and their invited guest respondents. Moving between specificity of Indigenous nations, site, online space, and the gallery, #callresponse focuses on forms of performance, process, and translation that incite dialogue and catalyze action across borders between individuals, communities, territories and institutions. The hashtag #callresponse connects the geographically diverse sites and provides opportunities for networked exchanges. A touring exhibition, #callresponse opened in Vancouver’s grunt gallery in 2016 and continues to engage each location with specific programming.
This exhibition is organized and circulated by grunt gallery, and presented by EFA Project Space.
EVENTS
Friday, March 23, 6-8:30 PM
Opening Reception and Walkthrough with Nishnaabekweg Negamond
Ke’tapekiaq Ma’qimikew: The Land Sings with Ursula Johnson, Jennifer Kriesberg, and Laura Ortman
Sunday, March 25, 1-3 pm
The High Line - 14th Street Passage
(Between W.13 & W.14 St)
Honoring Our Sisters Roundtable
In partnership with Amerinda
Wednesday, March 28, 6 - 8:30 pm
Feet on The Ground Performance with Esther Neff, IV Castellanos, and Maria Hupfield
Saturday, April 28, 4 - 6 pm
Cut Tongue Heart Speak with Natalie Diaz and Tania Willard
In partnership with Endangered Language Alliance
Thursday, May 3, 6 - 7:30 pm
Laakkuluk Williamson-Bathory, Timiga nunalu, sikulu (My body, the land and the ice), 2016
MATERIALS
PRESS
#callresponse is a production of grunt gallery, funded by the {Re}conciliation Initiative a partnership between the Canada Council for the Arts, the J.W. McConnell Family Foundation, and The Circle on Philanthropy and Aboriginal Peoples in Canada. Additional funding support from The British Columbia Arts Council.
Ursula Johnson, Jennifer Kreisberg and Laura Ortman, Ke’tapekiaq Ma’qimikew: The Land Sings, 2018. Song-line and audio recording of performance.
Ursula Johnson and Cheryl L’Hirondelle, Nikamon Ohci Askiy (Ke’tapekiaq Ma’qimikew): The Land Sings, 2016. Song lyrics for “okâwîmâw” co-written by Cheryl L’Hirondelle and Joseph Naytowhow.
Ursula Johnson, Jennifer Kreisberg and Laura Ortman, Ke’tapekiaq Ma’qimikew: The Land Sings, 2018. Song-line and audio recording of performance.
Ursula Johnson and Cheryl L’Hirondelle, Nikamon Ohci Askiy (Ke’tapekiaq Ma’qimikew): The Land Sings, 2016. Song lyrics for “okâwîmâw” co-written by Cheryl L’Hirondelle and Joseph Naytowhow.
Front:
IV Castellanos, Maria Hupfield, and Esther Neff, Toolbox, 2016. Wood, metal with an assortment of handmade and found items including handmade tools, three hand-sewn banners, a large acrylic hand-printed cotton banner, custom triangle bench and shelf. From the performance Feet on the Ground.
From left to right:
Maria Hupfield, Bag, 2013–2016. Industrial felt with satin ribbon and polyester thread. From the performances Post Performance/ Conversation Action, Artist Field Trip, and Artist Tour Guide.
Christi Belcourt and Isaac Murdoch (Onaman Collective), Reconciliation with the Land and Waters, 2016. Plywood panel. Original buffalo robe gifted to Onaman Collective by Grand Chief Derek Nepinak.
Maria Hupfield, Bag, 2013–2016. Industrial felt with satin ribbon and polyester thread. From the performances Post Performance/ Conversation Action, Artist Field Trip, and Artist Tour Guide.
IV Castellanos, Maria Hupfield, and Esther Neff, Toolbox, 2016. Wood, metal with an assortment of handmade and found items including handmade tools, three hand-sewn banners, a large acrylic hand-printed cotton banner, custom triangle bench and shelf. From the performance Feet on the Ground.
IV Castellanos, Maria Hupfield, and Esther Neff, Toolbox, 2016. Wood, metal with an assortment of handmade and found items including handmade tools, three hand-sewn banners, a large acrylic hand-printed cotton banner, custom triangle bench and shelf. From the performance Feet on the Ground.
IV Castellanos, Maria Hupfield, and Esther Neff, Toolbox (detail), 2016. Wood, metal with an assortment of handmade and found items including handmade tools, three hand-sewn banners, a large acrylic hand-printed cotton banner, custom triangle bench and shelf. From the performance Feet on the Ground.
IV Castellanos, Maria Hupfield, and Esther Neff, Toolbox (detail), 2016. Wood, metal with an assortment of handmade and found items including handmade tools, three hand-sewn banners, a large acrylic hand-printed cotton banner, custom triangle bench and shelf. From the performance Feet on the Ground.
IV Castellanos, Maria Hupfield, and Esther Neff, Toolbox (detail), 2016. Wood, metal with an assortment of handmade and found items including handmade tools, three hand-sewn banners, a large acrylic hand-printed cotton banner, custom triangle bench and shelf. From the performance Feet on the Ground.
IV Castellanos, Maria Hupfield, and Esther Neff, Toolbox (detail), 2016. Wood, metal with an assortment of handmade and found items including handmade tools, three hand-sewn banners, a large acrylic hand-printed cotton banner, custom triangle bench and shelf. From the performance Feet on the Ground.
Back left: IV Castellanos, Maria Hupfield, and Esther Neff, Toolbox, 2016. Wood, metal with an assortment of handmade and found items including handmade tools, three hand-sewn banners, a large acrylic hand-printed cotton banner, custom triangle bench and shelf. From the performance Feet on the Ground.
Front left: Maria Hupfield, Bag, 2013–2016. Industrial felt with satin ribbon and polyester thread. From the performances Post Performance/ Conversation Action, Artist Field Trip, and Artist Tour Guide.
Right: Christi Belcourt and Isaac Murdoch (Onaman Collective), Reconciliation with the Land and Waters, 2016. Plywood panel. Original buffalo robe gifted to Onaman Collective by Grand Chief Derek Nepinak.
Christi Belcourt and Isaac Murdoch (Onaman Collective), Reconciliation with the Land and Waters, 2016. Plywood panel. Original buffalo robe gifted to Onaman Collective by Grand Chief Derek Nepinak.
Left: Tania Willard, Intergenerational effects (I found these in the BUSH), from the series Only Available Light, 2016. Vintage glass Listerine bottles, seed beads and digital prints.
Right: Tania Willard, Basket Rescue Operation (talking to Peter Morin and remembering Dana Claxton’s talk for the BCMA in Whistler), rom the series Only Available Light, 2016.
Birch bark basket (reclaimed from antique store), cedar root, copper foil and laser cut text.
Marcia Crosby, "New Cultural Practices, 1900–1926," previously published in Lawrence Paul Yuxweluptun: Unceded Territories, eds. Karen Duffek and Tania Willard (Vancouver, Berkley: Figure 1 Publishing and the UBC Museum of Anthropology, 2016), 109-130. Reproduced with permission of the author, editors, Figure 1 Publishing, and the UBC Museum of Anthropology.
Tania Willard, Basket Rescue Operation (talking to Peter Morin and remembering Dana Claxton’s talk for the BCMA in Whistler), rom the series Only Available Light, 2016.
Birch bark basket (reclaimed from antique store), cedar root, copper foil and laser cut text.
Tania Willard, Basket Rescue Operation (talking to Peter Morin and remembering Dana Claxton’s talk for the BCMA in Whistler), rom the series Only Available Light, 2016.
Birch bark basket (reclaimed from antique store), cedar root, copper foil and laser cut text.
Front left: IV Castellanos, Maria Hupfield, and Esther Neff, Toolbox 2016. Wood, metal with an assortment of handmade and found items including handmade tools, three hand-sewn banners, a large acrylic hand-printed cotton banner, custom triangle bench and shelf. From the performance Feet on the Ground.
Tania Willard, Intergenerational effects (I found these in the BUSH), from the series Only Available Light, 2016. Vintage glass Listerine bottles, seed beads and digital prints.
Tania Willard, Intergenerational effects (I found these in the BUSH), from the series Only Available Light, 2016. Vintage glass Listerine bottles, seed beads and digital prints.
Tania Willard, Intergenerational effects (I found these in the BUSH), from the series Only Available Light, 2016. Vintage glass Listerine bottles, seed beads and digital prints.
Tanya Tagaq and Laakkuluk Williamson Bathory, Timiga nunalu, sikulu (My body, the land and the ice), 2016. Installation with coleman camp stove and video, 29:26 min. Performance presented in partnership with Native Education College (NEC), October 28, 2016.
Tanya Tagaq and Laakkuluk Williamson Bathory, Timiga nunalu, sikulu (My body, the land and the ice), 2016. Installation with coleman camp stove and video, 29:26 min. Performance presented in partnership with Native Education College (NEC), October 28, 2016.
Tanya Tagaq and Laakkuluk Williamson Bathory, Timiga nunalu, sikulu (My body, the land and the ice), 2016. Installation with coleman camp stove and video, 29:26 min. Performance presented in partnership with Native Education College (NEC), October 28, 2016.
Laakkuluk Williamson Bathory, Timiga nunalu, sikulu (My body, the land and the ice), 2016. Single-channel video, 6:28 min. Videography by Jamie Griffiths, music by Chris Coleman, featuring vocals by Celina Kalluk.
Laakkuluk Williamson Bathory, Timiga nunalu, sikulu (My body, the land and the ice), 2016. Single-channel video, 6:28 min. Videography by Jamie Griffiths, music by Chris Coleman, featuring vocals by Celina Kalluk.
Tania Willard, Only Available Light, from the series Only Available Light, 2016. Archival film (Harlan I. Smith, The Shuswap Indians of British Columbia, 1928), projector, selenite crystals and photons, 8:44 min. Original composition by Leela Gilday.
Tania Willard, Only Available Light, from the series Only Available Light, 2016. Archival film (Harlan I. Smith, The Shuswap Indians of British Columbia, 1928), projector, selenite crystals and photons, 8:44 min. Original composition by Leela Gilday.
Tania Willard, Only Available Light, from the series Only Available Light, 2016. Archival film (Harlan I. Smith, The Shuswap Indians of British Columbia, 1928), projector, selenite crystals and photons, 8:44 min. Original composition by Leela Gilday.
Tania Willard, Only Available Light, from the series Only Available Light, 2016. Archival film (Harlan I. Smith, The Shuswap Indians of British Columbia, 1928), projector, selenite crystals and photons, 8:44 min. Original composition by Leela Gilday.
Tania Willard, Only Available Light, from the series Only Available Light, 2016. Archival film (Harlan I. Smith, The Shuswap Indians of British Columbia, 1928), projector, selenite crystals and photons, 8:44 min. Original composition by Leela Gilday.
Tania Willard, Only Available Light, from the series Only Available Light, 2016. Archival film (Harlan I. Smith, The Shuswap Indians of British Columbia, 1928), projector, selenite crystals and photons, 8:44 min. Original composition by Leela Gilday.