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Ce survol de l'art contemporain indigène, qui connut un succès retentissant dès son ouverture en novembre 2019, a été prolongé jusqu'au 4 octobre au Musée des beaux-arts du Canada. Àbadakone permet de découvrir des œuvres de plus de 70 artistes qui revendiquent leur appartenance à quelque 40 nations, ethnies et tribus de 16 pays, dont le Canada. Traitant des thèmes de la continuité, de l'activation et de l'interdépendance, Àbadakone explore la créativité, les préoccupations et la vitalité qui marquent l'art indigène de presque tous les continents. L'exposition est organisée par les conservateurs du Musée des beaux-arts du Canada Greg A. Hill, Christine Lalonde et Rachelle Dickenson, conseillés par les commissaires Candice Hopkins, Ariel Smith et Carla Taunton, ainsi que par une équipe d'experts du monde entier. .

This article aims to answer two questions. The first is: What is a Sámi art museum? The second question considers whether there is no Sámi art museum, as assumed by the Nordnorsk kunstmuseum (NNKM) as the title of a museum performance and exhibition in 2017. To answer the first question, it is necessary to tell the long story of the Sámi cultural-historical museum in Karasjok, Samiid Vuorká-Dávvirat (SVD). This museum was inaugurated in 1972 as an act of resistance against the increasing assimilation politics towards the Sámi population in the post-war period. The building that was erected became a cultural and political centre, and a living cultural institution that housed the increasing Sámi ethno-political movement and its energy. Furthermore, as I will argue, the activity that took place at the site became a part of Sámi cultural heritage. The museum has also collected art since 1972 - a collection that today comprises 1400 artworks. Since the 1980s, various plans have been made for a Sámi art museum in a separate building, somehow connected to SVD, however, none of these plans have yet been realised. The article discusses the different reasons for this, and points to the connotations embedded in the SVD building as a cultural and political centre as one of the contributing factors. To answer the question of whether there is no Sámi art museum, a critical reading of the Nordnorsk kunstmuseum’s 2017 museum performance There Is No is necessary. My answer to the question is that NNKM, unfortunately, fell into several traps in their attempt to focus on the fact that there is no physical building. One such trap, that is very common in Western museums displaying indigenous art, is their use of traditional art-historical models as interpretive lenses when displaying indigenous art. A different concept of what an art museum could be today, as a place where things happen, where we could meet counter narratives, or Sámi art and culture could be presented as being part of the present as well as the past and future, would have been closer to a Sámi art museum. I offer this conclusion both through the deeper understanding of Sámi cultural and ethno-political movements as offered in the story of SVD, and through my reading of the theories of the indigenous American scholar John Paul Rangel. While there may indeed be no physical building claiming to be a Sámi art museum, it does in fact exist through the Sámi concept of árbevierru.

Artists and cultural practitioners from Indigenous communities around the world are increasingly in the international spotlight. As museums and curators race to consider the planetary reach of their art collections and exhibitions, this publication draws upon the challenges faced today by cultural workers, Indigenous and non-Indigenous, to engage meaningfully and ethically with the histories, presents and futures of Indigenous cultural practices and world-views. Sixteen Indigenous voices convene to consider some of the most burning questions surrounding this field. How will novel methodologies of word/voice-crafting be constituted to empower the Indigenous discourses of the future? Is it sufficient to expand the Modernist art-historical canon through the politics of inclusion? Is this expansion a new form of colonisation, or does it foster the cosmopolitan thought that Indigenous communities have always inhabited? To whom does the much talked-of 'Indigenous Turn' belong? Does it represent a hegemonic project of introspection and revision in the face of today's ecocidal, genocidal and existential crises?"--Page 4 de la couverture. Autres auteurs/titres:edited by Katya García-Antón ; contributors, Daniel Browning, Kabita Chakma, Megan Cope, Santosh Kumar Das, Hannah Donnelly, Léuli Māzyār Luna'i Eshrāghi, David Garneau, Biung Ismahasan, Kimberley Moulton, Máret Ánne Sara, Venkat Raman Singh Shyam, Irene Snarby, Ánde Somby, Megan Tamati-Quennell, Prashanta Tripura, Sontosh Bikash Tripura.

This collection of new writing on contemporary Greek cinema builds and expands on existing work in the field, providing a coherent analysis of films which, despite their international importance, have so far received limited critical attention. The volume maps key trends in Greek cinema since the 1990s within the wider context of production and consumption at both national and international levels. It offers a wide range of critical analyses of documentary and avant-garde filmmaking, art house and popular cinema, and the work of established and new directors as well as deliberations on teaching methodologies and marketing strategies. The book seeks to highlight the continuities, mutual influences and common contexts that inform, shape and inspire filmmaking in Greece today.

Sakahàn' celebrates a growing international commitment to the collection, study and exhibition of indigenous art. Featuring more than 75 artists from around the world, this remarkable project places indigenous art squarely at the centre of contemporary art produced today.

Catalogue d'exposition publié à l'occasion de l'exposition tenue au Plug In Institute of Contemporary Art, Urban Shaman Contemporary Aboriginal Art, et Winnipeg Art Gallery, du 22 janvier au 8 mai 2011. Now is the moment to reconfigure our notions of time to reveal alternative ways of thinking and being for the future. In Close Encounters: The Next 500 Years Indigenous artists imagine the future within the context of present experiences and past histories. By radically reconsidering encounter narratives between native and non-native people, Indigenous prophecies, possible utopias and apocalypses, this exhibition proposes intriguing possibilities for the next 500 years. "We all in different measure have carved out the future," observes Hopi photographer and filmmaker, Victor Masayesva, in his book Husk of Time. "We are all clairvoyants, soothsayers, prophets, knowingly assuming our predictions. Close Encounters brings together over 30 Indigenous artists from across Canada, the United States, South America, Europe, Australia and New Zealand, including newly commissioned work from Rebecca Belmore, Faye HeavyShield, Kent Monkman, and Edward Poitras. Jimmie Durham's sculptural work A Pole to Mark the Centre of the World (at Winnipeg) will be an ongoing critique of widely held ideas surrounding space and location, while James Luna's poignant installation The Spirits of Virtue and Evil Await my Ascension, addresses issues of ritual and the passing of time. Close Encounters showcases artists and artworks that collectively invent provocative futures from a diversity of perspectives and practices. With its myriad histories, trajectories, tensions, collisions, and self-image(s), the city of Winnipeg offers an intriguing juxtaposition for these artistic mediations. Close Encounters: The Next 500 Years presents international Indigenous perspectives in a city that in many ways also epitomizes the future of Aboriginal people in Canada. Works in multiple venues throughout the city will serve as catalysts to invent different ways of thinking, acting, and being in the world of our shared future. At this pivotal moment in time, Close Encounters invites engagement with the speculative, the prophetic, and the unknown