Archives of Resistance: NORTHERN MIGRATION

2022-10-27 - 2023-04-01

Archives of Resistance: NORTHERN MIGRATION

http://www.archivesofresistance.com/


The Family Album exhibition by Archivo de la Memoria Trans / Archive of Trans Memory: December 8, 2022 to January 11, 2023

Artist talk with Archivo de la Memoria Trans / Archive of Trans Memory: December 8, 2022 at 6pm ET


Brimming exhibition by Jennifer Dysart: October 27 to December 7, 2022

Artist talk with Jennifer Dysart: November 3, 2022 at 7pm ET

 

Archives of Resistance: NORTHERN MIGRATION is an online exhibition that brings together a unique mix of collaborators composed of artists, designers, archivists, and educators. Together, they draw parallels between narratives of resistance across the Americas to celebrate those who are often forgotten or dismissed in colonized lands. 

 

This project includes four online exhibitions, artist talks and workshops, which will be released one by one between October 2022 and March 2023.

 

The first exhibition showcases the work of Jennifer Dysart (archive researcher/artist/filmmaker). Jennifer’s films often include official and/or familiar archives to question the process of selection and elimination of archival materials in determining the national narrative in Canada. Her latest film Brimming (2022) will be on view online from October 27 to December 7, 2022. She will also discuss her work in an artist talk online on November 3, 2022 at 7pm ET. 

 

Please register here for this free event:  https://www.eventbrite.ca/e/artist-talk-with-jennifer-dysart-archives-of-resistance-exhibition-1-tickets-425412408967


The second exhibition from this series is the Family Album, showcasing the collection of photographs and narratives by Archivo de la Memoria Trans / Archive of Trans Memory (ATM) from Buenos Aires, Argentina. The Archive contains a collection of more than 15,000 documents including familiar photographs, letters, newspaper articles, ID cards, and more.


This exhibition will be on view at http://archivesofresistance.com/atm/familyalbum.htm from December 8, 2022, to January 11, 2023. Join us for a talk by the collective on December 9, 2022, at 6 pm. They will present the history of their community and their archives with surviving members of their Trans community illustrating their hardship and resistance.


Please register for free on Eventbrite here: https://www.eventbrite.ca/e/artist-talk-archivo-de-la-memoria-trans-archive-of-trans-memory-aor2-tickets-474168750497

 

Stay tuned for upcoming exhibitions in the Archive of Resistance series by Catrileo+Carrión Community (USA/Chile), and the collaborative team of Marton Robinson (Canada/Costa Rica) and Lishan AZ (USA).

 

ARTISTS

 

Jennifer Dysart is an archive enthusiast with a deep love of found footage and experimental filmmaking. Her film projects interrupt the colonial power of archives and represent a growing body of work that prioritizes a return home of archival materials to Indigenous communities. She was an Artist-In-Residence for Archive/Counter-Archive  at Library and Archives Canada (2019) and showed Revisiting Keewatin (Biophilia Edit) as a large-scale installation projected on the outside of the Archives of Ontario building through the Art Gallery of York University for Nuit  Blanche 2022. Her films Caribou in the Archive (2019), Kewekapawetan: Return After the Flood (2014) and Moss Origins (2011) have screened around the world. She was born in Alberta, raised in BC,  currently lives in Hamilton, Ontario, and has Cree roots on her Dad's side from South Indian Lake in northern Manitoba, Canada. In 2014, Jennifer won the MFA thesis prize at York for her graduate work which includes Kewekapawetan: Return After the Flood.

 

Catrileo+Carrión Community (Wallmapu/Chile – Kumeyaay Land/San Diego, CA):

We are a two-spirit Mapuche (epupillan) community that develops research-creation projects that are intimately linked to specific territories and communities. We have been working since 2015 from Wallmapu/Chile and are now located both in California/Kumayaay land and South America. This hemispheric experience gives us a privileged point of view to see social change, land disputes, and colonization from a broad perspective. We use video, archives, writing, and weaving as practices that are intertwined with our own life. As a two-spirit non-reproductive community we use our vital energy to connect with others (human and non-human) to share reflections and concerns. We use our biographies and positionalities to depict Indigenous life as an ever-changing, deeply rooted, and critical practice, but also a transformative and creative force. We engage in a practice of occupation and re-structuring of the surface of the video/projection. We understand these surfaces as interfaces for decolonization, territorial imagination, and re-connection with each other. We believe in a future where a queer BIPOC utopia is possible, and we are rehearsing this idea in our everyday artistic and political practice.

 

Costa Rican artist Marton Robinson has an interdisciplinary background informed by his studies in both Physical Education and Art and Visual Communication. He completed an MFA at the University of Southern California. Robinson’s art, which is informed mainly by African-American traditions, challenges the conventional representations of Black identities in art history, mainstream culture, and the official national narratives, especially those of Costa Rica. With an often ironic and rhetorical take on the constructs of racism, this practice endeavours to confront the hierarchies and conceptions inherited from colonialism in order to subvert the mindsets and prejudices ingrained in our social experience. Robinson’s work exposes the nuances present in the Afro-Latino experience, enriching the critical discourse of contemporary works of the African Diaspora. Robinson has participated in exhibitions in spaces such as: The Getty Center, California;  X Bienal Centroamericana, Costa Rica; Pacific Standard Time LA/LA; Le Palais de Tokyo, France; Centro de la Imagen, México; ARTBO, Colombia; and the 21st Biennial Contemporary Art Sesc Videobrasil, Brazil.

 

Lishan AZ is a media artist from Silver Spring, Maryland. She makes interactive media that engages the political imagination, spreads awareness about social issues, and brings to life the narratives of under-recognized Black women. Lishan’s work has shown at venues like the Smithsonian American Art Museum, Indiecade, LA Weekly's Artopia, Tokyo University of the Arts' Art Museum, the Electronic Entertainment Expo (E3), and Games for Change. She was the inaugural Game-Designer-in-Residence at the Maryland Institute College of Art (MICA) and is currently an Assistant Professor of Cinema and Digital Media at UC Davis.

 

The Archive of Trans Memory (AMT) protects, builds and vindicates Trans memory in Argentina. Trans women activists, María Belén Correa and Claudia Pía Baudracco envisioned how they could bring together their fellow survivors and subsequently their memories and images. In 2012, Pía passed away just months before the Gender Identity Law became a reality in Argentina. While in exile, María Belén founded the AMT where she met with her fellow survivors who lived in different parts of the world. In 2014, collaborator and visual artist Cecilia Estalles began the archiving process to compile, preserve, and protect the memories of the Trans community in Argentina.


The Archive contains a collection of more than 15,000 documents. This is a rich collection that includes photographs, film, audio bytes, journals, and official documents such as Identification cards, passports, letters, notes, police files, and magazine articles. Currently, its working team includes María Belén Correa, Cecilia Estalles, Carmen Ibarra, Cecilia Saurí, Magalí Muñiz, Carola Figueredo, Teté Vega, Luis Juárez, Julieta Gonzalez, Sonia Beatriz Torrese, Carolina Nastri, Guade Bongiovanni, Marina Cisneros, Katiana Villagra, Paola Guerrero.

 

CURATOR

 

soJin Chun is a Toronto-based curator/educator/artist that explores the alternative dialogues that emerge in-between cultures and disciplines. With a focus on connecting with youth, community members, and artists, her work unpacks identities and narratives that exist outside of dominant representations. soJin's diverse art practice has been informed by her personal experience living in the Korean diaspora in Bolivia and Canada. She aims to create spaces to present contemporary art that is socially engaged and relevant to everyday communities. Collaboration is an essential part of her process as she has worked extensively with under-represented communities in Canada and South America. Through International artist residencies, soJin has developed a collaborative art practice working with local communities to resist stereotypes, gentrification and displacement. Chun has participated in international film festivals such as the Oberhausen International Film Festival (2020). She has exhibited Internationally in DIY art spaces, galleries and museums. soJin’s video works are represented by GIV (Montreal), CFMDC (Toronto) and Vtape (Toronto). Chun has a B.A. in Applied Arts from Ryerson University and a Masters in Communications and Culture from Ryerson/York Universities.


PARTNERS

7th Generation Image-Makers

Canadian Filmmakers Distribution Centre

White Water Gallery

 

Archives of Resistance: NORTHERN MIGRATION is supported by the Ontario Arts Council and the Canada Council for the Arts.

 

Image: Brimming (2022), Jennifer Dysart


For questions or accessibility requests, please contact Lodoe Laura, lodoe@cfmdc.org.