Concordia students attend the annual art history bus trip to Ottawa
On Nov. 9, Concordia students who attended the art history bus trip to Ottawa had the opportunity to visit the new exhibition Àbadakone / Continuous Fire / Feu continuel, currently on at the National Gallery of Canada (NGC).
In an enclosed room off to the side of the main gallery space at the NGC, visitors observe a video of an Indigenous woman washing a white woman in a metal bathtub. Both are silent; all that is heard is the loud sound of dripping water as the Indigenous woman gently washes the white woman’s face, hands, arms, legs and feet with a white cloth. The process is slow and methodical, each movement is careful and tender. It is not until the Indigenous woman begins to cry that visitors are removed from their comfortable state of observation and subsequently inserted into a place of pain and profound suffering.
Reece is one of more than 70 contemporary global Indigenous artists taking part in the exhibition Àbadakone / Continuous Fire / Feu continuel presently on at the NGC. Àbadakone, Algonquin for “continuous fire,” is the second exhibition to be held at the NGC that features Indigenous artists from around the world; the first being Sakahàn, Algonquin for “to light a fire,” which was held in 2013.
The works cover all mediums, including photography, beadwork, drawing, painting, digital installations and sculpture, and span across almost a dozen rooms. Àbadakone presents the works of Indigenous contemporary artists from countries such as Canada, the United States, Guatemala, South Africa, Finland, and Japan. Some of the artists featured in the exhibition are Leonce Raphael Agbodjélou, Sarah Sense, Barry Ace, Rebecca Belmore, Marja Helander and Dylan Miner.
Àbadakone’s curators have framed the exhibition in accordance with the themes of relatedness, continuity and activation. Wall text in the gallery reads:
“Relatedness is the view that all things on the earth are our relations. This idea is fundamental to Indigenous worldviews. Relatedness – from the intimate to the global – reminds us of the responsibility inherent in art making to all living things as manifested in what is conventionally understood as the ‘art object.’”
“Continuity is relatedness across generations, histories and our futures. It helps us see that art is not static in time, but is in a constant cycle of change and renewal.”
“Activation is about presence: how an artist animates a space, an object or an idea through performance, video or viewer engagement.”
Other themes the exhibition explores include decolonization, Indigenous sovereignty, land-based knowledge, food insecurity, gender and identity, legacies of trauma and colonization, and practices of healing.
Many of the exhibition’s artists employ methods of ‘re-historicization’ and ‘re-narration’ to subvert and disrupt colonial histories and discourses. One such artist, Will Wilson, aims to dismantle the racist undertones embedded within colonial and ethnographic photography. His ongoing portrait series CIPX (Critical Indigenous Photographic Exchange), that imitate the portraits of colonial photographer Edward S. Curtis, sees a disturbance of the colonial ethnographic gaze and consequently functions in reclaiming Indigenous agency and sovereignty.
The annual Ottawa art history bus trip is put on by Concordia’s Ethnocultural Art Histories Group, Concordia’s Undergraduate Journal of Art History, the Art History Graduate Student Association and the Department of Art History. In addition to visiting the National Gallery of Canada, other visits included the Ottawa Art Gallery and Carleton University Art Gallery.
The exhibition is on display at the National Gallery of Canada, at 380 Sussex Dr. in Ottawa, until April 5, 2020. The gallery is open from 10 a.m. to 5 p.m. from Tuesday to Sunday, and 10 a.m. to 8 p.m. on Thursdays.
Photos by Kari Valmestad.