July 29 - October 20, 2019
‘Qiniqtuaq’ (searching/looking) invites viewers to peer through a multi-eyed ghost sheet to witness a looping projection of a video collage screened in front of a piece of oil-stained cardboard. ‘Qiniqtuaq’ is meant to evoke a dream-like state imaging a hypothetical place and time; a representation of what is felt but not known. ‘Qiniqtuaq’ invites a presence of nostalgia, spectatorship, and diaspora.
Kablusiak is an Inuvialuk artist and curator based in Mohkinstsis and holds a BFA in Drawing from the Alberta University of the Arts, Calgary. They use art and humour as a coping mechanism to address cultural displacement. The lighthearted nature of their practice extends gestures of empathy and solidarity; these interests invite a reconsideration of the perceptions of contemporary Indigeneity.
June 1 - August 30, 2019
Among All These Tundras, a title taken from the poem ‘My Home is in My Heart’ by famed Sámi writer Nils-Aslak Valkeapää, features contemporary art by Indigenous artists from around the circumpolar world. Together, their works politically and poetically express current Arctic concerns towards land, language, sovereignty and resurgence. Artists from throughout the circumpolar north share kinship with each other and their ancestors, love for their homelands, and respect for the land and its inhabitants.
June 1 - August 30, 2019
Esker Foundation is pleased to present selected films from the first large-scale tour of Igloolik Inuit video art from the Isuma and Arnait Women’s Video collective, a collection of over 40 works (short films, documentaries, and feature films) from 1987 to today. It is the product of a 30-year filmmaking practice rooted in Inuit values of consensus, working together, service to the community, and cultural authenticity. It is also a non-hierarchical collaborative artistic vision developed by eight celebrated video artists (six Inuit and two non-Inuit): Zacharias Kunuk, Paul Apak Angilirq, Pauloosie Qulitalik, Madeline Ivalu, Susan Avingaq, Mary Kunuk, Norman Cohn, and Marie- Hélène Cousineau.
This collection highlights the unique power of Inuit filmmaking: an approach that challenges individualistic notions of the “artist,” and centers itself in an ethical obligation to serve Inuit first through thoughtful self-representation. Beyond the immediate social effects of cultural production and cooperation, the work of Isuma and Arnait is also a model for how non-Indigenous artists can contribute to decolonial artistic practice.