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World cities face persistent tension between the pull of globalization and the needs of citizens. Conventional political parties present milquetoast solutions that accommodate the interests of business. Meanwhile, citizens in cafes, meeting halls, on the streets, and now in virtual forums are rising to the challenge of imagining new and radical municipal policy from the(...)
September 2021
A citizen's guide to city politics: Montreal
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World cities face persistent tension between the pull of globalization and the needs of citizens. Conventional political parties present milquetoast solutions that accommodate the interests of business. Meanwhile, citizens in cafes, meeting halls, on the streets, and now in virtual forums are rising to the challenge of imagining new and radical municipal policy from the ground up. This book explores the future of Montreal’s citizens’ movements at a moment defined by the threats of pandemic, austerity, housing speculation and insecurity, and racism. It pairs contemporary analysis with an exploration of Montreal’s rich municipal history. The editors of 'A Citizen’s Guide to City Politics' gathered more than twenty activists, urban planners, and thinkers to address the major problems facing Montrealers and propose alternatives from a citizen's perspective. Municipal movements everywhere will see their own struggles reflected in this guide and will find inspiration for debate and action.
François Daireaux : Discover
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« Disover » est le récit d’un voyage au futur antérieur. Ce livre nous dévoile les contrastes d’une Chine contemporaine, en construction incessante, faisant surgir des villes de terre comme par magie. Malgré la violence de ce rythme effréné, il se dégage du travail photographique de François Daireaux et des textes du sinologue Emmanuel Lingot, une rare intensité poétique.(...)
August 2021
François Daireaux : Discover
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« Disover » est le récit d’un voyage au futur antérieur. Ce livre nous dévoile les contrastes d’une Chine contemporaine, en construction incessante, faisant surgir des villes de terre comme par magie. Malgré la violence de ce rythme effréné, il se dégage du travail photographique de François Daireaux et des textes du sinologue Emmanuel Lingot, une rare intensité poétique. Pour faire image, François Daireaux a arpenté plus d’une centaine de villes chinoises très peu visitées par les étrangers. Celles où l’arrogance des plus forts, l’exploitation des plus faibles et le mépris de la vie humaine ont pris les formes les plus impitoyables. Prémonitoire, ce livre nous montre une Chine dévastée. S’y esquissent bien d’autres catastrophes en devenir. L’homme y a pourtant sa place. Cette dérive photographique a commencé à Anshan en 2004 dans le nord-est de la Chine, puis s’est poursuivie de ville en ville, toujours plus à l’ouest pour s’achever en 2018 dans la région ouïghoure.
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During the last five decades we have witnessed an increase in activity among artists identifying themselves as Sami, the only recognised indigenous people of Scandinavia. At the same time, art and duodji (traditional Sami art and craft) have been organized and institutionalized, not least by the Sami artists themselves. ''Sami art and aesthetics'' discusses and highlights(...)
Sami art and aesthetics: Contemporary perspectives
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During the last five decades we have witnessed an increase in activity among artists identifying themselves as Sami, the only recognised indigenous people of Scandinavia. At the same time, art and duodji (traditional Sami art and craft) have been organized and institutionalized, not least by the Sami artists themselves. ''Sami art and aesthetics'' discusses and highlights these developments and places them in historical and contemporary contexts for an international audience. At stake are complex, changing terms regarding the creative and the political agencies. The question is not how indigeneity, identity, people, art, duodji, and aesthetics correspond to conventional Western ideas, rather it is how they interact with the Sami and their neighbouring cultures and societies. The volume is written by some of the foremost art historians and literary scholars in Sami art, craft, architecture, culture, and indigenous studies. Artists presented include Johan Turi, Ivar Jaks, Outi Pieski, Folke Fjellstrom, Katarina Pirak Sikku, Geir Tore Holm, and Silje Figenschou Thoresen.
Current Exhibitions
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''INUA: Inuit Nunangat Ungammuaktut Atautikkut (Inuit Moving Forward Together)'' refers to the life force of all things. As an acronym, it also speaks to our collective vision for Qaumajuq as a place for Inuit to work together towards an exciting new future in the arts, foregrounded by our shared culture and language. The exhibition includes approximately 100 works of art(...)
INUA: Inuit Nunangat Ungammuaktut Atautikkut/ Inuit Moving Forward Together
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''INUA: Inuit Nunangat Ungammuaktut Atautikkut (Inuit Moving Forward Together)'' refers to the life force of all things. As an acronym, it also speaks to our collective vision for Qaumajuq as a place for Inuit to work together towards an exciting new future in the arts, foregrounded by our shared culture and language. The exhibition includes approximately 100 works of art made by 91 artists—from the 1940s to the present—including works from the WAG and Government of Nunavut collections, fifteen commissioned artworks, and loans from across Canada, Alaska and Greenland. INUA is curated by four Inuit and Inuvialuit curators, representing the four regions of Inuit homelands in Canada today. From east to west, they are: Dr. Heather Igloliorte (Nunatsiavut); asinnajaq (Nunavik); Krista Ulujuk Zawadski (Nunavut) and Kablusiak (Inuvialuit Nunangit Sannaiqtuaq). It is also supported by many other Inuk contributors; Project Manager Jocelyn Piirainen; Exhibition Designer Nicole Luke; Graphic Designer Mark Bennett; Educator Kayla Bruce; and WAG Board Member & Indigenous Advisory Circle senior member, Theresie Tungilik.
Current Exhibitions
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Oarjemáilmmi dáiddárat ja cállit leat govvádallan ja ovdanbuktán Davviriikkaid jahkecudiid cada, mii lea dagahan ahte, logijagiid suksessiva akkumulašuvnnain diskurssaiguin, leat ráhkaduvvon “davi govvádallamat” - mat vulget “Davvin” Skandinávias, Ruonáeatnamis ja Ruoššas, “davvi allagassii” dahje Davvináhpái. Oarjemáilmmálaccat leat johtán davvináhpái beare jahkecuodi(...)
Mii lea "davi govvádallan"? Ehtalaš prinsihpat
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Oarjemáilmmi dáiddárat ja cállit leat govvádallan ja ovdanbuktán Davviriikkaid jahkecudiid cada, mii lea dagahan ahte, logijagiid suksessiva akkumulašuvnnain diskurssaiguin, leat ráhkaduvvon “davi govvádallamat” - mat vulget “Davvin” Skandinávias, Ruonáeatnamis ja Ruoššas, “davvi allagassii” dahje Davvináhpái. Oarjemáilmmálaccat leat johtán davvináhpái beare jahkecuodi dás ovdal, mii dagaha ahte “Davvi” lea buodus duppalgeahcastagas: Geahcastat mii boahtá olggobealde - hábmejuvvon erenoamážit oarjemáilmmálaš govvádallamiiguin - ja geahcastat mii boahtá siskkáldasat - Davi kultuvrrain (Inuit, Skandináva, Cree, jna.). Dat vuosttaš dávjá álkiduvvo ja nubbi hilgojuvvo. Jus mii háliidat áddet mii “Davvi” lea oppalaš perspektiivvas, fertet jearrat guokte jearaldaga: mo definerejit govvádallamat davi, ja makkár ehtalaš prinsihpat berrejit stivret mo mii dulkot davi kultuvrraid oažžun dihte ollislaš oainnu das (maiddá, erenoamážit daid maid lullin leat badjelgeahccan)? Dán artihkkalis geahccala cálli loktet dán guokte jearaldaga, vuos dan bokte ahte definere mat leat govvádallamat daviin, ja dasto evttohusain fátmmastit prográmma “rekomplekseret” kultuvrralaš Árktisa.
Current Exhibitions
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Focusing on reconciliation with nature, a respectful approach was taken when creating the exhibition “Jinyun Quarries— The Wuarry as Stage“.The large, extensive installation presents the unusual spatial feeling in the stone quarries of Jinyun scenographically and enables visitors to experience it. Spectacular, translucent models give an impression of the complex spatial(...)
Xu Tiantian : Jinyun Quarries, the quarry as stage
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Focusing on reconciliation with nature, a respectful approach was taken when creating the exhibition “Jinyun Quarries— The Wuarry as Stage“.The large, extensive installation presents the unusual spatial feeling in the stone quarries of Jinyun scenographically and enables visitors to experience it. Spectacular, translucent models give an impression of the complex spatial structure of the spaces carved into the rock, accompanied by large-format photos, plans, and descriptions. The exhibition also explores the historical situation when the stone quarries were still in operation on the one hand, and how the population, the craftsmen, and the administration have accepted and assess the newly created infrastructures today on the other. This publication accompanies the exhibition.
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Le Nord est un espace imaginé et représenté depuis des siècles par les artistes et les écrivains du monde occidental, ce qui a mené, au fil du temps et de l'accumulation successive de couches de discours, à la création d'un "imaginaire du Nord" — que ce Nord soit celui de la Scandinavie, du Groenland, de la Russie ou du Grand Nord, ou encore des pôles. Or les Occidentaux(...)
Qu'est-ce que l'imaginaire du Nord? : Principes éthiques (Inuktitut)
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Le Nord est un espace imaginé et représenté depuis des siècles par les artistes et les écrivains du monde occidental, ce qui a mené, au fil du temps et de l'accumulation successive de couches de discours, à la création d'un "imaginaire du Nord" — que ce Nord soit celui de la Scandinavie, du Groenland, de la Russie ou du Grand Nord, ou encore des pôles. Or les Occidentaux ont atteint le Pole Nord il n'y a qu'un siècle, ce qui fait du "Nord" le produit d'un double regard, de l'extérieur — les représentations, surtout occidentales — et de l'intérieur — les cultures nordiques (inuites, scandinaves, cries, etc.). Les premières étant souvent simplifiées et les secondes méconnues, si l'on souhaite étudier le "Nord" dans une perspective d'ensemble, nous devons donc poser deux questions : comment définir le Nord par l'imaginaire ? Selon quels principes éthiques devons-nous considérer les cultures nordiques pour en avoir une vue complète, incluant notamment celles qui ont été minorées par le Sud ? Nous répondrons ici à ces deux questions, d'abord en définissant l'imaginaire du Nord, puis en proposant un programme intégrateur pour "recomplexifier" l'Arctique culturel.
Current Exhibitions
What is the imagined North?
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The North has been imagined and represented for centuries by artists and writers of the Western world, which has led, over time and the accumulation of successive layers of discourse, to the creation of an “imagined North” – ranging from the “North” of Scandinavia, Greenland, Russia, to the “Far North” or the poles. Westerners have reached the North Pole only a century(...)
What is the imagined North?
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The North has been imagined and represented for centuries by artists and writers of the Western world, which has led, over time and the accumulation of successive layers of discourse, to the creation of an “imagined North” – ranging from the “North” of Scandinavia, Greenland, Russia, to the “Far North” or the poles. Westerners have reached the North Pole only a century ago, which makes the “North” the product of a double perspective: an outside one – made especially of Western images – and an inside one – that of Northern cultures (Inuit, Sami, Cree, etc.). The first are often simplified and the second, ignored. If we wish to understand what the “North” is in an overall perspective, we must ask ourselves two questions: how do images define the North, and which ethical principles should govern how we consider Northern cultures in order to have a complete view (including, in particular, those that have been undervalued by the South)? In this article, I try to address these two questions, first by defining what is the imagined North and then by proposing an inclusive program to “recomplexify” the cultural Arctic.
Current Exhibitions
Chasseur au harpon
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Paru il y a cinquante ans ce livre est considéré comme le premier roman en inuktitut jamais publié. Cette aventure trépidante, marquée de bout en bout par la violence et la mort, nous plonge dans la réalité d’une communauté encore préservée de l’intrusion de la modernité. Surtout, à travers la traque symbolique d’un ours et le dur apprentissage d’un jeune garçon, elle met(...)
Chasseur au harpon
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Paru il y a cinquante ans ce livre est considéré comme le premier roman en inuktitut jamais publié. Cette aventure trépidante, marquée de bout en bout par la violence et la mort, nous plonge dans la réalité d’une communauté encore préservée de l’intrusion de la modernité. Surtout, à travers la traque symbolique d’un ours et le dur apprentissage d’un jeune garçon, elle met en scène le combat immémorial que ces hommes et ces femmes doivent livrer pour survivre. D’une puissance et d’une âpreté rares, ce roman fondateur a grandement contribué à l’essor de la littérature autochtone au Canada. Il est ici traduit pour la première fois à partir du texte original en inuktitut.
Current Exhibitions
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This catalog presents the works of artist Stefano Graziani on display at the Pescheria visual arts center in Pesaro. These works come from different lines of research, some from past years (architecture and museum collections), others more recent (mushrooms and athletes in training), and particularly interesting is the link, sometimes subtle other times more articulated(...)
June 2022
Stefano Graziani: Mostra Fotografica
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This catalog presents the works of artist Stefano Graziani on display at the Pescheria visual arts center in Pesaro. These works come from different lines of research, some from past years (architecture and museum collections), others more recent (mushrooms and athletes in training), and particularly interesting is the link, sometimes subtle other times more articulated and complex, that binds the images together, in a continuous game of evocations and correspondences. The volume includes a conversation by Stefano Graziani with exhibition curator Alessandro Dandini de Sylva.