Sonny Assu : Imaginary Lines Texte de Farah Benosman Text by Natalia Lebedinskaia Patrick Bérubé : En Parallèle Texte d’Ariane De Blois Text by Ariane De Blois. Sonny Assu : Une histoire sélective Du 26 juillet au 24 novembre 2018 À travers ses dix oeuvres aux motifs abstraites et ovoïdes rappelant l’iconographie de la côte nord-ouest, Sonny Assu créé le questionnement sur la consommation, la colonisation et l’impérialisme. Their current population is approximately 5,500. Some also live outside their homelands in urban areas such as Victoria and Vancouver. Most of the references that comprise the backgrounds in the series will be familiar to the viewer. Having been raised as your everyday average suburbanite, it wasn't until he was eight years old that he discovered his Liǥwildax̱w/Kwakwaka’wakw heritage. Beat Nation : art, hip-hop et culture autochtone représente une génération d’artistes qui juxtaposent la culture urbaine et l’identité autochtone en vue de produire des œuvres novatrices, inusitées, qui reflètent les réalités actuelles des peuples autochtones. Montréal, 26 juillet 2018 - Aujourd’hui avait lieu le vernissage de l’exposition la plus attendue de l’été. Info: Art Mûr, 5826 St-Hubert, Montréal, Duration: 14/1-25/2/17, Days & Hours: Tue-Wed 10:00-18:00, Thu-Fri 12:00-20:00, Sat 12:00-17:00, http://artmur.com. Sonny Assu, de la Nation Ligwilda’xw / Kwakwaka’wakw de Colombie-Britannique y présentera ses œuvres qui se situent entre tradition et modernité. And yet, in the case of this series of paintings, the interplay of traditional and imagined First Nations imagery causes the viewer to rethink their ideas of what it means to be First Nations in Canada today. Sonny Assu s’intéresse à la notion de territoire depuis longtemps. Presse. Share it with your friends! Assu received his BFA from the Emily Carr University in 2002 and was the recipient of their distinguished alumni award in 2006. Sonny Assu has been raised as an everyday average suburban white-kid by his grandparents, it wasn’t until he was eight years old that he discovered his Kwakwaka’wakw* heritage. Du 5 oct. 2017 au 11 mars 2018. Believing that a distinct Canadian art could be developed through direct contact with nature, the Group of Seven is best known for its paintings inspired by the Canadian landscape, and initiated the first major Canadian national art movement. Sonny Assu presents his ongoing series “Interventions on the Imaginary” (2014- ), and confronts the colonial culture’s portrayal of Indigenous peoples as a vanishing race. The pairing of the traditional and the contemporary isn’t new, artists have been creating a dialogue between the past and present for as long as it has been possible to do so. Sonny Assu (Liǥwildaʼx̱w/Kwakwaka’wakw) est un artiste interdisciplinaire basé à Campbell River en Colombie-Britannique. Sonny negotiates Western and Kwakwaka’wakw principles of art making as a means of exploring his family history and the experiences of being an Indigenous person in the colonial state of Canada. The works that comprise the exhibition are digital interventions on images of historical works. Organisée et mise en circulation par la Vancouver Art Gallery à partir d’une initiative de la grunt gallery, à […] Sonny Assu, Phil Collins, Dora Garcia, Simryn Gill, Felix Gonzalez-Torres, Emily Jacir, Sergej Jensen, Mike Kelley, Lee Mingwei . Natif de la Colombie-Britannique (C.-B. Dominic HARDY, université du Québec à Montréal Sonny Assu : entre potlatch et iPod Véronique GAGNON, université du Québec à Montréal 17 h Conférence de clôture De l’invention du Sauvage aux nouveaux Chasseurs/Chamans/Guerriers et Tricksters de l’art Guy SIOUI DURAND, critique et commissaire d’expositions MERCREDI 29 MAI 2013 JEUDI 30 MAI 2013 Le 17 mai 2013, sera … By Dimitris Lempesis Fondation PHI 451 et 465, rue Saint-Jean Montréal (Québec) H2Y 2R5. Sonny Assu (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. Sujet de la page: "DINA GOLDSTEIN SONNY ASSU PATRICK BÉRUBÉ - Art Mur". Sonny Assu: A Selective History (2018), a summation of his career thus far, Candice Hopkins remarks on the influence of 1980’s remix culture, used by Assu to erode pop culture dominated by settler perspectives. Taking you to the most significant contemporary art exhibitions around the world. He received the BC Creative Achievement Award in First Nations art in 2011 and was thrice long-listed for the Sobey Art Award. Entrée gratuite. Most live in British Columbia on northern Vancouver Island and the adjoining mainland, and on islands around Johnstone Strait and Queen Charlotte Strait. Sonny Assu : Une histoire sélective Du 26 juillet au 24 novembre 2018 L'exposition, présentée par LA GUILDE, en partenariat avec TERRES EN VUES (organisateur du festival PRÉSENCE AUTOCHTONE), réunit 10 œuvres réalisées par Sonny Assu et issues des séries #Neveridle et Interventions on the Imaginary. Lorsque je lui demande d’où est né le projet Imaginary Lines, c’est par cette référence de la première nation Hupacasath qu’il me répond. [Quel site idéal pour un Walmart! Available for sale from Art Mûr, Sonny Assu, Landline #1 (2020), Ink on Archival paper, 30 × 22 1/4 in Silenced, the Burning (2011), de Sonny Assu, évoque la cérémonie du potlatch, une composante essentielle de l’identité et des pratiques culturelles des Kwakwaka’wakw, qui a été interdite par le gouvernement canadien de 1884 à 1951. Un texte de Sophie-Claude Miller Nous, en tant qu’Autochtones, créons aujourd’hui pour tenter de dissiper le … Having cut his teeth in Vancouver's art scene, Assu packed up and moved to Montreal to be with the love of his life. Interdisciplinary Artist Sonny Assu (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. ], 2014, intervention numérique sur une toile d’Emily Carr, 57,2 x 84,5 cm. Having cut his teeth in Vancouver's art scene, Assu packed up and moved to Montreal to be with the love of his life. Assu reaffirms Crosby’s critique by marking Carr’s iconic British Columbia landscapes with an Indigenous presence through the digital insertion of Kwakwaka’wakw formline elements. In his work Assu don’t just make light of the imagined past but tease at an imaginary future. Langue: français. Assu's artistic practice is diverse: spanning painting, sculpture, photography, digital art and printmaking. Du Vancouver art Gallery au Musée d'art contemporain de Montréal Beat Nation : art, hip-hop et culture autochtone Beat Nation : art, hip-hop et culture autochtone représente une génération d’artistes qui juxtaposent la culture urbaine et l’identité autochtone en vue de produire des œuvres novatrices, inusitées, qui reflètent les réalités actuelles des peuples autochtones. Five years later, along with his wife and beautiful daughter, Sonny moved back to BC, eventually settling back "home" in unceded Liǥwildaʼx̱w territory (Campbell River, BC.). Paint | Sculpt | Digital | Installation sonnyassu.com Living in unceded Liǥwildaʼx̱w Territory Sonny negotiates Western and Kwakwaka’wakw principles of art making as a means of exploring his family history and the experiences of being an Indigenous person in the colonial state of Canada. Sonny Assu Autre approche du don hautement politique et sociale de la part de l'artiste kwakwaka'wakw Sonny Assu, venu présenter Silenced - The Burning à Montréal. 514 849-3742 1 888 934-2278 [email protected] Heures d’ouverture Fermée temporairement Du 1er au 28 octobre 2020. L'OFFRE Sonny Assu Phil Collins Dora Garcia Simryn Gill Felix Gonzalez-Torres Emily Jacir Sergej Jensen Mike Kelley Lee MingweiDHC/ART 451, rue Saint Toutes les sorties à Montréal… Fortuitous events may have brought Sonny Assu to Montreal, but the promise of being able to help shape the cultural discourse here doesn’t hurt either. He received his MFA from Concordia University in 2017 and was one of the Laureates for the 2017 REVEAL - Indigenous Art Awards. Sonny Assu is an interdisciplinary artist who resides in unceeded Liǥwildaʼx̱w territory. Later in life, this discovery would be the conceptual focal point that helped launch his unique art practice. He studied painting at Kwantlen College and then at the Emily Carr University of Art and Design, where he combined his interests in pop art with traditional drum-making and cedar bark weaving. Sonny Assu : Interventions On The Imaginary Art Mûr, Montréal (QC) Texte de Veronique Gagnon Le plus récent corpus de l’artiste Sonny Assu nous transporte près de l’univers de la science-fiction, alors que des figures autochtones anciennes semblent envahies par une entité de l’espace. 5826, rue St-Hubert, Montréal (QC) Canada, H2S 2L7, 514 933-0711, www.artmur.com The series’ title refers to art historian and educator Marcia Crosby’s 2002 essay “The Construction of the Imaginary Indian”, in which she questions the “Indigenous identity” created by celebrated Canadian painters such as Emily Carr who naively link Indigenous identity to nature. July 26 to November 24, 2018 In partnership with Land InSights, master coordinator of the Montreal First Peoples Festival, La Guilde presents the exhibition Sonny Assu: A Selective History, from July 26 to November 24, 2018. Cette exposition d’art actuel convoque des artistes autochtones émergents ainsi que d’autres plus établis à partager leurs visions « des fabuleux dédoublements » que portent les récits mythiques amérindiens.EXPOSITION30 avril : lancement de l'évènement et vernissage de 17h à 19hArtistes : Eruoma Awashish, Domingo Cisneros, Hannah Claus, David Garneau, Lydia Mestokosho … La première nation Hupacasath est basée à Alberni Valley, sur la côte ouest de l’île de Vancouver. Créé par: Jean-Claude Guillou. In "Home Coming," Sonny Assu offers a "digital intervention" for a painting by Paul Kane, an Irish Canadian known for his idyllic 19th-century paintings of First Nations people. Now comprised of over 15 works and growing, the series playfully challenges the way indigenous presence has been imagined, primarily by settler Canadian artists as a means of promoting a particular vision of Canada. Later in his life, this discovery would be the conceptual focal point of his work. L'exposition présente une dizaine d'autres oeuvres de Sonny Assu, créées dans le même esprit avec des reproductions de peintures d'Emily Carr, dont sa célèbre Silhouette no 2 de 1930. **The Group of Seven was a group of Canadian landscape painters from 1920 to 1933. Having been raised as your everyday average suburbanite, it wasn't until he was eight years old that he discovered his Liǥwildax̱w/Kwakwaka’wakw heritage. La Guilde de Montréal expose, jusqu'au 24 novembre, une dizaine d'œuvres de l'artiste contemporain autochtone Sonny Assu, originaire de Colombie-Britannique. Later in his life, this discovery would be the conceptual focal point of his work. Translated by Noémie Chevalier TABLE DES MATIÈRES | TABLE OF CONTENTS Art Mûr. Sonny Assu | Interdisciplinary Artist | sonnyassu.com, The Value of What Goes on Top/ The Value of What Goes Within, The Value of What Goes On Top/The Value of What Goes Within, Billy and the Chiefs:The Complete Banned Collection, 2019 - Sonny Assu and Emily Carr: Conversing Cultures, 2017 - Ready Player Two - Reach Gallery Museum, 2016 - We Come to Witness - Vancouver Art Gallery. From Art Mûr, Sonny Assu, What a Great Spot for a Walmart! In this work, the artist probes the pros and cons of some First Nations communities’ choice to adapt to contemporary realities, while subtly questioning the future consequences of these actions. 977 likes. “These interventions participate in the growing discourse of decolonization, acting as “tags” to challenging the colonial fantasy of terra nullius and confronting the dominant colonial culture’s continued portrayal of Indigenous peoples as a vanishing race”. ), Sonny Assu a fait des études de baccalauréat à la Emily Carr University of Art and Design (2002) et de maîtrise à l’Université Concordia à Montréal (2017). Sonny Assu, a member of the Liǥwildaʼx̱w of the Kwakwaka’wakw nations, uses humour to unsettle dominant cultural expectations of indigenous art while playing with ideas of brand loyalty, consumerism, ready-mades and pop-culture. Sonny Assu - Artist, Campbell River, BC. «Ses œuvres, à mi-chemin entre tradition et modernité, créent un dialogue sur l’exploration de la consommation, de la colonisation et de l’impérialisme. Sonny Assu et Skawennati, deux artistes autochtones canadiens respectivement des nations kwakwaka’wakw et mohawk, s’inspirent de cet univers dans leurs œuvres afin de porter tant un message identitaire que des revendications fortes. (2014), Digital intervention on an Emily Carr Painting (Graveyard Entrance, Campbell River, 1912… “What a Great Spot for a Walmart!” (2014), is built on Emily Carr’s “Graveyard Entrance, Campbell River” (1912), and set in Assu’s current home and his grandmother’s village. Photo: Art Mûr Archive. Artists such as the iconic Group of Seven** have shaped, for better or worse, dominant narratives in Canadian art, and in many ways landscape painting has become the ‘national’ art. Sonny Assu, What a Great spot for a Walmart! *The Kwakwaka’wakw are a Pacific Northwest Coast indigenous people. Did you like this article? Live Wild ART CITIES:Montreal- Sonny Assu Sonny Assu has been raised as an everyday average suburban white-kid by his grandparents, it wasn’t until he was eight years old that he discovered his Kwakwaka’wakw* heritage. In 2014 Sonny Assu began thinking about a new project, what would eventually become the “Interventions on the Imaginary” series. This event will mark La Guilde's first collaboration with the artist, as well as his first solo exhibition in Montreal since 2016. En partenariat avec Terres en vues, maître d’œuvre du festival Présence autochtone, La Guilde présente Sonny Assu : Une histoire sélective du 26 juillet au 24 novembre 2018. 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