Saturday 31 January 2015
























рисунки никиты чарушина, с севера на юг 1987
Nikita E. Charushin (1934-2000)

Friday 30 January 2015























More of Ningeokuluk Teevee’s work
Drawing, 2005

Tuesday 27 January 2015

Matsumoto Toshio - The Weavers of Nishijin (1961)



Written with poet Sekine Hiroshi
















Interior View, 2000 
Napachie Pootoogook
lithograph & chine collé, ed. 25, 25½" × 38"

“From the tremendous efforts of these two siblings we have been given a remarkable insight into the potential of artmaking as a tool for both resisting colonization and strengthening Inuit voice. In fact, all of the artists featured in this essay have shown us that art can be creatively utilized as a vehicle to preserve and fortify our cultural heritage and as an instrument of both personal and collective healing. However, as we enter this period of unprecedented nationwide awareness around residential schools, the artwork of Inuit, First Nations, and Métis people can play another important role. The power of visual art to speak across linguistic, cultural, and generational divides presents an opportunity for artists to tell these stories to a broad audience and to support the continued strengthening and revitalization of the national reconciliation process.”

Heather Igloliorte
Inuit Artistic Expression as Cultural Resilience

Monday 26 January 2015

Translation and Indigenization

The Problem of Negotiation

Any such negotiation is problematic because it must strike a delicate three-way balance between making something culturally competent and comprehensible, accurately representing the original meaning, and behaving ethically towards local perspectives. Misrepresentation of the original can be a “sin of commission” as well as omission, through mistranslation, oversimplification, censoring, or if one’s “artistic license” drifts into editorializing. This is why it is often said that to translate is to betray – that it is impossible to translate something without betraying the truth of the original. Inadvertent betrayal is easy because it is often hard to divine the intention of the person who originally produced the words in question. If they are one’s own words, it is one thing, but if they are those of another can be very hard to be confident that one’s translation does in fact capture what was “really meant.”


Ian Lilley
Aboriginal and Torres Strait Islander Studies Unit, University of Queensland, Brisbane, QLD, Australia

Tuesday 20 January 2015





















Ningeokuluk Teevee
Tattooed Woman
coloured pencil, black ink on paper 
65 x 49.8 cm, 2010. 
Collection of the Winnipeg Art Gallery

Thursday 1 January 2015