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Arctic and Amazon connect through Indigenous art

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11 months ago

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Since 2019, Indigenous artists from the Arctic and the Amazon have been building a relationship.

The collaboration was the brainchild of the eminent Indigenous curator Gerald McMaster, director of the Wapatah Centre for Indigenous Visual Knowledge at the Ontario College of Art and Design University.  McMaster, working with his Brazilian counterpart, Nina Vincent, arranged for a symposium to take place in Toronto, involving 30 Indigenous artists, thinkers, and activists from the various countries in the Arctic and Amazon regions.

Last year, they mounted an exhibition called Arctic Amazon: Networks of Global Indigeneity at the Power Plant Gallery at Toronto’s Harbourfront. The exhibition featured artworks in various media, from painting and printmaking to video to sculpture and craft — all aimed at highlighting the diversity, solidarity, and power of Indigenous culture in these two regions.

As the exhibition was preparing to open, another opportunity emerged. Toronto Metropolitan University (TMU) was in the midst of a re-envisioning of its downtown campus, a process the university calls Indigenous place-making, involving the inclusion of public art by Indigenous artists.

That is how the Inuk artist Niap and the Shipibo artist Olinda Reshinjabe Silvano met and collaborated on a mural called Paisajes de Nosotros (Landscapes of Us). It is installed at Kerr Hall on the TMU Campus, at the corner of Gould Street and Nelson Mandela Walk.

Toronto Metropolitan University commissioned the 12-by-8-metre mural, Paisajes de Nosotros (Landscapes of Us). (Submitted by Gerald McMaster)

IDEAS producer Sean Foley was invited to witness the mural’s production and interview those involved in the process.

Here are some excerpts from their conversation.

Gerald McMaster
Lead curator

What [is] interesting to me [is] an idea that I have been developing now for a number of years, and that is this idea of visual knowledge, which is very different than, say, visual art. Because to me, it’s a way of seeing.

And as Olinda said, there is a Shipibo Conibo way of seeing, and Niap who is from the Arctic with the Inuit also has a way of seeing. And so bringing Shipibo Conibo and the Inuit together, it feels — people would think there’s a conflict, but there isn’t.

So how do you bring a Shipibo Conibo way of looking at the world, which is primarily from the Amazon, and match it up with the far north, with the ice and snow, with a culture so far away? That’s what people want to see. That’s what we want to understand. How does it happen? Where does it come from? Where do you get the energy to be able to work with somebody from far away, and to see their world in your world, and vice versa?

Curator Gerald McMaster (top-middle) is a Tier 1 Canadian Research Chair at OCAD University. He is standing with commissioned artist Olinda Silvano (left) and two other artists, Wilma Maynas and Ronin Koshi, who helped on the mural. (Submitted by Gerald McMaster)

Olinda Reshinjabe Silvano
Shipibo-Conibo artist, Cantagallo, Lima, Peru

Within these designs, the energy is there, the energy of how we are healed with our plants, the piri piri, the ayahuasca vision, […] there are many plants. In this work, it’s not something that you copy. It comes from within you.

Our Shipibo community didn’t have a clock; there is a design called constellation. And it is to guide, to show the way to your house. Or if you were lost you would see the design and that is how you would find home. It would show the way to the farm, to the fish; there are different designs for everything.

We sing when we work. We sing and through that, we get inspired. Sometimes when you’re alone you can focus, you can talk as if someone was there. When there’s noise around, we can’t — you can’t. And then if you want me to do it again I can’t. We have to do another one. It is one time that you do it with that guide.

Artist Olinda Reshinjabe Silvano uses the traditional art of kené in her creative practice. (Submitted by Gerald McMaster)

Niap (Nancy Saunders)
Inuk multidisciplinary artist, Kuujjuaq, Nunavik / Montreal

Her music is so beautiful. The first time I heard her sing, I just got waves of shivers all the way up to my neck, from my feet to my skull. It was just so good.

And when she started singing here to celebrate the beginning, I was just — I just felt like singing as well. And I don’t know a lot of my traditional song, but what I did know, I wanted to sing it.

I get these visions so clear, and they come through discussion, they come when I’m listening to a song, or they come when I’m just on the land. They come in dreams. And I usually see exactly what it’s going to look like and the media they should be in.

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I get this feeling, this vision or this idea, and it’s like energy. I feel energy in my chest. Like bubbles, like excitement. And then I output until the feeling is gone. And then I can never really reproduce this work again. The feeling’s gone.

I realized a lot of things [during this collaboration].

As an Aboriginal woman from Kuujjuaq, our region is struck with a lot of hurt and a lot of consequences coming from our colonial history.  And I realize that Olinda, as an Aboriginal woman, she knows the same thing. And that our worries from this common experience [are] also very similar; in terms of identity, sense of identity, fear of losing identity and culture and trying to work hard to keep it alive, and affirming our culture and affirming that we’re present.

I think we were very much the same in that way, you know? And we come from two completely different parts of the world. And that I thought was really special.

Toronto Metropolitan University describes the mural merging the Arctic and Amazon regions ‘through the exploration of Indigenous ways of being, seeing and the shared values that inform each artist’s work.’ (Submitted by Gerald McMaster)

Listen to the full documentary by downloading the CBC IDEAS podcast wherever you get your favourite podcasts. Or find the episode on the CBC Listen App. You can also listen by clicking the player above.

*Excerpts have been edited for clarity and length. This episode was produced by Sean Foley. 

 

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

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9 hours ago

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September 13, 2024

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In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

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Ukrainian sells art in Essex while stuck in a warzone – BBC.com

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2 weeks ago

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September 2, 2024

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Ukrainian sells art in Essex while stuck in a warzone  BBC.com



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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

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4 weeks ago

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August 18, 2024

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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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