K’ak’akwama – the Fireweed: An Artist Talk by Marianne Nicolson
December 13, 2018, 6-7 pm
1111 Nu’uanu Ave. Suite 210/211
Honolulu, HI 96813
Fireweed, having a preference for disturbed soil, tends to appear and multiply after fires or logging. Its root systems can act as a stabilizer, initiating recovery of ecosystems. Is there a similar stabilizer in the human and cultural environment after massive disturbance such as those imposed by the Canadian Government on Indigenous Peoples. In 2018, the Dzawada'enuxw launched an aboriginal title and rights case against the courts to protect their lands and waters from further industry encroachment after 150 years of one-sided negotiation and ultimate negation of their rights by the Federal and Provincial Governments.Through historical research and artistic expression Nicolson seeks to share the Dzawada’enuxw Nation’s story of injustice, resilience and restitution.
Marianne Nicolson is an artist activist of Musgamakw Dzawada’enuxw First Nations and Scottish descent.The Musgamakw Dzawada’enuxw Nations are part of the Kwakwaka’wakw (Kwak’wala speaking peoples) of the Pacific Northwest Coast. Nicolson is trained in traditional Kwakwaka’wakw forms and culture with a contemporary gallery and museum based practice. Nicolson works as a cultural researcher and historian for the Kwakwaka’wakw and is an advocate for Indigenous land rights. Her practice is multi-disciplinary encompassing photography, painting, carving, video, installation, monumental public art, writing and speaking. All her work is political in nature and seeks to uphold Kwakwaka’wakw traditional philosophy and worldview through contemporary mediums and technology. Exhibitions include the 17thBiennale of Sydney, Australia; The Vancouver Art Gallery, The National Museum of the American Indian in New York; Nuit Blanche in Toronto, Ontario and many others. Major monumental public artworks are situated in the Vancouver International Airport; the Canadian Embassy in Amman, Jordan and the Canadian Embassy in Paris, France. Nicolson holds a Bachelor of Fine Arts from the Emily Carr University of Art and Design (1996), a Master of Fine Arts from the University of Victoria (2005), and a Master of Arts and PhD in Linguistics and Anthropology from the University of Victoria (2013).
Sisters, Stars and SaVAges-A CURIOtorial Acti.VA.tion ExplaNATIONwith HB19 Artist rosanna raymond
Wednesday, November 7, 2018, 5:30-6:30 PM HST
Hawai’i State Art Museum (HiSAM)
250 South Hotel St, Second Floor, Honolulu, HI 96813
Sisters, Stars and SaVAges-A CURIOtorial Acti.VA.tion ExplaNATION
How can the living performative body expand the concept of the Tā-Vā theory? Historically Samoan cultural understandings of the Tā-Vā have been grounded in relational and social space binding people and things together.My art practice centralises the body as a site of resistance using the Tā/Vā Theory as a methodology for an embodied art practice.
This presentation will talk to the work of the Pacific Sisters and the SaVAge K’lub. Two collectives I am deeply involved with representing over 2 decades of socially engaged art practice challenging and reframing ethnological tropes through the arts as cultural practitioners. CULT.ivators, FAB.ricators, Acti.VA.tors creating works of VA’rt. Using the body as the genealogical matter bringing the past into the present initiating Vā relationships with all that connects to it.
This is the VA in the acti.VA.tion an embodied practice where the ancient and the modern co-exist. The Vā body mediating our place in the globe as we travel through time and space in the present, binding people and things forming new relationships, creating new narratives adding to our indigenous indexes past present and future.
Sistar S’pacific aka Rosanna Raymond, an innovator of the contemporary Pasifika art scene as a long-standing member of the art collective the Pacific Sisters, and founding member of the SaVAge K’lub. Raymond has achieved international renown for her performances, installations, body adornment, and spoken word. A published writer and poet, her works are held by museums and private collectors throughout the UK, USA, Canada, Australia and New Zealand.
Raymond’s practice works with people, spaces and things to acti.VA.te a dynamic relationship between them, to realise and reshape the ta-va duality. This is a choreographic process that extends beyond the frames of art, into both domestic routines and ritual protocols. It includes self-adornment and group enactments, activating space and collapsing time using the body and the genealogical matter.