Blackfoot and Sámi writer, director, producer and actor Elle-Máijá Tailfeathers’ 2014 film tells the story of her parent’s activism as well as the legacies of intergenerational and familial trauma. Yet, at heart of all of this are forms of radical rebel love.
From Iglulik to the Venice Biennale, Isuma has had an immense and far-reaching impact on Indigenous filmmaking, language and cultural storytelling. Reflecting on a trip North in the early 1990s, a curator and writer delves into the collective’s legacy, their presentation of time and what Isuma’s work means for us all.
A bold and graphic nod to the history of Inuit printmaking by Bowmanville-based sculptor and installation artist Couzyn Van Heuvelen is among the five short-listed proposal for the Glen Road Pedestrian Tunnel public art project.
The revolutionary impact of the Iglulik-based collectives Isuma and Arnait Video Productions are explored through their diverse bodies of work that, together, have significantly contributed to the revitalization of culture and language by harnessing the power of film to retain, recall and preserve collective memory.
Through the lens of the 2011 film “Tunniit: Retracing the Lines of Inuit Tattoos,” Writer, producer and director Stacey Aglok revisits the Iqaluit-based filmmakers practice that has become a living, breathing process.
Nuuk-based Aka Hansen is a trailblazing member of the country’s new generation of emerging filmmakers. While much of her work is made with a Greenlandic audience in mind, her experimental shorts and horror features have garnered just as much attention from international viewers.
After 24 years, Vancouver’s Spirit Wrestler Gallery is closing its doors to the public as of October 15, 2019, with operations ending on October 31, 2019. Founded in 1995, the gallery became well-known for showcasing the work of a host of leading Indigenous artists from across Canada and beyond.