Aiminanu. “A conversation is going on,” as it translates from Innu-aimun. Thus, the relationship develops through spoken language.

This Interview was conducted in the Mohawk language between between Karahkwenhawi (Zoe Leigh Hopkins) and Owennatekha (Brian Maracle) on September 9, 2016.

English translation provided by Karonhyawake (Jeff Doreen)

The graphs and diagrams quoted by Richard Ibghy and Marilou Lemmens in their exhibition Drawing Rainbows In Unequal Air engage with data as a processed image of social and economic relations.

Photographs and sculptures with a photographic charactereverything is made, and yet everything has an air of reproduction or reconstruction.

Made out of the materials that reference capitalist surfaces–foil stamping from brand new boxes; sticky, shiny decals; paint skins–VVHAT presents a visually attractive force that is also repulsive in its effects.

We exploded the countdown device and now we can no longer count down to the explosion.

Each drawing in the series portrays in isolation the skeletal remains of a large demolished vehicle (or two) sagging in the aftermath of a long dissipated thud. An impression of the passage of time is embedded formally in each work as destroyed vehicular prototypes are culled from newspapers and other sources of media.

Gold mirror is a recurrent medium in Jade Rude’s installations. It is a material that evokes divergent affiliations: both the high-end optic technology of space missions but also a plastic world’s answer to consumer-grade luxury.

The video’s action is repetitive: one match lights another match, over and over again. The longer we watch the video, we begin to recognize that apart from the occasional unique response of the matchstick to the flameit is the movement of the hand that sometimes appears to light each match that assures us each segment is unique.

Once upon a time, in an era of drips, zips, and chapels, abstraction was the route to truth in painting.