From the Moon to the Belly is a seven-card limited edition digital collage postcard project and socio-cultural exchange between Laakkuluk Williamson Bathory and Maria Hupfield.
The 2011 colloquium, Revisioning the Indians of Canada Pavilion: Ahzhekewada (Let us look back), co-produced by the Aboriginal Curatorial Collective and OCAD University’s Aboriginal Visual Culture Program, traced a history of decisive moments for Aboriginal art and curatorial practice.
With the States of Postcoloniality series, FUSE set out to engage the roles of artists and the arts in a global politics of decolonization. With this issue, we are concerned with art’s contribution to Indigenous sovereignty in the North.
Contributors: Harsha Walia, Syed Hussan, Max Haiven, Erin Konsmo & Louis Esme Cruz, Etienne Turpin, Kevin Smith & Clayton Thomas-Muller, Nasrin Himada w/ Red Channels, Haseeb Ahmed, Peter Morin, Chase Joynt & Alexis Mitchell, Linda Grussani, Natalie Kouri-Towe, Julian Jason Haladyn & Miriam Jordan, Nahed Mansour
FUSE is seeking visual and/or written critical responses to the racism of the “Occupy movement” (we’re especially but not exclusively focusing on the ways that language of “occupation” obscures the fact that North America is built on stolen land). If you or your colleagues are writing about this and can get us a draft of a 1,000-2,000 word text in the next week for publication in our December issue (final copy due November 7), please get in touch ASAP and let me know what you’ve got on deck. Write to editor AT fusemagazine DOT org and put OCCUPY in the subject heading.
Excerpted from Memorandum, an artist’s project by Greg Staats (2001) reprinted in “Performing Politics”: “It has been brought to our attention that the number of dogs on Indian Reserves has been increasing at a rate far beyond the capacity of this Department or the Indians to administer them.”
The Turtle/Television Island Project features the work of two contemporary aboriginal artists: James Luna, of the Puyoukitchum (Luiseño) nation, who is based in La Jolla, California; and ssipsis, of the Penobscot nation of Indian Island, Maine. Both of these artists use contemporary media to critically reflect on and repair the often static ways in which Native Americans are portrayed by the white/Western world.
Deep in Sydney Harbour sits Cockatoo Island, the major exhibition site of the 17th Biennale of Sydney, The Beauty of Distance: Songs of Survival in a Precarious Age. The first work you encounter at this former penitentiary is a striking black-and-white inflated castle. If you choose (and this ethical question is the heart of the work) to bounce on its Wiradjuri designs and around the black figure with up-raised arms in its centre, you will soon notice through the windows of the corner turrets decapitated heads bobbling with your motions.