Kim Adams, Toaster Work Wagon (1997) 1960s VW bus parts, bicycles. Collection of Museum London; purchased with the support of the Canada Council for the Arts Acquisition Assistance Program and the Moore Fund, 2013. Installation at the Art Gallery of Hamilton….
Paris/Ojibwa is the latest multimedia installation by world-renowned Anishinabeg (Ojibwa)  artist Robert Houle. The installation is a time portal to 1845, when a troupe of Ojibwa dancers lead by a man named Maungwudaus travelled to Paris to dance for King Louis-Phillipe of France and a public of 4,000 French ladies and gentlemen. They were part of American painter George Catlin’s “Indian Museum,”  presented as living exhibits of an ancient culture.
Sound artist Dipna Horra uses field and voice recordings to create aural environments that simultaneously present a sense of location and dislocation. With Avaaz, Horra recounts a narrative of migration from India to Africa and then Canada, a narrative that undergoes translation and transposition. Horra’s sound installation consists of a central table set for tea, a wheeled tea trolley in the corner, a suspended window pane on the left of the gallery space and an unobtrusive air vent at our feet. Simple furniture, understated architectural features and fine china are the conduits through which the sound artefacts, that tell the artist’s story are emitted. Horra’s kitchen installation is a theatrical space in which the continuity of ancestral memory both reassures and unsettles.
You are standing underneath a palm tree looking up. The tree’s wide fronds extend out like an umbrella above your head. The sky is clear. It is sunny. Instead of protecting you from the sun, however, the tree glares back at you with its golden leaves. The trunk of the tree is solid black, but it’s flat fronds have been meticulously layered with sheets of 22-carat gold. The palm tree appears on a regular Xeroxed sheet of paper. It is a grainy black and white image, except that the palm leaves are highlighted with thin layers of gold.
In Light Industry, Frank Shebageget’s collection of work operates across cultural categories. Applying both narrative devices and perceptual strategies, Native handcraft traditions and Modernist practices, his work defies easy classification, and in the process articulates certain sympathies between two divergent modes of representation.
The centerpiece of Brendan Fernandes’ exhibition Haraka Haraka is Nyumba ata Choma, a makeshift hunting village composed of six camouflage sniper tents, each housing a small television screen that plays a looped video of a Yule log superimposed on an archival news still from the torching of three million dollars worth of illegal ivory seized by the Kenyan government in 1989.