Shuvinai Ashoona @ The Perimeter, London - "When I Draw" Exhibition

Shuvinai Ashoona: When I Draw 

The Perimeter, London 

24 January - 26 April 2024 

The Perimeter presents a solo exhibition of Shuvinai Ashoona. Ashoona makes drawings which engage with the complexities of life, land and community in the Canadian Arctic, through fantastical motifs and modes of storytelling. The work interweaves scenes from everyday Arctic life with imagery associated with Inuit animism and shamanism. This is the first time Shuvinai Ashoona’s works are shown in Europe since receiving a Special Mention by the awards jury at the 59th Venice Biennale in 2022, for her installation of six drawings in The Milk of Dreams.

Shuvinai Ashoona (b. 1961) is a third-generation Inuit artist who lives and works in Kinngait (formerly Cape Dorset), Nunavut, in the Arctic north of Canada. Stemming from a lineage of celebrated artists, Ashoona continues a tradition of working at the West Baffin Cooperative’s venerable Kinngait Studios. Founded in 1959, Kinngait Studios is a community owned cultural institution governed by an all-Inuit Board of Directors. Within the cooperative, the Ashoona family’s artistic traditions can be traced back to generations of stone carvers, painters and printmakers.

​Through the depiction of daily life in Kinngait, often seen through a surrealist lens, this exhibition delves into Ashoona’s world as she narrates a vision of the Arctic landscape and community. As the artist says, “Many people don’t know what kind of a town it is and that we have some kinds of mountains around us. Since a long time ago there was a Kinngait, I couldn’t know that much about it way back then, but maybe I’d like the people curious to know that it’s surrounded by Nunavut and Arctic land and water.”

​Primarily working with coloured pencils and drawing, her practice maps the topography of both history and contemporary Inuit life with a sensitivity and stillness that radiates throughout the terrain. The dreamlike landscapes of Shuvinai Ashoona’s monumental works articulate the relationship between scale and perspective as she captures an intimate view into life in Kinngait. These works exemplify the tension within the artist’s process overlapping with popular culture and tradition in the North. Transitioning between perception of the real and imaginary, Shuvinai Ashoona creates transportive imagery that moves between the natural world and psychological mind, approaching each subject as a poetic entanglement.

“The power of art and imagination to inspire dialogue, understanding and change is undeniable. Shuvinai Ashoona is a vital creative voice in Canada and beyond, and her depictions of contemporary life in the Canadian Arctic tell the stories of her people and her world, from the dual impact of colonial and environmental changes in Nunavut, to the traditional tales and daily realities of Canada’s far north. I am very proud to see one of Canada’s most recognisable contemporary Inuit artists hosted in London by The Perimeter, and I am looking forward to discovering this exhibition, including the works that have been recently acquired by Tate.” - ​The Honourable Ralph E. Goodale, PC, High Commissioner for Canada in the United Kingdom.

Shuvinai Ashoona’s work has been exhibited internationally and featured in major exhibitions including: Gwangju Biennale (2023); Venice Biennale (2022); Shuvinai Ashoona: Drawings at ICA Miami (2021); Mapping Worlds at The Power Plant, Toronto (2019); 18th Biennale of Sydney: All Our Relations (2012); Oh, Canada (2012) at Mass MoCA. Her work are held in institutional public collections including Tate, UK; National Gallery of Canada, Ottawa, ON; and National Museum of the American Indian, Washington, DC, U.S.

THE PERIMETER

20 Brownlow Mews, London WC1N 2LE 

www.theperimeter.co.uk

Secret Chord: An Ode to Montreal @ Andrew Edlin Gallery, New York

Secret Chord: An Ode to Montreal

Andrew Edlin Gallery, New York

December 10, 2022 – January 28, 2023

“I feel at home when I'm in Montreal — in a way that I don't feel anywhere else.”

– Leonard Cohen

Andrew Edlin Gallery presents an invitational group exhibition of works by artists who are either based in Montreal or represented there in local galleries and museums. 

Featuring: Bill Anhang • Shuvinai Ashoona • Moridja Kitenge Banza • Myriam Dion • Jérôme Fortin • Allie Gattor • The Great Antonio • Isabella Kressin • Marlon Kroll • Leopold Plotek • Palmerino Sorgente • Karen Tam • Joseph Tisiga • Sally Tisiga • Ève K. Tremblay • Arthur Villeneuve • Marion Wagschal

Working in diverse media, from small ceramic or papier-mâché objects to intricate assemblages and collages to large oil paintings, these seventeen individuals come from many different backgrounds, cultures, and nationalities: contemporary, self-taught, First Nations, Inuit, Quebecois, Anglophone, Congolese, Croatian, German, Italian, Romanian, Russian. Their reputations range from celebrated (eight have had solo museum shows) to emerging, to even obscure, but all of them epitomize the vibrant multicultural spirit of Montreal. 

Shuvinai Ashoona (b. 1961), whose drawings were featured at this year’s Venice Biennial in The Milk of Dreams, and Joseph Tisiga (b. 1984), are both indigenous artists confronting issues facing their communities. Their works are a departure from the classical landscapes and nature themes often associated with artists from the far north. Using simple materials–colored pencil, graphite and ink for Ashoona, watercolors for Tisiga–they explore the weight of “ancestral obligation.” One work by Tisiga, An Ounce of Prevention is Worth a Pound of Cure (2020), references the current drug problem in the region. Inspired by her son’s creations, Sally Tisiga (b. 1960) makes art out of traditional beads and wool. She also fashions intricate dolls bearing ancestral names, such as Grandmother Bear Protector of the Four Legged Ones.

Leopold Plotek (b. 1948), Marion Wagschal (b. 1943) and Bill Anhang (b. 1931) are all from families who fled the Holocaust. Plotek and Wagschal are perhaps the two most venerated Montreal-based artists in this exhibition and have taught and influenced legions of their younger colleagues. Each explores the notion of memory. Wagschal’s ghostly figures of family, friends and lovers, rendered with a sun-bleached, patchy palette, wear the heaviness of mortality in what are otherwise domestic and banal environments. In his large-scale canvases, Plotek interrogates the boundaries between the abstract and the figurative, memory and experience, subconscious and intellect. Johnny-Come-Lately, a large oil from 2014, was inspired by the artist’s passion for the Billy Strayhorn song first recorded in 1944 by Duke Ellington. Completely self-taught as an artist, the electrical engineer turned mystic, Bill Anhang has integrated LEDs into his artworks for decades. Working reclusively in his modest apartment, Anhang has recognized the aesthetic possibilities of the electronic circuitry and other hardware that he designed during the early days of the digital era. He was a pioneer in that domain, and his works are in some sense notable cultural artifacts of the computer age.

Jérôme Fortin (b. 1971) and Myriam Dion (b. 1989) use cut-up paper to create coded visual languages. In Écran no. 12 from 2007, Fortin cuts, folds and weaves together small fragments of posters from a Montreal film festival to fashion a large, patterned abstraction. In Elisabeth II, Le Devoir, Le vendredi 9 septembre 2022, Dion explores the local media coverage of Queen Elizabeth’s passing through a delicate mosaic of chopped-up articles, woven Japanese paper, and drawing.

 

Self-taught artists The Great Antonio and Arthur Villeneuve created idiosyncratic worlds through which they perpetuated their own myths. Anton Barichievich (1925-2003), who proclaimed himself “The Great Antonio,” was a 440-pound strong man whose feats of strength were entered into the Guinness Book of World Records and who performed on the Johnny Carson and Ed Sullivan shows in the 1960s. He made his own promotional posters and postcards collaged from newspaper articles and shock headlines. Quebecois barber Arthur Villeneuve (1910-1990) experienced a revelation while attending Sunday mass in 1946 and began to paint at a prolific pace, covering every surface of his modest home, which he dubbed the “musée de l’artiste.” He went on to receive national acclaim, and in 1972, a retrospective was held at the Museum of Fine Arts in Montreal. 

Karen Tam (b. 1977), Palmerino Sorgente (1920-2005) and Moridja Kitenge Banza (b. 1980) explore their cultural heritage by blurring the distinction between art object and artifact. In her series of papier-maché vases, Tam mimics not only traditional Chinese porcelain found in museum collections, but also the cheap knock-offs sold in Montreal’s Chinatown. Similarly, Banza, born in Kinshasa, revisits the traditional African masks exhibited in Western institutions. In his Byzantine-inspired Christ Pantocrator paintings, Banza covers Jesus’s face with these masks, thus, in his words, “restoring [their] glory and their function to be worn.” Italian immigrant Palmerino Sorgente (1920-2005), aka the “Pope of Montreal,” crafted a vast array of cardinal’s hats, tiaras, and crowns, which he exhibited in the 1980s at his secondhand shop on Notre-Dame Street.

Ève K. Tremblay’s (b. 1972) “photo-pebbles” are small porcelain pieces imprinted with photographed scenes of Lake Champlain, which connects her homeland with the Adirondacks, where Tremblay now lives. Marlon Kroll’s (b. 1992) modest-sized canvases with their ring-shaped abstractions are curious for their compelling palettes and subdued, meditative auras. Isabella Kressin (b. 1996)’s small assemblages, made from laser print on silk, felt, wool, and fiber, are filled with images of silhouetted animal creatures reminiscent of medieval bestiaries. Allie Gattor (b. 1994)’s narrative drawings inhabit a terrain of contemporized mythology showing traces of influence by the likes of Henry Darger and Antoine de St. Exupery.

ANDREW EDLIN GALLERY

212 Bowery, New York, NY 10012

www.edlingallery.com

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