tag:blogger.com,1999:blog-71403466526242289322024-03-14T03:09:42.594-05:00Gallery 1C03Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.comBlogger273125tag:blogger.com,1999:blog-7140346652624228932.post-942057890735867682021-02-02T10:21:00.000-06:002021-02-02T10:21:33.198-06:00Sovereign Intimacies Response by Dana Lance<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKJ0tYdDvfdlf-Fo_-9G02folC_PiILXBwSJHnaPpy8gubFgMT4kVP8Nx0aG5QSxVnJzDYEmKED4hcw3PMDZ7a52liDqvLw9nqvqQBqTwXTr2Cve-07b_xocw6oyeueZaUHUBcE2nPD9s/s801/Screenshot+2021-02-01+100028.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="442" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKJ0tYdDvfdlf-Fo_-9G02folC_PiILXBwSJHnaPpy8gubFgMT4kVP8Nx0aG5QSxVnJzDYEmKED4hcw3PMDZ7a52liDqvLw9nqvqQBqTwXTr2Cve-07b_xocw6oyeueZaUHUBcE2nPD9s/w221-h400/Screenshot+2021-02-01+100028.png" width="221" /></a></div><span style="font-family: arial; font-size: x-small;"><div style="text-align: center;"><b>Image: </b>Dana Lance, <i>I Can't Breathe, </i>video still excerpt from freestyle dance, 2021.</div></span><p><span lang="EN" style="font-family: arial;"><br />I chose to choreograph and perform a freestyle dance f</span><span style="font-family: arial;">or my creative response to the</span><span style="font-family: arial;"> </span><i style="font-family: arial;"><a href="https://www.uwinnipeg.ca/art-gallery/programming/2020-21/sovereign-intimacies.html" target="_blank">Sovereign Intimacies</a> </i><span style="font-family: arial;">exhibition which you can watch on Gallery 1C03's <b><a href="https://www.instagram.com/1c03/channel/" target="_blank">IGTV Channel</a></b></span><span lang="EN" style="font-family: arial;">. I began the process by
building a moodboard which I like to incorporate when I carry out creative
projects. This is a strategy I was introduced to when I recently participated
in a multi-storytelling program and it is really neat! In this case, I looked
through photographs from the exhibition and was inspired by several pieces that
were on view at Plug In ICA. In particular, the pieces I took inspiration from
are Hassan Ashraf and Annie Beach’s <i>Heart
Berry Kief</i>, Ayumi Goto and Peter Morin’s <i>Gift – </i></span><i style="font-family: arial;">遠⾜<span lang="EN"> (Ensoku) - Away</span></i><span lang="EN" style="font-family: arial;">, and iris yirei hu’s <i>weaver girl limns two rainbows</i>. When
creating this piece I wanted to focus on elements and movement that people who
are non-dancers may not pick up on. <i>Sovereign
Intimacies</i> features work by collaborators who are Indigenous and artists
from the diaspora. The show made me reflect on the intimacies I share between
people outside the diaspora of my ethnicity and how I connect with the
Indigenous communities in my life. The various talks throughout the exhibition
have also contributed to my thought process while prompting my own discussion
with myself as an artist who is a cis-gendered woman of color.</span></p><p><span style="font-family: arial; font-size: x-small;"></span></p><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiywGV9gsHRq7gWKmtRBHHIF1PpdpX4r29XnzufJcwe-NUJYAslL2FVcZQcTk3g-dNMXtrW6HxAo0d016nhNHNZEfBi5-KQx4_Gnwa4TKj2WaoiIDEBqp43GOUnARlWP7wGWgdi-k2ydsI/s808/Screenshot+2021-02-01+100406.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="808" data-original-width="448" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiywGV9gsHRq7gWKmtRBHHIF1PpdpX4r29XnzufJcwe-NUJYAslL2FVcZQcTk3g-dNMXtrW6HxAo0d016nhNHNZEfBi5-KQx4_Gnwa4TKj2WaoiIDEBqp43GOUnARlWP7wGWgdi-k2ydsI/w221-h400/Screenshot+2021-02-01+100406.png" width="221" /></a></span></div><span style="font-family: arial; font-size: x-small;"><b>Image: </b>Dana Lance, <i>I Can't Breathe, </i>video still excerpt from freestyle dance, 2021. </span></div><p></p><p></p><p class="MsoNormal" style="line-height: normal;"><span style="font-family: arial;"><br />For my freestyle I
considered the clothing I wore, the background I am dancing in front of, and
the intention of my movements. I did not want to make it an overcomplicated
piece. I believe in the simplicity of movement, of being there for yourself and
not for others. After all, you own your body and you have autonomy over it.
Freestyling is a way to let go of constraints that bind us to a strict routine
and, instead, just letting your body move the way it wants to. I think that, in
many ways, it is a powerful and freeing movement that grants you the ability to
show how you feel in the moment. Thinking back to the intentions of the artists
who presented their works in <i>Sovereign
Intimacies</i>, the artists also embodied a sense of ownership through their
creative work. For example, Hassaan and
Annie’s work used language to take back their mother tongue and own it rather
than seeing it as an obstacle. This was such a powerful way to decolonize the
system.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhEU_46X22S8h4ExxUKI9vymLTkOkgYbF3rzIzUt8pfpVeS9xRfhZmADj3onJyd7LRiIrChwmEz9qKhLbnPalHPFsgB2P830iodiCJdwkIj9zoOQj_0Xdsx5e55YBhSCKihqHas0YEB1I/s870/Sovereign+Intimacies+1+crop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="870" data-original-width="815" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhEU_46X22S8h4ExxUKI9vymLTkOkgYbF3rzIzUt8pfpVeS9xRfhZmADj3onJyd7LRiIrChwmEz9qKhLbnPalHPFsgB2P830iodiCJdwkIj9zoOQj_0Xdsx5e55YBhSCKihqHas0YEB1I/w375-h400/Sovereign+Intimacies+1+crop.jpg" width="375" /></a><br /><span style="font-size: x-small;"><b style="font-family: arial;">Image:</b><span style="font-family: arial;"> Hassaan Ashraf & Annie Beach,</span><span style="font-family: arial;"> </span><i style="font-family: arial;">Heart Berry Kief</i><span style="font-family: arial;">, 2020, paint, stickers, glitter on wood. Photo: Marco Muller.</span></span></div><p class="MsoNormal" style="line-height: normal;"><span style="font-family: arial;"><span lang="EN"><br /><br />The song I used for my freestyle is by H.E.R. and is called “I can’t breathe.”
It talks about the injustices experienced by Black people and the relevance of
how the Black Lives Matter movement is trying to change that. I chose to wear a
dark sweater with the BLM logo on it which has Korean writing. Translated from
Korean to English, the text means roughly “Black lives are precious” which is
very fitting for the song lyrics and my freestyle. As you listen to the lyrics
one of the lines I found powerful was when H.E.R. sings “How do we cope when we
don’t love each other? Where is the hope and the empathy? (Yeah) How do we
judge off the color? The structure was made to make us the enemy (Yeah)”. Those
lyrics for me relate to some of the themes in <i style="mso-bidi-font-style: normal;">Sovereign Intimacies</i> and contributed to my freestyle process. I
also wore a mask to incorporate how the Covid 19 pandemic is a global health
crisis that has also amplified racial inequities and sparked dialogue around
racism and white supremacy.<br /></span><br />In this freestyle
but also in my overall dance journey, trying to find yourself and what defines
you as both a creative and as a human being can be challenging. The <i>Sovereign Intimacies</i> exhibition has
actually given me some inspiration for both dance and non-dance ideas which has
been very humbling. Especially during these hectic times I’m grateful to still
be active and creating content when life seems to have become such an
overwhelming string of events. I hope that my creative response not only
encourages you to delve into the practices of reclaiming your own cultural
heritage but also discovering the unlimited boundaries you have when creating
or looking through art in a new light.</span></p><p class="MsoNormal" style="line-height: normal;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNP3Zp1PCEEUDkxoYXD84_OJq5OHcKBXjbJcUosjzihuFKmAv9V4J5v_Gj3vyR39UmMP_SMCU1dRagFJzT7OBtP4Q3oxhV_sTzPhgrKTDGfbFNiatwbVIPmJfo2jCBu8lWEeduQhRHP5Q/s826/Screenshot+2021-02-01+095933.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="826" data-original-width="447" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNP3Zp1PCEEUDkxoYXD84_OJq5OHcKBXjbJcUosjzihuFKmAv9V4J5v_Gj3vyR39UmMP_SMCU1dRagFJzT7OBtP4Q3oxhV_sTzPhgrKTDGfbFNiatwbVIPmJfo2jCBu8lWEeduQhRHP5Q/w216-h400/Screenshot+2021-02-01+095933.png" width="216" /></a></div><span style="font-family: arial; text-align: center;"><div style="text-align: center;"><span style="font-size: x-small;"><b style="font-weight: bold;">Image: </b>Dana Lance, <i>I Can't Breathe, </i>video still excerpt from freestyle dance, 2021.</span></div></span><span style="font-family: arial;"><br /><br />Dana Lance (She/Her)
is a Filipinx/o/a and Japanese dancer who likes to incorporate elements of art
with anything and everything creative and experimental. Her interest in the
visual and performing arts started as long ago as she can remember, from being
in choir, to trying guitar and piano before settling on dance in her junior
years. Her commitment to recognizing her cultural roots and integrating that
into her dance has pushed her to advocate on issues such as mental health,
decolonization within the Filipinx/o/a/ and Japanese diaspora and implementing
an anti-racism practice in all foundations.</span><p></p><br /><p></p>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-1444359809204258382021-01-29T14:57:00.004-06:002021-02-01T11:10:49.830-06:00Sovereign Intimacies Response by Madison Hanson<p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKS3HbN-3NTewbg6HjgPm_edM8c7Y-M8St6p1qkwSp43VDJDr3ZnHBjWGjaWz09CWiztt-_10iEoyvoTGbZ1srMDHDkqCDGFvcEmONlWMC11S18yf2-X5aS5paXLEiXXN7W5-0o22fRTo/s2048/Madison+tapestry+01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKS3HbN-3NTewbg6HjgPm_edM8c7Y-M8St6p1qkwSp43VDJDr3ZnHBjWGjaWz09CWiztt-_10iEoyvoTGbZ1srMDHDkqCDGFvcEmONlWMC11S18yf2-X5aS5paXLEiXXN7W5-0o22fRTo/w300-h400/Madison+tapestry+01.jpg" width="300" /></a></div><span style="font-family: arial; font-size: x-small;"><div style="text-align: center;"><b>Image: </b>Madison Hanson, Untitled, upcycled yarn, branch, 2020. </div></span><span style="font-family: arial;"><br /></span><p></p><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: arial;">For my creative response to <i style="mso-bidi-font-style: normal;"><a href="https://www.uwinnipeg.ca/art-gallery/programming/2020-21/sovereign-intimacies.html" target="_blank">Sovereign Intimacies</a></i>, I took inspiration from iris yirei hu’s
installation <i>weaver girl limns two rainbows </i>and <i>Wrapped in the Cloud</i>
by Jaad Kuujus (Meghann O’Brien) produced in collaboration with Conrad Sly,
Hannah Turner, Reese Muntean, and Kate Hennessy. I was especially inspired by the
artists’ focus on weaving as a symbol of the strength of communities and so I
made my own woven tapestry.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5UGZ2DVeuBBWjAIxmTGS-388klUCQowyu0DIcfwOFHv0nqMGYmU7q09QG9FYRrh3TRGTPait2uUYAu0z28RIfo0NxeRmr9Km5mD7ZE6ri0K0I0mld1GihQFt8mTEK02HxkhXxnXIcnYQ/s1024/SkyBlanket_WireframePass_sm_1024x576.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1024" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5UGZ2DVeuBBWjAIxmTGS-388klUCQowyu0DIcfwOFHv0nqMGYmU7q09QG9FYRrh3TRGTPait2uUYAu0z28RIfo0NxeRmr9Km5mD7ZE6ri0K0I0mld1GihQFt8mTEK02HxkhXxnXIcnYQ/w400-h225/SkyBlanket_WireframePass_sm_1024x576.jpg" width="400" /></a></div><span style="font-family: arial; font-size: x-small;"><div style="text-align: center;"><b>Image: </b>Jaad Kuujus (Meghann O'Brien), <i>Wrapped in the Cloud</i>, 2018, produced in collaboration with Conrad Sly, Hannah Turner, Reese Muntean and Kate Hennessy, still from 3D animated video. Photo courtesy of the artist.</div></span><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: arial;"><br />Each of the different types of yarn used in my weaving were
given to me by my friends and family. The branch that the tapestry hangs from
was a gift from my father. During a time when it is very difficult to be away from
each other, weaving this tapestry was a chance to bring my friends together
even if only symbolically.<br /></span><span style="font-family: arial;"><br />When creating the tapestry, I used each section as a chance
to think about the friend that </span><span style="font-family: arial;">contributed the yarn and to create an emotional link
between the friend and that section of the </span><span style="font-family: arial;">tapestry. It is comforting to see yarns from the sweaters,
socks, and artistic projects of my </span><span style="font-family: arial;">friends brought
together and strengthened through this tapestry.</span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal"><span style="font-family: arial;">Madison Hanson is completing her Bachelor of Education degree at
the University of Winnipeg. She has worked for many years teaching, mentoring
and supporting youth locally through programs such as the Boys and Girls Club.
In the early months of 2020, she also taught in South America.</span><span face="Calibri, sans-serif" style="color: #1f497d; font-size: 11pt;"><o:p></o:p></span></p><br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAbo68t-0VLtv2UM8mj7LylpO8Q5Uow-QGoIJbpFireZTmM-Xj3kziYEzhmdNhtLh16gXi10Mf9j1XoqfWVekbg1qKgFIgNZLNYECR5dVhnD-BhZaBqnIZKZ0NWIZZ8fXZhMHyJrR7vMg/s1200/33.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAbo68t-0VLtv2UM8mj7LylpO8Q5Uow-QGoIJbpFireZTmM-Xj3kziYEzhmdNhtLh16gXi10Mf9j1XoqfWVekbg1qKgFIgNZLNYECR5dVhnD-BhZaBqnIZKZ0NWIZZ8fXZhMHyJrR7vMg/w400-h266/33.jpg" width="400" /></a></div><span style="font-family: arial; font-size: x-small;"><div style="text-align: center;"><b>Image: </b>iris yirei hu, <i>weaver girl limns two rainbows</i>, 2020, mixed media installation. Photo: Karen Asher.</div></span>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-77783705662166929772021-01-26T10:03:00.001-06:002021-02-01T10:59:05.617-06:00Sovereign Intimacies Response by Magnolia Valles Duran<p><span style="font-family: arial;"> </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7a1A4OMD2miNhB6a0chr_t7wP99MACSEziLjte-EsPDtPGMzmovwH6jMGSf-Xz2jP71-lc14hM5xtyRYFMb8xLhE_Rao-ZmUYBFylBksbcCuOdW2qo0Kg9ika87VlgEt4xnhdrzKw_t4/s1020/Sovereign+Intimacies+3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1020" height="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7a1A4OMD2miNhB6a0chr_t7wP99MACSEziLjte-EsPDtPGMzmovwH6jMGSf-Xz2jP71-lc14hM5xtyRYFMb8xLhE_Rao-ZmUYBFylBksbcCuOdW2qo0Kg9ika87VlgEt4xnhdrzKw_t4/w400-h353/Sovereign+Intimacies+3.jpg" width="400" /></a></div><span style="font-family: arial;"><div style="text-align: center;"><span style="font-size: x-small;"><b>Image:</b> Ayumi Goto and Peter Morin, <span style="background-color: white; color: #262626;">Gift – 遠足 (Ensoku) - Away (detail), 2020, mixed media installation. </span></span></div><div style="text-align: center;"><span style="font-size: x-small;"><span style="background-color: white; color: #262626;">Photo: Marco Muller.</span></span> </div></span><p></p><p><span style="font-family: arial;"><br /></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-left: -1.85pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">La principal inspiración de mi respuesta creativa a la exposición </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><a href="https://www.uwinnipeg.ca/art-gallery/programming/2020-21/sovereign-intimacies.html" target="_blank">Sovereign Intimacies</a></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> es la instalación </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Gift - 遠 ⾜ (Ensoku) - Away</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> de Ayumi Goto y Peter Morin. Cuando vi por primera vez la manta sobre la que se colocan los objetos en esa instalación, me inspiró mucho. Hay dos aspectos importantes de la obra de arte de Goto y Morin que quería incluir en mi respuesta creativa: la entrega de regalos y las relaciones. También quería abordar el concepto de identidad, que está muy presente en todas las obras de arte de la exposición.
<br /></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Con estas ideas en mente, comencé a considerar qué respuesta podía ofrecer. Originalmente pensé en hacer una manta yo misma, pero quería crear algo que fuera significativo para mí y mi familia, así que elegí hacer una almohada porque las almohadas hacen muy feliz a mi madre.
<br /></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">En cuanto a técnica, me decidí por la costura porque es algo que mi familia siempre ha hecho. Tanto mi abuela como mi mamá saben coser, y tengo muy felices recuerdos de las dos sentadas junto al televisor mientras cosían bonitos diseños. Empecé eligiendo el diseño que cosería en la almohada. No soy muy avanzada en costura y quería hacerlo sola, así que compré el diseño en una tienda local junto con los hilos. Elegí un diseño con flores por mi nombre, Magnolia, y porque mi casa siempre está llena de flores y mi familia y yo siempre hacemos de la jardinería una actividad familiar. Antes de comprar este patrón también investigué un poco sobre el simbolismo de las flores. Hay tres flores en este diseño: amapolas rojas, nomeolvides azules y margaritas amarillas. Las amapolas rojas simbolizan el recuerdo y también la esperanza, los nomeolvides azules representan el amor verdadero y las margaritas amarillas representan la felicidad, la alegría y la amistad. Estas flores no solo tienen un hermoso simbolismo, sino que también se ven con mucha frecuencia creciendo en los campos cercanos a mi casa.
</span><span style="white-space: pre-wrap;">
Después de empezar a trabajar en la almohada, se lo escondí a mi madre hasta el 5 de enero. En España, tenemos la tradición de que la noche del 5 de Enero los Reyes Magos nos hacen regalos (es nuestro equivalente a Papá Noel). Quería darle esta almohada a mi madre para traerle alegría y felicidad durante las vacaciones, pero también para representar la esperanza y la amistad.</span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-left: -1.85pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial;"><span style="white-space: pre-wrap;"><br /></span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-left: -1.85pt; margin-top: 0pt; text-align: left;"><span style="white-space: pre-wrap;"><span style="font-family: arial;"><br /></span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-left: -1.85pt; margin-top: 0pt; text-align: left;"><span id="docs-internal-guid-60cc9070-7fff-ab13-11c5-372a374c709d"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">Magnolia Vallés Durán es una alumna internacional de España. Magnolia ha trabajado en la Galería 1C03 como asistente desde enero de 2020. Actualmente está cursando su posgrado en Historia en la Universidad de Manitoba y la Universidad de Winnipeg en el Programa Conjunto de Maestría en Artes, con una tesis centrada en el impacto de las enfermedades en las mujeres españolas durante los siglos XV y XVI.</span></span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-left: -1.85pt; margin-top: 0pt; text-align: left;"><span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;"><br /></span></span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-left: -1.85pt; margin-top: 0pt; text-align: left;"><span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-3xjtxCVjSixUyK_JzDvX67A2ms3DPpK29M9ES_9KONy1IrPvNx3SqJZ3Hdkx4Ja9a6h1a233FmOZzZEifrVx8R2-yKSZNxeH4KO8RWxhIxYtyXD9BCnnFnHN8maeWbMDhr5vbMyd2Ks/s2048/Magnolia+pillow.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1952" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-3xjtxCVjSixUyK_JzDvX67A2ms3DPpK29M9ES_9KONy1IrPvNx3SqJZ3Hdkx4Ja9a6h1a233FmOZzZEifrVx8R2-yKSZNxeH4KO8RWxhIxYtyXD9BCnnFnHN8maeWbMDhr5vbMyd2Ks/w381-h400/Magnolia+pillow.jpg" width="381" /></a></div><span style="font-family: arial; font-size: x-small;"><div style="text-align: center;"><b>Image: </b>Magnolia Valles Duran, Basket of Flowers, 2020, cross-stitch embroidery on pillow.</div></span><span style="font-family: arial;"><br /></span><p></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-left: -1.85pt; margin-top: 0pt; text-align: left;"><span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;"><br /></span></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-right: -1.85pt; margin-top: 0pt;"><span style="font-family: arial;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The main inspiration for my creative response to the </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><a href="https://www.uwinnipeg.ca/art-gallery/programming/2020-21/sovereign-intimacies.html" target="_blank">Sovereign Intimacies</a> </span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">exhibition is the installation </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Gift – </span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">遠⾜ </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(Ensoku) - Away </span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">by Ayumi Goto and Peter Morin. When I first saw the blanket upon which the objects are laid in that installation, I was very moved. There are two important aspects of Goto and Morin’s artwork that I wanted to include in my response: gift giving and relationships. I also wanted to address the concept of identity which is important to all of the artworks in the exhibition. </span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-left: -1.85pt; margin-top: 0pt; text-align: left;"><b id="docs-internal-guid-98109dcb-7fff-fb3f-137a-6d9f90a573b2" style="font-weight: normal;"><span style="font-family: arial;"><br /></span></b></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-right: -1.85pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">With these ideas in mind, I began to consider what response I could offer.. I originally thought of making a blanket myself, but I wanted to create something that was meaningful to me and my family, so I chose to produce a pillow because pillows make my mother very happy. </span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-left: -1.85pt; margin-top: 0pt; text-align: left;"><b style="font-weight: normal;"><span style="font-family: arial;"><br /></span></b></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-right: -1.85pt; margin-top: 0pt;"><span style="font-family: arial;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In terms of technique, I decided on sewing because it is something my family has always done. Both my grandmother and my mom sew, and I have very happy memories of the two of them sitting by the TV while sewing pretty designs. I started by choosing the design I would sew on the pillow. I am not very advanced in sewing and I wanted to do it by myself, so I bought the design from a local store along with the threads. I chose a design with flowers because of my name, Magnolia, and because my house is always full of flowers and my family and I always make gardening a family activity. Before buying this pattern I also did some research about the symbolism of the flowers. There are three flowers in this design: red poppies, blue forget-me-nots, and yellow daisies. Red poppies symbolize remembrance and also hope</span><span style="background-color: white; color: #202124; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, </span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">blue forget-me-nots represent true love, and yellow daisies represent happiness, joy and friendship. Not only do these flowers have beautiful symbolism but they are very commonly seen growing in the fields close to my house.</span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-right: -1.85pt; margin-top: 0pt;"><span style="font-family: arial;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-right: -1.85pt; margin-top: 0pt;"><span style="white-space: pre-wrap;"><span style="font-family: arial;">After I started working on the pillow, I hid it from my mother until January 5th. In Spain, we have a tradition that on the night of the 5th of January, the three wise kings give us gifts (it’s our equivalent of Santa Claus). In making this pillow, I wanted to give it to my mother to bring her joy and happiness during the holidays, but also to represent hope and friendship.</span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-left: -1.85pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial;"><br /></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-left: -1.85pt; margin-top: 0pt; text-align: left;"><span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;"><br /></span></span></span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-left: -1.85pt; margin-top: 0pt; text-align: left;"><span id="docs-internal-guid-799fdc63-7fff-474c-2c4c-a6d84252ec3e"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">Magnolia Valles Duran is an international student from Spain. Magnolia has worked at Gallery 1C03 as a gallery attendant and art educator since January 2020. She is currently pursuing her graduate degree in History from the University of Manitoba and the University of Winnipeg Joint Master of Arts Program, with a thesis focused on the impact of disease on women in Spain during the 15th and 16th centuries. </span></span></span></p>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-30052646209632900352021-01-22T11:58:00.001-06:002021-02-01T11:00:24.548-06:00Sovereign Intimacies Response by Mariko Hamade<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq2rpXoFCWTNhKIaGRi-OWqxugcucD6ypo0HZHt9eku7OlXGwuv7nNbmzVKocXuTssjVaoZHuyG7o-aJF04qhd8ht0GiGYdXqvcF1FZ8af02boeOlyXyPYSo2KtmUhN3FewcgBYt01fLw/s2048/Mariko+AllDolls.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq2rpXoFCWTNhKIaGRi-OWqxugcucD6ypo0HZHt9eku7OlXGwuv7nNbmzVKocXuTssjVaoZHuyG7o-aJF04qhd8ht0GiGYdXqvcF1FZ8af02boeOlyXyPYSo2KtmUhN3FewcgBYt01fLw/w400-h300/Mariko+AllDolls.jpg" width="400" /></a><br /><b style="font-family: arial; font-size: small;">Image: </b><span style="font-family: arial; font-size: small;">Mariko Hamade, Family, 2020, Amigurumi.</span></div><p></p><p><span style="font-family: arial;"><span style="color: #0e101a;"><br /></span></span></p><p><span style="font-family: arial;"><span style="color: #0e101a;">Gift-giving
is one of the oldest ways to solidify a relationship. Balanced exchange of
gifts has often been the foundation of important relationships across cultures.
In our personal lives, exchanging gifts can be a way to tell someone you love
that you care, to wish them well, or to celebrate an achievement or holiday.
The artwork </span><i><span style="color: #0e101a; mso-fareast-font-family: "Arial Unicode MS";">Gift – </span></i><i><span style="color: #0e101a;">遠足</span></i><i><span style="color: #0e101a; mso-fareast-font-family: "Arial Unicode MS";"> (Ensoku) - Away</span></i><span style="color: #0e101a;"> by Ayumi Goto and Peter Morin in the <i><a href="https://www.uwinnipeg.ca/art-gallery/programming/2020-21/sovereign-intimacies.html" target="_blank">Sovereign Intimacies</a> </i>exhibition captures this
idea of gift-giving and friendship perfectly. I felt especially drawn to this
piece as I share a similar cultural background with Ayumi Goto, and the dolls
featured in this piece connect to my own creative practice in the art of
Amigurumi (</span><span style="color: #0e101a;">編みぐるみ</span><span style="color: #0e101a;">), a type of crocheted, Japanese doll-making.</span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr6Ow-RSDybbNnaOreojPnhuGMbyoeo4e2bCzcrFevaZIOj_qlDm0iG2ssoqmS-OmkwkAr8vhISO4zZsJm8ybP0Wm_ZH7lFjBtMfp06t_vrVQ8o9tUzOIvOf5Ihm7dbxTzS_pgA6laVqk/s2048/MarikoandEryn.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr6Ow-RSDybbNnaOreojPnhuGMbyoeo4e2bCzcrFevaZIOj_qlDm0iG2ssoqmS-OmkwkAr8vhISO4zZsJm8ybP0Wm_ZH7lFjBtMfp06t_vrVQ8o9tUzOIvOf5Ihm7dbxTzS_pgA6laVqk/w400-h300/MarikoandEryn.jpg" width="400" /></a><br /><b style="font-family: arial; font-size: small;">Image: </b><span style="font-family: arial; font-size: small;">Mariko Hamade, Mariko and Eryn, 2020, Amigurumi.</span></div><p><span style="font-family: arial;"><span style="color: #0e101a;"><br />The
idea of exchanging gifts has always been important to me. When I first learned
to crochet and design dolls, I did it to create gifts for those I love. One of
the things I found most interesting about Ayumi Goto's and Peter Morin's dolls
in </span><i><span style="color: #0e101a; mso-fareast-font-family: "Arial Unicode MS";">Gift – </span></i><i><span style="color: #0e101a;">遠足</span></i><i><span style="color: #0e101a; mso-fareast-font-family: "Arial Unicode MS";"> (Ensoku) -
Away</span></i><span style="color: #0e101a;"> was their likeness to their human
counterparts. Having these dolls made in their likenesses showcases Ayumi’s and
Peter’s similarities and differences. The dolls’ consistent shape and design
highlight their similarities and show they are a matching pair, but the subtle
variabilities in their height, the treatment of their clothing, and the beading
details differentiate them as individuals. I wished to capture these aspects in
the dolls I made of my family. I used the same base for every single doll,
changing out design elements such as colours, hair and clothing to capture each
person's individuality.</span></span></p><p><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRdPJ9YywJsWVnnjNuPQvGaoel0ief2oEaP5qcagclnjITiE7HP1NOHF8-kH6_WLIWC6HdZEZuyu8dlUwnwPaBnpnta4RrBUWMuR9opXevV02ug1nddR0roXXKWvZZht63DlrbX4990Og/s2048/Mariko+Parents.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRdPJ9YywJsWVnnjNuPQvGaoel0ief2oEaP5qcagclnjITiE7HP1NOHF8-kH6_WLIWC6HdZEZuyu8dlUwnwPaBnpnta4RrBUWMuR9opXevV02ug1nddR0roXXKWvZZht63DlrbX4990Og/w400-h300/Mariko+Parents.jpg" width="400" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><b style="font-size: small;">Image: </b><span style="font-size: small;">Mariko Hamade, Parents, 2020, Amigurumi.</span></span></div><span style="color: #0e101a; font-family: arial;"><br /><br />By
making and gifting these dolls for the people I love most, I hope to express my
appreciation for the relationships I have. This year has been quite different
in how we can interact with the people we love. Outside of the people we live
with, we are told to keep our distance. Without being able to be close
physically or to spend quality time together, it can be very hard to nurture
and care for relationships this year. By looking to Ayumi Goto's and Peter
Morin's artwork </span><i style="font-family: arial;"><span style="color: #0e101a; mso-fareast-font-family: "Arial Unicode MS";">Gift – </span></i><i style="font-family: arial;"><span style="color: #0e101a;">遠足</span></i><i style="font-family: arial;"><span style="color: #0e101a; mso-fareast-font-family: "Arial Unicode MS";"> (Ensoku) - Away</span></i><span style="color: #0e101a; font-family: arial;">, we can
be reminded of the importance of gift-giving and how it can be used to
strengthen relationships. Even if you cannot be close with your loved ones this
year, you can still send them a useful item, a handmade piece of art or some
delicious food to let them know you are thinking of them. Through small gifts,
we can bring a bit of love and joy to the people we care about.</span><p></p><p></p><p class="MsoNormal" style="line-height: normal;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEi3-mMDSrkzVr2Z-4B2dWQWEwl4wXjnFHE1ag4RrQNekh5E9Ll9VMNdgxrwITTI3sIOXD2qpZq_i5O6pA2h1ep2w15vYIesUjZ2-BBrnyrGjov4gKAkgl8HuXKi0aHHc0e0epNrBturo/s2048/Mariko+siblings.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEi3-mMDSrkzVr2Z-4B2dWQWEwl4wXjnFHE1ag4RrQNekh5E9Ll9VMNdgxrwITTI3sIOXD2qpZq_i5O6pA2h1ep2w15vYIesUjZ2-BBrnyrGjov4gKAkgl8HuXKi0aHHc0e0epNrBturo/w400-h300/Mariko+siblings.jpg" width="400" /></a></div><div style="text-align: center;"><b style="font-family: arial; font-size: small;">Image: </b><span style="font-family: arial; font-size: small;">Mariko Hamade, Siblings, 2020, Amigurumi.</span></div><span style="font-family: arial;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal;"><span style="font-family: arial;">Mariko Hamade is a
Japanese-Canadian Amigurumi designer and textile artist based in Winnipeg.
Mariko has worked at Gallery 1C03 as a gallery attendant and art educator since
2019, and is graduating this February with a Bachelor of Arts in History and a
minor in Religion and Culture.</span></p><p class="MsoNormal" style="line-height: normal;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: normal;"><span style="font-family: arial;"><o:p></o:p></span></p><br /><p></p>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-25651748794750501362021-01-20T10:51:00.002-06:002021-01-20T10:51:28.540-06:00Creative Responses to Sovereign Intimacies Exhibition<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZihY4QmkjB8j-BWrOmF7fcQfr9LoucB6gVW_c123TjxtMr62Pd2bJ-F8yuOdnRjDlHVy2C9aOdbMlbMAfAuucK4IOxIJlVlsznrg3JBepZ3V57pXznp1f0mLvzT3teBw1d8cK6RSFbIc/s1200/01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZihY4QmkjB8j-BWrOmF7fcQfr9LoucB6gVW_c123TjxtMr62Pd2bJ-F8yuOdnRjDlHVy2C9aOdbMlbMAfAuucK4IOxIJlVlsznrg3JBepZ3V57pXznp1f0mLvzT3teBw1d8cK6RSFbIc/w400-h266/01.jpg" width="400" /></a></div><br /><span style="font-family: arial; font-size: x-small;"> <b>Image: </b>Sovereign Intimacies, partial exhibition view at Plug In Institute of Contemporary Art. Photo: Karen Asher.</span><p></p><div><span style="font-family: arial; font-size: x-small;"><br /></span></div><div><span style="font-family: arial;">Gallery 1C03 is pleased to announce a series of creative responses to the <i><a href="https://www.uwinnipeg.ca/art-gallery/programming/2020-21/sovereign-intimacies.html" target="_blank"><b>Sovereign Intimacies </b></a></i>exhibition that we presented in partnership with Plug In Institute of Contemporary Art and with support from Video Pool Media Arts Centre. The exhibition was curated by Nasrin Himada and Jennifer Smith and was shown at Plug In's gallery space and online from September 26 - December 20, 2020. <br /><i><br />Sovereign Intimacies </i></span><span style="font-family: Arial, sans-serif; text-align: justify;">explores
themes of cultural and community exchange between Indigenous artists and
artists from the diaspora, more specifically artists who are First Nations,
Inuit and Métis collaborating with artists living in what is currently called
Canada who came to this land and are not part of the settler/colonial history
of the country. The group show consists of pairings of artists, as well as,
individuals whose work is based on process and relationship building, and for
those whose work is invested in active conceptualization around topics of
friendship and intimacy, who are working to build collective vision of a
sovereign future. </span><span style="font-family: Arial, sans-serif;">Featured artists included Hassaan Ashraf, Annie Beach, Ayumi Goto, iris yirei hu, melannie
monoceros, Peter Morin, Mariana Muñoz Gomez, Wanda Nanibush, Meghann O’Brien,
M. NourbeSe Philip, Marie-Anne Redhead, Cheyenne Thomas and David Thomas.</span></div><div><span style="font-family: Arial, sans-serif;"><br /></span></div><div><span style="font-family: Arial, sans-serif;">In response to the exhibition, Gallery 1C03's staff put together a <b><a href="https://www.uwinnipeg.ca/art-gallery/education-outreach.html" target="_blank">digital education program</a></b> for the exhibition which is designed for teachers, homeschooling parents and community group leaders to deliver to students and youth. The program includes images and descriptions of artworks in the exhibition, lesson plans and ideas for creative responses.</span></div><div><span style="font-family: Arial, sans-serif;"><br /></span></div><div><span style="font-family: Arial, sans-serif;">Inspired by their engagement with the exhibition and through developing the education program, the Gallery's student assistants have made their own personal creative responses to the exhibition as well. Over the coming days and weeks, we will share their responses on this blog and through our <b><a href="https://www.instagram.com/1c03/" target="_blank">Instagram</a></b> feed. Stay tuned!<br /><br /><br /></span></div><div><span style="font-family: Arial, sans-serif;"><br /></span></div><div><span style="font-family: Arial, sans-serif;"><br /></span></div>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-78432503367315161262020-08-13T10:51:00.048-05:002020-08-13T13:03:26.439-05:00A response to What We Make III: University of Winnipeg Community Art Exhibition<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfSVQlsyWjXxEP6F-KJxOlRs8L9yaWk6LKvGVzjeiY6H5cnH6F51LKkspj2bE8ufFoH2NmG62kYEK0Gn84MHjrxjb9TasndRHFBx9bnjPlBpybA16SSNMMNM9-3ExbzypMlGUGrMg_ByE/s700/what-we-make-iii.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="700" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfSVQlsyWjXxEP6F-KJxOlRs8L9yaWk6LKvGVzjeiY6H5cnH6F51LKkspj2bE8ufFoH2NmG62kYEK0Gn84MHjrxjb9TasndRHFBx9bnjPlBpybA16SSNMMNM9-3ExbzypMlGUGrMg_ByE/w400-h190/what-we-make-iii.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;">From June 24 - September 24, 2020, Gallery 1C03 is presenting <i><a href="https://www.uwinnipeg.ca/art-gallery/programming/2020-21/what-we-make-iii.html" target="_blank">What We Make III</a></i>, an online exhibition that celebrates the creativity of the University of Winnipeg community. In response to an open call for submissions to current and former University students and staff, Gallery 1C03 received works by 22 artists. The exhibition can be viewed on a special <a href="https://sites.google.com/view/uwinnipegwhatwemake/home" target="_blank">website</a> and we have promoted the work of each of the participants via our <a href="https://www.facebook.com/gallery1c03/?ref=ts" target="_blank">facebook</a> and <a href="https://www.instagram.com/1c03/" target="_blank">instagram</a> feeds.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;">In July, University of Manitoba student Alina Bilonozhko wrote an essay responding to the exhibition for Honoure Black's Modern to Contemporary Art class (FAAH 2080). In particular, Bilonozhko shared her interpretation of the acrylic pour painting, <i>Double Overhead</i>, by <i>What We Make III </i>participant, Renée
Douville. </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;">We share Bilonozhko's essay below.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: arial;"><i>Double Overhead</i><br />By Alina Bilonozhko<br /></span><span style="font-family: arial;"><br />The University of Winnipeg Gallery 1C03 engages
many different communities and presents contemporary artworks through the University's permanent
art collection and seasonal art exhibitions.</span><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn1" name="_ftnref1" style="font-family: arial;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 106%;">[1]</span></span></span></a><span style="font-family: arial;"> One such exhibition, </span><i style="font-family: arial;">What
We Make III (June 24 – Sep 24, 2020), </i><span style="font-family: arial;">collects the works of students and
professors and focuses on the creativity of the University of Winnipeg
community in an online format.</span><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn2" name="_ftnref2" style="font-family: arial;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 106%;">[2]</span></span></span></a><span style="font-family: arial;"> The exhibition includes
various forms and mediums, including photography, wool fiber art, metalsmithing,</span><span style="font-family: arial;"> </span><span style="font-family: arial;">sculpture, drawing, functional art projects, and
painting to represent diverse experiences and passions among the community.</span><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn3" name="_ftnref3" style="font-family: arial;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 106%;">[3]</span></span></span></a><span style="font-family: arial;"> Renée Douville’s </span><i style="font-family: arial;">Double
Overhead</i><span style="font-family: arial;"> is an acrylic pour painting on canvas that embodies the spirit of
life through the biological motifs and stochastic art-making process. </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span face="" style="font-family: arial, sans-serif;"><br /></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxDcIFBb_InjO65IzbBg8wjOU8BhZZ8uZntnrFIshulnXRHWz64bl17X5Ee6lbxFlDYnG5pB_5ZYBo0ecxUtzan3Vn6fLCAF55rtVVYz2ymZ29kr6vUy0N09FBvFQycM8nSN0vr_M9RNU/s768/DOUVILLE+Double+Overhead.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="766" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxDcIFBb_InjO65IzbBg8wjOU8BhZZ8uZntnrFIshulnXRHWz64bl17X5Ee6lbxFlDYnG5pB_5ZYBo0ecxUtzan3Vn6fLCAF55rtVVYz2ymZ29kr6vUy0N09FBvFQycM8nSN0vr_M9RNU/w399-h400/DOUVILLE+Double+Overhead.jpg" width="399" /></a></div><span face="" style="font-family: arial, sans-serif;"> </span><span style="font-family: arial;"> <b> <a name="_Hlk45041232" style="text-align: right;"><span style="color: #595959;">Image:
</span></a></b><span style="text-align: right;">Renée Douville, <i>Double
Overhead</i>, 2020, acrylic pour painting on canvas, 10” x 10”.</span></span><p></p></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<!--[if !supportLineBreakNewLine]--><span style="font-family: arial;"><br style="mso-special-character: line-break;" />
<!--[endif]--><o:p></o:p></span></p><p></p><div class="separator" style="clear: both; text-align: left;">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: arial;">Renée Douville is a professor of
Biological Sciences at the University of Winnipeg, studying and doing research
in Microbiology and Immunology.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 106%;">[4]</span></span><!--[endif]--></span></span></a> Her artistic expression
reflects the biological environment and living organisms through abstract
creation.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 106%;">[5]</span></span><!--[endif]--></span></span></a> “Science embracing creativity
ensures we see the world with fresh eyes,” as she describes her work, <i>Double
Overhead.</i><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 106%;">[6]</span></span><!--[endif]--></span></span></a><i>
</i>The fluid shapes and structures in the painting resemble the formation and
movement of cells under a microscope. Loosely and, in some places, densely
connected to each other, the cells are forming a layer, strongly reminiscent of
a loose connective tissue found around and between most body organs.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 106%;">[7]</span></span><!--[endif]--></span></span></a> The function of such
tissue is to provide mechanical strength along with physical and metabolic
support to all the other types of tissues in the living organism.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 106%;">[8]</span></span><!--[endif]--></span></span></a> Randomly formed cells flow
unevenly on the canvas, simulating a random direction of fibers in the tissue.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 106%;">[9]</span></span><!--[endif]--></span></span></a> The thick dark blue
outlines of the cells resemble the collagen fiber bundles interwoven into a “mesh-like
network”, while the dark purple dots appear like fibroblast cell nuclei.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 106%;">[10]</span></span><!--[endif]--></span></span></a> Through her artwork, the
artist symbolizes the elasticity and voluminosity of the cells and tissues, the
complex structures of the biological environment, and an organism as a whole. <br /><br />Douville’s artwork encapsulates the
fluidity of the paints running through the system of interacting colours and
creating a whole new world. The dominant colours of white and blue in the
acrylic painting<i> Double Overhead</i> interchange within the direction of the
flow of the paint. White, which is the main colour in the lower half of the
painting, penetrates the dark blue at the top and changes its form into a thick
line. The lines become an outline of the abstract cellular shapes, captured in
their liquified state. The dark blue, on the other hand, moves from the top
half of the painting to the bottom, creating a thin, watery contour. The
contrast of the artwork changes significantly, from white and light beige in
the lower half to cold blue, green, and purple in the upper half. This contrast
creates an effect of transparency as if the painting is a section of the slide
examined under a microscope in the bright light.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 106%;">[11]</span></span></span></a> The dark blue and purple
strongly appear in the middle sections, resembling the staining process of the slide
that enhances visualization of certain cellular components under
a microscope.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 106%;">[12]</span></span></span></a> The colours in Douville’s
artwork mix together and flow deprived of constraints, creating a spirit of
life through the scientific motifs and allowing the viewer to see the world in
a new light. <br /><br />The flow of the paints creates the
effect of movement as if the artwork is breathing and living its own life. To
create such an effect, Douville uses the technique of acrylic pour painting, a
form of fluid art that first emerged in the 1930s from a Mexican artist
named David Alfaro Siqueiros.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 106%;">[13]</span></span></span></a> The painting process is
rather accidental and chaotic that fully depends on the spreading and mixing of
liquid paints.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 106%;">[14]</span></span></span></a>
This technique requires direct pouring of the paints onto the freshly painted
flat canvas, resulting in a semi-random process of colour mixture.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 106%;">[15]</span></span></span></a> The artists often use
silicon oils or alcohol solutions to create eccentric cellular patterns and
forms in their fluid artwork.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 106%;">[16]</span></span></span></a> The use of a butane torch
plays a crucial role in pour painting technique which involves directing the
heat onto the layer of paint mixed with silicon oils.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 106%;">[17]</span></span></span></a> The heat of the torch
creates a chemical reaction that breaks the top layer of the paint and creates
a cellular pattern.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 106%;">[18]</span></span></span></a> For pouring techniques
and to move the paint in desired directions, the artists use numerous different
tools such as palette knives, spatulas, straws, funnels, hair combs, and
hairdryers.<a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 106%;">[19]</span></span></span></a>
The physical process of painting becomes the art itself that rejects
traditional brush and easel and conveys emotion through abstraction. This
semi-random process of creating art in <i>Double Overhead</i> mirrors the
semi-random nature of biological systems that creates complexity and order out
of a chaotic environment. <br /><br />Gallery 1C03 provides an opportunity for
the University of Winnipeg community to express their creativity. Through the unconventional
act of painting, Renée Douville creates an expressionistic artwork rich with
colours and abstract fluid forms. Her acrylic pour painting <i>Double Overhead </i>reflects
her passion and devotion to Biological Sciences, creating cellular patterns and
structural frameworks of the tissues of the living organisms. The portraiture
of the biological environment allows the viewer to look at the art from a
different perspective as if they are examining it under the magnifying lens of
the microscope, perhaps, through the eyes of the artist.</span></p><div style="mso-element: footnote-list;">
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="ftn1" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></span></span></a><span face=""> “<a href="https://www.uwinnipeg.ca/art-gallery/" target="_blank">Gallery 1C03</a>,” accessed July 3,
2020.<o:p></o:p></span></span></p>
</div>
<div id="ftn2" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></span></span></a><span face=""> “<a href="https://www.uwinnipeg.ca/art-gallery/programming/2020-21/what-we-make-iii.html" target="_blank">What We Make III</a>,” What We Make
III | Art Gallery | The University of Winnipeg, accessed July 4, 2020.<o:p></o:p></span></span></p>
</div>
<div id="ftn3" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></span></span></a><span face=""> Ibid.<o:p></o:p></span></span></p>
</div>
<div id="ftn4" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[4]</span></span><!--[endif]--></span></span></span></a><span face=""> “<a href="https://www.uwinnipeg.ca/experts-guide/renee-douville.html" target="_blank">Renée Douville</a>,” accessed July 4,
2020.<o:p></o:p></span></span></p>
</div>
<div id="ftn5" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[5]</span></span><!--[endif]--></span></span></span></a><span face=""> “<a href="https://sites.google.com/view/uwinnipegwhatwemake/ren%C3%A9e-douville?authuser=0" target="_blank">Renée Douville</a>,” Google Sites,
accessed July 2, 2020.<o:p></o:p></span></span></p>
</div>
<div id="ftn6" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[6]</span></span><!--[endif]--></span></span></span></a><span face=""> Ibid.<o:p></o:p></span></span></p>
</div>
<div id="ftn7" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[7]</span></span><!--[endif]--></span></span></span></a><span face=""> Jane B. Reece et al., <i>Campbell</i>
<i>Biology</i> (New York: Pearson Education, 2014), 919.<o:p></o:p></span></span></p>
</div>
<div id="ftn8" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[8]</span></span><!--[endif]--></span></span></span></a><span face=""> Reece, <i>Campbell Biology</i>,
919.<o:p></o:p></span></span></p>
</div>
<div id="ftn9" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[9]</span></span><!--[endif]--></span></span></span></a><span face=""> Lumen Learning, “<a href="https://courses.lumenlearning.com/nemcc-ap/chapter/connective-tissue-supports-and-protects/" target="_blank">Connective Tissue</a>,” Lumen, accessed July 3, 2020.<o:p></o:p></span></span></p>
</div>
<div id="ftn10" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[10]</span></span><!--[endif]--></span></span></span></a><span face=""> Ibid.<o:p></o:p></span></span></p>
</div>
<div id="ftn11" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[11]</span></span><!--[endif]--></span></span></span></a><span face=""> Reece, <i>Campbell Biology</i>,
904.<o:p></o:p></span></span></p>
</div>
<div id="ftn12" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[12]</span></span><!--[endif]--></span></span></span></a><span face=""> Ibid., 905.<o:p></o:p></span></span></p>
</div>
<div id="ftn13" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[13]</span></span><!--[endif]--></span></span></span></a><span face=""> “<a href="https://www.fluidartprojects.com/the-science-behind-acrylic-flow-painting/" target="_blank">The Science Behind Acrylic FlowPainting</a>,” Fluid Art Projects, accessed July 4, 2020.<o:p></o:p></span></span></p>
</div>
<div id="ftn14" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[14]</span></span><!--[endif]--></span></span></span></a><span face=""> Ibid.<o:p></o:p></span></span></p>
</div>
<div id="ftn15" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref15" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[15]</span></span><!--[endif]--></span></span></span></a><span face=""> “<a href="https://www.fluidartprojects.com/" target="_blank">Learn How to Do Acrylic FlowPainting</a>,” Fluid Art Projects, accessed July 3, 2020.<o:p></o:p></span></span></p>
</div>
<div id="ftn16" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref16" name="_ftn16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[16]</span></span><!--[endif]--></span></span></span></a><span face=""> Olga Soby, “<a href="https://smartartmaterials.com/acrylic-paint-pouring-supplies/" target="_blank">Acrylic Paint PouringSupplies - Complete Guide 2020</a>,” Smart Art Materials, June 29, 2020, </span><span face="" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">accessed July 5, 2020.</span></span></p>
</div>
<div id="ftn17" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref17" name="_ftn17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[17]</span></span><!--[endif]--></span></span></span></a><span face=""> Ibid.<o:p></o:p></span></span></p>
</div>
<div id="ftn18" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: arial; font-size: small;"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref18" name="_ftn18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span face=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[18]</span></span><!--[endif]--></span></span></span></a><span face=""> Ibid.<o:p></o:p></span></span></p>
</div>
<div id="ftn19" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="file:///E:/Gibson/Programming/2020-21/What%20We%20Make%20III/Student%20exhibit%20reviews/BLog%20Renee%20Douville%20-%20U%20of%20W%20Gallery%20-%20Alina%20Bilonozhko.docx#_ftnref19" name="_ftn19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span face=""><span style="font-family: arial; font-size: small; mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="" style="line-height: 106%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[19]</span></span><!--[endif]--></span></span></span></a><span face=""><span style="font-family: arial; font-size: small;"> Ibid.</span><span style="font-family: times new roman, serif;"><o:p></o:p></span></span></p>
<p class="MsoFootnoteText"><span face="" style="font-family: "times new roman", serif;"><o:p> </o:p></span></p>
<p class="MsoFootnoteText"><b><span face="" style="font-family: "times new roman", serif;"><o:p> </o:p></span><span face="" style="font-family: arial; text-align: center;">Bibliography</span></b></p></div></div></div><p></p><div class="separator" style="clear: both;"><div><div><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span face="" style="font-family: arial;"> </span></p><p style="margin: 0cm 0cm 0cm 1cm; text-indent: -1cm;"><span style="font-family: arial;"><span face=""> “</span><a href="https://www.uwinnipeg.ca/art-gallery/index.html"><span face="">Gallery 1C03</span></a><span face="">.” Accessed July 3, 2020.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0cm 1cm; text-indent: -1cm;"><span face="" style="font-family: arial;"> </span></p><p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0cm 1cm; text-indent: -1cm;"><span style="font-family: arial;"><span face="">Learning, Lumen. “</span><a href="https://courses.lumenlearning.com/nemcc-ap/chapter/connective-tissue-supports-and-protects/"><span face="">Connective Tissue</span></a><span face="">.” Lumen: Anatomy and Physiology. Accessed July 3, 2020. https://courses.lumenlearning.com/nemcc-ap/chapter/connective-tissue-supports-and-protects/.<br /><br /><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0cm 1cm; text-indent: -1cm;"><span face="" style="font-family: arial;">Reece, Jane B., Lisa A. Urry, Michael L. Cain, Steven Alexander Wasserman, Peter V. Minorsky, Rob Jackson, and Neil A. Campbell. <i>Campbell</i> <i>Biology</i>. New York: Pearson Education, 2014.<br /><br /><o:p></o:p></span></p><p style="margin: 0cm 0cm 0cm 1cm; text-indent: -1cm;"><span style="font-family: arial;"><span face="">“</span><a href="https://www.uwinnipeg.ca/experts-guide/renee-douville.html"><span face="">Renée Douville</span></a><span face="">.” Accessed July 4, 2020.<br /><br /><o:p></o:p></span></span></p><p style="margin: 0cm 0cm 0cm 28.1pt; text-indent: -28.1pt;"><span style="font-family: arial;"><span face="">“</span><a href="https://sites.google.com/view/uwinnipegwhatwemake/ren%C3%A9e-douville?authuser=0"><span face="">Renée Douville</span></a><span face="">.” Google Sites. Accessed July 2, 2020.<br /><br /><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0cm 1cm; text-indent: -1cm;"><span style="font-family: arial;"><span face="">Soby, Olga. “</span><a href="https://smartartmaterials.com/acrylic-paint-pouring-supplies/"><span face="">Acrylic Paint Pouring Supplies - Complete Guide 2020</span></a><span face="">.” Smart Art Materials, June 29, 2020. Accessed July 5, 2020.<br /><br /><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0cm 1cm; text-indent: -1cm;"><span style="font-family: arial;"><span face="">“</span><a href="https://www.fluidartprojects.com/the-science-behind-acrylic-flow-painting/"><span face="">The Science Behind Acrylic Flow Painting</span></a><span face="">.” Fluid Art Projects. Accessed July 4, 2020.</span><span face=""><br /><br /><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0cm 1cm; text-indent: -1cm;"><span face="" style="font-family: arial;">“<a href="https://www.uwinnipeg.ca/art-gallery/programming/2020-21/what-we-make-iii.html">What We Make III</a>.” What We Make III | Art Gallery | The University of Winnipeg. Accessed July 4, 2020.<o:p></o:p></span></p><div><span face="" style="font-family: arial, sans-serif;"><br /></span></div>
<p class="MsoFootnoteText"><span face="" style="font-family: "times new roman", serif;"><o:p> </o:p></span></p>
<p class="MsoFootnoteText"><o:p> </o:p></p>
</div>
</div><span style="font-family: arial;"></span></div>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-19347729720993465102020-04-28T12:36:00.002-05:002020-06-04T20:01:35.784-05:00Video tour of Alootook Ipellie exhibit<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ11mk_pNj3Ej2vyc4G-H9kmTfSG183WoET-wLuSmqZvdV0CZzc8pa_sGdyvWwG6BLGJWHn09W8hLiZ__VSJB_3mSubcC-CR1jTu61P3TXw2UL0ICF8QR3jKLlIm8xMKz1a0wNdQR6pRQ/s1600/Ipellie+blog+post+13+install+photo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ11mk_pNj3Ej2vyc4G-H9kmTfSG183WoET-wLuSmqZvdV0CZzc8pa_sGdyvWwG6BLGJWHn09W8hLiZ__VSJB_3mSubcC-CR1jTu61P3TXw2UL0ICF8QR3jKLlIm8xMKz1a0wNdQR6pRQ/s400/Ipellie+blog+post+13+install+photo.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;">Click photo to enlarge</span></div>
<div style="text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<div style="text-align: left;">
</div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;"><span style="color: #3d464d;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;"><span style="color: #3d464d;">To follow our blog post entries on the
Alootook Ipellie exhibition <i>Walking Both
Sides of an Invisible Border</i><span>, we invite
you to watch a short video tour of the show led by Gallery 1C03 Director/Curator
Jennifer Gibson on Gallery 1C03’s You Tube playlist.</span></span></span></div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;"><span style="color: #3d464d;"><span><br /></span></span></span></div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;"><span style="color: #3d464d;"><span>Link to video tour: </span></span><span lang="EN-GB" style="background: white; color: #262626; line-height: 115%;"><a href="https://bit.ly/2ySF7lk">https://bit.ly/2ySF7lk</a>.
<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; color: #262626; line-height: 115%;"><span style="font-family: arial, helvetica, sans-serif;">The tour
refers back to particular artworks that have been discussed in our blog entries.
If this is your first visit to our blog, we encourage you to scroll back and
read our previous essays on this important exhibition.</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;"><a href="https://www.blogger.com/u/1/null"><b><span lang="EN-GB" style="color: #3d464d;">Image:</span></b></a><span><span lang="EN-GB" style="color: #3d464d;"> </span></span><span></span><i><span lang="EN-US" style="background: white; color: #444444;">Alootook
Ipellie: Walking Both Sides of an Invisible Border</span></i><span lang="EN-US" style="background: white; color: #444444;">, partial exhibit
installation view showing several people looking at Ipellie’s comics, political
cartoons and drawings. Ipellie’s ink drawing <i>Self-Portrait: Inverse Ten
Commandments</i> (1993) is shown front centre. Photo by Karen Asher. </span></span><span lang="EN-GB" style="background: white; color: #444444;"><o:p></o:p></span></div>
<span style="font-family: arial, helvetica, sans-serif;"></span>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-74660410927378731072020-04-13T19:41:00.004-05:002020-05-05T11:29:12.879-05:00Nuna and Vut<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM7EAXcGTF2cXUTZO9Q3e6tSrk8zpDeSVy_gV57lecoeZTIj88dN43-08XpZhqR6sMvlsZyczuoyDnxYSJjuW8UmgbBZaukvWpw7lTVtBP4Yz_1ILeYb0gHdz6BG1Q472vbUsQOcMCSoA/s1600/Ipellie+blog+post+12+Nuna+and+Vut+drawings.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM7EAXcGTF2cXUTZO9Q3e6tSrk8zpDeSVy_gV57lecoeZTIj88dN43-08XpZhqR6sMvlsZyczuoyDnxYSJjuW8UmgbBZaukvWpw7lTVtBP4Yz_1ILeYb0gHdz6BG1Q472vbUsQOcMCSoA/w400-h266/Ipellie+blog+post+12+Nuna+and+Vut+drawings.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;">Click photo to enlarge</span></div>
<div style="text-align: center;">
<span style="color: #3d464d; font-family: arial, helvetica, sans-serif; text-align: left;"><br /></span></div>
<div style="text-align: center;">
<span style="color: #3d464d; font-family: arial, helvetica, sans-serif; text-align: left;">The year after he published his collection
of drawings and short stories, </span><i style="color: #3d464d; font-family: arial, helvetica, sans-serif; text-align: left;">Arctic Dreams and Nightmares</i><span style="color: #3d464d; font-family: arial, helvetica, sans-serif; text-align: left;">, Alootook Ipellie
initiated a new comic strip. The curators of his retrospective exhibition, </span><i style="color: #3d464d; font-family: arial, helvetica, sans-serif; text-align: left;">Walking
Both Sides of an Invisible Border</i><span style="color: #3d464d; font-family: arial, helvetica, sans-serif; text-align: left;">, summarize this work:</span></div>
<div class="MsoNormal" style="line-height: normal; margin: 0cm 36pt;">
<span style="font-family: arial, helvetica, sans-serif;">Between 1994
and 1997, Ipellie drew the cartoon strip <i>Nuna and Vut </i>for the Eastern Arctic
newspaper <i>Nunatsiaq News</i>. <i>Nuna and Vut </i>follows the antics and
adventures of two Inuit brothers in the years preceding the signing of the
Nunavut Land Claims Agreement, which led to the creation of the territory in
1999. During this period, <i>Nunatsiaq News </i>covered the political debates
between the North and the South regarding the formation of Nunavut and the
separation from the Northwest Territories, including the drawing of boundaries
and the division of land and resources. Ipellie’s lighthearted series
contributed fresh perspectives to those debates.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;">As with <i>Ice Box</i>,
his first comic strip which was published in <i>Inuit Today</i> from the
mid-1970s through early-1980s, Ipellie’s main audience for <i>Nuna and Vut </i>was
fellow Inuit living in the North. And, as before, he uses humour as a foil while
reflecting upon the political and social issues of the day. His main characters
are once again members of a family unit and he draws them as comical caricatures.
While the Nook family protagonist of <i>Ice Box</i> had a bowl haircut and buck
teeth, the duo of Nuna and Vut are physical opposites. Nuna is short and round
(his torso is literally a circle) and Vut is tall and thin (his upper body is a
rectangle).<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;">Nuna and Vut find
themselves in situations that are simultaneously akin to the slapstick routines
of Laurel and Hardy, yet at the same time reflect current affairs. The small
sampling of <i>Nuna and Vut</i> cartoons included in <i>Walking Both Sides of
an Invisible Border </i>show that Ipellie addressed a variety of issues, from climate
change – the characters find themselves caught off guard in a treacherous
spring break up and flood-like spring run-off – to the emergence of access to
the internet in the North – Nuna and Vut try to see if they can find the end of
cyber space.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;">A unique aspect of the
<i>Nuna and Vut</i> series is Ipellie’s insertion of himself into the narrative
in his role as the cartoonist. In one scene, Ipellie depicts himself observing
Nuna and Vut’s actions through binoculars. In another, he draws his
self-portrait with the characters clinging to his goatee. His thought bubble
reads “Funny how those you helped create seem to cling on to you for the rest
of your life and vise versa.” Here, he suggests the interlocking identities of comic
strip creator and creations. In a third comic sequence, Vut is shown playing
golf. The golf ball bounces against the comic panel’s border and comes back hitting
him in the head. The text reads “Vut, yet again, forgets to sign an agreement with
the cartoonist to leave out the border-lines…” This thinly veiled reference to
the Nunavut land claim agreement negotiations would have certainly enlisted
laughs from his readers.</span><o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdZode7fO7PTK3ec_OUqr_Qj8DQbYeL23KoOngp0GGsXecTs3lkrysYXTkLdR1IMrJjH1gzAPhMotVNciY7_8FEs_Lwalsyo_QZMJJdIWvW3NQjWlJ9HVwWvUQFHFdq6TxeJDhFK3UGZc/" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1356" data-original-width="2000" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdZode7fO7PTK3ec_OUqr_Qj8DQbYeL23KoOngp0GGsXecTs3lkrysYXTkLdR1IMrJjH1gzAPhMotVNciY7_8FEs_Lwalsyo_QZMJJdIWvW3NQjWlJ9HVwWvUQFHFdq6TxeJDhFK3UGZc/w400-h271/Ipellie+blog+post+12_CUAG_Ipellie_Nuna+and+Vut_1994_ink+on+illustration+board_estate+of+the+a....jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial, helvetica, sans-serif;">Click photo to enlarge</span></div>
<div style="text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;">The comic sequence in
the featured image shows one large, wide panel above a series of four smaller,
square panels. In the first panel, <span lang="EN-GB" style="background: white; color: #262626;">Nuna and Vut stand on top of a globe of the earth and throw square
snowballs at Qallunaat. The Qallunaat blast Nuna and Vut with round snowballs
from a cannon. Writing between the two sparring factions reads “When Nuna &
Vut have snowball fights against southerners, their methodology is uniquely
Eskimo...” Vut says “What extravagance! Must be politicians!” Nuna says “No
doubt!” The Qallunaat say “Go Ottawa go! Go Ottawa go!” <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-GB" style="background: white; color: #262626;">In
the following four panels, Nuna and Vut have a conversation. Vut stands upside
down on the ground and Nuna stands right side up, also on the ground. The
dialogue between them reads: “Hey, Vut, you still with us?” “I should be asking
you that question!” “But…look at you!” “Me? It’s you – not me!” “Have you gone
mad?” “Nope! Not me – you have!” “We live in an up-side down world!” “You’re
driving me nuts!”</span> <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-GB" style="background: white; color: #262626;">Both
storylines in this sequence suggest a disconnect in terms of perspective,
communications and defense strategies. Once again, Ipellie’s visual humour and use of satire could be appreciated by the readers of <i>Nunatsiaq News</i> as Inuit leaders
continued their long battle to achieve an acceptable land claims settlement for their people.</span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;"><b><span style="color: #3d464d;">Post author: </span></b><span style="color: #3d464d;">Jennifer Gibson<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">Sources: <o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="background: white;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #2c2c2c;">Sandra Dyck, Heather Igloliorte and Christine Lalonde, </span><i><span lang="EN-GB" style="color: #2c2c2c;">Walking Both Sides of an Invisible Border</span></i><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #2c2c2c;">, exhibition section panel,
2018.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span lang="EN-GB"><span style="font-family: arial, helvetica, sans-serif;">Amy Prouty, “<a href="https://id.erudit.org/iderudit/88004ac">Drawing Inuit Satiric Resilience:
Alootook Ipellie’s Decolonial Comics</a>,” <i>esse</i>, Number 93 (Spring
2018). Accessed March 21, 2020.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<br />
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;"><a href="https://www.blogger.com/u/1/null"><b><span lang="EN-GB" style="color: #3d464d;">Images:</span></b></a><span lang="EN-GB" style="color: #3d464d;"> </span><span lang="EN-US" style="background: white; color: #444444;">Alootook
Ipellie, <i>Nuna and Vut</i>, published in <i>Nunatsiaq News</i>, March 18 and
25 1994, ink on illustration board, Estate of the artist, photo by Justin
Wonnacott, courtesy Carleton University Art Gallery; </span><span lang="EN-GB" style="background: white; color: #444444;">Alootook Ipellie, </span><i>Nuna and Vut, </i>ink on illustration board<i>, </i>Estate of the artist, <span lang="EN-GB">These <i>Nuna and Vut comic strips</i> were published
in <i>Nunatsiaq News</i> from January 1994
through October 1996, photo by Karen Asher.</span></span><span lang="EN-GB" style="background: white; color: #444444;"><o:p></o:p></span></div>
<div style="text-align: left;">
<span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-30261351066371242642020-04-10T16:46:00.003-05:002020-05-05T11:33:50.888-05:00The importance of dreams<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl7H1RjylGRAuIj6fzKwYGcCpofrR2s0H1po3YE4irYgPFhW3FznLxUBFQ0awznT7yrps6sUh0zP_a-7Fb9TG9YxocOJpVB52xlI3mbHnsIbl4q8avbsO0GVFRs_ttdSD9Q5WIA2G8_Lc/" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl7H1RjylGRAuIj6fzKwYGcCpofrR2s0H1po3YE4irYgPFhW3FznLxUBFQ0awznT7yrps6sUh0zP_a-7Fb9TG9YxocOJpVB52xlI3mbHnsIbl4q8avbsO0GVFRs_ttdSD9Q5WIA2G8_Lc/w400-h266/Ipellie+blog+post+11+Arctic+Dreams+and+Nightmares+image.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
<div style="text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;">Click photo to enlarge</span></div>
<div style="text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">In his landmark 1993 publication, <i>Arctic
Dreams and Nightmares</i>, Alootook Ipellie presents a collection of twenty
pairs of drawings and short stories that blend traditional Inuit ways of
knowing with aspects of Qallunaat culture. Ipellie’s stories are communicated
to the reader by a shaman protagonist who has been dead a thousand years and
looks back upon his life “through the eyes of his living soul." Our last
blog post explored Ipellie’s re-appropriation of central tenets of the
Christian faith as his shaman narrator successfully battled Satan in the Garden
of Nede and was reborn after his own crucifixion at the hands of fellow
shamans.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">Today, we consider the book title’s
drawing and story, “Arctic Dreams and Nightmares.” Here, Ipellie speaks to the
negative impacts of colonization while at the same time asserting the continued
importance and crucial role of traditional ways of knowing. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both;">
</div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;"> As
with other narratives in the collection, “Arctic Dreams and Nightmares” takes
several twists and turns. At one point, the shaman narrates two tales. The
first is a strange, but seemingly pleasant dream where he finds himself in a
Northern paradise. Like a veritable Alice in Wonderland, he drinks water from a
special lake that causes him to shrink to the size of an insect. He then
wanders about a small patch of tundra in blissful solitude where Arctic bushes
are now comparable to an Amazonian jungle filled with beautiful and delicious
vegetation that appear to satisfy and sustain him. Here, he thinks, the Qallunaat
animal rights activists who berate Inuit hunters won’t bother him.</span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXa6n2gU70Do9VGp1KoaDUs09rQCuE2AkjOEpBDUv2qgViwXNtM0K1BDClKlZS1lFXbbGIKB_1stFPhC14jFjQLY7HrJemMxxmlH4NuSl87n-BNWeGuxnsuOd0NX-Mn-bB0Zcw3YTyrdw/s1600/arctic+dreams+and+nightmares+detail.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1266" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXa6n2gU70Do9VGp1KoaDUs09rQCuE2AkjOEpBDUv2qgViwXNtM0K1BDClKlZS1lFXbbGIKB_1stFPhC14jFjQLY7HrJemMxxmlH4NuSl87n-BNWeGuxnsuOd0NX-Mn-bB0Zcw3YTyrdw/s400/arctic+dreams+and+nightmares+detail.jpg" width="316" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">Click photo to enlarge</span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">The second story is a nightmare where
the shaman wakes up in great pain, with blood spurting across his body and
face. It appears that an eagle is ripping out of his chest. Once free, the bird
flies away as though nothing had happened. He ponders the meaning of this
vision and concludes that the eagle had begun its existence in his body as a
blood cell that became unhappy because it was only being fed alcohol by its
host. “The cell was absolutely tired of being drunk and was now extremely
afraid of becoming an alcoholic.” The shaman explains that it was a clever cell
that convinced various other cells in his body to join together over two
decades in order to become an eagle that could escape. Once these cells had
escaped, his body was left to die. Ipellie uses this story to reflect upon the
physical effects of drinking on himself and his people as a result of
settler-colonialism’s attempts to destroy traditional Inuit culture and
society. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">While these two stories may seem
disconnected, Kimberley McMahon-Coleman has surmised that the magical water the
shaman ingested in the dream – which radically altered his perspective and
disconnected him from other living beings and previous understandings – could
symbolise the foreign (and negative) influences of settler colonialism. In the
nightmare, his body seeks to be free from these forces which are again
represented as an unfamiliar drink.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">Ipellie advocates for the vital
significance of dreams as key to Inuit culture and, essentially, to life itself. He writes:<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 36pt;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">Dreaming in the Arctic
world is not quite like dreaming in other parts of the world. And so it is with
nightmares. Perhaps there is something to be said about the mindset of
individual cultures. We do have a different outlook on life, don’t we? And this
unique outlook has given us the experiences to dream unique dreams.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 36pt;">
<br /></div>
<div class="MsoNormal" style="margin: 0cm 36pt;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">A world that
encompasses no dreamers is a world of chaos. And so a human dreamer, as he
dreams, lives a little more humanely. And had he not been able to dream, he
would not be very different from a wild animal.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">In their efforts to evangelize Inuit,
however, Christian missionaries condemned traditional beliefs and practices,
including the magnitude ascribed to dreams and the customs around their
re-telling. Inuit were actively discouraged from thinking about or discussing
their dreams with others, thus suppressing the sharing of traditional knowledge
and understandings across generations. In his introduction to <i>Arctic Dreams
and Nightmares</i>, Ipellie describes settler-colonialism’s attempts to destroy
so many aspects of traditional Inuit ways of life as “cultural genocide.” Yet, the publication of Ipellie’s book asserts that Inuit have not stopped dreaming and telling their stories, and
that they will continue to do so.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;"><b><span style="color: #3d464d;">Post author: </span></b><span style="color: #3d464d;">Jennifer Gibson<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">Sources: <o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="background: white;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-GB">Guy Bordin, “<a href="http://inuitoralityconference.com/art/Bordin.pdf">Dream Narration among
Eastern Arctic Canadian Inuit</a>,” in B. Collignon & M. Therrien, <i>Orality
in the 21st century: Inuit discourse and practices</i>. Proceedings of the 15th
Inuit Studies Conference (Paris: INALCO, 2009). Accessed April 10, 2020.</span><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #2c2c2c;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white;">
<br /></div>
<div class="MsoNormal" style="background: white;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #2c2c2c;">Sandra Dyck, Heather Igloliorte and Christine Lalonde, </span><i><span lang="EN-GB" style="color: #2c2c2c;">Walking Both Sides of an Invisible Border</span></i><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #2c2c2c;">, exhibition section panel,
2018.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white;">
<br /></div>
<div class="MsoNormal" style="background: white;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #2c2c2c;">Alootook Ipellie, <i>Arctic Dreams and Nightmares</i>
(Penticton, BC: Theytus Books, 1993).</span><span lang="EN-GB" style="color: #444444;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white;">
<br /></div>
<div class="MsoNormal" style="background: white;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #444444;">Kimberley McMahon-Coleman, "</span><span lang="EN-GB"><a href="https://ro.uow.edu.au/cgi/viewcontent.cgi?article=1826&context=kunapipi"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4d469c;">Dreaming An Identity between Two
Cultures: The Works of Alootook Ipellie</span></a></span><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #444444;">," <i>Kunapipi</i> (Volume
28, Issue 1, Article 12), 2006. Accessed March 21, 2020.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white;">
<br /></div>
<div class="MsoNormal" style="background: white;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #444444;">Kimberley, McMahon-Coleman, </span><span lang="EN-GB"><a href="https://ro.uow.edu.au/cgi/viewcontent.cgi?article=1786&context=theses"><i>Indigenous diasporic literature: representations of
the Shaman in the works of Sam Watson and Alootook Ipellie</i></a></span><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #444444;">, PhD thesis, Faculty of
Arts, University of Wollongong, 2009. Accessed April 5, 2020.</span><span lang="EN-GB" style="color: #444444;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
</div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;"><a href="https://www.blogger.com/u/1/null"><b><span lang="EN-GB" style="color: #3d464d;">Images:</span></b></a><span lang="EN-GB" style="color: #3d464d;"> </span><span lang="EN-GB" style="background: white; color: #444444;">Alootook Ipellie, </span><i><span lang="EN-GB" style="color: #444444;">Arctic
Dreams and Nightmares</span></i><span lang="EN-GB" style="background: white; color: #444444;"> (1993), ink on illustration board, collection of
Charles R.J. Gardner, photo by Karen Asher.</span></span><span lang="EN-US" style="background: white; color: #444444;"><o:p></o:p></span></div>
<br />Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-29526330976182823242020-04-08T16:26:00.000-05:002020-04-08T16:28:09.078-05:00Alootook Ipellie in CV2 Magazine<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZDC-RAvdKb7rVVzJTm1636-an0yAh4A1FnYwQCEocBbboD1Wst9kihVUW6nVd43ZRJ8L2t6B9NH-FbRRWxNqbIdprqh5V6vAXZ4j1u8wnqQDIoKVezVpBukPFEBiBUQ22yQzzUB-HqGY/s1600/CV2+cover.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="686" data-original-width="744" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZDC-RAvdKb7rVVzJTm1636-an0yAh4A1FnYwQCEocBbboD1Wst9kihVUW6nVd43ZRJ8L2t6B9NH-FbRRWxNqbIdprqh5V6vAXZ4j1u8wnqQDIoKVezVpBukPFEBiBUQ22yQzzUB-HqGY/s400/CV2+cover.png" width="400" /></a></div>
<br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Today we pause our thrice weekly blog posts that examine specific portions of Alootook Ipellie's retrospective exhibition, <i>Walking Both Sides of An Invisible Border</i>, for an exciting announcement. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><a href="http://www.contemporaryverse2.ca/en/" target="_blank">Contemporary Verse 2: The Canadian Journal of Poetry and Critical Writing</a></i> has launched its Spring 2020 issue and Ipellie's drawing, "The Death of Nomadic Life, The Creeping Emergence of Civilization," is on the cover!</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Not only that. You will find two additional drawings by Ipellie inside the volume as well as two of the five poems from his exhibition: "It Was Not 'Jajai-ja-jiijaaa' Anymore, But 'Amen'" (1997) and "Anaanaak" (2003).</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">See for yourself by ordering your copy of CV2 Magazine today on their <a href="http://www.contemporaryverse2.ca/en/" target="_blank">website</a>. It will be a fantastic read and you'll be supporting artists, poets and a non-profit arts organization all at the same time. It's support that is direly needed during the current challenging time.</span>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-2049607818942673572020-04-06T09:08:00.003-05:002020-05-05T11:35:01.460-05:00Arctic Dreams and Nightmares<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho7M1tuZAv9RRGQuPP1SfdWsEdKyBcwb4GMtqbUreKoTbZpph0HnNd1UpO9sf0gd4cjSHJDi_0Rp-MkfrjWD-57D9DBieh-w7RBzQaii5JpvI0W7U3Q_Re1jRzm2vdrEVk3pnIpkYghkc/s1600/Ipellie+blog+post+9+CUAG_Ipellie_Arctic+Dreams+and+Nightmares_Photo+by+Justin+Wonnacott.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1556" data-original-width="1600" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho7M1tuZAv9RRGQuPP1SfdWsEdKyBcwb4GMtqbUreKoTbZpph0HnNd1UpO9sf0gd4cjSHJDi_0Rp-MkfrjWD-57D9DBieh-w7RBzQaii5JpvI0W7U3Q_Re1jRzm2vdrEVk3pnIpkYghkc/s400/Ipellie+blog+post+9+CUAG_Ipellie_Arctic+Dreams+and+Nightmares_Photo+by+Justin+Wonnacott.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;">Click photo to enlarge</span></div>
<div style="text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">Another highlight of the touring
exhibition <i>Alootook Ipellie: Walking Both Sides of an Invisible Border </i>is
the inclusion of seven drawings from Ipellie’s seminal publication <i>Arctic Dreams and
Nightmares</i>. Exhibition curators Sandra Dyck, Heather Igloliorte and
Christine Lalonde provide context for this important volume:<br /><br /><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 36pt;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">The first book of
collected short fiction by an Inuk writer published in Canada, <i>Arctic Dreams
and Nightmares</i> (1993) is one of Alootook Ipellie’s most significant
achievements. The drawings came first, the stories later. He wrote a story to
accompany each of the twenty drawings in the book over an intense three-month
period. “They were pretty much writing themselves,” he later recalled. The
stories were inspired by his own dreams and nightmares, his daily life and his “ancestors’
extraordinary gift for inventing myths, stories and legends.” <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 36pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 36pt;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">The book is narrated
by an Inuk shaman who has been dead for a thousand years and now looks back on
his life “through the eyes of his living soul.” Freed from the constraints of
the body, time and space, the shaman roams everyday and otherworldly realms. His
adventures are recounted by Ipellie in fantastical (and often sexual) tales that
intermingle pop culture, Christianity, current events, and Inuit and Western stories.
Shakespeare, Sattaanassee, Brigitte Bardot, Sedna and Super Stud all make appearances.
There’s no book like it. </span></span></div>
<div class="MsoNormal" style="margin: 0cm 36pt;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">While much of Ipellie’s early work was
geared primarily to an Inuit audience, <i>Arctic Dreams and Nightmares</i> was created
with both Inuit and Qallunaat readers and viewers in mind. The book opens with
an autobiographical essay that introduces the circumstances into which Ipellie
was born, grew up and proceeded into his career as a writer and artist. Through
his introduction, Ipellie is forthright about the devastating impacts that colonization
has had on him and his people. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">The stories and drawings also
draw attention to and, importantly, subvert these impacts. In an interview with
Michael Kennedy, for example, Ipellie explains how his drawing and story “After
Brigitte Bardot” speak back to the negative effect that anti-seal hunting protests
made by non-Indigenous celebrities had on Inuit: “I wanted to tell her what we
thought about what she did to our people.”</span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi2xRR_Acy4p4RyHUk-aAn4xqir9S-W0LfeSRRy8HDgDD_ehzGKi1hFhAykjMahuNnIEXO6D2NH2h_j3TTBeF51t3J9U2JLYX2nxUjwoVdDwrOmLJRTJxxJqdSGYXRYCQdTkJht6M-yjk/" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi2xRR_Acy4p4RyHUk-aAn4xqir9S-W0LfeSRRy8HDgDD_ehzGKi1hFhAykjMahuNnIEXO6D2NH2h_j3TTBeF51t3J9U2JLYX2nxUjwoVdDwrOmLJRTJxxJqdSGYXRYCQdTkJht6M-yjk/w400-h266/Ipellie+blog+post+9+partial+installation+view+image.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">Click photo to enlarge</span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">The drawing on the book’s cover, <i>Self-Portrait:
Inverse Ten Commandments</i>, is one of many in the volume that critiques the
introduction of Christianity to Inuit by overturning its concepts, symbols
and narratives. Kimberley McMahon-Coleman notes that since Ipellie’s stories
are based on dreams and written from the point of view of a shaman, they represent
traditional Inuit ways of knowing. She asserts that his incorporation of Christian
tropes into his collection “emphasizes the possibility of co-existence between
the two belief systems, albeit with Christianity in the minor role.” Ipellie,
further, explained to Kennedy that he comes from a family of shamans on his
mother’s side:<br /><br /><o:p></o:p></span></span></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal" style="margin: 0cm 36pt;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">I think it was that sense
of having had the family heredity of shamanism that I wanted to have the shaman
in the book. Having heard stories about shamans from my own family, from the
community in Iqaluit, it is a very large passion for me and I tried to keep
that passion when I was writing the book to keep that spirit alive.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 36pt;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS3dfh72lQ0gPqnGmUmj3agmbsZzm-Hj9UIdQFAZ6xHFeaG7qt0kR3zqZd_WNJuu_Rs_d50OLHzUfDCH9jI6B0etcsY6NT-thUHvA8-5ZgaFz8M_C8DTy2WTXBj1-ZP4n5Kynz-1GJKDo/s1600/Ipellie+blog+post+9+Inverse+ten+commandments+photo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS3dfh72lQ0gPqnGmUmj3agmbsZzm-Hj9UIdQFAZ6xHFeaG7qt0kR3zqZd_WNJuu_Rs_d50OLHzUfDCH9jI6B0etcsY6NT-thUHvA8-5ZgaFz8M_C8DTy2WTXBj1-ZP4n5Kynz-1GJKDo/s400/Ipellie+blog+post+9+Inverse+ten+commandments+photo.jpg" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0cm 36pt 0.0001pt; text-align: center;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">Click photo to enlarge</span></span></div>
<div class="MsoNormal" style="margin: 0cm 36pt 0.0001pt; text-align: center;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">In the story "Self-Portrait: Inverse Ten Commandments"<i>,
</i>the shaman narrator confronts a vision of his own devilish face (which indeed
looks a lot like Ipellie’s) and hands that are alive with tiny screaming faces on
each of his fingertips. He realizes that he has arrived at Hell’s Garden of
Nede (anagram of Eden) and that the tiny faces represent the inverse ten
commandments, shouting “Thou Shalt” instead of “Thou Shalt Not.” As the vision
welcomes and then grabs hold of him, the tiny faces slurp his hands with their razor-sharp
tongues. He recalls that the Church’s teachings – namely, that if one
maintained a “good-humoured personality to all mankind,” one would be guaranteed
a place in Christian heaven – are untrue. He decides that the only way to break
free is to knee the Satanic vision in the groin. The image disappears and all
returns to normal. He then concludes that his soul had successfully travelled
through the cosmos by visiting and then ridding himself of his dark side. As
McMahon-Coleman notes, the shaman narrator “has saved himself without the agency
of the Church or its ministry.” In doing so, he has proven himself a powerful shaman.<o:p></o:p></span></span><br />
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif2ssTmEBQauCeFM44wHGkUufzPJfdeiw9CNhH_RFps1lhrxOckqMNc10yyMKsN3ZoiL0X_n94tqyOSYQNL7MxYsC5kh9vrIxBNKXeUwCiN9WKOg2p_0x93OKVRfWqV-stpnZWf76r81c/s1600/I+Crucified+Ipellie.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="592" data-original-width="474" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif2ssTmEBQauCeFM44wHGkUufzPJfdeiw9CNhH_RFps1lhrxOckqMNc10yyMKsN3ZoiL0X_n94tqyOSYQNL7MxYsC5kh9vrIxBNKXeUwCiN9WKOg2p_0x93OKVRfWqV-stpnZWf76r81c/s400/I+Crucified+Ipellie.jpeg" width="320" /></a></div>
<div style="text-align: center;">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">Click photo to enlarge</span></span></div>
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></span>
<br />
<div class="MsoNormal">
<span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">A second story in <i>Arctic Dreams and
Nightmares</i> Indigenizes Christianity’s main narrative. In <i>I, Crucified</i>
the shaman travels through time and space to find himself bound to a whalebone
cross and pinned in place by arrows and a harpoon as tundra wolves snarl at his
feet. He discovers that his crucifixion is due to the jealousy of other shamans
who are unable to successfully compete against him. They trap him using his own
ego and desire for additional power as bait. He is then forced to wait a
thousand years until he is reborn as the contemporary narrator of Ipellie’s
stories. McMahon-Coleman notes that through <i>I, Crucified, </i>Ipellie “implies
that Christ was one of many shamans the world has seen, and that the article of
belief central to Christianity – that of Christ’s resurrection – can be
explained through the traditional Inuit belief in reincarnation.” In this way, the
writer “critiques the efforts of missionaries to eradicate traditional beliefs
in favour of their own.”</span><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;"><b><span style="color: #3d464d;">Post author: </span></b><span style="color: #3d464d;">Jennifer Gibson<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: #3d464d;"><span style="font-family: arial, helvetica, sans-serif;">Sources: <o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="background: white;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #2c2c2c;">Sandra Dyck, Heather Igloliorte and Christine Lalonde, </span><i><span lang="EN-GB" style="color: #2c2c2c;">Walking Both Sides of an Invisible Border</span></i><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #2c2c2c;">, exhibition section panel,
2018.<u1:p></u1:p><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white;">
<br /></div>
<div class="MsoNormal" style="background: white;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #2c2c2c;">Alootook Ipellie, <i>Arctic Dreams and Nightmares</i>
(Penticton, BC: Theytus Books, 1993).</span><span lang="EN-GB" style="color: #444444;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white;">
<br /></div>
<div class="MsoNormal" style="background: white;">
<span lang="EN-GB" style="color: #444444;"><span style="font-family: arial, helvetica, sans-serif;">Michael
P. J. Kennedy, “<a href="https://journals.lib.unb.ca/index.php/SCL/article/view/8255"><span style="color: #4d469c; text-decoration-line: none;">Alootook
Ipellie: The Voice of an Inuk Artist</span></a>,” <i>Studies in Canadian
Literature</i> (Volume 21, Number 2), 1996. Accessed March 21, 2020.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white;">
<br /></div>
<div class="MsoNormal" style="background: white;">
<span lang="EN-GB" style="color: #444444;"><span style="font-family: arial, helvetica, sans-serif;">Michael
P. J. Kennedy, “<a href="http://www3.brandonu.ca/cjns/15.2/kennedy.pdf">Southern
Exposure: Belated Recognition of a Significant Inuk Writer-Artist</a>,” <i>Canadian
Journal of Native Studies</i>, Volume 15, Number 2 (1995). Accessed March 21,
2020.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white;">
<br /></div>
<div class="MsoNormal" style="background: white;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #444444;">Kimberley McMahon-Coleman, "</span><span lang="EN-GB"><a href="https://ro.uow.edu.au/cgi/viewcontent.cgi?article=1826&context=kunapipi"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4d469c; text-decoration-line: none;">Dreaming
An Identity between Two Cultures: The Works of Alootook Ipellie</span></a></span><span lang="EN-GB" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #444444;">," <i>Kunapipi</i> (Volume 28, Issue 1, Article 12), 2006.</span><span lang="EN-GB" style="color: #444444;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin: 0cm 36pt 0.0001pt;">
</div>
<div class="MsoNormal">
<span style="font-family: arial, helvetica, sans-serif;"><a href="https://www.blogger.com/u/1/null"><b><span lang="EN-GB" style="color: #3d464d;">Images:</span></b></a><span lang="EN-GB" style="color: #3d464d;"> </span><span lang="EN-US" style="background: white; color: #444444;">Alootook
Ipellie, Cover of <i>Arctic Dreams and </i>Nightmares, published by
Theytus Books, 1993, photo by Justin Wonnacott, courtesy Carleton University
Art Gallery; <i>Alootook Ipellie: Walking Both Sides of an Invisible Border</i>,
partial installation views showing <i>Self-Portrait: Inverse Ten Commandments</i>
(1993), ink on illustration board, private collection, photos by Karen Asher; Alootook Ipellie, <i>I, Crucified</i> (1993), ink on illustration board, courtesy <a href="https://adastracomix.com/2014/04/04/arctic-dreams-and-nightmares-the-incredible-political-cartoons-of-alootook-ipellie/" target="_blank">Ad Astra Comix</a>. </span></span></div>
<br />Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-3514469374990623492020-04-03T12:04:00.002-05:002020-04-03T12:08:07.094-05:00The Half-Fish<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxpwIKKEUUtkG-Ara5mKy0iRPv9xhRqXS-QLJf6umZjpjhF-Rabzk53IZB1FAJXdbUOCCBZBBp7KhncFVCrervrqsVPJQPBpGNNexT8ImIm180ZwV4gUKQDcJHj5Ry2K-tXSST15bTSuQ/s1600/27.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxpwIKKEUUtkG-Ara5mKy0iRPv9xhRqXS-QLJf6umZjpjhF-Rabzk53IZB1FAJXdbUOCCBZBBp7KhncFVCrervrqsVPJQPBpGNNexT8ImIm180ZwV4gUKQDcJHj5Ry2K-tXSST15bTSuQ/s400/27.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Click photo to enlarge</span></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="text-align: left;">
</div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">At the time of his collaboration on his first book <i style="mso-bidi-font-style: normal;">Paper Stays Put: A Collection of Inuit
Writing</i>, edited by Robin Gedalof and published in 1980, Alootook Ipellie
had already established his own distinct style of drawing. While working at <i>Inuit
Monthly</i> as a translator, writer, creator of the comic strip <i style="mso-bidi-font-style: normal;">Ice Box</i>, designer, photographer and
editor, he illustrated and contributed written pieces (including poetry and a
story) to the anthology. The curators of the exhibition <i style="mso-bidi-font-style: normal;">Alootook Ipellie: Walking Both Sides of an Invisible Border </i>write:<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 56.65pt; margin-right: 54.6pt; margin-top: 0cm;">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">[<i style="mso-bidi-font-style: normal;">Paper Stays Put</i>] reflects the complexity
and range of the “subjects and styles adopted by Inuit writers,” as Gedalof
wrote in the introduction [...] Like his magazine work, Ipellie’s illustrations
for <i style="mso-bidi-font-style: normal;">Paper Stays Put</i> are precise
drawings in black ink that bear witness to his steady hand, confident lines and
rich patterns” (Dyck, et al. 7)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 56.65pt; margin-right: 54.6pt; margin-top: 0cm;">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">The touring exhibition <i style="mso-bidi-font-style: normal;">Alootook
Ipellie: Walking Both Sides of an Invisible Border</i> features five of the
illustrations from <i style="mso-bidi-font-style: normal;">Paper Stays Put</i>. A
viewer familiar with the figure of Nuliajuk, the spirit of the sea, might be
captivated by one of these drawings, <i style="mso-bidi-font-style: normal;">The
Half-Fish. </i>Elder Peter Irniq calls Nuliajuk, “Uinigumasuittuq”, which
translates to “one that never wanted to marry” because, in traditional versions
of her story, Nuliajuk refuses her father’s orders to choose a partner and instead
has babies with a dog. On a kayak trip, her angry father throws her into the
sea and when she clings to the side of the kayak, he chops off her fingers. Her
fingers become sea mammals. She sinks to the bottom where she now lives,
guarded by a dog. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">This representation of the story of Nuliajuk (or Sedna, as she
is also known) feels both familiar and uncanny, terrifying and inviting. The
viewer of the image is privy to quite the scene; a hunter prods the sea spirit
who stares at the viewer, sporting an expression of surprise. Harpooning or
“catching” Nuliajuk ensures that she will release the sea mammals so that the
people may be fed (Oosten 484). <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">Ipellie’s illustration accompanies a story by a Povungnituk
carver, contributed to the anthology by Taivitialuk Alaasuaq. This story
“attempts to reconcile the old beliefs with the technology brought North by the
white traders” (Gedalof 94). In this version, Nuliajuk is stuck on the shore
and is spotted by a hunter. She asks the hunter to help her without touching
her, inviting him to instead use the wood he’s harvesting to push her back into
the sea. In exchange for this favour, she will reward him. After a lot of
effort, the hunter manages to push her back into the water and returns the next
day for his reward. The reward comes in the form of a gramophone, sewing
machine and gun.</span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLlG6ViFysLMYKXKaZ1Ld0shp4pQFMdSBGedh1fzI0dNNWvcT6K-6EypMQb4aDd5r8GjwuCxt_6MERqAMlp6XQ-QW7rDPkzkmuv5ZvtMd0482Ad5i7TZcU_9WtUOjJiqIqsaVdPPoFEIQ/s1600/The+Half+Fish+drawing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1372" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLlG6ViFysLMYKXKaZ1Ld0shp4pQFMdSBGedh1fzI0dNNWvcT6K-6EypMQb4aDd5r8GjwuCxt_6MERqAMlp6XQ-QW7rDPkzkmuv5ZvtMd0482Ad5i7TZcU_9WtUOjJiqIqsaVdPPoFEIQ/s400/The+Half+Fish+drawing.jpg" width="342" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">Click photo to enlarge</span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">Ipellie also has his own version of the story in his book <i>Arctic Dreams and Nightmares</i>, published
in 1993. His story, titled “Summit with Sedna, Mother of Sea Beasts”, tells of
a sexually frustrated Sedna. The shamans meet up and conjure a plan to give her
a dream that would satisfy her. The dream ends up featuring the worthy match
she never found. While the story featured in <i>Paper Stays Put</i> highlights a tension of the time around technology,
this version is more interested in themes of sexuality and gender. Contemporary
adaptations like this one ensure and emphasize the enduring relevance of
traditional stories.<o:p></o:p></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"></span><br />
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">It is also worth noting that in both of Ipellie’s illustrations
of Nuliajuk, she is given the same characteristics; there are, however, some
differences. These differences are likely due to her role in both of these
stories. In <i>The Half-Fish</i>, she is
more of a sympathetic figure in need of assistance, who then bestows gifts to
the people. Ipellie shows her with a tail, webbed hands and a braid. In “Summit
with Sedna,” she is portrayed as the antagonist, as a villain who must be
appeased. The accompanying illustration depicts Sedna with more grotesque
facial features, her breasts prominent, webbed hands with eyes on them. In both
drawings, Sedna is given braids, indicating that she has had her hair combed
(one of the roles of the shaman is to make a journey to the bottom of the sea
to comb and braid her hair), and thus has been placated. </span> <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt7CR9Bu7EgpMbo8u17j5KkddBZVBZkdFNsuvst18dIMm1VPke3vpOhOcCnH-2sGvvtKqPgkl_VKh3Iagsic-Z3Id5J0TZ2TyV4o5LIyjWYvC0cOkkS4rWBGbF1TpC8SPQvQ2WrEcNOJ4/s1600/Summit+with+Sedna+Mother+of+the+Sea+Beasts.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1073" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt7CR9Bu7EgpMbo8u17j5KkddBZVBZkdFNsuvst18dIMm1VPke3vpOhOcCnH-2sGvvtKqPgkl_VKh3Iagsic-Z3Id5J0TZ2TyV4o5LIyjWYvC0cOkkS4rWBGbF1TpC8SPQvQ2WrEcNOJ4/s400/Summit+with+Sedna+Mother+of+the+Sea+Beasts.jpg" width="267" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="color: #3d464d; font-family: "arial" , "helvetica" , sans-serif;">Click photo to enlarge</span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="color: #3d464d; font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
</div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">Representations of Nuliajuk, or Sedna, vary greatly between
having the appearance of a sea mammal or that of a mermaid. While some Inuit
artists may agree that she is something like a mermaid, others disagree, noting
that the figure of the mermaid might have been imported by European
mythologies. Instead, they emphasize her role as a creator, as spirit. Either
way, her depictions are marked by transformation; in all iterations, her
fingers, once chopped off, become sea mammals, and she is often seen with fins
or a tail. In Inuit cosmologies, the ability to transform is evidence of the
non-rigidity of categories of human/animal, or natural/supernatural (Florence
34-5): “Thus the sea beings represent a timeless and non-social world where the
distinction between human beings and animal has collapsed” (Oosten 492).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-spacerun: yes;"><br /></span></span></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Post author:</b> Marie-Anne Redhead</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">Sources:<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">Dyck, Sandra, Heather Igloliorte and Christine Lalonde.
Exhibition section panel. <i style="mso-bidi-font-style: normal;">Walking Both
Sides of an Invisible Border</i>, 2018.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">Florence, Kathryn. <i style="mso-bidi-font-style: normal;"><a href="https://spectrum.library.concordia.ca/985794/">Tail/Tale/Tell: The
Transformations of Sedna into an Icon of Survivance in the Visual Arts Through
the Eyes of Four Contemporary Urban Inuit Artists</a>. </i>2019. Concordia
University, Masters thesis.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">Gedalof, Robyn and Alootook Ipellie. <i style="mso-bidi-font-style: normal;">Paper Stays Put: A Collection of Inuit Writing</i>. Hurtig, 1980.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">Irniq, Peter. “<a href="https://www.historymuseum.ca/history-hall/origins/_media/Nuliajuk-EN.pdf">The
Story of Nuliajuk</a>.”<span style="mso-bidi-font-style: italic;"> Canadian
Museum of History website (The Canadian History Hall, Origins).</span> Accessed
1 April 2020.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">McCall, Sophie, et al., editors.<i style="mso-bidi-font-style: normal;"> Read, Listen, Tell: Indigenous Stories from Turtle Island</i>. Wilfrid
Laurier University Press, 2017.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">Oosten, Jarich, and Laugrand Frédéric. “<a href="https://www.researchgate.net/publication/249578342_Representing_the_Sea_Woman">Representing
the ‘Sea Woman’</a>.” <i style="mso-bidi-font-style: normal;">Religion and the
Arts</i>, vol. 13, no. 4, 2009, pp. 477–495.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">Further reading:<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><a href="https://wag.ca/event/nuliajuk-story/">Nuliajuk’s Story</a></span></i><span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";">,
Winnipeg Art Gallery.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "arial" , "helvetica" , sans-serif;">“<a href="https://www.youtube.com/watch?v=tn1nz-2J3wI&t=3s">The
Legend of Nuliajuk (Audio Only, English)</a>.” <i style="mso-bidi-font-style: normal;">Youtube</i>, uploaded by Taqqut Productions, 11 March 2016.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";">First image:</span></b><span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"> </span><span lang="EN-US" style="background: white; color: #444444;">Alootook Ipellie, <i>Walking
Both Sides of an Invisible Border</i>, partial installation view. Photo: Karen
Asher. Artworks in image, left to right, top to bottom (all by Alootook Ipellie
and all ink on paper illustrations published in <i>Paper Stays Put: A
Collection of Inuit Writing</i>): <i>Survival in the South </i>by Minnie
Aodla Freeman (1980), collection of Annalise and Kur Biedermann, Thayngen,
Switzerland; <i>The Half-Fish </i>by Taivitialuk Alaasuaq, collection of E.
Gedalof and S. Davies; <i>So You Want to Kill an Eskimo </i>by Anthony Apakark
Thrasher, collection of Lynn Jamieson and the late Geoffrey S. Lester; <i>I
Make My Living by Carving </i>by Marius Kavotak, collection of Marjorie and
Michael P. Kennedy, Vanscoy, Saskatchewan; <i>Ululigarqnaarq </i>by an
anonymous author, collection of E. Gedalof and S. Davies.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span lang="EN-US" style="background: white; color: #444444;">Second image: </span></b><span lang="EN-US" style="background: white; color: #444444;">Alootook
Ipellie, Illustration for <i>The Half-Fish </i>by Taivitialuk Alaasuaq,
published in <i>Paper Stays Put: A Collection of Inuit Writing </i>(1980), ink
on paper, collection of E. Gedalof and S. Davies; Photo by Justin Wonnacott,
courtesy of Carleton University Art Gallery.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span lang="EN-US" style="background: white; color: #444444;">Third image:</span></b><span lang="EN-US" style="background: white; color: #444444;"> Alootook Ipellie,
Illustration for <i>Summit with Sedna, Mother of Sea Beasts</i>, published in <i>Arctic
Dreams and Nightmares</i> (1993), ink on paper; Photo from "<a href="https://zocalopoets.com/2013/04/11/alootook-ipellie-artist-writer-dreamer/" target="_blank">Alootook Ipellie: Artist, Writer, Dreamer!</a>", April 11, 2013, Zócalo Poets.
Accessed April 3, 2020.</span></span><span lang="EN-GB" style="color: #3d464d; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<span style="color: #3d464d; font-family: "arial" , "helvetica" , sans-serif;"></span>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-74879790028108920672020-04-01T09:37:00.002-05:002020-06-04T20:11:42.876-05:00Building Nunavut<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvp4VtGmAGylQMY9DeQklAlquP-tdaeBexjlBimfKvPeywwRmgkoREHyI1908toRj5EThK-jlfCqiKzaR_TfWxwx5d0NK_LKaJBYzS0ktgqsPuc1sazG1b3D_XAwDY3wYoa3hEvj7MFJ8/s1600/16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvp4VtGmAGylQMY9DeQklAlquP-tdaeBexjlBimfKvPeywwRmgkoREHyI1908toRj5EThK-jlfCqiKzaR_TfWxwx5d0NK_LKaJBYzS0ktgqsPuc1sazG1b3D_XAwDY3wYoa3hEvj7MFJ8/s400/16.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;">Click photo to enlarge</span></div>
<div style="text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<div style="text-align: left;">
</div>
<div class="Body" style="margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: arial, sans-serif;">Earlier this week, Magnolia Valles Duran
contextualized <a href="http://gallery1c03.blogspot.com/2020/03/pipelines-and-resource-extraction.html" target="_blank">two of Alootook Ipellie’s political cartoons</a> which opposed the
construction of pipelines in the North and advocated for an Inuit land claim
agreement. Indeed, the issues of industrial encroachment and Inuit land rights are
inextricably linked. Today, we will consider a handful of graphic designs Ipellie
produced for Inuit organizations who lobbied for the establishment of Nunavut, the
largest Indigenous land claim settlement in Canada.<o:p></o:p></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<br /></div>
<div class="Body" style="margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: arial, sans-serif;">The
curators of the touring exhibition <i>Alootook Ipellie: Walking Both Sides of
an Invisible Border</i> provide excellent background: <span> </span><span> </span><o:p></o:p></span></div>
<div class="Body" style="margin: 0cm 0cm 0cm 36pt;">
<span lang="EN-US" style="font-family: arial, sans-serif;">In the decades
leading up to the creation of Nunavut in 1999, Alootook Ipellie worked for
Inuit political organizations including <a href="https://www.itk.ca/">Inuit Tapirisat
of Canada</a>, the <a href="https://www.inuitcircumpolar.com/">Inuit
Circumpolar Conference</a> and the <a href="https://www.tunngavik.com/">Tungavik
Federation of Nunavut</a>. He was a passionate believer in and advocate for
what he called the “Nunavut dream.” These posters document key moments in
Nunavut’s history. Ipellie’s 1982 poster, published by the ITC, encouraged voting
in the territory-wide plebiscite that tested public support for the division of
the Northwest Territories. In 1987 he designed a series of seven posters,
published by the Nunavut Constitutional Forum, to raise awareness of an
agreement on Nunavut’s geographical boundary. The boundary for division was
ultimately approved by plebiscite on May 4, 1992.<o:p></o:p></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<br /></div>
<div class="Default" style="line-height: 14pt;">
<span lang="EN-US" style="font-family: arial, sans-serif;">The </span><span lang="EN-US" style="font-family: arial, sans-serif;">grouping of posters in this
photograph includes the original ink drawing for <i>Building Nunavut</i>,
enabling viewers to see this piece in two different stages. The drawing allows
us to focus solely on Ipellie’s visual imagery and composition. He vertically stacks
the profiles of thirteen Inuit along the right side of the image. Each of the faces
is a distinct portrait – it’s likely that at least some of the people depicted
are political leaders who would have been recognizable to many in the North. But
there is diversity here too – we see men and women, young and old, gathered
together. And among the faces is the profile of a man with a wispy moustache
and goatee who looks a lot like the artist, minus his glasses. Everyone has a
part to play in the creation of Nunavut and people need to work together to
make it a reality.</span><span lang="EN-US" style="font-family: arial, sans-serif;"><o:p></o:p></span><br />
<span lang="EN-US" style="font-family: arial, sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjXIdTqk_oK_mvM9SDVKaB2LjYY0Sixo8vKfoWSgC0ZTJELSe-UlJ5HhfzAEf4zvqCd-ec3C8nZncJhDbQybDFBpVGq47_h0H_8QYW7tEPWGjStrbMjmHrSzBuMB7OALBg9AwmUvTkLrI/" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="842" data-original-width="653" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjXIdTqk_oK_mvM9SDVKaB2LjYY0Sixo8vKfoWSgC0ZTJELSe-UlJ5HhfzAEf4zvqCd-ec3C8nZncJhDbQybDFBpVGq47_h0H_8QYW7tEPWGjStrbMjmHrSzBuMB7OALBg9AwmUvTkLrI/w310-h400/Ipellie+blog+post+7+Building+Nunavut+drawing.jpg" width="310" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
<div style="text-align: center;">
<span lang="EN-US" style="font-family: arial, sans-serif;">Click photo to enlarge</span></div>
</div>
<div class="Default" style="line-height: 14pt;">
<br /></div>
<div class="Default" style="line-height: 14pt;">
<span lang="EN-US" style="font-family: arial, sans-serif;">The need for collective contribution to the successful implementation
of Nunavut is underscored in the corresponding poster which indicates the broad
social, political and economic categories that it will affect. The poster’s
text reads: “Building Nunavut Means: Designing Nunavut, Boundaries, Division of
Powers, Fiscal Relations, Nunavut Bill of Rights, Structures and Symbols,
Language, Culture, Communications, Cultural Property, Communications,
Education, Science and Research, Administration of Justice, Land, Resources and
Environment, Offshore, Social Policy, Intergovernmental Relations,
International Relations, A Capital for Nunavut.”<o:p></o:p></span></div>
<div class="Default" style="line-height: 14pt;">
<br /></div>
<div class="Default" style="line-height: 14pt;">
<span lang="EN-US" style="font-family: arial, sans-serif;">The other three posters in this grouping reinforce the concept
of active engagement and collective effort. One of Ipellie’s clever yet direct
designs shows a globe doubling as a ballot box with the slot for the ballot positioned
directly on the Northwest Territories. A hand holding a ballot inserts their
vote into the slot. All adult Inuit were encouraged to vote for the establishment
of Nunavut through the division of the NWT. <o:p></o:p></span><br />
<span lang="EN-US" style="font-family: arial, sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtS47NuDQVirNiu9JW9oKrhz54UHK9RPlveAUdnGq3ORWJLec7XsDxASYvu_9xZc92fLQNJPRJYPFrY01TsrDoZlP4UkhyKYLgWvbm02U0-ygGon6DkxIGS-moTVPMAqCWipKJSwOR-wY/" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="776" data-original-width="574" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtS47NuDQVirNiu9JW9oKrhz54UHK9RPlveAUdnGq3ORWJLec7XsDxASYvu_9xZc92fLQNJPRJYPFrY01TsrDoZlP4UkhyKYLgWvbm02U0-ygGon6DkxIGS-moTVPMAqCWipKJSwOR-wY/w296-h400/Ipellie+blog+post+7+Nunavut+Wants+You.jpg" width="296" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
<div style="text-align: center;">
<span lang="EN-US" style="font-family: arial, sans-serif;">Click photo to enlarge</span></div>
</div>
<div class="Default" style="line-height: 14pt;">
<br /></div>
<div class="Default" style="line-height: 14pt;">
<span lang="EN-US" style="font-family: arial, sans-serif;">For <i>Nunavut Wants You</i>, Ipellie updates the ubiquitous
Uncle Sam poster used to recruit American soldiers for World War I and World
War II. In Ipellie’s rendition, Inuit are being called to do their duty to contribute
to the fight for their Indigenous rights. </span><br />
<span lang="EN-US" style="font-family: arial, sans-serif;"><br /></span>
<span lang="EN-US" style="font-family: arial, sans-serif;">Finally, the <i>Nuna Vut </i>poster suggests
that the realization of the new territory is dependent upon partnership and people
standing together.</span><span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-US" style="font-family: arial, sans-serif;"> </span><span style="background-color: white; color: #262626;">One person in the poster wears a baseball cap and has their arm around the other person. Both people are wearing white t-shirts with black writing in English and Inuktitut. The writing on the t-shirt worn by the person on the left reads “NUNA”, and the writing on the t-shirt worn by the person on the right reads “VUT.” </span></span><span style="font-family: arial, sans-serif;">Neither of the two figures shown can make "Nunavut" on their
own. </span></div>
<div class="Default" style="line-height: 14pt;">
<br /></div>
<div class="Default" style="line-height: 14pt;">
<span lang="EN-US" style="font-family: arial, sans-serif;">Alootook Ipellie’s graphic design work, which was widely
distributed across Nunavut, was another means for him to share his vision for
the political rights and well-being of other Inuit.<o:p></o:p></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<br /></div>
<div class="Body" style="margin-bottom: 0cm;">
<b><span lang="EN-US" style="font-family: arial, sans-serif;">Post author: </span></b><span lang="EN-US" style="font-family: arial, sans-serif;">Jennifer Gibson<o:p></o:p></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<br /></div>
<div class="Body" style="margin-bottom: 0cm;">
<b><span lang="EN-US" style="font-family: arial, sans-serif;"><br /></span></b>
<b><span lang="EN-US" style="font-family: arial, sans-serif;">Sources</span></b><span lang="EN-US" style="font-family: arial, sans-serif;">: </span><span lang="EN-US" style="font-family: arial, sans-serif;"><o:p></o:p></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: arial, sans-serif;">Sandra Dyck, Heather Igloliorte and
Christine Lalonde, <i>Walking Both Sides of an Invisible Border</i>,
exhibition section panel, 2018.</span><span lang="EN-US" style="font-family: arial, sans-serif;"><o:p></o:p></span></div>
<div class="Default" style="line-height: 14pt;">
<br /></div>
<div class="Default" style="line-height: 14pt;">
<b><span lang="EN-US" style="font-family: arial, sans-serif;">First image:</span></b><span lang="EN-US" style="font-family: arial, sans-serif;"> Alootook Ipellie, <i>Walking Both Sides of an Invisible Border</i>, partial installation view. Photo: Karen Asher. Artworks in image, left to right, top to bottom (all by Alootook Ipellie): Drawing
for <i>Building Nunavut </i>poster (1987), ink on illustration board,
Collection of Dennis Patterson, Senator for Nunavut; <i>Building
Nunavut</i> (1987), photomechanical reproduction on paper, estate of the artist;<i>Yes / Nunavut</i> (1982), photomechanical reproduction on
paper, estate of the artist; <i>Nunavut Wants You</i> (1987),
photomechanical reproduction on paper, estate of the artist; <i>Nuna
Vut</i> (1987), photomechanical reproduction on paper, estate of the artist.<o:p></o:p></span><br />
<span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><span style="background-color: white; color: #1c1e21;"><b>Second image: </b></span></span><span style="background-color: white; color: #1c1e21; font-family: arial, helvetica, sans-serif;">detail of <i>Al</i></span><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-family: arial, helvetica, sans-serif;"><i>ootook Ipellie: Walking Both Sides of an Invisible Border,</i> partial exhibit installation view, showing drawing for <i>Building Nunavut </i>poster (1987). Photo: Karen Asher. </span></div><div class="Default" style="line-height: 14pt;">
<span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><span style="background-color: white; color: #1c1e21;"><br /></span></span>
<span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><span style="background-color: white; color: #1c1e21;"><b>Third image:</b> </span></span><span style="background-color: white; color: #1c1e21; font-family: arial, helvetica, sans-serif;">Alootook Ipellie, </span><i style="color: #1c1e21; font-family: arial, helvetica, sans-serif;">Nunavut Wants You</i><span style="background-color: white; color: #1c1e21; font-family: arial, helvetica, sans-serif;"> poster (1987), published by the Nunavut Constitutional Forum. Photo: courtesy of </span><i style="color: #1c1e21; font-family: arial, helvetica, sans-serif;">Inuit Art Quarterly</i><span style="background-color: white; color: #1c1e21; font-family: arial, helvetica, sans-serif;">. </span></div>
<span style="font-family: arial, helvetica, sans-serif;"></span>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-88664266261926767582020-03-30T12:09:00.001-05:002020-05-05T11:40:09.616-05:00Pipelines and resource extraction<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB_7YgTFaCo2F6VLeBFGC973nl9NyxTzYvF0p1JOdfNM5R-kdVjnaVP1FZWqcPsXegg6QasheSVEdZtUb5JwSwvwWCDXPyFFu8xSQ9LyXhcbHTLo4v4v9EVIdmU5szBBNv2FJsngOMack/" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="893" data-original-width="709" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB_7YgTFaCo2F6VLeBFGC973nl9NyxTzYvF0p1JOdfNM5R-kdVjnaVP1FZWqcPsXegg6QasheSVEdZtUb5JwSwvwWCDXPyFFu8xSQ9LyXhcbHTLo4v4v9EVIdmU5szBBNv2FJsngOMack/w318-h400/Ipellie+blog+post+6+image+northern+oil+fields.jpg" width="318" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
<div style="text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;">Click photo to enlarge</span></div>
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span lang="EN-US" style="font-family: arial, helvetica, sans-serif;">Today’s
blog post considers</span><span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"> the context for Alootook Ipellie’s political cartoons from the 1970s on pipelines and resource
extraction. Ipellie was truly a visionary with this artwork as it is hard to believe that these drawings are not contemporary. In this blog post we will
explore how Ipellie’s work was relevant both to his time and to today’s current
events.</span><br />
<div class="Body" style="margin-bottom: 0cm;">
<br /></div>
<div class="Body" style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-US">Pipeline
construction in Canada began in the 1860s, with inter-provincial pipelines </span><span lang="EN-US">starting in the mid-20th
century, and expanding in the 1970s. The first environmental concerns around their construction started
after oil spills along the Trans Mountain pipeline in Jasper National Park and
Merritt, B.C. raised alarm within the communities affected by the spill,
including Indigenous communities. The earliest protests to stop the expansion
of oil pipelines arose as a result of the environmental implications of the
spills and led to talks about the issue throughout Canada. Despite these
environmental concerns, the federal government approved the extension of the Inter-provincial
pipeline system from Sarnia, Ontario to Montreal. Immediately after the
approval, Ontario farmers resisted its construction.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<br /></div>
<div class="Body" style="margin-bottom: 0cm;">
<span lang="EN-US"><span style="font-family: arial, helvetica, sans-serif;">The
construction of major inter-provincial pipelines was not only debated in B.C.
and Ontario during the 1970s. In the North, the Mackenzie Valley gas pipeline
proposal was opposed by Indigenous communities of the region. They cited
environmental damages that could compromise their water and hunting lands,
therefore putting their survival in jeopardy. Other environmental conservation
groups joined the Indigenous protests, arguing that the pipelines were
constructed in lands where the Indigenous peoples relied on the wildlife, in
addition to the implications the pipeline would have for the unresolved land
claims that existed in the territories. These are concerns to which
Alootook Ipellie’s cartoons <i>Northern Gas Pipeline</i> (1977) and <i>Northern
Oil Fields</i> (1978) respond. <o:p></o:p></span></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<br /></div>
<div class="Body" style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-US">Ipellie</span><span lang="EN-US">’s cartoons also have
connotations in today’s political climate as objections to the expansion of
pipeline construction and hydroelectric dams have grown. Three of the most
recent protests include the North Dakota Standing Rock, Manitoba hydroelectric
dam protest in Winnipeg, and the Wet’suwet’en protests. All of these demonstrations
grapple with issues closely related to the concerns that Ipellie’s raises in
his art. </span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<br /></div>
<div class="Body" style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-US">The
construction of the now infamous Dakota Access Pipeline gained international
attention thanks to protests conducted by the local Native American people of
Standing Rock, who were supported by other Indigenous peoples and environmental
groups. Concerns around the pipeline began when the U.S Army Corps of Engineers
accepted the proposal for its construction on Native land. Youth from Standing
Rock Sioux set up a water protectors’ camp on their land in 2016. Ipellie’s
cartoon addresses a similar issue as we see Indigenous people guard the door to
the northern oil fields. Standing Rock Sioux argued that the Dakota Access
Pipeline violates Article II of the Fort Laramie Treaty, which guarantees them</span><span lang="EN-US"> use and
occupation of reservation lands surrounding the proposed location of the
pipeline. Standing Rock Sioux Tribe leaders passed a resolution stating that
"the Dakota Access Pipeline poses a serious risk to the very survival of
our Tribe and ... would destroy valuable cultural resources.” Hundreds of
arrests happened during these protests as well as violent clashes with the
police. </span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<br /></div>
<div class="Body" style="margin-bottom: 0cm;">
<span lang="EN-US"><span style="font-family: arial, helvetica, sans-serif;">Last
fall, Manitoba Indigenous leader and activists protested the impact of
hydroelectric development on Indigenous lands. Following a discussion at the
University of Winnipeg about the expansion and the limitations of hydroelectric power,
the group protested the fact that not enough is being done to protect Indigenous
communities from the negative impacts of the expansion of this industry. Dams
that Manitoba Hydro is proposing to construct are often on sacred and disputed
lands, and they would disrupt the animals and water access for many of the
northern communities that depend on hunting and fishing for survival. <o:p></o:p></span></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<br /></div>
<div class="Body" style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-US">The
most recent and ongoing demonstration is the Wet</span><span lang="EN-US">’suwet’en protest. Although the Coastal
Gas Link pipeline that would run through the traditional Wet’suwet’en territory
was approved by the nation’s elected band council, it is opposed by the
hereditary chiefs. As with other pipeline opposition, the hereditary chiefs and
supporting environmental groups cite the great damage the pipeline would cause to
the ecosystems and the land the clan depends on for their survival. </span><span lang="EN-US" style="color: #ff2f92;"><o:p></o:p></span></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-US"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8l-87xAne-e-YtfrXxUD_KTvPI1j3t7Z9N2UHnUOAhKQ3okP_aVMXGxR8f6N0TkcJAXoak28b0e61RsCacyWprJaPvbbFCz4J8ohwRFIi1Y93VGF45lnbzWSxeb_ief28eQ1nPJr-TaU/" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="645" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8l-87xAne-e-YtfrXxUD_KTvPI1j3t7Z9N2UHnUOAhKQ3okP_aVMXGxR8f6N0TkcJAXoak28b0e61RsCacyWprJaPvbbFCz4J8ohwRFIi1Y93VGF45lnbzWSxeb_ief28eQ1nPJr-TaU/w319-h400/Ipellie+blog+post+6+image+northern+gas+pipeline.jpg" width="319" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
<div class="Body" style="margin-bottom: 0.0001pt; text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-US">Click photo to enlarge.</span></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<br /></div>
<div class="Body" style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-US">It is not hard to place Ipellie’s
criticism of governments and energy corporations over the construction of
pipelines on Indigenous lands in this context. During the 1970s, Nunavummiut
leaders united to advocate for Inuit political autonomy, asserting the right to
a comprehensive land claim and the establishment of a separate Nunavut
territory. All across the continent Indigenous peoples have asserted their
independence and continued to fight for their right to their traditional lands.
These actions have been another strategy to ensure protection of their
territories from invasive and detrimental resource extraction projects such as pipelines and hydro dams. In
today’s political climate, Ipellie continues to be seen as an innovative artist;
his political cartoons defend Indigenous rights and criticize the governments
and corporations that violate the sacred land for profit. </span><span lang="EN-US" style="color: #ff2f92;"><o:p></o:p></span></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<br /></div>
<div class="Body" style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><b><span lang="EN-US">Post author: </span></b><span lang="EN-US">Magnolia Valles Duran<o:p></o:p></span></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<br /></div>
<div class="Body" style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><b><span lang="EN-US"><br /></span></b></span>
<span style="font-family: arial, helvetica, sans-serif;"><b><span lang="EN-US">Sources</span></b><span lang="EN-US">: </span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="Body" style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-US">Sandra Dyck, Heather Igloliorte and
Christine Lalonde, <i>Walking Both Sides of an Invisible Border</i>,
exhibition section panel, 2018.</span></span><span style="font-family: arial, helvetica, sans-serif;"> </span><br />
<span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><br /><a href="http://www.wetsuweten.com/territory/pipelines">Office of the Wet'suwet'en</a></span><span lang="EN-US" style="font-family: arial, helvetica, sans-serif;">. Accessed March 28, 2020.</span><br />
<span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><br />“</span><span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><a href="https://www.theglobeandmail.com/canada/british-columbia/article-wetsuweten-bc-lng-pipeline-explainer/">The Wet'suwet'en and B.C.'s Gas-Pipeline
Battle: A Guide to the Story so Far</a></span><span lang="EN-US" style="font-family: arial, helvetica, sans-serif;">,” <i>The Globe and Mail</i>, January 8,
2019. Accessed March 28, 2020.</span><br />
<span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><br />Sean Kheraj, “</span><span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><a href="http://theconversation.com/the-complicated-history-of-building-pipelines-in-canada-97450">The complicated history of building
pipelines in Canada</a></span><span lang="EN-US" style="font-family: arial, helvetica, sans-serif;">,”
May 30, 2018. <i>The Conversation</i>. Accessed March 28, 2020.</span><br />
<span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><br />Naaman Sturrup, “</span><span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><a href="http://uniter.ca/view/one-last-look-at-alootook">One Last Look at Alootook</a></span><span lang="EN-US" style="font-family: arial, helvetica, sans-serif;">,” <i>The Uniter</i>, March
5, 2020. Accessed March 28, 2020.</span><br />
<span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><br />Caroline Rosenthal, “</span><span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><a href="http://www.kanada-studien.org/wp-content/uploads/2012/08/02_Rosenthal_North.pdf">Locations of North in Canadian
Literature and Culture</a></span><span lang="EN-US" style="font-family: arial, helvetica, sans-serif;">,” <i>Gesellschaft für Kanada-Studien.</i> Accessed March 28,
2020.</span><br />
<span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><br />Sheila Watt-Cloutier, “Climate Change in the Arctic,” </span><span lang="EN-US" style="font-family: arial, helvetica, sans-serif;"><a href="https://www.itk.ca/wp-content/uploads/2016/10/2007-0102-InuktitutMagazine-IUCANS-IULATN-EN-FR.pdf"><i>Inuktitut</i></a></span><span lang="EN-US" style="font-family: arial, helvetica, sans-serif;">, Issue 102 (January 2007). Accessed
March 28, 2020.</span></div>
<div class="Default" style="line-height: 14pt;">
<br /></div>
<div class="Default" style="line-height: 14pt;">
<span style="font-family: arial, helvetica, sans-serif;"><b><span lang="EN-US">Images:</span></b><span lang="EN-US"> Alootook Ipellie, <i>Northern Oil
Fields</i> (1978), ink on paper, Collection of Richard
F. Brush Gallery at St. Lawrence University. Photo: Karen Asher.<o:p></o:p></span></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><span lang="EN-US"><br /></span></span></div>
<div class="Default" style="line-height: 14pt;">
<span lang="EN-US"><span style="font-family: arial, helvetica, sans-serif;">Alootook Ipellie, <i>Northern Gas Pipeline</i> (1977), ink
on paper, Collection of Richard F. Brush Gallery at St. Lawrence University.
Photo: Karen Asher.</span><span style="font-family: arial, sans-serif;"><o:p></o:p></span></span></div>
<br />Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-79115457252744382102020-03-27T08:18:00.001-05:002020-03-27T08:18:23.073-05:00I'm splittin'<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLsED6ndNoB808C8x53A6oJvzec6dkOYVKowTFQrOx3PFNjHmXkO5M0h6SYjKmk1WVEB_tvY5ghQI7WIgyLmUot3oBfPdQKJZeqI5L6B0kAHbomUVPecSd5QLBw5_Zt-NI7qwMFPySZ0A/s1600/CUAG_Ipellie_%255BI%2527m+splittin%2527%255D_1976_ink+on+paper_estate+of+the+artist_phot....jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1531" data-original-width="1600" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLsED6ndNoB808C8x53A6oJvzec6dkOYVKowTFQrOx3PFNjHmXkO5M0h6SYjKmk1WVEB_tvY5ghQI7WIgyLmUot3oBfPdQKJZeqI5L6B0kAHbomUVPecSd5QLBw5_Zt-NI7qwMFPySZ0A/s400/CUAG_Ipellie_%255BI%2527m+splittin%2527%255D_1976_ink+on+paper_estate+of+the+artist_phot....jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Click photo to enlarge</span></div>
<div style="text-align: left;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="text-align: left;">
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "arial" , sans-serif;">We end the week by continuing <b><a href="http://gallery1c03.blogspot.com/2020/03/ice-box.html?gl=fr" target="_blank">W</a></b></span><span style="font-family: "arial" , sans-serif;"><b><a href="http://gallery1c03.blogspot.com/2020/03/ice-box.html?gl=fr" target="_blank">ednesday’s consideration</a></b></span><span style="font-family: "arial" , sans-serif;"> of Alootook Ipellie’s cartoons published in </span><i style="font-family: Arial, sans-serif;">Inuit Today</i><span style="font-family: "arial" , sans-serif;"> magazine
in the 1970s. In addition to a comic strip series that followed the adventures
of the Nook family, Ipellie created what he called “filler” comics. The
curators of his touring retrospective exhibition </span><i style="font-family: Arial, sans-serif;">Walking on Both Sides of an
Invisible Border</i><span style="font-family: "arial" , sans-serif;"> observe that:</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "arial" , sans-serif;">These smart
editorial cartoons often followed the context of the magazine’s articles, even
the content of the pages upon which they were printed, expressing the artist’s
distinct views on the conversations presented. Ipellie tackled challenging
topics, including climate change, sovereignty, colonialism, politics and
housing. As he said in an interview in 1995, ‘If I am thinking about something
that is affecting my people in some way, then if I can somehow make it simpler
in one picture, or one cartoon, then maybe I can help people understand it better
and have a laugh at the same time.’ <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">In the cartoon at the top of this post, known as “I’m splittin’”,
Ipellie once again turns to satire as he cheekily references Robert Flaherty,
the ethnographic filmmaker who was notorious for his pseudo-documentary <i>Nanook
of the North</i> (1922). On <b><a href="http://gallery1c03.blogspot.com/2020/03/inutsiaq.html?gl=fr">Monday’s
blog post</a></b>, Adele Ruhdorfer shared how Flaherty captured the imagination
of North American and European settlers with his purposely misleading portrayal
of Inuit society and people as static and naïve, thereby perpetuating negative
and outdated stereotypes. One of the key plot lines in Flaherty’s film is the
re-creation of a seal hunt where he insisted that the character Nanook –
portrayed by lead actor </span><span style="background: white; color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Allakariallak</span></span><span style="font-family: "arial" , sans-serif;"> – use a harpoon rather than the rifle that he had been
accustomed to hunting with. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">In Ipellie’s cartoon, the
filmmaker is an Inuk who holds both a video camera and a rifle as he films his
polar bear protagonist. There are some witty double entendres in this scenario.
For example, the name that Flaherty gave to his film’s main character, “Nanook”,
means “polar bear” in Inuktitut. Ipellie offers a funny and literal
interpretation by substituting a human with a polar bear as his lead actor. Further,
the filmmaker is literally ready to “shoot footage” of his subject with a gun
and a camera in his hands.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">The thought bubbles in
this comic indicate a telling miscommunication between the two characters. This
miscommunication reveals an underlying reversal of power wherein the bear actor
expresses his agency and resistance by walking away from and refusing to
participate in the staged scene, while the human filmmaker is shown to be
dogged and naive in thinking he is getting great coverage. If we think of the
bear as a stand-in for Allakariallak and Inuit more generally and the human as
a substitute for Flaherty and settlers, then this is a light-hearted yet clever and coded
strategy that Ipellie uses to dismantle power inequities between Qallunaaq and
Inuit.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh23_QhkbmXnwAvgywGa0iU3tr6xCH304oiq-9n-OCuFHjrMl-l0wqJ48l6d9AS34UVmTauBYvyZWffFG-qmhsAKZnMgSQvuh4plT5NQLA9C4iswI9SZHPnJFyEvfhg6Gj6gvPn-mH_BOc/s1600/18+crop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="776" data-original-width="916" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh23_QhkbmXnwAvgywGa0iU3tr6xCH304oiq-9n-OCuFHjrMl-l0wqJ48l6d9AS34UVmTauBYvyZWffFG-qmhsAKZnMgSQvuh4plT5NQLA9C4iswI9SZHPnJFyEvfhg6Gj6gvPn-mH_BOc/s320/18+crop.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: center;">
<span style="font-family: "arial" , sans-serif;">Click photo to enlarge</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">Another of Ipellie’s single
frame comics from this era points to the absurdity of paternalistic attitudes
toward Inuit held by settlers. On the right, a Qallunaaq is
speaking to an Inuk. The height differences between the two figures suggests that the taller person is an adult while the shorter person is a child. The Qallunaaq holds a harpoon and a small
axe in his hands and tells the Inuk that these items “belonged to your 25<sup>th</sup>
great-grandfather.” Once again, there is a communication disconnect between the
two characters as the Inuk scratches his head in bewilderment, disbelief or even
exasperation at what the Qallunaaq is saying. Ipellie’s readers must have chuckled
at the ignorance of a non-Inuk haughtily portaining to teach them about their
own culture, an encounter they may have experienced themselves on one too many
occasions. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">A second, underlying
narrative implied by this cartoon is the excavation and removal of Inuit material
culture from their original territories followed by their placement in museum
collections located in the south. Today, this remains an ongoing concern as
Inuit advocate for the creation of the Nunavut Heritage Centre in Ipellie’s hometown
of Iqaluit and the subsequent repatriation of Inuit artifacts.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">These two examples of Alootook
Ipellie’s self-described “filler comics” from the 1970s show how the artist used his quick wit to poke fun at oppressive settler-colonial
attitudes thereby expressing the resilience of his people.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="font-family: "arial" , sans-serif;">Post author:</span></b><span style="font-family: "arial" , sans-serif;"> Jennifer Gibson</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="font-family: "arial" , sans-serif;">Sources:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="background: white; color: #2c2c2c; font-family: "arial" , sans-serif;">Sandra Dyck, Heather Igloliorte and Christine Lalonde, </span><i><span style="color: #2c2c2c; font-family: "arial" , sans-serif;">Walking Both Sides of an
Invisible Border</span></i><span style="background: white; color: #2c2c2c; font-family: "arial" , sans-serif;">, exhibition section panel, 2018.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">Michael P. J. Kennedy, “</span><a href="https://journals.lib.unb.ca/index.php/SCL/article/view/8255"><span style="font-family: "arial" , sans-serif;">Alootook Ipellie: The Voice of an Inuk
Artist</span></a><span style="font-family: "arial" , sans-serif;">,” <i>Studies in
Canadian Literature</i> (Volume 21, Number 2), 1996. Accessed March 21, 2020.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">Amy Prouty, “</span><a href="https://id.erudit.org/iderudit/88004ac"><span style="font-family: "arial" , sans-serif;">Drawing
Inuit Satiric Resilience: Alootook Ipellie’s Decolonial Comics</span></a><span style="font-family: "arial" , sans-serif;">,” <i>esse</i>, Number 93 (Spring 2018).
Accessed March 21, 2020.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="font-family: "arial" , sans-serif;">Images:</span></b><span style="font-family: "arial" , sans-serif;"> Alootook Ipellie, [I’m splittin’],
published in <i>Inuit </i>Today, October 1976, ink on paper, estate of the
artist. Photo by Justin Wonnacott, courtesy of Carleton University Art Gallery.
Detail of Walking<i> Both Sides of an Invisible Border</i>, exhibit
installation at Gallery 1C03 showing the comic [your 25<sup>th</sup>
great-grandfather] published in <i>Inuit Today</i> (1974-1981). Photo by Karen
Asher.<o:p></o:p></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"></span>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-48632637561722963682020-03-25T07:02:00.003-05:002020-03-25T07:02:56.081-05:00Ice Box<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-AjLPD_g8wz5qOzccwTwQYJbRwYnq060HRp7NAPc8bDOKAub6BBStL2Gh2Bg_HBUHmKgw5eT24iiH-VApWeGx71rbw9V6ClGUCx1KrYncaHZAR9IvC6AIP3WcFGab434yBtXXIR9N6PU/s1600/09.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-AjLPD_g8wz5qOzccwTwQYJbRwYnq060HRp7NAPc8bDOKAub6BBStL2Gh2Bg_HBUHmKgw5eT24iiH-VApWeGx71rbw9V6ClGUCx1KrYncaHZAR9IvC6AIP3WcFGab434yBtXXIR9N6PU/s400/09.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Click photo to enlarge</span></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Today's blog post considers Alootook Ipellie's first comic strip, <i>Ice Box</i>. In an <a href="https://journals.lib.unb.ca/index.php/SCL/article/view/8255">interview</a> with University of Saskatchewan English
professor Michael Kennedy, Ipellie discussed the emergence of his
career as a visual artist. He relates how he sold his first pen and ink
drawings in the late-1960s after returning to Iqaluit briefly following a year
at a vocational high school in Ottawa. The sale of these pieces spurred him to
create more, but it was not until he started working for <i>Inuit Monthly</i>
magazine (later renamed <i>Inuit Today</i>) that he became more serious about
drawing.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">In the didactic material
for the exhibition <i>Walking Both Sides of an Invisible Border</i>, exhibition
curators Sandra Dyck, Heather Igloliorte and Christine Lalonde write: <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">As a child, even before he could read
English, Ipellie was enthralled by comic books from the South and dreamed of
growing up to be a cartoonist. He realized this dream when he began working in
the early 1970s for <i>Inuit Monthly</i>, a bilingual magazine (Inuktitut and
English) published by Inuit Tapirisat of Canada (now <a href="https://www.itk.ca/">Inuit
Tapiriit Kanatami).</a> He
first published his two-panel <i>Ice Box</i> comics in the January 1974 issue.
He described the idea of <i>Ice Box</i> as a “mixture of the two cultures” in
which “you’ll see the setting is the Arctic, but the storyline itself is very
often from the South.” The strip follows the daily life of the Nook family in
the North. Through the Nooks, Ipellie explored the social and political issues
facing Northerners at that time, with often biting satire about the state of
contemporary culture.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">As suggested above, <i>Inuit
Today</i> was distributed across the North and its primary audience was other Inuit.
The content, the tone, the bilingual nature of the magazine and, by extension,
Ipellie’s comics, reflect this. Nearly five decades following their initial
publication, we are fortunate to be able to consider the rich and layered
perspective his cartoons continue to offer. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Ipellie’s mastery of the comic
form is evident in this example from an undated <i>Ice Box</i> comic strip sequence he drew between 1974 and 1981.
Here, he reveals an unexpected and humorous plot in just four frames while
simultaneously providing readers with clues that firmly situate the scene in
modern times. This particular sequence also points to recurring sub-themes in
Ipellie’s art.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-RMwIlTM0zy7dV_uaFlZZ9ZV733YQ2sxDgm-3_Np8bBasUG2jPTpxjH5Z2I3XrBElompXUBnAetKOw4L64deqONvmAD7VsjeBdnwnPij4gkTZC3kcouAJbqv4wkkSWdzpZ65Pw1x4aYc/s1600/ice+box+detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="376" data-original-width="1200" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-RMwIlTM0zy7dV_uaFlZZ9ZV733YQ2sxDgm-3_Np8bBasUG2jPTpxjH5Z2I3XrBElompXUBnAetKOw4L64deqONvmAD7VsjeBdnwnPij4gkTZC3kcouAJbqv4wkkSWdzpZ65Pw1x4aYc/s400/ice+box+detail.jpg" width="400" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Click photo to enlarge</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">In the first panel, parka-clad
Papa Nook walks toward a large set of caribou antlers poking out of the
snow-covered Arctic tundra. His thought bubble reads, “Holy geepers! I don’t
believe it! The good lord has done it again!” Grasping one of the antlers in
the second panel he thinks, “It’ll take me a year to carve figurines on this.
It’s enormous!” The following frame shows Papa Nook struggling to remove the
antlers from the snow which we can see are still attached to the caribou’s head.
He wonders “What on earth is going on here? I’ve heard of funny stories about
‘flying antlers’ at Christmas – but this is taking it a bit too far!” In the
final panel, Papa Nook sits atop the live caribou who is upright on its back
legs. Papa says “Oh well, what the heck! If you can’t beat ‘em – join ‘em! Hi-yo!
Silverrr Away!”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Ipellie matter-of-factly indicates
the presence of Christianity in the Arctic in the first panel as Papa Nook uses
the words “holy geepers” and “good lord.” It is reinforced by the appearance of
a cross on his parka in panel two and again with his reference to “flying
antlers at Christmas” in panel three. Though this cartoon sequence may not overtly
suggest it, Ipellie often incorporated Christian iconography and narratives in
his drawing and writing to critique the devastating impacts of the church on
Inuit.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Alongside colonial
religious references, Ipellie incorporates icons of American popular culture who
would have been familiar to his Inuit readers in the 1970s. This time, he invokes
the Lone Ranger. This is an especially interesting choice as it gives him the
opportunity to cheekily allude to the history of the very medium in which he
works: the Lone Ranger was a radio and television program, but it also existed
as a comic. He also uses the Lone Ranger reference to upend racial expectations
and re-appropriate popular symbols for Inuit: Papa Nook is not portrayed as
Tonto but, rather, as an Indigenized version of the Lone Ranger.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Papa Nook’s intended use of
the antlers as a decorative carving surface in panel two also refers to the
modern era. It implies the existence of an art market which was encouraged by
the federal government as an economic initiative to provide alternative income
for Inuit who had been forced to settle in communities. Cooperatives supporting
the creation of art and craft were formed in several Arctic communities
starting in the late 1950s. Until recently, sculptures in stone, bone and ivory
as well as prints and wallhangings have been the most widely promoted media. Scenes
of pre-contact life and images of Arctic fauna and landscapes were strongly
favoured until the end of the 20<sup>th</sup> century.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">As an artist who was Inuit,
Ipellie found himself an outsider of this system. He lived in the South, made
line drawings in pen and ink, and addressed unique, even provocative, themes
and content in his creative work. In the introduction to his book <i>Arctic
Dreams and Nightmares</i> (1993), he suspects that this is why the “stewards of
Inuit art” were uninterested in his drawings. Fortunately, their rejections
only spurred on his resolve to continue to produce the type of art that he
loved. As Amy Prouty notes, Ipellie continued “tirelessly to create works that
challenged stereotypes about Inuit and the primacy of Qallunaat ideologies over
Inuit knowledge.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Post author:</b> Jennifer Gibson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="font-family: "arial" , "helvetica" , sans-serif;">Sources:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: white; color: #2c2c2c;">Sandra Dyck, Heather Igloliorte and Christine Lalonde, </span><i><span style="color: #2c2c2c;">Walking Both Sides of an
Invisible Border</span></i><span style="background: white; color: #2c2c2c;">, exhibition introduction section panel, 2018.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Michael P. J. Kennedy, “<a href="https://journals.lib.unb.ca/index.php/SCL/article/view/8255">Alootook
Ipellie: The Voice of an Inuk Artist</a>,” <i>Studies in Canadian Literature</i>
(Volume 21, Number 2), 1996. Accessed March 21, 2020.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Amy Prouty, “<a href="https://id.erudit.org/iderudit/88004ac">Drawing Inuit Satiric Resilience:
Alootook Ipellie’s Decolonial Comics</a>,” <i>esse</i>, Number 93 (Spring 2018).
Accessed March 21, 2020.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Images:</b> <i>Walking Both Sides of an Invisible
Border</i>, exhibit installation at Gallery 1C03 showing group of Ice Box comic
strip cartoons published in <i>Inuit Today</i> (1974-1981). Detail of previous image. Photos by Karen
Asher.</span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<br />Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-22735349424229533482020-03-23T09:50:00.000-05:002020-03-30T16:23:43.569-05:00Inutsiaq<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_2NafAFbQcfVvlb2OdVHNX9sCsc5873U1yVbS9N7IOTtJmot0bhiniA0Yx3vsUmpNBS00TWz9nqXGQp5jpubtE83QDQyCW3tCbvEbdGx6qbGRVyf0zJYR2SH6qJCdz5YUQCvn1P8smqY/s1600/08.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_2NafAFbQcfVvlb2OdVHNX9sCsc5873U1yVbS9N7IOTtJmot0bhiniA0Yx3vsUmpNBS00TWz9nqXGQp5jpubtE83QDQyCW3tCbvEbdGx6qbGRVyf0zJYR2SH6qJCdz5YUQCvn1P8smqY/s400/08.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Click image to enlarge</span></div>
<div class="MsoNormalCxSpFirst" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;"><br /></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;"><br /></span></span><br />
<div class="MsoNormalCxSpFirst" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">In today’s
blog post we will be taking a closer look at one of the most important people
in Alootook Ipellie’s life: his maternal grandfather, Inutsiaq. Due to a
strained relationship with his parents, brought on by a cycle of familial
separation due to seeking medical treatment in the South and the alcoholism of
his step-father, Ipellie lived with his grandparents from the ages of 10 to 15.
During this time, he found peace, security, and acceptance in their loving
home. Yet, he had to be separated from his family once more, to attend school
in Ottawa. As an adult, Ipellie continued to pay tribute to his grandfather,
even modelling his own life after him. For, Inutsiaq was also a gifted artist –
he was a celebrated sculptor and storyteller with shamanic abilities. Yet,
while Inutsiaq rejected these shamanic powers and converted to Christianity, we
will learn in a later blogpost how Ipellie rejected these colonizing
strategies, to instead fuse elements of Christianity with Inuit shamanism, in
his seminal book <i>Arctic Dreams and Nightmares</i>. In Alootook’s portrait of
his grandfather he also rejects a colonial strategy, namely, that of the
colonial gaze and misrepresentation of Inuit people. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">As an artist,
writer, and activist, Ipellie desired to represent Inuit culture as living and
continuously developing. He rejected the anthropological idea that Inuit
culture was archaic and on the verge of extinction. Evidence of this idea is
seen in Ipellie’s depictions of his grandfather, as he decides to
re-appropriate a photograph taken by Robert Flaherty. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">You may
recognize the name ‘Robert Flaherty’. He is most well-known as the American
filmmaker who produced the first commercially successful feature-length
ethnographic documentary film, <i>Nanoook of the North</i> (1922). <i>Nanook of
the North</i> follows the life of the character Nanook and his family, as they
travel, search for food, and engage in trade. Both the mundane and the heroic
are explored. Viewers see them build an igloo, perform their daily tasks, and
hunt in extreme weather conditions. This film captured the attention of a wide
audience in America and Europe. They were incredibly fascinated by the daily
lives of Inuit, which felt so distant and remarkable to them. But, of course,
this film is more akin to a romanticized and staged drama than it is to a truthful
and documentarian representation of life in the Arctic. Although the film
presents itself as an ethnographic documentary about the everyday lives of
Inuit, Flaherty’s main goal was to analyze the core theme of humanity’s
relationship with nature and our innate instinct for survival. In doing so, he
created a “primal drama,” in which the theme of survival is transmitted in a
dramatic and simplified narrative. Viewers were able to deduce this theme
easily, as the film follows a narrative format that was already recognizable to
them. Therefore, the film is less about the specificities of Arctic living, but
rather a representation of Flaherty’s generalized vision of humanity.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">The depictions of Inuit life in Flaherty’s film are in
fact not consistent with actual lived experiences of the people that he
portrayed. Instead Flaherty offers up a romantic framing of the way life might
have been about fifty to one hundred years prior to the creation of this film. It’s
worth noting, that due to the limitations of film equipment at the time, there
was no way Flaherty could have documented these scenes without staging them. He
and the actors staged the scenes, practiced them, and then filmed them in short
sequences. Yet, Flaherty went a step further in dramatizing the narrative, by
deciding to represent a version of Inuit life from a century prior. The choice
to recreate an outdated way of living was deliberate on Flaherty’s part, as it
would further reinforce the main theme of survival in harsh conditions. For
instance, the infamous scene of the seal hunt, the climax of the film, would
not have been quite as dramatic and awe-inspiring to Western viewers, had
Nanook used a rifle. Yet, by the 1920s, Inuit had already been hunting with
rifles for quite some time, even abandoning traditional subsistence practices.
Not only did these choices create more intrigue for a Western/Southern
audience, but they also effectively concealed and naturalized the effects of
Western contact. While his representations of Indigenous people seem more
positive and celebratory, compared to others at the same time, he still chose
not to celebrate the truth. He erased all evidence of colonialism and created
an illusion of Western innocence. Some scholars even suggest, that by depicting
the well-recognized Western ideals of a nuclear family, the domesticity and
submissiveness of women, and the strength and bravery of men, these social
constructs become naturalized for the intended Western audience. Viewers could
see their lives mirrored back to them, even in the most distant parts of the
world! It’s possible that these sorts of romanticized depictions also served to
dismiss some of the goals of the suffragist movements, as the social order of
their life is presented as innately human in this so-called documentary film. In
constructing a film to fit within his own ideologies, Flaherty creates an
ethnocentric representation of Inuit, as his portrayals originate from within
the social principles of <b>his</b> culture, not their own.<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Similarly, in Flaherty’s photograph of Alootook
Ipellie’s grandfather, Inutsiaq, he </span>centres<span lang="EN-US"> the
Western ideal of individualism. The horizontal black and white photograph is a
classic head and shoulder portrait of Inutsiaq. He looks directly into the camera
with a steely, but kind gaze. He is wearing a sealskin jacket, with the hood folded
down, exposing his long, dark hair to the wind. Besides the wind blowing
through Inutsiaq’s hair, there is no other indicator of the Arctic environment
or any of the changes that impacted Inuit ways of living. While this portrayal
is not a negative representation, Inutsiaq is alone in this frame, without anyone
or anything to ground him.<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">In contrast, in </span>Ipellie’s
rendition of his grandfather, he includes additional elements to ground
Inutsiaq in the Arctic community. Ipellie has divided his illustration in two
parts, with the reference to Flaherty’s photograph taking up the top two-thirds,
while five children of varying ages take up the bottom third. Inutsiaq is drawn
in a minimalist style with a great deal of negative space. Clean lines frame
his face and fur coat. Most of the details are drawn in his hair, where Ipellie
creates contrast, depth, and texture with numerous thin lines. Although this
rendition is an illustration, this effect feels less flat than the reference
photograph, where all the grays blend together. Then, in the foreground, five
young children are visible. They are wearing Western mass-produced clothing,
reminiscent of the 1980s and 1990s: graphic t-shirts and sweaters, woolen knits
with plastic buttons, jeans, cotton pants, and running shoes. Yet, despite the
differences in attire between Inutsiaq and the children, what grounds them across
time and space is community. Inutsiaq – and other elders like him – serve an
important purpose in Inuit and Indigenous communities. They are the
storytellers, the ones who pass on their oral histories, geographies, and life
lessons to the next generation. The next generation may need to adapt to a
different way of living, but that does not mean they cannot continue to be
grounded in Inuit ways of knowing.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Elders like
Inutsiaq allowed Alootook Ipellie to become gifted in his art and activism. They
are the ones who paved the way. Ipellie drew upon his heritage and made every
effort to reject the misrepresentation of Inuit. Yet, he always centred
contemporary life in all of his work, acknowledging the impact of continued
colonial contact. His life and art were always punctuated by being both Inuit
and having to navigate life in a Western/Southern society. By acknowledging the
hybridity of his own experiences, he ensured that he would not misrepresent his
own culture and pander to the illusory and romanticized narratives created for
a Western audience. It would be dishonest to represent life in any other way.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Post author</b>: Adele Ruhdorfer <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />
</span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Sources and Further Reading</b>:<br />Sandra Dyck, Heather Igloliorte and Christine
Lalonde, <i>Walking Both Sides of an Invisible Border</i>, exhibition
introduction section panel, 2018.</span><br />
<br />
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: arial, helvetica, sans-serif;">Alootook Ipellie,
"Walking Both Sides of an Invisible Border," in </span><i style="font-family: arial, helvetica, sans-serif;">An Anthology of
Canadian Native Literature in English</i><span style="font-family: arial, helvetica, sans-serif;">, 2</span><sup style="font-family: arial, helvetica, sans-serif;">nd</sup><span style="font-family: arial, helvetica, sans-serif;"> edition, 1998.</span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Kimberley
McMahon-Coleman, "<a href="https://ro.uow.edu.au/cgi/viewcontent.cgi?article=1826&context=kunapipi">Dreaming
An Identity between Two Cultures: The Works of Alootook Ipellie</a>," <i>Kunapipi</i>
(Volume 28, Issue 1, Article 12), 2006.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">John W.
Burton,and Caitlin W. Thompson. "Nanook and Kirwinians: Deception,
Authenticity, and the Birth of Modern Ethnographic Representation," <i style="mso-bidi-font-style: normal;">Film History</i> (Volume 14, Issue 1,
74-86), 2002.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Shari M.
Huhndorf, “Nanook and His Contemporaries: Imagining Eskimos in American
Culture, 1897-1922,” <i style="mso-bidi-font-style: normal;">Critical Inquiry</i>
(Volume 27, Issue 1, 122-148), 2000.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Alan Marcus,
"<i>Nanook of the North</i> as Primal Drama," <i>Visual Anthropology</i>
(Volume 19, 201-222), 2006.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-add-space: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Images:</b> Alootook Ipellie, <i>Untitled</i>
(circa 1987), ink on paper, collection of Nunavut Tunngavik Incorporated;
Robert Flaherty (American, 1884-1951),<i> Portrait of Enutsiak </i>(1913-14),
contemporary print from vintage negative, Library and Archives Canada/Robert
and Frances Flaherty, MIKAN 3200003, Courtesy of the Robert and Frances
Flaherty Study Centre, Claremont School of Theology, Claremont, CA 91711.
Photo: Karen Asher.<o:p></o:p></span></div>
<br /></div>
Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-13801431876050749692020-03-20T10:37:00.001-05:002020-06-04T14:52:04.989-05:00The two sides of Alootook Ipellie<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMULLT06flKDDkPdEJigvvGN3tiaMTCALVWYA4mMn0Ls3QEc3MIIq6So_H8jSutfHNtxqWUjV8aG8CRTHnT_1VVRwoMlDMrX1-i-rQul6UiNn9WKrAK0DhP1hnDurHfaTlxlD4wCksHqo/s1600/CUAG_Ipellie_The+Death+of+Nomadic+Life%252C+the+Creeping+Emergence+of+Civili....jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1213" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMULLT06flKDDkPdEJigvvGN3tiaMTCALVWYA4mMn0Ls3QEc3MIIq6So_H8jSutfHNtxqWUjV8aG8CRTHnT_1VVRwoMlDMrX1-i-rQul6UiNn9WKrAK0DhP1hnDurHfaTlxlD4wCksHqo/s400/CUAG_Ipellie_The+Death+of+Nomadic+Life%252C+the+Creeping+Emergence+of+Civili....jpg" width="300" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;">In this blog post we will take a close look at Alootook Ipellie's self-portrait titled <span style="color: black;"><span style="font-size: small;"><i>The
Death of Nomadic Life, the Creeping Emergence of Civilization</i>,</span></span><span style="font-size: small;"> </span>examining how this drawing -- created during the last year of his life -- addresses various aspects of the artist's complex and multi-layered identity.</span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><br />
</span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"> Alootook Ipellie often described himself in terms
of dualities: as a “nomad wearing civilized clothes”/ with a face
“split in two halves – one Inuk the other Qallunaaq”/ “living
in two different worlds”/ “walking both sides of an invisible
border.” He wears caribou skin clothing,
holds a harpoon and bloody hunting knife, with his back to the land, the
sky, his past. His body is partially obscured by an upright frame
made of narwhal tusks, inside of which he exists in the present,
wearing a tuxedo and bow tie, tickets to an Elvis Presley concert in
Ottawa poking out of his pocket, and a pint of beer at the ready. The
drawing powerfully expresses Ipellie's ambivalence toward his divided identity, it was never either/or, but always both.
</span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><br />
</span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"> The curatorial statement above expresses many conflicts but also highlights themes present throughout the exhibition. Consider the term "Qallunaaq." This is the Inuktitut word that translates roughly to "non-Inuk" or "Southerner" in English. As mentioned in the first <a href="https://gallery1c03.blogspot.com/2020/03/alootook-ipellie.html" target="_blank">blog post, </a> Ipellie was born in a traditional hunting camp on the land at Nuvuqquq on Baffin Island, but he moved with his family to the community of Iqaluit as a child. At age five, he was sent to a sanatorium in Hamilton, Ontario to be treated for tuberculosis before returning to Iqaluit. In 1967, Ipellie moved to Ottawa to attend high school where he spent the majority of his adult life.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;">These experiences forced Ipellie to incorporate the ways of Qallunnaat, from learning to speak English to wearing southern clothing and much more. This is suggested in the middle of his self portrait as he sports Qallunaat attire of a tuxedo. Dressed as an urban Inuk in this formal wear, Ipellie is ready for a night out on the town. We might infer from the tickets in his pocket that he is headed to a concert featuring the king of rock n' rock himself, Elvis Presley. Elvis represents the epitome of American pop culture in the mid-20th century, the time at which Ipellie was born. As a performing artist, Elvis was an innovator and a rebel, breaking new ground in popular music by combining various genres and causing controversy with his sensual, hip-swinging dance moves. </span><span style="font-family: arial, helvetica, sans-serif;">Elvis was also part Indigenous.</span><span style="font-family: arial, helvetica, sans-serif;"> Perhaps he was someone with whom Ipellie could identify.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span><span style="font-family: arial, helvetica, sans-serif;">Ipellie has drawn a pint of beer onto the left lapel of his tuxedo. Alcohol is also a signifier of southern society as it was introduced to Inuit by Qallunnaat, often causing much harm. </span><span style="font-family: arial, helvetica, sans-serif;">Ipellie has stated that his stepfather was an alcoholic who treated him badly when he was drinking. In a number of his other artworks, including some of his comics and his drawing and accompanying story </span><i style="font-family: arial, helvetica, sans-serif;">Arctic Dreams and Nightmares </i><span style="font-family: arial, helvetica, sans-serif;">(1993), Ipellie references the negative impacts of alcohol on the body and mind.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span><span style="font-family: arial, helvetica, sans-serif;">On his right lapel, we see a small image of four Inuit wearing parkas. They appear to be holding hands or dancing. In fact, this is the logo of <b><a href="https://www.itk.ca/" target="_blank">Inuit Tapiriit Kanatami</a></b>, a non-profit advocacy organization representing the four regions of Inuit Nunangat (Inuvialuit, Nunavut, Nunavik, and Nunatsiavut). Ipellie worked for ITK for many years. In the 1970s and 1980s, he was translator and then editor of their publication <i>Inuit Monthly</i> (later titled <i>Inuit Today</i>). This is also where Ipellie's first comic strip, <i>Ice Box</i>, was published, in addition to many of his early single panel cartoons.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;">As we draw our attention to the artist's face, we notice the pupils of his eyes are animal-like vertical slits and his hair is covered in black dots. Perhaps these circles refer to the spotted seal. Ipellie strongly defended Inuit seal hunting rights in his comics and other writings. In one of the drawings and stories for his book <i>Arctic Dreams and Nightmares</i>, he turns the tables on animal rights activist Brigitte Bardot who once condemned the Inuit seal hunt.
</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;">On either side of the narwhal tusks Ipellie shows himself in the past, as a hunter, wearing a traditional caribou fur parka and holding hunting implements. We read the black substance on his knife as the blood of a recently killed animal. The blood drips toward the ground, but some of it flows onto his right hand and down his wrist as a thick black line. As if by magic, this line re-appears on his left wrist and hand. It multiplies and spreads like veins and arteries that map the flow of his own blood through his body.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;">If we interpret this image via the inseparable duality to which Ipellie refers in his poem "Walking Both Sides of an Invisible Border," perhaps the knife can also be considered a pen and the blood is the ink that flows from it. Just as the hunting knife would have been integral to his existence in the past, so too is the ink pen inseparable from his life and identity as an urban Inuk.</span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><br />
</span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><span style="color: black;"> We end this post with some words from Alootook:</span></span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><br />
</span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"> So I am left to fend for myself
</span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"> Walking in two different worlds
</span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"> Trying my best to make sense
</span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"> Of two opposing cultures
</span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"> Which are unable to integrate
</span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"> Lest they swallow one another whole</span><span style="font-family: arial, helvetica, sans-serif;"><br /><br /><br /><b>Post authors:</b> Jennifer Gibson and Dana Lance</span></div>
<div style="margin-bottom: 0cm;">
<span style="font-family: arial, helvetica, sans-serif;"><br /><b>Sources: </b></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><span style="background-color: white; color: #2c2c2c; font-family: arial, sans-serif;">Sandra Dyck, Heather Igloliorte and Christine Lalonde, </span><i style="color: #2c2c2c; font-family: arial, sans-serif;">Walking Both Sides of an Invisible Border</i><span style="background-color: white; color: #2c2c2c; font-family: arial, sans-serif;">, exhibition introduction section panel, 2018</span></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><span style="background-color: white; color: #2c2c2c; font-family: arial, sans-serif;"><br /></span></span>
<span style="font-family: arial, helvetica, sans-serif;"><span style="background-color: white; color: #2c2c2c; font-family: arial, sans-serif;">Alootook</span> Ipellie, "Walking Both Sides of an Invisible Border," in <i>An Anthology of Canadian Native Literature in
English</i>, 2<sup>nd</sup> edition, 1998</span><br />
<span style="color: #2c2c2c; font-family: arial, helvetica, sans-serif;"><span style="background-color: white;"><br /></span></span>
<span style="color: #2c2c2c; font-family: arial, helvetica, sans-serif;"><span style="background-color: white;">Kimberley McMahon-Coleman, "</span><a href="https://ro.uow.edu.au/cgi/viewcontent.cgi?article=1826&context=kunapipi" style="background-color: white;" target="_blank">Dreaming An Identity between Two Cultures: The Works of Alootook Ipellie</a><span style="background-color: white;">," </span><i style="background-color: white;">Kunapipi</i><span style="background-color: white;"> (Volume 28, Issue 1, Article 12), 2006.</span><span style="background-color: white;"><br /></span></span><span style="font-family: arial, helvetica, sans-serif;"><span style="color: #2c2c2c;"><span style="background-color: white;"><br /></span></span><b>Image:</b> Alootook Ipellie (1951-2007), </span><i style="font-family: arial, helvetica, sans-serif;">The Death of Nomadic Life, The Creeping Emergence of Civilization</i><span style="font-family: arial, helvetica, sans-serif;">, (2007), Ink on illustration Board. Estate of the artist. Photo by Justin Wonnacott, courtesy Carleton University Art Gallery.</span></div>
<div style="margin-bottom: 0cm;">
</div>
<div style="margin-bottom: 0cm;">
<br /></div>
<br />Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-1156446957485656992020-03-18T11:33:00.000-05:002020-03-30T16:08:35.856-05:00Alootook Ipellie<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZfa63vGEkHnltCJ3ZNCWDgnxDIycvfDcMYhyphenhyphenufquVJ_7N2nXttGfJS1sEiDZqB48h_5UWSuShZ6jvME5w1GAoP5l8sO1i3mmld6x47z71UcV8cJqNyiJAoWmudD4vNDpt5ir_ES9koG0/s1600/D42CBPhXsAAm6Yr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="389" data-original-width="298" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZfa63vGEkHnltCJ3ZNCWDgnxDIycvfDcMYhyphenhyphenufquVJ_7N2nXttGfJS1sEiDZqB48h_5UWSuShZ6jvME5w1GAoP5l8sO1i3mmld6x47z71UcV8cJqNyiJAoWmudD4vNDpt5ir_ES9koG0/s320/D42CBPhXsAAm6Yr.jpg" width="245" /></a></div>
<br />
<br />
<span style="font-family: "arial" , sans-serif;">Today we begin the first in a series of blog posts on Inuit artist and writer Alootook Ipellie, whose work is featured in the touring exhibition <i><b><a href="https://www.uwinnipeg.ca/art-gallery/programming/2019-20/alootook-ipellie-walking-both-sides-of-an-invisible-border.html" target="_blank">Walking Both Sides of an Invisible Border</a></b></i> which was on view at Gallery 1C03 from February 27 - March 13, 2020. This exhibition </span><span style="background-color: white; color: #2c2c2c; font-family: "arial" , sans-serif;">has been produced by Carleton University Art Gallery and curated by Sandra Dyck, Heather Igloliorte and Christine Lalonde. It is the first retrospective of this remarkable artist and it draws from the many facets of his exceptional career.</span><br />
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">So, who was Alootook Ipellie?</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">Alootook Ipellie (1951–2007)
was born <span style="background: white; color: #2c2c2c;">at Nuvuqquq on Baffin
Island and raised in Iqaluit. He moved to Ottawa in the late 1960s to attend
high school and spent most of his adult life there, working as an artist, writer, cartoonist, editor,
illustrator and journalist.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="background: white; color: #2c2c2c; font-family: "arial" , sans-serif;">The exhibition’s title refers to Ipellie’s poem of the same name,
published in <i>An Anthology of Canadian Literature in English</i> (2<sup>nd</sup>
edition, 1998) and available to read on the website <b><a href="https://www.poetryinvoice.com/poems/walking-both-sides-invisible-border">Poetry
in Voice</a></b>. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="background: white; color: #2c2c2c; font-family: "arial" , sans-serif;">Indeed, Ipellie’s diverse and prodigious body of work is defined, at its
heart, by his lifelong struggle to reconcile the two worlds in which he lived. As
he writes in his poem, “I did not ask to be born an Inuk, nor did I ask to be
forced to learn an alien culture with an alien language.” Everyday survival on
this border, he said, sometimes required “fancy dancing.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="background: white; color: #2c2c2c; font-family: "arial" , sans-serif;">Alootook Ipellie once joked that he had a “Ph.D. in Silentology,” but
his work was not quiet, nor was it created at an emotional remove. He identified
his “tools of operation” as “the power of the written word and the spilling of
India ink on illustration board.” His job, he said, was to “interpret the
imagination.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="background: white; color: #2c2c2c; font-family: "arial" , sans-serif;">With great wit, passion and sensitivity, Ipellie gave voice to
significant issues affecting Inuit Nunangat. His work feels prescient because
it addresses topics that are still urgent, such as political sovereignty, climate
change, resource extraction and the ongoing impact of colonization.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="background: white; color: #2c2c2c; font-family: "arial" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="background: white; color: #2c2c2c; font-family: "arial" , sans-serif;">Alootook Ipellie’s work was disseminated widely in magazines like <i style="mso-bidi-font-style: normal;">Inuit Monthly</i>, <i style="mso-bidi-font-style: normal;">Inuit Today</i> and <i style="mso-bidi-font-style: normal;">Nunatsiaq
News,</i> and in books including <i style="mso-bidi-font-style: normal;">Paper
Stays Put</i> (1980) and the extraordinary <i style="mso-bidi-font-style: normal;">Arctic
Dreams and Nightmares</i> (1993). But he never found a place in the “so-called
Inuit Art World,” as he described it, working outside the co-op system and
without the benefit of an art dealer. He nonetheless considered himself
fortunate to spend his days writing and drawing. As Ipellie said, “We humans
have to wonder how the world may have turned out if it weren’t blessed with the
creativity of its artists.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="background: white; color: #2c2c2c; font-family: "arial" , sans-serif;"><b>Source:</b> <br />Sandra Dyck, Heather Igloliorte and Christine Lalonde, <i>Walking
Both Sides of an Invisible Border</i>, exhibition introduction panel, 2018.<o:p></o:p></span><br />
<span style="background: white; color: #2c2c2c; font-family: "arial" , sans-serif;"><br /></span>
<span style="background: white; color: #2c2c2c; font-family: "arial" , sans-serif;">Photo of Alootook Ipellie by John MacDonald.</span></div>
<br />Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-63436486284070819022020-03-18T11:12:00.004-05:002020-03-21T12:38:27.796-05:00Gallery closure and blog resumption<div style="background-color: white; color: #4d4d4d; padding: 0px;">
<div style="font-family: arial, "helvetica neue", helvetica, sans-serif;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9w31DVTePqtdy8bZnGnanX1xJlUT6sad0UEH4Mp6As0piZPaC3plJl7YXLaHa6-CfbfWVDUkRXhqblowDEuihXv_6N02NfMkMENG0rK6PBnpIKoWVcDntoM5a7rHG_77ODs7Jjd0cGJ8/s1600/_DSC9999_1+small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1068" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9w31DVTePqtdy8bZnGnanX1xJlUT6sad0UEH4Mp6As0piZPaC3plJl7YXLaHa6-CfbfWVDUkRXhqblowDEuihXv_6N02NfMkMENG0rK6PBnpIKoWVcDntoM5a7rHG_77ODs7Jjd0cGJ8/s320/_DSC9999_1+small.jpg" width="320" /></a></div>
<br />
<span style="font-family: "arial" , sans-serif;">To help prevent the
spread of COVID-19, The University of Winnipeg has suspended all in-person
classes and closed all non-essential services.</span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">
<br />
Gallery 1C03 is therefore closed until further notice.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">Our current exhibition <b><i><a href="http://click.mailsender05.com/ct/1875/2093311/743498837/65ca5f1764edd8e1bb3f3699587f74f8" target="_blank">Alootook Ipellie: Walking Both
Sides of an Invisible Border</a> </i></b>is closed, and its
affiliated programming events -- poetry reading, panel discussion and reception
-- have been cancelled. We may re-schedule the poetry reading and panel
discussion for a future date and will keep you informed as information becomes
available.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">In the meantime, we
are re-activating this blog to help you learn more about Alootook Ipellie and
his work. We will be sharing images and interpretive materials from the
exhibition along with supplementary reference materials and our own
interpretations and analyses. You can expect to read a new post written by
Gallery 1C03 staff every Monday, Wednesday and Friday, starting today.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif;">We will begin the next post with an
introduction to the artist and some context for the exhibition.</span><span style="font-family: "arial" , sans-serif;"> <o:p></o:p></span></div>
</div>
<div align="center" style="font-family: arial, "helvetica neue", helvetica, sans-serif; font-size: 13px;">
<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="mso-cellspacing: 0cm; mso-padding-alt: 0cm 0cm 0cm 0cm; mso-yfti-tbllook: 1184; width: 100%px;"><tbody>
<tr style="mso-yfti-firstrow: yes; mso-yfti-irow: 0; mso-yfti-lastrow: yes;"><td style="padding: 0cm 0cm 0cm 0cm;" valign="top"><div align="center">
<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="mso-cellspacing: 0cm; mso-padding-alt: 6.0pt 6.0pt 6.0pt 6.0pt; mso-yfti-tbllook: 1184; width: 680px;"><tbody>
<tr style="mso-yfti-firstrow: yes; mso-yfti-irow: 0; mso-yfti-lastrow: yes;"><td style="padding: 6.0pt 6.0pt 6.0pt 6.0pt;" valign="top"><div align="center">
<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="background: white; mso-cellspacing: 0cm; mso-padding-alt: 0cm 0cm 0cm 0cm; mso-yfti-tbllook: 1184; width: 660px;"><tbody>
<tr style="mso-yfti-firstrow: yes; mso-yfti-irow: 0; mso-yfti-lastrow: yes;"><td style="padding: 0cm 0cm 0cm 0cm;"><table align="left" border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="mso-cellspacing: 0cm; mso-padding-alt: 0cm 0cm 0cm 0cm; mso-table-anchor-horizontal: column; mso-table-anchor-vertical: paragraph; mso-table-left: left; mso-table-lspace: 2.25pt; mso-table-rspace: 2.25pt; mso-yfti-tbllook: 1184; width: 660px;"><tbody>
<tr style="mso-yfti-firstrow: yes; mso-yfti-irow: 0; mso-yfti-lastrow: yes;"><td style="background: white; padding: 0cm 0cm 0cm 0cm;" valign="top"><div align="center">
<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="mso-cellspacing: 0cm; mso-padding-alt: 0cm 0cm 0cm 0cm; mso-yfti-tbllook: 1184; width: 660px;"><tbody></tbody></table>
</div>
</td></tr>
</tbody></table>
</td></tr>
</tbody></table>
</div>
</td></tr>
</tbody></table>
</div>
</td></tr>
</tbody></table>
</div>
</div>
Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-26601096622930156572016-08-30T14:48:00.001-05:002016-08-30T15:10:57.782-05:00Gallery 1C03 is hiring!<br />
<div class="separator" style="clear: both; text-align: center;">
<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5q1QmdUfqhOkHXNdtsBgpf08FlnbEnTpELCVLfOmdgOtxWFbpRZzzt7HL29zEMz0wjROki_bHYkYrQEZZAmfRJq0tsZwaGa2v4dD1ZaMiD9-bR5neU77-q9mOtT6aL87tuhoF92s8YAA/s1600/_DSC9999_1+small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5q1QmdUfqhOkHXNdtsBgpf08FlnbEnTpELCVLfOmdgOtxWFbpRZzzt7HL29zEMz0wjROki_bHYkYrQEZZAmfRJq0tsZwaGa2v4dD1ZaMiD9-bR5neU77-q9mOtT6aL87tuhoF92s8YAA/s320/_DSC9999_1+small.jpg" width="320" /></a></b></div>
<br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Gallery <span style="color: blue;">1<span style="color: red;">C<span style="color: lime;">0<span style="color: black;">3</span></span></span></span></b> now hiring part-time gallery attendants!
Applicants must be full-time high school or University of Winnipeg
students.
<b>Application deadline is <span class="aBn" data-term="goog_265453050" tabindex="0"><span class="aQJ">September 16, 2016</span></span></b>.</span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Application deadline:</b> Friday, September 16, 2016</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Start date:</b> <span style="font-family: "arial" , "helvetica" , sans-serif;">On or after Thursday, September 29, 2016</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Rate of pay:</b> $11.33 - $12.66 per hour plus 6% vacation pay, variable hours</span><span id="BodyPlaceHolder_CustomQuestionRepeater_CustomAnswerLabel_7"></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span id="ctl00_BodyPlaceHolder_DescriptionLabelData"></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>RESPONSIBILITIES:</b></span>
<br />
<br />
<ul>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Opens/closes Gallery 1C03 (The University of Winnipeg’s campus art
gallery) at the beginning/end of the day by turning on/shutting off all
Gallery lights; plugging in/unplugging, turning on/turning off,
starting up/shutting down equipment; opening/closing doors; ensuring
that Security Services unlock/lock doors and de-arm/re-arm the Gallery’s
alarm system.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Safety/security of Gallery 1C03 exhibits - ensures that artworks
exhibited in Gallery 1C03 are not subject to theft or mishandling by the
public during hours of operation.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Public relations - greets visitors to Gallery 1C03 and answers any
questions that visitors have about the art exhibits to the best of their
ability; refers visitors to Gallery 1C03’s Director/Curator in
situations where they are unable to provide assistance.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Attendance record - maintains a count of the number of visitors to Gallery 1C03.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Alerts Gallery 1C03 Director/Curator of any problems within the
Gallery environment; these can relate to temperature, humidity and
lighting issues or concerns for the safety of the artwork or visitors.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">When applicable, takes readings of environmental conditions in
Gallery 1C03 using a hand-held environmental monitor or a data logger.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">When applicable, handles sales of art exhibition catalogues; this
includes maintaining a count of funds in cash box and a count of
catalogues at the beginning and end of each shift and returns all cash
to Gallery 1C03 Director/Curator for processing.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Performs other related duties as required or assigned.</span></li>
</ul>
<span style="font-family: "arial" , "helvetica" , sans-serif;">
<b>QUALIFICATIONS:</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">
</span><br />
<ul>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Must be a full-time student at a high school or The University of
Winnipeg, preferably an art history/cultural studies major or related
disciplines, or with an interest in the visual arts.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Some knowledge of contemporary visual art would be an asset.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">On the job training provided.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Ability to follow oral and written instructions, procedures and regulations.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">May require the ability to maintain records and handle cash on occasion.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Ability to communicate effectively with visitors who may be students, faculty, staff and the general public.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Ability to work day, evening and/or weekend shifts.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Capable of performing duties as assigned. </span></li>
</ul>
<span style="font-family: "arial" , "helvetica" , sans-serif;">
</span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">
</span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">
Applications can be submitted on The University of Winnipeg's employment <b><a href="https://www.northstarats.com/University-of-Winnipeg">webpage</a></b>. <a href="https://www.northstarats.com/University-of-Winnipeg"><br /></a></span>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-31500332281020345962016-04-13T13:07:00.000-05:002016-04-13T13:10:07.548-05:00Spring/Summer Employment with Gallery 1C03<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:DoNotShowRevisions/>
<w:DoNotPrintRevisions/>
<w:DoNotShowMarkup/>
<w:DoNotShowComments/>
<w:DoNotShowInsertionsAndDeletions/>
<w:DoNotShowPropertyChanges/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0in;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Gallery <span style="color: blue;">1</span><span style="color: red;">C</span><span style="color: lime;">0</span><span style="color: black;">3</span></span></b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;"> is now hiring a <b>Collections Management Intern</b>. This is a
full-time term position for a student funded with the support of Canada
Heritage through Young Canada Works in Heritage Organizations (YCWHO).</span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;"><br />
<br />
<span style="color: black;">To determine if you qualify and to apply for the position, please <a href="http://www.pch.gc.ca/eng/1359484003285/1359484079115#a3"><b>consult this</b></a></span></span><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;"><a href="http://www.pch.gc.ca/eng/1359484003285/1359484079115#a3"><b> website</b></a>.</span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;"><br />
<b><span style="color: black;">Application deadline: Friday, April 29 at 5:00
p.m.</span></b></span><b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;"></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Job Title: </span></b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Collections Management Intern</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Employer: </span></b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Gallery 1C03, The University of
Winnipeg</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Location: </span></b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Winnipeg, Manitoba</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Deadline
for applications:</span></b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;"> April 29, 2016</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Start Date: </span></b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">May 9, 2016</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Duration:</span></b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;"> 12 weeks</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Rate
of pay:</span></b><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">
$15.14/hour, 35 hours per week</span><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;"><img alt="" src="data:image/jpeg;base64,/9j/4AAQSkZJRgABAQEASABIAAD/4RO6RXhpZgAATU0AKgAAAAgACwEPAAIAAAAGAAAIngEQAAIAAAAKAAAIpAESAAMAAAABAAEAAAExAAIAAAAGAAAIrgEyAAIAAAAUAAAItAITAAMAAAABAAEAAIdpAAQAAAABAAAIyKQyAAUAAAAEAAATaKQzAAIAAAAGAAATiKQ0AAIAAAAjAAATjuocAAcAAAgMAAAAkgAAAAAc6gAAAAgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAEFwcGxlAGlQaG9uZSA0UwA3LjAuNAAyMDE0OjEwOjI5IDEzOjU4OjQ5AAAegpoABQAAAAEAABJCgp0ABQAAAAEAABJKiCIAAwAAAAEAAgAAiCcAAwAAAAEAfQAAkAAABwAAAAQwMjIxkAMAAgAAABQAABJSkAQAAgAAABQAABJmkQEABwAAAAQBAgMAkgEABQAAAAEAABJ6kgIABQAAAAEAABKCkgMABQAAAAEAABKKkgcAAwAAAAEABQAAkgkAAwAAAAEACQAAkgoABQAAAAEAABKSkhQAAwAAAAQAABKaknwABwAAAMQAABKikpEAAgAAAAMwMQAAkpIAAgAAAAMwMQAAoAAABwAAAAQwMTAwoAEAAwAAAAEAAQAAoAIABAAAAAEAAAzAoAMABAAAAAEAAAmQohcAAwAAAAEAAgAAowEABwAAAAEBAAAApAIAAwAAAAEAAAAApAMAAwAAAAEAAAAApAUAAwAAAAEAIwAApAYAAwAAAAEAAAAA6hwABwAACAwAAAo26h0ACQAAAAEAABA8AAAAABzqAAAACAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAQAAABQAAAAMAAAABTIwMTQ6MTA6MjkgMTM6NTg6NDkAMjAxNDoxMDoyOSAxMzo1ODo0OQAAAArbAAACgwAAEu0AAAd+AAAOZQAAB2EAAABrAAAAGQZfBMcDcQNxQXBwbGUgaU9TAAABTU0ABgABAAkAAAABAAAAAAADAAcAAABoAAAAXAAEAAkAAAABAAAAAQAFAAkAAAABAAAA+wAGAAkAAAABAAAAuwAHAAkAAAABAAAAAQAAAABicGxpc3QwMNQBAgMEBQYHCFl0aW1lc2NhbGVVdmFsdWVVZXBvY2hVZmxhZ3MSO5rKABMAAYfBnpIfNBAAEAEIERshJy0yOz0AAAAAAAABAQAAAAAAAAAJAAAAAAAAAAAAAAAAAAAAPwAAAAAAawAAABkAAABrAAAAGQAAAAwAAAAFAAAADAAAAAVBcHBsZQBpUGhvbmUgNFMgYmFjayBjYW1lcmEgNC4yOG1tIGYvMi40AAD/4QnIaHR0cDovL25zLmFkb2JlLmNvbS94YXAvMS4wLwA8P3hwYWNrZXQgYmVnaW49J++7vycgaWQ9J1c1TTBNcENlaGlIenJlU3pOVGN6a2M5ZCc/Pg0KPHg6eG1wbWV0YSB4bWxuczp4PSJhZG9iZTpuczptZXRhLyI+PHJkZjpSREYgeG1sbnM6cmRmPSJodHRwOi8vd3d3LnczLm9yZy8xOTk5LzAyLzIyLXJkZi1zeW50YXgtbnMjIj48cmRmOkRlc2NyaXB0aW9uIHJkZjphYm91dD0idXVpZDpmYWY1YmRkNS1iYTNkLTExZGEtYWQzMS1kMzNkNzUxODJmMWIiIHhtbG5zOnhtcD0iaHR0cDovL25zLmFkb2JlLmNvbS94YXAvMS4wLyI+PHhtcDpDcmVhdGVEYXRlPjIwMTQtMTAtMjlUMTM6NTg6NDkuMDEwPC94bXA6Q3JlYXRlRGF0ZT48eG1wOkNyZWF0b3JUb29sPjcuMC40PC94bXA6Q3JlYXRvclRvb2w+PC9yZGY6RGVzY3JpcHRpb24+PC9yZGY6UkRGPjwveDp4bXBtZXRhPg0KICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgIAogICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgCiAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAKICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgIAogICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgCiAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAKICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgIAogICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgCiAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAKICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgIAogICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgCiAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAKICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgIAogICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgCiAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAKICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgIAogICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgCiAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAKICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgIAogICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgCiAgICAgICAgICAgICAgICAgICAgICAgICAgICA8P3hwYWNrZXQgZW5kPSd3Jz8+/9sAQwACAQECAQECAgICAgICAgMFAwMDAwMGBAQDBQcGBwcHBgcHCAkLCQgICggHBwoNCgoLDAwMDAcJDg8NDA4LDAwM/9sAQwECAgIDAwMGAwMGDAgHCAwMDAwMDAwMDAwMDAwMDAwMDAwMDAwMDAwMDAwMDAwMDAwMDAwMDAwMDAwMDAwMDAwM/8AAEQgBUAHAAwEiAAIRAQMRAf/EAB8AAAEFAQEBAQEBAAAAAAAAAAABAgMEBQYHCAkKC//EALUQAAIBAwMCBAMFBQQEAAABfQECAwAEEQUSITFBBhNRYQcicRQygZGhCCNCscEVUtHwJDNicoIJChYXGBkaJSYnKCkqNDU2Nzg5OkNERUZHSElKU1RVVldYWVpjZGVmZ2hpanN0dXZ3eHl6g4SFhoeIiYqSk5SVlpeYmZqio6Slpqeoqaqys7S1tre4ubrCw8TFxsfIycrS09TV1tfY2drh4uPk5ebn6Onq8fLz9PX29/j5+v/EAB8BAAMBAQEBAQEBAQEAAAAAAAABAgMEBQYHCAkKC//EALURAAIBAgQEAwQHBQQEAAECdwABAgMRBAUhMQYSQVEHYXETIjKBCBRCkaGxwQkjM1LwFWJy0QoWJDThJfEXGBkaJicoKSo1Njc4OTpDREVGR0hJSlNUVVZXWFlaY2RlZmdoaWpzdHV2d3h5eoKDhIWGh4iJipKTlJWWl5iZmqKjpKWmp6ipqrKztLW2t7i5usLDxMXGx8jJytLT1NXW19jZ2uLj5OXm5+jp6vLz9PX29/j5+v/aAAwDAQACEQMRAD8A9IgtuxwcVKLXA+bac1NBHkZ6nHUCpxHk5x1r812d0foJVWDb2KjoeaVYcdjjrjHWrYTHbn2FSLEvy/n9K2iNFMx7+u0bacqYGP8A9VXPs/y/dye1EduPbnpmqiIrou0bvuninLEp9d3qKtR2qj7o46c06K2GPwrWPkQyCK2Vlx29qlS1wf6Vajtcfnke1O+y7XP6e1XqYyepXSDbwB92pUt9xGML9Kn+zECpo7dlxgc9s1otTOUiBbdSOV79Kkjhw3+A61aWHnoPfin+QCOlbRjfcy5mVootq47Zz0qVIlDE7frk1OLdT6t3pfsvJ/PGK0RBFGmOB9aeLfphR8vt0pxRo+q1Irb24+9+dBIz7Jk/NyOtH2UH86srFgD19qcItx/3untVJDKYtfl4x83amtBv7dOn1q8Ysjp831o8n5uMDH86OUkz3g3cdR71G1qeflXitJotp/WovJyfTBp2ewig0GD+vWo/s/PTODmr00O1l7fj0prwHP649KfKguZ7WykfdBqvJp2e3bpmtQwZP+FQzW3/ANc1NrjuY8+nYHy/L6D2qpPpzbj/ADrfkhYDiqstqcHA/WhRHzGBJaHf905UYzntUEsHzc7uOBW68WD0qB4Q38PFTy9EVzMw5YQB/s/1qF4dw6VsS2Skn5efaq8thjOKlpjT6mPLbbWz/LtUDx8cf/qrTlsije/aq81syEkDOOeazlfcaM54ySvtzUEiZfNXpIm9PrmoGi3N/j2rPlRrHQqPFuz9KY1urfwmrLRYH+8aR0AHfpUvXU1jIqCEKnp+FQvACf5CrjgKO3XNRuNzev1NZyXUpS1KZhyfYnp602S3wf1yat+XlT/dzUTxkNxWTRtFlVospjGR7dqh8sbvz/GrzR/KfX0qORAAq1Dv0NIlMwZbge4PvTfs/wA3T/6xq4INo/iI9u9NaH5/7vNc8tdWax8iqIWJ6Uvk7j0x6CrotgF9e3tR5H+z/wDXqHFPU3iZstrulLY/OnfZhj7u3NWngw30/Spo7TzB+R9xWMo66GkdSiLbA3fMGU9fWnG0JHT3rQWzDHsFH61MthkgYA/Gona5Riy2WD93t3FNew3p09wfSt9rHJXK9qVNLDIMrXO99RWdz0GNflzn73f1qWOIMp/pToYscdeasRw564+tewloeZtoRJFwuPSpEgyefr061LEnl8cVIqZP3ffp1rSIumpCIlDc/wCTThED24qwkfzY45pwi5/StFsQRJAQf19qeItq+3sKlZOf5Y7UoUr3rSKJkxqx8YP4VIISfrnBI9Ka4baf8elCrIe7e9bRjdaGEn1HWB+12vmYXknBHoDj+lR634m0/wAJR27X0jq95KIYI40LyTOeyqOTUmm2H2W2WNThVzxnrk5rg/jfuj8Z+A23H5NYUdemRVVFywcjNSvJJnXWHxY8MXZ/5CsUH/XxE8X4ZYY/WtjTvEuj6vN5drqunXMjD7kdwjMfyNZOj/su+CfE2hwX02jGG8uV3yzWl3Nbu7k8k7GAyfpVDVP2ItAuubLXPEli2cjzJo7sD/v4hP610U6TlFNP8DCVVJtWO6XSz/zzPtxSiw+bp/8AWrzE/seeKtCdm0P4hSRso+VZ7WSLH4xSgf8AjtMf4d/HTwuP9F1fQtbRezXYDN+EsX/s1a+ymtkn8/8AOxn7SLPUjYY/nTRZbX+6Bj07V5RJ8SPjJ4XO7Uvh8dRjX7z2sayZ/GKUn/x2oJP2zToDbfEHgfX9LYdWMcqAf9/I1H/j1HLJbxf9egc8Xsz2FISRtx0oWHJ/WvNdC/ba+H+sPse8vrJz1V4BJj/v2zH9K63Sfjn4I10j7P4n0kM3aaUwNz/vgUuaKL13N8W4DYz0Oab5O449asafc2mtx7rO8s7xexgmWTP/AHyTViTTWjc5Vh7Yqt9iTN+zkCkMWR6VfezYR/xVG1ow+7zVctxepnyRZb2qNoP8c1eeA7OlRtDjqD9MUmgM8xcimzQZYdsc1eaHrx9eKhmj54/QU3GzBWKEsWB0qtLDlv5VpSQ8dvXmq7wZX09KnlKuZs9vn8Pyqu8OA3+FabJzyvH5VBLD83qKTjqVczJYgBx/Kqstvzz+lassOV6+5qrNBhv1qLApGXNHyOg/Cq8sOR/KtO5ixxjrwT61Vmi5z8vpU2bNLsznt9ymoJLNSCMZ9fatOSPn371BImOn4VnKKKTMx7NRn1z0qFrTOccYNajwAncM1EYe/wDkVnbQ0jsZUllk81DLBhs7T9K1miB5xnnr61DJHnsM1lLujSLMn7OcdOvP0pDCf71aLW6n/PSmvaKVyFPpis3cu/UzWT5j7dKjMGP51oPb4bjr0qJrZt30rK3U3RRWDcw60qIxcHaPrVqS3bHb04o+ysre1ZSiaqQ2O2z7+xqVbP5fXtU0Vthf5VZETKpH3vxrGWhvEy5bQKp9P506C0yMj0wRWiLYTKFKgEdjVm20/MY+Xpxgd6xk+5oilBYbj93PHWp0035l47VtWukb3xg/MM9OlaEWhM7DPGPauacrHRGLOfi0raV4q9a+H2miA28dciuks/DLSyKVQd89OK6TSvBpkh27SF75HWuapUiaRp6nLwIDyOG9R0qwIsnmm28YI9u1WEQM27jjpXvwVtDwuo2JOe3XtUqxDcOeO9PgT5c/w9PpU0aZAP5+1aR3E3dESxgDP+TUgQkdN1TxxfNj86kWHOemeoFaGcnoVRDuGMfX3pwtwTxxj2qysW5PfvSi33k+3ORW0TKTKpgYj7vBPSiOPb6nt6Vc8jH/AOrrQkOD3P8AWtkYSY23h5z/AC7V51+0TH5Oo+D5vu+XrUPP1r0+CLa4rzn9p6FodB0Kb/njrFuf1NVUXuP0M18SPZ/AtvjwpZ8dFYZ+jGttLcKDkVm+AEJ8LQezyD/x81vLBj+EflXThv4a9Dlrv94yuIOPx64p3k5bp3z1q0kOTz94DpTkg3DnvXTFGJXEGP4eKcYmZdrfMvcHnNWRDyKf5YxxWkU1sSzl9f8AhX4Z8VIV1Pw7od/xybixikP5kZritb/Yn+GOubj/AMItb2DNyWsbiW1P1wjAfpXroi3D+tDW+P6GqbezJv2PnTVf+CcnhGRvM0rXPFWjyfwlblJwv/faZ/8AHqoN+xh4/wDCwz4b+Leoqq8rHe28m3/x2Qj/AMdr6ZMGRSG3+715681DpRfRFe1l3PmB/BP7RXhIZi1Pwn4mjHZ3VGYf8CjQ/wDj1QP8aPjP4TH/ABOvhO2oKv3pdOff+Wx5P5V9SPDx97moWi2+9L6vHzXz/wA7j+sS6nyyP267DRXVPEngfxdoMn8RktztH/fapW1oX7bPwx8QbV/tySykbqtzauMfUruFfQzxtOpV/mX+6RnNc94h+EHhPxWn/E08M6BqDN1M+nxOT+JXNRLDtfDL8P8Ahi/rC6o4bSfjB4L8RlfsPirQZmborXixsc+zEGuggt47+LzLeSO4XsYnDg/iK5nxJ+wt8LPERbPhO3sm7GyuZrbH0CsB+lcjf/8ABOHwpA3maJ4i8Y6C/UeVerKq/wDfS5/Wp9nU8n95arQe9z06bTWj5PHr7VUnszzuz09OleZSfsi/EfwwMeH/AIwaoyr92PUrVpF/RyP/AB2qs3gv9ojwtxHqngnxKi/89B5MjD8UX+dRap/L+RanDoz06WBvT8xUMsO0V5XP8WvjJ4XG3WPhQmoKv3n0u6D7voA7/wAqqTftmR6Gf+Kg+H/jXRSvVmtGdV/EqtTzW3T+40ir7Hq0sW1v4vxqtPFt7H0zXnulftrfDfWWMb6xc6dJ3W7tHUqf+A7q6bTfjR4L8Q4+y+KNFl3dA1yIyP8AvvFZqpBu1yuWS3RpXEWR0qrJFz0HStGNrfUk3WtzbXKnnMMqyD9DUU1lIi/MrL6Eiq8ykZjx/wCz1NQSRZB/StGS3O1vT6VA0BPY/Ss5B1M/axZlIx9aa0Ofz7d6tMmDg9qjdCPU/Ws2rGsWVHh2+n4iopYQM/5zVxxjrz7YqFgGPTn0rOUTWLKbxDHH5d6YYGCgdqtt1pnljPFc8jSJU8oEe3eo2iwOn096veTx0BqNoN3UfpUM0iyqYt7Lx+lNaLB+7nvVsw5P1POKQW+5/T1rGRtAasG5Q238av2tipVf5VLY6c06r9eeelbFtozRhRtx74rlnO2h1U4tmM2hrMMqeeeat2uh3FuimNtykcitU6c6Q/d756Vr6ZYbXj3DH4VyVKj6HVGnrcoaRYeZKBJGysOM44rpdO8PeZIqqoYYzkVoWOlxXBCsPm65rUsNNbTzu2q6sfzrz6tU7adMSw8Jx4i443c8V2Gj+GVRkXaegqtA0MtpGylY1VznPUHFdHpt7HCI+jbU54rz6lSR0xirnzvDHj69MVOkZwPl9yabCmE+7jP5irIj3Db+vpX2trbHyMtxIoxu/rU0a5P+eaWJNw/DpU0a/wA61t2JuNRMfyOaliQfT609Iv5+lSpFuX0XrVqJDIxBuH96hYfpVgQ57YYU4R8HnpW8Y6GEiuY8/h0z1FOjiwe/PqasFNo6fnTkhreC7GEhkVvhvSvOv2qLfHw7tZB/yx1K2f8A8fr1K2THH/6q8/8A2qrUt8I7hunlXMD/AJSCtZr3GvIj7S9T1r4bDd4Tj6fLLIOf9410CRdOcVhfCYeb4Qjbv5jEfjzXTpFgetbYXWkjlxOlRkKwlhhfX8qhutQi0+VVkWb5hncsZYD64rREOPbvXPfEa+m0XQb68twvnW1o80e4ZXcASMj0rolJxjcxWrL8evWB/wCXiNex3gr/ADAq1DcW9wPkmhf/AHGDV82af+1prUY/0nTdNnHcKXjx+pFall+1jYzkC88PMv8AtRTK38wKI1JdYg4x7n0KIcdjSCPIxt759q8U039pbwvKBuj1iyPfapx/4639K3tP+P3hm52iPxJLbnsJ1bj/AL6U/wA6r2y6pk8vZnppjyPp1FNWKuRsPijZ3/Nr4h0e5z0DMmT+TA/pWpb+J7yXBWPT7hfWKYjP6EVaqQfUXs5Gu0OP/r1E6D+ucVTPiiSI/vNPufqkiN/MimnxdauSHjvIfXdbsQPxGauMkxcrLUkPOfem+TkfyqGPxFp8vH2qEH0f5P54q1HdQ3C/u5oZM/3HDU+Ukqyx7e1V5IsdfyHetC4jx2P5VXkjyMe1RyjKLxbqhkTIPv696vSrj2x6VVlGDgdOuaOUfMZ88WOn4VCSyj7xKnjFXphhem3+lVpF2f8AAf0qeVFHPa74F0TxKjLqOi6TfBuCbizjlP6rXCa/+yR8N9eLNN4O0mNm5LW4a3P/AJDYV6k554qvOvzeuOlZyjfc0jJrVHhGp/sD+BWmLWEniLR27G11JiF/Bw386z3/AGQdc0L/AJAXxR8UWfYJdIJ1H/fLL/Kvf5R6fWq8p5x/Sud0Kfb9PyOiOIqJ7ngT/Cr4yaCf9E8aeHNZVT0vbQxM347W/nVW41j4zaDn7V4R8P61GvVrK9Cs34My/wAq+gJFyTVd1yvNYyoxW1/vf63NFXk97Hz3J8fPEmin/idfDXxPbDHL26GdRj/dU/zpsP7W3hISeXqEWs6TJ3W7tCmP1z+le+Sx5Y/w/Q1Tv7FbqLbMscy/3WUMPyNZypP+Z/cv+AaRrJrY8p0v49eCddX9x4gsdzcbX3J/MVtW/iTSNUH+j6pp8wI/guUJ/nWjrfwg8L6y7fa/Deh3Gf4nsowx/EDNctqf7LHge8zs0VrFuubS7lix+AbH6VjKnNbNfl/mbRqw7P8Ar7joIo1vVzCyyKpIJX5hkUPa5j4+WuFk/ZY03TyW0vxB4o0xuvyXSSL+q5/Wq9z8LvGvh2EtYePprhFYDZe2W4kZx1D4/SsWp7W+5/52NY1IdzvjA3WmOpxzmrNpE0FnGryGaRUUPIQBvbAy2BwMnsKVkyvtms9zZblZF+bpTgm2X1qxDHxxQch/1ArCWprG9jc8K6VHDcPJ826bBIPIGOOPr7V22j6BDqFmV6SKcADvXJaHP5TKOx711XhvUtt9HJuxt4APNeZXvuejRaSL8XhVBA7N91unpR/YfkKjDG4cjHb8KS+8RrBG0adQeef8+tVF8R+YykMwUDp61xyi2jrjJI2IrdWB5+YAk8dfSp7K/wBqeW0h3KOeOtYjeIVyDuDcYyaj/tVZ5fMLbY0+Zv8AaHoPesnRdzojUW5qaprbaeDJG2Y15I9a0LLxypKurMOMA5xzXO3uuw3ittWMhgVUE/KBWS91/o0mySMt/d3Dn3P+ArKWHvuHthsKbhz1qxHHkfLSQxbh0wKnRfm+lfW9D5ltBDDkd6mij3Ef3u2KVI8D8PSpo48r8tUTcWOLcf5e9SxRH7uKVI8v6etWIIsf561rEyluRCPGKURbuvSrCx8fNUix5/nj2raMbnPIr+TheM0Rw4HSrXl5Pp7etOSHD9xXTExYW8OTkd+K4f8Aahs/M+Curd/LWN+faRa9Agi2j7vGeK5X9o62874K6/x9213fkQa15bxfoRs0dt8FD9p8B27/AN4gn8VU12IiwBXFfs7sJ/h3bt0O2M/nEld8sWR8orXCxSpo5sTb2jK6xc+1c78TrbzvDGoL/wA9LGZcf8BNdYI8+tYnjy283Rrlf71tKB/3zW9aPuXMKfxHw0YiAPy9aAmw/wA6tNEGGfzxTSg3gdOfyq4sz1IVRgPUe9AXZz/nNTLHtPvSmP5vbNPluZkBUFvmH6VJHdTWhzDNNEwPVHK4/KneVv8AX8DQ8RBo5UHN2NHT/iJr+lhfs+s6nH6fv2P6E1q2fx/8W2JA/tZpgDj99Ejf0rlQny/jxUMkQx3+mKrkVhqckehWn7VHiOHAuINNulPBBiKH9DWpZftPqoDXHhuxkdurRyYJ/NT/ADryXZg1MsZ2/TpUumuiHGpI9nt/2pdGMi+bpeqWrdzFOCM/gRWtaftL+HZzj+0tWtSevmxFgP8A0Kvnm5X5sdOKgLfOMnv6UvZabsftbM+oLX466HdKNniSzZv7s0e3+grUg+I1pfgeTqWj3PH8MwGf/HjXylDol7eDKW8zKehK4U/nT38FX3dIl+rjNL2dRbMftY9j60/4SJpVz5CPnvHLn+lRza6o+9b3C8dgG/rXyevhzVrP5oJjH/uXG2nHxF4t0T5o9R1ZQOhWcuP60nGoiueB9TTeIrUD5vOQ/wC1E3+FV5PEFjIx/wBKhH+823+dfMcPx38V2R2/2o8m3tNErf0q7D+0v4gjGJo9NuF9GhK/yNR+8W6NFKPc+jPtUUo+SaNv91wajkXLdO2OO1eAJ+07OP8Aj40OxkPco5XP5g1Zg/aW0uVf32j3sHvDMP06VEpS6ouLj3Pb5s7zVaZuTjIryi2/aQ8PyH5p9atceoLbf/HjV6D47aHcH5PEDRn/AKbQ/wCK1lKp5M0Sv1PQn+Y+tVZzuDc1ytv8VLC7/wBVr2lTHtuKr/UVei8WNcj93NptwD/ck/wJrOVSO5rGLNKbO3A9aq3C/LjpUL63Mc5tlbnqsvX9KjfW/mO63lA64yp/rWTnF9S1GQkq7j9fSs/Wo/8AQm564P61prL9qjEiqy7jgButU9VTNrJ34qdNxoo2Hzxfj61N0U8cVX0sZhb+H5jVgtnNcDXY9KMhuz5uO3SmO21/woZ/zpkrbm+U9jnIrOSZpGRqWN75KL+hq5a660B+8fzrB84Dbk0Pc8fe5rklTR1Rk0b0/iGScH5jyTUdvrZjZct09K51r/P/AOvimrqjZH3s981l7NWNYyOqGuMEHzd+RQ+qmQNiRRjkKeM1yq6phcZ6c/Sop9V+b1rN0zWNRm/c62QCdx6Yx61lvrOJH/2uSKyZ9VyuM7j1OetZtzqGxyf8mp9kV7S57tbjavXH1qxHHjnikhj4685796sxR5Hv3x2r2PQ8WW4Bc/ez61PFDn/9VIqbv8KsQoAR92qROwRx/L+gqxFD/L1ojjyOn0qS2l+0jcPUjBXuK2iYykCxYPr3qUQ8fxeuRT4o/k7tUsa5I/kRW0LmcmQLHt+g6g96fGhMjce30qdUJpxjxIvH4mt4mErhbjA5UgfSuf8AjjZ/afg/4iX/AKcZD09FzW9ZPeHXJ45IY1s1iRoZAcs7EncCO2OMeuar/FWzNz8LteQj71jMOO/yGuhL3WjOTD9lh/tHw7t8/wDPvbsM+8QH9K9QWHp3ryr9kJ/O+HdruH3rG2OfwYf0r10LxVYXWkjDFfxGQi3wf8O9ZPi6236cy+scg/StwR4Pes7xPHut04+9uA/Kumr8BhD4j4QnjxKwycbiPpTdpY+vFXNQh8vUJh/dkYY/E1Ds+bp3qorQxlcjEWDnmjyfm/HrUuzcT1pNmD/9ar5bEXITHt4/PNAToeKsbMYpjLz0960sSpMgMeSaikToMfrVtk5Uj86ilj2j9OKdgKu3eR1pzodw253dgKltbaS8uY4okMkkhwAK6/RtAh0XB+Wa7bjcfup7Cq5b7k8xzlt4NkuNsl032eNhwoGXb/Ctay0iCz/49oEVuu9xlj+dakkO19z8t3z1X6j+tNaPMnfd1B9P8/rWcpdIlRj3KMsTNy0jfSq72ysD8pzWk6Z6/L/Sq5TEuD34rHUvRaGeLNZZcYzxnHpUM1l5bfK0isfQ9K0rRc3nb7p4ps8OH6H1BrOo2noaU7NGDqWlrdoRPDHcL64ww/Gua1TwT95rNyT18qQ/N+B713Ey/Pn+Y6/5/pVO7tBInI7fLjrn/P50RqvZl8qtdHmFxA0DskikOpwQeoNVZhk8emOa7/W9Ej1NR533gPkmA+Yex9RXGatpcmk3JjlGG+8pH3WHqK0snsSZcq4Wonyc8VZkHHPrUM44Py47cdqycStSrI2Vx/OoyWi+6xUjn5eKmfrUbBSMf5xWUtNjSLHw69f2Z/c311D/ALs7L/WtXw/8S9ei1a1j/ta+aOSZFZWk3AqSARzWBKgFP0rjWLRv+m6dv9oVzVIx6m1OUr6H1xaL/oa/j/M1R1Zf9Fk9MVetXzYId3dhx9ah1GPNhL9D1rKNuVHS3rdGHpX/AB7vg5+dhx9TU25tuD3/AFqtpRxE+7H+sbHv8xqSVs+v51yyid8WK8n+1yajmky36CmyScdeM84qF5T3/KsZWZtGRNKxEdV5bjcmP0oeX5D8zdOaqyzccEmueSNoyHzXHH3sj0qCe6yR24zUU8rfz71Wkmz34ao6GkZErXmB171DJds38/pVd3IP3qgklwD7dqjc0ixmr6wbK3eT5m29AOCa+Uv20/2iPFGg/CjxBLo2pTaPLFFtjmtflmj+cAkP1B7cY4NfTPia4LWMg68V8ZftrR+b8I/EnJ+WJmHH+0K6svpxlXSeuqMcZJqk7Poz9dreP5j83arEUeSO/NNhiwOenqKsJHkdelaaM420ORMN7VYRMHHzflSRRZY+461NBGAeapWJ5iSGIL27fnUsaH0+n0oiHHfnirCR5Ga1jExkwhTaP73pUyw5+tOjTD56CpEjUnODxW0dzOTGpCQ38jTXjyd275hVlU3rwPrSmMA//XrpiYyKthJcNqkkMkX7lUDxyg8Pkn5cdcjGc+9S+M7T7R4J1aP+9aSjp/sGrttDz6EVJrdt53h28Rv4oH7f7JrpjqjJnH/sYSeb8O7MethF+OHkFe0LHxjFeI/sTtnwNZr/AHbJh/3zO4/rXuUShlz79aMGv3aMMV8Y0RYNUfEEW5Iv94j9K1kiyvXHpxVHxDCVgj4/5af0NdM17jRzxfvI+EtcgKa1eL/dnkH0+c1TMeT7+9a/jCHy/FWpr023co6f7ZrN8vkld2KqBnK9yNUwvT9KMEDj8zU2zt8woZcH681pFGZAV5pDgN8vy/h0qbaP19KaVw3pWm5PUhI+v49qjaIyNtXLMxAAHc1YkXj8a6LwJ4dWc/bnXoSIQfXuaqMbuxMpJFrwv4WXSbYFubiQfOwP3R/dFbQ0eGNTtUfMMlW5z/WrEcP2de4Y/Uf/AFqeI8DrnjOMf5/lXTyIiMjMudPjiIypQ9ju6H2P9DVV9MXB2t+B/wA//WrU1FWZl2ruGOaz5IscBSuDwD0FR7JPcfMzPubZo2GeG7HsaoznaM857ZrUuo2jX5ozt9R0rPl00Xe5Y2IkwSM96xlQtqilLoyOKHZqSn+GRdwp19BxkDtTbEMI9siMskZI+briifdKrDLGuGotdTpjLQozKATnovH1NVrsHdznkcVNcyNux8wUcAYqlcXflnluR2pco+YhnjB3A/dxzzj8CfT2FZGtaTHe2hjkU+WeVkxjy29vatOWWSRQwX6FhnH0HSoZbdpB80hb8M04QktinJdTzfUrCTTrt4ZOGQ8/7Q9RVOT759j0rsPGOi/abLcjBpofuEDlh3WuFe94PqD3NaunpoSpEj9c8EVDIR82M5Hb2rP1jxRb6LbNNdyRww5wWJ/T6n0rhvFX7Tnh7wmsizSOZv4Yujt9B/jXJUlGOjOmnTlP4T0GaRSf7vfms6XxhZ6Hqtq1xcRQxtMmDI+0E7hXzH41/br1w6g7WPhyOe1jY7EjuVZ2GONwHOfpmvlr4r/G7xJ8UfEU15rOoXTASs0VqrlIrbJ4VVHTHTnmphhp1n7u39dCqklRV5n7seK/2g/CHw302NtY8QaTalsv5ZuF3AHpxnv6145rn/BV/wCDVg89rceJJBMMp8tszAH6gYx71+L11q95qP8Ax9XE1x5ZAXzZC2325qay0Rr6Hc0gjU8rnoa2jlTS96f3L/hxLMFJ2hD8T9tvhf8Att/DP4kgppfi3R5JHkbEctwIm5J/vYz1r1C01m21aMPbyLIp/iRtyn6HvX4Aw6XJYXG2O4Q/Q4/I19D/ALI/7c3ir9mrXLe3uri61zQZ8GSxlm6J/ejLdGA7dK48RllSPvU5X8v6/wCAduHx0Z6TVj9e3bKr271C/GOfmrifgx8fdF+N/ha11jR5jLaXQG3JG6NuMqw7EZrtpHwPbr0ryNz1NtyOVmVP58VTZzjn61anb5Oh6VRdvp+PpWb7FRkQ3UrYJ/kKpuzHrnr0qzLyDu/Q1WlfC/L6/nWEomqbITJubGM++KY3K8+9DSbT3PamTsyI23DN6H+tZ3RsmZOvkPYvz2/KvkX9sq0z8K/FHvbPx9K+vNcbzbNuOcV8p/tf23mfDHxRnduazlI/KurL3++Xqc2L/hteTP1ltwFbvjPQ1Zji3c9fX2ptrHuj6HnpjtViFenatoJbo5GPROf8asxQ/dz39e1RxRBv+A/rVqFSBk7vpVqJMhY49x9PbFWY1+ZunPSo4056VZhh3N/WrinYzkMdW6/NnofepLMb2wV4x19DViOD3qaKLaK6ImMhrR/L/nigRbsZqdYj/d4Y0mzAH6Yropmcn2JLaP19KsXEO/Tpl/vIRg/So4Ewe2KvpH5kDDHbHvXTExbPLv2KdyeHbePLblju0PttnH+Ne+Rpj/a49eteC/scHyYfL/u3WpRflJEf6179GvByP/11WFj7v9dkY4j4r/1uBj4zz1qnry5s4/XzB/I1oIuUzVPXov8AQF9nXH6101PgZzxfvHw38QIDF471pTxtvpv/AEM1jhefr29a6T4qW/lfEjXF6bb6XH/fRrn0HzcZ9KKexEtxpXrn1ppiYLUjDB9gOOKa/wDP0rZJmTIzlTTZAQfuipicnoajK5PH41XKSO06xbUr+GFfvSttz/d9a9K0zS/JtUjjXbHGNgGAelcr8PbFRNNdSfLtxEhPcnr/AJ967qKILENqq2PSIkmtoqyM92VWs2Vs/d2+nH9aDAxX149c1YdNi/Mu09fugUAHH+f8Kpt2Azb6J0C1SkRsfdOfWtPUNxC8+p47VRafa+dxx9elF30HoV4EdJOVYL3Bxg02TT4vMWRflbrgHrVp7lc+/tUJl8z0/Ks5N3uPToWNB03StR1aOPV7y4sbE8yTQWv2mRPom5c/mK7gfDr4O3GNvxA8W2h7+b4XVv8A0GavOpXwDwv5CqGpXLLCWRYy8ZwRisfZqT1RfMz0q6+DHwnux8vxe1CL/rv4SnH/AKDIa85+LHw78N+DdVt4vDviiPxdbTQ+ZJOmnS2X2ds42FZOW45yOK5++lE7bsBWPVeoNZ85Yhs/L75raOHSI9rZnQ+CvBem+LTdrqHibS/DYtY1eM3kFxKLokkFV8lHwR/tYHNYet6Lb6ZqMkNvfQ6lEvSaKN41Y/R1DfpVSR6qzMQfl/majkZXtO4uoWK3KY+bjp1615l410FNN1NsKVjm+dcDoe/+fevQ5ZCM/e4HPOP6VzPj6w+3aTJIo/eQnzFOfzpcl1YvmR8K/t8/FXVvh34m0qK1kkEUkLssjgBY3yOVH97H8XYGvk648W33iC9kuZ7yQbiS8zuSW9fc/QV9wft2/CIfFHwRbzRxs2paXKZLbau7eCMMp9uP0FfAmtWdzpt/Jb3UbQyQnaYzxipo04fM3qTmop9DtfBeuaebja1vcXkmc7pbkxr/AN8rj+dQ+O7CPX7j7RFp6wbWwZllJDfXOfzzXJabcNA2WZlRuDg8keldPq/xOSbTrezt4VWOFcEEDax9frR7HlnzR3NI4hSp8s9jnf8AhG5r++km2lYi3JznAq9DbSaNMYZkVoWPJH8J/vA1t6DoOn+Jbfzo2WG4U5KB+W/HqPyrfvPh7a6npipFG0Mi/cAkOJT3ALZAb2oqYhRfvBTw/MvcODvWkedlmjjWaPhcYHmDsRUyT7Ejt22slqD5bEckdcVr6v4IWfTmk85Y7yzGArjaZwO3swrCN4wb5kztGNhHIrePK0c0lKLPqz/gn7+0vJ8LvEVhZ3TmbRdXuFtZGVsfZpc5RiP9rp6V+n1vdpeWcdxG25JFBVh3Br8O/gtri6Tr/kcqsk0dxCe5aNw+z8cED61+0Hwj8SW/in4caTqVq8clveW6ypsPABGcfUHj8K+SzCj7PEtR2lqfT4Wt7Sgm90dFO/yYbpVMnHt/SrUsu5f5VTOTnFcTOlSK8p68nHNVZG56CrUp5x2NU7hs5OPrWTiaIru2XB/LPao5JMLzRM6g+uKjdtzdce9YSN4lPWebVv4eMj2r5k/awiMvgDxKn96xm6f7pr6Z1UfuH+nFfOP7T9p5ngzxB/t2UwPP+wa3wLtWXqY4r4Gz9VoF27Rhtv15q5CuGx+IxVeBNoAOf8KuRLj8s8V1WT2OFt3HQpnhfm9/SrCJk/N6U2FMe3p6VYjiGf0rSNiGPhg9uPpVqJNuKijwoqzCOO/vW0bmUrksa5TNSJEB+HtRGBj6jt0qRfpWkTOQoiwuce/FIE+bgfN71IFyPTj0p23HP0711U0ZMfEuR7/1q/bxfJjnmqdumD7HnpWjapxleo9TXQkZNnkv7Ji/Z9Yuoz/BreqRfpE39K+ghx2FfP8A+zQfI8aaunPy+Kr9PpugJ/8AZa+hcZ/z1rTDxtG5jiH72g0tjt9Kp65xpxP+2vT61eC8iqmuoTpjf7LL0+orokrxZzx+JHxT8ZIdnxR18D5dt69c0RhvwrrvjlF5fxb15en+klvrlRXIsPXr/Kop7JEz0kNHP9Pahl3Clxhu/wDjSrgGt1cxZGU+XPK/WmsMdqmIGKYYDJIq/wB7AFXHUnU7Lw5p/wBl0izj2vuYGZgo5yela0V7JD8rtuHo7kkflUQRY5MYXZGqx8tgDA/WnIGI+RTtPoNi/wCJqKkmpaFRWhYW+jc/88z2DALn+Zpxb5Pm+bH4n+tZ7RJGAv8ArGJzsjGPzP8AjUdw7Rwqqkx/7EZ+Y/U1SrWJ5Czdu0jfN36AckVRlAVm9vfOKiDzShsSHavUKeF+p7/Sq9xLJu5d/Tn/ADx9O9a+1XYPZ3JLmfyhnp9TVGTVkiz/ABH1Haq94u/kk89M1SkPzf7Q9aiU7rQlJo2YL/7TFJtBDICQNpbP5Vm6hHI8iyI7bZVyy+S3XvSW17II5PLkaN9uMg1SbV74wbftU3ByDvNZR5r3uXKS2GywsrEFmx/1zYVRuisTMu/qM/MCv86sz6xfbT/pc3PHLdKyL+7muZC00jSHGBk5rVVJLcnlj0LGBL975eKr3EH8uuKrJJJGdqsRz0/p/wDWpzXIydxK+rAcfiKPaIrlGTR4Hy4HrjP9P8KoX1t5tuw6qc5xg8fWr800eBukQDGQw5X/AOtWfqN2iRNtbzN3fHH59fzqZSSLin0PJdZ8Nx6pezWci7lVinTrXzx+1B+wofFGnzX2h2yzXiKZFUABw3p7g17n+014n8QeA/Cl/q3hnSv7W1RPKdYF5IXOHfb1baBnA5NS/Bb413Xiiwhh8Q2mnWdw0S7Z4J2+du4ZWUY6+tfP5jKvTrKrT2R9hkdPD1cLKhW3v/Wp+VfifwZrHhLUmt7/AE6a3kjOCrIVOazYLRJ3ycRt1xJx+v8AjX7D/Ef9lPR/jJo07TWVm8kynynMe7a2OvrjNfEX7Sf/AAT91X4YzS3FgvmWuNxVRgj1xmvSwmaQraS0Z5+YcPVKPv07tHzloNiI5kK/u3yNrH7p/GvSvD16ulRn7RPZ/Z5MblefIPvjr+VXf2Wf2Vbz4qfFaC11hby38P2rM186DDNgfLH07nH4Zr7b0D9k7w/4h0fVtFvtL8N3WmW42QSWVuILvT88KytjJAypzkhgSOeazxmIpxlbfua5TlVbERdny9r9f8l5n51/EUm6vjNbyeZDjAYENgeme/4jNci0jLmRiZFU84bDIa9A+IPw1l8N+INWtbGaGabSbua1uFD7f9WxUnH0Ga851WeO6uWljVIm3cony7a7qclJK2x4uIjKMnzKz2Lml6rvuIpP3ccsTKVZe59T7+9fqJ/wSy+Kr+PPhBqGnySbm0u7JVWP3A4BI/PNfldZ3cJjlW4XbIwwkgHyk/4194f8Enfid4V+GngDXI9e8R6bpOsXl6XhtbmcI1xEkYOV/E4/OvNzekuRT7M78sre9yd/zP0Bdsqf4aq7vl68d81wXwi/aQ0v4ratq2mKYYtQ0t0DLHKHWRJBuVgR7V3bsp7fiK+dUlJXR7XK1oyCVlPuOmaqXPPb65q1MyiqsxwMj5jUscWVJuBwtQSHAqaR1jf+96YqJzg/1JrGS10No+RS1M7oWznNfPv7SEe/wzribfvWcvH/AAA19Aai5ZG+9jHr2rwr9oRd2i6p2DWsowO/yGtsG71kTiPgP1MgTCDOas28eW/XNRw/Nux+tWoU/PHQV1xijgl3RJFHz71PGmH5/GmxKVPzbl/rU6KFI79sZq4pdDJu49Vy1WIlxn/OKZGFAXuPbtU8W0ehraJF9R8I9OoP51NGuP8A9XSmwj5un0IqZPm/CtombHYx+NL5ePWnKPl56N70rA/4V0R1MZEkK9qvWcZGf0qlDwOfTFXrJcHNbxM+h5J8BM2/xU8SQ8r5fi+T/wAftJv8K+hgmTXz38HUMXxp8XKG+VPFtsSPXfaXIr6IA561rS+FW8/zZz1vi/rshAuG/GqutLnS5PqP5irsR985qvrS/wDEqnIH3QCfzraS90wXxHxf+0FB5fxf1v8A2plb80WuMER//XXe/tHxAfGDV8dzGf8AyGtcLu7fjU0/hJqb6kPl4J/zmnBMjueaeDgUn3c/SugyY0fL17dKk0mHzdWtV28NMvfrzQ3J+lTaGMa3aH/psv8AOqjuTc7i3KiaVhGZJC/YdKfKjEBppNvbYvf+tOs1kPmLGowrnLnn8MUhh8uUrEjzS93YdP8APoKxldyZovhKtwwgj/54R+g+8aqyXOxFURlVfoo+8/1NWLgfvflbzJP4nb7sdUZQmGKsSvRn/ikPoKfKupOpIZfLteFX5Tj5fup7D1NZ80m8FiPUEZ/z+Jq/HCJbN8t5YjOGwfuew9zVaZV+z7to3MdoHpjt+HU0x2M2d2/2fy5/z/8AWqtNGDC3b8P8+/5VZlCydBn0yevp+Z5qG54i2jn/AA/zmj0FYrQJ+HrxVYrjK4/OrcfA74+tUpWyapGez1KdzuU/zrNuRuk960rtdrY6c9SKzbg4foPcf5/KpZUSNFyAeNuP8/57UyY7Q2dwwO3Vf8RSvJ5YLBvlzyfT3/Doahkly3+7zkfwj1Ht7VnJGi3K9y3kozcLu6EfcasyZt0xP+qc/wDfJq/dhnk2Ku44yUH3X+lRx6azj5trR90PLL9KnlbLjozkfGugTa68drBI0c1xE0fmJjdH15HbivNfgl+zhqMPizUZ9e1jUtZtbebZbxSFYo0bqTtjC7jz1PHPSvWPHviuz+G8K315b6jPCEIRrSAzSLyMjaOemOaxfAvxv0nV7ySO1ju7aGV96JdLslfPU4+uePavHzCVWTcFHTTU+74ewtBUI1ZS1bbtfb1/P5nsegWcejWCxqFVAvA9K4z4kais2oyQSWK3NlMPm3ruAb1/Hp+VdD4b16DVom3fMP72eRU/iM2sFsGHIYYbjGfw7V5tGn7N2PosVUjONlscf8NvD2n+DtKaTS7W3t7nVI5baFipAiZ1YbjtGRjOcjpisvx54X8P/s++Hra5sbm4uJvsH2U2jzF3uZdow3PP3hknArS8Q2FzqWjiPT5praeFxJC0JwyMDkY/KvO/HOj7bS41TVp7iSRULST3LZ6dv/rCuqnR553crLr5nm08fDDR+C8unb5n57/FHw3qkPjPVrqbbNcXe66uoo1KrKWbLDqSfw+teU3aQi/ZGibCnkSISVHXrwfzr2n9oDxvcS+JJk8o28k0pITGHSMfdyfXHb3rzbWYf+EgvorW4u5FmkKozyMWWMHH5gCvoqKfJzS2/Q+DxrTrNLX/ADMXwN8ONV+MnxAtNB8N2rXF5fTBIYzlYkJOAWP8K+9dR4r+G+sfsyfEC+0nxZarb+KbHZJFCkgmRdwyrqw+Vgf0+tfoN/wTm/ZR8P8AwcjvNQgvo9c1bCebeRjMIJG5VX6Agn0JFdJ+3J+wVZ/tRR2uqWUyW3ieF4YUupT+7jgUksPXABJwOScc1wvMoyny/Y/H/hjWOXSiua/vfh/w553/AMEndZtb74Zappd3paQ301+139rClpZSQOJHxyR2GeBxX2EV2xbR91RjNeC/sC/s+at8F/h/LNrCxwzXwwkXIkUBmzuB456jHY171Icr+Pavn6kuapKXS/4HtxXLGMeyK83+R2qpNLhe/wA1W5uv+NU5j8jVlIpSK0zc/wBD3FVnkGPT0qWV93T5vw6VA5+Y/wCeKwl2NY7Fa8bdGw4+X9K8S+P8O7Sr7jJaBx/46a9svDtRsd+wrxv45LmyuB/ehcY/A960wq/eKwq3w3P1Ihj3J07dzVmMZbtioIk+QDrkd/WrS8AfL9DXdFdThluSRx7lU/r6VKhz249qij+Vvw4qaPn1/GtY2sYyJoR6jGKsoCG9v51BERjipo+m3qP1NapdTPzLEZw59O1SRjJz/eqOPIP4VNFwtaRWuhDJVyP6+1K3XH/1qFPy/MeOlB6fL948n3rohuZSJIhtbt7VftOvH5etUoME9cfQd6u2xx71vEzkeR/DhhbfHzxohyP+Kl0qQc/3oZ1/9mr6J7184eF3Fv8AtGeM1/6i2iSHn1Yr/wCzV9Hn5h7/AFrej8K+f/pTOat8X3fkhy4K+nvVfV8f2Zcf7lTA7h0yah1Rv+JZPj+4RWz2Odbnx7+0yuPjDqXukRx/wAVwJGR68mvQv2oY8fFy644a3hII/wB2vPm+7/PIrOn8KCpuR7fr1p3Jbnt0oRd4wR+NOblv0rdGIzp/nrUmmP5Go27f3ZVJ/MVG42DA/lUbsRyP4ematdyT1yxQPEwLeTEDlsdT+NOZ/Mj+XMNuvO7u1VNHuo7mzjmkb5SgdR/eJq1cMXRZJQVXqseOv1rZpXuJPQoX3lmH5l2wZ+VMcyGqMunLNJ/zzkxyV4ES/wAsmtK5jeaXB/4+HH4RD/Gqd0FRGjGRGnMjZ+8fSr5UDk0Zktm0cYWH/V/8s/X3Y1nT8xd1Huei9z9TW1KzHcG4yN0n+wo6AVHe2S3dsGkTDSfO2P4VHQVlKj1QRkc3JuLZxjjP4ngD8BVe4AWRgM8cCtG8smt/3n3uspHf2rGe58qT5t3Awdw/z6VjySRV0DXGyPNZOram2nWU9wI3k8mNpPLT777VLbR7nGB9a0NQvUNv8q/55ryf4j/thfDf4X6tJpeseLdLh1e2/wBZp8O+5uUPHDJGrFT7HBq47GcndmD+zR+2NZ/tPa34o0+PQbzw/deGniEkN1dRzySo+5ST5fC7WXGAWHvXqkh3Anad3p6+v+Nfmr+zv+0pB8BP2rvFXiQaVqF54T1SO7jlhsLIRzC1D74JRF8oGMDJIB5JOSa/Sbw/rEfirQrHUrE+ZbalbR3cLY6q6hhn8CKmpHWyNI7XElyo+XPGOSPyP49DTI7Fi25tyKTwO6n0PtWrHZrCNzfNtG4emO4pJOQf4uB/wJfX6ikqf8xfMZs0CxIUEZVVPIHWM+o9qEjzLydsnVXHR/rU10x3+Xu+b+FuoYehqIlY4mXafLX7ynqhoZUbnJfEWfN5brj5tpPpjmvH/iN4SSPVk1i41eSyso23NFDaq9wz8YEbepxn5s/lXqXjq7Eus7evloB+fNczr2j2+vW3kzjhXDoe6OOhFcle1zvwOIdGopX06+he8C/Ev7VoNrIxMc7DbITgE44yQOOeuB0zW1f+MftCbWY/N6HIrj9N0iz0fwqC0kaT5JcrwC2Tn865XxL8SrfTbOTypGleEElU+bA9wO1eDJpy0Ps1Uly8vQ9u8A619u8Q26qN+wlmwegFdd468M2fiOFmkt42eMbkJUHacdRXi/7O2rXFy1xcTbjJI6jHoP8AJr6HtdHbVbNfl+9gk15FTEWqNs66NFzgflF+2F+zX4i8G/FXUtSis7i70e+kM0MsaF/LJ6qQORz3rxfw98MvEXjb4gafa2ui6k099dJCoWBiWyeSBjgAck9K/bnxB+zpqHj6yaGLQb6+VhhXWA7V+jdP1rkPBH7E/jz4WeLYtRt/DsDWqtkiW9gjmAYYIOWzgZr1qGeScFBRu9jx8VksFNzv5mJ+zd8JvEfwv8Gafp2raho62djAqRWlhYmJ2OOsshb5mHoqjJ5z2r0uXn8qvX+hato6L/aVlDa7jwEuFmOffb0rPkYEfe4HSs+VW0OeV09SGVs99v1qi0pLH0B596uSnJPGaz3fB9Kzl2KRHKw3MO3aqk8nHseetWZXwf5DPWqdycn/AHqyZpEqzSZ57frVeaTaT6fSnStmXA7VHId2OaydjWBXvH/dn9a8g+NfNpLxz5bd/rXrl6eOfwryT4zjdbS+vlk5ow3xoir8J+osTbQvJ/KrK5KfyHrVG3lZcLu+tWoJiOnzCu6JwO/UtK2FHuODUwbFV45Wdv5VNG2B/KtIozexYgGWqzHkH8PzqtG/C9amR8/TrWqehL0LSnJ/oKsIRt45qrDJtH8qmjl2j8MVrEzZY5FLu4/rTEOByacDk/4dq3pmUia3BU4/yK0LQZbnkfzrNtmya0LM7mH8Xet+Yyfc8YhmFp+0z4wXs9xocv8A5MxD+tfSjHLHtg818v8AiS4+yftPeJvl+9Boz8e17BX09Kfmb05rel8K+f5s56y97+uyHA7vb3qLUVY6fPj+43X6GpF+Xj5fxpt7zZzc/wABH6Vt0MFufIn7UZA+LEnfdaQn9DXnW7cOwFekftWKV+KAYYw1lETz7tXmm7H4Gs6b90KnxBGcHtT5TUYbOfzGaRnyPrWxiI0mfw5prjJ6801mx9Kaz4GOo9KszR33w91NZ9Gh8xdxtyY9vr6f0ron3KwZ/muH+6v/ADzFedeA9WNpqUlvlV89cp/vD/61dadQkhtWmZ5JJXHI9PatXOyTHGJoXL/Y18tDumk5ZvQetZssq4JHzQwnC/8ATRqzLyV2G3czSTH94+fuj0qs9xiX7rLHCMIufvH1qoVH2JcX1N7TrJbq9WGU8cyzc9faotYdkvWH3VuDnA/hArE0nVpYJlXfJumzv+bp7UeI/EMqSyfNvdl2ovHA96bbvsHQL+beJGbrI3H+6Kz54xIAu1WP3ecH0H+NU7nWZGVcD5VXAyOfeq63VxKN7ZC+o49a12WxPK2Wb+wiMR/dKvy9m9jX5Ef8FPvAEngL9tbXmsJGtV8U2sGpRSK20b3XZJyP9uM5+tfrFqcrFPmOeOmT6Yr8z/8Agrza3MnxL8Oak2nXMEdgstiLtoyIrgFhKmG6EjL8dRzU81lZrcuGHlJOSfwq+/mlp33PI7P9pDV/hB4ke4tPDOn2cd5otvpt5DbyECZ4iWWUMR0JPK85Hevv79kH9q6X42+BLO5gtJoHRSXhMO2EMpAdVPbHTAP4V+c+uXcPivQrNlhkmuJEjs9scZctKx2xrwPvNjgdTjivpb/glz4+m8OeIdY8LajaXljd6XfGR4riPy2QtH5ckbI3I+eEHPrkV4mOd4OtH3Zx7eqPoshqp1fqlWKlCfdbNJ6rsfoNHcLNCskeCuBIh9QeTUE93HGQFZd2N0ff6isXRZzJ5kLfL5Lkxjd/Cf8AP61ObbPAztU5HPSuyjWdanGoup52MwTw9eVJ9Hp6dCS6v4fL6sAx+U4+4fSqM2sRhSN+2RRtIP8AEKdewKyP/tHmud8T3K6dp8k38f3U+p4rS0mzmcVY5vWNQ+3alPID95zjntVX7RjPOCKpSTYbr9aTz8Z+vX1rGVK+oRkQ6l4a07VJzJPC0m47mUSMqsfUgHFWLLw5p9nYTW9vZ21vHcqVkCIFLgjHPrTDcYH49fWvfv2Mf2T2+Nep/wBu6/HJH4Xs5dqR8qdTkU8oD/zzH8RHU8DvjgrRjBXZ6NGdSpaN2Y/7Dv7IHiX4nma6aE6RoUMnlm+uUO2crwRGvVz78KPXtX378N/2ffDfw2t4/JszfXS4/wBJusSPn/ZHRfwH41H4o8ceH/gX8Or7Xte1DSvC3hPw7b77i7uXEFtZwqOB/QKBknAAJNflT+3J/wAHMmuXy3mk/APSNP0vTvNa2XxPrcYm1C4wOZYLM/LEh/heXcT/AHRXjUcqdWXNFf5Hv4jNvZQtJ29Op+vnis2Ph7R5L7Urqz0uxiG5ri9nS3hQepZyBivmX4p/t5fs/wCg3b2epfG34b2VxkgourR3G057mPdX87/xu/aS+I37TmvT6p498ZeJ/GF2xLO2o3kk0UQz/DH/AKtF56BQK4+ytdOGjXXmfbI9QDx/ZhGqeQV58zfn5gfu7dvHXPavbp5FCOspfcjw6mfSvaMfvZ+8muftR/Cz4m+NbHRPBfxO8K+ML+8WWaO002YvIBGAWJyB2P49uhqxK397ua/BrQNUvfDWrW99p11cWN9auJILi3kMcsLDoysOhr9Yf2B/2vh+0r8MobPWrmBfGmjxbL6MHa15Gp2i4C9ieNw7HnoRXNjsC6K507o6MHmHt3yyVme8ztsPGKoSvkHPr09KuSnAx/KqM75PHrXkSjqegiKST8e1VLh/l6Ede9TSna+PWqtw3G04AFZSsjaJUm4lz27UyX7vp6+9LO2JPvLUUj4aueXkbRK124CsD6V5R8aGzbyf7h/CvVbwqM9uDXlXxjOLaZf+mZ/Gqw0rVFYmonY/Tq2kwf1yOgq5FJkcep61lWzjywvb0q2lwFAx9OPSu5Hny3NGF2+8vcc1Or5bPPrxWbDP8g+7ip4pSD/WtI3M2aMc2Rn8MVKs2CCSPfFUklyd2fwIqZJAT9elbKxnIvwyZH055NWIWz/M8VQjk2j1+tWI2JHX8K2RBcRsj/PFSsc1WjOTjtUjuoPU9OlbQM2W4JMCrtpJ8y9u9ZkEnGPl3Z/Kr9sdrf41rczZ4P8AE+f7L+0xrn8O/TdMfr6XsH+FfVDtmVucnPWvkn45zraftHao397RLNsfS7jP9K+snky7H3P4VvR+D5s5qu5MXpty3+izf7jZ/Kow2B7+tEr74H/3Tn8q6FsYHyf+1Yqp8RLdv71hH/6E1eXkfp79K9P/AGsJM+PrD3sF/wDQ2ry3PzY/Wrw6XImRWb5tBTjPPFDsKGbj1xUb9ep610qK3MNRHXBbnmoy24c0sjZ6N371Fvz+PFXpYh3JLa5a0uo5o/laJgwIPcV6HYahHqWnx3CfdkXdjPIPcH6V5m7YPpWv4Q8RfYJjazNthuD8pP8AC3+BprXQIys7nVzdf0qrdLjPXjjpUxu2iIHJX0zTLi5WRfVT2reMbhUk16Gc5aFvMThl6HHSqM6tLuY5Pc1bNypyB68e9Vry5WLoPwq4x0uYuo72KhHmAqB7ke9LI7QQKwZT7U0XixoN3Re3c1RmnMr5yeegHanKK2NIydx95cs6hdvJ6V8bf8FPPh14m+IHw/v7fR7Gx1O2AjmELSBLi3dDlnjB4Jx6HJyRX2DNIsY+99Sa8Q/ah+Ga/EvTZrdb260+78mSO3mhfGx2XjcMEEZwfWsMRh3UpcsPiTTV72un5HdluMhSr81XSDTTsk3Zq2l+vmfln4R/aF8R/DDR7a00VrG3jBka4SW1WZbx2R41aVW4LxCSTy2GGQtkHIFdp+yH8d/EF7+0RoLaxq11qRjsW0+OS5bc/lKzSqrN1Y7nc5bJ+brXPeJ/2QfHnhOCYaxp9rZfZcO8j3sbeaGbGVCklucnHXFeu/scfsM6ld+PLTxNrGqwWOm6XIdsSqfMu2ZSAo9F55Nebj/q8YTnUS5rWemt7WXmdGV4fEfWKU6adm7p91fX9T9AvBvi6PWfss0bLJJcLjy05OehrsiY0iVvvbuc+teefBvw9/ZesyR2s0bW9odqzPlih4yPT29q9F8QQwoguY2xg/vY+2e7D+orycBjowfK/hf4P/I+mzzLZVffj8S/Ff5ooXbhzgL16Vwnj/VfOvhbocpD1I7t/wDWrrvE2tx6PpplVlaSQYT/AGj/AIV5jqVw0zszEkt8xPrXvJHxcpa2Kcz4emfaT0PTNMuZNpY+3rVOW4weSFqJbWKid58B/hfN8afippXh6Essd05kuXXrFAnzOfyGPqRX1N+1N/wU9+C//BPfQG8P6jqUWpeJtItlS18JaGVkuoVC5USt/q4ARyS53HOQpJr82/ih/wAFHtY/Y4svE1t4Ft7eTxnqemrpiavKylfDqzMGMiRnO+dlQ7ey/eOeBX58x3knirxULrXNSumk1K7Et/fzs08xLtmSZyTl25LHJyTXN9R9rPmnsvxOr62qMUo7s+iP+ChH/BUL4hf8FCvFqya7P/YfhCxffpvhmymY2VsR0lkzjzpv9txx0ULXzlYeTdXsYuZ3ht3bEkyR+ayD125G76ZFRag0en6vMtncNPDBOwgnKbDIoY7X29sjBx2rT1y91jxaJte1JZrhJpBA94YlRGcDAX5QBkAdhXoRjGCUY6I8+c5VJOUtWUILuazW4jt7iZIbhfLk2MVEyZyAwB5HAODnmm28L3M0ccas8kjBEVRksScAAepphOPb8avX8VjBbWL2d1cSTPFuukkh8v7PKGPyowJ3rjB3cHJIxxmtDP1JLELpl3Ml1C32iFzGbeaMhc8qwbkMrKcHHqOenPU/Bb4oeIPhT8W9M8VaLJNJqekObqVS/wDx8wouZUb+8GjBBH+FcXc3Ut1cPNNJJLNI26R3YszsepJPJJ96tTyhdNhkUr5kjkMQfmXHH4A5/HFZ1Ipqz6mlOTTvHofuB4Y8U2fjfwpputaewks9WtY7yBuDlJFDD+dOmOVb+92r5/8A+CX3xNXx7+yXpdjJJuuvCtzLpcqnqqA+ZEfptfH/AAGve5ZdqY3d/wAq+HxFN05uD6M+yoT54KfcZMu1cZyf5GqMzbgfyxVmeXrjpVKaUN2rnZ0RIJuX3flTJDwPbtRLJhvrUEkmDwO3THWudrQ2jqMvOR+HevKvjIc28o6/IelenXEm4Hjt+VeWfGSRVt5P908etGH/AIiCpsfpfaSZRew+tWYnzWbbzsVXvj3q3bybsev869C9tDgerL8E2SPu+vWrETkjr3qjFJuPf8atQTZPWqv2IsXoH9fm7YqzHICaz4pPXip0kz+XStIszkaEL469fp1qwkm3vzVKJ/4unFSxtz7dOtbRkZMvRtkBgevtUiPx17+tVUfHrwKkSQiM5X6VrGVtiJIuRufXvWhaOBt/h9jWVBJj8Kv2km8BvU1upGcj54/aan+x/Hy6bP3/AA/D+OLhT/SvrVZRGzHPB/SvkD9riX7N8bN3Xd4e4x7TZr65STzIwf7wrejL3beb/Q5a0bP5FpXDDg0SN+7b/aB4/CoY5Nh/2akZ96N9DmulMwsfKf7V4x4101u5sv8A2c15Xuw3J4r1T9rVs+LdLP8A05n/ANDNeTq+W5OR7d60w7vBGdb49B7kj/8AVTXYKf50meaa/NdKOewjvjj3qHGR170rvn+tR7sH/Iq07EMbIefaq118sX+9U7mqt/JtjH+cVUZXehLOn8J+K11KJbW5bFwnCsf+Wo/xH61suhLMDu6Y4ry1pGEqlW2spyCvauo8PeO/tjC3unCz42q5+7J/ga2jqyeZ2sbV3Fs+7931qns81t361ce4Ei+jdMGqtxMsK4H4jHWtuVEqo9iveIvl/wB2qrYgQ4xup0jtK6+/6VHNbs8o3cjHGKOZWuPlbVmU2Q3DBjzXL/FfTfJiWb+Ijmu0kxAnoR3rH8Y2i+IdMlXjcoyo75ohPklzMUlzKy2PDfEWjWepyW81xaW1xLCT5ZkjDFMjHGfUVial4Ps7mGQI01juH/Lu+0Kfp0rqbqydrySOQFWQkYrHvt0VxsZcbfbrXVWo0qitUin6oyo4irCSdKTjbzNj4XpcaE0em+czRRfMkgyrOueS3q3P45zXqlvp8ktopkLNPHk/7y/5NeNXGvR+GzHdO6o0JDDPOT6Y96+j/wBne1tfineWckP7xYU+0tnGMDsfxwK+HzTA/V6tofDLby8j9BynM3iqLdR+9Hfz7M4n4p/BjVvCfg2y12STzLWQlZIScNaAnK49VPf0OO1eV3Mg+9/k0f8ABUn/AIK5aP8ABj+0vh78O5LLX/Fr2rWOo6iMS2eibsh1HaS4AxwPlQ/eyRtr51/Yg/amb4teFW8P+IdQhfxJpnyW7SNtm1KADhz2Z16Njk9cdTXo4GNRUkpbdPQ+bzCVKVZuG739T3a8kycDGf51y3xM8dWvw48D6prl4f3GmwNMVzgu3RV+pJAror2TJPY/yr5D/wCCg/xm+1Xlv4LsZB5duVudRIPV+qR/h94+5FdduZ2OO6SufOXiXxVeeMPFWp6pfSLNc6hO00pzuXJP8P0HA9qp+RJLFJIscjRxkB3CkqpPTJ6D8ahjHHsKsQ6vdW+m3FlHcTJZ3Tq80KuRHKy52lh3Iycema6tloct7vUgyCP/AK9L5zNGqM7MkZJVSeFz1wKaTVjVbqzuRbfZLR7Xy4QkxaYyefJzlxwNoPA284xSBbFyw8RSWmgXmn/Z7GSO7kjk86SENPCVzwj9VBzyO+BVMtsNR6fayahdxwQrvkmYKi5xk9qtE2Z0Pd/pX9o+d0wvk+VtOefvb92PbHvSHq0amoaRe+Dbyxe4WzaS6tlu4gHjuEMbggbgCQGxnKtyKzbcgQOrKzKo9f1qnZBg/wAis38TBR+prYthp6i185r3c0p+1hAu3ycryh67sbsgjHA96VtNSt9j7H/4I9fEqY/Ebxt4fupmkfVrOLUkz/FJC2xvx2uPyr7xkfJyOx6mvyu/4J7eNo/Cf7ZnhPypCLPUJZ9LVmG1mjlRwm73ztr9Tpjh/wAelfJZvDlr37pf5H1OV1HKjbs/+CRT8BiDjPPPeqUzkqF745xVuduKp3HK9v615ErbnqRVynM2X46YqN2BG7p6d6dK+wd8+lV5X+dh0P8AOsJNI2jfYhuzgZ9+h715f8ZM+Qw77T16V6ZcDI59O9eafGBGlg4B6HpSwr/eIc1ofpFazZUDb+HpVyGXI+9z9KzrVg3r+dWopPm/p612nG0Xon5GasRykn/PNUYZPfrU0UuVrS5HKaUU25fU9uetWIWPHzfN6VnwPhfbsatJIGb6cVSl0M5I0IZF7/rU8cn/AOqqEUucbvrViOXI7+laRdjFovLJlvRfbvUhlwOT+vSqav7/ACrUiykn8K2gZsuwTbhwfzrRs5eR05FZFs+P4vQ/Sr1nJ838/at+YzsfOX7Zknl/F61bPXw/J+jk19d2M2+1jbtsU5/AV8fftvSiH4o6e5/i0KcZx3DGvrbSpfM0u1bd1hQ9P9kV04fZ+r/JHPiN16f5moG/z6UeZsDY/lUKSZoL7uvT+ddCZynzD+1yP+Kn0k+tq3/odeSBsDb79q9V/a6bZr2k553QSD6fMK8hjlJP3vatsP8AAjOuveLDP9Pb2pjyYHHb9ajM3y0xpsHgj6GuqLOfl7AXz+eR7U2R16+9RyS4aoJJdw/Gq8ySSSfHHI5qlqFxsVen41I0v/Auao6hLkqpwe/0rSO5MirPMzkgdCO3aosFgF7dOnSlcfP2PemSfLn/AArT0M7GjpXjW40n93IftEK9ifmT6Gt6w8TWutsuydRJ/ccbSDXBzH5+/uTUYPAJNVzWDU9VVFgX7wPr7VWkut8o7L/KvP7bxBeWYVYriTbn7pOR+tWD8QL6FcZhbtkp/hRz9AiurOqu5zKcDp2HrUEyrCP9r69K5CXx/fAgqLdfop/xrP1LxnqNwmDcbAT/AAqBRzLcJbWQnj3So7O++2ZWOJj82T3rh/FeqxXVoPsKeZOpwHPC/wD162dUdtSibzmabd3Zs4+lYMNl5c2wr3wK0VZ7kun0R51rmoXFzfyfaW3upxg9AM+n+FcJ+2H/AMFV/FPgzTtW+Hnw98Pr8PVvo4/t+rpN5l9PGY9pW3bpGjf3x8w5xg81618R/C32e4+0RL8shw20V8xfto/ADVPGfh6HxNpWm3NxdaKjreCOJiz23Xd052HJ+hPpUVowqpOWppRqVKV1B2ufJjPuJOSSTkk8liepz/WrGia1d+HdVtb+xuJrS8s5Fmgmiba8bg5DA1XJUhSPT1zmmghm/wBljzUPYzPuzw1+2hper/s63Him6khXXtPT7JcWO4BprojCsq9fLb72cYGGHavi3xXrV14s8SXF5cXD3l7qEpmlkZdpeRuSAPQHgewqvLp1taaZJcRX0MjLOIkiKsszoVJ8wDGNoIx1zkjiqtvqstlFcJG4VbpPKlBUNuXIPcccgcjBrOMUtUayk3oxA+QP9njjvVvVLixms7FbO3uIZ44SLx5Jd6zybiQyjHyrtwMc8gmo/sAl1GO3tZFuPOkWON8bQ5bAHXpycc0azpM+g6vc2NyqrcWcrQyhXDqGU4OCODz3HFadSNUh+h6RJ4g1e1sYXhSa6lESNK/lxgngZY9B71Hq2mzaJqVxZ3C+XcWshikUHOGBwee/1qA8ihmzRq2GlvMasrQyqyllZTkEHBBqS1IcFXfYOTuPNJFqC2lncw+RBL9oCjzXXLw4OfkPbPQ+1MtQsssatIIlZgC5BIQZ6kDrS9QLOlazdaPNJJa3E1rJLE0DtExUujDDKcfwkcEd6s2p83bllTgglug4zis9olSZlV/MVWIDAY3D1rWvtWXVoLVEs7Wz+yW4gJgUg3BBJ8x8k5c55IwMAcUMEdb8BNXbwR8dPBt4yYuLXWbNypwyhGdMHjvhs1+x97+7lkHUZPWvxL+HxWPxbpM0jFIbe+t3dx1QeavIHfFftdNL567uu4ZHvxmvms8j70H5M+kyV+7JehDMfn59ccVSuHx6+/FWJ33jmqVy47t7Zr52Xke7FFe4kxJ6epqLPSkkbB79aidtp+nrXLO5tES4kz6Djg1x/jTTv7RO3Zu4OeK6qeTauKpTKpZmbaW9qxjJxfMyz7ds5MjvVqKUAfXris2KT5dvGPSrUEvf0GK9HmONovRy4I/XIq1C9ZyS7jgN1qzDJgLnj1FXFk6bGjFNk4/yKswy/wD66zYphj8fzq1HPx9euO1WmZyVjQilyPQflVhJMd+lZsL8/SrUMnP071rFmMlqXkc+/HSpPN+v4VTWXH8XWpY3+X/Z6mt4y11MWX4Zdq/eA5yav2U+RWPFLuH9cVoWz8/4it4vozOSZ85ft4ny/Hujtz8+jXAP/fRr600KdpPD9g3ZraLH/fC18j/t/u3/AAlOhHv/AGZcj6819VeEZC/hPS365soT/wCQ1rbDvR+v6I58QtvT/M3YpCPTp61IG5P9aqCXb7U/z93fjNdhynzR+2Af+Jvo/P8AyzlGfT5hXjCvtOGP5V7H+1982p6Q3HCzc/8AAhXjLjeP7uPTtWuGfuGda9yWSfI4/wD1Uxp88ehqOM7Ttb9ackDTviNSzHnA5rpv0MEhskm9sd/Wo2+Ye3WtjTvAmtasR9m0nUJt3cW7fzIrcs/2ffFmo7caW0CnnM0qJ/XNDrRW7H7NvocO3X+dUb9SH7cjpXsmlfsk+Ir5l8yaxhH+yXkP6DFbCfsVXEjf6XqkmOvyQBP1ZqFiYJ7k/V5Hz3tweuainC7dvv8AnX07pv7Hnh+0P+lXVxN7NcAZ/BR/Wta3/Zv8H6dz9hhlK/31eTP/AH0QKv6x2TJ9i1uz4+kXMm3POenrU9l4evtSIEFndXB7eXCzfyFfZdh8NfDuit/o+mwqR6Qxp/QmtBYbS0OIrWNQOmWJ/wDrVXtJ9EHs49WfHFv8IvE1+oMWjX/zd3j8sf8Aj2K0LT9m/wAUXUe9rS3iXqd0wYj8FzX1lNc7D8scEZ65EY/rUE2oTMv+sf8AA4/lScqr7AowR8zad+yTrl9zNIIVxkgQN/NtorXs/wBj2EoPtmpTr/sgxrn8i1e53Mu7r196z7p8H/eo97qx+7bRHl1t+yt4Y08fvZJrg/7UjHP5ACtC1+A3hOwmDR6XDIV5JaMN+rE12csm01CJOGGRyfSpce7Y4y7I5nxH4B0dtGkhj02BF2nBCqMfkBXieveHodOvZoGhVozlCrDKsD2IPUYr6I1FfNt5F/vDtXjPxIsAlyz8Daa3wvKnYzr3aPzo/bf/AOCbeh+CPh1qXjD4f29+s2n3DXmoaW0vmxpakfMYBjcBGcttJPyk/wB0V8QQqskqDdhWI59BX7iS7ZBtZVZWG1lIBDA9iO4PNfmP/wAFAv2P2/Z7+IK69odu3/CGeIJyYQgyumXByzW59FPLIT2yP4a3qLsY2PBL/RJoLOG7eGRbO6d0gmIwspTAbH0yM/WqAxCzbdp3DB3DP5e9TS3EjIsbMxjjJKqTwpPXA7ZwPyqbStSXTPtG6ztbzz4GiUzqSYCcYkTBGHGOCcjnpU62DS5VwzD/AGRwKU/L0P8A9ar2mXVhDZ36XlrNcTTQbLR0l2C3l3A72H8QxkY96oggHrSEW7G8t7Wyu45rOO4lnjCwyl2U2zZzuAHDccYNU8ED+9U19YTae6rPDLAzoJFWRSu5SMgjPUEdDUBOKF3Q23sW5xBoOr2MyvZ6mqrHO8TK3lE9TE44PHQ44PY1X1XUF1XUp7lbe3tVmcuIIF2xxeyjJ4H1qpO373n0q7faw2qzRvJHBG0caxARRCNcKMAkDqfUnk0guaWueH7bRtL0q4g1jT9Sk1GAyywW+8Sae4bHlyhgPm75XIIpthqkKaHPYtY27zzTpMl4S3nRKAQYxzt2tkE5GcqMHrWUOmf1qzYjE/LIu0buehx2o1tqF9dCzb37M9u0aRpJbhVQou3cQ2QW9Tnv7V+1Ph2/kvvCmmTzf66azhkkA/vGNScfjX4owyKtvuRm85i4ddvyqMcY+vP0wK/ZL4S3Lz/CXwrJI26RtItCxPUnyUr53PlpB+v6H0GSPWS9Denk/wDrVTnbP9STUsr88frVSd9oLfxdxXzMpWR9FGxXnbMnLfrUPmEnsT/KiUkO39B1qJWy364HeuaV3uaRQs8meMnNU5nwT0qWaUk9feq0rYVu1ZS2NIn2tDIAo+mfcVZhfcB3OOnpWdBNuP8ASrUcuSNx+X0Ndy1RzSXYvRNnv7VYR8t+lUFl2jOTnvzUsM27rWidiOU0opsEduOlWIpCZDx29az4JvXp1qys2Bx6cmquZtF+JgB+HerKS5Qc9/zrOimyM561NBc7OGGSa0jpqZSRrW8TTPkKd3TjnNaFvo1zKMiGTr1xVjw3qEiWO1fLXnltvzVee8aT/WPlV6bj0rqp05S1RhOUVoQW/he6cchV+pqe40ltNiV2kVs8DbzRHqSz/LHMkm0/NsYHn3pusXObaNc7VDdPwro9i0rtmMqlz5h/4KBz+Xrnh9uNzafdD69K+pvAN55/gXRW3ZzYW/X/AK5rXyf/AMFDG2X/AIbb/pzuweP92vpr4W33nfDbw+397Tbb/wBFLWmHv73r+iMcQtEdaZNw46mpEkCkc9fWqkc/GfanpJtHXJrqTORo8++KPwP/AOFmTWs1wmoKLVn2LAoXzAx7lhx0rP0j9kTQ7aUNcRrIvpNeEt+IXivUWlzwxLelL5oFTGm1opFSkt7HJ6d8APCelKu3T9PLL3+zmT9WNblj4Q0fSsLDa7cf3Y0iH6CrjS5H3v1qGWfBHzfjW3sYv4rsh1WtiVY7WFfltY/+Bszf1pDeNEP3axR/7kaioDdbhhu3aonmyPT6VpGnBdDNyk92WJr+aQf6yRl9M1m3Z+frnd61PLOF+tUrycIRzW0bLYzlchlfA/GqtxPt/wDrUk1xzn8qqyXW44rbmM7BNJkfrVVpG2fzqWSXdxyT6iqsjMz4XJ+gqubQnlfUbLJkY9BzVeRgF/D8qr6xrdro8bNeXltZqBkm4mWMfqa858Z/thfDHwIrLqnjjw9Cy9Y0uRK+fouamVSK3ZSpyeyPQrmXB/8Ar1n3E2TXgeu/8FMvh6xZdDtfFXiiToP7P0qTY3/Am4rkdY/b/wDFmtZ/sP4W3Nurfdl1jUY4fxKqS36URk5fCm/kwcbbtL5n03PLlvQelRRFjE+PoMDNfIOq/tI/GbxI3y3vg7w7G3a2tZLuRfxbaK57UoPHni4H+1viJ4qulY8xWQSzj/8AHQT+tV7Gu18NvVpf5hGVJby+5P8A4B9n6rr1no8bNdXdtbqvXzZVT+ZrxH40fHLwVosr+Z4k0nd3VLhWI/CvE4f2e7PUHVrq31TVXJyWvr6abJ9wWx+la1r8D7Xw/atJb6TYW23GTHbLn88URw9aLu5RX3v/ACKdSm1om/uX+ZSuv2j9BlkYafHqeqE9Da2kkg/MDH615p+1d8U73xT+zn4ytJPCl0tlLpzs0t4Yx5JGCrhdxO5TgjjIr1ZtFKMVbsOnauU+P3hUax8CvGFrGuZJtHuQB6kRk/0raVGV7ym/kkl+Tf4mfPG2kF82/wDgL8D8wPF3xCuPFmhaDp0lpp9rb+H7RrWE20Oxp9zl2klPVnJOM+gFZtta2kuhXFw995d9HMiRWnlE+chzuff0GOOOpzTb25ivZFeK2jtlKKNiMzDIUAtknPJ59Bmnw6LG2iyX32u1WSOZYhalj50gIJLgYxtGME56kU0klZGOrYX+jXWn2Vpcz28sNvfKz20jLhZgrbWKnvg8VVNS3F/NcwQxyzSyR24KxIzErECckKO3PPFWNC02z1L7V9s1KLThbwNLFvheQ3DjpGNvQn1PFPbcm13aJWur6a9ZTNNJM0aCNC7Ftqjooz2Hp2qXSLu1sbzzLq1W8h2MoiMhT5iCA2R6HBx3xVQnNLcWkqWKzmN1gdygkx8pYckZ9aPINb3IQnm/41NbRokEitGGZsbX3EbPw6H8ajhVViU+Zudicrj7voc981e0qO3mvo1uppIbcn946JvZR7LkZP40CW4ulX9xot4txazNDMoZQwAPDAqeDx0JqKGPGdqllTrjt9aWCWOO7j81ZHt94LhSFZlzyAexIqe51GNL+9XT1nt7G4c7YpGDP5YbcqsQBkjA5HcUFeoWFi00Elyyj7PDKkch3AMN2cYHXop57V+zHg8R2vgvRo4wBDFYwLGPRRGoFfi4jfe6V+yHw5u2n+H3h9pOWbTLYsR6+UtfPZ9HSDfn+h72SPWfy/U3pJDk7ulVLgfex+lTMeD83zd/eq7nDdPyr5aXY+kiV5F5A/8A1CoSoJPJIqWcbW/QewqCVsEc98gVzy8jVLQhc5J9feq8z7RVhztHv6VVnGweua55S1sjSJ9lW75jFWoWyaz4Jt4DE8EZzmrCMwHTvnNehfsc1rl5JduN36Cp4W24OcfTvVCOXA/HtViOXjb+uaq4rF6Oc84/I1aimyMNyPY1mxPuHU88CrUM+ev51SM5R6l9JQT/ACFSrL92qUU3H8qn8zn71bRkYyTOo0mRRpdxuYx5Xkntx145rJs7C3vQyvcXl5G3aKzOEPruck5/zitLQ5FOmzb2IGMHAyQMGsOw1PTdOg8mOTVJI2LHaHjhSTPfCYJz64zXpYZ+6cNVe8dJ4dsfsd4zLZ3kC7dpklnXD/8AAFOM++K0dYfFsvzfxj+VZFrq8NhaqtpY6hNH94bYyeTz95yKuajdNd6VFJJFJBIWB2Pjcv5Ej8jXVOVomKjqfNP/AAUOkH/FMt/073an34WvpD4Lymf4TeGmzw2l2x/8hLXzT/wURfOm+GX+Y4W7X/x1a+i/gHKZfgt4Vbru0m2x/wB+lrnw8t/UK0dEdujb17/h3pwmz37dqp+fzjd+Roa5A/riuyMtDlki552F+9xSNc7SOduKqGVsZ6DrnFUNR8UabpILXV/aW/Gf3kq5H4ZrRSW7J5WzXa63VFJNk15n4z/a6+HXgNCNR8VadG6nOxZBuP4EivONd/4KW+D1Zk0HSPEXiGQH5TbWb7Cf97bt/WnGontqP2Umrs+jppsdG9hUS3PP6V8ha9+3v8RNeLLongWz0uM/dk1K7RWH/AVLn9K43XPjH8ZvFm4XHjDTdGjfJMem2jSMvsGYqP0rphTrS+GL/L8zGXs1vJfn+R90XmoR2SM00kcKD+KRwqj8TXD+Nv2gPBfgxGfVPFWiWuz7wa5Vj+QzXxXe/CnU/F0nma74r8X60zfeU3nkRn8IwD+tWtG/Zl0C2kWSPw7aXEg5827U3D5+shato4Wru2l+JlKrT2V2e4eKP+ClPwr0eZo7PVdQ164XgRadZvMWP4Vxmt/8FHtY1V8eGfhb4gug3CzanKtnH+TYNV9G+Ek8EQS3gitY+yxRhFH4CtrT/gvLN80hY1tHDwWs5/d/TM/aS+zD7zgtY/at+OnioMLW38E+FI5O+HvZlH5bf1rk9WHxQ8c5XXPit4kaNusGk28dnH9AfmNfQmnfBS3UfNHu9zW3YfCe2tgP3C/iKP8AZo9L+rKUa8tnb0R8jD9lbS9an83Ul8QeIJjkltS1SaYN+AYL+ldN4Z/Zn03QmX7B4d0izwPvpaJu/PBP619SR+Bra3x8ijb7U8aDbQt91fbFCxsI/BFIPqs38cmeC2/waupAoaRlTGcKMCr1n8D4+PM3MPrXs81lDGflUVXkVY/4fxrOWZVGXHAxTPNbD4O2tsP9SuenIrUtvh1b2qr+7RT6YrrJHAHy/l6VDLJt/HrXLPFTe5vHDxXQwU8LW8A+6Bj2pLjRbdkZCq4IxyOtadxJtB7e1U522f3ulZSqye5t7OJ4/wDEfw4NG1Jii7VY9veuI8VItz4Y1OFvmWSzmQj1yjCvcfiBoy6xpb4/1ijIrxnU7QqZoJOjAoeOxGK9CjW5lY461Pld1sfjpdQC1neMMrCNiAV6Gp9Nt4DfxrfyT21swy7pHuYDBwQDjOTineJ7P+zfEupW2eLe8mi5HPyuw5qPVtUvNXEc11NcXXkxrbpJIS2xFGFQH0A6CunU4NEymW/+vikzxSqtaGqXmnzaHp0NrYyW99Ar/a7hpCwuSW+XC9FwOPc0CSvqZvam3V9JLbxwtJI0MOSiE/KhPXA96mtLf7bcCPzI4sgne7bVGAT/AE/OqbLmgksJbMqqzKyqwyCR94dOKsQ2kk8UjRRySrEu+RkUtsXpk+g9zVMXkrxxq8jskIKopPCDOcAducmrVrfzWyTCGWSJZ0McoRivmKeSp9Rx0PpQPQIIDdThFKqzdNzBR69TTrcxrHJv3+YVHl7SMA553e2M9O9Qqas2OnzXwm8mJpfs8TTSbR9xFxlj7Cga1HpeLDcSG0V445ojERJh2+YYbnHrnGORxX7AeAI/sngfQ4mz+70+3TnrxEtfkb4I0cat4l0aF9rx3l9HblQw3ZLqOR6c/wA6/X6FBbQxxrgLCoTA9hivm8/l8CXn+h9DkkX779C6ZeOeTUW7auWzn0qHzsKep460nm5Pp25NfKSlc+jiJcS/MGZiOPyquTuxx948H1p006n/AOt2qNmIf26VjKVjdRbI5JmUsPvcdDVW5kwOuB79qmmlwMZ4xVOWUuD0b0z3rmcuholdn2PHLlRz27ip4ZS3t9e9UYbgBV556dKsK+SpHPPSu6MrHNbqy7E7E59Pap4pOCM/hVFJ+P1qaGTP8605iXHS5oRScfhzViKVc9aowz/N3PNTLLhP973q4ya0IcbLUvpMeRnGBjr3qVZtq8kZ/nVGCXGPRamWXcMDr7VqjKUbu51WgzN5BVU+Zh161YgsbzZt+3LbY6i1tkT8PmzXDapqniC2aNdHutPgVlIla5haRlPYrggevXNZ02jeJNTBF74w1BVIwyWkMdv+oGf1r0KNSMY+8zhqRk3oj1CGzh02U3El5dyMq4LTTnZ/3zwtUdT8b6XcTpaRalZy3jNlYI5lZiB14Brzdfhfpt2+6+n1HU2yP+Pq7eRfyJxW9ofhbTPDrbrOwtrdh0ZEAb862deNrIx5JXPIf+Chk2fD/hlwc/vLhSSemUFdf8O/20fh/wDDf4ReGdN1LxHpzana6ZBFNa2sv2qWNwgBUrEGOal/aP8ACKeN/ATLJbw3TWsqyCN1DKQeDwfrXjOhfCi4to9ltaW9rHjhYown8q3wmFUk5OVtTGvVcWo8tz1LW/8Agoxp84ZdB8K+J9WOPlkaz+yxn/gUzL/KuS1v9tP4meIQV07QtB0JD0a7vWnkH4RqB/49RpnwduLlx5hbPfAxmuh0n4KxKfnGTXfGjh4rWTZy+0qv4YpHmWr+PviV4zP/ABMvHE1qjdY9NsUj/DdIXP41iN8Hv+EjmL6peeItcLdftuoysh/4ApVf0r6K034S2sBH7kYHHStyz8AwWwX92oxx0FXGphor3YL8xOnXlvJ/LQ+efDvwJs9LINjomn2rf3lt13f99Yz+tddYfCW7uNu7pjOPSvaYfDtvCudq8dyKsw6fDHu+Xir/ALSsrRVhfUk9WzyfT/gvj725t3H0rc074PW8QX919MivQkVExtVeOtOEo7VlLHVHrc0jhYI5Wy+G1vAv+qX5evFaVv4Rt4cfKu36VqtP8oH5n1qNpiFxzjrWTxE31NPZRWxWXR4Ij939Kk+zxouAoX3NI8uSvb3zTWmyvX6Ype0dg5ES79o/T61C8+AB1z+OabJNke1QvcYH4VPP3KCSX8PaqLycHHyjvUk0pH+e9U7ick4/yaLhykdxKOfY9DVG5m4Y9B1/CpLiTLVRnlUD9aXMwsgllBGeh9fWqssvHUmieXB6/wD1qhadT0O7PtQFiOaTbVOabL4/hHrU002B979KpzSKpo5mCI7x96nuO9eT/ETQzYal5yL8rNnjtXpt/NtX6+lc14pso9WsHVs7h0rbD1OV3JqU042PxV+P2kL4a+PPi6z2q6W+rzkLnAZWctj174rmb/UfPaZYV+zWssvmi3Riyoeccnk4BIya9Y/bm8O/8If+134qWeESRTzR3gQkrvV41PXr1zXjLBnb8elezHVXPDno2i3p2nXWsyvHZ2811JHGZHWNdzKo5JwOwqm7Fvp2pYZJbaTdHI0bLxlGwwz1pEZlPSnqSMKZpVlj8uRWj3OxGx933PXjvmrKa9Pp+m3lnH5fk3wUS5QM2FORgnleeuOtUbfy5ZMSSNGuDyF3c9qA06ElsYwW8xWYMpC7TjB7Gr3h0WL6ki6nJdR2e1tzWyK0gO07cBiBjdjPtmqtraNLA8ny7Y8Zy2Cc+g7/AIULG07BY1LseiqMk0BF2ZNZXP2O5jkCxyNGwYK67lbHqO4pu/arMMjcOgOKg8wBvmJUdzUsM6t95cruGcdSM84oA7L4A6dHqXxn8JwzK3kyatbKxA77wQP0r9YZJh5vPHOa/Ln9lfQJvEv7SnhW305JFjXU0uVVzuKRx5Ylj0JCjrX6diXd93618nxBP95FLt+p9NkkbQk/MsGbcOuOOKhe538buMZ61Gzrt9eTUbuPTPrXzMrWPoI7Ej3O0f3j796a0+5lxx6+1QjPzc7T3+lNJ3Lk9Oxz0rnld7G0bjZX4X64zVeeTPfG316VLMOeDnFVrh89eM1jLexpsfYkEuR2+brzVlX5znHHNZsUxJXru9u1WopN2NvNdkWjJxLqS7f7x7cVMJAQOdvaqKyMBnnr2qaObPX/AArTqKWuheSfeeDz6VPHKQNvsMj1rPjkwWbj1NWY5st/L2rQzktC5HLvPDfdHNTxynb17cVnxz43c/SpY5vk6n2rWLMZR6mhHP8Aw5OKkSTK49ehrPSUnls9PWplmx6c1rfsYyii4khBXLfd6+1WPM2n9KzoZ8ydc+vvUyThPunrzWvMYyjct3EaXls8b4ZXGDVOHw1b2/OF/KpEuMk8fjUnn7j15rohUsrIxlFMkisIYh8q/jU6KkR4x1xzVYS4P/16d5+//a9K1UrmbiWvOyOv3jx7UebuqoZdqn8+e9KJCy9vQVpzCZYM3bmmmTHTOOwqq0+0H60j3BUZ3GqUhcpcLl2x+GKY1xj6iqq3H+9SGTO3qKdyeUseaVVvyxTHk3qPfk4NQvLtXmomlH1/GmpE6ErNgetRmXGOajMu41H5ue/5VXMDVyZ5ty/XpVeSbn/61Ekm0Y6kc9etV5Lk47UKXYOXQbPPuH161Xnl5/iyBRLNuOOM+/eqs83X+LtzVcxLRHPLkt1P19Kozy5Ofyp11Llu+MVTnucseaLhy9RGl5x7VBLONnX5vp0qOW4JGR+FQyTgk9fX6UubQYtxPkZ/Oqdy/DHPanyy478+tVbl8qf1qL3DlKV9PheGrIu73j/PNXdRn2I3+FYl3cKmdzbQvJPpitEB+aH/AAViWxm/aYWazaHzo9MggvQrjcso3MoK9fuEc18ukkDHeu7/AGm/HU3xK+P/AIu1qZWU3mpS+WGB+WNTsTr/ALIB/GuT0Xw9/bdvdst5ZQSWsfmLFPJ5bTjuEJ4JHXHevfo+7TVzwqz5qj5S7478e3HjeeylksNLsVsbZLREsrcQqwX+JvVj1yawkl891Ut5e44JboKasu3p09DQ7Z5+Ufh0q4xSVkYyk27sfrVlDYahJDb3Ud9Gp4nRGVX+gbBqCOPmm9T+NSIMCqJJpY2tztZWViAcEYOD0qHz2ibcrMjL0IODU+ra1daxcLJeXEtzIkaRKztkqijCr9AOBVSMLJOqu21SQCwGcD1xQV10LAMUsMW1WEi53knhvTA7U5FAOO1R+WIpGVW8xc4VsYyPXFbXgyy0/UfFOn2urXH2HTrq5jjuboKWa2jLfMwHfj1qZSsOMbux9Y/8ExfhDdWt3rHjC9t1WBoxY6e7jlznMjL7Dhc/Wvr15Cny/erF8F6Rp3hbwnpun6KsKaVawIlqIiCjR4GGBHXPXPfNaQmw7Z+YEnBx0FfnuOxftqzmfb4PDqlTUCRpOPTNRmXjvkjp2qN23KMeuOtRyMc/xLXnSPQiSef8/G7HrQrjP+7moWfLf7wz+HehGwh78d+1YSdmaRY55MD0/rUNwoIb9PT86k+YKx9e/tVe5f5MtxWcm9yz68ilBHduMg+tTLJsTNZ8Ew2rU4uNpH+PWuiOrBovpJnHWpo5ecenHJqilwv8X6U9LjY3yngjnPStY26kOJfikUE9/WpxJtH1rOjnyfpUi3WMc57fStERbQvpKu4huvXFSxzbSAKzzcKW9j61Ilz/ALXt1raOu5lOJpLIRx/Kn+Zw279Kz47zafvcdPpUwufl/GtVotTHUupJg4qwsuc/nms1LjBzmpFuAXFXExcdTQWf5e9O8/Aqit1u/i+lOFzjp1zmt47mMomgsoXAINPW42/dzVJZskZbv+VKtwGP3sbewreOupm9C4ZQq9SMCkW43/7jDgiqrzKRjI/Gm/as4x+gqyGXDPn3/pTWkGMfxdfSqpu1A6jg9cUxrsOevzCquKxdaYemfTmmrNtxVJ7pT91vw9aRrwZ7elCFYuSSkD17HFR+bhe35dar/atw/ipBID1OR7mq5gJVky3qaa0uzHZj61G1z8vXp2qvLdDd1NHM2LUnlnOM84qtLNhT+X0qOW7+b+7VWW4zk56009SWTTS7R39aqTzswpklzk/ebnmq01wpX+tV5iEuJVzjNU55AF+opbi768/hVG4ucL1/+vSFsLNLx96qrScZ9+lJLc++B1zmq7z87iV+tF+g7akk0wH+FVp32hm9sUx5l27h07Zqtc3WVbnntijpqMoai+N3XrXkn7VvxTf4Q/APxR4gjjE1xZ2bJCuf+WkmEXP0LZ/CvUNTulIb5j0xXxb/AMFY/jGujfDzS/B9rcW7XGtXH2q8iDZljhj5TjsGbv8A7NdGFhzzSMa1Tki5eR+f93cyXUrSSO0sjHLMxyTUmoaPfaVaWtxcWdxBDeoXgkdCqzKDglT3qGZMn+lSX+r3mpxwpcXVxcJbJshWRywiX0Gegr6HXofPprVvcqtKznkL+VRSHC1IXJ4zx6Uy6kSeX93H5a4A27s/jTEEXCgmnFuo+UbRnB/pTVVgP92hR827rQIb3yatR6d/xLmujJDtWQRlPMHmEkZzt6496hZTnnqaPLIG6gpb6kgbI4zxU1o/l3O5lWRV5Kk8MKrxnbJ/vCr0dqq2DTf8tFYBQGHHc5HXB9R3qR2Puz/gnV8W38Z/CGfw/dSb7zwvIIoufma3fJT/AL5OV+mK+hN27o31zxX5zfsafFmP4S/GrTZppGj0/Vz9hum3YCq5wpP+6+D9M1+iAuATtH05r4XOsL7LEtraWv8AmfZ5TW9rRSe60/yJZHwwPrUbSNt+XHTrR5m48Z5/SoXfvj5R2zXiyTPWjHsP35XHK8YpUY4NQvcg/wA/rSvOAe2fSsnHUsnklHbPqB61TnbcvQ4x1zSm4y/VemR9ailn2pubJ3ZOPWsZRK6n/9k=" /><br /> </span></b><br />
<b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Job Description:</span></b><span style="color: #222222; font-family: "arial" , "sans-serif"; font-size: 10.0pt;"> </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">The University of Winnipeg holds a
collection of 1200 artworks, primarily created by Canadian artists. Of these
works, about 400 are displayed throughout campus as part of a triennial
rotation. The rotation ensures the longevity of the artworks while still
providing public access to them. Under the direction of the University Art
Curator, the Collections Management Intern will assist in implementing the
rotation of 200-300 collection artworks. The Intern will help move artworks
from various campus locations to a central holding area (campus art gallery –
Gallery 1C03), carry out condition assessments, update artwork conditions and
locations in the collection database to maintain accuracy, take new on-campus
artwork loan requests, assess environmental conditions in proposed new loan
spaces, help move and install art in appropriate new locations, create detailed
artwork identification labels to be placed beside displayed works, and complete
associated paperwork (loan agreements). <br />
<br />
The student will receive training in the following: proper art handling
methods; use of the collection database FileMaker Pro (both data entry and
search functions); artwork condition assessment methods and terminology; use of
the Elsec environmental monitor to measure light, humidity and temperature
levels; basic cleaning of framed artworks; art hanging techniques; creation of
artwork identification labels. <br />
<br />
If time allows, the Intern will assist in the development and distribution of
exhibition and copyright release forms for selected works in the collection to
assist in their future presentation on-line and in gallery exhibitions. If time
allows, the student may conduct research on selected artists/artworks in our
collection identified by the Art Curator for forthcoming conservation and/or
exhibition projects. Finally, the Intern may support the Art Curator with
communications and other logistics related public programming carried out
during the spring/summer months.</span></div>
<div class="MsoListParagraph" style="margin-left: 0in; mso-add-space: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">This position offers the candidate the opportunity to gain
valuable hands-on training and work experience in a professional environment. This
position is made possible thanks to funding from the Government of Canada’s
Young Canada Works <span style="mso-spacerun: yes;"></span>in Heritage
Organizations Program (YCWHO). </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Qualifications: </span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Education:</span></b><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;"> Upper level undergraduate or graduate student focused in
the area of Fine Arts, Art History, Cultural Studies or a related discipline,
returning to studies full time in the fall of 2016. <br />
<b style="mso-bidi-font-weight: normal;">Experience:</b> </span><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">The candidate must have experience working with the public
in a courteous and diplomatic manner. </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Experience
working with collections and/or information management systems and databases
would be considered an asset.<br />
<b style="mso-bidi-font-weight: normal;">Computer Skills:</b> Must be proficient
in use of word-processing applications such as Microsoft Word and Excel.
Familiarity with database programs such as Filemaker Pro and software such as
Adobe Photoshop Light Room would be assets. <br />
<b style="mso-bidi-font-weight: normal;">Communication, Research, and Organizational
Skills:</b> The ideal candidate will have excellent verbal and written
communication skills, strong research skills, superior organizational skills,
and possess a strong attention to detail with a high degree of accuracy, as
well as the ability to set goals and work independently. <br />
<b style="mso-bidi-font-weight: normal;">Physical Ability:</b> The candidate must
be able to negotiate stairs and be capable of lifting up to 50 pounds. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Young Canada Works (YCW) Eligibility:</span></b><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;"> Students must be
registered with YCW prior to being interviewed and all candidates selected must
be approved by YCW to confirm their eligibility in advance of them being
offered a position. Consult their <b><a href="http://www.pch.gc.ca/eng/1359484003285/1359484079115#a3">website</a></b> for further information. </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">The
University of Winnipeg is committed to employment equity, welcomes diversity in
the workplace, and encourages applications from all qualified individuals
including women, members of racialized communities, indigenous persons, persons
with disabilities, and persons of any sexual orientation or gender
identity. In accordance with Canadian immigration requirements, first
preference must be given to Canadian citizens and permanent residents of
Canada.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Application
deadline:</span></b><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;"><span style="mso-spacerun: yes;">
</span>Friday, April 29, 2016 at 5:00 p.m.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">To apply for the
position, please<b> <a href="http://www.pch.gc.ca/eng/1359484003285/1359484079115#a3">consult</a></b></span><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;"><b><a href="http://www.pch.gc.ca/eng/1359484003285/1359484079115#a3"> this website</a></b>. Do not apply through The University of Winnipeg’s Human
Resources department.</span><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;"></span></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;">For further information, you may also contact University Art Curator <a href="mailto:j.gibson@uwinnipeg.ca">Jennifer Gibson</a>.</span><a href="mailto:j.gibson@uwinnipeg.ca"><span style="color: #000099; font-family: "arial" , "sans-serif"; font-size: 10.0pt;"></span></a><span style="color: black; font-family: "arial" , "sans-serif"; font-size: 10.0pt;"></span></div>
Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-33960607558832766452016-03-29T13:04:00.000-05:002016-04-07T07:21:23.400-05:00Women artists celebrated at Gallery 1C03<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Gallery </b><span style="color: blue;"><b>1</b><span style="color: red;"><b>C</b><span style="color: lime;"><b>0</b><span style="color: black;"><b>3</b> at The University o<span style="font-family: "arial" , "helvetica" , sans-serif;">f Winnipeg </span>is</span></span></span></span> celebrating Women's History Month and International Museum Week by joining social media campaigns on Twitter and Instagram to promote the accomplishments of women artists and various museum-related topics!</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Although Women's History Month is recognized in Canada each October, for Americans it takes place in March. <b>Gallery </b><span style="color: blue;"><b>1</b><span style="color: red;"><b>C</b><span style="color: lime;"><b>0</b><span style="color: black;"><b>3</b></span></span></span></span> was happy to jump on board with our neighbours to the south and celebrate again, so we began promoting it a few weeks back with a post on the Gallery's <a href="https://twitter.com/1c03">twitter</a> and <a href="https://www.instagram.com/1c03/">instagram</a> feeds using the hashtag <b><a href="http://www.nmwa.org/press-room/press-releases/nmwa-announces-new-social-media-campaign-women%E2%80%99s-history-month-march-2016">#5WomenArtists</a></b>. <span style="font-family: "arial" , "helvetica" , sans-serif;">Our post included</span> the names and images by five women artists that have recently shown or are currently showing with <b>Gallery </b><span style="color: blue;"><b>1</b><span style="color: red;"><b>C</b><span style="color: lime;"><b>0</b><span style="color: black;"><b>3</b></span></span></span></span>.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This list includes Winnipeg artists <a href="http://saltwatch.ca/"><b>Elvira Finnigan</b></a> and <a href="http://lisawood.ca/"><b>Lisa Wood</b></a>, whose collaborative exhibition <a href="http://www.uwinnipeg.ca/art-gallery/programming/2015-16/elvira-finnigan-and-lisa-wood-cafeteria.html"><b>Cafeteria</b></a> will be <span style="font-family: "arial" , "helvetica" , sans-serif;">fe</span>ted tomorrow with a public reception at the Gallery from 4 - 6 p.m., followed by artists' talks in room 2M70 at The University of Winnipeg at 6 p.m. Please join us to see how their work in this process-based show has evolved!</span></span><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRoT5eYUlA8msLU37xRirKPJk2SbMZ10cBg0NZ1LRRdPu7KYiZLkqFxSF1S9Xgc7tO8byMKFhfssM4mtI9jq8rb1fp7feprPVNIxwdUOlreGSZWEILJ8h65nEyE9t5x5wS953BV_vryZc/s1600/IMG_0848.JPG" imageanchor="1"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRoT5eYUlA8msLU37xRirKPJk2SbMZ10cBg0NZ1LRRdPu7KYiZLkqFxSF1S9Xgc7tO8byMKFhfssM4mtI9jq8rb1fp7feprPVNIxwdUOlreGSZWEILJ8h65nEyE9t5x5wS953BV_vryZc/s320/IMG_0848.JPG" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyk4dqV0n9mV_ZaVVM9acgpwgwztQWGTKNemosJmF-R_DjyiNXqiL7JOU8Un4y6b1CTSAQX46EyE3NvmRZnqTNPo4YlnFoLtDjuso0FntYkQkJoWrrTNrcH9LdB-IiTSjrLXMAs91DDMY/s1600/IMG_0907.JPG" imageanchor="1"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyk4dqV0n9mV_ZaVVM9acgpwgwztQWGTKNemosJmF-R_DjyiNXqiL7JOU8Un4y6b1CTSAQX46EyE3NvmRZnqTNPo4YlnFoLtDjuso0FntYkQkJoWrrTNrcH9LdB-IiTSjrLXMAs91DDMY/s320/IMG_0907.JPG" width="320" /></a><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"> Left: Elvira Finnigan, excerpt from Cafeteria table; right: Lisa Wood, photo collage from Cafeteria happening.</span></span></span><br />
<br />
<br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Although we are one day behind on the <a href="http://museumweek2016.org/">International Museum Week</a> social media campaign, we will begin today with the hastag <b>#secretsMW</b> to reveal behind the scenes information about an artwork in the University's collection. The featured piece is by a woman artist named Annora Brown. Learn more below from this text written by <b>Gallery </b><span style="color: blue;"><b>1</b><span style="color: red;"><b>C</b><span style="color: lime;"><b>0</b><span style="color: black;"><b>3</b></span></span></span></span>'s Curatorial Intern Sarah Brereton<span style="font-family: "arial" , "helvetica" , sans-serif;">!</span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgic4xZgrt9-rcidq0aU1yXS_-mtGQA1CNs3YvoMwtPkiY9FG6ZgcG4ZlrImLvH3iqwhr6hifVGmI0A5lsOYo3Tq6vO-aYc9LaD2L3LOI5HhtSW-5gLqBQfLeyAEzYt3R2zRMzdJo5vkj4/s1600/BROWN%252C+ANNORA_Summer+Afternoon.jpg" imageanchor="1"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgic4xZgrt9-rcidq0aU1yXS_-mtGQA1CNs3YvoMwtPkiY9FG6ZgcG4ZlrImLvH3iqwhr6hifVGmI0A5lsOYo3Tq6vO-aYc9LaD2L3LOI5HhtSW-5gLqBQfLeyAEzYt3R2zRMzdJo5vkj4/s320/BROWN%252C+ANNORA_Summer+Afternoon.jpg" width="320" /></a></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">Above: Annora Brown, <i>Summer Afternoon</i>, 195<span style="font-family: "arial" , "helvetica" , sans-serif;">2</span>, oil on masonite, 46 1/2" x 76 1/2". Collection of The University o<span style="font-family: "arial" , "helvetica" , sans-serif;">f Winnipeg<span style="font-family: "arial" , "helvetica" , sans-serif;">. Gift of the Class of 1929.</span></span></span></span></span>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:DoNotShowRevisions/>
<w:DoNotPrintRevisions/>
<w:DoNotShowMarkup/>
<w:DoNotShowComments/>
<w:DoNotShowInsertionsAndDeletions/>
<w:DoNotShowPropertyChanges/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:8.0pt;
mso-para-margin-left:0in;
line-height:107%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]--><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="paragraph" style="vertical-align: baseline;">
<br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Alberta-based artist Annora Brown created the large oil painting, titled <i>Summer
Afternoon</i> and pictured above, in 195<span style="font-family: "arial" , "helvetica" , sans-serif;">2</span>. Visitors to The University of Winnipeg campus can view this work on the
third floor of the Richardson College for the Environment where it is displayed
at the entrance of the Institute of Urban Studies and Department of Indigenous
Studies. <i>Summer Afternoon </i>was <span style="font-family: "arial" , "helvetica" , sans-serif;">purchased</span> by the University’s class of
1929 to commemorate a much respected classmate, R. Gerald Riddell, and it was
originally installed as the centerpiece of the former campus library on the
main floor of Bryce Hall. <br /></span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; vertical-align: baseline;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Annora Brown
(1899-1987) was raised in the settlement of Fort Macleod, Alberta. She was the
daughter of Forster Brown, a North West Mounted Police officer, and Elizabeth
Cody, one of the first school teachers in the area. Throughout her childhood,
Brown’s interests grew from her love of the nature that surrounded her. Her drawing
skills were noticed by her high school teachers, and they encouraged her
interests in botany and sketching. After
a series of illnesses, Brown <span style="font-family: "arial" , "helvetica" , sans-serif;">moved east</span> to stay with her aunt in Toronto, applying to
the Ontario College of Art (now OCAD University), where she received a four
year scholarship. Brown’s instructors there included Arthur Lismer and J.E.H. MacDonald, members of the esteemed Canadian Group of Seven. <br /></span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; vertical-align: baseline;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Upon graduation,
Brown returned to Alberta where she taught art at Mount Royal College in
Calgary and at the Banff School of Fine Arts. She spent <span style="font-family: "arial" , "helvetica" , sans-serif;">a significant portion</span> of her
life, however, back in Fort Macleod, conducting field work and creating
handicrafts for the Faculty of Extension at the University of Alberta. Brown
was the only woman among the founding members of the Alberta Society of
Artists. In 1955, she published <i>Old Man’s
Garden</i>, the first book on Canada’s western flora. During her career, Brown
saw her artwork included in collections throughout Canada, the United States,
Britain, and Australia, illustrated multiple children’s stories, and was
awarded an Honorary Doctorate of Law by the University of
Lethbridge. <br /></span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; vertical-align: baseline;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Brown is most
recognized for her paintings of southwestern Alberta landscapes and wildflowers
that demonstrate her close observations of nature, born of a lifetime spent outdoors.
<i>Summer Afternoon </i>depicts Cameron Lake
in Waterton Lakes National Park, a place where the artist often travelled to
sketch and paint. While the influence of Brown’s Group of Seven art school
mentors can be seen in her use of evergreen trees as a framing device in this
painting, her work is distinct. Brown places people at the centre of this
image, making their activity the focus of the scene. By the 1950s, Cameron Lake
was a popular destination frequented by tourists and locals alike; here, we see
vacationers enjoying a day of boating. <i>Summer
Afternoon</i> is also indicative of Brown’s experimentation with bold colours
and diverse brushstrokes, <span style="font-family: "arial" , "helvetica" , sans-serif;">resulting in</span> <span style="font-family: "arial" , "helvetica" , sans-serif;">paintings</span> that the Glenbow Museum has described
as “realistic but sometimes fanciful.” Th<span style="font-family: "arial" , "helvetica" , sans-serif;">e<span style="font-family: "arial" , "helvetica" , sans-serif;">se characteristics</span></span> can be seen in her depiction of the
water by the dock where she attempts to capture texture and movement in a loose
manner.<br /></span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; vertical-align: baseline;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">During the
course of her life, Brown developed and maintained friendships with many other
artists, including a number of women artists. While <span style="font-family: "arial" , "helvetica" , sans-serif;">she was a</span> student at the Ontario
College of Art in Toronto, Brown and three of her female cohorts from Alberta
formed a collective known as the “Western Group.” She and Gwen Lamont, Euphemia
McNaught, and Ruby Henry exemplified the camaraderie between women artists
which Brown discovered to be valuable throughout her artistic career. <br /></span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; vertical-align: baseline;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Brown's
connection to Winnipeg and to the University’s class of 1929 was made through another
friend, Jessie Doris Hunt (1909-1999). Hunt was an alumna of the class of ’29
and an artist in her own right who, like Brown, taught art to support herself. The
two met while they were both instructors at Mount Royal College between 1934
and 1938, where the older Brown mentored Hunt. Brown and Hunt shared a mutual
interest in nature and embarked upon en plein air sketching expeditions near
the college. Hunt recounts these journeys and the context for the commissioning
of <i>Summer Afternoon</i> in her
unpublished biography of Brown titled <i>Annora Brown of Fort Macleod, Her Life
and Art.</i> Indeed, if it was not for
the commendation of Brown’s art by Hunt to her fellow classmates, <i>Summer
Afternoon</i> would not be part of the University’s collection.<br /><br /><span style="font-family: "arial" , "helvetica" , sans-serif;">To see more of our #<span style="font-family: "arial" , "helvetica" , sans-serif;">MuseumWeek posts, follow us on <b><a href="https://twitter.com/1c03">Twitter</a></b> and <b><a href="https://www.instagram.com/1c03/">Instagram</a></b>!</span></span></span></span></div>
Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-54183475042043725282016-02-25T10:23:00.000-06:002016-02-25T10:23:39.596-06:00Cafeteria exhibit by Elvira Finnigan and Lisa Wood opens in 1 week<b><span style="font-family: Arial, Helvetica, sans-serif;">Gallery <span style="color: blue;">1<span style="color: red;">C<span style="color: lime;">0<span style="color: black;">3's </span></span></span></span></span></b><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: blue;"><span style="color: red;"><span style="color: lime;"><span style="color: black;">next exhibit is <b><a href="http://www.uwinnipeg.ca/art-gallery/programming/2015-16/elvira-finnigan-and-lisa-wood-cafeteria.html">Cafeteria</a></b>, a site-specific evolving installation that transforms the Gallery into a temporary eat place, lab, and artist's studio. Winnipeg artists <b><a href="http://saltwatch.ca/">Elvira Finnigan</a></b> and <b><a href="http://lisawood.ca/">Lisa Wood</a></b> collaborate for this special project which begins with a relational happening on March 2 and opens to the public on March 3. The exhibition continues through April 9. Enjoy this promotional video which gives a sense of the type of work you will see!</span></span></span></span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwxxg7AaqIc1tD2JBwIlVqMtKdYi3_bjjHS8IUQ7YFxL7WtbjZHszvh55A27upFUeO_E60p8gdssMthlQmTWg' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<br />
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: blue;"><span style="color: red;"><span style="color: lime;"><span style="color: black;"> </span></span></span></span></span>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0tag:blogger.com,1999:blog-7140346652624228932.post-62032329708219165332015-09-09T13:56:00.000-05:002015-09-09T13:56:18.594-05:00<span style="font-family: Arial, Helvetica, sans-serif;"><b>Gallery <span style="color: blue;">1<span style="color: red;">C<span style="color: lime;">0<span style="color: black;">3's </span></span></span></span></b><span style="color: blue;"><span style="color: red;"><span style="color: lime;"><span style="color: black;">next exhibition <span style="background-color: #76a5af;"><span><span style="background-color: white;"><i><span style="color: cyan;"><b>A Putting Down of Roots: <span style="color: black;">40 Years of CV2 </span></b></span></i><span style="color: cyan;"><span style="color: black;">opens in one week. To get a wee taste of this project, produced in partnership with <a href="http://www.contemporaryverse2.ca/en/">Contemporary Verse 2: The Canadian Journal of Poetry and Critical Writing</a>, have a peek at this video! More info on the show can be found <a href="http://www.uwinnipeg.ca/art-gallery/programming/2015-16/a-putting-down-of-roots-40-years-of-cv2.html"><b>here</b></a> too.</span></span></span></span></span></span></span></span></span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dw20aERKa9cLzdfohAvcZElFfImJ-np0COrrM7wWG_9wbyb0oJDe4D2nCzPU2LitEFFpSt3yK89J4zpm0CzNA' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: blue;"><span style="color: red;"><span style="color: lime;"><span style="color: black;"><span style="background-color: #76a5af;"><span><span style="background-color: white;"><span style="color: cyan;"><span style="color: black;"> </span></span></span></span></span></span></span></span></span></span>Gallery 1C03http://www.blogger.com/profile/12472282611947206942noreply@blogger.com0