Gabrielle L’Hirondelle Hill

The sculptural work of Gabrielle L’Hirondelle Hill explores the fallacies embedded in colonial concepts of property, economy and family. Her works frequently frame Western systems of capitalism and control as both imposed and impermanent, emphasizing the endurance, power and radical potential of other surviving knowledges and economic practices. Often engaging the physical, historical or symbolic properties of the materials she works with, past projects have seen Hill variously use tobacco, found objects and deaccessioned museum artifacts to consider questions of labour, land, value, and reciprocity.

At the Contemporary Art Gallery, Hill presents *M******, a project that deepens the artist’s long-term inquiry into structures of kinship. Bringing together a suite of new works in sculpture, drawing and cameraless cinema, the exhibition sees Hill reflecting expansively on economies of parenting and reproductive labour. Harnessing references ranging from spores and parasites to Nadya “Octomom” Suleman, these works gesture toward an experience of motherhood that is multiplicitous, non-linear and visceral, both bound to and more than the limits and binaries frequently invoked by the word “Mother.”

#### Biography
Gabrielle L’Hirondelle Hill is an artist and writer. Her practice explores the history of found materials to enquire into concepts of land, property, and economy. Recent exhibitions include the Museum of Modern Art, New York; the 59th Venice Biennale; Le Magasin CNAC, Grenoble; the Vancouver Art Gallery; the College Art Galleries at the University of Saskatchewan, Saskatoon; and Gallery TPW, Toronto. She is a member of BUSH gallery, an Indigenous artist collective that seeks to challenge Eurocentric art models, and to centre the land and Indigenous epistemologies. Hill is Cree and English, with maternal roots in the Michel Band and Papaschase. She lives on the unceded territories of the Sḵwx̱wú7mesh, xʷməθkʷəy̓əm and səlilwətaɬ Nations.


CAG Summer 2023 Program Guide - Web.pdf

CAG - Gabe Hill - Exhibition Guide - Regular Print - Web.pdf

CAG - Gabe Hill - Exhibition Guide - Large Print - Web.pdf

Several strips of hand-treated pint film with holes like cigarette burns are displayed on a white surface.

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Process image, Gabe Hill.jpg

Two wire sculptures that stand slanted, with mobiles build into the top. Strawberries and pictures cut out from magazines hang from the wires.

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01 Gabrielle L'Hirondelle Hill 2023.jpg

Paper cutouts and a strawberries hang from thin metal wires.

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02 Gabrielle L'Hirondelle Hill 2023.jpg

Paper cutouts and a strawberry hang from thin metal wires.

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03 Gabrielle L'Hirondelle Hill 2023.jpg

Paper cutouts, including a woman's face, hang from a latice of thin metal wires, with clear plastic doilies threaded around several joints.

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04 Gabrielle L'Hirondelle Hill 2023.jpg

Paper cutouts hang from thin metal wires, most prominently a photo of a woman's face.

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Framed collage with a smeared pink background and small images cut out from magazines arranged in swirls.

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06 Gabrielle L'Hirondelle Hill 2023.jpg

Paper cutouts hang from thin metal wires in the foreground, with a framed pink collage in the background.

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07 Gabrielle L'Hirondelle Hill 2023.jpg

A framed collage with a pink background and drawn lines concentrically repeating edges of the collage into the centre of the image.

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Three framed pink collages on a white wall.

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A framed collage with a pink background with small burn holes running up and down collage in columns.

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Two framed pink collages on a white wall perpendicular to a doorway leading into a dark room with a sculpture made of stacked chairs supporting a film projector visible.

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A sculpture made of stacked chairs supporting a film projector. A pink t-shirt lines the top chair that the projector sits on, and runnings shoes support the bottom chair.

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Four running shoes supporting at its corners a stack of chairs.

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Two projections on a dark wall. The left projection, which is bigger than the right one, features a pink background with red outlined circle. The right projection features black vertical lines running from the bottom to top of the frame.

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15 Gabrielle L'Hirondelle Hill 2023.jpg

A sculpture made of stacked chairs supporting a film projector in a dark room facing two projections on a dark wall.

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16 Gabrielle L'Hirondelle Hill 2023.jpg

M*****

Sesemiya

For more than twenty years, Sesemiya (Tracy Williams) has been engaged with the revitalization of Coast Salish cultural practices. Through research, collaborative experimentation and consultation with Knowledge Keepers, Sesemiya’s work embodies her deep knowledge of Coast Salish lands. A fifth-generation cedar weaver, the objects she makes extend directly from her practice of gathering and preparing wild materials. 
 
Sesemiya presents at the Contemporary Art Gallery *s7ulh waḵáy̓stn iy ta stamsh cht* (Our Weapons and Warriors), a new body of work that sees the artist engaging the theme of land defence. Employing materials such as cedar slats and roots, fishskin leather, animal bones, and synthetic human skin, the exhibition alludes to the figure of a Sḵwx̱wú7mesh warrior in traditional accoutrement, armed with tools for battle. While the tools Sesemiya has recreated are anachronistic in nature, the project of cultural revitalization they result from is vitally urgent. *s7ulh waḵáy̓stn iy ta stamsh cht* proposes traditional ways of living, knowing, and being with the land to themselves be acts of resistance to the ongoing colonial occupation of unsurrendered Sḵwx̱wú7mesh lands, in the artist’s words, “inspiring the future generations of stelmexw to *tl’a7ashen ta nexwniẁ-chet* (celebrate our teachings that make us who we are).”

#### Biography
Sesemiya (Tracy Williams) is a knowledge seeker, dreamer, water protector, land defender, lover, mother, auntie, weaver, and cultural practitioner. Her rich relationships with plants, animals, land, and water have taken her to the tops of mountains, the bottom of the ocean, fields of fireweed, and occasionally art galleries. Her work has appeared in exhibitions such as *lineages and land bases*, Vancouver Art Gallery (2020); *Intangible: Memory and Innovation in Coast Salish Art*, Bill Reid Gallery (2017); and *N. Vancouver*, The Polygon Gallery (2017). In 2021, a commissioned work of Sesemiya’s was included in the Vancouver Art Gallery’s presentation of Yoko Ono’s *Water Event*. Sesemiya is a proud member of the Sḵwx̱wú7mesh (Squamish) Nation.


CAG - Sesemiya - Exhibition Guide - Regular Print - Web.pdf

CAG - Sesemiya - Exhibition Guide - Large Print - Web.pdf

A carved stone wrapped with a rope displayed on a wooden surface.

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Stone Necklace.jpg

clothing, armour and weapons belonging to a Squamish warrior in a room with dark grey walls, with a white wall in the foreground with the artist's name and exhibition's title printed on it. 

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01 Sesemiya 2023.jpg

rear view of clothing, armour and weapons belonging to a Squamish warrior, suspended in mid-air and arranged to look like an exploded view diagram. a hide war robe is most prominent; an antler and stone club is also visible from the side.

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02 Sesemiya 2023.jpg

side view of clothing, armour and weapons belonging to a Squamish warrior, suspended in mid-air and arranged to look like an exploded view diagram. coiled cedar rope, war whoop and a knife in a sheath are visible from the side.

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03 Sesemiya 2023.jpg

frontal photo of clothing, armour and weapons belonging to a Squamish warrior, most prominently a headpiece made of cedar boughs, cedar breastplate, war apron, sneakers made from tanned hide, and arm and leg covers made fishskin leather

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04 Sesemiya 2023.jpg

a suspended envelope-shaped bag made of tanned leather suspended between the edges of a hide robe and cedar war apron and breastplate. the bag is fringed on its right and left edges and on the edge of the flap, and held closed by a small bone.

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05 Sesemiya 2023.jpg

a cedar breastplate with owl feathers and talons hanging from its front face, tanned hide leather straps, and a bear tooth necklace and beaver spine necklace suspended in front of it

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06 Sesemiya 2023.jpg

a pair of fishskin leather leg covers suspended behind the bottom of a cedar war apron. the knees of the leg covers feature a zig-zag patterned shape

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07 Sesemiya 2023.jpg

a pair of converse all-star-style sneakers made from tanned hide, suspended several inches above a concrete floor. the sneakers' soles resemble moccasins.

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08 Sesemiya 2023.jpg

the bottom half of a fishskin leather arm cover, arranged to look as if it's holding a wooden shaft. the hand of the arm cover bears a zig-zag patterned shape. fish scales are visible in the texture of arm cover throughout.

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s7ulh waḵáy̓stn iy ta stamsh cht

Dionne Lee

The work of Dionne Lee engages closely with photographic methodologies to pursue forms of knowledge counter to the imperialist assumptions that underlie the conventions of North American landscape photography. Central to Lee’s practice is the body’s experience of the world at a close distance, a scale that she privileges in her work as an access point for understanding the relationship between people and land.

In *Ratios*, displayed as a trio of photographs at Yaletown-Roundhouse Station and a series of successively darkening photocopies on CAG’s façade, Lee mutually implicates small rocks and her own hand as tools to measure each other. Invoking the practice in geological survey photographs to include small objects in frame to indicate scale, these works stage by proxy the relationship between human bodies and land, and the asymmetry of their impacts on one another. 

*Dionne Lee: Ratios* is presented in partnership with the Canada Line Public Art Program — InTransit BC.

#### Biography
Dionne Lee is a visual artist working in photography, collage, sculpture, and video. Her work explores power and personal history in relation to the American landscape, and interrogates historical narratives that exist within photographic representations of land and place. Lee received her MFA from California College of the Arts. She has exhibited at the Museum of Modern Art, New York; Feria Material, Mexico City; New Orleans Museum of Art; Aperture Foundation, New York; Silver Eye Center for Photography, Pittsburgh; Museum of Fine Arts Houston; and the San Francisco Arts Commission, among others. Lee was a 2022 Artist-in-Residence at the Chinati Foundation and is a 2021–2023 Artist-in-Residence with Unseen California.

CAG - Dionne Lee - Exhibition Guide - Regular Print - Web.pdf

CAG - Dionne Lee - Exhibition Guide - Large Print - Web.pdf

thumbnail_Dionne Lee - Ratios (detail).jpg

Dionne Lee - Ratios (detail).jpg

CAG’s façade with Dionne Lee’s Ratios across eight street-facing windows. The artworks each depict a hand with small white pebbles placed on its joints, and from left to right appear successively darker across the series.

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01 Dionne Lee 2023.jpg

A pair of windows featuring a pair of images depicting a hand with small white pebbles placed on its joints. Both images are legible, with the right image slightly darker than the left one.

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02 Dionne Lee 2023.jpg

A pair of windows featuring a pair of images depicting a hand with small white pebbles placed on its joints. Both images are darker than is optimum, with the right image darker than the left one.

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03 Dionne Lee 2023.jpg

A pair of windows featuring a pair of images depicting a hand with small white pebbles placed on its joints. Both images are significantly darker than is optimum, with the right image darker than the left one. The image is difficult to make out.

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04 Dionne Lee 2023.jpg

A pair of windows featuring what look like black smudges or shadows. The right image is slightly darker than the left one.

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05 Dionne Lee 2023.jpg

A frontal view of a SkyTrain station with two photos in its windows. The first photo depicts a rock with bits of white tape arranged in an oval around its perimeter. The second depicts the same rock with bits of white tape dotting its surface.

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06 Dionne Lee 2023.jpg

A frontal view of a SkyTrain station with one photo in its window. The photo depicts a rock on a blue tarp with a hand drawn on its surface and bits of white tape arranged in an oval around its perimeter. 

thumbnail_07 Dionne Lee 2023.jpg

07 Dionne Lee 2023.jpg

A diagonal view of a SkyTrain station with three photos in its windows. The photos each depict a rock on a blue tarp with bits of white tape arranged either in an oval around its perimeter or on its surface. A hand is drawn on one rock’s surface.

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08 Dionne Lee 2023.jpg

Ratios

Kathy Slade

For over three decades, Kathy Slade has produced conceptually driven work that engages techniques of copying, repetition and reenactment, often coalescing in materially sumptuous objects. In her wide-ranging interdisciplinary practice, Slade inhabits sources from literature, art history, philosophy, and popular culture, weaving her references into absurd and frequently playful loops and voids.
 
At the Contemporary Art Gallery, Slade presents *As the sun disappears and the shadows descend from the mountaintop*, a new body of work rooted in a research trip to Sils Maria, Switzerland, where Friedrich Nietzsche spent the majority of his summers during the decade he wrote his most enduring works. There, Slade retraced the philosopher’s steps along the shore of Lake Silvaplana, where upon encountering a large, pyramid-shaped rock he arrived at what he called “my truly abyssal thought”: eternal recurrence, “the unconditional and infinitely repeated circulation of all things.” In the exhibition, Slade reimagines Nietzsche’s encounter in two depictions: an enormous tapestry representing the rock to scale, and a series of graphite rubbings that maps the entirety of the rock’s surface over twenty monochromes.

#### Biography
Kathy Slade (b. 1966, Montreal) is an artist, writer, curator, editor, and publisher. She works across mediums and has produced textile works, prints, sculpture, film, video, performance, music projects, and publications. Slade’s solo exhibitions include *Wherever You Go*, Monica Reyes Gallery, Vancouver (2020); *This is a Chord. This is Another.*, Surrey Art Gallery (2018); and *Blue Monday*, 4COSE, London (2017). Her work has recently been included in group exhibitions at Temple Bar Gallery + Studios, Dublin; Kunstverein Braunschweig; Fluc, Vienna; and the Morris and Helen Belkin Art Gallery, Vancouver. In 2009, Slade was awarded the VIVA Award from the Jack and Doris Shadbolt Foundation for the Visual Arts. She currently teaches at the School for the Contemporary Arts at Simon Fraser University.


Reading the Rock - Kathy Slade and Lisa Robertson in Conversation

CAG_WinterProgramGuide_P1- Web file.pdf

CAG_KathySlade_ExhibitionGuide_LargePrint_D1- Web file.pdf

CAG_KathySlade_ExhibitionGuide_RegularPrint_D1- Web file.pdf

A black and white photograph depicting a large triangle-shaped stone on the shore of a lake, with mountains faintly visible in the background.

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rockNietzsche.jpg

A very large tapestry by Kathy Slade depicting a large rock, visible in a gallery behind a title wall showing the exhibition's title and artist's name.

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Kathy Slade 2023 01.jpg

A frontal photo of a very large tapestry by Kathy Slade depicting a large rock, suspended from the ceiling in front of a white wall. 

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Kathy Slade 2023 02.jpg

A thin artist book by Kathy Slade lying closed on a white plinth, in front of a white wall with a small, black framed mirror slightly to the right of the plinth.

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Kathy Slade 2023 07.jpg

A framed black mirror by Kathy Slade reflecting a tapestry depicting a large rock.

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Kathy Slade 2023 08.jpg

A thin artist book by Kathy Slade lying closed on a white plinth, with the title Loneliest Loneliness visible on the cover.

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Kathy Slade 2023 10.jpg

A thin artist book on a white plinth. A pair of hands hold a page open to show a black and white photograph of a large rock and its reflection in a lake.

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Kathy Slade 2023 11.jpg

A thin artist book on a white plinth. A pair of hands hold a page open to show facing pages with abstract grey texture printed allover.

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Kathy Slade 2023 12.jpg

Graphite rubbings on rectangular sheets of paper arranged in a row around a corner in a room with white walls.

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Kathy Slade 2023 13.jpg

A frontal photo of five graphite rubbings on rectangular sheets of paper arranged in a row on a white wall.

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Kathy Slade 2023 14.jpg

As the sun disappears and the shadows descend from the mountaintop

Rafael Zen

[RSVP](https://www.eventbrite.ca/e/open-studio-blackout-poetry-with-rafael-zen-tickets-653176778327?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshwebdesktop "button")

Open Studio is a monthly program for young visitors and families inspired by contemporary art practices and CAG’s current exhibitions. In August, we invite you to join us for an art-making workshop led by artist Rafael Zen.

Inspired by CAG’s current exhibition Dionne Lee: Ratios, Rafael will lead participants in exploring the creative process of blackout poetry. The workshop will explore the ways found media can be used as a source of inspiration for other creative outputs such as visual arts, media arts, screenwriting, and storytelling.

### RSVP
Registration for this event is free, but limited. A number of spots are reserved for families. RSVP to secure your place [here](https://www.eventbrite.ca/e/open-studio-blackout-poetry-with-rafael-zen-tickets-653176778327?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshwebdesktop).

### Biography
Rafael Zen (he/they) is a queer Latinx media artist and performer working mostly through video and sound installation, spoken poetry/theory, interdisciplinary media, art education, and activist storytelling. In the past ten years, Zen has experimented with commissioned artistic projects, curated exhibitions and publications, owned an independent art school and publisher, and taught in academic/independent educational spaces. They hold a Master’s degree in Contemporary Artistic Processes researching political counterattacks through poetic/political processes and is currently pursuing a degree in New Media + Sound Art at Emily Carr University. They also work as a curator and arts coordinator at Massy Arts Gallery.

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

A portrait of Rafael Zen. The colours of the image have been inverted.

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Rafael Zen (2).JPG

Blackout Poetry with Rafael Zen

Open Studio

Latashkinem

One Saturday each month, CAG invites a guest host to lead walkthroughs of our current exhibitions, offering their insights and response to the works on view. In August, we welcome Latashkinem to speak on the work of Sesemiya. 

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

### RSVP
No advance registration required.

### Biography
Nilh kwens Latashkinem kweshamen aka Robert Williams tina chen tla Humulchestn Uxwumixw ti Sḵwx̱wú7mesh Temixw. My ancestral name is Latashkinem aka Robert Williams and I currently reside in the village of Humulchestn in the Sḵwx̱wú7mesh Territory. I worked with our tribe as a cultural worker providing support to our youth with the guidance of our elders and chiefs. My new career as a digital artist and storyteller has allowed me to adapt my knowledge and experience in a modern context. My future goals are to write new stories for children and create art inspired by the legends and history of the Sḵwx̱wú7mesh. En wenaxten skwalewen. I have love for our people.

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Latashkinem 3.jpeg

Latashkinem on Sesemiya

Saturday Session

Paige Smith

[RSVP](https://www.eventbrite.ca/e/open-studio-between-canvas-and-celluloid-with-paige-smith-tickets-653160930927?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshwebdesktop "button")

Open Studio is a monthly program for young visitors and families inspired by contemporary art practices and CAG’s current exhibitions. In July, we invite you to join us for an art-making workshop led by artist Paige Smith. 

Inspired by CAG’s current exhibition *Gabrielle L’Hirondelle Hill: M******, participants will learn to manipulate film celluloid using paint, ink and scratching to create moving-image paintings. Throughout this workshop, Paige will introduce cameraless filmmaking techniques exploring how to translate tactile gestures of paint brushes and pens into movement. Each participant will create a short segment, and the group's work will be stitched together and screened at the end of the workshop.

### RSVP
Registration for this event is free, but limited. A number of spots are reserved for families. RSVP to secure your place [here](https://www.eventbrite.ca/e/open-studio-between-canvas-and-celluloid-with-paige-smith-tickets-653160930927?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshwebdesktop).

### Biography
Paige Smith (she/her) is an experimental filmmaker and visual artist whose artwork collapses distinctions like fiction/reality or nature/culture to fabulate new ontological understandings of ourselves and the places where we exist. She draws attention towards the characteristics, histories, and meanings of the places where her artwork is created and experienced, investigating how viewer perception is informed by its surrounding context. Smith attended Simon Fraser University to study film and visual art, and has recently exhibited with Cineworks Independent Filmmakers Society, Massy Arts Society, Audain Gallery, Vines Art Festival and VIVO Media Arts Centre.

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

A portrait of Paige Smith. She is wearing a pink face mask and cream-coloured blazer with print triangles.

thumbnail_Paige Smith - Headshot - Photo by Will Ross.jpg

Paige Smith - Headshot - Photo by Will Ross.jpg

Between Canvas and Celluloid with Paige Smith

Audie Murray

[RSVP](https://us02web.zoom.us/meeting/register/tZ0sfuCoqzsuE9xtCSg1Nv_USKC28m5PPO8r "button")

We are pleased to announce our latest installment of CAG Reads, a book club where artists invite us to read alongside them. Each month an artist proposes text for our collective reading pleasure, culminating in a virtual hangout where the artist leads a wide-ranging discussion grounded in their chosen reading material. 

In July, CAG Reads will be hosted by Audie Murray. Audie has chosen to read a selection of texts including *Love As Political Resistance* (2019) by adrienne maree brown, *Net Charms in Cree and Ojibwe Language* (2012) by George Fulford and the children's book *Owls See Clearly at Night: A Michif Alphabet/Lii Yiiboo Nayaapiwak lii Swer: L'Alfabet Di Michif* (2010) by Julie Flett.

### Getting the texts
Access to all of Audie's CAG Reads selections will be provided upon registration.

### RSVP
Registration for this event is free, but limited. RSVP to secure your place [here](https://us02web.zoom.us/meeting/register/tZ0sfuCoqzsuE9xtCSg1Nv_USKC28m5PPO8r).

Questions? Send us a note at [cagreads@cagvancouver.org](mailto:cagreads@cagvancouver.org).

### Accessibility
This event will be live captioned (CART). For more information please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org).

ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

### Biography
Audie Murray is a visual artist, dreamer, and skin-stitcher. Her practice is informed by the process of making and visiting to explore themes of contemporary culture, embodied experiences and lived dualities. These modes of working assist with the recentering of our collective connection to bodies, ancestral knowledge systems, and relationality. She has exhibited widely, including at Remai Modern, Saskatoon; The Vancouver Art Gallery; Centre for Contemporary Arts, Glasgow; and the Anchorage Museum. Murray is Cree-Métis from the Lebret and Meadow Lake communities located on Treaty 4 & 6 territories and is currently based in Oskana kâ-asastêki (Regina, Saskatchewan). Murray is represented by Fazakas Gallery, located on Sḵwx̱wú7mesh, Səl̓ílwətaʔ, and xʷməθkʷəy̓əm territory.

A tintype image of Audie Murray in profile. She is holding a baby in her arms.

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Audie Murray - Headshot - Photo by Brittney Appleby.jpg

Audie Murray presents adrienne maree brown, George Fulford and Julie Flett

CAG Reads

Join CAG’s Executive Director Matthew Hyland for a walkthrough of the current exhibitions.

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

### RSVP
No advance registration required.

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2023_L_Hirondelle Hill_CAG_1.jpg

with Matthew Hyland

Curatorial Tour

Whess Harman

One Saturday each month, CAG invites a guest host to lead walkthroughs of our current exhibitions, offering their insights and response to the works on view. In July, we welcome Whess Harman to speak on the work of Gabrielle L'Hirondelle Hill. 

### Accessibility
ASL interpretation is available on request. Requests can be accommodated up to 5 days in advance. Please contact [learning@cagvancouver.org](mailto:learning@cagvancouver.org) to book or for more information.

### RSVP
No advance registration required.

### Biography
Whess Harman is a member of the Carrier Wit’at Nation, a nation amalgamated by the federal government under the Lake Babine Nation. He doesn’t like cops and believes in land sovereignty for Indigenous peoples all across the globe. In his arts practice he works primarily in drawing, text and textiles. As the curator at grunt gallery and occasional editor for a mish-mash of publications, he prioritizes emerging queer and BIPOC cultural workers and artists. Whess looks to the arts as one of many tools in fighting oppressive forces and can be a little fucking rude about it, when the occasion calls.

A black and white photograph of Whess Harman. They sit by the water and smiling. 

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Polarioid_photocredit_EliHirtle.jpeg

Whess Harman on Gabrielle L'Hirondelle Hill

Chandra Melting Tallow

Alexander Miranda

Laura Ortman

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CAG welcomes Chandra Melting Tallow, Alexander Miranda and Laura Ortman to perform live in the gallery alongside Gabrielle L'Hirondelle Hill's *M******.

### RSVP
Tickets for this event are extremely limited; advance registration is required. Secure your place [here](https://www.eventbrite.ca/e/sound-response-chandra-melting-tallow-alexander-miranda-and-laura-ortman-tickets-663791918497).

### Biographies
Chandra Melting Tallow is an interdisciplinary artist, experimental filmmaker, writer and music producer of European and Blackfoot ancestry from the Siksika Nation. Their practice confronts the ghosts of intergenerational trauma and their relationship to the body through the lens of physical disability, using humour and surrealism to subvert oppressive power structures. They lead the solo music project Mourning Coup, a cult classic in the Indigenous lexicon of underground music. Their work includes experimental film, textile-based installation, sound and performance, and it has been exhibited throughout North America.

Alexander Miranda is a contemporary Payómkawichum artist from Southern California. Miranda pushes the boundaries of Native American art through a multitude of art forms and media with a focus on songwriting, music composition, photography, painting, and poetry. His portfolio honours and celebrates the power, resilience and beauty of Indigenous people, incontestably aligning his work with world-wide Indigenous resurgence. He is a current member of the band Underpass and has been commissioned by Julian Klincewicz and Virgil Abloh. He most recently scored the documentary *Manzanar Diverted: When Water Becomes Dust*.

A soloist musician, composer and vibrant collaborator, Laura Ortman (White Mountain Apache) creates across multiple platforms, including recorded albums, live performances, and filmic and artistic soundtracks. She has collaborated with artists such as Tony Conrad, Jock Soto, Raven Chacon, Nanobah Becker, Okkyung Lee, Martin Bisi, Jeffrey Gibson, Caroline Monnet, Tanya Lukin Linklater, Demian DinéYazhi, New Red Order, and In Defense of Memory. An inquisitive and exquisite violinist, Ortman is versed in Apache violin, piano, electric guitar, keyboards, and amplified violin, often sings through a megaphone, and is a producer of capacious field recordings. She has performed at the Whitney Museum of American Art, the Guggenheim, the New Museum, and the Museum of Modern Art in New York; the Musée d’Art Contemporain de Montréal; the Venice Biennale; imagineNATIVE Film + Media Arts Festival, the Toronto Biennial; and the Centre Pompidou, Paris, among countless established and DIY venues in the US, Canada, and Europe. 