my auntie bought all her skidoos with bead money is Jeneen Frei Njootli’s first monographic publication, produced in tandem with her solo exhibition at the Contemporary Art Gallery and features commissioned texts by renowned Sto:lo writer Lee Maracle, Vuntut Gwitchin spoken word poet Nagoohiindaak / Melissa Frost and celebrated Cree poet Billy-Ray Belcourt, winner of the 2018 Griffin Poetry Prize.

small_JeneenFreiNjootli_Cover.jpg

thumbnail_JeneenFreiNjootli_Cover.jpg

JeneenFreiNjootli_Cover.jpg

medium_JeneenFreiNjootli_Spread1.jpg

small_JeneenFreiNjootli_Spread1.jpg

thumbnail_JeneenFreiNjootli_Spread1.jpg

JeneenFreiNjootli_Spread1.jpg

my auntie bought all her skidoos with bead money

Jeneen Frei Njootli

Jeneen Frei Njootli’s solo exhibition in the B.C. Binning Gallery, *my auntie bought all her skidoos with bead money*, speaks to refusals, belongings, loss and love, through a new and deeply personal body of work. Its propellant is a series of cultural belongings which are not, in fact, on view: hand-sewn beadwork gifted to Frei Njootli by the women of her family. On first entering the gallery, visitors encounter four large-scale sheets of steel leaning against the walls and floor. Upon their surfaces we catch fugitive impressions left by the beads, which have been pressed into the artist’s skin and then transferred, by way of grease prints, from her skin to the steel. As they inhabit the gallery’s atmosphere over time, the steel plates gradually respond to their environment and, depending upon humidity and temperature fluctuations, the spectral floral patterns might approach the viewer or recede from view, as though of their own volition.

A member of the self-governing Vuntut Gwitchin Nation, Frei Njootli’s practice is both invested in and materially tethered to that community, its way of life and the beings that support it. Her relationship to the matter with which she works is not abstract but defined by her lived experience in the far North. Moving between media, she considers the nature of her culture’s belongings (she rejects the term “artifacts”) as they are entangled with ancestral memory, contemporary community and care. She navigates their complex relationships to her own impermanent body and to the continued consumption of Indigenous people’s histories, labour and knowledge. In her actions and interventions, she asks repeatedly of herself and her audiences: Who or what is the sender? Who or what receives?

Fundamental to each of Frei Njootli’s works is a reconfiguration of that which is “given to be seen.” Settler colonialism is intimately linked to patriarchy and capital and thus has always been — and continues to be — a systemically gendered process. It is, as Leey’qsun Coast Salish scholar Rachel Flowers argues, “invested in gaining access to land and resources through the dispossession of Indigenous peoples, violently or legislatively, a process that begins with the body, specifically the bodies of Indigenous women.” In our current political moment in Canada, even with its audible shift toward recognition and reconciliation, colonial violence has not ended, and the burden on Indigenous women (art workers, mothers, Elders) to continually give of themselves, their culture and their forgiveness persists. For many Indigenous artists and activists, refusal has become a political practice, and for Frei Njootli, it defines the shape of her feminist-iterated survivance. By setting limits on what can be viewed and consumed, she simultaneously negates access to information and affirms her own sovereignty.

The imperative of capitalist consumption is to work toward smooth and glossy surfaces that conceal signs of labour. Frei Njootli’s grease-printed marks are of the type normally eschewed by the gallery — fingerprints should not be visible on artworks. By insisting on their presence, Frei Njootli not only honours the legions of women who hold Gwich’in culture — first of all her grandmother, who beaded the prickly northern wild rose imagery that appears in this work — but begs a consideration of all the unknown labourers who have handled this steel: who smelted the iron ore? Through whose hands did it travel? Through whose traditional territory?

At the back of the gallery is a new video work commissioned by CAG for this exhibition. A single take, played forward and then in reverse in an endless, seamless loop, records the slow appearance of an expansive panel of floral beadwork impressed upon the artist’s bare back. Projected at a scale echoing that of the steel sheets, Frei Njootli’s skin — which exceeds the boundary of the image — becomes an expansive, slowly undulating field. Almost imperceptibly, the patterned impressions emerge, as though produced by the skin itself.

Skin is a boundary-object: the site of both exposure and connectedness. The complex, living landscape of Frei Njootli’s recorded skin, not unlike the caribou-crossed terrain imaged in Frei Njootli’s 2017 video work *Being Skidoo* or the fugitive grease prints on the steel works, reminds us that the experience of being embodied is always already mediated by our continual interactions with other human and non-human bodies. Frei Njootli’s marks are indices of interconnectedness and interdependence. Their legibility reveals a deep pride in her community and the land that sustains it; their fleetingness evinces her desire to protect them both. As Unangax scholar Eve Tuck and artist C. Ree have so powerfully written, “I care about you understanding, but I care more about concealing parts of myself from you…I am using my arm to determine the length of the gaze.”

An artistic practice never develops in isolation, but is entwined with and strengthened by the voices of many others. In recognition of this, while at the same time acknowledging that a community’s knowledge always exceeds that which can be encapsulated in written form, the artist and curatorial team, in partnership with Simon Fraser University, have assembled a library to accompany the exhibition. It is hoped that these books, which span subjects from Gwich’in language to poetry to feminist theory, might offer numerous different entry points into the work of Jeneen Frei Njootli, and create a space for study, reflection and discussion.

Curated by Kimberly Phillips, with assistance from Emily Dundas Oke and Julia Lamare

Presenting Sponsor: The Audain Foundation

We gratefully acknowledge the generous support of the Audain Foundation, Jane Irwin and Ross Hill, Nada Vuksic and Macaulay & Co. Fine Art towards the publication.


### Biography

Jeneen Frei Njootli is a Vuntut Gwitchin artist who has performed and exhibited her work internationally, from galleries to rooftops, casinos, runways and the bush. She works across numerous media and modes, including performance, sound, installation, fashion, and with community, and is a co-creator of the ReMatriate Collective. Frei Njootli holds a BFA from Emily Carr University of Art and Design (2012) and an MFA from the University of British Columbia (2017). In 2016 she was one of three recipients of the William & Meredith Saunderson, from the  Hnatyshyn Foundation. She was longlisted for the Sobey Art Award in 2017 and in 2018, she was shortlisted for the same. Her work has been the focus of solo exhibitions at Fierman Gallery, NYC; Artspace, Peterborough; Southern Alberta Art Gallery, Lethbridge; and Definitely Superior Art Gallery, Thunder Bay. She has participated in the 2018 Biennale d’art contemporain autochtone (BACA) / Contemporary Native Art Biennial, and in group exhibitions at Western Front, Vancouver; ONE AND J + 1, Seoul; Mercer Union, Toronto; Available Light Film Festival, Whitehorse; LandMarks2017/ Repères2017, PAVED Arts, Saskatoon; Whitewater Gallery, North Bay; Art Gallery of South Western Manitoba, Brandon; Vancouver Art Gallery, Trinity Square Video, Toronto; Yukon Arts Centre, Gallery 44, Toronto; and many others. Her work has been part of Indigenous Fashion Week in Toronto (2018) and Vancouver (2017) as well as at the Adäka Cultural Festival in Whitehorse (2015). Frei Njootli has completed multiple residencies at the Banff Centre for the Arts and has collaborated with James Luna, Olivia Whetung, Tsēma Igharas, Krista Belle Stewart with Laura Ortman, Lyndsay Lachance, Dana Claxton, Angela Code, Tania Willard, Gabrielle l’Hirondelle Hill, and Chandra Melting Tallow. Her work is in the Vancouver Art Gallery’s permanent collection. Jeneen Frei Njootli is currently a grateful, uninvited guest on unceded Tsleil-Waututh, Musqueam and Skwxwu7mesh territories.



ProgramGuideSummer2018.pdf

BibliographyJeneenFreiNjootli.pdf

A close up view of a steel sheet marked with two hand prints pointing downwards and made of grease. The steel is covered with other faint markings and appears to be gray, blue and purple. 

thumbnail_00-HEADER-Njootli.jpg

00-HEADER-Njootli.jpg

Two large rectangular steel sheets lean against a wall of a gallery space. The sheets sit horizontally on the floor and are marked with grease prints. On the left sheet two handprints are visible. 

thumbnail_01-JeneenFreiNjootli-2018.jpg

01-JeneenFreiNjootli-2018.jpg

One large rectangular steel sheet leans against a wall of a gallery space. The sheet is marked with grease prints. On the floor surrounding the sheet, a microphone, speaker, mixer and patch cords sit.

thumbnail_02-JeneenFreiNjootli-2018.jpg

02-JeneenFreiNjootli-2018.jpg

An installation image of Jeneen Frei Njootli’s exhibition my auntie bought all her skidoos with bead money. Three large scale steel sheets lean against two walls in a gallery space. 

thumbnail_03-JeneenFreiNjootli-2018.jpg

03-JeneenFreiNjootli-2018.jpg

At the center of a gallery space, one large steel sheet leans against the back of a freestanding wall. A low ceiling darkens the space around the sheet and wall. 

Jeneen Frei Njootli

Related Exhibitions