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Why an exhibition of the work of KC Adams?

Aaniishwiin waabanda’iwewin KC Adams odoozhichigan?


As a curator at the Winnipeg Art Gallery in the 70s, I was lucky enough to be surrounded by their impressive Inuit collection. At the same time, I used to visit Daphne Odjig’s shop and gallery: the Indian Group of Seven. Decades later I nominated Alex Janvier, one of the Seven, for the Governor General’s Visual Arts award, which I am delighted to say he received. I am a settler, but I have been keen to make known brilliant, innovative Indigenous artists.

When I was approached by the Portrait Gallery to mount an exhibition, I asked KC Adams if she was willing to present our first one-person show. It seemed to me that KC was a fascinating creator who addresses both Indigenous and non-Indigenous people in a sensitive, yet poignant way. Many people have asked settlers to listen —but we need to learn how to do that. KC, as well as being an incredible artist, has put in the labour of being a teacher, in speaking to both Indigenous and non-Indigenous people.

I was struck by her bridging ability when seeing her Perception: A Photo Series. The genesis of this series was a horrible Facebook post by a Winnipeg mayoral candidate’s wife, who complained about “drunken native guys.” KC, a social activist, decided to combat racism by challenging these negative stereotypes about Indigenous people. To do so she took two photographs of each of her Métis, First Nations and Inuit portrait sitters. The first shot recorded a grim or fierce face; the second a relaxed, happy gaze. On the first she wrote negative statements about the individual, such as “Welfare Mom,” “Hooker,” or “Tax Burden,” as well as the admonishment to “Look Again.” On a second photograph of the same person, she included how the sitter wanted to be perceived: a “Mother, daughter, Bannock Lady,” a “working mom and social-assistance free,” and a “Golden Jubilee medal recipient.”

After a successful launch on social media, these paired photographs were seen on posters, billboards and bus shelters. The project thus addressed serious issues without alienating viewers, while giving hope to Indigenous peoples for a better future. KC skilfully manages to appeal to both Indigenous and non-Indigenous people by accentuating the positive along with a dark underside.

My purpose with this exhibition is deeper than promoting KC Adams’ art, although that is important. Many people would like to advance on restitution but do not know how. In presenting this exhibition, and in adding teaching and learning bundles, I hope the Portrait Gallery of Canada can make a modest contribution towards this aim.

Niigiiniiyaan imaa Winnipeg Art Gallery i’i apii 1970 ekiiwang, ningii-minose megwe ji-ayaayaan Inuit odoozhichiganiwaani. Bekish ningii-nitaa-mawadisaa Daphne Odjig etenigin omazinichiganan gaa-waabanda’iweng gaye igi: Indian Group of Seven gaa-gii-inindwaa. Gichi-naagach ningii-atamawaa Alex Janvier, bezhig a’a onji igi niizhwaaswi ji-miinindiban iwe Governor General’s Visual Arts award gaa-ijigaadenig, ningii-minwendaan gii-miinind. Weshki-oninamaayaan, ningii-noonde-izhichige ji-gikenimindwaaban Anishinaabeg mazinichigewaad.

Apii gagwejimiwaad igi Portrait Gallery gaa-inindwaa ji-onatoowaad waabanda’iwewin, ningii-gagwejimaa KC Adams daga ji-nishike-atoopan waabanda’iwewin. Ningii-ayinenimaa KC ji-nitaa-ozhitood gegoon ji-mino-doodawaad Anishinaabe zhigwa gaa-anishinaabewisinig, minodeying izhi. Niibowa awiyag ogagwejimaawaa’ weninamaanid ji-bizindaminid – ji-gikendamang idash aaniin iwe ji-doodamang. Aanawi-nitaa mazinichiged KC, ogii-wiikojitoon ji-gikina’amaaged, gaganoonad Anishinaabe, gaa-anishinaabewisinig gaye.

Ningii-maamakaadendaan enaabishing imaa Perception: A Photo Series, gaa-ijigaadenig. Gaa-maajiseg owe ozhichigan, apii gaa-niigaaniid Winnipeg wiiwan ogii-atooni imaa Facebook ‘giiwashkwebiinid Anishinaabe.’ Niigaaniid miinochigewin, KC gii-inendam gegoo ji-doodang aaniin enaabamindwaa Anishinaabe.’ Iwe dash ji-doodang, Aabitagoozhaanan, Anishinaaben zhigwa Eshkiimen ogii-mazinaakizwaa.’ Nitam gaa-odaapinang, gii-maanzhiingweniwan; ani-niizh, gii-minwendaminid inaabinid. Nitam mazinaakizowin, ogii-ozhibii’aan “Ashama omaamaa.” “Adaawaaganidizod” gemaa “Gichi-ogimaawin bagoshiwe;” zhigwa “Inaabin miinawaa.” Eni-niizh mazinaakizigan, bezhigwan ini, ogii-dagotoon aaniin a’a gaa-namadabid ji-inaabamind: “Omaamaa, odaanisimaa’, bekwezhiganiked ikwe,” “enokiijin omaamaa, eshamaasiwind,” zhigwa “gii-miinind ini Golden Jubilee zagaakwa’onan.”

Apii gii-minoseg waabanda’iweng maagoniganing, omazinaakiziganiwaan gii-magaakichigaadeniwan, agoodenigin, gaa-booziweng gaye waakaa’iganensing. Mii owe ji-gikendaagwakin gegoon ojaanimi’igowaad awiyag bekish ji-migoshkaaji’aasiwindwaa, zhigwa gaye ji-bagosendamowaad Anishinaabeg ani-niigaan. Ezhi-niizhinid KC Anishinaabe, Enishinaabewisinig gaye ojiikendamini niizhwewig gegoo inatood, wenizhishinig zhigwa gaa-maaninaagwadinig.

Gaawiin eta ji-gaandinamaan owe waabanda’iwewin, apiich win KC odoozhichigan, geget idash gitendaagwad iwe gaye. Niibowa awiya diba’igewin onoojitoonaawaa’, gaawiin dash ogikendanziinaawaa’ aaniin izhi. Atoowaan owe waabanda’iwewin, gashkipichiganan zhigwa gikina’amaagewin dagonamaan, nimbagosenimaag Portrait Gallery of Canada odaa-wiijitoonaawaa’ bangii zhooniyaansan izhi.



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