Art Mûr Berlin

Art Mûr Berlin Art Mûr Berlin opened in November 2017 and is the satellite space of Art Mûr Montreal (est. 1996). Art Mûr Berlin will open on November 16, 2017
(3)

23/07/2019

Art Mûr Berlin is open by appointment only this week. Thank you!

Art-agenda
29/09/2018
Art-agenda

Art-agenda

Nadia Myre: "Code Switching and Other Work" at Art Mûr Berlin

#ArtMûr #NadiaMyre #MotherTongue

September 25–November 10, 2018
Opening: September 28, 6–9pm, during Berlin Art Week

In the context of Berlin Art Week, Art Mûr Berlin is delighted to present Nadia Myre’s "Code Switching and Other Work," an exhibition first presented by Mother Tongue during Glasgow International 2018.

"Code-Switching and Other New Work" is a solo presentation of new and existing work from Montreal-based artist Nadia Myre, curated by the Glasgow-based curatorial duo Mother Tongue (Tiffany Boyle and Jessica Carden). Responding to the history of clay tobacco pipe production in London and Glasgow, Myre’s work poetically unearths the entanglement between the British Empire, Canada and Indigenous peoples. A by-product of the tobacco trade with the so-called New World, the pipes were one of the first ‘disposable’ items to enter the market, purchased pre-stuffed with tobacco. Myre’s new work explore processes of imprinting, documenting, weaving and excavating to ask enduring questions around colonial legacies.

European contact with the New World in the 1600s led to an upsurge in tobacco use and to the design of clay tobacco pipes in Britain, a revisal of the vessels used by indigenous peoples with a bowl and elongated stem. The clay pipe was incrementally broken off in segments as the tobacco was smoked. There were a number of production hubs for these across the UK, including Glasgow and Bristol. Scotland’s production had a special monopoly on exporting in large volume to conglomerates such as the Hudson Bay Company, which historically ruled de facto large parts of North America during early colonial settlement. Tobacco pipe shards are significant in archaeological terms, used to date sites during excavations, where they can be found in volume. Excavated shards are therefore at once special items of historical significance, yet also everyday in their number, seemingly simple appearance can carry little economic value.

Nadia Myre is a visual artist from Quebec and an Algonquin member of the Kitigan Zibi Anishinabeg First Nation. In 2015, she began research excavations along the banks of the Thames, uncovering bowls and stems of clay tobacco pipes. In this process, bone and teeth have sometimes been initially mistaken for clay pipe stems and fragments, a telling undertone surrounding the life stories of these items. Equally, the shards in their ready-made, bead like form, recall the wampum used by First Nations people historically and in Myre’s present in weaving.

"Code-Switching and Other Work" is a pertinent body of work, through which the artist engages her audience in questioning how our shared pasts inform present understandings of one another. Initiating timely discussions regarding Indigenous rights and futures, Myre explores Indigenous and European ceramics using high-resolution scanning, photography and sculpture in a museum-style presentation format. Myre’s research and work focuses on cross-cultural experiences and mediations as a strategy towards recognizing and reclaiming the contributions of Indigenous arts and cultural practices. Equally, "Code-Switching and Other Work" examines the language and power of museum display formats and resulting knowledge production, and features historical objects that are reclaimed through re-creation and representation. In wider terms, the artist’s practice asks important questions around the role of craft within a visual arts practice, pushing the boundaries of how craft is understood and positioned.

"Mother Tongue," Tiffany Boyle & Jessica Carden

Thanks to Angela Hohmann from Tagesspiegel for her mention of Nicholas Crombach in her review of Positions Berlin Art Fa...
29/09/2018
Auf der Jagd | Der Tagesspiegel

Thanks to Angela Hohmann from Tagesspiegel for her mention of Nicholas Crombach in her review of Positions Berlin Art Fair

https://www.pressreader.com/germany/der-tagesspiegel/20180929/282235191591094

In un­mit­tel­ba­rer Nach­bar­schaft zur Art Ber­lin hat die Po­si­ti­ons ih­re Pfor­ten in Han­gar 4 des ehe­ma­li­gen Flug­ha­fens Tem­pel­hof ge­öff­net. Dass die Mes­se in die­sem Jahr über­haupt statt­fin­det, grenzt an ein Wun­der. Denn die Art Ber­lin hat­te de...

Nadia Myre: Code Switching and Other Work begins tomorrow. Join us on Friday from 6 p.m. to 9 p.m. for the opening!
24/09/2018
Art-agenda

Nadia Myre: Code Switching and Other Work begins tomorrow. Join us on Friday from 6 p.m. to 9 p.m. for the opening!

Nadia Myre: "Code Switching and Other Work" at Art Mûr Berlin

#ArtMûr #NadiaMyre #MotherTongue

September 25–November 10, 2018
Opening: September 28, 6–9pm, during Berlin Art Week

In the context of Berlin Art Week, Art Mûr Berlin is delighted to present Nadia Myre’s "Code Switching and Other Work," an exhibition first presented by Mother Tongue during Glasgow International 2018.

"Code-Switching and Other New Work" is a solo presentation of new and existing work from Montreal-based artist Nadia Myre, curated by the Glasgow-based curatorial duo Mother Tongue (Tiffany Boyle and Jessica Carden). Responding to the history of clay tobacco pipe production in London and Glasgow, Myre’s work poetically unearths the entanglement between the British Empire, Canada and Indigenous peoples. A by-product of the tobacco trade with the so-called New World, the pipes were one of the first ‘disposable’ items to enter the market, purchased pre-stuffed with tobacco. Myre’s new work explore processes of imprinting, documenting, weaving and excavating to ask enduring questions around colonial legacies.

European contact with the New World in the 1600s led to an upsurge in tobacco use and to the design of clay tobacco pipes in Britain, a revisal of the vessels used by indigenous peoples with a bowl and elongated stem. The clay pipe was incrementally broken off in segments as the tobacco was smoked. There were a number of production hubs for these across the UK, including Glasgow and Bristol. Scotland’s production had a special monopoly on exporting in large volume to conglomerates such as the Hudson Bay Company, which historically ruled de facto large parts of North America during early colonial settlement. Tobacco pipe shards are significant in archaeological terms, used to date sites during excavations, where they can be found in volume. Excavated shards are therefore at once special items of historical significance, yet also everyday in their number, seemingly simple appearance can carry little economic value.

Nadia Myre is a visual artist from Quebec and an Algonquin member of the Kitigan Zibi Anishinabeg First Nation. In 2015, she began research excavations along the banks of the Thames, uncovering bowls and stems of clay tobacco pipes. In this process, bone and teeth have sometimes been initially mistaken for clay pipe stems and fragments, a telling undertone surrounding the life stories of these items. Equally, the shards in their ready-made, bead like form, recall the wampum used by First Nations people historically and in Myre’s present in weaving.

"Code-Switching and Other Work" is a pertinent body of work, through which the artist engages her audience in questioning how our shared pasts inform present understandings of one another. Initiating timely discussions regarding Indigenous rights and futures, Myre explores Indigenous and European ceramics using high-resolution scanning, photography and sculpture in a museum-style presentation format. Myre’s research and work focuses on cross-cultural experiences and mediations as a strategy towards recognizing and reclaiming the contributions of Indigenous arts and cultural practices. Equally, "Code-Switching and Other Work" examines the language and power of museum display formats and resulting knowledge production, and features historical objects that are reclaimed through re-creation and representation. In wider terms, the artist’s practice asks important questions around the role of craft within a visual arts practice, pushing the boundaries of how craft is understood and positioned.

"Mother Tongue," Tiffany Boyle & Jessica Carden

Art-agenda
24/09/2018
Art-agenda

Art-agenda

Nadia Myre: "Code Switching and Other Work" at Art Mûr Berlin

#ArtMûr #NadiaMyre #MotherTongue

September 25–November 10, 2018
Opening: September 28, 6–9pm, during Berlin Art Week

In the context of Berlin Art Week, Art Mûr Berlin is delighted to present Nadia Myre’s "Code Switching and Other Work," an exhibition first presented by Mother Tongue during Glasgow International 2018.

"Code-Switching and Other New Work" is a solo presentation of new and existing work from Montreal-based artist Nadia Myre, curated by the Glasgow-based curatorial duo Mother Tongue (Tiffany Boyle and Jessica Carden). Responding to the history of clay tobacco pipe production in London and Glasgow, Myre’s work poetically unearths the entanglement between the British Empire, Canada and Indigenous peoples. A by-product of the tobacco trade with the so-called New World, the pipes were one of the first ‘disposable’ items to enter the market, purchased pre-stuffed with tobacco. Myre’s new work explore processes of imprinting, documenting, weaving and excavating to ask enduring questions around colonial legacies.

European contact with the New World in the 1600s led to an upsurge in tobacco use and to the design of clay tobacco pipes in Britain, a revisal of the vessels used by indigenous peoples with a bowl and elongated stem. The clay pipe was incrementally broken off in segments as the tobacco was smoked. There were a number of production hubs for these across the UK, including Glasgow and Bristol. Scotland’s production had a special monopoly on exporting in large volume to conglomerates such as the Hudson Bay Company, which historically ruled de facto large parts of North America during early colonial settlement. Tobacco pipe shards are significant in archaeological terms, used to date sites during excavations, where they can be found in volume. Excavated shards are therefore at once special items of historical significance, yet also everyday in their number, seemingly simple appearance can carry little economic value.

Nadia Myre is a visual artist from Quebec and an Algonquin member of the Kitigan Zibi Anishinabeg First Nation. In 2015, she began research excavations along the banks of the Thames, uncovering bowls and stems of clay tobacco pipes. In this process, bone and teeth have sometimes been initially mistaken for clay pipe stems and fragments, a telling undertone surrounding the life stories of these items. Equally, the shards in their ready-made, bead like form, recall the wampum used by First Nations people historically and in Myre’s present in weaving.

"Code-Switching and Other Work" is a pertinent body of work, through which the artist engages her audience in questioning how our shared pasts inform present understandings of one another. Initiating timely discussions regarding Indigenous rights and futures, Myre explores Indigenous and European ceramics using high-resolution scanning, photography and sculpture in a museum-style presentation format. Myre’s research and work focuses on cross-cultural experiences and mediations as a strategy towards recognizing and reclaiming the contributions of Indigenous arts and cultural practices. Equally, "Code-Switching and Other Work" examines the language and power of museum display formats and resulting knowledge production, and features historical objects that are reclaimed through re-creation and representation. In wider terms, the artist’s practice asks important questions around the role of craft within a visual arts practice, pushing the boundaries of how craft is understood and positioned.

"Mother Tongue," Tiffany Boyle & Jessica Carden

Thank you to Mousse for publishing Conflicting Heroes on their website! Just another week! The exhibition closes on Satu...
29/07/2018
“Conflicting Heroes” at the Contemporary Native Art Biennial, Berlin

Thank you to Mousse for publishing Conflicting Heroes on their website! Just another week! The exhibition closes on Saturday, August 4!

http://moussemagazine.it/conflicting-heroes-contemporary-native-art-biennial-berlin-2018/

Art Mûr is pleased to present in Berlin a group exhibition of nine indigenous artists curated by Michael Patten. Artists: Sonny Assu (Kwakwaka’wakw), Natalie Ball (Modoc – Klamath), Dayna Danger (Metis – Anishinaabe – Saulteaux), David Garneau (Metis), Leonard Getinthecar (Nicholas & Jerrod...

Another week and a half to see BACA 's special project ''Conflicting Heroes'' curated by Michael Patten. With Sonny Assu...
25/07/2018
Biennale d’art contemporain autochtone (BACA): Conflicting Heroes | Art Agenda

Another week and a half to see BACA 's special project ''Conflicting Heroes'' curated by Michael Patten.

With Sonny Assu (Kwakwaka’wakw), Natalie Ball (Modoc – Klamath), Dayna Danger (Metis – Anishinaabe – Saulteaux), David Garneau (Metis), Leonard Getinthecar (Nicholas & Jerrod Galanin, (Tlingit – Aleut)) in collaboration with Nep Sidhu, Kent Monkman (Cree), Caroline Monnet (Algonquin), Jessie Ray Short (Metis), Skawennati (Kahnawake Mohawk).

Closes August 4, 2018

http://www.art-agenda.com/shows/biennale-dart-contemporain-autochtone-baca-conflicting-heroes/

La Biennale d’art contemporain autochtone is proud to present at Art Mûr Berlin a special project titled Conflicting Heroes that includes the work of nine Indigenous artists from North America brought together under the curatorship of Michael Patten.

About BACA in Montreal ! (Text in French)
08/06/2018
BACA

About BACA in Montreal ! (Text in French)

Merci Maude Darsigny-Trépanier et Revue Ex_situ !

Jinny Yu's that the problem is not a problem for me is a part of the problem is on Wall Street International Magazinehtt...
04/05/2018
Jinny Yu

Jinny Yu's that the problem is not a problem for me is a part of the problem is on Wall Street International Magazine

https://wsimag.com/art/37527-jinny-yu

26 Apr — 2 Jun 2018 at Art Mûr Berlin in Berlin, Germany

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