By Deb A.
Canada's newest contemporary art museum has emerged from an unlikely place: the prairie landscape of Saskatoon, Saskatchewan.
The Remai Modern's flat blocks of sleek glass and red steel mesh are an ambitious statement in an ambitious city. Parallels are already being drawn with other off-the-beaten-path towns that tried to leverage a world-class museum to put them on the map. But is the $85 million art gallery the next Guggenheim Museum Bilbao?
The gallery boasts the world's most comprehensive collection of Picasso linocuts, as well as works by John Baldessari, General Idea, and Ruth Cuthand. With Ellen Remai contributing over $100 million to the gallery--one of the most substantial philanthropic donations to an art institution nationwide--the future of the collection seems enviably bright. Over the next 25 years, the museum will be able to spend $1 million a year on acquisitions; another $1 million will be available each year for donation matching.
One sore spot, however, is the representation of Indigenous people, a community that constitutes over 10% of Saskatoon's population. Apparently missing the memo from the Sobey Art Award, the Remai Modern, which sits on Treaty 6 land, has no Indigenous curators. Its commitment to the community has come under fire, and some believe that the museum is not doing enough to celebrate and promote local artists, despite its stated goal of being "a leading centre for contemporary Indigenous art and discourse."
In contrast, the Remai Modern's predecessor, the Mendel Art Gallery, had forged close links with the Indigenous community. It was also remarkably accessible, offering free entry to all, seven days a week. Its entire collection of 8,000 works, once available to see for nothing, is now housed in the Remai, where an adult ticket costs $12.
It remains to be seen whether the city will fully embrace its newest addition, and whether art lovers will brave the lack of direct flights from other art hubs such as New York and Paris to experience all the Remai Modern has to offer. One thing, however, is fairly certain: it will take a special sort of art enthusiast to plan a winter trip, when temperatures often drop below -30 degrees Celsius.
By Deb A.
Chris Ofili is arguably best known for creating art with elephant dung. Andres Serrano's Piss Christ was made with the artist's urine. Tracy Emin's My Bed hosted a range of bodily fluids, including one that has recently made headlines again in the art world: menses.
The first major movement in the West of using or depicting menstrual blood in art started in the 1970s, along with second wave feminism. And so it is no surprise that recent efforts to address the period taboo coincide with a reaction to the rise of high-profile misogyny.
In 2015 Rupi Kaur's photo showing the artist with a bloodstain at her crotch was removed (and subsequently reinstated following public backlash) from Instagram, leading Ms. Kaur to object to a world that "will have my body in an underwear but not be okay with a small leak."
Six months later, American artist and activist Sarah Levy used her period blood to create a portrait of a presidential candidate who reacted to tough questions at a debate by claiming the female moderator had "blood coming out of her wherever". He is now president, and the painting was purchased this year by the Museum of Military History in Dresden, Germany. It's hard to say which fact is stranger.
The latest controversial attempt to normalise a regular function of the bodies of half of the earth's human population can be found in an equally surprising place: the Stockholm subway. Its new exhibit by Liv Strömquist is a series of black-and white felt pen drawings that feature the occasional blotch of bright red between women's legs. Some have hailed it as a coup for womankind, while others have recoiled in disgust, angry at their newly uncomfortable commute.
For those who prefer to decide when they will be confronted with the reality of women's reproductive cycles--a luxury most women do not have--there's Period Piece in London, which "seeks to provoke critical dialogue about shifts in contraceptive technologies and constructions of the 'natural' around women's bodies." With music composed from ovulation cycles and poetry based on reactions to the Catholic church's rejection of birth control in 1968, the exhibit finds new, less confrontational ways of talking about periods. It is a pop-up event by the Science Gallery London, which opens officially in 2018.
For a brief overview of period art, this piece by Kristen Cochrane is a good place to start.
My country is
There are 7000 human languages in the world. Over half are endangered; one dies every two weeks. What happens to cultures as languages disappear?
The Southbank Centre's Endangered Poetry Project was created to preserve the unique poetic traditions of languages on the brink of extinction.
By reflecting a way of understanding the world, poetry gives us a glimpse into a culture: the ideas people have, what they care about, and how they interpret their surroundings. Documenting poems not only offers us insight into how others live, but also provides us with a novel way of seeing the world around us.
"I'm Iranian and I grew up in Germany--when I came to the U.S., it was very strange to me to learn that the colour blue stands for sadness," Dr. Mandana Seyfeddinipur, the head of the Endangered Languages Archive at SOAS University of London, explained to the BBC. "To me, blue is hope--the sea and the sky."
The intricacies of poetic language are windows into worldviews that can inform our own perspectives, or keep our cultural memories alive. According to Dr. Seyfeddinipur, reading poetry from other cultures "makes you more agile in thinking, because you have to be flexible," incorporating foreign concepts that may not appear in your own culture into your way of thinking.
Members of the public are invited to submit well known poems in an endangered language to the Centre to preserve them for future generations. The call is open until the end of this year.
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