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{"id":162718,"date":"2016-09-15T18:30:00","date_gmt":"2016-09-15T23:30:00","guid":{"rendered":"https:\/\/esse.ca\/compte-rendu\/la-biennale-dart-contemporain-autochtoneculture-shift-une-revolution-culturelle\/"},"modified":"2026-03-02T10:40:18","modified_gmt":"2026-03-02T15:40:18","slug":"la-biennale-dart-contemporain-autochtoneculture-shift-une-revolution-culturelle","status":"publish","type":"compte-rendu","link":"https:\/\/staging.esse.ca\/en\/reviews\/la-biennale-dart-contemporain-autochtoneculture-shift-une-revolution-culturelle\/","title":{"rendered":"La Biennale d\u2019art contemporain autochtone Culture Shift \u2013 Une r\u00e9volution culturelle<\/em><\/strong>"},"content":{"rendered":"\n
[In French]<\/p>\n\n\n\n
Sous le th\u00e8me de la r\u00e9volution, la troisi\u00e8me \u00e9dition de la Biennale d\u2019art contemporain autochtone (BACA) regroupait en quatre espaces \u2013 soit la Guilde canadienne des m\u00e9tiers d\u2019art, le mus\u00e9e Stewart-Hall, le mus\u00e9e McCord et la galerie Art M\u00fbr \u2013 plus de 50 artistes. Apr\u00e8s s\u2019\u00eatre pench\u00e9e sur les notions de territoire et d\u2019oralit\u00e9, la BACA s\u2019est voulue au diapason des pratiques actuelles autochtones, cherchant moins \u00e0 atteindre une coh\u00e9sion th\u00e9matique ou formelle qu\u2019\u00e0 exhiber la pluralit\u00e9 des approches. Sous le commissariat de l\u2019artiste d\u2019ascendance cri Mike Patten, la BACA entendait ainsi d\u00e9cloisonner l\u2019approche anthropologique souvent r\u00e9serv\u00e9e aux pratiques d\u2019art autochtone en proposant des \u0153uvres portant sur l\u2019\u00e9cologie, l\u2019identit\u00e9 sexuelle ou le postcolonialisme.<\/p>\n\n\n\n
La galerie Art M\u00fbr, pavillon central et organisateur de l\u2019\u00e9v\u00e8nement depuis ses tout d\u00e9buts, proposait un \u00e9chantillonnage d\u2019\u0153uvres souvent racoleuses et subversives, une strat\u00e9gie privil\u00e9gi\u00e9e par les artistes afin d\u2019articuler un discours critique autour de l\u2019autochtonie. Plus que l\u2019affirmation d\u2019une<\/em> identit\u00e9, d\u2019un<\/em> territoire ou d\u2019une<\/em> tradition autochtone, les \u0153uvres \u00e9voquaient la pluralit\u00e9 des h\u00e9ritages, l\u2019h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 des esth\u00e9tiques et des pratiques artistiques, empruntant aux Premi\u00e8res Nations l\u2019artisanat autant qu\u2019au modernisme sa rigueur formelle. Cet habile jeu des citations invitait \u00e0 r\u00e9fl\u00e9chir aux enjeux m\u00eames d\u2019un art contemporain stricto sensu\u00ab\u2009autochtone\u2009\u00bb, terme \u00e9pineux \u00e0 la fois descriptif et prescriptif. Malgr\u00e9 des r\u00e9f\u00e9rences explicites \u00e0 l\u2019artisanat traditionnel tel qu\u2019il est pratiqu\u00e9 par les Am\u00e9rindiens et les Inuits \u2013 perlage, tissage, tressage, sculpture d\u2019ivoire, gravure \u2013, l\u2019attention se portait moins sur le savoir-faire que sur l\u2019apport r\u00e9ciproque de diff\u00e9rentes cultures, de diff\u00e9rentes histoires<\/em> de l\u2019art.<\/p>\n\n\n\n
Cette id\u00e9e de r\u00e9ciprocit\u00e9 est brillamment r\u00e9it\u00e9r\u00e9e par le projet Decolonial Gestures or Doing it Wrong\u2009? Refaire le chemin<\/em> de Nadia Myre, pr\u00e9sent\u00e9 au mus\u00e9e McCord. En suivant les modes d\u2019emploi publi\u00e9s dans des magazines de l\u2019\u00e9poque victorienne pour r\u00e9aliser des objets \u00ab\u2009indiens\u2009\u00bb (mocassins, paniers tress\u00e9s, etc.), Myre a re-perform\u00e9 l\u2019appropriation culturelle de la bourgeoisie blanche envers les peuples autochtones dans le but d\u2019en d\u00e9sactiver la charge oppressive. L\u2019intervention de Myre \u00e9tait en outre l\u2019occasion de r\u00e9fl\u00e9chir au r\u00f4le des mus\u00e9es et \u00e0 leur responsabilit\u00e9 \u00e9thique eu \u00e9gard aux cultures qu\u2019ils exposent et incidemment, qu\u2019ils l\u00e9gitiment.<\/p>\n\n\n\nNadia Myre<\/strong> Decolonial Gestures or Doing it Wrong? Refaire le chemin<\/em>, capture vid\u00e9o, 2016. Photo : \u00a9 Nadia Myre<\/figcaption><\/figure>\n\n\n\n
Si la r\u00e9volution invite au changement, elle appelle aussi \u00e0 un retour, \u00e9tant simultan\u00e9ment l\u2019aboutissement et la pr\u00e9misse d\u2019un cycle sans fin. Tablant sur ces paradoxes, la Guilde canadienne des m\u00e9tiers d\u2019art pr\u00e9sentait de son c\u00f4t\u00e9 un corpus d\u2019artistes inuits qui travaillent la notion d\u2019identit\u00e9, plus que jamais \u00e0 cheval entre contemporan\u00e9it\u00e9 et tradition. \u00c9pargn\u00e9e par la technologisation des moyens de communication jusqu\u2019\u00e0 tout r\u00e9cemment, la communaut\u00e9 inuite jongle aujourd\u2019hui avec les al\u00e9as d\u2019une red\u00e9finition identitaire rythm\u00e9e par Internet, la porosit\u00e9 des fronti\u00e8res Nord-Sud \u00e9tant exacerb\u00e9e par l\u2019accessibilit\u00e9 virtuelle au monde.<\/p>\n\n\n\n
Si l\u2019art autochtone n\u2019est plus un point aveugle de l\u2019h\u00e9ritage artistique \u2013 \u00e0 preuve la richesse des propositions artistiques de la BACA et plus encore, l\u2019emprunt ponctuel par des artistes allochtones d\u2019un vocabulaire visuel indig\u00e8ne \u2013, la question de la continuit\u00e9 semble indissociable de sa d\u00e9finition. La persistance d\u2019un art autochtone sans cesse renouvel\u00e9 et pourtant toujours redevable de la tradition invite \u00e0 repenser la notion m\u00eame d\u2019art contemporain, et \u00e0 r\u00e9affirmer sans l\u2019ombre d\u2019un doute la pertinence d\u2019une telle biennale.<\/p>\n
Anne-Marie Dubois, Nadia Myre<\/div>","protected":false},"excerpt":{"rendered":"BACA<\/strong>, Montr\u00e9al,<\/br>du 30 avril au 26 juin 2016<\/br>","protected":false},"author":1303,"featured_media":162077,"template":"","categories":[884],"numeros":[2518],"disciplines":[],"statuts":[],"checklist":[],"auteurs":[1066],"artistes":[1594],"thematiques":[],"type_compte-rendu":[],"class_list":["post-162718","compte-rendu","type-compte-rendu","status-publish","has-post-thumbnail","hentry","category-reviews","numeros-88-landscape-en","auteurs-anne-marie-dubois-en","artistes-nadia-myre"],"acf":[],"_links":{"self":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/compte-rendu\/162718","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/compte-rendu"}],"about":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/types\/compte-rendu"}],"author":[{"embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/users\/1303"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/media\/162077"}],"wp:attachment":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/media?parent=162718"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/categories?post=162718"},{"taxonomy":"numeros","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/numeros?post=162718"},{"taxonomy":"disciplines","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/disciplines?post=162718"},{"taxonomy":"statuts","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/statuts?post=162718"},{"taxonomy":"checklist","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/checklist?post=162718"},{"taxonomy":"auteurs","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/auteurs?post=162718"},{"taxonomy":"artistes","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/artistes?post=162718"},{"taxonomy":"thematiques","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/thematiques?post=162718"},{"taxonomy":"type_compte-rendu","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/type_compte-rendu?post=162718"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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