Exhibit
28

NOTE: Due to unforeseen circumstances, Tanya Lukin Linklater’s program The sky held me (rainfall on hands hair lips) will be postponed until Fall 2022. New dates and times will be announced in the coming weeks, visit our events calendar and/or Instagram page for updates.

In August 2021 and continuing to December 2021, the artist Tanya Lukin Linklater began a process of collaborative choreography—albeit one that was geographically dispersed—with four dancers over ten weeks: Ivanie Aubin-Malo and Hanako Hoshimi-Caines from Montréal and Ceinwen Gobert and Emily Law, based in Toronto. Tanya initially composed and sent concise texts and instructions (which can be understood as scores) to prompt the dancers’ physical investigations. The dancers in turn produced short works for the camera with recorders provided by the artist. The work takes place where each performer lives: in Toronto and in Montréal. Formed in response to the pandemic moment, Tanya describes the process as one intended to be sustainable and a means to support collective well-being despite the alienation of distance. Lukin describes this collaborative process as follows:

… relationships built over time … are tended to in a process of communication and reciprocity. I consider collaboration an anticolonial approach in that I work to eliminate violence within the process; to do no harm (Paul Cormiere, an Anishnaabe scholar in Ontario, recently spoke about this). Beyond the elimination of violence within the process, I attempt to embody and transmit Indigenous ethics in these relationships.

Central to the work are two sculptural elements installed at 72 Perth. One is a round performance platform clad in wood with its sides painted in copper, a nod to the role of copper in Indigenous communities as a signifier of both inherited and communal wealth. The other is a suspended sculpture created from the fabric used to make what are called kohkom scarves, worn by Indigenous women and increasingly as a sign of Indigenous solidarity. Kohkom is Cree for grandmother, and for Tanya, the scarves are a way to evoke “women’s intergenerational, embodied, experiential (and sometimes land-based) knowledge.”

Tanya’s work also intervenes in the usual hierarchies that exist in museum and gallery spaces by generating a sense of community through her collaborators, including the land itself. She explains:

Hierarchies of value and power exist in performance and museum systems, but I attempt to work against that. In performance, a kind of community is made with the people you’re working alongside. The institution is not built for people; it is built for objects. All of the conversations I have in advance, in the proposal (paying dancers a living wage), the ways in which we orient ourselves to the space and inhabit it for a short duration, our way of being with one another—these are ways I work against the ongoing violence of [institutional] systems.

Monitors on the wall play the short-form choreographies by each of the dancers, some of which take place on land, others in relation to water. For Tanya, location is important as it is tethered to how direction is embedded within Indigenous ideologies as a means to orient oneself and the basis of systems of belief.

Commissioned by the Toronto Biennial of Art. Made possible with the generous support of the Women Leading Initiative, Ontario Arts Council, Dickinson Wright LLP, and Audrey S. Hellyer Charitable Foundation.

A related exhibition of the artist’s work, My mind is with the weather, will be at Oakville Galleries opening June 5th, 2022.

Audio Didactic:

Bio

Tanya Lukin Linklater (Alutiiq, born in 1976, Kodiak Island, USA; lives in North Bay, Canada) considers the histories of Indigenous peoples’ lives, lands and structures of sustenance through performances, works for camera, installations and writing. Her performances in relation to objects, scores and ancestral belongings generate what she has come to call “felt structures.” Her work has been shown at the San Francisco Museum of Modern Art; the Chicago Architecture Biennial; the Art Gallery of Ontario, Toronto; the Remai Modern, Saskatoon; and elsewhere. In 2021, she participated in the New Museum Triennial and received the Herb Alpert Award in Visual Art.

NOTE: Due to unforeseen circumstances, Tanya Lukin Linklater’s program The sky held me (rainfall on hands hair lips) will be postponed until Fall 2022. New dates and times will be announced in the coming weeks, visit our events calendar and/or Instagram page for updates.

Participated in the “Contingencies of Care” Residency, 2021.

Location

  • Accessibility

    72 Perth Avenue

    Wheelchair Access – Entrance
    From Bloor Street: The accessible path to 72 Perth Avenue’s main entrance runs southbound along the east side to Besi’s Auto Collision. Cross the street to the west-side sidewalk in front of the fencing and continue south 20 metres. Automatic door activation is to the right of the double doors.

    From Sterling Road: Construction and lack of sidewalks are unfortunately an issue in this up and coming residential area. Travelling northbound, accessible pathways begin on the east and west-side of Perth Avenue. The main entrance of 72 Perth Avenue is at street level.

    Outdoor Exhibition & Shelter
    A portable ramp is available for the doorway from the main exhibition area to the outdoor area. An alternative accessible path is through the fence opening on the west side, 30 metres northbound from the main entrance.

    Washrooms
    Accessible washrooms are located to the left of the main entrance.

    AODA-compliant building

  • Getting There

    72 Perth Avenue

    Parking: Limited paid

    TTC: Near Lansdowne station; Dundas West station; 505 Dundas and 506 Carlton streetcars

    Other Transit: Steps away from the GO/UP Express Bloor station

Donors & Supporters