Caroline Monnet: Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/span><\/span><\/h1>\n<\/div><\/div><\/div><\/div><\/div><\/div>June 29 to November 17, 2024<\/span><\/h2>\n<\/div><\/div><\/div><\/h2>\nAbout the Exhibition<\/span><\/h2>\n<\/div><\/div>Presenting a selection of works by Anishinaabe\/French artist Caroline Monnet, this exhibition centres on a recent series of sculptures that explore language reclamation and intergenerational transmission through an engagement with the idea of land as a carrier of ancestral memory.<\/p>\n
Meaning \u201cthe one who listens\u201d in Anishinaabemowin, the title, Pizandawatc<\/em>, comes from the traditional name of Monnet\u2019s maternal family before surnames were changed by the Oblate missionaries at Kitigan Zibi, in the Outaouais region of Quebec. The title honours the artist\u2019s great-grandmother, Mani Pizandawatc, who was the first in her family to have her territory divided into reserves. At the same time, the title references a receptive way of being in the world, reflected throughout Monnet\u2019s artistic practice.<\/p>\nThese new works extend Monnet\u2019s considerations of time, oral histories and knowledge sharing. Driven by an impulse to preserve language in durable physical form, Monnet counters the ephemeral nature of the spoken word, reclaiming the Anishinaabe language by materializing its soundwaves in layered native and industrial wood. Additional bronze works capture the shapes of weathered wood naturally modified by the elements. Meanwhile, Monnet\u2019s embroidered works incorporating language evoke the connective power of nature and the resilience of Indigenous cultural expressions.<\/p>\n
Guest Curator: <\/strong>Mona Filip<\/span><\/p>\nThis presentation is a modified version of an exhibition originally presented at the Art Museum at the University of Toronto<\/strong><\/p>\n<\/div><\/div>\u00c0 propos de l’exposition<\/h2>\n<\/div><\/div>Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em>, un choix d\u2019\u0153uvres r\u00e9alis\u00e9es par l\u2019artiste d\u2019origines fran\u00e7aise et anishinaabe Caroline Monnet<\/strong>, n\u00e9e en 1985. Le titre de l\u2019exposition, Pizandawatc<\/em>, qui signifie \u00ab celui qui \u00e9coute \u00bb en anishinaabemowin, correspond au nom traditionnel de la famille maternelle de Monnet, avant que les missionnaires oblats n\u2019imposent de nouveaux patronymes aux autochtones. L\u2019artiste rend ainsi hommage \u00e0 son arri\u00e8re-grand-m\u00e8re, Mani Pizandawatc, la premi\u00e8re de sa famille \u00e0 conna\u00eetre la division du territoire en r\u00e9serves.<\/p>\nLes \u0153uvres pr\u00e9sent\u00e9es dans cette exposition \u00e9largissent la r\u00e9flexion de Monnet sur le temps, les r\u00e9cits oraux, le partage du savoir et la notion de territoire consid\u00e9r\u00e9 comme vecteur de la m\u00e9moire. Les sculptures form\u00e9es de couches de bois sont n\u00e9es de la volont\u00e9 de l\u2019artiste de pr\u00e9server la langue sous une forme durable, tandis que les bronzes reprennent les formes du bois ab\u00eem\u00e9 par les intemp\u00e9ries. Des \u0153uvres textiles brod\u00e9es, souvent cr\u00e9\u00e9es \u00e0 partir de mat\u00e9riaux d\u2019isolation industriels, int\u00e8grent par ailleurs des phrases \u00e9voquant le pouvoir de connexion de la nature ainsi que la r\u00e9silience des expressions culturelles autochtones. L\u2019exposition est une version modifi\u00e9e de celle pr\u00e9sent\u00e9e \u00e0 l\u2019origine au Mus\u00e9e d\u2019art de l\u2019Universit\u00e9 de Toronto et plac\u00e9e sous le commissariat de Mona Filip.<\/p>\n<\/div><\/div><\/div>
![\"Artwork](\"data:image\/svg+xml,%3Csvg%20xmlns%3D%27http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg%27%20width%3D%271239%27%20height%3D%271620%27%20viewBox%3D%270%200%201239%201620%27%3E%3Crect%20width%3D%271239%27%20height%3D%271620%27%20fill-opacity%3D%220%22%2F%3E%3C%2Fsvg%3E\")
<\/a><\/span>Caroline Monnet,We Are Earth<\/em>, 2023, Embroidery on air barrier membrane, 55 x 42 in, Private Collection<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\nFor media inquiries and more information, please visit the<\/span> Press Room<\/a>.<\/span><\/div>\n<\/div><\/div><\/div><\/div>GET TICKETS<\/span><\/a><\/div><\/div>Members visit for FREE all year!<\/span>\u00a0Inquire about\u00a0Membership\u00a0today<\/a><\/span>.<\/span><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>The artist wishes to acknowledge the support of Catherine Sasseville, Ra\u00fal Aguilar Canela, Yso South, Am\u00e9lie Dionoski, Marie Philibert-Dubois, Fred Caplette, Otami, Martin Schop, Fran\u00e7ois Guinaudeau, Charlie Leroy, No\u00e9 Sardet, Richard Mardens, Kassandra Walters, Marc Boucrot, Simon Guibord, Fran\u00e7ois Brochu, Atelier du Bronze, Atelier Clark, Blouin-Division, and the Canada Council for the Arts.<\/p>\n
Art Museum at the University of Toronto gratefully acknowledges operating support from the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council, with additional exhibition support from the Indigenous Art Centre, Crown-Indigenous Relations and Northern Affairs Canada.<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div><\/div>![](\"data:image\/svg+xml,%3Csvg%20xmlns%3D%27http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg%27%20width%3D%271620%27%20height%3D%271080%27%20viewBox%3D%270%200%201620%201080%27%3E%3Crect%20width%3D%271620%27%20height%3D%271080%27%20fill-opacity%3D%220%22%2F%3E%3C%2Fsvg%3E\")
<\/a><\/span><\/div><\/div><\/div>Curator\u2019s Walk & Talk<\/h4><\/div>Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em> with Guest Curator Mona Filip<\/h3><\/div>Wednesday, September 25 | 2 pm<\/strong><\/p>\nFree with Gallery admission. Registration required.<\/p>\n<\/div>
<\/div>Register for Walk<\/span><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Matin\u00e9e francophone<\/h4><\/div>Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em> with Guest Curator Mona Filip<\/h3><\/div>Saturday, October 19, 2024 | 10 am to 12 pm<\/strong><\/p>\nFree with Gallery admission. Registration required.<\/p>\n<\/div>
<\/div>Register for Gathering<\/span><\/a><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div>Artist\u2019s Talk:<\/h4><\/div>Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em> with Caroline Monnet<\/h3><\/div>Sunday, October 27, 2024 | 11:30 am<\/strong><\/p>\nFree with Gallery admission. Registration required.<\/p>\n<\/div>
<\/div>Register for Talk<\/span><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Matin\u00e9e francophone:<\/h4><\/div>Greet & Meet with Caroline Monnet, Anishinaabe\/French Artist<\/h3><\/div>Sunday, October 27, 2024 | 1 to 2 pm<\/strong><\/p>\nFree with Gallery admission. Registration required.<\/p>\n<\/div>
<\/div>Register for Event<\/span><\/a><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Curatorial Talk<\/span><\/h2>\nSaturday, May 11<\/span>
\nat 2 pm<\/span>
\nat the McMichael<\/span><\/p>\n<\/div>
June 29 to November 17, 2024<\/span><\/h2>\n<\/div><\/div><\/div><\/h2>\nAbout the Exhibition<\/span><\/h2>\n<\/div><\/div>Presenting a selection of works by Anishinaabe\/French artist Caroline Monnet, this exhibition centres on a recent series of sculptures that explore language reclamation and intergenerational transmission through an engagement with the idea of land as a carrier of ancestral memory.<\/p>\n
Meaning \u201cthe one who listens\u201d in Anishinaabemowin, the title, Pizandawatc<\/em>, comes from the traditional name of Monnet\u2019s maternal family before surnames were changed by the Oblate missionaries at Kitigan Zibi, in the Outaouais region of Quebec. The title honours the artist\u2019s great-grandmother, Mani Pizandawatc, who was the first in her family to have her territory divided into reserves. At the same time, the title references a receptive way of being in the world, reflected throughout Monnet\u2019s artistic practice.<\/p>\nThese new works extend Monnet\u2019s considerations of time, oral histories and knowledge sharing. Driven by an impulse to preserve language in durable physical form, Monnet counters the ephemeral nature of the spoken word, reclaiming the Anishinaabe language by materializing its soundwaves in layered native and industrial wood. Additional bronze works capture the shapes of weathered wood naturally modified by the elements. Meanwhile, Monnet\u2019s embroidered works incorporating language evoke the connective power of nature and the resilience of Indigenous cultural expressions.<\/p>\n
Guest Curator: <\/strong>Mona Filip<\/span><\/p>\nThis presentation is a modified version of an exhibition originally presented at the Art Museum at the University of Toronto<\/strong><\/p>\n<\/div><\/div>\u00c0 propos de l’exposition<\/h2>\n<\/div><\/div>Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em>, un choix d\u2019\u0153uvres r\u00e9alis\u00e9es par l\u2019artiste d\u2019origines fran\u00e7aise et anishinaabe Caroline Monnet<\/strong>, n\u00e9e en 1985. Le titre de l\u2019exposition, Pizandawatc<\/em>, qui signifie \u00ab celui qui \u00e9coute \u00bb en anishinaabemowin, correspond au nom traditionnel de la famille maternelle de Monnet, avant que les missionnaires oblats n\u2019imposent de nouveaux patronymes aux autochtones. L\u2019artiste rend ainsi hommage \u00e0 son arri\u00e8re-grand-m\u00e8re, Mani Pizandawatc, la premi\u00e8re de sa famille \u00e0 conna\u00eetre la division du territoire en r\u00e9serves.<\/p>\nLes \u0153uvres pr\u00e9sent\u00e9es dans cette exposition \u00e9largissent la r\u00e9flexion de Monnet sur le temps, les r\u00e9cits oraux, le partage du savoir et la notion de territoire consid\u00e9r\u00e9 comme vecteur de la m\u00e9moire. Les sculptures form\u00e9es de couches de bois sont n\u00e9es de la volont\u00e9 de l\u2019artiste de pr\u00e9server la langue sous une forme durable, tandis que les bronzes reprennent les formes du bois ab\u00eem\u00e9 par les intemp\u00e9ries. Des \u0153uvres textiles brod\u00e9es, souvent cr\u00e9\u00e9es \u00e0 partir de mat\u00e9riaux d\u2019isolation industriels, int\u00e8grent par ailleurs des phrases \u00e9voquant le pouvoir de connexion de la nature ainsi que la r\u00e9silience des expressions culturelles autochtones. L\u2019exposition est une version modifi\u00e9e de celle pr\u00e9sent\u00e9e \u00e0 l\u2019origine au Mus\u00e9e d\u2019art de l\u2019Universit\u00e9 de Toronto et plac\u00e9e sous le commissariat de Mona Filip.<\/p>\n<\/div><\/div><\/div>
<\/a><\/span>Caroline Monnet,We Are Earth<\/em>, 2023, Embroidery on air barrier membrane, 55 x 42 in, Private Collection<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\nFor media inquiries and more information, please visit the<\/span> Press Room<\/a>.<\/span><\/div>\n<\/div><\/div><\/div><\/div>GET TICKETS<\/span><\/a><\/div><\/div>Members visit for FREE all year!<\/span>\u00a0Inquire about\u00a0Membership\u00a0today<\/a><\/span>.<\/span><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>The artist wishes to acknowledge the support of Catherine Sasseville, Ra\u00fal Aguilar Canela, Yso South, Am\u00e9lie Dionoski, Marie Philibert-Dubois, Fred Caplette, Otami, Martin Schop, Fran\u00e7ois Guinaudeau, Charlie Leroy, No\u00e9 Sardet, Richard Mardens, Kassandra Walters, Marc Boucrot, Simon Guibord, Fran\u00e7ois Brochu, Atelier du Bronze, Atelier Clark, Blouin-Division, and the Canada Council for the Arts.<\/p>\n
Art Museum at the University of Toronto gratefully acknowledges operating support from the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council, with additional exhibition support from the Indigenous Art Centre, Crown-Indigenous Relations and Northern Affairs Canada.<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div>Curator\u2019s Walk & Talk<\/h4><\/div>Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em> with Guest Curator Mona Filip<\/h3><\/div>Wednesday, September 25 | 2 pm<\/strong><\/p>\nFree with Gallery admission. Registration required.<\/p>\n<\/div>
<\/div>Register for Walk<\/span><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Matin\u00e9e francophone<\/h4><\/div>Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em> with Guest Curator Mona Filip<\/h3><\/div>Saturday, October 19, 2024 | 10 am to 12 pm<\/strong><\/p>\nFree with Gallery admission. Registration required.<\/p>\n<\/div>
<\/div>Register for Gathering<\/span><\/a><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div>Artist\u2019s Talk:<\/h4><\/div>Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em> with Caroline Monnet<\/h3><\/div>Sunday, October 27, 2024 | 11:30 am<\/strong><\/p>\nFree with Gallery admission. Registration required.<\/p>\n<\/div>
<\/div>Register for Talk<\/span><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Matin\u00e9e francophone:<\/h4><\/div>Greet & Meet with Caroline Monnet, Anishinaabe\/French Artist<\/h3><\/div>Sunday, October 27, 2024 | 1 to 2 pm<\/strong><\/p>\nFree with Gallery admission. Registration required.<\/p>\n<\/div>
<\/div>Register for Event<\/span><\/a><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Curatorial Talk<\/span><\/h2>\nSaturday, May 11<\/span>
\nat 2 pm<\/span>
\nat the McMichael<\/span><\/p>\n<\/div>
<\/h2>\nAbout the Exhibition<\/span><\/h2>\n<\/div><\/div>Presenting a selection of works by Anishinaabe\/French artist Caroline Monnet, this exhibition centres on a recent series of sculptures that explore language reclamation and intergenerational transmission through an engagement with the idea of land as a carrier of ancestral memory.<\/p>\n
Meaning \u201cthe one who listens\u201d in Anishinaabemowin, the title, Pizandawatc<\/em>, comes from the traditional name of Monnet\u2019s maternal family before surnames were changed by the Oblate missionaries at Kitigan Zibi, in the Outaouais region of Quebec. The title honours the artist\u2019s great-grandmother, Mani Pizandawatc, who was the first in her family to have her territory divided into reserves. At the same time, the title references a receptive way of being in the world, reflected throughout Monnet\u2019s artistic practice.<\/p>\nThese new works extend Monnet\u2019s considerations of time, oral histories and knowledge sharing. Driven by an impulse to preserve language in durable physical form, Monnet counters the ephemeral nature of the spoken word, reclaiming the Anishinaabe language by materializing its soundwaves in layered native and industrial wood. Additional bronze works capture the shapes of weathered wood naturally modified by the elements. Meanwhile, Monnet\u2019s embroidered works incorporating language evoke the connective power of nature and the resilience of Indigenous cultural expressions.<\/p>\n
Guest Curator: <\/strong>Mona Filip<\/span><\/p>\nThis presentation is a modified version of an exhibition originally presented at the Art Museum at the University of Toronto<\/strong><\/p>\n<\/div><\/div>\u00c0 propos de l’exposition<\/h2>\n<\/div><\/div>Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em>, un choix d\u2019\u0153uvres r\u00e9alis\u00e9es par l\u2019artiste d\u2019origines fran\u00e7aise et anishinaabe Caroline Monnet<\/strong>, n\u00e9e en 1985. Le titre de l\u2019exposition, Pizandawatc<\/em>, qui signifie \u00ab celui qui \u00e9coute \u00bb en anishinaabemowin, correspond au nom traditionnel de la famille maternelle de Monnet, avant que les missionnaires oblats n\u2019imposent de nouveaux patronymes aux autochtones. L\u2019artiste rend ainsi hommage \u00e0 son arri\u00e8re-grand-m\u00e8re, Mani Pizandawatc, la premi\u00e8re de sa famille \u00e0 conna\u00eetre la division du territoire en r\u00e9serves.<\/p>\nLes \u0153uvres pr\u00e9sent\u00e9es dans cette exposition \u00e9largissent la r\u00e9flexion de Monnet sur le temps, les r\u00e9cits oraux, le partage du savoir et la notion de territoire consid\u00e9r\u00e9 comme vecteur de la m\u00e9moire. Les sculptures form\u00e9es de couches de bois sont n\u00e9es de la volont\u00e9 de l\u2019artiste de pr\u00e9server la langue sous une forme durable, tandis que les bronzes reprennent les formes du bois ab\u00eem\u00e9 par les intemp\u00e9ries. Des \u0153uvres textiles brod\u00e9es, souvent cr\u00e9\u00e9es \u00e0 partir de mat\u00e9riaux d\u2019isolation industriels, int\u00e8grent par ailleurs des phrases \u00e9voquant le pouvoir de connexion de la nature ainsi que la r\u00e9silience des expressions culturelles autochtones. L\u2019exposition est une version modifi\u00e9e de celle pr\u00e9sent\u00e9e \u00e0 l\u2019origine au Mus\u00e9e d\u2019art de l\u2019Universit\u00e9 de Toronto et plac\u00e9e sous le commissariat de Mona Filip.<\/p>\n<\/div><\/div><\/div>
<\/a><\/span>Caroline Monnet,We Are Earth<\/em>, 2023, Embroidery on air barrier membrane, 55 x 42 in, Private Collection<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\nFor media inquiries and more information, please visit the<\/span> Press Room<\/a>.<\/span><\/div>\n<\/div><\/div><\/div><\/div>GET TICKETS<\/span><\/a><\/div><\/div>Members visit for FREE all year!<\/span>\u00a0Inquire about\u00a0Membership\u00a0today<\/a><\/span>.<\/span><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>The artist wishes to acknowledge the support of Catherine Sasseville, Ra\u00fal Aguilar Canela, Yso South, Am\u00e9lie Dionoski, Marie Philibert-Dubois, Fred Caplette, Otami, Martin Schop, Fran\u00e7ois Guinaudeau, Charlie Leroy, No\u00e9 Sardet, Richard Mardens, Kassandra Walters, Marc Boucrot, Simon Guibord, Fran\u00e7ois Brochu, Atelier du Bronze, Atelier Clark, Blouin-Division, and the Canada Council for the Arts.<\/p>\n
Art Museum at the University of Toronto gratefully acknowledges operating support from the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council, with additional exhibition support from the Indigenous Art Centre, Crown-Indigenous Relations and Northern Affairs Canada.<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div>Curator\u2019s Walk & Talk<\/h4><\/div>Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em> with Guest Curator Mona Filip<\/h3><\/div>Wednesday, September 25 | 2 pm<\/strong><\/p>\nFree with Gallery admission. Registration required.<\/p>\n<\/div>
<\/div>Register for Walk<\/span><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Matin\u00e9e francophone<\/h4><\/div>Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em> with Guest Curator Mona Filip<\/h3><\/div>Saturday, October 19, 2024 | 10 am to 12 pm<\/strong><\/p>\nFree with Gallery admission. Registration required.<\/p>\n<\/div>
<\/div>Register for Gathering<\/span><\/a><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div>Artist\u2019s Talk:<\/h4><\/div>Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em> with Caroline Monnet<\/h3><\/div>Sunday, October 27, 2024 | 11:30 am<\/strong><\/p>\nFree with Gallery admission. Registration required.<\/p>\n<\/div>
<\/div>Register for Talk<\/span><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Matin\u00e9e francophone:<\/h4><\/div>Greet & Meet with Caroline Monnet, Anishinaabe\/French Artist<\/h3><\/div>Sunday, October 27, 2024 | 1 to 2 pm<\/strong><\/p>\nFree with Gallery admission. Registration required.<\/p>\n<\/div>
<\/div>Register for Event<\/span><\/a><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Curatorial Talk<\/span><\/h2>\nSaturday, May 11<\/span>
\nat 2 pm<\/span>
\nat the McMichael<\/span><\/p>\n<\/div>
Presenting a selection of works by Anishinaabe\/French artist Caroline Monnet, this exhibition centres on a recent series of sculptures that explore language reclamation and intergenerational transmission through an engagement with the idea of land as a carrier of ancestral memory.<\/p>\n
Meaning \u201cthe one who listens\u201d in Anishinaabemowin, the title, Pizandawatc<\/em>, comes from the traditional name of Monnet\u2019s maternal family before surnames were changed by the Oblate missionaries at Kitigan Zibi, in the Outaouais region of Quebec. The title honours the artist\u2019s great-grandmother, Mani Pizandawatc, who was the first in her family to have her territory divided into reserves. At the same time, the title references a receptive way of being in the world, reflected throughout Monnet\u2019s artistic practice.<\/p>\n These new works extend Monnet\u2019s considerations of time, oral histories and knowledge sharing. Driven by an impulse to preserve language in durable physical form, Monnet counters the ephemeral nature of the spoken word, reclaiming the Anishinaabe language by materializing its soundwaves in layered native and industrial wood. Additional bronze works capture the shapes of weathered wood naturally modified by the elements. Meanwhile, Monnet\u2019s embroidered works incorporating language evoke the connective power of nature and the resilience of Indigenous cultural expressions.<\/p>\n Guest Curator: <\/strong>Mona Filip<\/span><\/p>\n This presentation is a modified version of an exhibition originally presented at the Art Museum at the University of Toronto<\/strong><\/p>\n<\/div> Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em>, un choix d\u2019\u0153uvres r\u00e9alis\u00e9es par l\u2019artiste d\u2019origines fran\u00e7aise et anishinaabe Caroline Monnet<\/strong>, n\u00e9e en 1985. Le titre de l\u2019exposition, Pizandawatc<\/em>, qui signifie \u00ab celui qui \u00e9coute \u00bb en anishinaabemowin, correspond au nom traditionnel de la famille maternelle de Monnet, avant que les missionnaires oblats n\u2019imposent de nouveaux patronymes aux autochtones. L\u2019artiste rend ainsi hommage \u00e0 son arri\u00e8re-grand-m\u00e8re, Mani Pizandawatc, la premi\u00e8re de sa famille \u00e0 conna\u00eetre la division du territoire en r\u00e9serves.<\/p>\n Les \u0153uvres pr\u00e9sent\u00e9es dans cette exposition \u00e9largissent la r\u00e9flexion de Monnet sur le temps, les r\u00e9cits oraux, le partage du savoir et la notion de territoire consid\u00e9r\u00e9 comme vecteur de la m\u00e9moire. Les sculptures form\u00e9es de couches de bois sont n\u00e9es de la volont\u00e9 de l\u2019artiste de pr\u00e9server la langue sous une forme durable, tandis que les bronzes reprennent les formes du bois ab\u00eem\u00e9 par les intemp\u00e9ries. Des \u0153uvres textiles brod\u00e9es, souvent cr\u00e9\u00e9es \u00e0 partir de mat\u00e9riaux d\u2019isolation industriels, int\u00e8grent par ailleurs des phrases \u00e9voquant le pouvoir de connexion de la nature ainsi que la r\u00e9silience des expressions culturelles autochtones. L\u2019exposition est une version modifi\u00e9e de celle pr\u00e9sent\u00e9e \u00e0 l\u2019origine au Mus\u00e9e d\u2019art de l\u2019Universit\u00e9 de Toronto et plac\u00e9e sous le commissariat de Mona Filip.<\/p>\n<\/div><\/div><\/div> Caroline Monnet,We Are Earth<\/em>, 2023, Embroidery on air barrier membrane, 55 x 42 in, Private Collection<\/p><\/div><\/div><\/div><\/div><\/div> Members visit for FREE all year!<\/span>\u00a0Inquire about\u00a0Membership\u00a0today<\/a><\/span>.<\/span><\/p>\n The artist wishes to acknowledge the support of Catherine Sasseville, Ra\u00fal Aguilar Canela, Yso South, Am\u00e9lie Dionoski, Marie Philibert-Dubois, Fred Caplette, Otami, Martin Schop, Fran\u00e7ois Guinaudeau, Charlie Leroy, No\u00e9 Sardet, Richard Mardens, Kassandra Walters, Marc Boucrot, Simon Guibord, Fran\u00e7ois Brochu, Atelier du Bronze, Atelier Clark, Blouin-Division, and the Canada Council for the Arts.<\/p>\n Art Museum at the University of Toronto gratefully acknowledges operating support from the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council, with additional exhibition support from the Indigenous Art Centre, Crown-Indigenous Relations and Northern Affairs Canada.<\/p>\n<\/div> Wednesday, September 25 | 2 pm<\/strong><\/p>\n Free with Gallery admission. Registration required.<\/p>\n<\/div> Saturday, October 19, 2024 | 10 am to 12 pm<\/strong><\/p>\n Free with Gallery admission. Registration required.<\/p>\n<\/div> Sunday, October 27, 2024 | 11:30 am<\/strong><\/p>\n Free with Gallery admission. Registration required.<\/p>\n<\/div> Sunday, October 27, 2024 | 1 to 2 pm<\/strong><\/p>\n Free with Gallery admission. Registration required.<\/p>\n<\/div> Saturday, May 11<\/span>\u00c0 propos de l’exposition<\/h2>\n<\/div>
![\"Artwork](\"https:\/\/mcmichael.com\/wp-content\/uploads\/CM_2023_WeAreEarth_BroderiesurMembraneparair_WEB-400x523.jpg\")
Curator\u2019s Walk & Talk<\/h4><\/div>
Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em> with Guest Curator Mona Filip<\/h3><\/div>
Matin\u00e9e francophone<\/h4><\/div>
Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em> with Guest Curator Mona Filip<\/h3><\/div>
Artist\u2019s Talk:<\/h4><\/div>
Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em> with Caroline Monnet<\/h3><\/div>
Matin\u00e9e francophone:<\/h4><\/div>
Greet & Meet with Caroline Monnet, Anishinaabe\/French Artist<\/h3><\/div>
Curatorial Talk<\/span><\/h2>\n
\nat 2 pm<\/span>
\nat the McMichael<\/span><\/p>\n<\/div>