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Issue # 2

Issue # 2

Article Listing

Shamans, Mythmakers and Imagined places: Central Asia at the 51st Venice Biennale
by Candice Hopkins

Bounty Hunting Warrior Genes: Potential use of genetic material for a clone army
by Christine Morris

Os-sa-pah-chi-kan / Shapeshifting in the Matrices
by James Nicholas

OHEN:TON KARIWATEHKWEN greetings to the technological world
by Jason E. Lewis & Skawennati Tricia Fragnito

Volume Two Editorial: Storm Spirits – the cultural ecology of Aboriginal new media art

Official Launch - Saturday, September 17, 2005, Museum of Anthropology, Vancouver.


ConunDrum Online Overview


Art is a manifestation of the interpretive nature of human interaction. It provides a point of departure for engagement with cultural, metaphorical, aesthetic, political and personal reflection. Native artists work from a history grounded in the colonial experience. Yet an aesthetic has developed in spite of cultural oppression and repression that is distinct, vibrant and multi, as well as cross disciplinary.

Experimentation in art by Aboriginal artists challenges control by others of the resources and perception of Aboriginal culture. In many ways, the work of Aboriginal media artists can be seen as the outgrowth of distinctly Aboriginal visual and literary cultures - a wide diversity of practices that maintain a strong aesthetic relationship with oral storytelling traditions, historical/traditional art and cultural production. One of the essential components of Aboriginal artistic innovation has always been the exploration of new forms, spaces and acknowledgement for creative expressions that honour and celebrate the contemporary vitality of Aboriginal history. Innovation based on strong relationships to Aboriginal history is further invigorated because this focal orientation also differs significantly from the generally accepted foundations and practices of contemporary Canadian art and society. The historic and contemporary imbalances within this difference place extraordinary demands on creative negotiation and rigorous analysis for continual rejuvenation and strength of Aboriginal culture.

It goes beyond the notion of simple publication and enters the realm of translation, exploring how media refashions the logic of communication strategies to encompass a broader understanding of contemporary cultural phenomena.

The ezine format of ConunDrum Online is an articulation of creative and cultural space foregoing the territorialized domains of cultural and artistic canons. It goes beyond the notion of simple publication and enters the realm of translation, exploring how media refashions the logic of communication strategies to encompass a broader understanding of contemporary cultural phenomena. For curator and theorist Catherine Mattes, "translation can loosely be defined as the act of expressing the sense of one language into another parlance or form of representation. When applied to visual languages, translation can transcend the boundaries of specific movements and discourses and does not bind artists by locating them in (or up against) a particular realm."

By using the internet as a publication vehicle, information resource, discursive and interactive forum, and artistic medium, ConunDrum Online builds a greater audience for Aboriginal art, adds to the body of critical dialogue around it, aids in the production of new art, and contributes to the emergence and strength of new artists and arts communities.

Steve Loft and Ahasiw Maskegon-Iskwew, March 2005

 
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