Friday, July 30, 2021

Charlene Vickers BIO 2021

Charlene Vickers is an Anishinaabe artist based in Vancouver. Her painting, sculpture and performance works explore memory, healing and embodied connections to ancestral lands. She recreates moccasins made with materials that point to current social and cultural conditions in urban First Nations life and combines them with personal artifacts.
Charlene is the recipient of the VIVA Award in 2018, and most recently exhibitions include CHARLENE VICKERS/LAWRENCE PAUL YUXWELUPTUN LETS’LO:TSELTUN at Macaulay and Co. Fine Art June 12th – August 7th, 2021 Where Do We Go From Here? at the Vancouver Art Gallery( 2020), the Biennale national de sculpture Contemporaine 2020 in Quebec, Where We Gather at Macaulay & Co. Fine Art(2020) In the Garden, solo booth with Macaulay & Co. Fine Art at Art Toronto (2019) and Coverings (2018) at Macaulay & Co. Fine Art, An Assembly of Shapes, Oakville Galleries, I continue to shape, Art Museum, U of T, Toronto, and Speaking From Hands and Earth, SFU Galleries, Burnaby and Ambivalent Pleasures at the Vancouver Art Gallery, Vancouver,(2016). International group exhibitions include: the map is not the territory at the Portland Art Museum, Oregon (2019), Material Art Fair in Mexico City, Mexico (2019), Connective Tissue: New Approaches in Contemporary Fibre Art at MoCNA in Santa Fe, NM (2017), From The Belly of The Beast at Grace Gallery in Brooklyn, N.Y. (2017), If We Never Met, Pataka Art Museum, Porirua, New Zealand (2016). Charlene Vickers graduated Emily Carr University of Art and Design (94), Simon Fraser University in Critical Studies of the Arts (98), MFA (2013) and currently resides upon unceded lands between the Squamish and Capilano Indian Reserve lands (N.Vancouver).
Image by Charlene Vickers taken at the Under The Volcano Festival at Cates Park in 2003 using SLR film camera, "Youth in Solidarity, pre-Indigeneity"

"I once rode my bike out to Cates Park from East Van to go to the Under the Volcano festival. It was great to hang alone and see all the people play music and dance around all day and celebrate. I saw Jerk with a Bomb, Black Rice and Black Fire from the States. I think they were singing the AIM warrior song at this moment in the photo. SO good to remember, there was a super strong music scene in Vancouver coming out of the 90s and into the 2000s. Assertion and Karen Foster were playing lots of live shows back them. Now we are older but still strong, active, creative and critical."

Tuesday, June 8, 2021

Yuxwelupten and Vickers opening at Macaulay and Co Fine Art June 12 1-4

Holy Handband!!! I am currently prepping new work to show opposite of Lawrence Paul Yuxwelupten! It is going to AMAZING and I am super stoked and honoured! It is a hard time with mixed feelings as of late. Bless this time and thinking heavy power prayers to face the truths that we are living with and going through at this moment, I send my energy out to you all. Much love and respect, Miigwetch.

Thursday, December 31, 2020

Where do we go from here? Vancouver Art Gallery, Dec 12/20- May 30/21

 

Charlene Vickers, Sleepwalking 2004-2015, mixed media moccasins in beer cartons and denim, 1920s bedroom chairs, assorted blankets, thread, glass beads, paper, identity letter beads, shell buttons, and found image.            

        

Where do we go from here? December 12- 2020 to May 30 2021

 Acting on the Vancouver Art Gallery’s statement in solidarity with the Black Lives Matter 
movement this summer, Where do we go from here? developed as an opportunity to consider 
the Gallery’s own collecting and exhibition history. Reflecting on the 90th anniversary of the 
founding of the Gallery in 1931, this exhibition both acknowledges the under 
representation of African diasporic artists in our collection and exhibitions, which have 
historically privileged European art traditions, and reimagines how the next 90 years of 
programming can better represent Canada’s art landscape. The exhibition presents recent 
acquisitions from the Gallery’s permanent collection, as well as select loans from local 
artists, most produced in the last five years. The works are varied in terms of media and 
subject matter, yet collectively offer contemplations on the past, present and future—across 
time, bodies of land and space. Some of the artists engage directly with the legacies of the 

Canadian modernist enterprise, while others attempt to destabilize inherited beliefs and 
accepted historical narratives. An open, collaborative endeavour by six members of the 
Gallery’s Curatorial department with Guest Curator Nya Lewis of BlackArt Gastown, the 
exhibition presents neither a singular vision nor a linear narrative. The works were selected by 
curators with varying interests and experiences, and the resulting exhibition is an opportunity
to reflect on the future and the Gallery’s place within it. Titling the exhibition with the question, 
“Where do we go from here?,” is intended to serve as an acknowledgement of its amorphous, 
open-ended nature, while envisioning a future program and collection that more accurately 
represents the communities that we serve.
Participating artists include Jessie Addo, Rebecca Bair, Lauren Brevner and 
James Nexw’Kalus-Xwalacktun Harry, Vanessa Brown, Gabi Dao, Jeneen Frei Njootli, 
Chantal Gibson, Maureen Gruben, Gabrielle L’Hirondelle Hill, Ocean Hyland, 
Nanyamka (Nya) Lewis, Cindy Mochizuki, Audie Murray, Gailan Ngan, Tafui, Charlene Vickers, 
Jan Wade, Tania Willard, Hyung-Min Yoon and Elizabeth Zvonar. 
Many of the artists are presenting work at the Gallery for the first time.
Organized by the Vancouver Art Gallery and curated by ZoĆ« Chan, Assistant Curator; 
Diana Freundl, Interim Chief Curator; Mandy Ginson, Assistant Curator; Tarah Hogue, 
Indigenous Advisor; Siobhan McCracken Nixon, Assistant Curator; and Stephanie Rebick, 
Associate Curator, with Guest Curator Nya Lewis of BlackArt Gastown

Thursday, September 17, 2020


                                                            Cool Indians on Main Street

                                                   on the Mount Pleasant Community Art Screen

grunt gallery and Cool Indians On Main Street have teamed up on a project for the Mount Pleasant Community Art Screen! Charlene Vickers and Neil Eustache, the co-founders of Cool Indians on Main Street benchin collective have invited Indigenous artists to make an open ended statement about Indigenous presence and benchin. What is benchin one may ask? Benchin is the act of gathering socially to sit on a bench to people watch, share ideas, stories, and just be together. Moving through the uncertain times of a pandemic, benchin is redefined and expressed differently. Benchin happens in individual moments, alone or within one’s  social “bubble.” Benchin is expressed via face-time chats, or by sharing benchin pics on social media, or by a regular phone call.  This summer Charlene Vickers organized a dream team of Cool Indian benchers to create a series of digital media works for the Mount Pleasant Community Art Screen as the next iteration of what “benchin” could become.

Cool Indians Benchin Dream Team:
Lacie Burning
Robert Chaplin
Neil Eustache
Jeneen Frei Njootli
Whess Harman
Maria Hupfield (with collaborators Ester Neff, IV Castellanos)
Janine Island
Jenny Irene Miller
Casey Koyczan
Manuel Axel Strain
The Human Nature Collective (Daina Warren, Kirstin Snowbird, Robert Snowbird, Theo Pelmus, with Kevin McKenzie)
Tania Willard
Charlene Vickers

Images, from top left: Wavers by The Human Nature Collective; Alas and Forsooth by Whess Harman; The Labour of Protecting by Manual Axel Strain; Cool Indians design by Neil Eustache; Prayers by Lacie Burning; We Practice Our Culture Because Our Parents Were Not Allowed To by Casey Koyczan; Swaying Praying by Tania Willard; Canuck the Crow by Robert Chaplin.