Alli Melanson
Amélie Bélanger
andrew hoekstra
April White
Brandon Dalmer
Cassie Paine
Daniel Crawford
David Stewart
Émilie Allard
Eric Tschaeppeler
Gem Chang-Kue
Stephen McLeod
Joni Cheung aka Snack Witch
Karina Garcia Casanova
Khadija Aziz
OK Pedersen
Kuh Del Rosario
Laurel Rennie
Marie-Claude Lacroix
Luigi Pasto
Muriel Ahmarani Jaouich
Maddie McNeely
Mea Bissett and Selina Latour
Megan Stein
Melina Vera J.
Petrija Dos Santos
Jean-Francois Robin
Roxanne Ross
Sabina Rak
Kevin Jung-Hoo Park
Natasha Lavdovsky
Tina Marais Struthers
Curated by:
Alli Melanson
(Photo credit: Paul Litherland)
Artworks featured (in order of appearance) by: andrew hoekstra, Alli Melanson, Brandon Dalmer, Cassie Paine, Kuh Del Rosario
Opening Reception: Thur. July 15, 2021
Exhibition Run: July 15 – August 1, 2021
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This year, MFASASA has put together a decentralized exhibition, a publication, and a website in response to a year of restricted access, social isolation, and a greater shift towards virtual spaces. Each aspect of Maureen VI offers different ways of sharing art and facilitates participation for artists who are not physically in Montreal/Tiohtià:ke:. It has also encouraged reflection on how and where we expect to encounter art. Several of the exhibition sites are not traditional art spaces, some projects are not physically accessible to the public, while others are presented in surprising locations to be chanced upon by passersby. We invite you to refer to our website for the full spectrum of events happening under the umbrella of Maureen VI.
Many of the works submitted this year speak to notions of identity in relation to place and placelessness, as well as states of transition and instability. Though not explicitly themed, the works bolster the concept of a dispersed exhibition and reflect the unsettledness of 2020-2021. Disorientation presents an opportunity to reorient, an essential exercise when attempting to locate ourselves within a greater reality of living and working on unceded territories and reckoning with Canada’s ongoing colonial practices. We can always be re-evaluating, re-learning and re-directing our cultural histories.
MFASASA would like to acknowledge that Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which we gather today. Tiohtià:ke/Montréal is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples.
Territorial acknowledgements are the foundation for our events and our art practices. So we take the time to consider where we have lived, who we have relationships to, where our resources come from, what our art materials are made from, what knowledge we have- where it comes from- and how it’s valued.