ohpinamake 2023

This year, Jim and Marian Knock are inviting others to participate in this opportunity to support Indigenous knowledge and achievement by making a gift to ohpinamakeYour gift to ohpinamake underscores the importance of the inclusion of cultural diversity, which is essential to ensure that artists have the equal access to resources and the same opportunities to gain recognition and develop their art.
Please join Jim and Marian, following their exemplary leadership, to make this bold vision a reality by contributing to the fund here.

ohpinamake 2022

It is our pleasure to announce the inaugural recipient of ohpinamake.

ohpinamake is an award for Indigenous artists whose territories intersect with the current colonial borders of Canada.

The name, ohpinamake, was brought forward by
 Elders and authors Louise Bernice Halfe and Maria Campbell,
 alongside artist and educator, Ruth Cuthand.



ohpinamake means “to lift others” in nêhiyawêwin.

The award is made possible through the partnership of Jim Knock (BE ‘76) and Marian Knock with the University of Saskatchewan. The partnership was established with the express purpose of creating an award that acknowledges the unique capacity of art to bridge differences, but also to make things different.

The artist chosen must clearly engage in a practice that ‘lifts others’. This can be understood as active social practice or as the production of art works that elevate Indigenous world-sense and create community. It can also be modeling behaviour that supports others in truly relational ways.

This year’s recipient was chosen by a jury of exceptional cultural workers and community members:
Camille Georgeson-Usher
Tarah Hogue
France Trepannier

Throughout this process we have endeavoured to remove the systemic barriers that keep Indigenous artists and others from accessing opportunities like this. We will continue to develop both the processes of application, adjudication, and the possible outcomes of ohpinamake over these next five years.

In this spirit of openness, clarity of intention, and to further mark this inaugural year, the jury has made a series of special mentions of 6 additional applicants.


This decision was further supported by Jim and Marian Knock ensuring that each of these artists will receive a $1000.00 cash prize as well as have their work included in an exhibition on the University of Saskatchewan Campus, in lower Place Riel.

This event is made possible through the support of 
the Office of the Vice Provost Indigenous Engagement,
Gordon Oakes Red Bear Student Centre, and the Mistatimōk Committee

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Camille Georgeson-Usher is a Coast Salish / Sahtu Dene / Scottish scholar, artist, and writer from Galiano Island, British Columbia. Usher completed her MA in Art History at Concordia University and is currently a PhD candidate at Queen’s University in Cultural Studies. In addition to her academic work, she is the Executive Director of the Indigenous Curatorial Collective/ Collectif des commissaires autochtones and has worked as an arts programmer in a variety of arts institutions in both Quebec and Ontario. She is a practicing artist with special interest in art in public spaces and is an independent curator; sits on the Boards of Artspace in Peterborough, Toronto Biennial of Art, and the Galiano Literary Festival; and is on the Indigenous Education Council at Ontario College of Art & Design University, (OCADU).

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Tarah Hogue is Curator (Indigenous Art) at Remai Modern. A citizen of the Métis Nation with settler ancestry, Hogue was raised on the border between Treaty 6 and 7 territories in Red Deer, Alberta. Her recent exhibitions include Adrian Stimson: Maanipokaa’iini (2022), An apology, a pill, a ritual, a resistance (2021), co-curated with Aileen Burns and Johan Lundh, and lineages and land bases (2020) at the Vancouver Art Gallery. In 2019, Hogue received the Hnatyshyn Foundation – TD Bank Group Award for Emerging Curator of Contemporary Canadian Art. She has authored catalogue essays for artists such as Maureen Gruben, Tania Willard, Henry Tsang and Jin-me Yoon, and her writing has been published in C Magazine, Canadian Art, The Capilano Review and elsewhere. Hogue is co-chair of the Indigenous Curatorial Collective’s board of directors and is a co-founder of Shushkitew Collective.
NB Photo Credit: Rachel Topham

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France Trepanier is a visual artist, curator and researcher. Her practice is often informed by strategies of collaboration and community engagement. Her artistic and curatorial work has been presented in many venues in Canada, the US and Europe. She was the co-recipient of the Inaugural Audain Aboriginal Curatorial Fellowship by the Art Gallery of Greater Victoria. She co-authored with Chris Creighton-Kelly Understanding Aboriginal Art in Canada Today: a Knowledge and Literature Review for the Canada Council for the Arts. France is co-director of the Primary Colours/Couleurs primaires initiative. She worked at the Canada Council for the Arts before becoming a Senior Arts Policy Advisor for the Department of Canadian Heritage. She held a diplomatic post as First Secretary, Cultural Affairs at the Canadian Embassy in Paris. She directed the Centre for New Media at the Canadian Cultural Centre in Paris. France was also the co-founder and Director of the artist-run center Axe Néo-7 in Gatineau, Quebec. France is of Kanien’kehà:ka and French ancestry.

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KC Adams is a Winnipeg-based artist who graduated from Concordia University with a B.F.A in studio arts. Adams has had several solo exhibitions, group exhibitions and been in three biennales including the PHOTOQUAI: Biennale des images du monde in Paris, France. Adams participated in residencies at the Banff Centre, the Confederation Art Centre in Charlottetown, the National Museum of the American Indian and the Parramatta Arts Gallery in Australia. Her work is in many permanent collections Nationally and Internationally. Twenty pieces from the Cyborg Hybrid series are in the permanent collection of the National Art Gallery in Ottawa and four trees from Birch Bark Ltd, are in the collection of the Canadian Consulate of Australia, NSW. She was the scenic designer for the Royal Winnipeg Ballet’s Going Home Star: Truth and Reconciliation. She helped design a 30-foot public art sculpture called Niimamaa for the Winnipeg Forks and a piece for the United Way of Winnipeg called Community. Adams was awarded the Winnipeg Arts Council’s Making A Mark Award and Canada's Senate 150 medal recipient for her accomplishments with her Perception Photo Series. KC is now an author with her book Perception: A Photo Series that Quill & Quire. chose as one of 2019 Books of the Year.

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Holly Aubichon identifies as Métis and Cree on her paternal side and Ukrainian, Irish and Scottish on her maternal side (Ogrodnick). Born and raised in Regina, Saskatchewan, her Indigenous relations come from Green/Meadow Lake region, SK and Lestock, SK. Aubichon’s practice is laboriously reliant on retracing familial memories and connections. She uses painting and traditional tattooing as a way to foster personal and collective healing. She graduated from the University of Regina in the Spring of 2021 with a Bachelors of Fine Arts, minoring in Indigenous Art History. Aubichon is the 2021 BMO 1st Art! Regional winner for Saskatchewan. Aubichon is the Administrative Director at Sâkêwêwak First Nations Artist's Collective Inc.


Brody Burns is a student in the Masters of Fine Arts program at the University of Saskatchewan. Brody is a member of James Smith Cree Nation located on Treaty 6 territory. Art has been prevalent his whole life but became his focus during his time here at the University where he first earned a Bachelor of Arts Degree in Psychology in 2021. Brody’s artistic practice involves augmented reality, pastel, watercolour, acrylic, and oil paint. Brody explores what energy might look like through abstract shapes, designs and vivid colours.

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Darren Gowan is Plains Cree and member of the Day Star First Nation) and found his true calling as an artist. Darren began carving in 1992 with antlers, bones, horns, and hooves of Deer, Moose, and Elk, and carved his first full Moose Antler in 1993. In 1997 he began working with stone. His work is based on a blending of the balance of the Natural World with the dynamics of relationships within it. "The relationship between all of humanity, the natural and spiritual elements, and the entirety of creation are the inspiration of the works that balance my idea for the sculpture with what the material will allow – to unleash that balance between the forces."


 

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Laura Grier is a Délı̨nę First Nations artist and printmaker, born in Somba ké (Yellowknife), and based out of Alberta. Through the use of traditional print mediums, they instrumentalize the power of the handmade to reflect political sociology, culture, environmentalism, and Indigeneity. Responding to lived experiences of being an urban displaced Dene woman through Print, Laura’s work is also inspired by the dynamism of Indigenous art practices and uses printmaking as a tool for resistance, refusal, and inherent Bets’ı̨nę́. They hold a BFA from NSCADU (K'jipuktuk) and an MFA from OCAD University (Tkaronto). They most recently exhibited at Harcourt House, DC3 Art Projects, SNAP Gallery, and ArtsPlace in Alberta. Laura received grants and awards for their work, including an Indigenous project grant from the Alberta Foundation for the Arts, the Ontario Arts Council, the Canada Council for the Arts, and the Toronto Arts Council.


Audie Murray is a relative, dreamer, skin-stitcher and Michif visual artist based in Oskana kâ-asastêki (Regina, Saskatchewan; Treaty 4 territory). Her practice is informed by the process of making and visiting to explore themes of contemporary culture, embodied experiences and lived dualities. These modes of working assist with the recentering of our collective connection to the body, ancestral knowledge systems, space and time. She has exhibited widely, including at the Independent Art Fair, NYC; The Vancouver Art Gallery; Centre for Contemporary Arts, Glasgow; and the Anchorage Museum. Murray is represented by Fazakas Gallery on Sḵwx̱wú7mesh, Səl̓ílwətaʔ, and xʷməθkʷəy̓əm territory (Vancouver, B.C.).

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Taryn Walker T is a queer, interdisciplinary Indigenous artist of Nlka'pamux, Syilx, and mixed European ancestry whose work explores concepts of identity, tenderness, healing, cycles of life and death, and the supernatural through drawing, printmaking, installation, and video. In 2018 Walker graduated from the Visual Arts BFA program at UVic. In the fall of this year, they will be beginning their MFA at SFU. Walker’s work has been presented in spaces and events across Western Canada and beyond. Their artistic research has also been granted support from the Edmonton Arts Council, the Indigenous Curatorial Collective, and the First Peoples Cultural Council.

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ohpinamake Application

ohpinamake

Announcing the second iteration of this award for Indigenous artists whose territories intersect with the
current colonial borders of Canada, ohpinamake.
 
The award is made possible through the partnership of Jim Knock (BE ‘76) and Marian Knock with the University of Saskatchewan. The partnership was established with the express purpose of creating an award that acknowledges the unique capacity of art to bridge differences, but also to make things different.
 
In development over the course of several years, we were grateful to offer the inaugural opportunity at the historical moment as we came through the COVID 19 pandemic and marked the first ever National Day for Truth and Reconciliation on September 30th of 2021. Naming this day is the delivery of Call #80 from the 94 Calls to Action produced by the Truth and Reconciliation Commission of Canada in 2015. The Calls to Action were a mapping out of necessary steps towards conciliation with Indigenous peoples and a more just world. It was in this spirit that we began the process of bringing into being the intentions of Jim and Marian Knock in consultation with Indigenous community members.
 
The name, ohpinamake, was brought forward by Elders and authors Louise Bernice Halfe and Maria Campbell, alongside the artist and educator, Ruth Cuthand. ohpinamake means “to lift others” in nêhiyawêwin.
 
In further conversation with community, we have endeavoured to remove the systemic barriers that keep Indigenous artists and others from accessing opportunities like this. From this space of engaged listening we will continue to develop both the processes of application, adjudication, and the possible outcomes of ohpinamake over the next five years.
 
The artist will be chosen by a jury of cultural workers and community members and will receive $10,000.00.

The application form has only two questions, but they are important ones to ensure the jurors can understand well how your work activates the principals and intention of the award of this award. 

What is your relationship to community?

How does your work lift others?

There is also an opportunity to upload media.
We suggest you assemble multiple images into a single pdf, or if you are wanting to link to online media like websites, video, or audio, please make a list of the links with content descriptions as well as any passwords required for the jurors to access them, and then submit that as a .pdf

If you are unsure how to do this please see our pdf tutorial. Tutorial - Converting Images to a Single PDF

ohpinamake

Nous annonçons la deuxième édition de ce prix pour les artistes autochtones dont les territoires coïncident avec les frontières coloniales actuelles du Canada: ohpinamake.

Ce prix est rendu possible grâce à un partenariat entre Jim Knock (baccalauréat en ingénierie, 1976) et Marian Knock, et l’Université de la Saskatchewan. Ce partenariat a été établi afin de créer un prix reconnaissant la capacité de l’art à surmonter les différences et à changer les choses.

Nous sommes reconnaissant·e·s de pouvoir offrir cette opportunité, en développement depuis plusieurs années, pour la première fois, surtout à ce moment particulier de l’histoire où nous commençons à émerger de la pandémie de COVID-19 et avons récemment marqué la toute première Journée nationale de la vérité et de la réconciliation, le 30 septembre 2021. Le fait de nommer cette journée est une réponse directe à l’appel à l’action 80, l’un des 94 appels à l’action élaborés par la Commission de vérité et réconciliation du Canada en 2015. Les appels à l’action servaient à établir les étapes nécessaires pour une conciliation avec les peuples autochtones et pour un monde plus juste. C’est dans ce même esprit que nous avons commencé à concrétiser les intentions de Jim et Marian Knock en consultation avec des membres de communautés autochtones.

Le nom ohpinamake a été proposé par les aînés et auteures Louise Bernice Halfe et Maria Campbell, en collaboration avec l’artiste et éducatrice Ruth Cuthand. ohpinamake est un mot nêhiyawêwin qui signifie « élever les autres ».

Après d’autres discussions avec la communauté, nous voulons également nous efforcer d’éliminer les barrières systémiques qui préviennent les artistes autochtones et d’autres personnes d’accéder à des opportunités comme celle-ci. En demeurant à l’écoute de manière engagée, nous allons continuer de développer les processus de candidature, de sélection, ainsi que les résultats possibles d’ohpinamake pendant les cinq années à suivre.

L’artiste sélectionné·e, qui recevra un montant de 10 000 $, sera choisi·e par un jury de personnes travaillant dans le milieu de la culture et de membres de la communauté.

 

La prochaine application sera mise en ligne le 27 Juin 2023.

If you would like to submit multiple images they need to be placed in one pdf file for uploading. If you are unsure how to do this please see our pdf tutorial. Tutorial - Converting Images to a Single PDF

 ᐅᐃᓇᒦᒃ
 

ᐃᓕᑕᕆᔭᐅᔾᔪᑎ ᐊᑐᐃᓐᓇᕈᖅᑎᑕᐅᓯᒪᔪᖅ ᑲᑐᔾᔨᖃᑎᒌᓐᓂᖏᑦᑎᒍᑦ ᔨᒥ ᓈᒃ (BE ’76) ᐊᒻᒪᓗ ᒥᐅᕆᐊᓐ ᓈᒃ ᓯᓚᑦᑐᓴᕐᕕᔾᔪᐊᖓᓂ ᓴᔅᑳᑦᓱᐊᓐ. ᑲᑐᔾᔨᖃᑎᒌᓐᓂᖅ ᓴᖅᑭᖅᑕᐅᓯᒪᔪᖅ ᐱᔾᔪᑎᓪᓗᐊᑕᖃᖅᓱᑎᒃ ᓴᖅᑮᓂᕐᒥᒃ ᓇᓗᓇᐃᖅᓯᔪᒥᒃ ᐊᔾᔨᐅᖏᑦᑑᓂᖏᓐᓂᒃ ᓴᓇᐅᒐᖏᓐᓅᖓᔪᑦ ᑲᓱᖅᑎᑕᐅᖁᓪᓗᒋᓪᓗ ᐊᔾᔨᒌᙱᓐᓂᖏᑦ, ᑭᓯᐊᓂᑦᑕᐅᖅ ᐊᔾᔨᒌᒍᓐᓃᑦᑎᑦᓯᓂᐅᒥᓗᓂ.

ᐱᕙᓪᓕᐊᓯᒪᑎᓪᓗᒋᑦ ᐊᕐᕌᒍᓂ ᐊᓂᒍᖅᑐᓂ, ᖁᔭᓕᕗᒍᑦ ᒪᓂᒪᑎᒋᐊᖓ ᑖᓐᓇ ᐊᐅᓚᔾᔭᒋᐊᙵᕐᓂᐅᔪᒧᑦ ᐱᕕᖃᕐᓂᖅ ᐅᕙᓂ ᐊᑑᑎᒋᐅᖅᑐᒥ ᐊᑑᑎᓕᖅᑎᓪᓗᑕ ᓄᕙᔾᔪᐊᕐᓇᖅ-19−ᒥᒃ ᓇᓗᓇᐃᖅᓯᒍᑕᐅᑦᓱᓂᓗ ᓯᕗᓪᓕᖅᐸᑦᓯᐊᒥᒃ ᑲᓇᑕᒥ ᐅᓪᓗᖃᖅᑎᑕᐅᓂᖓᓂᒃ ᓱᓕᔪᕐᓂᐊᓂᕐᒧᑦ ᐋᖅᑭᒋᐊᖃᑎᒌᓐᓂᕐᒧᓪᓗ ᐅᓪᓗᖅ ᓯᑦᑕᕝᕙ 30, 2021. ᑕᐃᔭᐃᓪᓗᓂ ᑖᓐᓇ ᐅᓪᓗᖅ ᐅᖄᓚᔪᒧᑦ #80 ᐅᖄᓚᔪᓂᒃ 94ᕝᓂᒃ ᐊᐅᓚᔾᔭᒋᐊᖁᔨᓪᓗᑎᒃ ᓱᓕᔪᕐᓂᐊᕐᓂᕐᒧᑦ ᐋᖅᑭᒋᐊᖃᑎᒌᓐᓂᕐᒧᓪᓗ ᑎᓕᔭᐅᓯᒪᔪᓄᑦ ᑲᓇᑕᒥ 2015−ᒥ. ᐊᐅᓚᔾᔭᒋᐊᖁᔨᔪᑦ ᓇᓗᓇᐃᔭᐃᒍᑕᐅᔪᒻᒪᑕ ᐊᐅᓚᔾᔭᒋᐊᕈᑕᐅᒋᐊᓕᓐᓂᒃ ᑲᓱᖃᑎᖃᕐᓂᕐᒧᑦ ᓄᓇᖃᖅᑳᖅᓯᒪᔪᓂᒃ ᐋᖅᑭᒋᐊᖅᓯᒪᓂᖅᓴᐅᓗᓂᓗ ᓄᓇᕐᔪᐊᖅ. ᑕᕝᕙᓂ ᐊᐅᓚᓂᕆᓯᒪᔭᖓ ᐱᕙᓪᓕᐊᓯᒪᑦᓱᑕ ᑐᕌᒐᕆᓯᒪᔭᖏᓐᓂᒃ ᔨᒥ ᐊᒻᒪᓗ ᒥᐊᕆᐊᓐ ᓈᒃ ᑐᑭᓯᓂᐊᖃᑎᖃᖅᓱᑕ ᓄᓇᖃᑳᖅᓯᒪᔪᓂᒃ ᓄᓇᓕᓕᓐᓂᒃ.
 
ᐊᑎᖅ, ᐅᐱᓂᒦᒃ, ᓯᕗᒧᑦᑎᑕᐅᓯᒪᔪᖅ ᐃᓄᑐᖃᕐᓄᑦ ᐊᒻᒪᓗ ᑎᑎᕋᖅᑏᓐᓄᑦ ᓗᐃᔅ ᕗᓃᔅ ᕼᐋᓪᕝ ᐊᒻᒪᓗ ᒪᕆᐊ ᑳᒻᕗᓪ, ᐃᓚᖃᖅᓱᑎᒃ ᓴᓇᐅᒐᖅᑎᒥᒃ ᐃᓕᓐᓂᐊᑎᑦᓯᔨᒥᓪᓗ, ᕉᖦ ᑯᖤᓐ. ᐅᐱᓂᒦᒃ ᑐᑭᓕᒃ “ᖁᕝᕙᑎᑦᓯᓂᖅ ᐃᓅᖃᑎᒥᓂᒃ” ᓇᕿᔭᕙᕙᓐᒥᐅᑎᑐᑦ.
 
ᐅᖃᖃᑎᒋᒋᐊᒃᑲᓐᓂᖅᓱᒋᑦ ᓄᓇᓕᓖᑦ, ᐃᓚᖏᑦ ᐱᔭᕋᓱᐊᖅᓯᒪᔭᕗᑦ ᐊᐅᓚᓂᐅᔪᓂ ᐊᐳᖅᑕᕐᕕᐅᔪᑦ ᓄᓇᖃᖅᑳᖅᓯᒪᔪᓄᖅ ᓴᓇᐅᒐᖅᑎᓄᑦ ᐊᓯᖏᓐᓂᓪᓗ ᐊᑐᐃᓐᓇᖃᕈᓐᓇᕐᓂᕐᒧᑦ ᐱᕕᑦᓴᖃᕐᓂᐅᔪᓂᒃ ᑕᐃᒫᓪᓗᐊᖅ. ᑕᕝᕙᙵᑦ ᓈᓚᓪᓗᑕ ᑲᔪᓯᓂᐊᖅᑐᒍᑦ ᐱᕙᓪᓕᐊᑎᑦᓯᓂᕐᒥᒃ ᑕᒪᒃᑮᓐᓂᒃ ᐊᐅᓚᓂᐅᔫᓐᓂᒃ ᑐᑦᓯᕋᐅᑎᓂ, ᐋᖅᑭᑦᑕᐅᔪᓂᒃ, ᐊᒻᒪᓗ ᓴᖅᑭᑐᐃᓐᓇᕆᐊᓕᓐᓂᒃ ᐅᐱᓇᒦᒃ−ᒥᒃ ᐊᕐᕌᒍᓂ ᑕᓪᓕᒪᓂ ᐊᒡᒋᖅᑐᓂ.

ᓴᓇᐅᒐᖅᑎ ᓂᕈᐊᖅᑕᐅᓂᐊᖅᑐᖅ ᓈᓚᑦᑎᓐᓄᑦ ᐱᖅᑯᓯᓕᕆᓂᕐᒥᒃ ᐃᖅᑲᓇᐃᔮᓕᓐᓄᑦ ᓄᓇᓕᓕᓐᓂᓪᓗ ᐊᐃᑦᑐᖅᑕᐅᒐᔭᖅᓱᓂ $10,000.00.

The next Application will go live June 27th, 2023.

If you would like to submit multiple images they need to be placed in one pdf file for uploading. If you are unsure how to do this please see our pdf tutorial. Tutorial - Converting Images to a Single PDF