ᐆᒻᒪᖁᑎᒃ uummaqutik: essence of life, curated by guest curator and artist asinnajaq, opened November 8, 2024 at the Montreal Museum of Fine Arts. It succeeds at presenting a mixture of historic and new Inuit art within a soothing space that leaves room to reflect on the variety of materials, subjects and the vast geography represented by the many artists included, who are from all four Inuit regions within Canada.
Upon entering, subtle shades of green, grey, pink and purple on both the walls and the pebble-shaped exhibition furniture create a unified aura throughout the show, which is split into two rooms. Mattiusi Iyaituk’s large sculpture of a mermaid and motorcycle sidecar combined into one sits centrally within the first room, introducing the viewer to the exhibition. Entitled Iqualuullamiluuq (First Mermaid) That Can Manoeuvre on the Land (2016), made in collaboration with ironworks artist Étienne Guay, it takes up a large section of floor space with bold colours that contrast against the omnipresent muted tones of the exhibition. This initial scene is set with a large faded pink graphic work commissioned by Thomassie Mangiok for the exhibition space, which hangs along the left wall next to Niap’s suspended marble sculptures Katajjausivallat, the Cradled Rhythm (2018), and their soft audio component of throat singing and ocean sounds. The first room continues onto a second level where Jessica Winters’ painting that depicts lichen up close, Lichen (Hopedale 1) (2023), hangs alongside detailed stone sculptures of migration boats and sewed skin boats.
Installation view of ᐆᒻᒪᖁᑎᒃ uummaqutik: essence of life at the Montreal Museum of Fine Arts. COURTESY MMFA PHOTO Jean-François Brière
The exhibition’s second room focuses on different types of works on paper—an aerial photograph is displayed beside hand-sewn paintings, beside a coloured pencil drawing, beside stonecut prints, beside a large painting. The impact of this hanging is clear: it shows the breadth of Inuit creativity as finer details and symbolism are revealed as the viewer spends time with them. This is also true with Siku Allooloo’s reversible beaded amauti front panel, Sapajuji (2021). I spent quite a while looking at this piece; its bold colours of pink, green and yellow with sealskin and batik fabric almost distracted me from noting the interior black fabric with silver beading. These details highlight the thoughtfulness and care taken by Allooloo during the creation of this work.
The scale of works in the exhibition also spans a wide range: from Mangiok’s textile works that reach as high as the tall ceilings, to the small, finely carved bird wings and carved kamik sole of more commonly seen “tabletop artworks” that are included in the display cases. As an Iqaluit, NU, resident, I was happy to see multiple works by Ennutsiak (1896–1967), an artist who was active there, including Untitled (Men Wrestling) (1949), Untitled (Birth Scene with Midwives) (c. 1950) and Untitled (Women Preparing Food) (c. mid-1960s). One of my favourite pieces is the sculpture Untitled (Woman Leaning over Her Kamik) (c. 1955) by Siasie Qarqangaq Angutigirk which highlights the daily act of putting on boots. asinnajaq encourages us to consider this as more than just a mundane act, as her text in the accompanying didactic label highlights: “With the graceful movement of a ballerina, this boot will be adjusted and secured.”
Ennutsiak, Untitled (Women Preparing Food) (mid-1960s).COURTESY MMFA PHOTO Christine Guest © THE ARTIST
These poetic descriptions found on the didactic labels replace the typically more fact-based texts one may encounter in a museum. asinnajaq’s approach allows the visitor to experience a closeness to the artworks since it makes the visitor think of themself and their feelings. As she explains in the accompanying audio tour of the show, “the invitation of the text labels is to encourage each interaction with an artwork to have the space to become a heart-to-heart between peers. How wonderful to be on earth together and spend this unique time together.” This exhibition heavily leans into the relationship between curator and viewer; the sharing and the accepting of knowledge and wisdom from one to another. The “heart-to-heart” that asinnajaq mentions can be considered from both curator to viewer, and artist to viewer simultaneously. When considering artworks through this lens, each viewer can relate in a completely unique way as they bring their own perspective in relation to the art.
However, I am someone who enjoys the factual statements of classical didactics, so I found that listening to the exhibition’s audio tour was integral to my understanding of the show. Several speakers provided commentary about the works on view, including artists such as Gayle Uyagaqi Kabloona and Maggie Napartuk, and Avataq Cultural Institute co-curator Isabelle Avingaq Choquette. [1] Their statements grounded many works with further details that I was somewhat missing as I first walked through. I run a museum in Iqaluit, sometimes curating shows about Inuit art and artists, and I hold the point-of-view of someone who tries to reach an audience that often includes first-time visitors. This type of audience requires overview introductions that include timelines and political context. ᐆᒻᒪᖁᑎᒃ uummaqutik: essence of life is an exhibition presented differently than what I would or could do. For experienced art museum-goers in Montreal, this show provides a fresh perspective on Inuit art and artists—not as an unrelatable or foreign “other,” but as humans connecting with other humans.
Installation view of ᐆᒻᒪᖁᑎᒃ uummaqutik: essence of life at the Montreal Museum of Fine Arts.COURTESY MMFA PHOTO Jean-François Brière
Ultimately for me, the space of ᐆᒻᒪᖁᑎᒃ uummaqutik: essence of life feels like the ideal home—calm and spacious. This feeling is reinforced by the placement of Couzyn van Heuvelen’s glass qulliq. It sits by the first room’s southern wall and is made of amber glass that reflects a warm tone onto the display table it sits upon, glowing. Positioned at the exit of the second room is Darcie Bernhardt’s painting Jijuu’s Patterns (2023), which focuses softly on the bold florals and details of a grandmother’s hands as she sits on a couch, bringing this comfortable feeling full circle. ᐆᒻᒪᖁᑎᒃ uummaqutik: essence of life is like a home, one that is calm, relaxing and intended for reflection.
Jessica Kotierk is Inuk originally from Iglulik, NU. She grew up in Ottawa, ON, and currently lives in Iqaluit, NU where she is the Manager/Curator at Nunatta Sunakkutaangit Museum. She sits on several boards: Alianait Arts Festival, Nunavut Film Development Corporation and Indigenous Heritage Circle, and is the Nunavut Representative on the Historic Sites and Monuments Board of Canada.
Notes
[1] Isabelle Avingaq Choquette is on the Inuit Art Foundation's Board of Directors.