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DTSTART;TZID=America/Indiana/Indianapolis:20240712T180000
DTEND;TZID=America/Indiana/Indianapolis:20241020T150000
DTSTAMP:20260416T123220
CREATED:20240614T161430Z
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UID:12000-1720807200-1729436400@www.bigcar.org
SUMMARY:Elisa Harkins: Ekvnv (Land)\, the Sacred Mother from Which We Came
DESCRIPTION:With this exhibit\, Elisa Harkins looks at land in two different ways: a path toward healing due to the desecration of burial mounds in New Harmony\, Indiana and how the Land Back movement addresses climate change. Harkins\, a multi-disciplinary artist based in Tulsa\, Oklahoma\, and Tube Factory curator Shauta Marsh researched and worked on this exhibit for five years as part of Big Car Collaborative’s decade-long research project\, Social Alchemy\, that explores utopia and dystopia with an emphasis on the southern Indiana town of New Harmony that was twice the site of utopian experiments. \nIn the Main Gallery\, Harkins draws attention to settler desecration of Indigenous mounds in the unmarked “Harmonist Cemetery” in New Harmony. When the Harmonists purchased the land in the early 1800s\, they dug up the Indigenous burial mounds\, collecting what they considered interesting items for their Cabinet of Curiosities. They then buried their dead over the native people’s remains. When the Harmonists sold the town to industrialist Robert Owen for his rationalist utopian attempt\, the Harmonists took apart their church and used the brick to enclose the mounds with a wall. Today\, the burial mounds are not acknowledged on signage for the cemetery. \nHarkins brings light to this history and offers healing through the Spirit Houses. These are structures built that provide a protective shelter over the grave of their deceased relative. Harkins could not build them in the “Harmonist Cemetery.” So the photographic wall mural and Spirit Houses in the Main Gallery serve as a temporary monument to the native people buried there. \nThrough the 24 photographs on the wall surrounding the Spirit Houses\,(also known as Grave Houses) Harkins tells the story of the mounds in New Harmony to demonstrate not only settler violence against Indigenous land and bodies but also the presence of multiple tribes at sacred burial sites across time. In examining multiple histories of mounds\, Harkins interrogates whether Indigenous lands belong to one people alone\, And her investigation prompts viewers to examine their own ties to land through time — in their lost ancestral cultures\, as well as in contemporary society. \nThe Tear Dress on the north wall of the gallery is one Harkins wears in many photos and in her work in the video room. Cherokee women traditionally wore this dress in the Southeast in the early 1800s. Indian Removal began to take place during this time period in Indiana (land of the Indians). This is also around the time Harmonists sought to build a sort of religious utopia in the town they named New Harmony. \nIn the video room\, Harkins shares a piece on the 200-year-old song\,“Hesaketv Meset Likes or The One Who Gives us Breath.” Though the singing takes place in the present\, Harkins seeks to move the audience through time\, preserving culture by bringing this new knowledge of ourselves to the forefront. \nLeading by example with her works\, Harkins uses her Indigenous body as an extension of Ekvnv\, the mother from which she came. This embodies critical reflection on deep human connections to ancestral lands across time and place. Her cultural references to ancient mounds with intersectional tribal histories — as well as contemporary tribally-specific structures such as Spirit Houses — probe the meanings of “Indigenous” identity and question whether individual tribal nations will participate in intersectional freedom for all Indigenous peoples. \nIn the Jeremy Efroymson Gallery\, Elisa Harkins shares images\, sound\, and sculpture that invoke definitions of tribal sovereignty — centering land and its protection. Amid a contemporary Indigenous landscape in which tribal activities vary between cultural revitalization efforts and extractive practices at times complicit with capitalist structures\, Harkins calls for land protection above all. This shows viewers that the return of Indigenous land protection practices\, along with language and cultural revitalization\, are inevitable outcomes on Turtle Island (some Indigenous American tribes refer to North America as Turtle Island). \nHarkins often encounters tornado shelters for sale alongside the roads in Oklahoma. While dangerous tornadoes traditionally occur in the summer months\, recent years have seen an alarming rise in winter tornadoes. By using the image of these Tornado Shelters\, she aims to raise awareness about the increasing destruction and loss of life caused by climate change. The shelters\, placed in the ground or Ekvnv\, serve as a metaphor for the Muscogee origin story\, symbolizing their emergence from the earth at the beginning of their civilization. \nThe light sculptures are in English\, Cherokee\, and Muscogee words:\nᎠᏴᏫᏯ ᎤᏤᎵᎪᎯ ᎦᏓ ᏤᏙᎢ\nEste Cate Ekvnv Okharoces\nYou Are on Indian Land \nThe music playing in the Jeremy Efroymson Gallery\,  honors communities destroyed and lives lost through human created climate change. Harkins\, in collaboration with Mark Kuykendall\, composed this piece for the tornado shelter sculpture to serve as a poignant tribute to the lives lost\, communities disrupted\, and environmental imbalances exacerbated by human negligence. \n“Land Back means all land back\,” said Harkins\, who sees Indigenous political projects such as language revitalization as\, most of all\, an empowering force for protecting Ekvnv (Land)\, the Sacred Mother from which we came. In Harkins’ works\, she calls for definitions of tribal sovereignty which center land protection over individual political claims to place. She intervenes in narratives of singular or strongest connections of tribal claims to mounds in favor of historical narratives where tribal interrelations connect more peoples to more lands for the purpose of building solidarities of responsibility and care for Indigenous land. \nIn Ekvnv\, Harkins calls for universal participation in and attention to the return of Indigenous land to Indigenous hands\, inviting viewers to reckon with the power imbalances that continue between settler colonial structures and Indigenous historical worlds. To Harkins\, sovereignty includes care for all–from health care to land protection that reaches worldwide\, just as the Sacred Mother receives care from all. \nThe exhibition is made possible by the National Endowment for the Arts\, The Andy Warhol Foundation for the Visual Arts\, Efroymson Family Fund\, the Institute of Museum and Library Services\, and a printing partnership with Aurora PhotoCenter.\n\nThe artist wishes to thank:\nIan Byers-Gamber\nMark Kuykendall\nDon Tiger\nBrose Partington \nAbout Harkins\nElisa Harkins is a Native American (Cherokee/Muscogee) artist\, singer\, electronic music composer\, and curator based in Tulsa\, Oklahoma. Her work is concerned with translation\, language preservation\, and Indigenous musicology. Harkins uses the Cherokee and Mvskoke languages\, electronic music\, sculpture\, and the body as her tools. She is the first person to sing a contemporary song in the Cherokee language. Harkins received a BA from Columbia College\, Chicago\, and an MFA from CalArts. She has since continued her education at the Skowhegan School of Painting and Sculpture. She has exhibited her work at Crystal Bridges\, documenta 14\, The Hammer Museum\, The Heard Museum\, and MoMA.\nIn 2020\, she created the Indigenous concert series 6 Moons and published a CD of Muscogee/Seminole Hymns. She is also the DJ of Mvhayv (ma-hi-ya) Radio\, an Indigenous radio show on 99.1FM in Indianapolis\, IN. Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ (ga-wo-ni-s-gi tso-i) is a dance performance that features music and choreography by Harkins. With support from PICA and Western Front\, songs from the performance have been collected into a double LP\, which can be found on Harkins’ Bandcamp. Harkins resides on the Muscogee Reservation and is an enrolled member of the Muscogee Nation. \nAbout Tube Factory artspace: Tube Factory is a contemporary art campus and community center. There are four galleries on the campus\, two are commissioning galleries. Admission is free. It’s also home base for Big Car Collaborative’s work across Indianapolis and beyond. Tube Factory features rotating exhibits\, interactive projects\, community space\, a reference library\, an outdoor gathering space\, and much more to find through exploring. Tube Factory is an independent\, noncommercial\, nonprofit public place. Big Car Collaborative brings art to people and people to art\, sparking creativity in lives to support communities. As an artist-run nonprofit organization\, we utilize tools of culture and creativity to build community and social cohesion — connecting people as a way to boost quality of life. We support our community by supporting artists.\nMuch of our work happens on a single block where we own or co-own more than 20 properties — including a long-term affordable housing program for artists and Tube Factory — a contemporary art museum with a cafe\, studios\, and community space. At our campus of adaptive reuse buildings and public greenspace\, we host community and cultural programs to promote social connectivity\, cooperation\, and creativity.\nWe also facilitate people-focused placemaking and place keeping projects across the city and beyond through Spark. Tune in to our experimental\, community-focused radio station\, WQRT 99.1 FM — also streaming at wqrt.org. \nAbout Social Alchemy:With this multifaceted\, multiyear project\, Indianapolis-based arts organization Big Car Collaborative — with our partners\, the University of Southern Indiana\, Historic New Harmony\, the New Harmony Gallery of Contemporary Art and others –– have created a series of radio shows\, exhibits\, and conversations exploring\, learning\, and sharing how utopia has informed places and pursuits over time. \nConceived by Big Car co-founders Shauta Marsh and Jim Walker and artist and philanthropist Jeremy Efroymson\, Social Alchemy explores historical and contemporary examples of utopian experiments\, fictional utopias and dystopias\, and social and cooperative-living design projects (linking back to our affordable artist housing program on our block in Indianapolis). Through a variety of public programs — first made possible with support from Indiana Humanities and Efroymson Family Fund — it offers a deeper understanding of the relationship between the built environment and social good. We all grapple with divides in society and real-life examples of dystopia (shootings\, mass incarceration\, ecological degradation) and utopia (experiments such as co-living communities that make people demonstrably happier). This project is about exploring historical and contemporary real-world examples of utopian experiments and social design projects as well as theoretical and fictional utopias and dystopias. Our goal is for the impact of Social Alchemy to be a deeper understanding — via history\, literature\, and the philosophy of art\, design\, and architecture — of the relationship between the built environment and social good. \nAbout Indiana and Tribal Land (from the Indiana.Gov website)\nThere are two tribes that have land in Indiana. However there are many other tribal members of other federally recognized tribes that live in Indiana\, approximately\, 25\,000. \nThe Pokagon Band of Potawatomi receive a small portion of their land back from their removal in Indiana. The Pokagon Band of Potawatomi is a federally recognized tribe. It is one of 573 federally recognized tribes in the United States. The Bureau of Indian Affairs contacted Chairman John Warren to state that their tribe\, Pokagon Band of Potawatomi had been approved on November 18\, 2016 to receive 166 acres of land in trust in South Bend\, Indiana. The tribe successfully put a few housing units and tribal government buildings to assist their tribal members living in Indiana. It also built a 175\,000 square foot and 1\,800 Class II gaming devices\, four restaurants\, a player’s lounge\, a coffee shop\, two bars\, a retail outlet and approximately 4\,500 parking spaces including an enclosed parking structure. For more information\, visit: http://www.pokagon.com/government/indiana-land-restoration \nThe second tribe that has land in Indiana is the Miami Tribe of Oklahoma. The tribe was given land to put a Cultural Extension Office for their tribal members living in Indiana to attend specific gatherings\, ceremonies and education events at this office located in Fort Wayne\, Indiana. For more information\, visit: http://miamination.com/thpo\nPlease note that many other tribal members from other federally recognized tribes living in Indiana such as Apache\, Cherokee\, Navajo\, Comanche\, Lakota Sioux\, etc.
URL:https://www.bigcar.org/event/elisa-harkins-ekvnv-land-the-sacred-mother-from-which-we-came/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Downtown Indy,Garfield Park,Shelby St. Corridor,Visual Art
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DTSTART;TZID=America/Indiana/Indianapolis:20240729T200000
DTEND;TZID=America/Indiana/Indianapolis:20240729T213000
DTSTAMP:20260416T123220
CREATED:20240416T163038Z
LAST-MODIFIED:20240416T163119Z
UID:11842-1722283200-1722288600@www.bigcar.org
SUMMARY:Hatis Noit at Tube Factory artspace
DESCRIPTION:“Words cannot describe everything we feel. How can one accurately verbalise the sensation we feel when we’re a newborn and our mother holds us in her arms\, and we feel her skin on our cheek. We clearly feel her warmth and humidity\, some feeling of love from her\, but it’s tough to verbalise it perfectly. Music is a language that can translate that sensation\, feeling\, the memory of love.” — Hatis Noit \nThere isn’t a more unique entry into a musical journey than that of Japanese voice artist Hatis Noit. Her musical awakening took place at the tender age of sixteen during a trek to Buddha’s birthplace in Nepal. One morning when staying at a women’s temple she came across a female monk singing Buddhist chants whose otherworldly sounds moved her so intensely that she was instantly aware of the visceral power of the human voice; a primal and instinctive instrument that connects us to the very essence of humanity\, nature and our universe. From that moment she knew singing was her calling. \nHer newest album\, Aura was inspired by the German philosopher Walter Benjamin who used this term to describe the fundamental essence of art\, which he believed is strongest in its original form\, only happening once. Hatis agrees with this particular aspect as she realised\, “during the pandemic\, I really struggled. As a singer\, I’m not very good at working on the computer. I much prefer doing live performances in physical spaces. Being with people\, sharing the same space with them and feeling the atmosphere and energy of that moment\, inspires me every time. To me art is that — that shared moment.” \nThe gravitas of the pandemic caused Noit to look inwards and reflect. This resulted in the album becoming a remedy for what was going on in the world and ultimately to remember the joys and richness of life. Hatis adds to this sentiment\, “we cannot live forever\, do everything or be everywhere. But that makes our lives unique and invaluable. I wanted to be focused on our limitations and show how precious life is.” \nThe name Hatis Noit itself is taken from Japanese folklore\, meaning the stem of the lotus flower. The lotus represents the living world\, while its root represents the spirit world\, therefore Hatis Noit is what connects the two. For Hatis\, music represents the same netherworld with its ability to move and transport us to the other side; the past\, a memory\, our subconscious. \nThrough the opening piece ‘Aura’\, which shares its title with the album\, she evokes a haunting memory of getting lost in a forest in her birthplace Shiretoko\, Hokkaido. “I felt as if I was close to my death\, I could feel myself dissolving into and becoming a part of nature rather than just being an individual. This sense of awe and peace found there is always the place where I start making music from\,” she remembers. \nYears of perfecting her craft via live performances led her to the creation of this debut album which follows on from the introductory 2018 EP\, Illogical Dance. An autodidact with an impressive range\, Noit is inspired by Gagaku — Japanese classical music — folk music\, operatic styles\, Bulgarian and Gregorian chanting\, as well as avant-garde and pop vocalists to create her inimitable style. Hatis creates wordless music\, unique song worlds with transcendent vocal interpretations of epic proportions — most evident on ‘Jomon’ where she channels the fierce\, dynamic energy and power of prehistoric culture during Japan’s Jomon period. \nAstonishingly all songs on this record were created using her voice only. The single exception being ‘Inori’ for which she took a field recording of the ocean only one kilometre away from the nuclear power plant in Fukushima. Hatis Noit had been invited there for a memorial ceremony which marked the re-opening of the area for local people to return to their homes. The emotive and compassionate song is dedicated to the lives lost due to 2011’s tsunami\, but equally to the many beautiful memories people have of their hometown. \nThe album was recorded in Berlin where Noit laid down her vocals in just eight hours\, before the pandemic forced her and producer Robert Raths to stay local and mix it in East London\, which led to working with a new collaborator: engineer Marta Salogni. Between lockdowns it was decided to take the recordings and reamplify them in a local church to bring them closer to that moment of live performance. \n“It was almost like a miracle when Robert came up with the idea. That was the moment that changed everything for the album as the physical space with its organic ambience brought everything to life\,” Hatis Noit recalls. \nAn important part of her practice and something she missed dearly during lockdown\, her impressive live performances have included headline and festival shows across Europe\, including a sold-out London show accompanied by the London Contemporary Orchestra at Southbank Centre\, a special live performance at Milan Fashion Week and she was also invited by the revered director David Lynch to perform at his Manchester International Festival takeover in 2019. Her collaborations have seen her work with Kevin Richard Martin aka The Bug\, the NYX Electronic Drone Choir and she appeared on recordings by fellow countryman Masayoshi Fujita as well as Ukrainian pianist and Continuous Music pioneer Lubomyr Melnyk. \nPrevious press: \n“One to watch: Hatis Noit — with her ethereal crossover of mystical and modern\, \nthis Japanese artist has been moving audiences to tears” — The Guardian \n“Mixes childlike purity and digital pointillism” — The New York Times \n“Truly extraordinary… An exquisite piece of work” — Mary Anne Hobbs\, BBC 6 Music \n“Words don’t really do it justice — an extraordinary piece of music” — Clash \n“The magic in ‘Illogical Dance’ lies squarely in the human voice itself; Hatis Noit bends her vocals into so many shapes that other instruments simply seem redundant” — Drowned In Sound \n“The voice is capable of incredible nuance. Case studies: Björk’s Medulla\, Tanya Tagaq’s Inuit throat nsinging\, Janis Joplin. Add Hatis Noit to the list” — Tiny Mix Tapes \n“Our perception has been altered” — A Closer Listen \n“Astonishing” — Uncut
URL:https://www.bigcar.org/event/hatis-noit-at-tube-factory-artspace/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Shelby St. Corridor,Visual Art
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