#cuthands

[yourdailyqueer]

TJ/Theo Jean Cuthand

Gender: Two spirit / Transgender man

Sexuality: Queer

DOB: Born 1978

Ethnicity: First nation (Plains Cree), Scottish, Irish

Nationality: Canadian

Occupation: Performance artist, curator, director, producer, screenwriter

Note: Is credited with coining the term Indigiqueer, for modern Indigenous LGBTQ people

[thererisesaredstar]

Bubonic Plague | Influenza | Measles | Whooping Cough | Typhoid

Excerpts from First Nations artist Ruth Cuthand's Trading series of traditionally beaded micrographs.

[old-powwow-days]

2 Spirit Dream Catcher Dot Com by Theo Jean Cuthand

“2 Spirit Dreamcatcher Dot Com queers and indigenizes traditional dating site advertisements. Using a Butch NDN "lavalife" lady (performed by director Thirza Cuthand), 2 Spirit Dreamcatcher Dot Com seduces the viewer into 2 Spirit "snagging and shacking up" with suggestions of nearby pipeline protests to take your date to, and helpful elders who will matchmake you and tell off disrespectful suitors. It's the culturally appropriate website all single 2 Spirit people wish existed. Following up on her video "2 Spirit Introductory Special $19.99," this work examines the forces of capitalism through envisioning a "financially unfeasible" service for a small minority community.”

 Reclamation by Theo Jean Cuthand

“After white people leave Earth en masse for Mars, the Indigenous people left behind contemplate their place in healing the world and what happens next.

[lbeth1950]

Bumps in the Road Part 10

Heat monkeys danced on the blacktop ahead of the bus bumping its way toward Box Elder. Kathleen avoided a plate-sized puddle of melted tar as she stepped off the bus. She didn’t want that on her new white sandals. Despite her care, they were dusty soon enough. The boarding house was a good quarter mile from the main highway. Cotton grew on both sides, as far as she could. The heat and humidity in…

[301-302]

Homelands (TJ Cuthand | 2010)

[jacobwren]

Ruth Cuthand

[shesnake]

You Are a Lesbian Vampire (2015) dir. TJ Cuthand

[atheostic]

Why it's important to understand WHY things are bad instead of just that they are bad: a case study

I once responded to someone saying that certain Indigenous religions (Cherokee, Blackfoot, & Cree) and Christianity (among other religions) are all monotheistic.

Someone then jumped in with the comment

In my original response, I literally just said that the religions mentioned above are monotheistic (religions with only one god). It was purely a statement of fact.

Yet this person was acting as though I had said something truly offensive simply by nature of Christianity and Indigenous religions being mentioned together.

Which is not the kind of comparison between those religions that is problematic.

Further context: I'm Indigenous.

Not from any of those three Nations in particular (I'm Nambikwara) but I am Indigenous.

And for the record?

Cherokee theology:

Blackfoot theology is monotheistic (at least in the area I live).

I worked closely with a Blackfoot FMNI Liason at a school with a high Blackfoot demographic in order to ensure that the library books about FMNI people were accurate.

In my work I heard another Blackfoot employee say that “the Creator and the Christian God are one and the same, we simply knew him by different names”.

Cree theology:

My Canadian hometown is in Cree territory. As such, I have strived to learn about the culture of the people whose land I live in.

Cree theology speaks of a single deity, known as ᒪᓂᑐ (Manito) or ᑭᓭᒪᓂᑐ (Kisemanito), and as such is monotheistic.

Source:  Cuthand, Doug. Askiwina: a Cree world. Coteau Books, 2007.

[clioartfairreviews]

Clio Art Fair Reviews - A call to fame named Clio Art Fair

In a art world characterized by a proliferation of art fairs, Clio Art Fair has emerged to gain a spot in the pantheon of satellite Armory Show realities, and is officially doubled up becoming a Frieze Satellite since 2017.

Differentiating itself for the focus on independent artists, since 2014 Clio Art fair has been highlighting the work of independent artists without New York gallery representation. The raison d’être of the fair is to highlight and promote their work, while creating a platform for discovery and innovation.

The name is inspired by CLIO who in Greek mythology, is the muse of History. When Clio sings your  name  while  playing  her  harp,  your  name  is  admitted  to  the  mental  olympus  of  human history.  Reflecting  the  ambition  of  many  artists  seeking  recognition,  Clio Art  Fair  created  an alternative to the nepotism of the art world, and looks to highlight that which lives outside its domains.

Elegantly designed without booths and without commercial compartmentalization of spaces, the fair feels like a large curated group show where intergenerational artists work across media. There are no booths, no tables, no chairs in the exhibition space, instead, a team of art dealers graze the grounds prepared to trade on behalf of the artists.

Every  independent  artist  without  exclusive  representation  in  New  York  City,  can  submit  work from all over the world, and if selected, can be part of a curated international group show.

The  fair  becomes  a  window  shedding  light  into  current  artistic  practices  that  live  outside  the concerns  of  the  art  world  taking  risks  and  providing  artists  with  visibility. Through  a  series  of related events and programs, including a press preview, and multiple VIP openings, they have the  opportunity  to     meet  art  dealers,  curators,  art  critics,  art  lovers,  while  sipping  Italian champagne. A plus of the fair is free logistic assistance for the non New York based artists: free transportation and free storage in NYC few weeks before and after the Art Fair.

Most  notable,  is  how  Clio  combines  both  emerging,  middle  career,  and  iconic  independent artists  including,  Vito  Acconci,  Nina  Berman  (Whitney  Biennial  2010),  and  Thirza  Cuthand (Whitney Biennial 2019) in the same space, providing a show of substance where the quality of the work is prioritized over length of artists CVs.

The fair born in chelsea, will continue to run twice a year in the heart of Chelsea, the epicenter of the art world, nurturing artists while singing the musings of their eclectic practices.

Our journey dedicated to the reviews of previous editions of the Clio Clio Art Fair Reviews today to its first edition in 2014.

"The Clio Art Fair 2014 stood out for a mix composed of historical artists, those in the process of establishing  themselves,  or  completely  new  and  unknown  to  the  public,  as  well  as  to  the  art professionals in the Big Apple. Among the 33 artists on display, there were numerous works by established  artists,  including  some  drawings  by  Vito  Acconci,  and  a  photographic  series dedicated to the Bronx by Mel Rosenthal. No galleries were directly present at the event, which originated from the initiative of curator Alessandro Berni. "It's difficult to surprise a saturated city

like New York," says Berni. "I wanted to try with this initiative based on the denial of the gallery's role as an intermediary between the artist and the collector."

A review of all the Clio Art Fair Reviews artists included in the 2014 edition are visible here.

[aylancouchie]

Medicine and Magic from Theo Jean Cuthand on Vimeo.

A two channel installation about nehiyaw medicine and Scottish folk magic based on real events happening to Theo's Great Great Grandfather Misatimwas and a potential relative in Scotland who did not survive the Scottish Witch Hunts. Support me on Kofi! ko-fi.com/theocuthand

[gloryholegalleryto]

The Screen is a Mirror

Short Films + Artist Panel

Co-presented with Trinity Square Video, and BUMP TV

when:

SATURDAY, 30 MAY 2020, 5-6PM

& again on WEDNESDAY, 3 JUNE 2020, 7-8PM

 where:

https://www.bumptelevision.com

Zoom opening reception for VIDEO FEVER and THE SCREEN IS A MIRROR held on Saturday, 30 MAY 2020, 6:30PM. For details, email karina@trinitysquarevideo.com

Online Exhibition 4-30 JUNE 2020, www.gloryhole-gallery.com

ARTISTS: 

Thirza Cuthand, Jeremy Saya, Umber Majeed, Kim Ninkuru

Curated/Moderated by Karina Iskandarsjah & Emily Peltier

The Screen is a Mirror is a screening event and artist panel about intentional space-making and radical self-love; showcasing works that imagine methods in which queer and racialized identities can be fostered for survival, belonging and flourishing. Artists Thirza Cuthand, Jeremy Saya, Umber Majeed and Kim Ninkuru experiment with self-portraiture, performance, narrative formats, collage and pastiche to express playfully nuanced experiences and desires of love, acceptance, assimilation, freedom, and being unapologetically joyful.

–

 Artist bios:

Thirza Cuthand grew up in Saskatoon. Since 1995 she has been making short experimental narrative videos and films about sexuality, madness, Queer identity and love, and Indigeneity, which have screened in festivals internationally, including the Tribeca Film Festival in New York City, Mix Brasil Festival of Sexual Diversity in Sao Paolo, ImagineNATIVE in Toronto, Frameline in San Francisco, Outfest in Los Angeles, and Oberhausen International Short Film Festival. Her work “2 Spirit Dream Catcher Dot Com” uses a Butch NDN “lavalife” lady (performed by director Thirza Cuthand) to promote a website that seduces the viewer into 2 Spirit “snagging and shacking up” with suggestions of nearby pipeline protests to take your date to, and helpful elders who will matchmake you and tell off disrespectful suitors. It’s the culturally appropriate website all single 2 Spirit people wish existed.

​Jeremy Saya is a queer interdisciplinary artist based in Toronto whose practice integrates elements of performance, installation, sound, video and electronics. His academic background in philosophy and social science often informs his work which deals with queerness, the body, identity, vulnerability, ephemerality and interactionism. Jeremy has performed at Ignite Gallery and at Cold Waters Media Arts Symposium & Festival in North Bay, Ontario. He has exhibited at Defibrillator Performance Art Gallery, White Water Gallery, Beaver Hall Gallery, VSVSVS, and has curated film programs for both the Toronto Queer Film Festival and Images Festival. Jeremy has worked at Vtape, Feminist Art Gallery, Trinity Square Video and currently holds the positions of Programmer and Box Office Manager at Images Festival. In the work “Perfect”, Saya uses video as a tool to process feelings of shame and perfectionism. By using humour, self-reflection and editing, Saya explores the irony of wanting to be the best at embracing imperfection.

​Umber Majeed (b. New York) is a multidisciplinary visual artist. She received her MFA from Parsons the New School for Design in 2016 and graduated from Beaconhouse National University in Lahore, Pakistan in 2013. Her writing, performance, and animation work engage with familial archives to explore Pakistani state, urban, and digital infrastructure through a feminist lens. In “Still Life” and “Two Fridas”, Majeed speaks to the disconnect she encounters in Western art institutions. As a Muslim woman living in the United States, she takes up the role of the “outsider from the inside”, exploring concepts of existentialism, identity, and self-representation.

​Kim Ninkuru is a multimedia artist from Bujumbura, in Burundi, currently residing in Toronto. She uses performance art, installation, video, spoken word and movement to create pieces that give her the chance to explore and express rage, love, desire, beauty, or pain in relation to her own body and mind. Her work heavily questions our preconceived notions of gender, race, sexuality and class. It is grounded in the firm belief that blackness is past, present and future at any given moment. The video work “Dodo NightClub” comes from a need to imagine safer spaces for black femmes to dance and experience joy late at night. The word “dodo” comes from the french expression “faire dodo” meaning “going to sleep”. In this context, “dodo nightclub” is the safe place you go to party: your room. 

[lbeth1950]

Bumps in the Road Part 15

Bill was in a ebullient mood as he maneuvered Bobo’s borrowed truck off the blacktop onto the dusty red dirt road into Cuthand, Texas. His dainty bride squealed irresistibly as he centered a deep pothole, thrilling him to see her little girl reaction. “Bill, slow down! You’re going to wreck us!” she implored. “Hang on! I’ve driven in lots worse places than this!” He knew what he was…

[nedsecondline]

Doug Cuthand: Indigenous history, expertise can help fight wildfires | Regina Leader Post

In the past, wildfires were a natural part of the life of a forest. Today, the fires are far more destructive. — Read on leaderpost.com/opinion/columnists/doug-cuthand-indigenous-history-expertise-can-help-fight-wildfires/wcm/f26ed8d6-4e47-474a-88f9-0d3fd5a1730a

[smac30]

TD_275

mask of the dead

music: Impassion by Cut Hands

#touchdesigner #electronicmusicculture #newmediaartist #visualdesigner #psychadelicart #projectiondesign #projectionart #installationartist #cuthands

[essimouissad]