ᐱᐅᔪᑦ ᐊᕐᓇᖅᓯᐅᑎᑦ

ᔨᕐᒪᐃᓐ ᐊᕐᓇᑦᑕᐅᔪᖅ

ᓄᓇᑦᑕ ᓱᓇᒃᑯᑖᖏᑦ ᑕᑯᔭᒐᖃᕐᕕᒃ
ᕖᕝᕗᐊᓕ- ᒫᑦᓯ 2020

Piujut Arnaqsiutit 
Germaine Arnaktauyok

Nunatta Sunakkutaangit Museum
February – March 2020

ᐅᒃᑯᐃᖅᓯᓂᕐᒥᒃ ᑐᙵᓱᒃᑎᑦᑎᓂᖅ

ᓄᓇᑦᑕ ᓱᓇᒃᑯᑖᖏᑦ ᑕᑯᔭᒐᖃᕐᕕᒃ

ᓈᑦᑏᖑᔭᖅ, ᕖᕝᕗᐊᓕ 16

2-ᒥᑦ 4-ᒧᑦ ᐅᓐᓄᓴᒃᑯᑦ.

Opening reception

Nunatta Sunakkutaangit Museum

Sunday, February 16,

2-4 PM

 

 

ᔨᕐᒪᐃᓐ ᐊᕐᓇᑦᑕᐅᔪᖅ (ᐃᓅᓚᐅᖅᑐᖅ 1946)

ᐃᒡᓗᓕᖕᒥᐅᑕᒃᓴᔭᐅᓪᓗᓂ, ᓄᓇᕗᒻᒥ, ᔨᕐᒪᐃᓐ ᐊᕐᓇᑦᑕᐅᔪᖅ ᑎᑎᕋᐅᔭᖃᑦᑕᓯᒋᐊᓚᐅᖅᓯᒪᕗᖅ 1950ᖏᓐᓂ, ᓂᐅᕕᕐᕕᐅᓚᐅᖅᓯᒪᔪᖅ 11ᓂᒃ ᐅᑭᐅᖃᖅᖢᓂ. ᑕᐃᒪᙵᓂᑦ, ᑎᑎᕋᐅᔭᒃᑲᐅᓕᖅᐸᓪᓕᐊᑐᐃᓐᓇᖅᐳᖅ ᐱᓕᕆᐊᕆᕙᒃᑲᒥᐅᒃ ᐅᑭᐅᑦ 60 ᐅᖓᑖᓂ, ᓴᓇᕙᒃᖢᓂ ᑎᑎᕋᐅᒻᒧᑦ, ᐅᔭᖅᑲᒦᑦᑐᓂᒃ, ᐃᑎᖅᓯᑎᖅᓯᒪᔪᓂᒃ, ᑕᖅᓴᓕᕆᓂᕐᒥᒃ ᐊᔾᔨᒌᙱᑦᑐᓂᒃ, ᐊᒥᐊᕆᓂᕐᒥᒡᓗ. ᐃᓕᓴᕐᓇᕈᑎᖃᖅᐳᑦ ᐊᕐᓇᑦᑕᐅᔫᑉ ᓴᓇᕙᒃᑕᖏᑦ ᑭᓱᑯᑦᑎᓕᒫᑯᓗᖏᓐᓂᒃ ᐱᑦᑎᐊᖅᓯᒪᕙᖕᒪᑕ ᐱᓪᓚᑦᑖᑎᑐᑦ ᑕᐅᑦᑐᖃᓕᖅᑎᖦᖢᓂᒋᑦ.

ᐃᓄᐃᑦ ᐃᓕᖅᑯᓯᑐᖃᖏᑦ ᑕᑯᒥᓇᖅᑐᓕᐅᖅᑎᓂᑦ ᐱᐅᒋᔭᐅᓪᓗᑎᒃ ᐊᔾᔨᓕᐅᖅᑕᐅᕙᒃᑲᓗᐊᕐᒪᑕ, ᑖᒃᑯᐊ ᑕᑯᔭᒐᓕᐊᖏᑦ ᓴᖅᑭᑦᑎᖕᒪᑕ ᐃᓄᐃᑦ ᐊᕐᓇᐅᔭᕐᓂᖏᓐᓂᒃ ᐱᐅᓂᖏᓐᓂᒡᓗ, ᐱᓗᐊᖅᑐᒥᒃ ᑐᓐᓂᖏᓐᓂ, ᐱᕐᕋᕐᓂᖏᓐᓂ, ᑑᒑᓂᒡᓗ ᓴᓇᓯᒪᔭᖏᓐᓂ ᐊᕐᓇᑦ ᐃᓪᓚᐃᒍᑎᖏᓐᓂ. ᐃᓄᐃᑦ ᐃᓚᖏᑦ ᑕᑯᒥᓇᖅᑐᓕᐅᖅᑎᑐᑦ, ᔨᕐᒪᐃᓐ ᐃᓅᓚᐅᖅᓯᒪᕗᖅ ᐱᕈᖅᓴᓪᓗᓂᓗ ᑕᐃᔅᓱᒪᓂ ᓄᓇᓕᖕᓄᑦ ᓅᑕᐅᕙᓪᓕᐊᓕᖅᑎᓪᓗᒋᑦ. ᑕᐃᔅᓱᒪᓂ ᐃᓄᐃᑦ ᐃᓕᖅᑯᓯᑐᖃᖏᑦ ᐲᔭᖅᑕᐅᕙᓪᓕᐊᓕᖅᑎᓪᓗᒋᑦ, ᐃᓚᒋᔭᐅᓪᓗᓂ ᐃᓄᐃᑦ ᑐᓐᓂᖏᑦ, ᑖᒃᑯᓂᖓ ᑎᑎᕋᐅᔭᖅᓯᒪᕗᖅ. ᑎᑎᕋᐅᔭᓚᐅᖅᓯᒪᔭᖏᑦᑕ ᐃᓚᖓᑦ ᑐᓐᓂᓕᒃ ᐊᕐᓇᖅ (1999), ᐃᓱᒪᓕᖅᑎᑦᑎᔪᕕᓂᐅᑐᐃᓐᓇᕆᐊᓕᒃ ᑐᓐᓂᖃᕐᓂᐅᕙᓚᐅᖅᑐᒥᒃ ᐅᑎᖅᑎᑦᑎᓇᓱᒋᐊᒃᓴᖅ ᒫᓐᓇ ᐃᓄᖕᓂ ᒪᒃᑯᒃᑐᓂ ᓴᖅᑭᔮᖅᐸᓕᖅᑐᑦ.

Germaine Arnaktauyok (b. 1946)

Hailing from Iglulik, Nunavut, Germaine Arnaktauyok has been creating art since the late 1950s, selling her first piece at the age of 11. It’s no wonder, then, that she has been able to hone her craft so well over the last 60 years, producing fine works of art in pencil, lithograph, etchings, serigraphs, and paints. One of the distinguishing features of Arnaktauyok’s work is the attention to fine detail that brings vibrant depth to all her pieces.

Though traditional Inuit life in a broad sense can be said to inspire the artist, this exhibit especially draws on the aesthetics of Inuit femininity and beauty, with a hyperfocus on tunniit (tattoos), intricate braids, and ivory-carved women’s combs. Like most Inuit artists living today, Germaine was born and grew up during a tumultuous period of Inuit settlement. It was the erasure of Inuit traditions, like the practice of women’s tattoos, that inspires some of her work. Some of her earlier works, such as Tattoo Lady (1999), may have even sparked the interest in traditional tattoo revitalization seen in young Inuit across the Arctic.