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"Moving the museum : indigenous & Canadian Art at the AGO documents the reopening of the J.S. McLean Centre for Indigenous & Canadian Art with a renewed focus on the AGO's Indigenous art collection. The volume reflects the nation to nation treaty relationship that is the foundation of Canada, asking questions, discovering truths, and leading conversations that address the weight of history. Lavishly illustrated with more than 100 reproductions, Indigenous & Canadian Art at the AGO features the work of First Nations artists--including Carl Beam, Rebecca Belmore, and Kent Monkman--along with work by Inuit artists like Shuvinai Ashoona and Annie Pootoogook. Canadian artists include Lawren Harris, Kazuo Nakamura, Joyce Wieland, and many others. Drawing from stories about our origins and identities, the featured artists and essayists invite readers to engage with issues of land, water, transformation, and sovereignty and to contemplate the historic representation of Indigenous and Canadian art in museums. Contains a list of works at the back."--

This volume is the first in a new series of editions of Coptic-language "magical" manuscripts from Egypt, written on papyrus, ostraca, parchment, and paper, and dating to between the fourth and twelfth centuries CE. Their texts attest to non-institutional rituals intended to bring about changes in the lives of those who used them - heal disease, curse enemies, bring about love or hatred, or see into the future. These manuscripts represent rich sources of information on daily life and lived religion of Egypt in the last centuries of Roman rule and the first centuries after the Arab conquest, giving us glimpses of the hopes and fears of people of this time, their conflicts and problems, and their vision of the human and superhuman worlds. This volume presents 37 new editions and descriptions of manuscripts, focusing on formularies or "handbooks", those texts containing instructions for the performance of rituals. Each of these is accompanied by a history of its acquisition, a material description, and presented with facing text and translations, tracings of accompanying images, and explanatory notes to aid in understanding the text

Cover -- Aki-wayn-zih -- Title -- Copyright -- Dedication -- Contents -- Figures -- Prologue -- PART ONE Anishinaabay Kih-kayn-daa-soh-win (Anishinaabay Knowledge) -- 1 Introduction -- 2 O-way nih-ta-tih-bah-chi-moh-win-naan (Our story) -- 3 Pih-mah-tis-sih-win (The stages of life) -- 4 Nih-taa-wih-gih-win noo-pih-meeng (Born in the bush) -- PART TWO Ish-poh too-kin-nih-goh-yung (Before contact) -- 5 An-dah-way-jih-gay-win pih-maa-tis-sih-win (Hunting and gathering society) -- 6 Kih-chi Zii-bii (Albany River) -- 7 Nin-gee-pah-maa-zha-gay-min (We walk along the shore)

Momentography of a failure brings essays, timelines, film, photography, and a series of conversations together to deal with Ethiopia's controversial urbanisation and the transformative space of the city. It explores the gradual transition of rural-urban space, inner-city migration, emerging and disappearing spaces, and commoning in public space. Momentography of a failure is established at the verge of a hyper-documented world, a hybrid space of digital sociability. While the media production, its reception, and distribution was pluralized by digitization, practices such as "media-sharing" and "citizen journalism" established new conditions for visibility, reinvented the authorial image, and promoted yet another dematerialization of authorship. The author camouflages in the cloud(s). Adoption, appropriation, and recycling are standardized. Authorship becomes secondary to content and alternative models of authorship are formulated: co-authoring, collaborative creation, interactivity, and strategic anonymity, in which cultural activism is reinforced. Momentography of a failure sets out on this point and draws up a multidisciplinary artistic and urban research platform that calls for practicing forms of participatory citizenship through collaborative thinking, creation, and reflection. Momentography of a failure is a network of artists, urbanists, writers, and activists that stand where aesthetic-artistic practice and sociopolitical activism come together to explore failure--and its various realities--and claim, reaffirm, and dream alternatives

GchiMiighwech --Chapter 1.Nishnaabeg Resurgence: Stories from within --Gaawiin Nda-gajsii, We Are Not Shameful --A Flourishment of the Indigenous Inside --Aanji Maajitaawin, the Art of Starting Over --Chapter 2.Theorizing Resurgence from within Nishnaabeg Thought --Gwiinmaagemi Gdi-dbaajimowinaanin, We Tell Stories --Grandmother Teachings --Our Theory is Personal --Embodied Knowledge, Unlimited Intelligence --Chapter 3.Gdi-Nweninnaa: Our Sound, Our Voice --Biskaabiiyang --Aanjigone --Naakgonige --Debwewin --Gdi-nweninaa --Chapter 4.Niimtoowaad Mikinaag Gijiying Bakonaan (Dancing on Our Turtle's Back): Aandisokaanan and Resurgence --Chibimoodaywin --Re-creation: Niimtoowaad Mikinaag Gijiying Bakonaan (Dancing on Our Turtle's Back) --Waynabozhoo and the Great Flood --Resurgence, Wiindigo and Gezhizhwazh --Nanabush Stories --Ninaatigoog --Chapter 5.Building Like a Beating Heart: A Society of Presence --Transmotion, Emergence and Mobilization --Nishnaabeg Society: A Society of Presence --Bubbling Like a Beating Heart --Creating Decolonized Time and Space --Chapter 6.Resurgence in Our Political Relationships --Echoes from the Past --Breastfeeding and Treaties --Gchi-dbaakgonigewin --Dewe'igan, the Heartbeat of the Nation --Gdoo-naaganinaa, Our Dish --Gdoo-naaganinaa in Contemporary Times --Chapter 7.Protecting the First Hill: Nurturing Eniigaanzid in Children --Aabawaadiziiwin --The Four Hills of Life --Kokum Dibaajimowinan --Leading by Following: The Seven Stages of Life --Protecting the First Hills of Life --Nengaajgchigewin in Parenting --Zhinoomoowin: Modeling and Learning by Doing --Aanjigone in Parenting --Nurturing Leaders for Resurgence --Chapter 8.Shi-Kiin: New Worlds --Stone's Throw --Shki-kiin: New Worlds --Grounding Resurgence in Our Hearts --Index.