Permanent Mission of Canada to the OAS

Permanent Mission of Canada to the OAS Official page of the Permanent Mission of Canada to the OAS

05/27/2021
02/18/2021

On February 15, 58 nations around the world launched the declaration against #ArbitraryDetention in State-to-State relations in a show of solidarity against a practice puts people who live, work and travel abroad at risk.

For more info visit: http://ow.ly/ysM150DE3eL

Why is Canada against #ArbitraryDetention in state-to-state relations?➡️ it puts people who work, live and travel abroad...
02/16/2021

Why is Canada against #ArbitraryDetention in state-to-state relations?

➡️ it puts people who work, live and travel abroad at risk.
➡️ It violates individual #HumanRights
➡️ It undermines trust between countries
➡️ It erodes the rules-based international order

Why is Canada against #ArbitraryDetention in state-to-state relations?

➡️ it puts people who work, live and travel abroad at risk.
➡️ It violates individual #HumanRights
➡️ It undermines trust between countries
➡️ It erodes the rules-based international order

02/15/2021

Today, 58 countries stood together in solidarity against the unacceptable practice of #ArbitraryDetention in state-to-state relations.

Learn more about the Declaration ➡️ http://ow.ly/fxBG50DABeH

Today, countries from around the world are coming together to denounce the violation of #HumanRights for diplomatic gain...
02/15/2021

Today, countries from around the world are coming together to denounce the violation of #HumanRights for diplomatic gain.

Canada stands against #ArbitraryDetention in State-to-State relations.

http://ow.ly/Bq5o50DAA8t

Today, countries from around the world are coming together to denounce the violation of #HumanRights for diplomatic gain.

Canada stands against #ArbitraryDetention in State-to-State relations.

http://ow.ly/Bq5o50DAA8t

LIVE SOON 🎥 Hear from Canada and partners from all over the world on arbitrary detention of foreign nationals. It impact...
02/15/2021

LIVE SOON 🎥 Hear from Canada and partners from all over the world on arbitrary detention of foreign nationals. It impacts #HumanRights and puts citizens of all countries at greater risk.

Together we stand against #ArbitraryDetention in State-to-State relations.

LIVE SOON 🎥 Hear from Canada and partners from all over the world on arbitrary detention of foreign nationals. It impacts #HumanRights and puts citizens of all countries at greater risk.

Together we stand against #ArbitraryDetention in State-to-State relations.

01/11/2021

Daphne Odjig (b. 1919, d. 2016, Manitoulin Island)
Thunderbird Woman, 1973
Silkscreen / sérigraphie
OAS AMA | Art Museum of the Americas
Gift of the Canada Council for the Arts

“We acknowledged and supported each other as artists when the world of fine art refused us entry…Together we broke down barriers that would have been so much more difficult faced alone.” – Daphne Odjig

To introduce this series of Canadian artists and artworks in the AMA’s collections, Daphne Odjig’s Thunderbird Woman speaks to the resilience and strength of Indigenous peoples in general, and Indigenous women in particular. Odjig describes the thunderbird as “a spirit of protection and guardianship,” which she places in her art “to symbolically suggest the role of the guardian spirit.”

Odjig, born of Odawa, Potawatomi and English heritage in 1919, has been described as “one of Canada’s most celebrated Aboriginal painters and printmakers.” Her long career has explored social justice themes through diverse media and styles, innovating Cubist and Surrealist methods and contributing significantly to the Woodland School of Art.

Thunderbird Woman demonstrates the strong linework and bold colour that has characterized her work as part of the Woodlands School. This method intentionally connects her work with other artists working in Anishinaabeg traditional style, and speaks to her career-long advocacy for Indigenous political causes. This iconic artwork has been reproduced as a large-scale mural in Winnipeg, as part of what the Winnipeg Art Gallery’s curator of Indigenous and contemporary art Jaime Isaac has described as “a decolonizing gesture.”

Nous nous sommes reconnus et soutenus les uns les autres en tant qu’artistes quand le monde des beaux-arts nous a refusé le droit d’entrer […] Ensemble, nous avons fait tomber les barrières, ce qui aurait été beaucoup plus difficile si nous les avions affrontées chacun de notre côté. – Daphne Odjig

Nous commençons la présentation de cette série d’artistes et d’œuvres du Canada tirées des collections de l’AMA par la sérigraphie Thunderbird Woman de Daphne Odjig. Celle-ci témoigne de la résilience et de la force des peuples autochtones en général, et des femmes autochtones en particulier. L’artiste décrit l’oiseau-tonnerre comme un « esprit de protection et de garde, qu’elle insère dans ses œuvres pour « suggérer symboliquement le rôle de l’esprit protecteur.

Daphne Odjig, une artiste aux racines odawas, potawatomies et anglaises, est née en 1919. Elle a été décrite comme l’une des « peintres et graveuses autochtones les plus célébrées du Canada ». Durant sa longue carrière, elle a exploré des thèmes liés à la justice sociale grâce à différentes techniques et à différents styles, en repoussant les frontières des méthodes cubistes et surréalistes, et en contribuant de façon importante à l’école de Woodland.

Thunderbird Woman est typique des traits énergiques et des couleurs audacieuses qui caractérisent les œuvres qui s’inscrivent dans l’école de Woodland. Cette méthode crée des liens intentionnels avec d’autres artistes du style traditionnel anishinaabeg, et témoigne des causes politiques autochtones qu’elle a défendues tout au long de sa carrière. Cette œuvre légendaire a été reproduite à large échelle sur une murale de Winnipeg, dans le cadre de ce que Jaime Isaac, commissaire de l’art autochtone et contemporain au Musée des beaux-arts de Winnipeg, a qualifié de « geste pour la décolonisation.

https://www.facebook.com/media/set/?vanity=AMAmuseum&set=a.4205009182846550

Canada Council for the Arts | Conseil des arts du Canada
Canada Council Art Bank / Banque d'art du Conseil des arts du Canada Permanent Mission of Canada to the OAS

01/11/2021

Rita Letendre (b. 1928, Drummondville)
Twilight Phase I, 1971
Silkscreen / sérigraphie
OAS AMA | Art Museum of the Americas
Gift of the Canada Council for the Arts

The second work in this series is Rita Letendre’s Twilight Phase I. Letendre, born in 1928 to Abenaki and Quebecois parents, has been described by the Art Gallery of Ontario as “one of the most eminent living abstract artists.” Her long career has been characterized by dramatic, abstract contrasts of dark and light, with emphasis on hard and soft painted edges. Her innovative style led her to exhibit and work alongside influential groups such as Les Automatistes and Les Plasticiens, often as the sole woman and Indigenous person in group shows. As part of these avant-garde Quebec-based movements, Letendre has sought to create new visual vocabularies that broke free of the constraints of representational art-making practices.

Although Letendre’s work varied over the course of her career, her primary interest has been in creating painted surfaces that express creative energy through the use of pure line, colour, and shape. Works such as Twilight Phase I use a hard-edged approach, although her other works have incorporated more vigorous brushstrokes, drawn lines, and hazy airbrush effects as a means of expressing a sense of movement, space, and tension.

La deuxième œuvre de cette série est Twilight Phase I de Rita Letendre. Née en 1928 de parents abénakis et québécois, Rita Letendre a été décrite, par le Musée des beaux-arts de l’Ontario, comme « l’une des artistes abstraites les plus éminentes qui vit toujours ». Sa longue carrière se caractérise par des contrastes dramatiques et abstraits entre l’ombre et la lumière, avec un accent mis sur les arêtes peintes, parfois très tranchées, parfois plus douces. Son style novateur l’a menée à présenter des expositions et à travailler avec des groupes d’influence comme les Automatises et les Plasticiens, groupes au sein desquels elle était souvent la seule femme et la seule personne autochtone. En tant que membre de ces mouvements avant-gardistes québécois, Rita Letendre cherchait à créer de nouveaux vocabulaires visuels qui se libéraient des contraintes des pratiques artistiques figuratives.

Bien que les œuvres de Rita Letendre aient varié au fil de sa carrière, ses grands champs d’intérêt ont toujours été la création de surfaces peintes qui expriment une énergie créative grâce à la ligne pure, à la couleur et à la forme. Des œuvres comme Twilight Phase I emploient une approche hard-edge, mais d’autres de ses œuvres intègrent des coups de pinceau plus vigoureux, des lignes dessinées et des effets aérographiques brumeux pour exprimer un sens du mouvement, de l’espace et de la tension.

Canada Council for the Arts | Conseil des arts du Canada
Canada Council Art Bank / Banque d'art du Conseil des arts du Canada
Permanent Mission of Canada to the OAS

#AMAatHome #AMAenCasa #30YearsofCanada

01/11/2021

Joyce Wieland (b. 1931, d. 1998, Toronto)
Soroseelutu Cape Dorset, 1977
Lithograph / lithographie
OAS AMA | Art Museum of the Americas
Gift of the Canada Council for the Arts

Joyce Wieland is a renowned Canadian feminist visual artist and filmmaker, with a long career in socially-engaged art practice. Described by the National Gallery of Canada as “an icon of Canadian art history,” Weiland produced work that critiqued the structural sexism of Canadian (and global) media, cultural institutions, and social norms. Challenging the supposed distinction between “high art” and “craft” practices, Weiland’s ground-breaking 1971 exhibition, True Patriot Love, uses collaboratively produced domestic materials such as quilts, cake decoration, scrapbooking, and tapestries to subversively engage in debates around national identity.

Wieland’s work in the 1970’s, such as this lithograph, engaged deeply with how Canada understood itself, and how non-Canadians understood Canada. In this work, Wieland depicts an influential Cape Dorset based Inuit artist, Soroseelutu Ashoona. By paying homage to the lithographic techniques and visual style developed by Inuit artists during this timeframe, Wieland draws attention to an underrepresented community and the artists within it producing innovative artwork in a co-operative, collaborative working environment. In doing so, Weiland challenges the expectations set out by the predominantly white male art establishment she sought so consistently to critique.

Joyce Wieland est une artiste en arts visuels et cinéaste canadienne renommée. Féministe, elle a connu une longue carrière engagée. Décrite comme une « icône de l’art canadien » par le Musée des beaux-arts du Canada, elle a produit des œuvres critiquant le sexisme structurel des médias canadiens (et mondiaux), des institutions culturelles et des normes sociales. Contestant la distinction qui existe supposément entre les « arts nobles » et les pratiques « artisanales », son exposition novatrice True Patriot Love (1971) employait des objets domestiques, comme des courtepointes, des décorations de gâteaux, des collimages et des tapisseries, pour faire naître, de façon subversive, des débats autour de l’identité nationale.

Les œuvres créées par Joyce Wieland dans les années 1970, comme cette lithographie, ont eu une grande incidence sur la façon dont le Canada s’est perçu lui-même, et sur la manière dont les autres peuples ont compris le Canada. Dans cette œuvre, Joyce Wieland représente une artiste inuite de Cape Dorset, Soroseelutu Ashoona. En rendant hommage aux techniques lithographiques et au style visuel mis au point par les artistes inuits de cette époque, Joyce Wieland attire l’attention sur une communauté sous-représentée et ses artistes, qui produisent des œuvres de façon coopérative et collaborative. De ce fait, elle remet en question les attentes établies par l’establishment, majoritairement blanc et masculin, qu’elle visait constamment à critiquer.

#AMAatHome #AMAenCasa #30YearsofCanada

01/11/2021

Pierre Ayot (b. 1943, d. 1995, Montreal)
Pailles à boire, 1973, CARCC
Silkscreen and moulded plastic / sérigraphie et plastique en relief
OAS AMA | Art Museum of the Americas. Gift of the Canada Council for the Arts

Pierre Ayot’s Pop Art-inspired practice reframes objects and images typically considered to be commonplace. By distorting these images or incorporating unexpected materials into his artwork, Ayot’s work asks the viewer to rethink their expectations of what constitutes art, beauty, or worthy subject matter.

Perhaps best known for the controversy regarding his large-scale outdoor sculpture La Croix du Mont Royal which featured a full-sized reproduction of Montreal’s famed cross tilted on its side, Ayot’s work takes its inspiration from everyday imagery, repurposed so that it may be appreciated in new and unexpected ways.

In Pailles à boire, Ayot has combined silkscreen with real plastic drinking straws, arranged in a cascading, abstract pattern. Both silkscreen and plastic manufacture are large-scale forms of production, and yet, one is considered an art form, and the other, merely waste. This artwork challenges us to rethink this apparent difference.

Even though this artwork was created in the early 1970’s, this question is more relevant now than ever, with debates arising worldwide around pollution and single-use plastic waste. By repurposing disposable plastic straws as an art-making material, Ayot’s work challenges our understanding of not just the trash we see every day, but also, art itself.

La pratique inspirée du pop art de Pierre Ayot réinvente des objets et des images normalement considérés comme banals. En déformant ces images ou en y incorporant des matériaux inattendus, l’artiste incite l’observateur à repenser ses attentes sur l’art, la beauté et les sujets dignes d’intérêt.

Surtout connue pour la controverse entourant la grande sculpture extérieure La Croix du Mont-Royal, une reproduction en taille réelle de la fameuse croix montréalaise couchée sur le côté, l’œuvre de Pierre Ayot s’inspire de l’imagerie quotidienne, reconvertie pour être appréciée de façons nouvelles et inattendues.

Dans Pailles à boire, l’artiste combine la sérigraphie et de véritables pailles de plastique, organisées selon un motif abstrait en cascade. Tant la sérigraphie que le plastique sont des formes de production à grande échelle, et pourtant, on considère la première comme une forme d’art, et le deuxième comme un simple déchet. Cette œuvre nous encourage à repenser cette distinction apparente.

Bien que cette œuvre ait été créée au début des années 1970, la question est plus pertinente que jamais, avec les débats mondiaux autour de la pollution et des plastiques à usage unique. En réutilisant des pailles jetables comme matériau artistique, l’œuvre de Pierre Ayot remet en question notre compréhension des rebuts que nous voyons chaque jour, mais aussi de l’art lui-même.

Canada Council for the Arts | Conseil des arts du Canada
Canada Council Art Bank / Banque d'art du Conseil des arts du Canada
Permanent Mission of Canada to the OAS

#AMAatHome #AMAenCasa #30YearsofCanada

Today, Min Gould spoke about our feminist approach to sexual and reproductive health and rights during IPPF’s event to c...
12/10/2020

Today, Min Gould spoke about our feminist approach to sexual and reproductive health and rights during IPPF’s event to commemorate international #HumanRightsDay. #16days

The #COVID19 pandemic has meant that millions of women and girls 👩‍👧 around the world face barriers for their sexual and reproductive health and rights. 🇨🇦 remains committed to supporting their access to health services, the right to choose and to bring new voices into the conversation. #16days

Today, Min Gould spoke about our feminist approach to sexual and reproductive health and rights during IPPF’s event to commemorate international #HumanRightsDay. #16days

The #COVID19 pandemic has meant that millions of women and girls 👩‍👧 around the world face barriers for their sexual and reproductive health and rights. 🇨🇦 remains committed to supporting their access to health services, the right to choose and to bring new voices into the conversation. #16days

Statement by Minister of Foreign Affairs and Minister of International Development on Human Rights Day http://ow.ly/q07Q...
12/10/2020

Statement by Minister of Foreign Affairs and Minister of International Development on Human Rights Day http://ow.ly/q07Q50CHUtm

Statement by Minister of Foreign Affairs and Minister of International Development on Human Rights Day http://ow.ly/q07Q50CHUtm

12/09/2020
Canada’s International Development – Global Affairs Canada

With Ethiopian schools closed as a result of #COVID19, young girls are more likely to be forced by their families into marriage.

Let
Girls
Be
Girls.

➡️ ow.ly/djac30rnOzr

#16Days #OrangeTheWorld #CanadaAid

With Ethiopian schools closed as a result of #COVID19, young girls are more likely to be forced by their families into marriage.

Let
Girls
Be
Girls.

➡️ ow.ly/djac30rnOzr

#16Days #OrangeTheWorld #CanadaAid

12/08/2020
Canada’s International Development – Global Affairs Canada

Women are at the forefront of #COVID19 as:

🏥 Medical responders
🍼 Caregivers
🤝 Volunteers

This also means women are more vulnerable to violence now than before.

🇨🇦 stands against #GenderBasedViolence. #16Days #CanadaAid

Women are at the forefront of #COVID19 as:

🏥 Medical responders
🍼 Caregivers
🤝 Volunteers

This also means women are more vulnerable to violence now than before.

🇨🇦 stands against #GenderBasedViolence. #16Days #CanadaAid

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