kadist.org
The work of Nadia Myre, member of the Kitigan Zibi Anishinabeg First Nation, is notable for its embrace of cross-cultural mediations as a strategy towards celebrating and reclaiming the far-reaching intellectual and aesthetic contributions of Indigenous communities. Concerned with the specificities of the Anishinabeg as well as pan-Indigenous experiences of loss and resilience and the struggle for healing and reclamation — though not necessarily reconciliation — Myre’s research and material practices examine the languages of power inherent in the mechanisms of museum display formats and their resulting production (and erasure) of knowledge. Reclaiming historical objects and archival documents like the Canadian Federal Government’s Indian Act through re-creation via traditional means such as communal weaving and beading circles, Myre’s artistic work initiates timely discussions regarding Indigenous rights and futures. In wider terms, the artist’s approach also provokes reflection on the role of object-centred scholarship and craft production within visual arts practice, testing the boundaries of how material history and craft are understood and positioned within established, rarefied contexts of artistic display. https://kadist.org/people/nadia-myre/
canadian encyclopedia
Nadia Myre, visual artist of Aboriginal ancestry (born in 1974 in Montréal, Québec). Nadia Myre is a multidisciplinary artist whose practice draws its inspiration from the audience’s participation, as well as from recurring themes of identity, language, desire and loss. She is very active on the Canadian art scene and participated in the Biennale of Sydney in 2012 and the Shanghai Biennale in 2014, the same year that she received the Sobey Art Award…. https://www.thecanadianencyclopedia.ca/en/article/nadia-myre
fonderie darling.org
Nadia Myre is driven by a need to communicate something profoundly human, and in her practice she addresses issues related to desire, loss, resilience, and knowledge. Her research interests are ethnological, sociological, and political, even as she integrates an exploration of the formal aspect of artworks. Her process, sometimes collaborative, is guided by a need to redefine herself as a woman of Algonquin descent: she is inspired by the issues of displacement, both geographical and cultural, of Indigenous communities and their struggle for recognition.
The artist receives generous support from the Montreal Museum of Fine Arts (2016-17) and Quebecor (2018)…