IROQUOIS 75 On the Trails of the Iroquois is accompanied by a 264- page catalog with contributions by European, Canadian, American, Iroquois, and other indigenous authors, published in a German and an English version by Nicolai Berlin. Unfortunately, the English version is presently not being distributed in North America. But since there is considerable interest, especially on the part of those Iroquois who were able to see it in Germany, to bring the show to a venue in North America after it closes in Berlin, there is still hope that the problem with the distribution of the catalog will ultimately be solved and that the show will be able to continue its tour to be seen by American and Canadian audiences. On the Trails of the Iroquois Through August 4, 2013 Kunst- und Ausstellungshalle, Bonn www.bundeskunsthalle.de October 18, 2013–January 6, 2014 Martin-Gropius-Bau, Berlin www.Martin-Gropius-Bau.de traditional political system of the Iroquois and to force their assimilation into the dominant society, Iroquois traditionalism and resistance markedly increased in the twentieth century. The Kinzua Dam controversy of the 1960s, which forced the relocation of hundreds of Seneca, and the Oka Crisis of 1990, a violent land dispute between the Mohawk and the government of Quebec, are but two examples featured in the exhibition’s final section, “Autonomy and Activism.” The articulation of Iroquois identity in the context of a prevailing cultural and political pluralism, in which representatives of divergent viewpoints invoke “tradition” to argue their specific goals, is vividly illustrated by the works of Iroquois contemporary artists expressing the hopes and fears about the present and the future while acknowledging the heavy “baggage that is passed to us from past experiences and from past generations.” An Iroquois longhouse, the symbol of the Iroquois League, has been built in front of the museum in Bonn. It is inspired by the reconstruction of one at Ganondagan State Historic Site in Victor, New York, but this one is covered with bark from the forests of Slovenia. It is probably the only such building outside Iroquoia and it has already created buzz in social media (once known as the moccasin telegraph). FIG. 20: Caroline Parker (1824–1892), Seneca (attributed), woman’s skirt. Tonawanda Reservation, New York. 1850. Woolen cloth, silk, glass beads. 57 x 59 cm. Rochester Museum and Science Center, Rochester, NY, cat. no. 70.89.61 (Lewis Henry Morgan Collection). FIG. 21: Florence, Rebecca, Luz, and Salli Benedict, with contributions by Ernest Benedict and Kevin Lazore (Mohawk), Globe Basket: Striped Gourd. Akwesasne, New York, U.S.A., 2006. Black ash splints, sweetgrass. 34.5 x 32.5 cm. New York State Museum, Albany, NY, cat. no. E2007.12.01 A, B.
I-IVCoverT68 E_CoverF Vuvi
To see the actual publication please follow the link above