ᓴᕐᖀᒋᐊᓪᓚᓂᖅ: ᐸᑎᒃᑎᒐᓕᐅᕐᓂᖅ ᓄᓇᕕᒻᒥ (2014-2019) | Revival: Printmaking in Nunavik (2014-2019)

ᐱᒋᐊᕐᑎᓯᒋᐊᓪᓚᓂᖅ ᐃᒥᐊᔪᖅ ᐱᒋᐊᕐᑎᑕᐅᒋᐊᓪᓚᓂᖓᓂᒃ ᐸᑎᒃᑎᒐᓕᐅᕐᓂᐅᑉ 

ᐱᒋᐊᕐᑎᑕᐅᓚᐅᕐᓯᒪᔫᑉ ᐅᔭᕋᓐᓂᒃ ᐊᑐᕐᓱᑎᒃ ᐳᕕᕐᓂᑐᒥ 1961-ᖑᑎᓪᓗᒍ, 

ᑕᑯᑦᓴᐅᑎᑦᓯᓱᓂᓗ ᐅᓪᓗᒥ ᐅᑎᕐᑎᑕᐅᒋᐊᓪᓚᓯᒪᓂᖓᓂᒃ ᐸᑎᒃᑎᒐᓕᐅᕐᓂᐅᑉ, 

ᐊᑑᑎᒍᓐᓇᓯᑎᑕᐅᑦᓱᓂ ᓕᓐ ᐸᔅᑎᐊᓐᒧᑦ ᒫᑭ ᓇᐹᕐᑐᒧᓪᓗ ᐊᕐᕕᑕᖃᑦᑕᓱᑎᒃ 

ᓄᓇᓕᓐᓄᑦ ᐃᓕᓐᓂᐊᑎᑦᓯᒋᐊᕐᑐᓱᑎᒃ ᓄᓇᕕᒻᒥ 2014-ᒥᓂᑦ. ᐳᕕᕐᓂᑐᒥ 

ᓴᓇᔭᐅᓯᒪᔪᑦ ᐆᒪᔪᖕᖑᐊᕙᓪᓗᐃᑦ ᐊᒻᒪᓗ ᐃᓄᑐᐃᓐᓀᑦ ᐱᕐᖁᓯᑐᖃᖏᓐᓂᒃ 

ᑕᑯᑦᓴᐅᑎᑦᓯᓱᑎᒃ ᐃᓚᐅᕐᑐᓯᒪᖕᖏᑐᓂᒃ. ᐅᓪᓗᒥ ᐊᕐᕌᒍᐃᑦ ᐊᕙᑎᑦ ᐱᖓᓲᔪᕐᑐᑦ 

ᐊᓂᒍᕐᓯᒪᓕᕐᑎᓗᒋᑦ, ᐃᓄᑐᐃᓐᓀᑦ ᑕᑯᑦᓴᐅᑎᑦᓯᖏᓐᓇᑐᑦ ᐃᓗᕐᖁᓯᕐᒥᓂᒃ 

ᐱᒻᒪᕆᐅᑎᑦᓯᓂᕐᒥᓂᒃ ᐸᑎᒃᑎᒐᓕᐅᕐᓂᑎᒍᑦ ᓴᕐᕿᑎᑦᓯᓱᑎᒃ. 

ᑖᒃᑯᐊ ᐱᓇᓱᐊᕐᑕᐅᓯᒪᔪᑦ ᐃᓚᖏᑦ ᐅᓂᒃᑳᑐᐊᓂᑦ ᐱᓯᒪᔪᑦ ᐃᓄᑐᐃᓐᓀᑦ ᐊᕙᑎᒥᓂᒃ 

ᐱᒻᒪᕆᐅᑎᑦᓯᓂᖓᓂᒃ ᓴᕐᕿᔮᕐᑎᓯᑦᓱᑎᒃ. ᐃᓚᖏᓐᓂ ᓴᓇᔭᐅᓯᒪᔪᓂ ᐳᕕᕐᓂᑐᒥᐅᑦ 

ᓴᓇᖃᑦᑕᓯᒪᔭᖏᓐᓄᑦ ᐊᑦᔨᒋᔭᐅᒐᓚᑦᑐᑦ. ᐊᓯᖏᓐᓂ ᓴᕐᕿᔮᕐᑎᑕᐅᒻᒥᓱᓂ ᐊᕙᑎᒥᓂᒃ 

ᓄᓇᒥᓂᒃ ᐱᑐᑦᓯᒪᖃᑎᖃᕐᓂᖓ ᐊᑦᔨᒌᖕᖏᑐᑎᒍᑦ. ᐊᓯᖏᓪᓗ ᓴᓇᓯᒪᒻᒥᔪᑦ ᐅᓪᓗᒥ 

ᐃᓅᓯᕆᔭᐅᓕᕐᑐᒥᒃ ᓴᕐᕿᑎᑦᓯᓱᑎᒃ ᐱᕐᖁᓯᑐᖃᕐᒥᓗ. ᑖᒃᑯᐊ ᓴᓇᔭᐅᖃᑦᑕᑐᑦ 

ᓱᓇᒥᑦᓯᐊᓱᒍ ᐃᓚᖓᒍᑦ ᓄᐃᑦᓯᖃᑦᑕᑐᑦ ᓴᕐᕿᑎᑦᓯᓯᐊᓪᓚᕆᑦᓱᑎᒃ ᐃᓗᕐᖁᓯᕐᒥᒃ. 

ᑕᑯᑦᓴᐅᑎᑦᓯᓂᕐᒥᒍᑦ ᓄᓇᒥᓄᑦ ᐊᕙᑎᒥᓄᑦ ᐱᑐᑦᓯᒪᓂᕐᒥᓂᒃ ᐃᓗᕐᖁᓯᕐᒥᓂᒃ 

ᐱᐅᓕᒪᑦᓯᓯᐊᕋᓱᐊᕐᓂᒥᓂᒃ, ᓴᓇᖕᖑᐊᑏᑦ ᐅᑎᕐᑎᓯᒋᐊᓪᓚᓂᖓ ᑕᑯᑎᑦᓯᒍᑎᐅᔪᖅ 

ᐃᓄᑐᐃᓐᓀᑦ ᐊᑦᓱᕉᓚᐅᑎᒋᕙᑦᑕᖏᓐᓂᒃ. ᓯᕗᓪᓕᐅᔭᐅᖁᔭᒥᓂᒃ ᓄᐃᑦᓯᓱᑎᒃ, 

ᐃᓱᒫᓗᒋᔭᖃᕐᓱᑎᒃ ᐅᓪᓗᒥ ᐊᑑᑎᖃᑦᑕᑐᓂᒃ, ᓯᓚᕐᔪᐊᓕᒫᒥᓗ. ᑖᒃᑯᑎᒎᓇ 

ᐱᑐᑦᓯᒪᖃᑎᒌᑦᑐᐃᓇᐅᕗᒍᑦ. 

• ᖁᒪᖅ ᒪᖏᐅᖅ ᐃᔦᑦᑐᖅ, ᒫᑭ ᓇᐹᕐᑐᖅ ᐊᒻᒪᓗ ᓕᓐ ᐸᔅᑎᐊᓐ ᐱᓇᓱᐊᕐᑐᑦ 

Opening Reception: Thursday, April 17, 2025

Revival echoes the beginnings of stonecut printing in Puvirnituq in 1961, and bears witness to the recent resurgence of this art, made possible by Lyne Bastien and Maggie Napartuk through traveling workshops offered in communities across Nunavik since 2014. Puvirnituq prints were simple, unadorned depictions of animals and scenes belonging to traditional Inuit imagery. Now, sixty years later, Inuit artists continue to demonstrate a profound desire to keep their culture alive through their prints. 

Some of these works take inspiration from legends about the intimate and vital relationship between Inuit and their territory. In some of them, the assuredness of the line evokes the same raw approach found in early Puvirnituq stonecut prints. Elsewhere, it is through delicate incisions and a detailed realism that this attachment to the land is expressed. Others

display a fascination with the interpenetration of modernity and tradition. Indeed, several prints represent an artifact out of its usual context. The frontal and almost abstract representation of the subject takes up the entire pictorial space, producing the gripping effect of a cultural icon. 

By consistently emphasizing their attachment to the land and how significant this connection is in preserving their culture, the artists of Revival give us a glimpse into the many wonders and challenges of the Inuit world. Placing as  

they do this relationship at the heart of their priorities, they remain concerned about the upheavals currently affecting their universe, as well as the entire planet. In this, we are all connected. 

-Qumaq M. Iyaituk, Maggie Napartuk, and Lyne Bastien
Guest curators 

Curators: Qumaq M. Iyaituk, Maggie Napartuk, and Lyne Bastien
Curatorial Coordination: Erin Bruce, Isabelle Avingaq Choquette
Curatorial Assistance: Rebecca Basciano
Technical Team: Stephanie Germano, Dan Austin, Rob Keefe, Mark Garland, Neil Hossack, Robert Chester
Graphic Design: Andrée Anne Vien
Translation: Moana Ladouceur 
Didactic Printing: Optima  

Artists:
Mary Adams, Piatsi Ainalik, Cecilia Angnatuk, Elaisa Annahatak, Irrayu Anogak, Maggie Cain, Putulik Ilisituk, Siasi Smiler Irqumia, Lucasi Iyaituk, Mattiusi Iyaituk, Qumaq M. Iyaituk, Jessie Koneak Jones, Eva K. Kasudluak, Sarah Lisa Kasudluak, Passa Mangiuk, Siasi Mark, Maggie Napartuk, Johnny Oovaut, Mary Paningajak, Louisa Pauyungie, Ulaayu Pilurtuut, Manu Qaunaaluk, Aida Qumaluk, Mark Tertiluk, Lisi Maggie Thomassie, Charleen Watt 

This touring exhibition is presented at the Ottawa Art Gallery in collaboration with the Avataq Cultural Institute, with support from the Canada Council for the Arts and Makivvik.

The Ottawa Art Gallery would like to acknowledge the support of the City of Ottawa, the Ontario Arts Council, and the Canada Council for the Arts.