- France Trépanier is a visual artist, curator and researcher of Kanien’kéha:ka and French ancestry. Her practice is in... moreFrance Trépanier is a visual artist, curator and researcher of Kanien’kéha:ka and French ancestry. Her practice is informed by relational aesthetics and the use of strategies of collaboration. Sometimes, the public is invited to intervene and transform the artwork. Sometimes it is within the creative process itself that the collaboration is anchored. Her artistic and curatorial work has been presented in many venues in Canada and in France. Her artworks are included in various public and private collections, including the Museum of Civilization in Quebec, the Aboriginal Art Collection of Aboriginal Affairs and Northern Development Canada and the Banff Centre Art Collection.
She is currently the Aboriginal curator in residence at Open Space Arts Society in Victoria BC, where she is curating the Awakening Memory Project and leading the Indigenous Youth Arts Program. She was recently selected by the Canada Council for the Arts to be part of 2015 First Nations Curators Exchange held in Brisbane, Australia. France was the co-recipient of the 2012 Audain Aboriginal Curatorial Fellowship by the Art Gallery of Greater Victoria. France is also an Indigenous arts educator at Camosun College.
France is co-chair of the Aboriginal Curatorial Collective and co-chair of the Indigenous Program Council at the Banff Centre. She also is a member of the Aboriginal Education Council at OCADU in Toronto.
France worked at the Canada Council for the Arts before becoming a Senior Arts Policy Advisor for the Department of Canadian Heritage. She held a diplomatic post as First Secretary, Cultural Affairs at the Canadian Embassy in Paris. She directed the Centre for New Media at the Canadian Cultural Centre in Paris. France was also the co-founder and Director of the artist-run center Axe Néo-7 in Gatineau, Quebec.edit
Research Interests: Art History, Indigenous or Aboriginal Studies, Indigenous Languages, Colonialism, Francophone Canada, and 12 moreAboriginal Art, Aboriginal history in Canada, Indigenous Peoples, Québec Studies, Contemporary Indigenous Arts, First Nations of Canada, Bilingualism and Multilingualism, Bilingualism, Canadian and Quebec Politics, Urban Aboriginal Art, First Nations Art and Culture, and First Nations art studies
Indigenous Governance Model
Research Interests: Indigenous or Aboriginal Studies, Indigenous Knowledge, Indigenous Peoples, Contemporary Indigenous Arts, Good Governance, and 3 moreAboriginal Studies, Environmental justice, global sustainability, Environmental Politics and Governance, Indigenous Knowledge Systems, Education for Sustainable Development, Environmental Sustainability. Global Development and Environmental Protection, and Indigenous arts
A conversation on how making space for the personal and spiritual in our secular Canada is a political act, especially in the context of reconciliation and recent attacks on Muslim communities. This collaborative exchange between Farheen... more
A conversation on how making space for the personal and spiritual in our secular Canada is a political act, especially in the context of reconciliation and recent attacks on Muslim communities. This collaborative exchange between Farheen HaQ and France Trépanier took place over a period of four weeks, while Farheen was travelling and working in India.
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E-catalogue & curatorial essay for the exhibition The Time of Things presented at the Comox Valley Art Gallery. Design by Angela Somerset.
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The Continuum of Indigenous Customary Practice into Contemporary Art - Curatorial essay for the exhibition presenting the work of Daphne Boyer, Maureen Gruben, Susan Pavel, Skeena Reece and Marika Echachis Swan.
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In Canada, Aboriginal artists who are Francophones are almost invisible. They exist in the margin of Canadian culture. In Québec, they are mostly absent from arts institutions. They are also marginalized within the Indigenous art world... more
In Canada, Aboriginal artists who are Francophones are almost invisible. They exist in the margin of Canadian culture. In Québec, they are mostly absent from arts institutions. They are also marginalized within the Indigenous art world where the lingua franca is generally English. The colonial project has imposed, sometimes quite violently, the usage of French and English. Today, communications between Indigenous nations are essentially conducted in one of the two colonial languages. In an Aboriginal context, the notion of bilingualism implies the revitalization of ancestral languages and the usage of one colonial language. This essay analyses this situation and proposes possible actions.
Research Interests: Art History, Indigenous or Aboriginal Studies, Indigenous Languages, Colonialism, Francophone Canada, and 12 moreAboriginal Art, Aboriginal history in Canada, Indigenous Peoples, Québec Studies, Contemporary Indigenous Arts, First Nations of Canada, Bilingualism and Multilingualism, Bilingualism, Canadian and Quebec Politics, Urban Aboriginal Art, First Nations Art and Culture, and First Nations art studies
In the spring of 2005, the Official Languages Support Programs Branch (OLSPB) of Canadian Heritage began organizing a conference on racial and cultural diversity for Francophones within Canada. The idea was to bring together... more
In the spring of 2005, the Official Languages Support Programs Branch (OLSPB) of Canadian Heritage began organizing a conference on racial and cultural diversity for Francophones within Canada. The idea was to bring together French-speaking Aboriginal communities, settler communities and racial minority communities so they could share their thoughts about the future of the Canadian Francophonie. This paper reports on the Diversity and Francophonie conference which brought about outstanding communication. It allowed people to reach out to one another and establish a dialogue based on respect for differences. Beyond indifference or tolerance, beyond welcoming, inclusion or integration strategies, diversity remains first and foremost a question of mutual transformation when coming in contact with one another.
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Étude réalisée pour le compte du Conseil des Arts du Canada
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Curatorial essay for the exhibition of the prints of Alanis Obomsawin.
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Essai pour l'exposition des estampes de la cinéaste Alanis Obomsawin
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Final Report for Aboriginal Leadership and Management, Banff Centre, Alberta, Canada
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Session Report for the Aboriginal Arts Leadership & Management, Banff Centre, Alberta.
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Étude réalisée pour le compte de Réseau-Femmes Colombie-Britannique
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Rapport de conférence pour le compte du Ministère du Patrimoine canadien
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Essay dans le catalogue d'exposition Mi'kwite'tmn (Vous souvenez-vous)
de l'artiste Ursula Johnson, publié pas la Galerie d’art de l’Université Saint Mary’s
de l'artiste Ursula Johnson, publié pas la Galerie d’art de l’Université Saint Mary’s
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Essay in the catalogue of the exhibition Mi'kwite'tmn (Do You Remember) by artist Ursula Johnson