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Guy is a well-known figure in the world of contemporary art, especially Indigenous contemporary art. But his knowledge and world-views have something of moves our humanity, and he reaches beyond his many labels (as independant curator, art critic, sociologist, and performer). «My role is to fracture all that, let's go walk in the woods, let us replenish on other things, and above all, I'm wondering now: what would be the real concepts, the true notions to define Amerindian imaginary art, in an Amerindian way.» To learn even more about his work, you can visit his website. If I had to resume his thought in one sentence, it would probably be this one: "Thinking in action".
Who are you and what do you do?
«I am a Sioui, I am member of the wolf clan, and I am part of the longhouse in Kwenwinrak, the ceremonies. That's regarding my heritage, my anchoring as a Wendat. I have a PhD in sociology, I am an independent curator of exhibitions in the world of visual arts. I am theorist of Amerindian art, of contemporary art, I am a lecturer-performer, and I also have been teaching for five years at the only educational institution entirely Indigenous on a reservation, the institution Kiuna in Odanak.»
Through your work, your journeys and your encounters, how do you see cultural re-appropriation unfolding? How does it become reality, and part of people's daily lives?
«For me, it's as if I had moved beyond these words and these categories which are not mine... it's words which come from society that try to be imposed upon us: reconciliation, re-appropriation. For me, the word that comes and that I will share with you, it's affirmation. First, it's positive. Second, it means that an inner work is done. I affirm to be a Wendat, I affirm a particular vision, a particular understanding and explanation for example, of contemporary Indigenous art.»
What are today's paradigms of Indigeneity?
«We are moving beyond old categories of the invented Indian, the constructed Indian, all of these. At the time where there is a planetary counciousness for the survival of the Earth. We are re-discovering that there were groups and peoples, who had visions which might still have a relevant message today. And from there, we are discovering again a lot of this pressure on the Amerindian, on his struggles.»
How do you see the future of young First Nations in Quebec and Canada?
«We notice how, in a bit less than three years, there is this incredible interest for the revitalization of languages, of dances, of songs. So there is a un futur, whether we want it or not, it's not going towards *extinction*. But there is a great challenge, for those who live in cities.»
And what about Indigenous women?
«Before conquest, before colonization, before enforcing values that you know as well, women have always been at the center of everything.» «I welcome transition when it arrives, and I'm going to give you an example. Urban Indigenous women have started to play the drums, Among elders, it's inconceivable that women play drums, but I see here an evolution.»
What would be your message to the youth?
«There is a great challenge, for those staying in cities. Now comes a young generation, who might get rid of their inhibitions easier than before, who is more guts. The danger is that there is a heritage, a legacy, a wisdom, (...) that they don't forget all these connections.»
Guy presenting the arrow of time at the closing conference of RIAPA ~ Rassemblement Internations d'Art Performance Autochtone, in La Chambre Blanche, Québec (September 2018). «Changing the world through art, changing art through Indigenous art, and changing Indigenous art through Indigenous performative art.»