This review essay addresses the complex significance of materiality in From Our Hands, a recent site-specific installation at New York City's 80WSE Gallery produced by Duane Linklater, an Omaskêko Cree artist from Northern Ontario. Situating Linklater's practice as an instance of indigenous institutional critique––an approach that re-functions postconceptual artistic strategies in accordance with the distinct aesthetic, political, and ontological concerns of colonized native populations––the essay examines the ways in which such work might disable longstanding assumptions at a moment when indigenous contemporary art is receiving increased attention. In addition to materiality, the text focuses on a group of qualities with similarly ambiguous meaning; these include durability, “leakiness,” and sincerity. Against the fetishizing or abstracting tendencies of much “new materialist” discourse, it argues that practices like Linklater's enable a more nuanced understanding of environmental racism, nonhuman or transhuman ontologies, and cultural economies organized around indigenous, non-capitalist forms of labor and kinship. Please see the full article at artmargins.com.

中文翻译：

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持久存在：杜安·林克莱特的本土唯物主义：从我们手中

这篇评论文章论述了“来自我们的双手”中重要性的复杂意义，这是来自安大略省北部的OmaskêkoCree艺术家Duane Linklater在纽约市80WSE画廊最近针对特定地点的装置。将林克莱特的实践作为本土制度批评的一个实例-一种根据殖民地土著居民独特的美学，政治和本体论关注点重新调整概念后艺术策略的方法-这篇文章探讨了这种工作可能导致残疾的方式在土著当代艺术受到越来越多关注的时刻，人们的长期假设。除了实质性内容外，本书还着眼于一组含义相似，含糊不清的特质。这些包括耐用性，“渗漏”和诚意。它反对许多“新唯物主义”话语的迷信化或抽象化倾向，认为像林克莱特这样的做法使人们对环境种族主义，非人类或超人类本体论以及围绕土著，非资本主义劳动和亲属形式组织的文化经济有了更细微的了解。请在artmargins.com上查看全文。