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­Roxham
Michel Huneault
July 1 to August 31, 2018
Victoria Park and Meewasin Valley Trail south of Diefenbaker Park Saskatoon, SK

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Michel Huneault, Untitled 2, Roxham Road. 2017.

– Stop! If you walk further, you’ll be arrested.
– I know; I am really sorry. You have to help us; we are entering.

In early 2017, the number of asylum seekers arriving at non-official crossing sites in Canada, specifically Quebec and Manitoba, sharply increased. In Quebec, the quiet Roxham Road between the United States and Canada became the location with the largest number of irregular border crossings in the country. Michel Huneault’s Roxham takes us to the moments when Royal Canadian Mounted Police officers intercept these individuals. Documenting 180 border-crossing attempts between February and August 2017, Huneault captured their stories in images and sound. In the photographs, the asylum seekers are shown in silhouette. Composite images of various fabrics shield their identity, preserving anonymity. These textures come from Huneault’s 2015 photo series during the 2015 European migrant crisis.

At these invisible borders, the confusion is palpable and emotions run high. Migration, an exceedingly personal decision, has been thrust to the forefront of public and political debates. Roxham Road is quickly becoming symbolic: it embodies the tensions between the international responsibility to welcome others and the duty to protect a national territory. The 10-metre-wide Roxham Road becomes a microcosm of the world’s crises, offering a personal glimpse into the confusing quest for a safe place.

Roxham is presented by AKA in partnership with Roadside Attractions, a public art project on view across Saskatchewan July 1 to August 31, 2018. Thank you to the City of Saskatoon and Meewasin Valley Authority.

Read more about the artist and Roadside Attractions here.



‘I was uncategorical, and so, defiant’
Organized by Lucas Regazzi
August 7 to August 19, 2018

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‘I was uncategorical, and so, defiant’ takes its title from the words of artist Christopher Lefler, whose provocative, queer identity-based work was removed from a group show titled Staging Identities I in 1993 at the University of Saskatchewan. The institutional archive—in this moment, explicitly repulsed—flexed its intimate relation to law and order. “Libellous,” and “not art,” were words used to describe Lefler’s work in correspondences between the artist and University administration, who ultimately expelled Lefler, and caused such an uproar about his work—which outed the province’s Lieutenant Governor as a lesbian—that the provincial legislature worked to rescind Lefler of his awarded grant money from the Saskatchewan Arts Board a year later. These words on Lefler were found in secondary texts, to which the artwork’s form was displaced: art historical accounts, scholarship on censorship, and the like.

The institutional archive abides distinctive discursive parameters. In its ascription of importance to this and not that, it commands a specific vision of history. Its power is a silent power, guised as a system of neutrality; though its bias is revealed in such moments of intensity.

For this show, Regazzi has invited 50 artists to engage in an email correspondence with him, approaching notions of archival absence, asking of them to propose thoughts or gestures that they feel the archive should contain. These correspondences will be printed and displayed as such within the space of the gallery for the duration of the show. At its end, the works will enter an archive box for storage.



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424 20th Street West
Saskatoon, Treaty 6 Territory and the Homeland of the Métis
S7M 0X4 | 306 652-0044 | Accessible
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