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Anishinabek Nation Citizenship Commissioner Jeanette Corbiere Lavell to receive Order of Canada

ANISHINABEK NATION HEAD OFFICE (Nipissing First Nation) January 2, 2018 – Anishinabek Nation Grand Council Chief Patrick Madahbee says that Jeanette Corbiere Lavell (Keewednanung), who is the Anishinabek Nation’s Citizenship Commissioner, is most deserving to become a member of the Order of Canada.

“I am so pleased that such a deserving individual who has spent a lifetime fighting for women’s rights and the many issues facing our people, is being honoured,” says Grand Council Chief Madahbee. “Jeanette has been a real champion of the citizens of our First Nations.”

Ms. Corbiere Lavell is a central figure in the pursuit of fairness and recognition for First Nations women and children, especially those who have lost their Indian status due to provisions of the Indian Act. Aside from lack of access to social and treaty benefits that are attached to Indian status, the loss of status can also carry a stigma in First Nation communities.

In April of 1970, the citizen of Wiikwemikoong Territory married David Lavell, which resulted in the loss of her Indian Status and citizenship rights. Corbiere Lavell began her struggle to ensure that the rights of Indian women were equal to the rights of Indian men under the Indian Act. In 1973, the Supreme Court of Canada heard Ms. Corbiere Lavell’s case, now known as the Lavell case, but it was lost by a single vote from the bench.

When the Indian Act was revised in 1985, Bill C-­‐31 created new criteria for Indian Status. Section 6 (2) states that only children of two parents with Indian status can pass Indian status on to their children. The rule, sometimes called the ‘two-­‐generation cut-­‐off’, could mean the extinction of so-­‐called “status Indians” within six generations.

More recently, two major court cases have further challenged gender-­‐based status provisions. In the 2009 case, the British Columbia Court of Appeals ruled that the discriminated against the descendants of Indigenous women who married non-­Indigenous men, prompting changes to the law. In the 2015 case, the Québec Superior Court found that subtle forms of sexual discrimination persisted under the and ordered the government to reform the law comprehensively.

Corbiere Lavell has been the Anishinabek Nation Citizenship Commissioner since 2008. The Anishinabek Nation has developed its own Citizenship Law which adopts the one-­parent rule. Anishinabek First Nation citizens have stated over the years that, “We have the right to determine our own people” and the government should not have the legislative authority to dictate who is “Indian” and who is not.

There are 20 other Indigenous Canadians receiving the Order including poet and author Lee Maracle, the first Indigenous NHL player Fred Sasakamoose, and Robert Joseph, founder of Reconciliation Canada.

The Anishinabek Nation established the Union of Ontario Indians as its secretariat in 1949. The UOI is a political advocate for 40 member communities across Ontario, representing approximately 65,000 people. The Union of Ontario Indians is the oldest political organization in Ontario and can trace its roots back to the Confederacy of Three Fires, which existed long before European contact.


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An exhibition by Tamsin Green

Tamsin Green's work is based on the place of the feminine in the history of art and theory: where women are often the under-acknowledged material support for artistic and literary products. The immediate subject of Detraction is the famous allegory of desire found in The Large Glass ( The Bride Stripped Bare by Her Bachelors ) by Marcel Duchamp. Tamsin transforms this work horizontally, materially and ideologically and the result is a three metre wide ink on silk print that will be suspended in the Eildon Gallery, along with a number of other complementary works.

Alliance Francaise Eildon Gallery 51 Grey St, ST KILDA 28 June to 28 July 2017

Alliance Francaise Eildon Gallery 51 Grey St, ST KILDA 28 June to 28 July 2017

Opening:Wednesday 28 June, 6.30pm to 8pm RSVP HERE

Artist talk with Briony Galligan: Saturday 1 July, 4pm

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Artist's Statement

The sin of detraction is to tell a true story: to let the transgressions of a third party be known. This is what I attempted in my last exhibition at the Alliance: , I wanted to tell the audience about the crimes of Jacques Lacan. Despite my admiration for his work I was troubled by Lacan’s misuse of Marguerite Pantaine - Anzieu. In particular how he aquired but never returned her novels. The missing novels of Marguerite Pantaine are an analogy for the place of the feminine in the history of art and theory: where women are often the under-acknowledged material support for artistic and literary products. In this new work,, I have a different subject, but have continued with the same methods: working to reveal and emphasise the place of the feminine within art history.

The immediate subject of this work the famous allegory of desire: () by Marcel Duchamp. In the studio I have taken apart the elements of this work and examined them, replacing Duchamp’s analogies for desire with my own. The chocolate grinder in the original is a mechanical portrait of the pulse and circulation of production. Duchamp was obsessed with this sort of substitution – a car for a woman, with a headlight for a child. Like other artists of this time Duchamp imagined a future perfect mechanical bride – one without the constraints of the body.

Like Picabia’s , these mechanical women would not be limited by their flesh, or by their fleshy relations. My work turns this motivation around drawing on the inheritances of the feminine in both art and literature. In the desire is suspended, frustrated, between the masculine and feminine planes, but in my work I have attempted to collapse this division. I work elliptically, replacing one thing with another in a chain of reference that emphasizes indeterminacy over division.

Over the past decade, I have crossed spatial, theoretical, and medium-based boundaries in order to respond to the following questions: what does it mean to represent another; how can artists address gaps and absences in historical accounts; and how can feminist methodologies restore an art historical narrative dominated by men’s works and men’s interpretations? For me, art practice is about following narrative threads, testing propositions, and experimenting with new techniques and materials.


Tamsin Green is a contemporary artist and writer who has exhibited locally and internationally since 2007. Tamsin’s work has been supported by grants from the Australia Council for the Arts, Creative Victoria, and The City of Melbourne. Tamsin has been involved in a number of artist run and curatorial projects. Her recent solo exhibitions include Covers at Bus Projects Melbourne and Theft: Prints and drawings at the Eildon Gallery, Alliance Francaise: a exhibition that attempted to recover the unknown history of Marguerite Pantaine.

Tamsin currently lectures at MADA, Monash University. She has taught across the art history theory and studio programs at both the undergraduate and higher degree level. Her practice, research and teaching are informed by the histories of photography and performance practice, as well as psychoanalysis and aesthetic theory.

Tamsin has participated in a number of residencies, including an international residency with The Icelandic Association of Visual Artists (SIM) in Reykjavik, Iceland. Tamsin's currently project, , is supported by the City of Port Phillip through the Cultural Development Fund.

BA (University of Melbourne), BFA (Monash University), MA (Monash University)

From 2 July to 9 July 20181-Week French courses for adults, high school students and children, in CBD and St Kilda 1-day Immersion experience for adults and teenagers (NEW!) in St Kilda.

18 July to 15 August 2018 An exhibition by Guillaume Tcherquez Eildon Gallery, Alliance Française de Melbourne

Thu 2 August A discussion with Dr Alexis Bergantz about French convicts and the case for freedom in Australia.

Each term on Tuesday, from 6.30pm to 8.00pm (except School Public Holidays)

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