Jeneen Frei Njootli
Jeneen Frei Njootli lives and works in their Vuntut Gwitchin homelands, outside of Old Crow, Yukon. There is an industrial and photo adjacent lean in their practice, working with culturally intimate materials that manifest in sculpture, regalia, performance and sound. They have gotten to work with many mentors and knowledge holders over the years in addition to holding an MFA from the University of British Columbia and a BFA from Emily Carr University.
Represented by Macaulay & Co. Fine Art in Vancouver, Frei Njootli’s work has been presented in many galleries, museums and artist-run centers around the world. Recent exhibitions include Makeshift Memorials, Small Revolutions at KADIST San Francisco (2024) Noise of the Flesh: Score for Gina Pane at the FRAC (Fonds régional d’art contemporain) France (2023), Indian Theatre, curated by Candice Hopkins at CCS BARD Hessel Museum, NY (2023), I don’t know you like that: The Bodywork of Hospitality at UB Art Galleries, Buffalo (2023), Early Days: Indigenous Art at the McMichael at the McMichael Canadian Art Collection (2021), Soft Water Hard Stone an exhibition at the New Museum Triennial, New York (2021), Listen Up: Northern Soundscapes, Anchorage Museum (2021), Where Do We Go From Here? At the Vancouver Art Gallery (2021), Kunstverein Braunschweig in partnership with the Contemporary Art Gallery in Germany (2021); and the Contemporary Art Gallery, Vancouver (2018). Selection of group exhibitions, biennales, and conferences include The National Gallery of Canada, Ottawa (2019-2018); Vancouver Art Gallery (2018-2016); Anchorage Museum, Alaska (2020); and the Toronto Bienniale of Art (2020) among others.
HaChuu,
2024, Hot rolled steel, epoxy, 31 x 21", Edition of 3
condor,
2024, Hot rolled steel, epoxy, 31 x 21", Edition of 3
Glove with wing,
2024, Leather and fleece work glove with arctic ptarmigan feather and resin, 7.5 x 7 x 6.25"
May we all know sovereign skies,
2024, Hot rolled steel, epoxy, ptarmigan feather, gizzard stones, 36 x 108"
K'anaheedi (s/he/they will arrive), 2023, Silk-screen printing M.S.T: Vaseline, white vinegar, metal. Collection of Frac des Pays de la Loire | Fonds Régional d'Art Contemporain
Searching for you darlin in alley ways,
2021, Tarp, plastic chair, human hair, fur, caribou antler, rope, gold stanchions
Casino chips fall out of you, broken hearts and baggies too,
2021, Tarp, metal chair, drum, bondage harness
she smudged herself with gasoline till her arms were hard and mean,
2019-2021, Baseball cap, performance garment, fringe, fixative
the association representation (Jerry Can),
2021, Tarp, fixative, 28 x 20 x 10.5”
Jaw set to the side, waging what more she’ll carry for you (Noise canceling headphones),
2021, Tarp, fixative, 29 x 21 x 5”
survival romance,
2021, Tarp, fixative, 26 x 18 x 5”
What If We Were Cousins,
2014,
46.75 x 36”, Unique,
Archival C-print with matte finish
More than medicine should burn for you,
2020,
Cotton, bleach, hair, fringe,
Sky Daddy Undid Their Flags And Braided Others,
2020,
Cotton, bleach, fringe, wooden pole, brass,
Installation View of attachment,
2019,
snow crust and sinew,
2018,
Photo credit: Toni Hafkenscheid,
sound installation Mercer Union, Toronto ON
Installation view of NDN Burn at FIERMAN Gallery. Photo courtesy of FIERMAN Gallery,
The Fiction of Zero,
2018,
Ball cap, porcupine quills, chain, sound element. Photo courtesy of FIERMAN Gallery,
Knowledge Transference I,
2017,
Archival ink on vinyl, metal hardware, 52 x 35.5”. Photo courtesy of FIERMAN Gallery,
LUX|MAM III,
2017,
48" L x 35.7" H x 3" W,
Bronze, Bleached Caribou Antler, Plastic, Leather
LUX|MAM VI, Poly(methyl methacrylate),
2017,
Dimensions Variable,
Paper, Grease
She made me realize what i had done, or what i have been doing, sculpture and performance,
2015,
mixed media,
LUX | MAM II,
2017,
Steel, Leather, Petrobond Sand,
Jeneen Frei Njootli, LUX | MAM,
10 minute performance, sound,
2017