Parallax(e): Perspectives on the Canada–U.S. Border / Perspectives sur la frontière Canada–É.-U.

Until this century, the Canada-US border—“the world’s longest undefended border”—was a relaxed affair, where officials accepted a driver’s license in lieu of a passport and cross-border shopping was encouraged. Only recently has this border, like the more-storied US-Mexico border, become a thing—a site of contestation that inspires a larger conversation on border culture and a settler colonialism that imposed this border in the first place. Kudos to The Reach for being the first Canadian art space to take on this question.

Parallax(e) is a collaboratively curated group exhibition that brings together 19th-century archival material—photographs, watercolours and maps by 49th parallel surveyors who, between 1857 and 1862, drew a line from the Salish Sea to the Rocky Mountains—with sculpture, photography, installation and new-media work by contemporary artists. It is an effective juxtaposition. The historical materials act as museological signposts, allowing the artworks to provide texture and interiority to the communities, cultural interactions and ecosystems that existed prior to the border and, despite the boundary line’s impact on the land and her people, are in evidence today.

Exhibition participants come from both sides of the border. Central to the exhibition are commissioned works by five Indigenous artists and curatorial collaborators: Shawn Brigman (Spokane Tribe of Indians), Michelle Jack uɬ snəmtÌtkʷ (sqilxw / syilx), Deb Silver (Coast Salish, Sumas First Nation), Xémóntalot Carrielynn Victor (Stahlo Coast Salish, mixed European) and T’uy’t’tanat Cease Wyss (Sḵwx̱wú7mesh / Stó:lō / Hawaiian / Swiss). Also featured are works by Sonny Assu, Corwin Clairmont, Joe Feddersen, Andreas Rutkauskas, Jaune Quick-to-See Smith, Henry Tsang, Fred Wah and Rita Wong (with Nick Conbere), and Claude Zervas.

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