The lovely Amelia Winger-Bearskin came to Portland, Oregon to check out the art happenings with the Social Practice conference Open Engagement. She also stopped by my (Wendy Red Star) studio for a little visit about the Contemporary North American Indigenous Artists blog. 

Here is some more information about Art Art Zine.

Art Art Zine is a female artist run publication dedicated to publishing original writing about art and society. While we are especially inclusive of artists and writers from off-center cities in the South, we accept submissions from around the world. We are particularly interested in providing space for experimental and innovative writing that may include the use of new media in its presentation and content.

We encourage timely responses utilizing video, web, new media, sound, and text-based work. With vast definitions of “art” and “art worlds,” Art Art Zine is dedicated to providing a forum for original discussion of contemporary art, while promoting and redefining the role of an online publication in the arts community.

http://www.artartzine.com/ 

Interview by Katie Zerzan

Winter 2011

Untitled, 2009

Katie Zerzan: How long have you been making art? Has it always been something you wanted to pursue?

Natalie M. Ball: I started painting when I was in undergraduate school at the University of Oregon. I was about 21 and had a young daughter when I entered college. I was majoring in Ethnic Studies and took a painting class as an elective my junior year. After that I was hooked and decided to double major in fine arts. For the next year and a half I took any fine arts class that I could. I always liked art or creating things since I was a kid, but I wasn’t traditionally trained in any medium. I never wanted to be or planned to be an artist as I am defined now. It just happened really.

Incident At Fort Klamath, 2009

KZ: Do you consider yourself solely a Native American artist? Did the issues of blood quantum lead you to make work focused on Native American history? You have such an interesting background. Have you thought about including African history in your artwork?

NMB: Nah. My ancestry is the core of my work, my white and blackness is located and defined within a Native American identity, I guess you can say. But I try hard to not let myself stay stuck within that identity. I’m looking more at the idea of race as a social construct that can shift and change.

I think my experiences as an Indian lead me to focus on my Native American history and my life experiences. I can’t relate to the dominant images or histories or publicized realities of Native America. I find them really stuffy and static. Blood quantum is just an apparatus, one of many, which dictates our identity. I look specifically at my family and tribal history and its effect on us.

In a nutshell, my artwork is my attempt at meshing historical narratives with counter memory, a type of political fantasy, to warrant suspicion as to what is the truth in order to challenge inconsistent and problematic historical narratives belonging to Native America. I like to gut things.

Untitled, 2009

Read More

Interview by Shilo George

Winter 2011

Jaune Quick-to-See Smith, Salish/Kootenai, French Cree, Shoshone, enrolled member of the Flathead Nation, born 1940 at the St. Ignatius Jesuit Mission on the Confederated Salish and Kootenai Reservation in Montana. 

Jaune Quick-to-See Smith’s artwork is multi-layered, complex, and deeply personal. The more time I spent looking at her work (which spans forty-years) the more impressed I became with her uncompromising tenacity, humor, quiet outrage, and vocal opinion about topics like identity, cultural preservation, environmental preservation, and war. As the viewer I found myself falling into her compositions and swimming in the rich layers, visual textures, colors, messages, and symbols that permeate her work. I’m particularly drawn to her continued use of dripping paint, her use of bright colors that are often saturated, and her use of Native American cultural icons such as a buckskin dress, petroglyphs, and anthropomorphic animals. It should also be noted that she is extremely skilled at setting up her compositions so that she guides the viewer throughout the work.

If the viewer is to really understand and appreciate the complexity of her work, they must have a good understanding of not only art history but Native American history, cultural icons, and current events. Smith pulls from all of these sources to create layers built in narrative and point-of-view that are incased in each print or painting. Cultural perspective and worldview is important to both recognize the individual elements of her compositions at the same time as viewing the total meaning of the composition as this is imperative to understanding her world vision.

In addition to Smith’s impressive artworks, she also plays an important role in Native American contemporary arts curation, lecturer, teacher, and activist. Smith has created hundreds of prints and paintings, lectured at over 185 colleges and universities, has had over 90 solo exhibits and curated or organized over 30 Native American exhibitions. After reading extensively about her work and accomplishments I kept wondering if she has the same number of hours in the day as the rest of us do. She continues to be a champion for her fellow contemporary Native American artists and has worked tirelessly over her career to create support, appreciation, and validation for the importance of contemporary Native American artwork.

Not only is Smith generous in her approach to working with Native artists, but she also uses her own funds to create exhibits and support other artists. She was equally giving, open, and generous with her time in answering all of my questions and helping me to understand her vision and passion for art and Native American culture.  

Ghost Dance Dress, 2001 Lithograph, Missoula Museum of Art

Horse Sense, 1994, Lithograph, Missoula Museum of Art

Indian Heart, 1993, Lithographic/Collage, Missoula Museum of Art

Shilo George:  Through this Contemporary North American Indigenous Artist class we have often discussed the issue of Indian identity and the artist. We have looked at the work of a few artists who reject or are uncomfortable with being labeled a Native American artist. Usually it’s because they do not want to be limited to one style, topic, or medium viewed by the larger art world as “Native American Art.” As a Native American artist, have you ever had a family member, community member, fellow artist, art critic, or teacher view your work and comment on your unique mixed media technique or subject matter and questioned if it was really Native American art? If yes, what was the circumstance and how did you address that person’s comment? What would you say to another Native American artist who feels uncomfortable with being labeled a Native American artist?

Jaune Quick-to-See Smith: I’ve had comments on my art about it being too Native and also not being Native enough. When Emmi Whitehorse and I were in school at the same time, she was an undergrad and I was a grad student, we both had comments from professors that our work was too Indian in appearance. We both made abstract work that I called “mark making” to deter these professors. Later when I founded the Grey Canyon Artists and sought exhibition venues for the group, I was told that our contemporary work wasn’t “Indian” enough in appearance. This commentary was a disavowal of who we were as a people. It meant that others had the power to decide the merit or value of our artwork based on racial stereotyping. It’s thought that Native Americans made collage before Europeans. Take a look at our antiquities and you will see a variety of materials collaged together. Remember after Bastille Day in France, traders brought silks to trade with the Indians. Ribbon shirts and appliqué used these silks, which is another form of collage. Collage is a fitting material for economically poor and disenfranchised people. Native artists vary in how they want to be viewed either as a mainstream artist or as an American Indian artist. I think that’s a personal choice.

Read More

Phone Interview by Crystal Baxley

Spring 2011

I had the opportunity to interview Sonny Assu, a Vancouver-based artist of Laich-kwil-tach (Kwakwaka’wakw) heritage. I was immediately attracted to the balance of criticality and humor that I saw in Sonny’s work, especially the Breakfast Series and 1884/1951. In other works I identified traditional Northwest Coast formline influences mixed with the bright colors and styles of Street Art, and I was very curious to ask Sonny about the melding of these two influences in his artistic practice. I also appreciated his criticality towards consumerism, exemplified by using modern pop-culture symbols such as the iPod and Coca-Cola sign. The recognizability of these symbols pushed me into learning more about the issues that they were representing, historical aboriginal rights issues like the use of Coast-Salish land for the 2010 Vancouver Olympics and the history of the Potlatch ban in Canada. Sonny’s work combines aesthetically pleasing colors and forms with humor and modern imagery, a combination that is interesting to look at but also leaves the viewer thinking.

Sonny Assu, Coke Salish

Crystal Baxley: Thanks a lot for talking with me today. I’d like to start with a question about a specific painting in the Longhouse Series. The piece in that series that really sticks out to me is the Authentic Aboriginal 2010 Olympic Commission painting. The reason that it sticks out to me is the title because I’m not sure if it is sincere. Based on your writing and other works that I’ve seen, the title seems like it is probably being critical and I wanted to ask you to elaborate on that piece specifically. 

Sonny Assu: You’re welcome, thank you for contacting me about my work. It is meant to be critical of the two week party that Vancouver hosted last year. The part in brackets isn’t really part of the title, it speaks to the series that it was an offshoot of, and the fact that it was an Olympic commission. I’ve actually had internal debates with myself about being commissioned for the Olympics. I never supported the games invading Vancouver, but once the ball was in motion there wasn’t really anything to do but sit back and watch it all happen. Unfortunately now we are looking at the system in Vancouver where we are seeing services being cut and people are not really understanding why. When you get down to it, it’s based on the fact that the Olympics came and we reallocated money towards a two-week party as opposed to paying for hospital beds, housing, helping homeless people or other social responsibilities.

Within the commission contract, there was a certain amount of wording stating that you couldn’t have a critical eye on the games and that you couldn’t really make any comments against the games. That was something for me that I struggled with in creating this piece, because personally, with my friends and even publicly on platforms like Facebook and Twitter I was very vocal against the games. So I definitely wanted to have some sort of commentary within the work itself.

Read More

Interviewed by Caitlin Donald

Spring 2010

Tanis S’eiltin’s work emphasizes traditional Tlingit technique and material in which she utilizes to deliver uniquely contemporary and political forms. Her work begs for exploration through intricate, vivacious, and provocative design. It has been my privilege to interview Tanis about her work and artistic processes, her identity, and about creating art that matters.

Caitlin Donald: I am very curious about your If I Only Had a Seaworthy Vessel installation. I understand this was in collaboration with Nata Lukas involving the concept of journey. Can you talk further about the inspiration for the elements within this installation? What was this journey for you?

Tanis S’Eiltin: The primary inspiration for this collaborative installation was the opportunity to work with Nata Lukas who initially secured the gallery space. Together we decided to include natural elements we collected and were continuing to collect from local beaches. Our timeframe for creating the installation was brief and we had already begun our usual migration to visit the spring tides. Nata’s collection of large drift-roots, which he had previously collected over a period of a couple of years, served as the impetus for the installation that would suggest as the viewer moved through it, a journey through an underwater world.

If I Only Had a Seaworthy Vessel

Read More

Interview by Dasha Shleyeva

March 2010

The idea of one’s identity is a very complex thing. It not only changes constantly throughout our lives, but we also want to understand it, to know it, to explain it. It is one of the things I have been exploring within my art, poetry, writing and music ever since I can remember. When I first heard of Erica Lord’s approach to exploring one’s history, environment, media, images and ethnic background to learn more about the idea of identity and roots, I was immediately drawn to her art. I was truly intrigued by the way she explored the idea of ‘self’ in a hastily shape-shifting modern world. Throughout the process of this interview, I was very much inspired to continue to learn all I can about my own Russian background and culture and the current American culture I live in, but also to not feel tied down to just one, for it is always changing. I’m excited to take in all the different environments, cultures and people that have accumulated within my own personal history and truly realize that those memories and people and experiences give me my identity as much as the ones that I was born historically tied to. 

Dasha Shleyeva: In your biography on the Native American Indigenous Cinema and Arts website, you state that you have various qualities that define your identity which come out or emerge depending on the environment or the company you choose. I have had similar inner conflict and feelings of oscillating between cultures being raised half my life in Moscow, Russia and half my life on the West Coast of the United States. Was there anything in particular that helped you come to this point of understanding and acceptance? Perhaps it is a work in progress at all times that constantly ebbs and flows?

Erica Lord: I guess the sort of understanding that I speak to in that statement started very young, as I was born & raised the first six years of my life in my home Native village of Nenana, AK. It was here I was referred to (teasing, but in a loving way) gissik baby, little white baby. So here it was my blue eyes and lighter skin that set me apart. So I think just as you are being told what you are, you start to figure out what you aren’t. At six, my mother and I moved to upper Michigan, a predominantly Finnish-American area of the country. Small towns. There it was my high cheeks, relatively darker skin, & eye shape that set me apart. So, same blood, same person, but as the environment and community changed around me, I was defined differently, and then came to understand myself as someone that shifted between or within races, communities,etc. I think it started out simple- race is the most obvious thing to see— I always understood I was mixed race. My family always spoke about this freely: Athabascan Indian (central Alaska), Iñupiaq (Eskimo/Inuit, northern Alaska), Finnish, Swedish, Japanese, English. The other aspects of my identity evolved and developed over time. ie. I have an identity within the city but also within these Alaskan woods. And yet in another way, the ideas of two homes, or multiple homes helped me to get to this point. Where is home? Alaska and Michigan. Which one? Both, all the time. In between. I didn’t want to choose, between any of these things. I didn’t want to feel part this & part that, incomplete. So I decided, or realized at some point, I didn’t have to be. I could be all of these things simutaneously, I am these things simutaneously. And some people, places, or situations just bring aspects to the surface where in other situations they may just get overlooked.

DS: In regards to your photography project on Josephine Baker and relation to exoticism, do you see yourself ever as exoticised, and if you do (or ever did) how does it make you feel or make you see yourself? Has it taught you any memorable mottos or lessons ?

Danse Sauvage 2005 (Larger image currently not available)
Link to full size image on Erica’s Website

EL: Yes, it was a direct response to the feeling of being seen as exotic, and other. I was interested in this idea of attraction/repulsion and how that relates to fetishes or objectification. In a country that includes a colonialism, I wondered about this attraction to the taboo, to this relationship between what is feared or repulsed, and a simutaneous feeling of attraction. …Before I get too far into that, let me get back to being called “exotic.” Yes, people call me exotic, and sometimes I don’t mind, I understand it is intended to be a compliment. And other times, in particular, when it is said in a particular way to me by men, leaves this uneasy and uncomfortable feeling for me. When I was in grad school, my advisor once said (I’m paraphrasing here): ‘Erica, people are going to always see you as exotic. There’s nothing you can do to change that, there is nothing you can do to change how people see you. You’re just going to have to accept it. So rather than trying to change other’s perceptions of you, why don’t you accept it and maybe use that knowlege to your advantage.’ I tried looking back in history, at other mixed women, or other Native women who sort of owned that power. I was thinking of Josephine Baker a lot and was reading about her. She intrigued me. The photograph sort of grew from this desire to emulate or embody that sort of force or power that she had. “Danse Sauvage” was a name of one of her dance reviews.

Read More

Interview by Amanda Rhoads

March 2010

Gail Tremblay is an artist with skills using a wide variety of materials to create art. At the Portland Art Museum, I stood with my class viewing the Native American galleries. My instructor Wendy Red Star mentioned that the film basket made by Gail Tremblay in one of the display cases was one of the few examples of contemporary Native art in that section. This fact intrigued me. Wendy then added that Gail is known as an articulate writer. The art of writing is something to which I am increasingly drawn. It was this day in the museum and Wendy’s comments that inspired me to interview Gail Tremblay. In our interview Gail provided references to works that communicate the complex, thoughtful, and inspiring process of making art.

And Then There is the Hollywood Indian Princess, 2002Sculpture - 16 mm film, metallic braid  9 x 7.25 x 7.25 inches

Ms. Tremblay used an educational film about sexually transmitted diseases to create this basket. It was included in the ArTrain exhibit of contemporary Native American Art curated by Joanne Osbourne Bigfeather, and in Tattered Cultures, Mended History, curated by Mary Babcock, at the Academy Art Center, Honolulu, HI 2008, and it was reviewed, Artweek November 2008. It is in the collection at the Hailie Ford Museum at Willamette University in Salem, Oregon. (Froelick Gallery)

Indian Princess in a White Dress, 2006Sculpture - 16 mm film, metallic braid  

9 x 7 x 7 inches

Amanda Rhoads: It was mentioned that your works are “reclaiming native history.” The piece “Indian Princess in a White Dress,” would seem to need more explanation to convey a message of reclamation of Native history to an audience without any knowledge of Native history. As it is alone, a person might easily experience the piece as another stereotypical Indian image. Does it matter if people consciously “get” your piece, or is the energy and intent enough, and further explanation would actually take away from the intended experience? 

Indian Princess in a White Dress, 2006

Sculpture - 16 mm film, metallic braid  
9 x 7 x 7 inches

Gail Tremblay: Where was it mentioned that my works are “reclaiming native history”?

Some do, but some of my film baskets comment on images of Indians in the media, some play with and make ironic commentary on stereotyping, I am enclosing a slide list that will help you understand something about how I use/choose materials and write titles. You might also want to look at the article in the July/August art ltd. magazine on the work in my April/May exhibit in the Froelick Gallery for insight about my film baskets. I am also including an artist statement about the film baskets in particular, and an artist statement that talks about various periods of my work which was in the gallery notebook for a retrospective exhibit I did in 2001 called Twenty Years in the Making. It is hard to reduce the work I show to a single theme, although works of a particular period may relate to a particular theme.

Read More

Amelia Winger-Bearskin on Performance Art and Digital Video - 2008

StudioVU Lecture Series: Sponsored by Vanderbilt University

Interview by Jong Seong Lee

March 2010 
 
Amelia Winger-Bearskin is a performance artist that I interviewed for this blog project. The first video I watched of Amelia’s work was “State of Things” the language use and the change of her appearance in the video caught my attention, and that was why I wanted to interview her. In this interview, I ask Amelia Winger-Bearskin about her decisions to do performance art after training as an Opera singer, her perspective and experience as an artist, and commentaries for some of her videos. 

Epic Sci Fi Rock Opera by Paper Landscapes a retelling of the Iroquois Creation Mythperformed at Volitant Art Gallery, Austin Texas 2007 with Joseph Winchester and Jonathan Aseron

Jong Seong Lee: How did you decided to do performance art, after having trained as an Opera singer?

Amelia Winger-Bearskin: I was an opera singer, a dancer, an actress, and I composed original music for operas and theatre performances as well as made a living as a dance choreographer for the new cabaret genre (including burlesque), before finding my place in performance art. While I enjoyed the world of opera and theatre enormously, something that I didn’t have in the theatre was significant participation with the audience. My artworks in the last few years has incorporated more and more participation from the audience, however it is actually not my goal to have ‘participation’ from the audience, I’d be happy to eliminate the concept of audience altogether and instead have a meeting place for something to happen, I like that sort of excitement, a place where something could happen and is less fixed. There was however one place in the theatre that created a feeling like that, here is a quote from the text I wrote for my most recent work Performance for an Audience of One:

“Behind the scenes, back stage, in our dressing room, before or after or during the show, we would be performing for each other while changing our clothes. We would trip over sleeping actors as we practiced our dance steps or singing our lines while sewing a split seam. We passed the time in hushed voices waiting for our cue, sometimes staring into each others eyes while we powdered our faces, and we performed for each other the way you can for your sister or your mother, we performed the way you do for a lover when we all know all the words. I felt an energy in the dressing room, I didn’t need the stage lights or the audience, here waiting with you, I was home.”

In this new performance an audience member gets an appointment time and then chooses from a list of words, each word represents a performance, I invite them to my dressing room where I host this performance for one person, however the performance is actually done equally by both of us, some of the actions include: drinking tea, brushing each others hair or listening to a mix tape, to name a few. They are things that you’d do with your friend, with your lover, and things that commonly occur backstage in dressing rooms between fellow performers. The backstage space is so intimate, its where you prepare to perform, its not the audience its not the stage, it is a third space, it is an in-between space, a no space where things are yet to be written or are waiting to end. I’ve often termed this conceptual place in my work a “hybrid no space”; it is a theme that runs through a lot of my work.

Read More

Interview by Saamantha Lee

March 2010

The reason I chose Jim Denomie as the artist for this blog was my emotional response to his paintings; I had a certain “de-ja-vu” feeling and remembered images from a dream I had several years ago, in which I saw painted horses and people moving about, so I wanted to pursue my dream, in a sense. Originally he focused on black and white photography and also did some black and white prints and oil pastel drawings. His most recent work is what really caught my eye; it struck me as being completely original, and the messages it sent out are very powerful statements, daring as they are original; forcing the viewer to reflect on injustices and events that are still going on today that disrespect the humanity of Native Americans of all tribes, but specifically the tribes and reservations in Wisconsin and Minnesota. The following images illustrate some of the changes in Jim’s work over the last few years. I wanted to understand his process and technique of applying the paint to canvas, and he revealed that as well as providing an overview of the way he has achieved balance between painting and the everyday world. His use of brilliant colors, often used in what might be called a “psychedelic” style, where, for example faces are portrayed without any relation to the colors of skin as we see it, “as if it were just for fun like being back in middle school.” The brightly colored portraits painted one a day for a whole year, were shown in the “New Skins” exhibit at Minneapolis Institute of Arts in 2007, hung grouped together as if they were one piece.

 

Shooting Stars, 2001

 

The Journey #2, 2001

 

Sustenance, 1995

Seeking Mercy, Still, 1997

Rabbit, 2002

 A great change occurred in his work around 1996 – 1997 when he began painting surreal and brightly colored images where trees and rivers took on the forms of tall slim women with arms becoming branches reaching into the sky.

Read More

Interview by Judy Fleming

March 2010

I was drawn to Marcus Amerman’s beadwork immediately. I was intrigued with his use of traditional technique in contemporary modes, addressing political and social issues regarding his Choctaw Nation heritage. While the objects themselves are deeply rooted in meaning, taken out of context they remain shockingly beautiful in both color and design. Along with his visual work, Marcus Amerman continues to create unconventionally with performance pieces such as “Buffalo Man.” The images below are courtesy of the artist. 

 
Buffalo Man in Labyrinth, 2008 

 

 
 
Tanned Buffalo Head

Judy Fleming: I want to learn more about your performance piece with “Buffalo Man.” Did that become an artist persona of yours? What political ideas did you wish to touch on wearing the buffalo head?

Marcus Amerman: Buffalo Man is controversial. I’ve had people walk out of my performances. But a medicine person I talked to said to me that my detractors couldn’t argue with the fact that I have that head. The Creator and the Buffalo People made sure that it got into my hands, into the hands of someone who would use it. I traded a bracelet for this tan buffalo head. I fit it to my head and attached my horns and then I let it take over. I am a mere accessory to my buffalo head mask. I feel that the Buffalo Man is a spirit of the Earth and pushes me to speak for the Earth and for balancing man’s relationship with nature. I saw in anarchaeology magazine an illustration of a Buffalo Man carved into a pillar in a cave. It was 36,000 years old. My theory is that the Buffalo Man reemerges into society when it has reached a critical crossroads. If that society accepts the Buffalo Man into it, it signifies hope and redemption for the culture. If, on the other hand, he is rejected by society the society is doomed. 

JF: So, when you wear the Buffalo head, you let it take over. What does an experience like that feel like? You also mentioned that the Buffalo Man reemerges when a society is at a critical crossroads. Has your experience led you to believe that our society might be doomed?

MA: Wearing the Buffalo head simply makes me think that that’s who I am and that’s how I look. The thought process parallels the same experience. It makes you think, “What would Buffalo Man do?” The future is uncertain. The potential for change in consciousness on a massive scale increases at these times. So the outcome could be the opposite of doom.

Read More

Nicholas Galanin - 2006

tsu heidei shugaxtutaan pt. 1

Nicholas Galanin - 2006

tsu heidei shugaxtutaan 2

Interview by Ronald Egger

March 2010

Ronald Egger: In your artist statement you say you have become impatient with the “Indian Art World.” Can you describe what this world is and how you may or may not fit in?

Image of Silver Hand Logo, a program designed to verify that the object is created by a native artist. The Silver Hand Program mission is to promote authentic Alaska Native art made in the state exclusively by an individual Alaska Native artist. The seal indicates that an article on which it appears is created by hand in Alaska by an individual Alaska Native artist. A permit is awarded for two years from the date issued and must be renewed every two years to remain active.

Nicholas Galanin: What do you think about programs such as the Silver Hand? Why do we need to verify everything Indian with a number, card, or certificate? The general perception of Indian Art is very misleading. Indian Art is life, humanity and all that we may creatively perceive. My impatience with this scene comes from all that binds the term. The Indian Art World is as I understand (at the moment), my culture’s internal and external being which includes my life experiences on many different social layers. Being brought up both in and away from my indigenous culture I have experienced a very different perspective on my heritage than my great grandparents would have known. The generational spread that our cultural community encompasses moves far beyond a romantic ideal commonly associated with the term Indian Art. We are being culturally dishonest if we reject all that passes through our culture. Economics and cultural objects, curio and collector, Indians and museum, history and the present. I often like to unravel the things that irritate the Indian in me, putting them back on the shelf with new meaning, clarity or focus. As an artist that contributes to my culture, I feel immense gratitude knowing that I am able to give to something greater, this feeling of belonging is the Indian Art World.

RE: What is the “cultural awareness” that you hope to develop through your artwork as mentioned in your artist statement? I am particularly curious about the idea of increasing awareness for both non-Natives and Native people. Is there a difference in the needed kind of awareness for each of these groups?

Tsu Héidei Shugaxtutaan I

Video: 4 minute 36 sec. loop, performance by David Elsewhere 

2006 

NG: Understanding the term culture is as difficult as defining the term. To become aware of this culture we must engage with it. The complexities of cultural growth and interaction create preconceived ideals, perspectives and viewpoints. Through action and creative risk taking, I, as an artist am able to partake in this cultural development. There are differences in every individual’s need for cultural awareness, the grouping or generalized terms, native, non-native, etc. are products of cultural cross roads.

Read More

Steven Yazzie on Remix 2009