CONNECTING THE DOTS AT THE AGO: #INFINITEKUSAMA

EXHIBITION REVIEWS

BY: JULIA ZUNGRI

Many of you have probably seen the TTC streetcars and subway stations covered in red polka dots on a white background, with a hashtag #InfiniteKUSAMA. Even if you are not a follower or lover of contemporary art, it would be extremely difficult to ignore these signs of Kusama and the excitement that has permeated the city. While tickets to see the Yayoi Kusama: Infinity Mirrors exhibition at the Art Gallery of Ontario are difficult to come by, I was lucky enough to attend with a fellow Museum Studies colleague.

Born in 1929, Yayoi Kusama is a Japanese contemporary artist who continues to break boundaries through different art forms. The AGO presents over 90 of Kusama’s works, including her early and recent paintings, sculptural objects, her film Self-Obliteration, photographs of her performance works, as well as archival pieces related to Kusama’s earlier life, artwork, and events. The exhibition also finishes with a video of an interview with Kusama. As a visitor, I appreciated how the AGO provided such a nuanced approach to Kusama’s works that really shone light on the complexities of Kusama as an individual and as an artist.

A taste of Kusama's recent works (2009-present), My Eternal Soul. Photo courtesy of Julia Zungri.

The highlight of the exhibition is the six Infinity Mirror Rooms spread throughout the fifth and fourth floors. Kusama began using mirrors in 1965, with her Infinity Mirror Room - Phalli’s Field. The rooms create kaleidoscopic environments that engage the visitor, prompting them to reflect on ideas of time, space, and our connection as humans to the universe.

The six Infinity Mirrored Rooms are: Love Forever, 1966/1994, The Souls of Millions of Light Years Away (2013), All the Eternal Love I Have for the Pumpkin (2016), Phalli’s Field (1965), and Aftermath of Obliteration of Eternity (2009). Two other rooms are Dots Obsession – Love Transformed Into Dots (2007) and The Obliteration Room (2002). As tickets are difficult to come by, this means that almost every time slot is sold out and requires a 10-20 minute wait for almost every room, which can only be entered in maximum groups of three for between 20 to 30 seconds (so if you’re in a pair, you make a new friend!).

You won’t be bored waiting, though! Most lineups are placed alongside walls with text, and/or have stands throughout the line with a text panel, encouraging visitors to actually read! The interpretative strategies employed in this exhibition are excellent! This was not a text heavy exhibition, and rightly so: it is all about the experience. As someone who does not have a strong contemporary art background, though, I valued the information that the AGO did provide as it gave me just enough context to admire not only Kusama and her works, but also the impact she has had on society and the art world.

Examples of what awaits you while lining up to experience the Infinity Mirror Rooms. Photo courtesy of Julia Zungri.

You go, Kusama! Photos courtesy of Julia Zungri.

The Infinity Mirrored Room – Love Forever reflects the civil rights, antiwar, and sexual liberation movements that stemmed from activist groups throughout the 1960s. As you peep your head into the room, the image of your face, as well as the person adjacent to you, are repeated ‘forever’ throughout the space.

Me in the Love Forever Room. Photo courtesy of Tabitha Chan.

My two absolute favourite Infinity Rooms are The Souls of Millions of Light Years Away and Aftermath of Obliteration of Eternity. Both rooms present a repetitive illusion of lights and are completely dark except for the lights hanging in the space. You cannot see your reflection in the mirrors as well as you can in the other rooms, therefore suspending your movement and encouraging you to look and reflect.

The Souls of Millions of Light Years Away is particularly interesting, as I have always been fascinated by space and time: 20 seconds passes quickly, but for a brief moment your body becomes infinite with the room through the mirrors, providing some sort of ‘afterlife’ in space after death. As an aside, I also felt like I was reliving a scene from Interstellar.

In The Souls of Millions of Light Years Away Room. You really want to visit now, don't you?!
Photo and video courtesy of Julia Zungri.

Similarly, the obliteration of the body is a reoccurring theme throughout Kusama’s works. In the Aftermath of Obliteration of Eternity Room, the body disappears, prompting reflection on the idea of death and the afterlife. The space harkens back to the Japanese toro nagashi ceremony that sends paper lanterns down a river to guide ancestral spirits to resting places. The room, in fact, did feel like I was surrounded by infinite rows of lanterns. For me, the Room has an air of melancholy, but also exudes tranquility: being in a room that looks infinite for about only 20-30 seconds gets you thinking about the temporality of life and space.

The last room in the exhibition is The Obliteration Room. Obliteration reoccurs again, but in this case it is the obliteration of the original pure, white room. Each pair of visitors is given a sheet of stickers to place throughout the room to participate in the final construction of the space. Again, Kusama invites us into her world, encouraging us to think about what the bright dots mean to her and to us, and to obliterate not only the room, but ourselves as we leave a piece of us behind.

Tabitha and I in The Obliteration Room. Photos courtesy of Julia Zungri.

Just as Kusama accomplished in the art world, the AGO likewise breaks boundaries in the museum world. This was certainly a one-of-a-kind museum experience. While others may be annoyed to wait in a queue, I was fascinated by the concept of waiting in line to experience the Infinity Rooms, as if I were waiting in line for a ride at Wonderland. I cannot think of a better way to end my two years as a Contributing Editor to Musings than to review one of the most popular art exhibitions of the year (and likely for years to come). Yayoi Kusama: Infinity Mirrors is a unique and unforgettable experience, and is worth the wait. After all, we become infinite at the end.

If you haven’t seen the exhibition and still don’t have tickets, don’t fear! Throughout the run of the exhibition until May 27, there are a limited number of same-day tickets available to purchase at the AGO beginning at 10 am. Click here for more information about tickets, the exhibition, and Kusama.

And that's a wrap, folks! It has been an absolute pleasure writing for this blog with fellow amazing writers the past two years. Many thanks to all of our readers - writing for you has been incredibly rewarding! While you have not read the last of me, for now, thank you and farewell.

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CHECK OUT OF BEING CHECKED OUT, YOKO ONO: THE RIVERBED

EXHIBITION REVIEWS

BY: JULIA ZUNGRI

When I last visited the grocery store, the customer in front of me was on their phone while being checked out by the cashier. Enthralled by Instagram, it was taking the customer some time to respond to the cashier’s questions. I asked myself, “do I do this?”

Apparently I do, subconsciously. As I reached for my debit card from my wallet phone case, I entered the passcode to turn on my phone – for no reason! I didn’t intend to use it, but it was out of habit.

I realized this society needs to check out of being checked out.

After visiting the Gardiner Museum’s YOKO ONO: THE RIVERBED exhibition, I felt that I got a very much needed checking out, but also reconnection. This Exhibition Review will be different than others, as I cannot begin with the typical expression: I saw this exhibition. Instead, I did this exhibition.

THE RIVERBED is by artist, musician, filmmaker, and peace activist, Yoko Ono. Ono has significantly contributed to the international development of Conceptual art, experimental film, and performance art. THE RIVERBED was first displayed at Galerie Lelong & Co. and Andrea Rosen Gallery in New York City in 2015.

The Gardiner Museum now has the pleasure to offer THE RIVERBED to Toronto until June 3, 2018, included with general admission! This exhibition is a three-part installation that is completely interactive and encourages collaboration between museum visitors. There are three sections: Stone Piece, Line Piece, and Mend Piece. Each section facilitated contemplation and self-reflection, my creativity, and my idea of human connectedness. Even more enjoyable, each section provides opportunities for visitors to shape the installation.

In addition to the interactive nature of the space, the fact that visitors are not permitted to take photos significantly contributed to my experience. Being unhindered by the need to constantly check my phone, as I did in the grocery store, I felt more present and mindful of the activities I was being involved in and of my own participation and actions to contribute to the installation.

Stone Piece is the first installation visitors are presented with and feature river stones, placed in a shape replicating a river. Visitors are encouraged to pick up a stone, sit on the chairs or cushions provided, and reflect, transmitting their negative thoughts into the stone, only to let it go by placing it on top of the other stones. Stone Piece is an introduction to the space that helps put one in the mindset to experience the next two installations.

Stone Piece, Yoko Ono, 2015 / 2018, © Yoko Ono. Photo: Tara Fillion.

My favourite installation is Mend Piece. Here, visitors are invited to sit at tables and connect pieces of ceramic cups and saucers together using string, tape, and glue. This activity was extremely calming for me. There was no pressure to create something that was aesthetically “beautiful” or “significant,” at least to the outside world. Instead, this was a creation of what I felt needed to be mended at that very moment. When you are finished, you place your pieces on the shelves alongside other visitors’ pieces. After making my own Mend Piece and viewing others’, I was reminded of the fragility, but also strength of humans. With a coffee bar located in this space, it creates a great environment for visitors to discuss these thoughts.

Yoko Ono, Mend Piece, 1966 / 2018, © Yoko Ono. Photo: Tara Fillion.

Line Piece is a labyrinth of strings connected between walls by visitors. Visitors can use hammer and nails to secure the strings, create a line of their own, or continue some else’s. There are also low tables with sketchbooks, in which visitors can continue drawing the line left from the previous visitor.

Yoko Ono, Line Piece, 2015 / 2018 © Yoko Ono. Photo: Tara Fillion.

Lastly, I want to point out that I experienced these meaning-making moments in a space with little to no text. The objects that are provided for visitors to contemplate, or to use to create and recreate new objects, as well as the one to two sentences provided by Yoko Ono in each section, creates the ideal environment for visitors to think for themselves, with just enough creative encouragement.

More about the exhibition, and its very exciting related programming, can be found here. I encourage you to visit: put down the phone, come with a friend or alone, and get a well-needed checking out and reminder of human connectedness and fragility, and a well-needed and deserved self-reflection.

A SYMPHONY OF SENSES AT THE AGA KHAN MUSEUM

EXHIBITION REVIEWS

BY: JULIA ZUNGRI

I danced in a Mongolian yurt.

Come on in! Mongolian Yurt in the Aga Khan Museum's courtyard. Photo courtesy of Julia Zungri.

That’s how I began my afternoon at the Aga Khan Museum to explore the new Listening to Art, Seeing Music exhibition. The exhibition offers multi-sensory experiences through musical soundscapes and video installations placed throughout the museum’s permanent gallery, the Bellerive Room, and Diwan restaurant. The exhibition features Middle Eastern music, instruments, and related artifacts, and explores how this intangible art has changed over time.

Visitors first encounter an eye-opening and very well-written introductory panel in the lobby of the museum. As the introduction begins, it reminds us that this exhibition challenges the conventional thought of museums dealing with stationary, tangible objects, but that intangible arts are just as important and, even more so, are still alive and forming cultural identities and histories around the globe. It challenges us, as visitors, to form a physical relationship with an immaterial artistic expression.

Challenge accepted.

Listening to Art, Seeing Music reminded me that music is an expression that all humans can relate to, which I certainly got the sense of as I entered the highlight of this exhibition: the Mongolian Yurt. The Mongolian Yurt is placed in the museum’s courtyard, which is in the centre of the museum and immediately visible to visitors. A representative at the front desk informed me of programming that would take place in about five minutes, so we decided to check out the Yurt first (its size, beauty and centrality is also incredibly difficult to ignore). In my conventional understanding of museum programming, I expected to hear music, perhaps see live musicians or a museum employee discussing the development of the exhibition.

I was wrong.

As I entered the Yurt, a large circle of museum visitors – who I take it were all strangers at one point – were holding hands and dancing around the centre of the Yurt to traditional French/Welsh folk music. I automatically joined in and had one of the most incredible museum experiences! There were three live musicians; one was leading the circle with an accordion and later facilitated our singing to the music.

The smell, look, and sound that surrounded the Yurt made me realize that this was not going to be a typical museum visit. If this experience was an object, I lived inside of it.

The centre around which we danced; when stranger-visitors became dance partners. Photos courtesy of Julia Zungri.

The interactives were the second highlight of my exhibition experience, which were tied to the new artistic venture, A Hidden Order. This endeavour examines the relationship between art and music, and between traditional Islamic art and the Western contemporary musical composition.

Images from A Hidden Order. Photos courtesy of Julia Zungri.

In a collaborative effort by Musical Forms, a team consisting of composer Lee Westwood and geometer Sama Mara, this installation invites visitors to explore the relationship between artistic patterns and music. I had the pleasure of visiting with a fellow Museum Studies colleague, Sarah Rolko, who can be seen here enjoying making art through music.

Sarah interacting with the installation created by the Musical Forms artistic team. I guarantee this song will get stuck in your head, as it did in ours. Photo and video (below) courtesy of Julia Zungri.

The installations throughout the rest of the museum are a great accompaniment to the permanent galleries as they make the material objects come to life. It is incredibly interesting when we consider how something immaterial can bring something material to life.

Made my Anwar Kebbeh (oud maker, 1975-2000). Collection of Radwan Al Taleb, Damascus, Syria, 1991.

These artifacts and stories tell visitors of the importance, but also destruction of the oud industry in Syria. Photos courtesy of Julia Zungri.

This exhibition made me proud to know that our city is home to this museum and is producing such wonderful experiences. It has reaffirmed my passion for museums, and if this is where the field is heading, count me in.

J'ADORE, CHRISTIAN DIOR: THE EXHIBITION

EXHIBITION REVIEWS

BY: JULIA ZUNGRI

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“The Christian Dior fashions in this exhibition are beautiful,” reads the first sentence of the curatorial statement in the Royal Ontario Museum (ROM)’s very own Christian Dior exhibition, which draws from the museum’s permanent collection. First, it is refreshing to read a curatorial statement when first walking into an exhibition space. Dr. Alexandra Palmer, the Senior Curator of Textiles & Costumes at the ROM, tells us the story of what led to this exhibition and the research and collaboration necessary for it to come to fruition.

Curatorial Statement by Alexandra Palmer. Photo courtesy of Julia Zungri.

This is the first time that the ROM’s Christian Dior collection from the postwar decade (1947 to 1957) will be on display, featuring over 100 objects. The ROM's Youtube channel features incredible footage of all of the hard work that went into conserving and preparing these objects for display. Here is a video of behind the scenes footage with the ROM team, courtesy of the ROM: 

 

The exhibition, presented by Holt Renfrew, examines the first decade of designs by Christian Dior. This decade of design is marked by the construction of the successful “New Look:” the “New Look” introduced cuts and designs such as soft shoulders and cinched waists - a challenge to the wartime masculine silhouette. As a result, the exhibition also pays particular attention to the meticulous work that went into these pieces by designers, as seen in the video below, courtesy of the ROM.

 

Panel explaining the success of the "New Look." Photo courtesy of Julia Zungri.

The organization of this exhibition is one of the reasons why it is so successful and enjoyable. I was first presented with two display cases opposite each other: one briefly explaining the fashion of the 19th century, and the other, the inspiration Dior took from 19th century fashion, as well as changes he made. This is a really useful introduction to not only understand what Dior was thinking in the post-WWII period, but also (however brief) to appreciate a timeline of major fashion trends over that century. Additionally, before viewing any pieces, visitors are presented with a legend of what each fashion term that will be used throughout the exhibition means - which was really useful for someone like myself.

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"Decoding Dior" legend, particularly useful for someone who is not well versed in fashion vocabulary. Photo courtesy of Julia Zungri.

The pieces are arranged thematically by Day, late Afternoon to early Evening, and Evening wears. The pieces are contextualized and interpreted in a very creative and user-friendly manner. For example, one of my absolute favourite features of this exhibition is the use of at least two iPads in every theme. The iPads allow visitors to view original sketches and swatches, detailed photos, stories and photos of models and women who wore and owned the pieces, original advertisements, and much more – and they were all related to the pieces actually on display! This is such a clever way to avoid writing too much text but also to contextualize these pieces that merit a closer examination (very fashion-forward, I must say – pun intended). I also had an incredible urge to touch all of the pieces (or why else would I be in this field)?! Having the iPads provide detailed photos settled this urge and curiosity (although I’m still hoping the ROM will one day let me touch one of the dresses).

The above three photos exemplify how the iPads work and what type of information they reveal.
Options are available to zoom in and out of photos and are directly related to pieces on display.
Photos courtesy of Julia Zungri.

The iPads were also complemented by archival videos, displayed throughout the space, of women wearing Dior’s pieces and of Christian Dior and designers creating these textiles that are featured in the exhibition (as seen in the video below). These digital applications help the pieces, worn by mannequins in the space, come to life.

 

Another example of where videos play throughout the space. The videos contain footage of the textiles on display either being worn and/or created. Photo and video courtesy of Julia Zungri.

These three photos (above and below) further illustrate how the digital applications used in the space help humanize and tell a story of the pieces. Note that the dress in the photo on the bottom left is being worn by the woman in the photograph on the bottom right. Photos courtesy of Julia Zungri.

 

I had the pleasure to visit the exhibition with fellow Musings writer, Kelly Manikoth. I feel I have no choice but to feature her absolute favourite piece from this exhibition, because it is breathtaking:

Give me a moment while I try on my prom dress and just pretend. Photos courtesy of Julia Zungri.

My personal favourite! Note the great amount of detail that the iPads provide (right)! Photos courtesy of Julia Zungri.

The exhibition also highlights textile industries that flourished alongside Dior, featuring embroidery, fabric, and ribbon samples used in Dior’s pieces.

This in particular is a Staron printed textile register from 1955. This is a page with three Bambou samples. I can just imagine the process of archiving all of this material at the time! Photos courtesy of Julia Zungri.

The garments are not the only pieces on display: the exhibition also features perfume, shoes, accessories, and original advertisements by and about Dior.

Now that's what I call a statement necklace. Photo courtesy of Julia Zungri.

The display of the perfumes is also quite clever! Positioned in a display case behind frosted glass designed to replicate a shop window, visitors are subconsciously slightly bending to look through the "shop window."

Photo of Kelly Manikoth 'shopping' for Dior perfume!
Photos courtesy of Julia Zungri.

It was extremely interesting to witness Dior’s world and what he wanted for women through fashion in the post-WWII period. This truly is an exhibition that needs to be seen: the fine details of the pieces, the array of textile samples, and most especially, the enjoyment of using the iPads and watching the videos in this space cannot be sufficiently described in words. I hope my photos and words, though, have done it enough justice and I encourage you to visit.

Until 2018, a more fashionable Julia bids you adieu.

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SHIELD WALL: #VIKINGSTO REVIEW

EXHIBITION REVIEWS

BY: JULIA ZUNGRI

There seems to be a pattern of me reviewing exhibitions that I promoted in my post from February, back when I wrote for Walk of Fame. I am making this sound coincidental: admittedly, I have been excited for the Vikings exhibition since before my February post and even more ecstatic to share my review with you! Our wonderful Editor-in-Chief - who received a sneak peek of Vikings as she attended the Media Preview - also wrote a brief thematic and background reflection on the exhibition, which I highly suggest you read as it complements mine quite well.

I had the pleasure to visit the exhibition during Friday Night Live (Valhalla themed of course), preceded by a lecture about Viking body art and adornment. I visited with a colleague and fellow Musings writer, as well as two “non-typical" museum visitors, who all provided feedback about the night.

Promotional Panel for the Vikings Exhibition. Photo courtesy of Julia Zungri.

In his opening and closing remarks, archaeological scientist Robert Mason warned the audience that we would need to go at least twice to fully see everything in the exhibition. As an avid museum-goer, I turned to my colleague and said: “challenge accepted.”

Robert was right.

There are a great amount of objects in this exhibition! The majority of artifacts are borrowed from outside institutions, mostly from Scandinavian countries. The exhibition is certainly archaeological heavy; many objects are extremely small and detailed, requiring time for the visitor to fully examine the artifacts and read the labels. Personally, I am not used to these types of exhibitions and felt uncomfortable at first.

The introductory panel was visually appealing and informative. I also appreciated its text size and positioning. Photos courtesy of Julia Zungri.

My discomfort was also attributed to the fact that in addition to being a text-heavy exhibition, a vast majority of the text panels were laid flat, requiring visitors to look down while reading. The objects on the other hand, being in glass display cases, were more accessible.

Some panels were laid flat at waist level, while others were on an angle but at ground level. The part of me fascinated with the Viking age wanted to read every panel, but due to their positioning, it was very difficult. My ‘non-museum goer’ friends felt the same, as after a while their neck started to hurt and stopped reading.

An example of how the majority of text panels were laid flat. Photo courtesy of Julia Zungri.

The positioning of the text panels allowed for only one to two people to read them at a time, compared to the introductory panel and digital maps on the walls where a larger group of visitors can admire simultaneously.

Besides the positioning of the text panels, I found the aesthetic design of the exhibition extremely clever:

A section in the exhibition similarly designed to mimic the tips of Viking boats. Photo courtesy of Julia Zungri.

Since this is a travelling exhibition, I understand that the ROM may have had certain limitations to the logistics of displaying pieces. I was also visiting on one of the ROM’s busiest nights and anticipated that the large crowds may not be the best environment to slowly explore the exhibition.

The message the exhibition communicates is a highlight of my experience. As a huge fan of the History Channel’s television series, Vikings, I certainly went into the exhibition with stereotypical images in my mind. The exhibition is successful in dispelling these myths and stereotypes about the Viking era and people.

Can you spot the Viking myth? Source.

Stereotypes commonly include the idea of Vikings as dirty and rude. Although we cannot say much for the latter, the exhibition uses archaeological evidence to challenge the concept of Vikings as unhygienic.

Text panels challenging Viking stereotypes with object labels (above and left). Findings from a Viking man's grave, including a flip comb (right). Photos courtesy of Julia Zungri.

The text panel above and on the left explain how the stereotype of Vikings as dirty and 'barbaric' can be challenged by archaeological findings of items such as spoons, wash basins, and combs, as seen with the flip comb (right), found in a Viking man's grave. In this section dedicated to everyday Viking life, there are artifacts in the form of pots, pans, and utensils. There's even a recipe you can take home!

Take-home recipe for 'Viking bread.' Let me know how it tastes! Photo courtesy of Julia Zungri.

In addition to dispelling stereotypes, the exhibition also explores how these stereotypes were and are used by certain groups of people to their advantage. Most significant for me (as it was the topic of my History MA thesis), is how the Nazi regime used stereotypes of the Vikings, particularly of the Vikings as the ‘master race,’ to advance and provide historical ‘support’ to their propaganda and educational agenda.

Panel discussing the exploitation of Viking myths. Image (above) displays a typical versus more realistic Viking helmet. You can pull up and down on the horns to see the shadow alter in the background! Photos courtesy of Julia Zungri.

The exhibition is also filled with a variety of interactives. One of my favourites is conducting your own “digital” archaeological dig:

The archaeological dig interactive. You can tap on spots where you want to "excavate," which then reveals the artifact you have found (above). Photos courtesy of Julia Zungri.

Another included reconstructions of clothing (which you could touch) hung behind two podiums equipped with interactives. The objective of the one I participated in is to try and dress different individuals from the Viking era. Although this interactive was not the most user-friendly, it was neat to physically see and touch the reconstructions of clothing while learning about the cultural and societal significance behind clothing and accessories.

I quite enjoyed the game's wit (above). I found the relationship between roles in society and tools and accessories fascinating! Photos courtesy of Julia Zungri.

Other interactives include listening to Viking myths, lifting a replica Viking sword to experience its weight, and spelling your name in Runes.

Two things have been established: I would most likely not have been a Viking warrior (re: weight of the sword above) and my Viking name would be Kulia. Photos courtesy of Julia Zungri.

My friends and colleagues expressed their desire to have more modern and immersive interactives that do not require more reading. For example, as part of the FNL: Valhalla programming, I had the opportunity to immerse myself into a battle scene and Seer reading through virtual reality offered by the History Channel’s Viking TV series. One word: incredible!

You were also able to take home a Google cardboard headset and download the app to experience it at home (which is incredibly fun)! However, this interactive was on a different floor than the exhibition. It would have been interesting to have an augmented or virtual reality interactive as a permanent part of the exhibition: even if not about the TV series, but perhaps using AR/VR to see what a typical Viking home, room, or boat would look like from the inside.

Casually receiving a Seer prophecy. Photo courtesy of Sabrina Rafiq.

One of my favourite parts of the exhibition is the last room that examines the Viking age in the East Coast of Canada.

Panel in the Vikings in Canada section. Photo courtesy of Julia Zungri.

I also happened to eavesdrop on a conversation between the curator, Craig Cipolla, and two visitors, which then turned into a large crowd. Cipolla is an incredible storyteller and, when talking about Canada, I could not help but be intrigued. He discussed the story of the Beardmore sword, which is the only ROM artifact on display in the exhibition, but extremely fascinating! I couldn’t possibly reiterate the significance behind this object as well as Cipolla, so I highly suggest you attend the ROM Daytime: Meet the Vikings event on November 30, 2017.

The "Beardmore sword." I love the invite to "please touch!" Photos courtesy of Julia Zungri.

Catching a glimpse into Viking homes in Canada. Photos courtesy of Julia Zungri.

Overall, Vikings does a fantastic job at communicating its main message in challenging visitors’ stereotypes and preconceived ideas about the Viking people and era. This message is able to reach both typical and non-typical museum visitors, despite the positioning and amount of text. It certainly provides all visitors a glimpse into objects that are rarely seen outside of Scandinavia and provides an excellent, thought-provoking introduction into Canada’s own Viking age. I wonder, though, did 'Canadian Vikings' apologize before raiding?

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