The Gilded Gaze: Capitalism, Infection and early Colonialism

Main Article Content

Candice Hopkins

Abstract

At the intersections of capitalist desire, extractive colonization, and the cultural and physical epidemics that impacted Indigenous peoples during the Klondike Gold Rush (1896–1899), I analyze how gold became a symbol of greed and domination, transforming local economies and ecologies into exploited lands, beings, and communities. Through historical accounts and Indigenous cosmologies, the narrative highlights the active resistance (or survivance) of the Tlingit and Tagish peoples, who, through ceremonies like the potlatch, challenged colonial structures and restored communal balance. I explore extractive colonialism as a system that commodifies lands, resources, and people, while Indigenous accounts offer pathways for cultural healing and recovery. I invite a reimagining of human and non-human relationships within the context of a voracious capitalist economy, advocating for decolonization as an act of justice and restoration.

Downloads

Download data is not yet available.

Article Details

How to Cite
Hopkins, C. (2024). The Gilded Gaze: Capitalism, Infection and early Colonialism. Heterotopías, 7(14), 1-25. https://revistas.unc.edu.ar/index.php/heterotopias/article/view/47523
Section
Dossier
Author Biography

Candice Hopkins, Forge Project en Taghkanic, Nueva York

Candice Hopkins is a curator, writer and researcher from the Carcross/Tagish Nation, born in Whitehorse, Yukon, Canada. Her work focuses on indigenous art, examining the relationships between history, contemporary art and cultural resistance. Through her interdisciplinary approach, she has explored topics such as colonialism, sovereignty, and indigenous cosmologies.

Hopkins earned his Bachelor of Fine Arts from the University of the Arts of Alberta and his Master's degree from the Center for Curatorial Studies at Bard College, New York. During her training, she conducted research that connects indigenous cultural practices with global contexts, an experience that has deeply influenced her work.

Throughout his career, she has played key roles in international institutions. She co-curated the 14th edition of documenta (2017) in Kassel, Germany, and Athens, Greece, where she developed an innovative approach to historical narratives and indigenous contemporary art. She also co-curated the SITE Santa Fe Biennale (2018) and the Canadian Pavilion at the 58th Venice Biennale (2019), with the Isuma collective. Between 2019 and 2021, she led the Toronto Art Biennial as chief curator.

His written production includes influential essays published in catalogs and academic journals, where he addresses the implications of capitalism and colonialism in indigenous art. Among his most recent projects is the exhibition "Indian Theater: Native Performance, Art, and Self-Determination since 1969," presented at the Hessel Museum at Bard College, which explores indigenous art as a tool of cultural self-determination.

How to Cite

Hopkins, C. (2024). The Gilded Gaze: Capitalism, Infection and early Colonialism. Heterotopías, 7(14), 1-25. https://revistas.unc.edu.ar/index.php/heterotopias/article/view/47523

References

Baldwin, J. (1963) The Fire Next Time. Nueva York: Vintage.

Berton, P. (2001) Klondike: The Last Great Gold Rush, 1896-1899. Toronto: Anchor Canadá.

Betasamosake Simpson, L. (2014) “Land as Pedagogy: Nishnaabeg Intelligence and Rebellious Transformation” en Decolonization: Indigeneity, Education and Society 3, no. 3 pp. 1-25. En línea: http://decolonization.org/index.php/des/article/view/22170/17985 (accedido el 29 de noviembre de 2016).

Bracken, C. (1997) The Potlatch Papers: A Colonial Case History. Chicago: University of Chicago Press.

Cruikshank, J. (1988). The Social Life of Stories: Narrative and Knowledge in the Yukon Territory Vancouver: UBC Press.

Dauenhauer, N. M (1988) “Listening for Native Voices (Native Writers’ Workshop, Nome, Alaska)” en The Droning Shaman, Haines, AK: Black Current Press, 1988.

Dauenhauer, N. M; Dauenhauer, R. (1990) Haa Tuwunáagu Yís, for Healing Our Spirit: Tlingit Oratory. Seattle: University of Washington Press; Juneau: Sealaska Heritage Foundation.

Lena M. L. (2011) “Tlingit Women in Leadership: One Culture, Two Worlds”. Tesis de Maestría, Regis University. En línea: http://epublication.regis.edu/cgi/viewcontent.cgi?article=1673&context=theses (accedido el 22 de diciembre de 2016).

Mamdani, M. (2012) Define and Rule: Native as Political Identity. Cambridge, MA: Harvard University Press.

Morse, K. (1993) The Nature of Gold: An Environmental History of the Klondike Gold Rush. Seattle: University of Washington Press.

Pratt, R. H (1973) “The Advantages of Mingling Indians with Whites” en Americanizing the American Indians: Writings by the ‘Friends of the Indian’ 1880-1900. Cambridge, MA: Harvard University Press.

Rodgers, D. (2014). The Work Ethic in Industrial America 1850-1920. Chicago: University of Chicago Press.

Russell, C. (2004). “Tools to Self Definition: Nora Marks Dauenhauer’s ‘How to Make a Good Baked Salmon’” en Studies in American Indian Literatures, serie 2, vol. 16, no. 3.

Stoler, A. L. (2011) “Colonial Aphasia: Race and Disabled Histories in France” Public Culture 23, no. 1, pp. 121-156.

Vizenor, G. (2008) “Aesthetics of Survivance” en Survivance: Narratives of Native Presence editado por Vizenor, Lincoln: University of Nebraska Press.

Walker, Hon. J. H (miércoles 23 de agosto de 1893) Comentarios de Massachusetts en la Cámara de Representantes en Republican Campaign Textbook (1896).

Vimalassery, M; Hu Pegues, J; Goldstein, A (2016) “Introduction: On Colonial Unknowing”, Theory and Event 19, no. 4, Octubre. En línea: http://muse.jhu.edu/article/633293http://muse.jhu.edu/article/633293