The Work of Repair: Redress & Repatriation at the Museum of Vancouver
The exhibit The Work of Repair: Redress & Repatriation at the Museum of Vancouver explores the museum’s ongoing decolonization efforts and relationship-building with Indigenous communities. Opening June 20th, it highlights three ways the MOV is working towards repair: repatriation, community engagement, and research that reconnects Indigenous belongings to their histories.
The Work of Repair: Redress & Repatriation at the Museum of Vancouver
- Dates: Starting June 20, 2025 with opening reception June 19, 2025.
- Location: Museum of Vancouver (1100 Chestnut St, Vancouver)
- Admission: $10-17, discounted during HVAC upgrades.
- Free for individuals self-identifying as Indigenous
- Visit MOV on the first Sunday of each month and pay what you can for admission
Nexwenen Nataghelʔilh is an exhibition within an exhibition exploring the emotional impact of the repatriation of over 60 Tŝilhqot’in ancestral belongings from the MOV collection. The Tŝilhqot’in National Government (TNG) partnered with the MOV to undertake their first repatriation, completed in February 2024—and this work is reflected in the exhibition through film, photography and stories from Tŝilhqot’in leaders, elders and youth.
Knowledge Repatriation is an MOV cultural revitalization initiative that responds to community identified needs. Projects are designed to reintroduce traditional knowledge to host nation communities by bringing participants together with knowledge holders from neighbouring communities. Film clips and objects in this section of The Work of Repair document the work thus far, including harvesting for cedar root basketry, making fish traps from cedar withes, and learning about the maintenance of sea gardens.
From 2021-2024, the MOV participated in Dr. Hannah Turner’s research project, “The Work of Repair,” enabling staff to research older belongings in the collection that had been severed from their histories. Several were successfully reunited with their stories. One example, prominently displayed in this section, is a large Kwakwaka’wakw house model. Once incorrectly attributed to Mungo Martin, it is actually the work of his niece Ellen Neel. Missing its base for several decades, it has been repaired in consultation with family members and reassembled for the first time in decades.
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