Visual Poetics of Embodied Shame | Chun Hua Catherine Dong

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4 November – 9 December 2016; performance: 8pm, 4 November

Visual Poetics of Embodied Shame examines the visual culture of shame in relation to the body, subjects and power in contemporary art. Over the past three years, Chun Hua Catherine Dong has been creating this series of works that integrates performance, photography, video, and installation. Her focus is exploring the visual culture of shame associated with vulnerability in its personal and socio-political dimensions, deconstructing the experience of shame through gestures, moments, and audience participation. In her practice, she considers feminism, globalization, and psychoanalysis, positioning shame as a feminist strategy of resistance — an ethical practice that seeks altered states of consciousness that possibly leads to restore dignity and humanity.

Images from the performance are here.

Listen to the artist talk here.

Visual Poetics of Embodied Shame | Chun Hua Catherine Dong
Du 4 novembre au 9 décembre 2016

Performance à 20 h, vendredi le 4 novembre

Visual Poetics of Embodied Shame examine la culture visuelle de la honte en rapport avec le corps, les sujets et le pouvoir dans l’art contemporain. Depuis trois années maintenant, Chun Hua Catherine Dong travaille à créer cette série d’œuvres qui incorpore la performance, la photographie, la vidéo et l’installation. Elle met l’accent sur l’exploration de la culture visuelle de la honte associée à la vulnérabilité dans ses dimensions personnelles et sociopolitiques, déconstruisant l’expérience de la honte par l’entremise de gestes, de moments et de la participation de l’auditoire. Dans sa pratique, elle aborde le féminisme, la mondialisation et la psychanalyse, et positionne la honte comme une stratégie de résistance féministe – une pratique éthique qui cherche des états altérés de conscience qui pourraient mener à la restauration de la dignité et de l’humanité.

Botched fabrications on the foggy landscape | Alexis Dirks

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3 June – 8 July 2016  |  Launch 7 pm, 3 June   |   Artist Talk 6 pm, 17 June

On the edge of suburbia and the infinite North, where the materials inside the hardware store mimic a granite highway: Botched fabrications on the foggy landscape combines the raw material with its faux approximation, the authentic against the aspirational.

How do we locate time through objects? How do we allow images to measure value? Photographs of landscapes become objects and bodies become architecture. The work in this exhibition wonders how to represent deep geological time against human progress and history while recounting the personal experiences of time felt through landscape.

Image: Hands Valentino; Digital C-print, 24 x 18″; 2016. Alexis Dirks.

Du 3 juin au 8 juillet 2016  |   le vernissage, 3 June à 19h   |   Causerie à 6 pm, 17 June

En bordure des banlieues et du Grand Nord infini, où le matériel à l’intérieur de la quincaillerie se déguise en une autoroute de granit : Botched fabrications on the foggy landscape agence le matériel brut avec sa fausse approximation, l’authentique à l’encontre des aspirations.

Comment faire pour repérer le temps par l’entremise des objets? Comment permettre aux images de mesurer la valeur? Les photos de paysages deviennent des objets et les corps deviennent de l’architecture. Les œuvres de cette exposition sont un questionnement sur la représentation du temps géologique profond par rapport aux progrès de l’humanité et de l’histoire tout en racontant des expériences personnelles de temps vécues à travers les paysages.

Translation/traduction : Simone Hébert Allard

Colin Lyons | A Modern Cult of Monuments

4 March – 1 April 2016

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French below

4 March – 1 April 2016

Artist Talk

Why is our first instinct to polish the concrete and grind off the rust, effectively cleansing a space of its industrial heritage? A Modern Cult of Monuments attempts to grapple with this question by considering planned obsolescence and the nature of historical preservation efforts. Fusing printmaking, sculpture, video, and chemical experiments, this project reintroduces the evidence of labour into the restoration process: the act of polishing bringing a sharpened awareness to the work that was once performed with these fragments. These absurdly inefficient processes evoke an alchemical creation of time, memory, and historical aura.

colinlyons.ca

Image: Time machine for abandoned futures (detail); zinc plates, copper plates, plexiglas, copper sulphate, wire

 


Lancement et causerie d’artiste le 4 mars à 19 h

Pourquoi notre premier réflexe est-il de vouloir polir le béton et de râper la rouille, effaçant effectivement toute trace de l’héritage industriel d’un espace? A Modern Cult of Monuments essaie de venir à bout de cette question en considérant l’obsolescence planifiée ainsi que la nature des efforts de préservation historique. Le projet réintroduit la preuve du travail dans le processus de la restauration par une fusion de sérigraphie, de sculpture, de vidéo et d’expériences chimiques : l’acte de polir nous donne une prise de conscience plus aigüe par rapport au travail fait autrefois par ces éléments. Ces processus absurdes et inefficaces évoquent une création alchimique tissée par le temps, la mémoire et une ambiance historique.

colinlyons.ca

Image: Time machine for abandoned futures (detail); zinc plates, copper plates, plexiglas, copper sulphate, wire

Translation/traduction : Simone Hébert Allard

 

With thanks to VideoPool Media Arts Centre for their generous technical support.

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Woodshop Workshop

Saturday 14 November 2015, 12-4pm

Get to know the basics of a woodshop. Seth Woodyard (yes, that is his real name) will show you:

– how to work safely and confidently
– how to use basic power tools : circular saw, miter saw, table saw, drill/driver, power sander, nail gun how to use the table saw
– how to build a canvas stretcher
– how to build a wooden box
– how to build a set of wooden stilts

Free to ACI and ace members, $20 to non members
Limited places available.

Email hannah_g@aceart.org or call 944 9763 to reserve your place.

Members of aceartinc. receive free access to the gallery’s woodshop.

Born in Prince Edward Island in a geodesic dome and raised in Ottawa by his artist mother and architect turned economist father, Seth Woodyard is a multi disciplinary visual artist, and a member of the board of directors at aceart. Seth works in a variety of media including painting, drawing, video, performance and installation. He works toward bringing into dialogue ideas of home, the body, architecture, and labour. He currently lives in Winnipeg making a variety of things both aesthetic and functional.

 

This workshop is funded by ACI Manitoba. Thanks, ACI!

5th Annual Soap Box Derby!

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Sunday 13 September, 2-3 pm, Broadway & Memorial

Watch a plethora of soap box teams race for ace’s annual social sculpture fundraiser! A proud partner of Ciclovia, the Soap Box Derby will take place on Broadway and Memorial from 2 pm – 3pm this Sunday. There’s a raffle with prizes you couldn’t even dream of (but include things from Beet Happening, King and Bannatyne, Pop Cart, EQ3, & QPOC Winnipeg) and also a 50/50 draw.

Teams include ace’s low, Punch Buggies, Ferrymen of Hades, Fast or Fiction, Spin Cycle, and Zephers.

This year’s race is brought to you by:

Parlour Coffee, Natural Cycle, Segovia, Bronuts, Waterfront Massage Therapy, Manitoba Crafts Council, Manitoba Artist Run Centres Coalition, Art City, Synonym Art Consultation, Beet Happening, Peg City Car Co-Op, QPOC Winnipeg, Edge Gallery, King + Bannatyne, Pop Cart, The Planit Restaurant & Lounge, Half Pints, and EQ3.

Separates the man from the horse Esther Simmonds MacAdam

Artist talk here.

French below

4 September – 12 October 2015   |   Artist talk: 7 pm, 4 September 2015

This exhibition is an exploration of public equestrian imagery combined with a fascination for the aesthetics of power and desire. Visitors are immersed in a large-scale charcoal drawing of a sleeping white horse. Viewed in its figurative entirety only from a distance, this work ultimately engulfs visitors in abstract monochromatic forms. With its overhead beams and intermittent posts, this exhibition envisions the main gallery at aceartinc. as a stable.

Cloaked in the fantasies and histories of colonialism, the horse is taken up in this exhibition to propose a framework of empathy. The installation is animated by movement through the space and the multiple readings the figure of the horse engenders.

With many thanks to the Ontario Arts Council

 

Du 4 septembre au 12 octobre 2015   |   Causerie d’artiste : le 4 septembre 2015

Cette exposition est une exploration de l’imagerie équestre publique combinée avec une fascination pour l’esthétique du pouvoir et du désir. Les visiteurs se trouvent plongés dans un dessin au fusain à grande échelle d’un cheval blanc qui dort. Vue de loin, cette entité figurative enveloppe les visiteurs de formes abstraites monochromatiques. La galerie principale de aceartinc est transformée en étable grâce à des poutres au-dessus de nos têtes et des poteaux intermittents.

Entouré de fantaisies et d’histoires de colonialisme, le cheval dans cette exposition propose un encadrement d’empathie. L’installation est animée par un mouvement à travers l’espace ainsi que les multiples interprétations que la figure du cheval engendre.

Un gros merci au Conseil des arts de l’Ontario.

 

Manitoba Craft Council presents: Play, Precarity and Survival

July 30 - August 22

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Opening reception July 30, 2015 7pm

Exhibition continues July 31-August 22, 2015

Curated by Sigrid Dahle, featuring work by Marcel Dzama, Seema Goel, Rachael Kroeker, Jeannie Mah, Monica Mercedes Martinez, and Brendan Tang. This group exhibition includes artists who consciously use ceramic history, material properties and studio and/or commercial production processes to playfully and incisively explore, resist and/or perform unmoored contemporary identities. How are ever-evolving, cross-generational im/migrant experiences, colonial narratives and hybridized identities – what we customarily call ‘globalization’ – enacted in and through the vibrant discourse that is 21st century ceramics? What is it about this medium that renders it so amenable to supporting these timely and compelling investigations? Explore these questions and more when Play, Precarity and Survival opens this July.

This exhibition was made possible through generous funding from the Winnipeg Arts Council, Manitoba Arts Council, Canada Council for the Arts and the Arts Branch, Province of Manitoba.

MARCC’s Art on the Fringe

Toby Gillies | It Doesn’t Grow There

it doesnt grow there

 

From the 15th to 17th of July ace will be participating in a Pop-Up gallery at the Winnipeg Fringe Theatre Festival hosted by the Manitoba Artist-Run Centres Coalition (www.marcc.ca). Our featured artist, as chosen by the ace Programming Committee, is Toby Gillies.

Toby Gillies is a third generation artist from Winnipeg, Manitoba, and holds a BFA from the University of Manitoba. His interdisciplinary practice can be characterized by a playful exploration of materials, technique and representation.  He values creativity above all else and draws inspiration from this process.  He aims to make things that are peculiar, that offer the feeling of discovery.

Toby very often draws his energy from the process of collaboration – working creatively with others is becoming more and more characteristic of his activities.  In recent years he has been focusing like a laser beam on community art projects, most notably through his work with Art City as the Studio Coordinator and as the Community Artist in Residence at the Misericordia Health Centre.

 

Toby Gillies | It Doesn’t Grow There

Will be an exhibition of new work – drawings that have been started by searching before knowing what for.

 

 

aceartinc.’s 5th Annual Soap Box Derby

postcardfront

Sunday 13 September, 2-3 pm, Broadway & Memorial

Watch a plethora of soap box teams race for ace’s annual social sculpture fundraiser! A proud partner of Ciclovia, the Soap Box Derby will take place on Broadway and Memorial from 2 pm – 3pm this Sunday. There’s a raffle with prizes you couldn’t even dream of (but include things from Beet Happening, King and Bannatyne, Pop Cart, EQ3, & QPOC Winnipeg) and also a 50/50 draw.

Teams include ace’s low, Punch Buggies, Ferrymen of Hades, Fast or Fiction, Spin Cycle, and Zephers.

This year’s race is brought to you by:

Parlour Coffee, Natural Cycle, Segovia, Bronuts, Waterfront Massage Therapy, Manitoba Crafts Council, Manitoba Artist Run Centres Coalition, Art City, Synonym Art Consultation, Beet Happening, Peg City Car Co-Op, QPOC Winnipeg, Edge Gallery, King + Bannatyne, Pop Cart, The Planit Restaurant & Lounge, Half Pints, and EQ3.

Chase Scenes #1-58

Ming Hon | 19 June - 18 July

ChaseScenes image

[French follows]

Performances: 8pm, 19, 20, 21 June 2015

Installation: 30 June -18 July

Artist Talk: 5.30pm, 3 July

It’s evening. A tree lined park absorbs the rhythmic sound of her heels against concrete.  The sharp snap of a twig interjects. She pauses looking back. Silence. Her steps continue, only to be interrupted by heavy breathing and a shuffling through the trees.  Fear. Picking up her pace, she propels herself forward, walking quickly now.  Her thighs and calves are taut, the bones of her feet locked within the forced architecture of her stilettos.  Her heart and arms pump, the beginning of an accelerating crescendo of her own breath sharply entering and exiting her lungs. Her eyes search wildly for an escape route. Her neck twists back frantically to see what distance lies between her and …what? What happens when one gets caught?

Chase Scenes #1-58 is a live performance and installation on the subject of pursuit. Informed by our collective nightmare of being followed or chased and the manifestation of this in film and visual culture, Chase Scenes #1-58 intersects live performers enacting variations of being chased, with video cameras and screens that display live feed projections. Real, living bodies in motion blur with the spectacle of filmic bodies on screen. Classic film techniques (P.O.V., close-ups, slow motion, stalker vision) frame those bodies in conventions that place meaning upon them.

An exploration into how the emotional makes way for the physical. How the psychology, adrenaline, and intense fear of the pursued manifests in the inherent impulse of forward motion. The audience viewing this performance participates in a number of complex ways: as voyeurs of the spectacle; as practiced watchers of film, familiar with the visual language of the chase scene; and as individuals with bodies whose flight/fight or pursuer modes are activated.

‘Cutting to the chase’ is a common turn of phrase originating from early silent films. Screenwriters would bore the audience with unnecessary filler for a length of time leading up to the chase scene, which was the most anticipated part of the movie. Chase Scenes #1-58 are delivered straight, no chaser.

Concept and Choreography by Ming Hon
Featuring Ming Hon
Supporting cast features Hilary Bergen, Carol-Ann Bohrn, and Trevor Pick

Photo: Alexandra Elliot

Biography

Born in Hong Kong, raised in Winnipeg, she found a loophole which afforded her a slim chance of winning the crown for Miss Hong Kong 2003. Thinking she could secretly undermine the pageantry and it’s fanfare of endorsements, the judges proved her wrong and were not interested.

Ming Hon is an independent dancer, choreographer, and performance artist based in Winnipeg. Her practice looks into themes of work, labour, capitalism, and the economy and politics of the female body.  Her most recent works of note include a durational performance; ‘Patricia: Qu’est-ce que c’est, “dégueulasse”? / ‘what is a “scumbag”?’,  ‘Forever in Blue Jeans’ a comission from Winnipeg’s Contemporary Dancers/Prairie Dance Circuit, ‘The Exhibitionist’ a commission from The University of Manitoba, and a solo called ‘Cleaver Piece’. Hon has exhibited her works and performed both locally and internationally, including at The Taipei Artist’s Village in Taiwan, as part of the National Art Gallery’s Prairie Scene events in Ottawa, Surrey Art Gallery in B.C., Art Gallery of Mississauga, at The CAM Raleigh in North Carolina, and at Plug In Institute for Contemporary Art in Winnipeg and more. She has recieved numerous arts grants, scholarships, and prizes including Winnipeg Arts Council’s 2011 ‘On the Rise’ award. Her practice has developed to include dance/performance installation work and she regularly collaborates as a performer/collaborator on projects with visual artists such as Sarah Anne Johnson, Rebecca Belmore, and Noam Gonick. As a dancer she has studied with Tedd Robinson, Peter Boneham, Susie Burpee, and is a graduate of The School of Contemporary Dancers in Winnipeg.

 

Chase Scenes #1-58  | Ming Hon

Spectacles : 20 h les 19, 20, 21 juin 2015

Installation : le 30 juin au18 juillet

Causerie d’artiste 17 h 30 : le 3 juillet

C’est le soir. Un parc bordé d’arbres absorbe le son rythmique de ses talons sur le ciment. Le bruit sec d’une petite branche qui craque intervient. Elle s’arrête un moment et jète un coup d’œil derrière elle. Pas un son. Elle continue, le son de ses pas interrompu par des respirations fortes et des pas qui traînent à travers les arbres. La peur. Elle se dépêche, se propulse vers l’avant, marche rapidement maintenant. Ses cuisses et ses mollets sont tendus, les os dans ses pieds coincés dans l’architecture forcée de ses talons aiguilles. Son cœur et ses bras pompent, un crescendo accélérant de sa propre respiration qui pénètre et qui sort aussi vite de ses poumons. Ses yeux cherchent follement une issue de secours. Son cou se tort vers l’arrière pour mesurer frénétiquement la distance entre elle et … quoi? Qu’arrive-t-il quand on se fait prendre?

Chase Scenes #1-58 est à la fois une performance en direct et une installation sur le sujet de la poursuite. Inspirée de notre cauchemar collectif de se faire suivre ou poursuivre et l’expression de ceci dans la culture cinématographique et visuelle, Chase Scenes #1-58 présente divers scénarios de poursuite interprétés par des comédiens actuels qui sont captés à l’aide de caméras vidéo et des écrans qui affichent des projections d’alimentation en direct. Des corps réels et vivants en mouvement se confondent au spectacle de projections de corps filmiques sur l’écran. Des techniques cinématographiques classiques (points de vue, des gros plans, des prises au ralenti, le point de vue du harceleur) encadrent ces corps dans des conventions qui les mettent en contexte.

C’est une exploration sur la façon dont l’émotion fait place au physique. Comment la psychologie, l’adrénaline et la peur intense de la personne poursuivie se manifeste par une impulsion innée de l’élan vers l’avant. L’auditoire ressent cette performance en vivant la complexité de l’expérience de tous les angles : en tant que voyeurs du spectacle; ou des spectateurs habitués du cinéma, qui connaissent le langage visuel de la scène de poursuite; et en tant qu’individus avec des corps pour qui la réaction « de lutte ou de fuite » ou du poursuivant est activée.

« Aller au vif du sujet » est une expression commune issue des débuts du cinéma muet. Les scénaristes ennuyaient l’auditoire avec du matériel bouche-trou pour un certain montant de temps pour enfin en arriver à la scène de poursuite, la partie la plus anticipée du film. Chase Scenes #1-58 est effectuée d’une façon directe, sans pousse-alcool.

Concept et choréographie de Ming Hon

Mettant en scène Ming Hon

Seconds rôles Hilary Bergen, Carol-Ann Bohrn et Trevor Pick