A Performed response to ‘You Can Never Go Home Again’ | Shelby Wright & Katie Lyle

7pm, Friday 5 May 2017, free

Shelby Wright & Katie Lyle (TO) will be presenting their Critical Distance performance in response to Matthew Gardiner’s painting exhibition, ‘You Can Never Go Home Again’.

Gardiner’s paintings involve ambiguous interiors and exteriors that point towards the complex processes invovled in contemproary experiences of place, time, and space.

Given Gardiner’s themes, an embodied response seemed to be an exciting means of reflection.

Katie Lyle and Shelby Wright make movement based work combining their artistic backgrounds in dance, film and visual art. Together their collaborative practice focuses on the development of a shared language of movements and phrases. This system acts as a generative source for creation, problem solving and sharing of experience with each other and an audience.

Critical Distance is a program of aceartinc.’s that invovles commissioning artists and writers to respond to exhibits in our Regular Program. The essays are usually in the form of a text. aceart.org/category/critical-distance-essays

Info about the artists:

Katie Lyle works in painting, drawing and performance. Her work uses layering and the residual accumulation of paint to portray the unfixed nature of portraiture and narratives. Selected projects include: The Loon, Toronto (March 2017); G Gallery with Bridget Moser, Toronto; Evans Contemporary, Peterborough; Forest City Gallery with Shelby Wright, London ON (all 2016); Erin Stump Projects, Toronto; Model Project Space, Vancouver; Garden Gallery with Shelby Wright, Toronto; and The Nanaimo Art Gallery (all 2015). Lyle received her MFA from the University of Victoria (2009) and her BFA from Concordia University (2005). She has taught Painting and Drawing at the University of Toronto and the University of Victoria.

Shelby Wright is a dancer and choreographer based in Toronto. Wright’s work explores themes of memory, archive and transference through the body. She has received training from Canada’s National Ballet School, Ecole de danse contemporaine de Montréal, the Limón Institute of New York, and holds a BA from the University of Toronto in Cinema Studies and History. She has presented her choreography in Montréal and Toronto, and has performed professionally in these two cities as well as New York. Wright is certified as Associate Teacher of the Vaganova syllabus from the Society of Russian Ballet.

Born in Montreal, Matthew Gardiner obtained his Bachelor of Fine Art from the University of Manitoba in 2008. Since obtaining his Master’s of Fine Art degree from York University in 2012 Matthew has lived in Montreal QC, Winnipeg MB, Victoria BC and Toronto ON while continuing his studio practice. He is the recipient of provincial and federal grants and art awards. Matthew has recently attended a self-directed studio residency. His paintings have been showcased in publications and included in exhibitions across Canada and the United States. He currently lives and works in Toronto, Ontario.

Matthew Gardiner | You Can Never Go Home Again

13 April – 19 May 2017

Thursday 13 April launch and talk

You Can Never Go Home Again is a series of paintings focused on modern society’s interaction and relationship with the natural world; scenarios that explore concepts of interior and exterior spaces; the artificial and the natural; truth and fiction and how they cohabit the same space. The subjects are a combination of found photographic material and the artist’s own imagination. The process of collaging appropriated photographic material emphasizes the themes of illusion inherent in representational painting; illusions that are both manufactured and broken at the same time. This ongoing series was started in the fall of 2013 in Victoria. B.C. and continued throughout several cities in Canada. You Can Never Go Home Again evokes the artist’s own nomadic experiences and refers to modern society’s inability or unwillingness to return to the natural world.

 

Bio/

Born in Montreal, Matthew Gardiner obtained his Bachelor of Fine Art from the University of Manitoba in 2008. Since obtaining his Master’s of Fine Art degree from York University in 2012 Matthew has lived in Montreal QC, Winnipeg MB, Victoria BC and Toronto ON while continuing his studio practice. He is the recipient of provincial and federal grants and art awards. Matthew has recently attended a self-directed studio residency. His paintings have been showcased in publications and included in exhibitions across Canada and the United States. He currently lives and works in Toronto, Ontario.

 

You Can Never Go Home Again          Matthew Gardiner                                                19 h, le jeudi 13 avril 2017, vernissage et causerie

Jusqu’au 19 mai

You Can Never Go Home Again est une série de peintures qui mise sur l’interaction de la société contemporaine et sa relation avec le monde naturel; des scénarios qui explorent les concepts de l’espace intérieur et extérieur; ce qui est artificiel et naturel; la vérité et la fiction et comment elles cohabitent dans le même espace. Les sujets sont une combinaison de matériel photographique trouvé par hasard et l’imagination de l’artiste. Le processus de collage du matériel photographique approprié met l’emphase sur les thèmes de l’illusion inhérent dans la peinture figurative; des illusions qui sont manufacturées et brisées en même temps. Cette série en cours a débuté à l’automne de 2013 à Victoria en Colombie-Britannique et a fait le tour de plusieurs villes au Canada. You Can Never Go Home Again évoque les expériences nomadiques de l’artiste et fait allusion à l’incapacité ou à la réticence de la société moderne de faire un retour à la nature.  

Translation/traduction : Simone Hébert Allard

Image: Lakeside-Ritual-BC by Matthew Gardiner. Acrylic on wood panel, 20″ x 30″. 2013.

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.