The Full Catastrophe | Karen Asher

PeachPit med

15 April – 20 May 2016  |  Launch: 7pm 15 April  |  Artist Talk: 1 pm 23 April

The Full Catastrophe encompasses the all-consuming chaos of life- the highs and the lows, the beautiful and the bizarre: the delirious absurdity of it all. The photographs treat the movement, gesture, abstraction, and exchanges of bodies sculpturally, using equal parts humour and horror to dive into the human condition. The domestic spaces reflect the interiority of anxiety and chaotic intimacies, revealing how these clash, obliterate, or co-habit. The series was inspired by personal illness but soon moved beyond the complexity of Asher’s own experience to explore how we all live inside a catastrophe of one kind or another.


Karen Asher is a lens-based artist from Winnipeg whose work explores her obsession with stress, absurdity and the human condition. She received her BFA Honours in photography from the University of Manitoba in 2009. Asher is the recipient of numerous grants and awards, has been written up in several publications including Canadian Art, BlackFlash and Border Crossings Magazine, and has exhibited internationally, most recently at Platform Centre and Feature Art Fair in Toronto. Asher is represented by Lisa Kehler Art + Projects.


Du 15 avril au 20 mai 2016  |  Vernissage : le 15 avril à 19 h  |  Causerie : le 23 avril à 13 h

The Full Catastrophe réunit tout le chaos dévorant de la vie : les hauts et les bas, la beauté et le bizarre; l’absurdité délirante de tout cela. Le traitement sculptural des photographies exprime le mouvement, les gestes, l’abstraction et les échanges corporels en se servant de doses égales d’humour et d’horreur pour plonger dans la condition humaine. Les lieux domestiques reflètent l’intériorité de l’anxiété et le chaos de l’intimité, révélant la façon que ceux-ci s’entrechoquent, s’anéantissent ou cohabitent. Cette série fut inspirée par une maladie de l’artiste mais dépassa la complexité de l’expérience personnelle de Asher pour devenir une exploration sur la façon que nous vivons constamment à l’intérieur d’une catastrophe ou d’une autre.

L’artiste Karen Asher de Winnipeg fait du travail photographique qui explore son obsession avec le stress, l’absurdité et la condition humaine. Elle a reçu son baccalauréat en beaux-arts de photographie (avec distinction) de l’Université du Manitoba en 2009. Asher a reçu un grand nombre de subventions et de prix, et plusieurs articles ont été écrits à son sujet dans maintes publications y compris Canadian Art, BlackFlash et Border Crossings Magazine, et elle a exposé au niveau international, plus récemment à Platform Centre et Feature Art Fair à Toronto. Asher est représentée par Lisa Kehler Art + Projects.

Translation/traduction : Simone Hébert Allard


Image: ‘Peach Pit’, Karen Asher, 2015; C-Print 24″ x 24″.

Colin Lyons | A Modern Cult of Monuments

4 March – 1 April 2016

06.time machine for abandoned futures_300dpi

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.

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.

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.

vp image






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 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!


23 October – 1 December 2015

Launch – 7pm, Friday 23 October   |   Artist talk – 7pm, Friday 6 November

Talking cures and speaking truths. Apologies. Oaths. The magic of words. The weight of light. 

THE YOLK OF MENIAL LIGHT is a large scale intermedia installation that pulls from the disparate worlds of self-help, capitalist tech-utopianism, street level advertising and the everyday emotional experiences of labor.


Andrea Roberts is Canadian intermedia artist whose work merges sound, performance, video and installation. A recent recipient of San Francisco’s Murphy & Cadogan Contemporary Art Award, Roberts has shown and performed at galleries and festivals internationally; from San Francisco’s 1038 and SomArts to Havana’s CT International Print Biennial and Montreal’s Film Pop. Roberts received their BFA Hons in Sculpture from the University of Manitoba in 2011 and a MFA in Sculpture from California College of the Arts in 2014.


With thanks to Winnipeg Arts Council, Manitoba Arts Council, Canada Council for the Arts, and KALA Arts Institute.



THE YOLK OF MENIAL LIGHT   |   Andrea Roberts

Du 23 octobre au 1 décembre 2015   |   Causerie d’artiste – le vendredi 6 novembre

Des cures de parole et des vérités révélées. Des excuses. Des serments. La magie des mots. La pesanteur de la lumière.

THE YOLK OF MENIAL LIGHT est une installation inter-média à grande échelle qui s’inspire des mondes disparates du développement personnel, de l’utopisme capitaliste technologique, des panneaux publicitaires au niveau de la rue et des émotions ressenties lors du travail de tous les jours.

5th Annual Soap Box Derby!


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.