2 October, 5:15 pm, MAWA, 611 Main St.
Presented for send+receive in partnership with MAWA
German artist Limpe Fuchs broke early from her classical training to experiment with “no formalism”-improvisational sound and visual performance using handmade instruments and sound sculptures. Her fascinating artistic career spans over forty years of pushing musical and performance boundaries with an open and intuitive approach. For this event, Fuchs will present some of her handmade instruments and discuss the ideas and concepts behind her often whimsical and rousing work.
send+receive | www.limpefuchs.de/en
Artist talk here.
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.
Indigenous Curatorial Residency
In partnership with the Aboriginal Curatorial Collective and with the generous support of the Winnipeg Foundation, aceartinc. has created an Indigenous Curatorial Residency.
aceartinc. and the Aboriginal Curatorial Collective are delighted to announce that the selection committee has considered the applications to the Indigenous Curatorial Residency program and made their selection. Niki Little will begin the residency on August 4th, 2015. She will mount the exhibition, Enendaman | Anminigook, in January 2016.
The Curatorial Project
Enendaman | Anminigook will investigate the concept of authorship in contemporary Indigenous art; more specifically, utilizing this notion as a model to investigate the intersecting points of lineage, Indigenous female territories, and the value associated with labour/cultural skill. Little hopes to create a space that is a form of generative process and resistance revealing the nuanced complexity of recentering women.
Niki Little is an artist/observer and arts administrator whose works extends from writing, curating, arts coordination and engaging in transient artistic experiences. She is interested in artistic and curatorial strategies that investigates art consumerism, gender, culture and cultural Diaspora with a hint of youth-inspired ambivalence along the way. She is a member of The Ephemerals, a female Indigenous art collective. Little is on the Board of Directors at Urban Shaman (Vice-President), and recently stepped down from President for the Independent Media Arts Alliance, and Treasurer for the National Indigenous Media Arts Coalition. She studied at the University of Manitoba, the National Screen Institute, and the Camberwell College of Art, London, UK, and completed the Mentoring Artists for Women’s Art (MAWA) mentorship program.
Annual Student Show call 2015
If you are an undergraduate or postgraduate student in Manitoba taking an art class, you are eligible to apply.
Deadline: noon, 20 March 2015
To install and exhibit from 7 to 30 April 2015
Please submit up to 3 pieces on any theme in any medium to [email protected]
– a one-page artist statement
– an image list
– Each image should not exceed 1024×768 pixels, 72dpi and/or 50kb. No more than 9 images total (including detail images of each of the 3 pieces being submitted).
Selected artists are eligible to apply for the Scott Wachall Memorial Bursary, a $500 award and opportunity to give a public artist talk about your practice and work.
Curated by Jennifer Smith
Thursday, March 12 at 7:00pm
Open City Cinema and Video Pool are teaming up to present a program exploring Feminist Video Art, and the culture of Independent Distribution of Video Art in Canada.
The four independent Canadian distribution centres across Canada are Vtape (Toronto), VIVO Media Arts Centre (Vancouver), Groupe Intervention Vidéo (GIV) (Montreal) and Video Pool Media Arts Centre (Winnipeg), curated by Video Pool’s Jennifer Smith. Presented with support from The Manitoba Arts Council/ Le conseil des arts du Manitoba and aceartinc.
Il était encore des fois by Aurélie Pedron
HANGMAN by Lamathilde
Calamity by Shawna Dempsey and Lorri Millan
CVS (Computer Vision Syndrome) by Freya Björg Olafson
Hope by Dana Claxton
Colonization: the second coming by Thirza Cuthand
Babe in the Woods by Lisa Birke
Per Se by Deirdre Logue
Wednesday, March 18th
2nd floor, 290 McDermot Ave
Are you itching to learn a new hobby? Put the needle and thread away: drywall taping is a crafter’s delight! Come to aceart on March 18th to discover how with just a few materials, some fragrance, and a bit of creativity, you can easily transform your space!
Artist and former drywall taper, Shelley Vanderbyl will show you how to turn a few plain sheets of gypsum into “WOW!”
Feel free to wear an apron or work clothes… and a belt. Please wear a belt.
This class is free to all ace members, and anyone can join! Memberships are $20/ year or 2 volunteer hours.
Please RSVP no later than March 16th, to [email protected]
Come and get the newest volume of PaperWait – to be launched during the AGM
Since our last AGM, the Board has filled one vacancy and appointed Nicole Flynn as a new director. The membership will vote to ratify this decision.
6 of our current directors have terms that will expire. They are: Andrew Moreau, Andrew Kaplan, Lancelot Coar, Holger Kalberg, Mark Neufeld, Mike VonTiesenhausen. These 6 directors have put their names forward to serve a further two-year term. The membership will vote on whether to re-elect them.
There are currently up to 3 vacancies on the board. Any interested member can put their name forward, no later than November 26th, if they wish to stand for election. We encourage any interested individuals, especially practicing artists, to apply.
At the AGM we will be presenting:
(i) Treasurer’s Report, including ace’s Financial Statements from prior year.
(ii) Election of Directors.
(iii) Appointment of our Accountant.
(iv) President’s Report.
(v) PaperWait vol.16 launch.
LISTEN | d. Miroslav Sebestik
7pm, Thursday 13th November 2014
Some of the world’s most daring composers and musicologists probe the nature of sound and hearing in this unique documentary. The sounds of a rabbit sleeping, the rhythms of a tugboat on water, and the music inspired by industrial machines are among the sounds explored. Includes insights from John Cage, Luciano Berio and Knud Victor.
To reconnect with our natural penchant for aural discovery, to search out and throw light on the obstacles which deprive us of music, and to show up the implicit wealth of our listening capacity, to invite each one of us to heighten her or his awareness of our own listening potential these are the primary motivations behind this film.
Presented in partnership with GroundSwell
d. Miroslav Sebestik—France—1992—120 mins
This workshop is about asking questions of where we see art, how we talk about it, and who’s reading about it. This is for:
- writers working in visual arts journalism
- artists looking to navigate the impact of their practice from the artist statement to the exhibition review
In this workshop we will examine art writing and artworks to generate questions rather than answers. How important is taste? Historical context? Biography? Are exhibition catalog essays art criticism or press? What about theory? Who reads art criticism? What about judgment? Is it the artwork or the installation of the work? The goal is to reevaluate our own critical registers.
Visual culture impacts our lives in meaningful and dazzling ways. Contemporary art appears more accessible than ever from the increasing amount of biennials to image based social media. Hence, we should probably be able to respond to it beyond a constrained and tentative pause followed by, “…interesting.”
There are no longer any spots available for the workshop.
Courtney R. Thompson is a freelance arts writer/critic/worker in Winnipeg. She graduated with an MA in Art History, Theory & Criticism from the School of the Art Institute of Chicago and has been writing about the arts in both print and online publications for more than a decade.
For five months between August 2013 and January 2014 twenty-two artists participated in an urban art experiment by placing their work in a small hole in the back exterior wall of a grocery store in Winnipeg’s West End. Each Sunday afternoon a different artist would install their work in this modest opening facing out into a back alley. Though artist statements and short bio were posted on social media the actual gallery site was devoid of any indications or explanations of the art or artist. This impromptu micro gallery presented art at its most vulnerable, exposed not only to elements but also to the random attentions of passersby.
Join Gallery founders and co-coordinators Frank Livingston and David Churchill, as they discuss the concept behind the gallery, the artists who donated their work to the project, and the reactions to the ideal of the gallery and to the art itself.
Frank Livingston is a Winnipeg based artist and gardener.
Dr. David Churchill, teaches history at the University of Manitoba.