Firekeeper is meant to display the heritage of the Anishinaabe peoples’ sacred cultural practices in which I’ve taken part. Through sacred ceremony, we aim to heal or to be healed by those who carry the gifts to do so. The paintings, installation, and animation are efforts made to present the culture in a contemporary setting. To those who view my work, I hope it finds you well and allows you to appreciate and learn about Anishinaabe culture while letting go of any negative stigmas. Moreover, I hope it helps you reach your inner-self to enable self-healing and self-reflection.
I gratefully acknowledge the generous support of the Manitoba Arts Council and Peguis T.L.E. Trust. Thanks to aceartinc. for allowing me to show my artwork in their space. Also, a huge thank you to my family, friends, and colleagues for all of their support in my artistic journey. Migwetch.
Through pencil, paint, or digital platforms, Jordan Stranger communicates the importance of life, culture, and acceptance. Jordan’s works are deeply rooted in the traditions of his Indigenous culture. As an Oji-Cree individual, Jordan uses his life experiences to drive his artistic passions. He obtained his diploma in Graphic Design at Red River College in 2012 and has worked in advertising for the past 7 years. He commits his evenings and weekends to his artwork and works within his community creating murals and hosting art workshops for youth and adults.
Life is about happiness. My work is an example of searching for it.
Our new space is located at 208 Princess St, and we will be relocating in the fall. Our new space is accessible and we are so excited to finally be able to invite in folks who have never been able to enter our doors. Thank you to the Government of Canada, the Winnipeg Foundation, the City of Winnipeg and CentreVenture for making this incredible opportunity a reality! As well as thanks to all of our government partners who allow us to operate: the Manitoba Arts Council, the Winnipeg Arts Council and the Canada Council for the Arts.
Launch: Friday, 6 March 2020, 6 – 9 PM. Event is free and all are welcome.
Run: 6 March – 26 March, 2020
Gallery hours: Tuesday – Saturday, 12 – 5 PM
Bakla (Tagalog) — a Filipino person assigned male at birth but having adopted mannerisms traditionally regarded as feminine. The term includes individuals who identify as trans, non-binary, bisexual, etc.
Bakla predates the word “gay” with the latter only emerging around the 19th century. Similar to indigenous Two-Spirit folk, bakla are considered to be capable of seeing the world through both female and male eyes prior to colonization. They were shamanistic leaders who practiced divination and entered into trances as part of their ritualistic practices. The bakla were labeled as pagans and murdered by Spanish colonizers, creating a power vacuum that was used to install Catholicism.
With Winnipeg having the largest concentration of Filipinos in Canada, it has unfortunately become a microcosm of what Filipino society is back home, meaning that the discrimination towards the bakla, and the Filipinx community in general, has also carried over. Despite this, our communities remain resilient, strong, and colorful. This portrait series is meant to celebrate the diverse identities of the bakla as an act of decolonization from our past and to challenge non-baklas’ prevailing perceptions of who we are.
Ally is a gay Filipino photographer who immigrated to Winnipeg in 2016. For the past two years he has become self-taught in the medium, during which time he has built a foundation in landscape and street photography. Determined to better himself as an artist, he decided to pursue formal training after moving to Canada. While in school, he discovered his knack for portraiture and now specializes in that genre of photography.
He has worked on various portrait series that challenge ideas of masculinity and identity to create a safe space for male-identifying individuals who come from the queer, BIPOC, and immigrant communities.
Please note that some of the spoken text in this artist presentation is intentionally obscured in order to draw attention to the sonic materials that were used in both it, as well as the exhibition. For video documentation of the exhibit please visit HERE.
Nest…..as a hiding place in the sky considered space as an illusion, as that which shifts between the perceivable and the peripheral—we can often hear the birds but cannot see the nest. Constructed from a foundation of sound extracted out of field recordings, foley, found-audio and gestures of sonic improvisation, this work was a multi-channel composition for a room. Nest…. intends on establishing an ocean of vibration where time and space are nudged towards an obtuse and poetically shifting experience. Speakers dispersed throughout the gallery underline one’s sense of proximity and complement the room’s physical material—in some cases transmitting sound from within the building itself. Nest…. encouraged a heightened sense of hearing, relating the aural to architecture, social space and memory.
Kelsey presented materials related to the exhibition through a hybrid performance/artist talk, followed by a play-through of the immersive audio installation. The audience was welcome to come and go as they pleased.
Kelsey gratefully acknowledges the generous support of the Manitoba Arts Council, the Winnipeg Arts Council, and Video Pool Media Arts Centre.
Kae Sasaki’s work speaks of the complexity of modern identity, and displacement that can be felt when straddling different cultures. This series of interior paintings entitled I hear it well but scarcely grasp it of Teatro alla Scala in Milan culminated from her experience in a production of die Meistersinger von Nürnberg, a Wagner opera once famously misappropriated by the Nazis, set in an allegorical post-war 1950’s Germany. The uneasy, ironic parallel she drew to the Berlin Pact of 1940 from her attendance as Japanese patron at a German opera, written by a composer suspected of his antisemitism and performed in once Mussolini Italy, was shared by an Italian audience as this opera had not been performed at la Scala for 27 years. As director Harry Kupfer urges the value of tolerance rather than exclusion would allow artistic traditions to be renewed, Sasaki depicts the experience and audiences as fragments of culture, bringing together disparate ideas that coagulate to suggest our hyper-connected yet fragile world.
Sasaki gratefully acknowledges the generous support of the Manitoba Arts Council, the Winnipeg Arts Council, and aceartinc.
Kae Sasaki is a Winnipeg-based visual artist and holds a BA in German Literature from Rikkyo University in Tokyo and BFA Honours in Painting from the School of Art at the University of Manitoba. She has exhibited her work across Canada and has been shortlisted for the Kingston Prize (2015/17/19), Salt Spring National Art Prize (2017) and Jackson’s Painting Prize (2018/19).
Vernissage : vendredi le 28 février 2020, 18 h à 21 h
Durée : du 28 février au 3 avril 2020
Causerie d’artiste : vendredi le 20 mars à 19 h
Heures d’ouverture de la
galerie : jeudi à samedi de midi à
Les œuvres de Kae Sasaki nous parlent de la complexité
de l’identité moderne ainsi que du déplacement ressenti lorsqu’on chevauche
différentes cultures. Cette série de peintures intérieures intitulée I hear
it well but scarcely grasp it du Teatro alla Scala à
Milan est le résultat de son expérience dans une production de die
Meistersinger von Nürnberg, un opéra de Wagner resté célèbre du fait que
les nazis l’ont subtilisé, situé dans l’après-guerre allégorique de l’Allemagne
des années 1950. Grâce à sa présence en tant que Japonaise mécène des arts
assistant à un opéra allemand écrit par un compositeur soupçonné
d’antisémitisme et représenté dans une Italie post-Mussolini, elle a pu
partager le parallèle ironique et précaire qu’elle tire du Pacte de Berlin de
1940 avec un auditoire italien qui n’avait pas vu cet opéra mise en scène à la
Scala depuis 27 ans. Tout comme le metteur en scène Harry Kupfer fait valoir
avec insistance l’importance de la tolérance plutôt que de l’exclusion qui
permettrait aux traditions artistiques d’être renouvelées, Sasaki illustre
l’expérience et les spectateurs comme étant des fragments de la culture qui
rassemblent les idées disparates qui coagulent pour enfin en venir à notre
monde hyperconnecté, mais fragile.
Sasaki tient à remercier
le Conseil des arts du Manitoba, le Conseil des arts de Winnipeg et aceartinc.
de leur appui généreux.
Sasaki est une artiste visuelle basée à Winnipeg. Elle détient un baccalauréat
en littérature allemande de l’Université Rikkyo à Tokyo et un baccalauréat en
Beaux-arts en peinture de l’Université du Manitoba. Elle a présenté ses œuvres
à travers le Canada et a été présélectionnée pour les Kingston Prize
(2015/17/19), Salt Spring National Art Prize (2017) et le Jackson’s Painting
Opening with performances: Friday, 10 January, 7 PM
Artist talk with performances: Saturday, 18 January, 2:30 PM
Through visual art, dance, media art and interdisciplinary work, Puesto/Place situates the Latin American connection between ten prairie artists as the starting point to consider notions of site, flight, migration and landing through physical and memory landscapes, examining points of departure and arrival and temporary places of rest in between, measuring the separation to the idea of home through both distance and time.
ace‘s office will be closed for the holidays from December 19 – January 4. The gallery will be open from Thursday – Saturday 12 – 5 during this period. We will back with regular office and gallery hours on January 7.
Run: Thursday-Saturday, 19 December 2019 – January 4, 2020
Gallery hours: Thursday – Saturday 12 – 5 PM
An exhibit of works by the 2019 Focused Mentorship Program presented in partnership with aceartinc. Internal Investigations brings together recent work from 6 artists in Manitoba who took part in MAWA’s focussed Mentorship Program, a 3-month intensive development opportunity, with mentor Barb Hunt. This program provided an opportunity to be introduced to the work of new artists, new artwork, new ideas and new media at the hands of Barb Hunt. Artists experimented with using unusual media, created and discussed new work, explored ideas and networked, and supported and challenged each other. Internal Investigations focuses on each artist’s exploration of material research as an avenue to express a theme that is important to them. This exhibition features the work of program mentees Allison Moore, Dawn Knight, Barb Bottle, Melanie Matheson, Loricia Pacholko-Matheson, and Briony Haig. Many thanks to aceartinc for this exhibition opportunity.