Seasons of Togetherness incorporated drawing, collage, and animation in an installation about human interaction and connection. Inspired by fantasies found within thrift-store relationship guidebooks, self-help Internet articles, and step-by-step illustrations, Gillies made a playful attempt to discover new ways to experience closeness with others and the world around. Source materials were abstracted through processes of re-creation and interpretation, amplifying both the awkward strangeness and beauty that exist within formalities of expressing.
Created through a practice of working intuitively and experimentally, the exhibition navigated a meandering course across themes of human connection, social convention, and ritual.
With the generous support of the Winnipeg Arts Council with funding from the City of Winnipeg.
Aruna D’Souza writes about modern and contemporary art; intersectional feminisms and other forms of politics; and how museums shape our views of each other and the world. She recently published Whitewalling: Art, Race & Protest in 3 Acts. D’Souza’s free public talk was around the topics in her book and other related issues.
“Ta-Nehisi Coates’s seminal essay “The Case for Reparations” informed the ethos of her foray back into art writing. “I started to think about what a reparative model of art criticism would be for me, and I decided that my reparative gesture would be [through] attention,” she told me, and for D’Souza, that involves asking herself: “Who does my writing serve? Is it useful to the people I feel have been left out of many conversations? For me, a lot of what the book is about is the question of how to be an ally and how that has broken down in these various situations. It’s an exercise for me as a non-Black writer of colour: How can I write about Black protest? And what’s my role to centre the arguments of Black artists?”
– from: Profile by Merray Gerges, and excerpt from Whitewalling: Art, Race & Protest in 3 Acts. Canadian Art, May 3, 2018
D’Souza’s work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, and has been published as well in The Wall Street Journal, CNN.com, Art News, Garage, Bookforum, Momus, Art in America, and Art Practical, among other places. Her book, Whitewalling: Art, Race, and Protest in 3 Acts was published by Badlands Unlimited in May 2018. She currently editing two forthcoming volumes, Making It Modern: A Linda Nochlin Reader, which will be published by Thames & Hudson, and A Presence Which Signals Absence: Lorraine O’Grady Collected Writings 1977-2018.
This talk was co-sponsored by the University of Winnipeg Institute for Women & Gender Studies, Creative Manitoba Indigenous programs, and aceartinc. with Plug In ICA, Gallery 1c03, and Border Crossings.
Part of the Indigenous Curatorial Residency 2018. In partnership with National Indigenous Media Arts Coalition, supported by the generous funding of The Winnipeg Foundation. Jennifer Smith was the curator.
Humza A. Mian aka Manghoe Lassi is a queer Canadian-Pakistani who currently resides in the GTA. He is a Registered Veterinary Technician who works in the downtown core, and a drag queen who has made a big splash on social media over the last year. The focus of his drag is to bring awareness to the existence of queer Desi folk and breaking the chains of toxic masculinity that hold so many queer Desi’s back from expressing themselves. With the help of brands run primarily by PoC, Humza has branched into the world of commercial makeup artistry and is currently focusing on representing brands that encourage diversity and inclusion. His most current drag looks can be seen on his Instagram page (@_humzer) and are heavily influenced by his cultural background.
With gratitude to QTPOC Winnipeg and Like That for bringing Humza A. Mian to Winnipeg and making this talk possible.
That same evening:
Image: Humza A. Mian.
QTPOC strives to create safer spaces where Queer and Trans People Of Colour feel represented, respected and inspired.
What started in 2014 with the intention of being an annual Pride dance party with “Colour Me Queer”, has evolved into much more. Dance parties, panel discussions, art based events, “QPOC Talks” at local high schools, workshops, DJ sponsorships for QTPOC, and provding support for local LGBTTQ* refugees, we hope to continue to be a positive contributor to the LGBTTQ* community.
Like That is a program which provides a space where people exploring gender and/or sexual identity can gather at Sunshine House for fun, skills building and recreation.
We use “like that” as a colloquial term that is clear without having to check specific boxes. It is queer without having to be explicit and it avoids the typical identifiers that may be laced with histories of oppression and homophobia. “I am ‘like that’. That’s the way it is.”
Like That is designed with the hope that people who might not have a place to explore identity issues might come to see the program’s space and the time as *theirs*, and through their participation, transform Like That into a dynamic resource where people can grow.
Ekene Maduka’s practice is grounded in materializing her thought processes and creating opportunities for encounters with her personal experiences through self-representation. Much of her work is informed by the passages of identity and what initiates changes within it.
Maduka’s work is centred on the female figure, creating tension between art historical tropes surrounding the depiction of black women, self representation, and popular culture. She frequently employs heavy detailing when rendering skin, fabrics, and interior spaces. This and her deployment of pattern and striking colors carry historical as well as cultural significance that heightens the social critique often present in her paintings.
In 2017, Maduka was curated into the aceartinc. student exhibition and subsequently awarded the Scott Wachal Memorial Bursary. As part of this, recipients are invited to give a public talk about their work. We hope you can join us to hear Ekene Maduka talk about her practice and recent bodies of work.
Image: Look, it’s just blood. Ekene Maduka. 5’ x 6’; oil on canvas. 2018
The Scott Wachal Memorial Bursary
This bursary is available to art students who have been curated into the Annual Student Exhibition. The bursary is intended to support a project or an opportunity (such as a workshop or residency) that will positively impact the artist’s practice. In 2013 the youngest artist curated into our Annual Student Exhibition passed away. In his memory aceartinc. created the Scott Wachal Memorial Student Bursary.