As part of our commitment to engage in broad community consultations as we work to define a new organization vision for the future of aceartinc., we have launched an online survey and one-on-one confidential feedback appointments with an external consultant. The information gathered through these consultation mechanisms will serve to guide the new incoming board that will be elected at a Special General Meeting to be held on November 26.
Cecilia Araneda (see bio below) has been contracted by aceartinc. to provide one-on-one confidential appointments. Araneda will review and analyze the feedback presented, and will prepare a document for aceartinc. that will capture a summary of this feedback, without identifying names.
Those interested in booking a half-hour video call appointment with Araneda can email her at:
firstname.lastname@example.org by Fri Nov 6 at 5 PM (CST).
We invite you to complete this survey by Fri Dec 11 at 12 PM (CST) or meet with Araneda to share your thoughts and experiences. We thank you in advance for your participation as your comments will be invaluable in informing the future direction of aceartinc.
Chilean-born filmmaker and media art curator Cecilia Araneda is a well-known member of the Latinx art community nationally. She holds a BFA hons from York University (Toronto) and an MFA from UBC (Vancouver). In 2018, she became the first ever recipient from the prairies to receive the Joan Lowndes Award from the Canada Council for the Arts, a national prize recognizing excellence in independent curatorial practice in the visual and media arts. Araneda served as Executive Director of the Winnipeg Film Group / Winnipeg Cinematheque from 2006 to 2017, transforming the $1M organization into a new era of artistic clarity, financial stability, facility and technology modernization, and significantly increased diversity, inclusion and participation. She was additionally co-founder and President of the WNDX festival from 2005-2014, and has sat on the boards of Artspace, the Independent Media Arts Alliance and the Elmwood Community Resource Centre. Araneda currently works as an independent filmmaker, curator and cultural worker, with a strong focus on community-based approaches that serve as interventions against the Institution.
As many of you are aware, aceartinc. has been in an active work-in-progress state throughout most of 2020. The intersection of a building move, COVID-19 and–most importantly–feedback from the community that we needed to take time to listen to, process and learn from, required us to temporarily suspend public activities in June.
Since that time, we have been working on our organizational processes and policies, seeking to develop ways to help build a new iteration that is more capable of truly listening, hearing and learning from community feedback; one that provides true equity of opportunity; and one that offers a safe meeting place for the discussion and analysis of ideas surrounding what a contemporary art space should be in 2020 and beyond. Most importantly, we have been considering how we can better support a community of artists and cultural workers for whom social justice is the framing backbone of their activities.
We have found no quick and clear answers; and we do not wish to make a statement that suggests we’re confident in how the organization can move forward in this regard. The truth is, we’re not. And it is for this reason we’ve decided to release this message now: ace needs your help.
In light of the dispersal of aceartinc.’s board of directors, we are calling a Special General Meeting to obtain a completely new contingent of volunteer board members who are aware they are entering an organization at a crossroads: one in need of addressing complex values questions in a manner that incorporates as much community feedback and dialogue mechanisms as possible. And although we have worked hard with the previous board of directors to develop a Community Code of Conduct and related frameworks to support the safety of future important dialogues, the work to come will nonetheless likely be challenging.
The upcoming SGM will serve as a line drawn between an old iteration of aceart and the future that might be possible, and will be focused mostly on the logistical processes needed to facilitate this transition. This, in combination with the meeting’s online nature, means we are aware it may not be the best venue for a truly robust community conversation about the future of aceart. As a result, we have put in place some general community feedback and consultation mechanisms prior to the SGM to help inform and guide the new incoming board, via an online survey and one-on-one confidential feedback appointments with an external consultant. More information on these upcoming processes will be released very shortly. We anticipate this will be just the first of many consultation and feedback mechanisms to come in the very near future. In particular, aceart is very aware of the need to engage in a robust consultation series dedicated to Indigenous and racialized members of our artistic community as soon as is logistically feasible, once we are certain of a mechanism to ensure the integrity of this process.
The date of the upcoming SGM is set for Thurs Nov. 26, 2020, 7 PM to 9 PM. The meeting will be held online given the uncertainty posed by Winnipeg’s current COVID-19 situation. A formal agenda and other related reading materials will be circulated as they become available.
Any interested potential new board members are requested to apply via the nomination formby Mon Nov. 9 at 11:59 PM. Per ace’s bylaws, the organization must publicly release board nominee names two weeks in advance, on Thurs Nov 12, and this timeline will ensure that all interested parties can be included. By law, board members must be 18 years of age or older and cannot be bankrupt. Nominees must also be current, paid members of ace.
While all eligible nominee candidates will be included in the released slate, we believe the organization will be able to move forward in the most efficient manner if candidates include those with legal, accounting, HR management or community non-profit executive directorship experience as well as artists and cultural workers with a prior history of volunteerism on community non-profit boards. To this end, we enlist the aceart community to assist us in ensuring we have the strongest and widest representative slate of nominees possible.
More information will be released shortly as we work towards the SGM and upcoming initial consultation series. We appreciate your patience and understanding with us.
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.
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.
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.
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.
gratefully acknowledge the generous support of the Manitoba Arts Council
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.
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.
Du 1 novembre au 6 decembre 2019 Vernissage le 1 novembre, 19 h Causerie d’artiste le 23 novembre, 19 h
Firekeeper tente de présenter les pratiques culturelles sacrées qui font partie de l’héritage culturel du peuple Anishinaabe auxquelles j’ai pu participer. Par l’entremise de la cérémonie sacrée, nous tentons de guérir ou de nous faire guérir par ceux qui ont reçu le don de pouvoir le faire. J’ai fait l’effort de présenter la culture d’une manière contemporaine par l’entremise de peintures, d’installation et d’animation. Mon espoir est que ceux qui visionnent mes œuvres se sentent bien et qu’elles vous permettent de vous sensibiliser et d’en apprendre plus au sujet de la culture Anishinaabe sans perception négative. De plus, mon espoir est que le tout vous permettra d’accéder à votre être intérieur pour permettre une guérison et une réflexion personnelles.
J’aimerais exprimer ma gratitude au Conseil des arts du Manitoba et à Peguis T.L.E. Trust de leur appui généreux. Merci aussi à aceartinc. de m’avoir permis de me servir de leur espace pour montrer mon art. Un grand merci à ma famille, mes amis et mes collègues de leur appui tout au long de mon parcours artistique. Migwetch.
Par l’entremise du crayon, de la peinture ou des plateformes numériques, Jordan Stranger communique l’importance de la vie, de la culture et de l’acceptation de soi. Les œuvres de Jordan sont profondément enracinées dans les traditions de sa culture autochtone. En tant qu’Ojibwé-cri, Jordan se sert de ses expériences de vie pour véhiculer ses passions artistiques. Il a obtenu son diplôme en Graphic Design à Red River College en 2012 et il a travaillé dans la création publicitaire depuis 7 ans. En soirée et pendant les fins de semaine, il s’engage dans sa communauté en créant des peintures murales et en tenant des ateliers d’art pour les adolescents et les adultes.
« La vie est une recherche du bonheur. Mes œuvres sont une incarnation de cette poursuite. »
Between Temporal and Permanent Histories of Pain examines memory and a sense of time encased by conditions of the human body. Here, two projections overwhelmingly encompass the room to allow an invitation, and an experience in Coin Therapy (‘coining’) that is being performed in the videos. One of my mother and the other of my father, both bodies lie at rest and in motion on a serene white sheet. Each memory is subtly narrated by sounds that interrelate the visible and invisible scars under the violence and powerful rising of communist regimes in Cambodia during the 1970s to early 1980s. Either they are alone or together, distantly far apart or closely across from one another, the dual representation of a man and a woman in need of healing is blurred by a history of pain and powerlessness.
I would like to thank aceartinc. for their support and realization of my first solo exhibition. Most of all, I gratefully thank my mother and my father for their contribution, openness, and strength in the creation of each work.
Lucille Kim, born in 1992, is a Cambodian-Canadian artist based in Hamilton. She has a BFA degree from University of Toronto Mississauga (2015) where she immediately identified with certain concepts in the mediums of drawing and photography. In early 2018, her travel to Cambodia for the first time left her influenced by their lifestyle, materials, and landscapes as history and memory continue to be a part of her works that underlie the duality between pain and healing.
Le 6 septembre au 11 octobre 2019
Vernissage et causerie d’artiste Le 6 septembre à 19 h
heures de la galerie: 12h-17h du mardi au samedi
Between Temporal and Permanent Histories of Pain examine la mémoire et la notion du temps qui entoure les conditions subies par le corps humain. Ici, deux projections dominent la pièce et l’englobent pour faire place à une invitation, et une expérience en Coin Therapy (‘coining’) qui est effectuée dans les vidéos. Une vidéo de ma mère et une autre de mon père, leurs deux corps au repos ou en mouvement sur un drap blanc pur. En arrière-plan de chaque souvenir, une narration de sons relie les cicatrices visibles et invisibles vécues lors de la violence et la montée puissante des régimes communistes au Cambodge pendant les années 70 jusqu’au début des années 80. Les deux sont soit seul, soit ensemble, très loin l’un de l’autre ou face à face près de l’autre, une représentation de la dualité qui existe entre un homme et une femme qui ont besoin d’une guérison qui est brouillée par une histoire de douleur et d’impuissance.
J’aimerais remercier aceartinc. de leur appui qui m’a permis de réaliser ma première exposition solo. Surtout, je remercie ma mère et mon père de leur contribution, dont je suis reconnaissante, et leur ouverture d’esprit et la force qu’ils ont démontrée en créant chaque œuvre.
Née en 1992, Lucille Kim est
une artiste cambodgienne-canadienne basée à Hamilton.
Elle a un diplôme en beaux-arts de l’Université de Toronto Mississauga (2015) où elle s’est trouvée immédiatement attirée par certains
concepts dans les milieux du dessin et de la photographie. Au début de l’année
2018, elle fut grandement influencée par son premier voyage au Cambodge, en
particulier par le style de vie, la matière et les paysages ainsi que
l’histoire et les souvenirs, toujours sous-jacents à ses œuvres qui reposent
sur la dualité qui existe entre la douleur et la guérison.