BUFFY SAINTE-MARIE: PATHFINDER a retrospective by an innovator of digital art

Self Portrait, Ilfordchrome, Pixel Paint and Adobe Photoshop, 1988-1992, size 36″ x 36″

Curated by Natasha Desrochers Lowenthal, Paquin Entertainment

Presented in partnership with Urban Shaman Contemporary Aboriginal Art and Paquin Entertainment Group 

Dates: December 17, 2021- March 5, 2022

Location: Urban Shaman Contemporary Aboriginal Art, 2nd Floor of 290 McDermot Ave

Due to the high counts of COVID cases in Winnipeg, Urban Shaman Gallery will be closed till further notice.

VIRTUAL GALLERY NOW LIVE

EXHIBITION ABSTRACT

Pathfinder features Buffy Sainte-Marie’s full collection of large-scale digital paintings as well as never-before-seen personal sketches, artifacts and behind-the-scenes photos that speak directly to this respected icon’s unique perspective of her own multi-disciplinary life and culture and the experiences that inspired her to create these pieces.

Sainte-Marie approached the digital medium as she has with every facet of her diverse career — with trailblazing ingenuity. Reflect back to 1984 — a time when the internet was almost unheard of and home computers were in their infancy — Sainte-Marie was there, building pieces of this collection within the confines of the very first versions of MacPaint on the earliest Macintosh models. The technology was nothing like the digital production resources we have today, and was used primarily as tools for marketing and graphic design rather than for creating fine art with emotional impact. Being void of prefabricated filters or options for multiple layers, the process of creating artful images required dexterity and patience. Rising above the limitations of the software, she injected as much depth of tradition and attention to detail with pixels as one would with intricate beadwork or classic oils. Meticulously blending scanned images of her wet studio paintings and in-progress drawings and sketches with those of real fibers, feathers and beads, Sainte-Marie crafted these digital tapestries with the precision and care of a natural-born storyteller. The visual and intellectual brilliance of this collection is undeniably ahead of its time.

kîkway kâ-nôkwahk ôta 

Buffy Sainte-Marie kî-ati-atoskâtasm naspitêyihtamowin âpacihcikana pêyakwan iai kâ-kî-pêatoskâtahk kahkiyaw osîhcikêwina – kî-tawatahikêw omamahtâwisiwin ohci. kiskisi 1984 askîwin – êkospîhk êkâ mwâsi ê-pêhtamihk misiwêskamik-ayapiy êkwa mîkiwâmihk ohci mamâhtâwi-âpacihcikana kêtisk awiyak ê-kî-âpacihtât – êkota Buffy kî-osîhtâw ôhi mâwacihcikêwina âta apisîs piko âpacihcikana ê-kî-ihtakohki tâpiskôc MacPaint anihi Macintosh. namôya mistahi kî-ihtakwan wîcihiwêwina mamâhtâwi-âpacihcikana ohci tâpiskôc anohc ôhi naspitêyihtamowina êkwa piko kî-âpatanwa ta-atâwâkêhk piko kîkway ohci namôya kî-âpatanwa naspitêyihtamowin tâpasinahikêwina ohci. nama kî-ihtakona kwayâc-wîcihiwêwin ahpô ka-asastâniwiki tâpasinahikêwina, ohcitaw piko pah-pêyahtak ta-osîhcikêt otâpasinahikêw, ta-sîpêyihtahkik. kî-sâkohtâw anihi kâ-wî-wanâhokot, êkâ cêskwa ê-kîihtakohk wîcihiwêwin, kî-kocîhtâw ta-tâpasinahikêt êkota mamâhtâwi-âpacihcikan ê-âpacihtât, tâpiskôc awiyak pêyahktak kâ-mîkisihkâcikêt ahpô awiyak pimiy ohci ê-masinipêhikâkêt. kîkakâyawâtisiw ê-kikinahk nanâtohk pîtos naspisîhcikana mîna tâpasinahikêwina, mîna asapâpak, pîwaya, mîkwanak, êkwa mîkisak, Buffy kî-osîhtâw ôhi naspitêyihtamowin tâpasinahikêwin ê-mamahtâwisihcikêt pêyakwan otâtayohkêw. êwakoni ôhi kâ-wâpahtamihk mîna kâ-mâmitonêyihtamihk mâmawihcikêwin kâ-miyonâkwahki mêtoni nîkânîstamâkêw.

ᑮᑿᐩᑳᓅᑿᕽᐆᑕ

Buffy Sainte-Marie ᑮ ᐊᑎ ᐊᑐᐢᑳᑕᐢᒼ ᓇᐢᐱᑌᔨᐦᑕᒧᐏᐣ ᐋᐸᒋᐦᒋᑲᓇ ᐯᔭᑿᐣ iai ᑳ ᑮ ᐯ ᐊᑐᐢᑳᑕᕽ ᑲᐦᑭᔭᐤ ᐅᓰᐦᒋᑫᐏᓇ – ᑮ ᑕᐘᑕᐦᐃᑫᐤ ᐅᒪᒪᐦᑖᐏᓯᐏᐣ ᐅᐦᒋ᙮ ᑭᐢᑭᓯ 1984 ᐊᐢᑮᐏᐣ – ᐁᑯᐢᐲᕽ ᐁᑳ ᒹᓯ ᐁ ᐯᐦᑕᒥᕽ ᒥᓯᐍᐢᑲᒥᑲᔭᐱᐩ ᐁᑿ ᒦᑭᐚᒥᕽ ᐅᐦᒋᒪᒫᐦᑖᐏ ᐋᐸᒋᐦᒋᑲᓇ ᑫᑎᐢᐠ ᐊᐏᔭᐠ ᐁ ᑮ ᐋᐸᒋᐦᑖᐟ – ᐁᑯᑕ Buffy ᑮ ᐅᓰᐦᑖᐤ ᐆᐦᐃ ᒫᐘᒋᐦᒋᑫᐏᓇ ᐋᑕ ᐊᐱᓰᐢ ᐱᑯ ᐋᐸᒋᐦᒋᑲᓇᐁ ᑮ ᐃᐦᑕᑯᐦᑭ ᑖᐱᐢᑰᐨ MacPaint ᐊᓂᐦᐃ Macintosh. ᓇᒨᔭ ᒥᐢᑕᐦᐃ ᑮ ᐃᐦᑕᑿᐣ ᐑᒋᐦᐃᐍᐏᓇ ᒪᒫᐦᑖᐏ ᐋᐸᒋᐦᒋᑲᓇ ᐅᐦᒋ ᑖᐱᐢᑰᐨᐊᓄᐦᐨ ᐆᐦᐃ ᓇᐢᐱᑌᔨᐦᑕᒧᐏᓇ ᐁᑿ ᐱᑯ ᑮ ᐋᐸᑕᓌ ᑕ ᐊᑖᐚᑫᕽ ᐱᑯ ᑮᑿᐩ ᐅᐦᒋ ᓇᒨᔭ ᑮ ᐋᐸᑕᓌ ᓇᐢᐱᑌᔨᐦᑕᒧᐏᐣᑖᐸᓯᓇᐦᐃᑫᐏᓇ ᐅᐦᒋ᙮ ᓇᒪ ᑮ ᐃᐦᑕᑯᓇ ᑿᔮᐨ ᐑᒋᐦᐃᐍᐏᐣ ᐊᐦᐴ ᑲ ᐊᓴᐢᑖᓂᐏᑭ ᑖᐸᓯᓇᐦᐃᑫᐏᓇ, ᐅᐦᒋᑕᐤ ᐱᑯ ᐸᐦ ᐯᔭᐦᑕᐠᑕ ᐅᓰᐦᒋᑫᐟ ᐅᑖᐸᓯᓇᐦᐃᑫᐤ, ᑕ ᓰᐯᔨᐦᑕᐦᑭᐠ᙮ ᑮ ᓵᑯᐦᑖᐤ ᐊᓂᐦᐃ ᑳ ᐑ ᐘᓈᐦᐅᑯᐟ, ᐁᑳ ᒉᐢᑿ ᐁ ᑮ ᐃᐦᑕᑯᕽ ᐑᒋᐦᐃᐍᐏᐣ, ᑮ ᑯᒌᐦᑖᐤᑕ ᑖᐸᓯᓇᐦᐃᑫᐟ ᐁᑯᑕ ᒪᒫᐦᑖᐏ ᐋᐸᒋᐦᒋᑲᐣ ᐁ ᐋᐸᒋᐦᑖᐟ, ᑖᐱᐢᑰᐨ ᐊᐏᔭᐠ pêyahktak ᑳ ᒦᑭᓯᐦᑳᒋᑫᐟ ᐊᐦᐴ ᐊᐏᔭᐠ ᐱᒥᐩ ᐅᐦᒋᐁ ᒪᓯᓂᐯᐦᐃᑳᑫᐟ᙮ ᑮ ᑲᑳᔭᐚᑎᓯᐤ ᐁ ᑭᑭᓇᕽ ᓇᓈᑐᕽ ᐲᑐᐢ ᓇᐢᐱᓰᐦᒋᑲᓇ ᒦᓇ ᑖᐸᓯᓇᐦᐃᑫᐏᓇ, ᒦᓇ ᐊᓴᐹᐸᐠ, ᐲᐘᔭ, ᒦᑿᓇᐠ, ᐁᑿ ᒦᑭᓴᐠ, Buffy ᑮ ᐅᓰᐦᑖᐤ ᐆᐦᐃ ᓇᐢᐱᑌᔨᐦᑕᒧᐏᐣ ᑖᐸᓯᓇᐦᐃᑫᐏᐣ ᐁ ᒪᒪᐦᑖᐏᓯᐦᒋᑫᐟ ᐯᔭᑿᐣ ᐅᑖᑕᔪᐦᑫᐤ᙮ ᐁᐘᑯᓂ ᐆᐦᐃᑳ ᐚᐸᐦᑕᒥᕽ ᒦᓇ ᑳ ᒫᒥᑐᓀᔨᐦᑕᒥᕽ ᒫᒪᐏᐦᒋᑫᐏᐣ ᑳ ᒥᔪᓈᑿᐦᑭ ᒣᑐᓂ ᓃᑳᓃᐢᑕᒫᑫᐤ᙮

RÉSUMÉ DE L’EXPOSITION

Buffy Sainte-Marie a exploré le monde numérique comme elle a su si bien le faire dans toutes les sphères de sa riche carrière, soit avec une créativité audacieuse. Dès 1984, à un moment où Internet et les ordinateurs personnels n’avaient pas encore pris leur envol, Buffy s’employait déjà à concevoir les œuvres de cette collection à l’aide des toutes premières versions de MacPaint des premiers ordinateurs Macintosh. Plus élémentaire, la technologie était alors sans commune mesure avec les outils numériques d’aujourd’hui et servait principalement à la mise en marché et au graphisme plutôt qu’à la création d’œuvres artistiques chargées d’émotion. Comme il n’y avait pas de fonctionnalités multicouches ni de filtres préconfigurés, il fallait faire preuve de dextérité et de patience pour arriver à créer de bonnes images artistiques. Malgré les limites des logiciels, elle a su insuffler à ses œuvres pixellisées un sens de la tradition et du détail à la hauteur de celui qu’on peut retrouver dans les peintures à l’huile classiques et les broderies perlées les plus fines. Par une méticuleuse fusion d’images numérisées de ses aquarelles produites en atelier et de ses dessins et esquisses avec celles de véritables tissus, plumes et perles, Buffy a confectionné ces tapisseries numériques avec la finesse et la minutie d’une conteuse née. La splendeur visuelle et intellectuelle de cette collection dénote assurément une vision résolument avant-gardiste.

WE ARE FOLLOWING MANITOBA GOVERNMENT PRECAUTIONS AS THEY HAPPEN – IF CHANGES OCCUR, URBAN SHAMAN WILL ADVISE BY EMAIL & UPDATES WILL BE ON THEIR WEBSITE ON HOW YOU CAN VISIT THEIR GALLERY. THANK YOU FOR YOUR PATIENCE AND SUPPORT

Hiring: Administrative Assistant

Position: Administrative Assistant

Term: December 20, 2021 – February 21, 2022 (9 weeks)

Hourly wage: $15.00

DEADLINE EXTENDED: December 9, 2021, 5 pm CST

aceartinc. is seeking an enthusiastic, bright individual as our Administrative Assistant. This is a paid term position through Canada Summer Works. Candidates must be between the ages of 15-30 years old and a Canadian citizen, permanent resident or a person to whom refugee protection has been conferred under the Immigration and Refugee Protection Act for the duration of the employment.

Working with the Special Projects Coordinator and under the guidance of the Director of Finance and Administration, the Administrative Assistant will participate in a broad range of activities that include administrative, communication and marketing strategies related to running a contemporary art gallery.

This is a term position from December 20, 2021 to February 21, 2022, is 30 hours per week requiring some work on weekends and evenings, and occasional work from home.

Qualified candidates will have:

  • An interest in contemporary art 
  • Experience with non-profit organisations including voluntary experience
  • Excellent time management skills
  • Excellent communication skills
  • The ability to work independently and in a collaborative environment
  • Knowledge of Google Workspace
  • Experience with Mailchimp, Adobe Suite, WordPress, an asset but not required

Responsibilities will include

  • Schedule in-person gallery appointments
  • Welcome visitors and scan vaccination cards 
  • Organize office supplies and gallery equipment
  • Assist with running events 
  • Assist with creating content for website and social media platforms
  • General correspondence, mail opening, data entry, word processing, photocopying, printing, layout, record keeping, filing, mailing
  • Light housekeeping and cleaning
  • Assist with any other tasks as requested

aceartinc. encourages all qualified applicants to apply. aceartinc. welcomes applicants from Government of Canada job equity groups (i.e., women, persons with disabilities, visible minorities, Indigenous candidates).

This position is made possible through funding from the Canada Summer Jobs, an initiative of the Youth Employment and Skills Strategies. 

Send resume to brianna@aceart.org to apply.

Digital Anti-Matter Anti-Manifesto, a programming intervention by gijiit

We are pleased to announce that beginning in early March, aceartinc. will be hosting a programming intervention from the curatorial collective, gijiit. This intervention, Digital Anti-Matter Anti-Manifesto, consists of a series of online events that features digital artwork, performances, workshops, and talks by Indigenous artists from across Turtle Island. This intervention runs until Summer 2021.

Digital Anti-Matter Anti-Manifesto

We strive to consider the varying forms of matter, energy, and particles that exist around us. While Western notions of science-based knowledge hold the sole perspective of Truth, Indigenous cosmologies acknowledge the existence of multiple truths and realities that create diverse tapestries of life. Anti-matter works through the ways in which decolonial thinkers and makers deny colonial conceptions of Truths, ordering of space and temporality.

Through the lens of anti-matter, we aim to carve out a space for anti-colonial matter: as sound, particles, energy, and anti-colonial knowledge transmission.

Anti-manifesto derives from queer theory and the idea that there is no future for the queer and all those who aren’t afforded a potentiality of life on Man’s Earth. All that which is queer should resist, at all costs, a neoliberal fascination with the future and the manifesto, and prefer instead to lurk in the margins, the in-between spaces, of intelligibility and definition.

This programming will honour the types of matter and knowledge transference that takes place through digital spaces.

gijiit is a curatorial collective consisting of members Jas M. Morgan and Adrienne Huard, based in Tkaronto and Miiskwaagamiwiziibiing. The collective concentrates on community-engaged Indigenous art dealing with themes of gender, sex, and sexuality.

We are seeking feedback from our community

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:

aceart@ceciliaaraneda.ca 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.


About Cecilia Araneda

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.

A Message from Staff | Call for Board Members | Special General Meeting

Text in image reads: aceartinc. Call for Board Members, application deadline: Tues., Nov. 9, 11:59 PM. Please completed the nomination form and send to brianna@aceart.org to apply. Nominee information will be released to the public on Thurs., Nov. 12. Special General Meeting, Thurs., Nov. 26, 7-9 PM. Meeting will be held via Zoom. Zoom meeting info will be sent out with nominee information on Nov. 12.

A message from aceartinc.’s current staff members

Dear aceartinc. community,

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 form by 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.

Sincerely,

Tani Miki, Director of Finance and Administration  

Brianna Wentz, Special Projects Coordinator

Click here to view Board of Directors nomination form.

We’re moving!

Our new space is located at 208 Princess St, and we will be relocating in December 2021 (updated Oct. 25, 2021). 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.

bakla | Ally Gonzalo | Flux Gallery

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.

I hear it well but scarcely grasp it | Kae Sasaki | Main Gallery

Launch: Friday, 28 February 2020, 6 – 9 PM

Run: 28 February – 3 April 2020

Artist talk: digital artist talk to be announced

Gallery hours: Tuesday – Saturday, 12 – 5 PM

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 17 h

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.

Kae 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 Prize (2018/19).

Mujer Artista: Puesto/Place

Exhibition run: 10 – 25 January 2020

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.

Artists:

Carolina Araneda

Cecilia Araneda

Beatriz Barahona

Francesca Carella Arfinengo

Gabriela Garcia Ortiz

Alexandra Garrido

Monica Martinez

Mariana Muñoz Gomez

Lucy Pavez

Camila Schujman

Image Credit: landing / Cecilia Araneda

internal investigations | MAWA | Main Gallery

Reception: Friday, 3 January 2020, 6 – 9 PM

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.