The Maritime Plaza Hotel | Cameron Forbes

Launch Friday 18 May  |  Artist talk 7pm, 18 May

18 May – 22 June 2018

Built in 1964, the mushroom-shape of Montreal’s Maritime Plaza Hotel was a local iteration of a larger movement towards circular constructions, reproducing a hopeful gesture towards a future utopia, one that never would come to be.

Inspired by the Plaza, Forbes’ painting and drawing based installation conjures and amplifies the transitoriness that such places inhabit in twenty first century life. Occupying both a past iteration of an expected bright future while crises that inform current architecture leave such buildings obsolete is deeply uncanny.

The work explores this via observation, repetition and staging. By looking outward through the Plaza’s framed and curtained windows as well as inward to its oxidizing décor, the movements between interior and exterior, public and private, the grid and the curve, the past and the future break from their binaries to form a hyperobject that is both beautiful and unsettling.

Image: Plaza Windows, Acrylic and Oil on board (2016) 54″ x 90″ each, Cameron Forbes

 

 

Du 18 mai au 22 juin 2018

Vernissage et causerie d’artiste : le 18 mai 2018 à 19 h

Construit en 1964, le Montreal Maritime Plaza Hotel, un bâtiment ayant la forme d’un champignon, représentait une itération locale d’un mouvement plus large qui se prêtait à des constructions circulaires, reproduisant un geste d’espoir envers une utopie future qui n’a jamais vu le jour.

Inspiré par la Plaza, l’installation de Forbes, basée sur des peintures et des dessins, évoque et amplifie l’élément transitoire qui habite ce genre de construction au 21e siècle. Cette itération antérieure d’un futur prometteur s’interpose en plein milieu des crises qui informent l’architecture courante, faisant en sorte que de tels bâtiments voués à l’obsolescence semblent un non-sens.

L’œuvre explore ceci par l’entremise de l’observation, de la répétition et de la mise en scène. En regardant vers l’extérieur par les cadres de fenêtres garnis de rideaux et en regardant vers l’intérieur au décor qui s’oxydise, les mouvements intérieurs et extérieurs, le public et le privé, la grille et la courbe, le passé et le futur s’éclatent de leur dyade pour former un ‘hyperobject’ qui est beau tout en étant troublant.

 

Image : Plaza Windows, acrylique et peinture à l’huile sur tableau (2016) 54″ x

90″ chacun, Cameron Forbes

Traduction : Simone Hébert Allard

 

Humza A. Mian aka Manghoe Lassi – Artist Talk

7pm, Saturday 12 May 2018. Free.

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:

La Macha Ball  |  12 May 2018

On Saturday May 12th, in the spirit of Paris is Burning, QTPOC and Like That are throwing the second La Macha ball at ace! A full evening of celebration of queerness you will never forget. This year they have seven categories for your nerves, all judged by their Majesty, MANGHOE LASSI and QPOC royalty. aceartinc. is the spot, doors at 10pm, $10 sliding scale donation to get in to the event. DJ Slow Grind and Wanda G are your DJs and La Macha is going to be FIRE.

https://www.facebook.com/events/163759404295933/

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 | Scott Wachal Memorial Bursary Talk

7pm, Friday 6 April 2018

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.

The Lay Of The Land – Logan MacDonald

29 March – 4 May 2018

Launch and artist talk 7pm, Thursday 29 March

What started as a project to look at manipulated landscapes, earthworks, structures and signage established by Indigenous communities as a means to assert property against government and/or corporate encroachment – evolved into a lyrical body of work that personally reflects and tries to unpack and negotiate indigenous/settler identity, pan-indigenous cross-cultural exchange, cultural revival, and the tensions that arise from artwork that documents intimacy and viewership.

Photo credit: “Seal Simulacrum” Logan MacDonald, 2016

 

Du 29 mars au 4 mai 2018

Vernissage et causerie d’artiste : jeudi, le 29 mars à 19 h

Ce qui a commencé par un projet qui examinait les paysages manipulés, les terrassements, les structures et les enseignes mises en place par les communautés autochtones pour garantir leur terrain contre l’empiètement du gouvernement et/ou des corporations, est devenue une œuvre majeure lyrique et une réflexion personnelle qui tente de décomposer et de négocier les identités autochtone/colonisateur, l’échange « panautochtone » interculturel, le renouveau culturel et les tensions provoquées par une œuvre d’art qui documente l’intimité et le public.

Images: Karen Asher

2017-2018 Regular Exhibition Schedule

Hannah Claus   |  hochelaga rock  

4 August – 15 September 2017

 

Carte Blanche   |   Members’ exhibition & performances

29 September – 6 October 2017

 

Charlene Vickers   |   Accumulation Of Moments Spent Under Water With The Sun And Moon

20 October – 24 November 2017

 

Dagmara Genda   |   Everything That’s Lost

9 February – 16 March 2018

 

Logan MacDonald   |   The Lay of the Land

29 March – 4 May 2018

 

Cameron Forbes   |  Maritime Plaza Hotel

18 May – 22 June 2018

 

Indigenous Curator in Residence Exhibition – Jennifer Smith (special program)

TBA – July/August 2018

 

Jury that selected the 2017/18 Regular Program convened on 8 & 9 September 2016: Seth Woodyard, Andrea Roberts, Chantel Mierau, Brian Hunter, hannah_g, Steven Leyden Cochrane

2018-2019 Regular Exhibition Schedule

Steven Leyden Cochrane  Shining Tapestry

7 September – 5 October 2018

 

Helga Jakobson Sympoietic Sound

9 Novemeber – 7 December 2018

 

Toby Gillies Ways You Could Love

18 January 2018 – 15 February 2019

 

Kelsey Braun A Nest, as a Hiding Place in the Sky

8 March – 5 April 2019

 

Connie Chappel Embodiment

26 April – 24 May 2019

 

Jury that selected the 2018/19 Regular Program convened on 6 & 7 September 2017: Seth Woodyard, Nicole Flynn, Doreen Girard, hannah_g, Evin Collis. If you have questions about this program please contact hannah_g@aceart.org.

Accumulation Of Moments Spent Under Water With The Sun And Moon | Charlene Vickers

20 October – 24 November 2017

Launch and performance: 7 pm, Friday 20 October

 

Accumulation Of Moments Spent Under Water With The Sun And Moon features the work of Charlene Vickers, an artist of Anishnabe background from Wauzhushk Onigum First Nation currently living and working in Vancouver. Using painting, textiles and installation to explore the intersection between the contemporary and the traditional, Vickers considers her Ojibway ancestry, racial perception, authenticity, viewership and commodification. In examining the social and cultural significance inherent to objects and materials, Vickers uses repetition, juxtaposition and abstraction to create new works that investigate memory, territory and culture. Her paintings, felt Ovoid Traces and mixed-media Mukluks actively reference traditional Ojibway artistic techniques to shape the precision of her process and her compositions. Her work embodies a process of discovery, both of the self, and of the past and present.


CHARLENE VICKERS attended Emily Carr Institute of Art + Design to study painting and holds a BA in Critical Studies and an MFA in Contemporary Arts, both from Simon Fraser University. Her work has been exhibited internationally in Amsterdam, New York City and Porirua City New Zealand. Her paintings were exhibited most recently at the Vancouver Art Gallery in the exhibition Vancouver Special: Ambivalent Pleasures. Vickers’ Sleeman Makazin and Ovoid Traces are held in the permanent collection of the Museum of Anthropology at UBC, Vancouver.

 

Accumulation Of Moments Spent Under Water With The Sun And Moon présente les œuvres de Charlene Vickers, une artiste de souche anishnabe, provenant de Wauzhushk Onigum First Nation, qui demeure et travaille présentement à Vancouver. Elle se sert de la peinture, des textiles et de l’installation pour explorer le point d’intersection entre le contemporain et le traditionnel, tout en tenant compte de sa descendance ojibway, la perception raciale, l’authenticité, le public et la marchandisation. En examinant la signification sociale et culturelle intrinsèque aux objets et du matériel, Vickers se sert de la répétition, de la juxtaposition et de l’abstraction pour créer de nouvelles œuvres qui plombent la mémoire, le territoire et la culture. Ses peintures, ses Ovoid Traces en feutre et ses Mukluks en technique mixte, font une référence directe aux techniques artistiques ojibway traditionnelles, ce qui lui permet de préciser la forme du processus ainsi que de ses compositions. Son œuvre englobe un processus de découverte d’elle-même ainsi que du passé et du présent.

CHARLENE VICKERS a étudié la peinture au Emily Carr Institute of Art + Design et détient un baccalauréat en Études critiques et une maîtrise en beaux-arts en Art contemporain, tous deux de l’Université Simon Fraser. Au niveau international, ses œuvres ont été en exposition à Amsterdam, dans la ville de New York and à Porirua City en Nouvelle-Zélande. Ses peintures ont été en montre récemment à la Vancouver Art Gallery dans l’exposition Vancouver Special: Ambivalent Pleasures. Sleeman Makazin et Ovoid Traces de Vickers font partie de la collection permanente du Musée de l’anthropologie à l’Université de la Colombie-Britannique à Vancouver.

Translation/traduction : Simone Hébert Allard

Cover photo: Alex Gibson

Images: Karen Asher