2 November – 7 December 2018
Launch and performance by Helga Jakobson and Hilary Crist: 7pm, Friday 2 November
Artist talk: 2pm, Saturday 10 November
Sympoietic Sound takes its name from M. Beth Demster’s definition of collectively-producing systems. The installation highlights the webbed patterns and relations between plants, non human creatures, and humans. In this exhibition relays pass over and through non visible boundaries creating connections and dissonances, and are used to create a soundscape. A co-evolving sound generated from on-goingness.
Here, in this collectively producing system, there are the sounds of plants becoming with webs, humans becoming with both- we hear living, dying and all that lies between. As Donna Haraway says, Nothing makes itself; sympoiesis is a word for worlding-with, for company.
Sympoietic Sound | Helga Jakobson
Du 2 novembre au 7 décembre 2018
Vernissage et performance par Helga Jakobson et Hilary Crist : 19 h, vendredi le 2 novembre
Causerie d’artiste : 14 h, samedi le 10 novembre
Sympoietic Sound est un nom qui provient de la définition de M. Beth Demster qui décrit des systèmes de production collectif. L’installation met l’accent sur les motifs et les relations entrelacées qui existent entre les plantes, les créatures non humaines et les humains. Dans cette exposition, des relais passent pardessus et au travers des frontières non visibles, créant des connections et des dissonances dont l’artiste se sert pour créer un paysage sonore. Un son en évolution généré par un mouvement continu.
Ici, dans ce système collectif de production, les sons des plantes deviennent des réseaux, des humains évoluent avec les deux – nous entendons la vie, la mort et tout ce qui existe entre les deux. Tout comme Donna Haraway dit : « Rien n’est créé de lui-même; sympoiesis est un mot qui décrit devenir avec, pour l’autre. »
Translation/traduction : Simone Hébert Allard
Interim Director and Programming Assistant
Saturday 13th October 2018, 7 pm. aceartinc.
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 will be talking about the topics in her book and related issues in a free public talk that welcomes everyone.
“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 is 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.
Photo: Dana Hoey
7 September, 7-10pm
Artist talk, 22 September, 2pm | Exhibition run, 7 September – 5 October 2018
Made over an eleven-year period, the work in Shining Tapestry spans textiles, text, photography and digital media, combining these in varied attempts to visualize lived experiences of trauma.
Language and image, base units of conscious thought, break down in flawed processes of articulation and translation. Artifacts of these processes—warping, loss of resolution, garbled syntax and mixed metaphor—mimic deficits of consciousness brought on by intense emotion, illness or impairment.
The show is anchored by a new body of large-scale crochet lace “documents” based on digitally-mangled, low-resolution photographs and improvised text. Alongside works in a range of media, these aim to highlight and destabilize the precarious mental structures that give subjective experience its illusion of continuity and order.
Image: Steven Leyden Cochrane. Melech House where mom died; 2018.
Lita Fontaine, Whess Harman, Meagan Musseau, Rhayne Vermette
Curated by Jennifer Smith
6pm- talk with Lita Fontaine and Meagan Musseau
7pm- Opening reception, with drummer and song carrier Dawn Lavand
The aceartinc. & National Indigenous Media Arts Coalition’s Indigenous Curator In Residence, invite you to the opening of Oneself, and one another. Funded by The Winnipeg Foundation.
The blanket use of the word ‘Indigenous’ can eclipse the incredible diversity within Indigenous cultures across Turtle Island. Oneself, and one another is an exploration of this and the inter-identities of Indigenous artists in Canada. Each of the four artists creates work about their own distinct culture, interests and lives. What we discover is how non-homogenity is itself a defining feature of Indigenous culture, a means of working together, and a source of great power.
The great power brings together four artists, who independent of each other explore ideas of gender, multiple cultural identities, tradition, age, territory, the Dakota Nation, the Metis Nation, the Mi’kmaq Nation, Lake Babine Nation, environmental issues, history, punk culture, decolonization, the lives of artists and Indigeneity. Together the artists form an exhibition that places their Indigeneity at the centre, but makes room to celebrate each difference and explore how combined each difference strengthens each other.
6pm- talk with Lita Fontaine and Meagan Musseau
7pm- Opening reception, with drummer and song carrier Dawn Lavand
7pm- Come for a discussion about the exhibit with the curator, Jennifer Smith
6pm- Artist talk with Whess Harman
Screening the films of Rhayne Vermette. Time TBA.
About the Artists:
Lita Fontaine is of Dakota, Anishinaabe, and Metis descent. Fontaine is a Mother, sister, Art Educator and Visual Artist. Her mother Rose Anne Fontaine’s band affiliation is Long Plain, her father’s, Sagkeeng First Nation. Fontaine was born in Portage la Prairie, Manitoba, and grew up in Winnipeg’s North End. Ever since childhood, Fontaine always enjoyed the act of creation like drawing, building, sewing and collecting recyclables.
During Fontaine’s late twenties, the creative urge to become an artist became quite strong. Being a single mother at the time she decided to return to school and enrolled in the University of Manitoba’s School of Art in the Diploma program where she developed and hone her skills and abilities in drawing and black and white photography. She later pursued an higher education at the University of Regina, Visual Arts Faculty where she attained a Master of Fine Arts, (M.F.A.) specializing in Inter-media and, as some may know as Mixed–media.
Fontaine’s practice is predominately studio based and her methodology in the area of arts education is hands on, where creative processes play an integral role in learning. Fontaine believes the visual arts acts as a catharsis that nourishes emotional, physical, mental, and spiritual growth while making art.
Whess Harman is a queer, mixed-race, trans/non-binary artist, born in prince rupert, BC in 1990 and is a member of the Lake Babine Nation. Their work uses multi-media strategies in print, text and illustration to address issues of representation and memory. Whess completed a BFA at emily carr university in 2014. They have attended residencies at the banff art centre in 2014 and 2016 and at plug-in ICA in winnipeg in 2017. On-going work in includes beadwork and DIY strategies around punk aesthetics creating “Indigenous Punk” jacket series, as well as text based wheat-pasting projects.
Meagan Musseau is an interdisciplinary visual artist of Mi’kmaq and French ancestry from the community of Curling in the Bay of Islands, Newfoundland and Labrador––Elamstukwek, Ktaqmkuk territory of Mi’kma’ki. She works with customary art practices and new media, such as beadwork, basketry, land-based action and installation to explore memory, language, and the relationship between land and body, object and narrative. Musseau graduated with a BFA in Visual Art from Grenfell Campus Memorial University of Newfoundland and Labrador. She was a member of the Indigenous Emerging Artist Program 2015-16 on unceded Coast Salish territory and has participated in artist residencies both nationally and internationally, at such venues as; Banff Centre for Arts and Creativity, Alberta; Centre for Book and Paper Arts, Columbia College Chicago, Illinois, United States; University of Brighton Fine Art Printmaking, Brighton, England; and the National Artist Program, 2011 Canada Games, Halifax, Nova Scotia. Her work has been supported by awards such as the Emerging Artist Award, VANL-CARFAC (2018); Atlantic Canadian Emerging Artist Residency at the Banff Centre, the Hnatyshyn Foundation (2018); Aboriginal Arts Development Award, First Peoples’ Cultural Council (2016); and Corner Brook Emerging Artist of the Year (2013).
Following a very conscious departure from architectural academia, Rhayne Vermette (b. 1982, Notre Dame de Lourdes, Manitoba), figured a distinctive craft within the construction of images through film and photography. Primarily self-taught, and under the influence of post-war Italian architects, Vermette’s work is ignited by themes from the Decadent movement as well as notions of the indeterminate. Her artistic practice comes into focus through a volume of analogue moving images works exceeding over 20 short films. These films have screened at innumerable occasions including Images Film Festival, Jihlava International Film Festival, Festival du Nouveau Cinema, European Media Arts Festival, DOXA, Melbourne International Animation Festival, the Architecture Biennale, and so on …
Though treading the artistic landscape under the guise of a filmmaker, the ephemera from this practice is unconditionally instructed by a camouflaged contemporary art practice. Across this expanse, you will find spatial inquiries articulated through images sculpted at varying scales – from microscopic collages fixed onto individual 16mm cells to a flip of the mirror portraying vast landscapes or insipid spaces through 35mm still photography.
Rhayne lives and works in Winnipeg, Manitoba.
About the Curator:
Jennifer Smith is a Métis curator, writer and arts administrator in Winnipeg, Canada. Jennifer has been working in arts administration for ten years, and has worked for organizations such as the Costume Museum of Canada, the Manitoba Crafts Museum and Library, the Winnipeg Film Group, and currently at Video Pool Media Arts Centre. Jennifer is the President of the board for the Coalition of Canadian Independent Media Art Distributors that runs VUCAVU.com. She has curated exhibits and video programs for the Manitoba Craft Council, Video Pool Media Arts Centre, Open City Cinema, MAWA, and the Manitoba Crafts Museum and Library. Jennifer is the Indigenous Curator in Residence at aceartinc. from March to August 2018.
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
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:
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.