2019-2020 Regular Exhibition Schedule

Lucille Kim  Between Temporal and Permanent Histories of Pain
6 September – 11 October 2019

Jordan Stranger  Firekeeper
1 November – 6 December 2019

Kae Sasaki  I hear it well but scarcely grasp it
28 February – 3 April 2020

Elise Rasmussen  A Poetic Truth in a Pathetic Fallacy
17 April – 22 May 2020

Grace Han  Trace of Freedom
5 June – 10 July 2020


Jurors: Luther Konadu, Sylvia Dreaver, Madeline Rae, Kelechi Asagwara, hannah_g, Chantel Mierau

Programming: aceartinc. exhibits 5 major exhibitions a year by contemporary visual artists and we welcome submissions from all emerging contemporary artists and curators working in any media to our annual call for submission each August.

If you have any questions about this program please contact tani@aceart.org.

Seasons of Togetherness | Toby Gillies | Main Gallery

Launch: 7pm, Friday 18 January
Artist talk: 7pm, Friday 15 February
Exhibition run: 18 January – 15 February 2019
Gallery hours: Tuesday – Friday, 12-5pm

Seasons of Togetherness incorporates 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 has made a playful attempt to discover new ways to experience closeness with others and the world around. Source materials have been 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 navigates 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.
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Seasons of Togetherness | Toby Gillies

Seasons of Togetherness réunit le dessin, le collage et l’animation dans une installation sur l’interaction et la connection humaine. Inspiré par des fantaisies trouvées dans des guides sur les relations trouvés dans des magasins d’occasions, des articles de psychologie populaire sur Internet, et exécuté par des illustrations étape par étape, Gillies tente de découvrir de nouvelles façons ludiques qui permettent de vivre le rapprochement avec les autres et le monde qui nous entoure. Des abstractions faites de matériel de sources variées sont reconstituées et interprétées de manière que l’étrangeté aussi bien que la beauté qui existent dans les formalités de l’expression soient amplifiées.

L’emploi d’une pratique de travail intuitive et expérimentale permet la création d’une exposition qui emprunte un chemin sinueux abordant les thèmes de la connection humaine, des conventions sociales et des rituels.

Grâce au soutien généreux du Conseil des arts de Winnipeg et subventionné par la Ville de Winnipeg.

Translation/traduction : Simone Hébert Allard

SHIFT | MAWA Foundation Mentorship Program

 

SHIFT – An exhibition of new work by mentees in MAWA’s Foundation Mentorship Program

2-10 January, 2019

Gallery hours: Tuesday – Friday, 12-5pm

First Fridays Reception: January 4, 7 pm

Artists

Susan Aydan Abbott
Carol-Ann Bohrn
Erin Frances Brown
Amber Christensen
Maya de Forest
Grace Han
Sue Hoang
Chris Larsen
Kathy Levandoski

SHIFT traces the development of work about the adaptability of identity, at times exploring the self, others, the body, and the land. As recent MAWA mentees, SHIFT also speaks to uncovering new truths and depth in these nine artists’ diverse practices.

Sympoietic Sound | Helga Jakobson

2 November – 7 December 2018

Launch and performance by Helga Jakobson and Hilary Crist: 7pm & 8.30pm, Friday 2 November

Artist talk: 2pm, Saturday 10 November

Closing and performance Helga Jakobson and Hilary Crist: 9.30pm, Friday 7 December

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

Fermeture et performance par Helga Jakobson et Hilary Crist : 21.30 h, vendredi le 5 décembre

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

Shining Tapestry | Steven Leyden Cochrane

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.

Oneself, and one another

Lita Fontaine, Whess Harman, Meagan Musseau, Rhayne Vermette

Curated by Jennifer Smith

July 20
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.

Activities

July 20
6pm- talk with Lita Fontaine and Meagan Musseau
7pm- Opening reception, with drummer and song carrier Dawn Lavand

July 25
7pm- Come for a discussion about the exhibit with the curator, Jennifer Smith

July 31
6pm- Artist talk with Whess Harman

August 8
Screening the films of Rhayne Vermette. Time TBA.

 

 

About the Artists:

Lita Fontaine
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
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
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).

Rhayne Vermette
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.

 

 

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

 

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

2018-2019 Regular Exhibition Schedule

Steven Leyden Cochrane  Shining Tapestry

7 September – 5 October 2018

Helga Jakobson Sympoietic Sound

2 November – 7 December 2018

Toby Gillies Seasons of Togetherness

18 January 2018 – 15 February 2019

Kelsey Braun 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 tani@aceart.org.