Did You Know Blue Had No Name? Elise Rasmussen




Did You Know Blue Had No Name? explores epistemological aspects of “blueness” through various historical narratives, examining the relationship between the color blue and mountaineering, early photographic technologies, art history and how knowledge is ascribed and recorded. As a starting point, I investigate 18th century Swiss scientist and alpine enthusiast Horace-Bénédict de Saussure’s cyanometer, a device he created for measuring the blueness of the sky. Saussure’s quest to test his apparatus and theories on blue led to a contest inspiring the first expedition to the summit of Mont Blanc, the highest mountain in the Alps. The quest for blue has likewise had challenges in early photography as blue skies were difficult to record leading to innovations such as split printing and challenging the “truthfulness” embedded in the medium. Similarly, in ancient texts, no word for blue exists. The word blue only makes an appearance in recorded language after the color could be extracted for pigment. This project weaves together these and other histories of blue, commenting on issues of [in]visibility, innovation, conquest and the contest.


Did You Know Blue Had No Name? was made with the generous support and assistance from the Canada Council for the Arts and the Barbara Spohr Memorial Award & Fleck Fellowship from the Banff Centre. This work was made on artist residencies at the Lower Manhattan Cultural Council’s Workspace Programthe Banff Centre and Shandaken Projects. Special thanks to the Bibliothèque de Genève for providing access to H.B. de Saussure’s original cyanometers.

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.

Firekeeper | Jordan Stranger | Main Gallery

Launch: Friday, 1 November, 7 pm

Runs: 1 November – 6 December 2019

Artist talk: 7 pm, 23 November 2019

Gallery hours: 12-5 pm Tuesday – Saturday

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.

I gratefully acknowledge the generous support of the Manitoba Arts Council and 

Peguis 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.

Through pencil, 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. »

Translation/traduction : Simone Hébert Allard

Between Temporal and Permanent Histories of Pain | Lucille Kim | Main Gallery

Runs: 6 September – 11 October 2019

Launch and artist talk: 7pm, 6 September

Gallery hours: 12-5pm Tuesday-Saturday

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.

Translation/traduction : Simone Hébert Allard

Carte Blanche: Annual Members’ Exhibition

Exhibition run: July 4-19

Launch: July 4, 7pm

Join us for the opening of Carte Blanche, the annual members’ exhibition at aceartinc.!

Members of our community will be showcasing their work in the main gallery with performances by Cole Cancilla and shibari duo Erin and Sara.

$5 cover fee, which includes an entry to win one of six Love Nest gift certificates. Exhibiting artists get in free.

Partial View | Cartae Open School Final Exhibition

Show run: 7-28 June 2019
Opening reception: 7 pm, 14 June 2019 
Panel discussion: 7pm, 21 June 2019

Partial View: a CARTAE Open School group exhibition exploring the obscured, concealed, and abstracted. 

We are currently accepting applications to Cartae Open School 2019/20. More program details are available here.

Annual Curated Student Exhibition | Main Gallery

Opening reception: 7-9pm, 7 June 2019
Show run: 7-14 June 2019 – EXTENDED ONE DAY TO 15 JUNE!!

Selected from an open call on an open theme, inviting submissions from students who have taken a post-secondary art course this year in Manitoba.

Co-curated by Tani Miki and Brianna Wentz.