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

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

Carte Blanche Members’ Show & Performances

 

This year, ace is partnering with Blackspace Winnipeg. Black visual artists and those of colour are encouraged to take part in the members’ show and become a part of a larger artist community and use the resources that are available. ace and Blackspace’s goal is to highlight Black visual artists with the hope to foster diversity and inclusion for Winnipeg’s art scene. Nuit Noire will be taking place at ace the day after Carte Blanche.

An exclusive preview of aceartinc.’s Carte Blanche Members’ exhibition led by sommeliers Taylor Archibald of Ellement Wine + Spirits, and Peter Hill of Elevage Selections, and a guest curator. Four wines will be paired with artworks of a similar palette. Members’ art is available for purchase- attendees of this event have the first opportunity to acquire pieces.

Only 20 tickets available. $55 each. Funds raised support aceartinc.’s programming. Buy yours here!

Thanks to Elevage Selections and Ellement Wine + Spirits for collaborating on wine selection for the evening.

A special collaborative print made by Karen Asher and Alexis Dirks for sale during the exhibition and online here.

 

 

This year, Black Space Winnipeg features the second installment of our Afrocentric artist showcase: Nuit Noire. Nuit Noire was founded on the need to diversify a major festival for Winnipeg’s art community. Nuit Noire: Illuminate Our Voices, will highlight community voices through visual art and performance art.

In 2016, the partnership between Black Space Winnipeg and Artists Exchange (the studio of Gibril Bangura) showcased the talent from Winnipeg’s newcomer, African community and local artists of colour, such as Mahlet Cuff, Xavier Mutshipayi, Uri Portilloi and Dubem Ukaigwe.

For 2017, we are pleased to partner with aceartinc., with support from Culture Days Manitoba and Nuit Blanche Winnipeg. Taking up space and making room for Winnipeg’s diverse artistic Black community across all disciplines is our goal. Starting at 7:00 PM, catch local artists create an interactive, pro-black, artistic vision, executed through unique creativity and artistic expression. Folks are also encouraged to visit Albert Street Cocktail to celebrate local musician Malcolm Jamal Wilson’s new album release and Nuit Noire after party.

Jaymez | prägnanz

 

16 June -21 July 2017

16 June:

launch 8pm

Opening set by yo/pü at 830

Jaymez performance 10pm – midnight

17 June: Artist Talk, 2pm

 

prägnanz: the neural and perceptual organization of any set of stimuli that will form as good a Gestalt, or whole,

as the prevailing conditions will allow.

a fully immersive, 300 degree, audio/visual performance and installation, implementing concepts of Gestalt psychology through the use of decontextualized and resampled audio and video.

drawing conclusions: Ritual and religion, spirituality, conspiracy, faith, fear, mythology, symbols, sacraments, worship, sacrifice. Reconstructing live auditory and visual mindscapes, and bombarding the senses.

electronic music | found footage : decontextualized and resampled. Reconstructions.

 

Channeling late night warehouse movements.

A Performance: a party: an installation.   A fallible document.

 

 

 

prägnanz | jaymez

prägnanz : l’organisation neurale et perceptuelle, provoquée par une même série de stimulus, qui crée une Gestalt, ou un ensemble, selon les conditions qui prévalent.

une immersion totale, à 300 degrés, au milieu d’une performance audio-visuelle et d’une installation qui mettent en pratique les concepts de la psychologie Gestalt par l’entremise de vidéos et de clips audio modifiés décontextualisés.

Tirer des conclusions : rituel et religion, spiritualité, complot, foi, peur, mythologie, symboles, sacrements, culte, sacrifice. Reconstruire des trames audio et des paysages intérieurs visuels, et bombarder les sens.

musique électronique |  films trouvés : décontextualisés et modifiés. Reconstructions.

 

Canaliser les mouvements dans l’entrepôt tard la nuit.

Une performance : une fête : une installation. Un document faillible.

 

Translation/traduction : Simone Hébert Allard

Images: Karen Asher

Cartae Open School Year End Exhibition

2 – 30 June 2017

Launch 7-10pm

Briar Boyko
Danielle Fenn
Jennifer Ilse Black
Kelly Campbell
Sarah Epp

Briar Boyko will be giving a performance during the launch.