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.

 

Annual Curated Student Exhibition

 

 

 

 

 

 

 

 

26 May – 9 June 2017

Bryn Vargas
Danielle Fenn
Carolyne Kroeker
Ekene Maduka
Elizabeth Diamond
James Malzhan

Niamh Dooley
Robyn Adams
Sarah Stewart
Sean Rodd
Sonia Bogaert

 

Image: ‘I put up with you everyday’, oil; 2017. Ekene Maduka.

Matthew Gardiner | You Can Never Go Home Again

13 April – 19 May 2017

Thursday 13 April launch and talk

You Can Never Go Home Again is a series of paintings focused on modern society’s interaction and relationship with the natural world; scenarios that explore concepts of interior and exterior spaces; the artificial and the natural; truth and fiction and how they cohabit the same space. The subjects are a combination of found photographic material and the artist’s own imagination. The process of collaging appropriated photographic material emphasizes the themes of illusion inherent in representational painting; illusions that are both manufactured and broken at the same time. This ongoing series was started in the fall of 2013 in Victoria. B.C. and continued throughout several cities in Canada. You Can Never Go Home Again evokes the artist’s own nomadic experiences and refers to modern society’s inability or unwillingness to return to the natural world.

 

Bio/

Born in Montreal, Matthew Gardiner obtained his Bachelor of Fine Art from the University of Manitoba in 2008. Since obtaining his Master’s of Fine Art degree from York University in 2012 Matthew has lived in Montreal QC, Winnipeg MB, Victoria BC and Toronto ON while continuing his studio practice. He is the recipient of provincial and federal grants and art awards. Matthew has recently attended a self-directed studio residency. His paintings have been showcased in publications and included in exhibitions across Canada and the United States. He currently lives and works in Toronto, Ontario.

 

You Can Never Go Home Again          Matthew Gardiner                                                19 h, le jeudi 13 avril 2017, vernissage et causerie

Jusqu’au 19 mai

You Can Never Go Home Again est une série de peintures qui mise sur l’interaction de la société contemporaine et sa relation avec le monde naturel; des scénarios qui explorent les concepts de l’espace intérieur et extérieur; ce qui est artificiel et naturel; la vérité et la fiction et comment elles cohabitent dans le même espace. Les sujets sont une combinaison de matériel photographique trouvé par hasard et l’imagination de l’artiste. Le processus de collage du matériel photographique approprié met l’emphase sur les thèmes de l’illusion inhérent dans la peinture figurative; des illusions qui sont manufacturées et brisées en même temps. Cette série en cours a débuté à l’automne de 2013 à Victoria en Colombie-Britannique et a fait le tour de plusieurs villes au Canada. You Can Never Go Home Again évoque les expériences nomadiques de l’artiste et fait allusion à l’incapacité ou à la réticence de la société moderne de faire un retour à la nature.  

Translation/traduction : Simone Hébert Allard

Cover Image: Lakeside-Ritual-BC by Matthew Gardiner. Acrylic on wood panel, 20″ x 30″. 2013.

Images: Karen Asher