Among the Falling Stars: Megwe-aya’iing anangoog gaa-bangishimowaad | Michel Dumont

A close up view of the mouth of a bear sculpture. The bear is covered in brightly coloured tiles.

Opening: April 1, 7-10 pm 

Run: April 1- May 7, 2022

Virtual Artist Talk: TBA 

It began with a box of discarded vintage Italian tile. I made natural scenes in rough geometric shapes. With time, trial and error, stories took shape.

The tile speaks of the terrazzo floors built by my Italian neighbours. It tells of mining, asbestos, and the hazardous chemicals required to achieve vivid permanent colours. 

From these stories, I broke, smashed, and carved them into something new. I tell my own stories, and those of the animals of this region articulating the scars, chips, and scrapes we bear from survival in this colonial reality.

My disabilities pose unique challenges to my practice. I must rest my injured spine often. A heavy gas mask protects my hyper-sensitive immune system. 

My reality of being a disabled, queer, urban-Indigenous trauma survivor encompasses every inch of this work. The silver lining is the zen pain-free state I can achieve during high-focus work sessions. From this work comes both pain and medicine; beauty from the broken.

Thank you to the Ontario Arts Council for their support with exhibition assistance.

Michel Dumont is a queer Metis two-spirited disabled artist, and survivor of intergenerational trauma stemming from Indian Day School. He currently resides in Thunder Bay. He works in wearable art, using packing tape, mylar, cellophane and LED lights.

Virtual gallery available here.

BUFFY SAINTE-MARIE: PATHFINDER a retrospective by an innovator of digital art

Self Portrait, Ilfordchrome, Pixel Paint and Adobe Photoshop, 1988-1992, size 36″ x 36″

Curated by Natasha Desrochers Lowenthal, Paquin Entertainment

Presented in partnership with Urban Shaman Contemporary Aboriginal Art and Paquin Entertainment Group 

Dates: December 17, 2021- March 19, 2022

Location: Urban Shaman Contemporary Aboriginal Art, 2nd Floor of 290 McDermot Ave

By appointment only. Contact or call 204-942-2674 to set up a time to visit the gallery!


Artist Talk: Wednesday, March 16, 2022, from 2pm – 3pm CST.

Join us in conversation with digital art innovator, Buffy Sainte-Marie. The Cree singer-songwriter has been an informative pathfinder and advocate for Indigenous rights, a continually evolving artist, and a contributor of positive thinking and resiliency amid difficult issues. She has spent her whole life creating, and her artistry, humanitarian efforts, and Indigenous leadership have made her a unique force in multi-disciplinary arts.

Registration link here:

The workshop is offered Free. Please register online by 10:30 am CST March 16, 2022, the morning of the event, and a zoom link will be sent to your email address by noon!

For full artist talk details, see Urban Art Biz 8: Buffy Sainte-Marie.


Pathfinder features Buffy Sainte-Marie’s full collection of large-scale digital paintings as well as never-before-seen personal sketches, artifacts and behind-the-scenes photos that speak directly to this respected icon’s unique perspective of her own multi-disciplinary life and culture and the experiences that inspired her to create these pieces.

Sainte-Marie approached the digital medium as she has with every facet of her diverse career — with trailblazing ingenuity. Reflect back to 1984 — a time when the internet was almost unheard of and home computers were in their infancy — Sainte-Marie was there, building pieces of this collection within the confines of the very first versions of MacPaint on the earliest Macintosh models. The technology was nothing like the digital production resources we have today, and was used primarily as tools for marketing and graphic design rather than for creating fine art with emotional impact. Being void of prefabricated filters or options for multiple layers, the process of creating artful images required dexterity and patience. Rising above the limitations of the software, she injected as much depth of tradition and attention to detail with pixels as one would with intricate beadwork or classic oils. Meticulously blending scanned images of her wet studio paintings and in-progress drawings and sketches with those of real fibers, feathers and beads, Sainte-Marie crafted these digital tapestries with the precision and care of a natural-born storyteller. The visual and intellectual brilliance of this collection is undeniably ahead of its time.

kîkway kâ-nôkwahk ôta 

Buffy Sainte-Marie kî-ati-atoskâtasm naspitêyihtamowin âpacihcikana pêyakwan iai kâ-kî-pêatoskâtahk kahkiyaw osîhcikêwina – kî-tawatahikêw omamahtâwisiwin ohci. kiskisi 1984 askîwin – êkospîhk êkâ mwâsi ê-pêhtamihk misiwêskamik-ayapiy êkwa mîkiwâmihk ohci mamâhtâwi-âpacihcikana kêtisk awiyak ê-kî-âpacihtât – êkota Buffy kî-osîhtâw ôhi mâwacihcikêwina âta apisîs piko âpacihcikana ê-kî-ihtakohki tâpiskôc MacPaint anihi Macintosh. namôya mistahi kî-ihtakwan wîcihiwêwina mamâhtâwi-âpacihcikana ohci tâpiskôc anohc ôhi naspitêyihtamowina êkwa piko kî-âpatanwa ta-atâwâkêhk piko kîkway ohci namôya kî-âpatanwa naspitêyihtamowin tâpasinahikêwina ohci. nama kî-ihtakona kwayâc-wîcihiwêwin ahpô ka-asastâniwiki tâpasinahikêwina, ohcitaw piko pah-pêyahtak ta-osîhcikêt otâpasinahikêw, ta-sîpêyihtahkik. kî-sâkohtâw anihi kâ-wî-wanâhokot, êkâ cêskwa ê-kîihtakohk wîcihiwêwin, kî-kocîhtâw ta-tâpasinahikêt êkota mamâhtâwi-âpacihcikan ê-âpacihtât, tâpiskôc awiyak pêyahktak kâ-mîkisihkâcikêt ahpô awiyak pimiy ohci ê-masinipêhikâkêt. kîkakâyawâtisiw ê-kikinahk nanâtohk pîtos naspisîhcikana mîna tâpasinahikêwina, mîna asapâpak, pîwaya, mîkwanak, êkwa mîkisak, Buffy kî-osîhtâw ôhi naspitêyihtamowin tâpasinahikêwin ê-mamahtâwisihcikêt pêyakwan otâtayohkêw. êwakoni ôhi kâ-wâpahtamihk mîna kâ-mâmitonêyihtamihk mâmawihcikêwin kâ-miyonâkwahki mêtoni nîkânîstamâkêw.


Buffy Sainte-Marie ᑮ ᐊᑎ ᐊᑐᐢᑳᑕᐢᒼ ᓇᐢᐱᑌᔨᐦᑕᒧᐏᐣ ᐋᐸᒋᐦᒋᑲᓇ ᐯᔭᑿᐣ iai ᑳ ᑮ ᐯ ᐊᑐᐢᑳᑕᕽ ᑲᐦᑭᔭᐤ ᐅᓰᐦᒋᑫᐏᓇ – ᑮ ᑕᐘᑕᐦᐃᑫᐤ ᐅᒪᒪᐦᑖᐏᓯᐏᐣ ᐅᐦᒋ᙮ ᑭᐢᑭᓯ 1984 ᐊᐢᑮᐏᐣ – ᐁᑯᐢᐲᕽ ᐁᑳ ᒹᓯ ᐁ ᐯᐦᑕᒥᕽ ᒥᓯᐍᐢᑲᒥᑲᔭᐱᐩ ᐁᑿ ᒦᑭᐚᒥᕽ ᐅᐦᒋᒪᒫᐦᑖᐏ ᐋᐸᒋᐦᒋᑲᓇ ᑫᑎᐢᐠ ᐊᐏᔭᐠ ᐁ ᑮ ᐋᐸᒋᐦᑖᐟ – ᐁᑯᑕ Buffy ᑮ ᐅᓰᐦᑖᐤ ᐆᐦᐃ ᒫᐘᒋᐦᒋᑫᐏᓇ ᐋᑕ ᐊᐱᓰᐢ ᐱᑯ ᐋᐸᒋᐦᒋᑲᓇᐁ ᑮ ᐃᐦᑕᑯᐦᑭ ᑖᐱᐢᑰᐨ MacPaint ᐊᓂᐦᐃ Macintosh. ᓇᒨᔭ ᒥᐢᑕᐦᐃ ᑮ ᐃᐦᑕᑿᐣ ᐑᒋᐦᐃᐍᐏᓇ ᒪᒫᐦᑖᐏ ᐋᐸᒋᐦᒋᑲᓇ ᐅᐦᒋ ᑖᐱᐢᑰᐨᐊᓄᐦᐨ ᐆᐦᐃ ᓇᐢᐱᑌᔨᐦᑕᒧᐏᓇ ᐁᑿ ᐱᑯ ᑮ ᐋᐸᑕᓌ ᑕ ᐊᑖᐚᑫᕽ ᐱᑯ ᑮᑿᐩ ᐅᐦᒋ ᓇᒨᔭ ᑮ ᐋᐸᑕᓌ ᓇᐢᐱᑌᔨᐦᑕᒧᐏᐣᑖᐸᓯᓇᐦᐃᑫᐏᓇ ᐅᐦᒋ᙮ ᓇᒪ ᑮ ᐃᐦᑕᑯᓇ ᑿᔮᐨ ᐑᒋᐦᐃᐍᐏᐣ ᐊᐦᐴ ᑲ ᐊᓴᐢᑖᓂᐏᑭ ᑖᐸᓯᓇᐦᐃᑫᐏᓇ, ᐅᐦᒋᑕᐤ ᐱᑯ ᐸᐦ ᐯᔭᐦᑕᐠᑕ ᐅᓰᐦᒋᑫᐟ ᐅᑖᐸᓯᓇᐦᐃᑫᐤ, ᑕ ᓰᐯᔨᐦᑕᐦᑭᐠ᙮ ᑮ ᓵᑯᐦᑖᐤ ᐊᓂᐦᐃ ᑳ ᐑ ᐘᓈᐦᐅᑯᐟ, ᐁᑳ ᒉᐢᑿ ᐁ ᑮ ᐃᐦᑕᑯᕽ ᐑᒋᐦᐃᐍᐏᐣ, ᑮ ᑯᒌᐦᑖᐤᑕ ᑖᐸᓯᓇᐦᐃᑫᐟ ᐁᑯᑕ ᒪᒫᐦᑖᐏ ᐋᐸᒋᐦᒋᑲᐣ ᐁ ᐋᐸᒋᐦᑖᐟ, ᑖᐱᐢᑰᐨ ᐊᐏᔭᐠ pêyahktak ᑳ ᒦᑭᓯᐦᑳᒋᑫᐟ ᐊᐦᐴ ᐊᐏᔭᐠ ᐱᒥᐩ ᐅᐦᒋᐁ ᒪᓯᓂᐯᐦᐃᑳᑫᐟ᙮ ᑮ ᑲᑳᔭᐚᑎᓯᐤ ᐁ ᑭᑭᓇᕽ ᓇᓈᑐᕽ ᐲᑐᐢ ᓇᐢᐱᓰᐦᒋᑲᓇ ᒦᓇ ᑖᐸᓯᓇᐦᐃᑫᐏᓇ, ᒦᓇ ᐊᓴᐹᐸᐠ, ᐲᐘᔭ, ᒦᑿᓇᐠ, ᐁᑿ ᒦᑭᓴᐠ, Buffy ᑮ ᐅᓰᐦᑖᐤ ᐆᐦᐃ ᓇᐢᐱᑌᔨᐦᑕᒧᐏᐣ ᑖᐸᓯᓇᐦᐃᑫᐏᐣ ᐁ ᒪᒪᐦᑖᐏᓯᐦᒋᑫᐟ ᐯᔭᑿᐣ ᐅᑖᑕᔪᐦᑫᐤ᙮ ᐁᐘᑯᓂ ᐆᐦᐃᑳ ᐚᐸᐦᑕᒥᕽ ᒦᓇ ᑳ ᒫᒥᑐᓀᔨᐦᑕᒥᕽ ᒫᒪᐏᐦᒋᑫᐏᐣ ᑳ ᒥᔪᓈᑿᐦᑭ ᒣᑐᓂ ᓃᑳᓃᐢᑕᒫᑫᐤ᙮


Buffy Sainte-Marie a exploré le monde numérique comme elle a su si bien le faire dans toutes les sphères de sa riche carrière, soit avec une créativité audacieuse. Dès 1984, à un moment où Internet et les ordinateurs personnels n’avaient pas encore pris leur envol, Buffy s’employait déjà à concevoir les œuvres de cette collection à l’aide des toutes premières versions de MacPaint des premiers ordinateurs Macintosh. Plus élémentaire, la technologie était alors sans commune mesure avec les outils numériques d’aujourd’hui et servait principalement à la mise en marché et au graphisme plutôt qu’à la création d’œuvres artistiques chargées d’émotion. Comme il n’y avait pas de fonctionnalités multicouches ni de filtres préconfigurés, il fallait faire preuve de dextérité et de patience pour arriver à créer de bonnes images artistiques. Malgré les limites des logiciels, elle a su insuffler à ses œuvres pixellisées un sens de la tradition et du détail à la hauteur de celui qu’on peut retrouver dans les peintures à l’huile classiques et les broderies perlées les plus fines. Par une méticuleuse fusion d’images numérisées de ses aquarelles produites en atelier et de ses dessins et esquisses avec celles de véritables tissus, plumes et perles, Buffy a confectionné ces tapisseries numériques avec la finesse et la minutie d’une conteuse née. La splendeur visuelle et intellectuelle de cette collection dénote assurément une vision résolument avant-gardiste.


Digital Anti-Matter Anti-Manifesto, a programming intervention by gijiit

We are pleased to announce that beginning in early March, aceartinc. will be hosting a programming intervention from the curatorial collective, gijiit. This intervention, Digital Anti-Matter Anti-Manifesto, consists of a series of online events that features digital artwork, performances, workshops, and talks by Indigenous artists from across Turtle Island. This intervention runs until Summer 2021.

Digital Anti-Matter Anti-Manifesto

We strive to consider the varying forms of matter, energy, and particles that exist around us. While Western notions of science-based knowledge hold the sole perspective of Truth, Indigenous cosmologies acknowledge the existence of multiple truths and realities that create diverse tapestries of life. Anti-matter works through the ways in which decolonial thinkers and makers deny colonial conceptions of Truths, ordering of space and temporality.

Through the lens of anti-matter, we aim to carve out a space for anti-colonial matter: as sound, particles, energy, and anti-colonial knowledge transmission.

Anti-manifesto derives from queer theory and the idea that there is no future for the queer and all those who aren’t afforded a potentiality of life on Man’s Earth. All that which is queer should resist, at all costs, a neoliberal fascination with the future and the manifesto, and prefer instead to lurk in the margins, the in-between spaces, of intelligibility and definition.

This programming will honour the types of matter and knowledge transference that takes place through digital spaces.

gijiit is a curatorial collective consisting of members Jas M. Morgan and Adrienne Huard, based in Tkaronto and Miiskwaagamiwiziibiing. The collective concentrates on community-engaged Indigenous art dealing with themes of gender, sex, and sexuality.

We are seeking feedback from our community

As part of our commitment to engage in broad community consultations as we work to define a new organization vision for the future of aceartinc., we have launched an online survey and one-on-one confidential feedback appointments with an external consultant. The information gathered through these consultation mechanisms will serve to guide the new incoming board that will be elected at a Special General Meeting to be held on November 26.

Cecilia Araneda (see bio below) has been contracted by aceartinc. to provide one-on-one confidential appointments. Araneda will review and analyze the feedback presented, and will prepare a document for aceartinc. that will capture a summary of this feedback, without identifying names.

Those interested in booking a half-hour video call appointment with Araneda can email her at: by Fri Nov 6 at 5 PM (CST).

We invite you to complete this survey by Fri Dec 11 at 12 PM (CST) or meet with Araneda to share your thoughts and experiences. We thank you in advance for your participation as your comments will be invaluable in informing the future direction of aceartinc.

About Cecilia Araneda

Chilean-born filmmaker and media art curator Cecilia Araneda is a well-known member of the Latinx art community nationally. She holds a BFA hons from York University (Toronto) and an MFA from UBC (Vancouver). In 2018, she became the first ever recipient from the prairies to receive the Joan Lowndes Award from the Canada Council for the Arts, a national prize recognizing excellence in independent curatorial practice in the visual and media arts. Araneda served as Executive Director of the Winnipeg Film Group / Winnipeg Cinematheque from 2006 to 2017, transforming the $1M organization into a new era of artistic clarity, financial stability, facility and technology modernization, and significantly increased diversity, inclusion and participation. She was additionally co-founder and President of the WNDX festival from 2005-2014, and has sat on the boards of Artspace, the Independent Media Arts Alliance and the Elmwood Community Resource Centre. Araneda currently works as an independent filmmaker, curator and cultural worker, with a strong focus on community-based approaches that serve as interventions against the Institution.

A Message from Staff | Call for Board Members | Special General Meeting

Text in image reads: aceartinc. Call for Board Members, application deadline: Tues., Nov. 9, 11:59 PM. Please completed the nomination form and send to to apply. Nominee information will be released to the public on Thurs., Nov. 12. Special General Meeting, Thurs., Nov. 26, 7-9 PM. Meeting will be held via Zoom. Zoom meeting info will be sent out with nominee information on Nov. 12.

A message from aceartinc.’s current staff members

Dear aceartinc. community,

As many of you are aware, aceartinc. has been in an active work-in-progress state throughout most of 2020. The intersection of a building move, COVID-19 and–most importantly–feedback from the community that we needed to take time to listen to, process and learn from, required us to temporarily suspend public activities in June. 

Since that time, we have been working on our organizational processes and policies, seeking to develop ways to help build a new iteration that is more capable of truly listening, hearing and learning from community feedback; one that provides true equity of opportunity; and one that offers a safe meeting place for the discussion and analysis of ideas surrounding what a contemporary art space should be in 2020 and beyond. Most importantly, we have been considering how we can better support a community of artists and cultural workers for whom social justice is the framing backbone of their activities. 

We have found no quick and clear answers; and we do not wish to make a statement that suggests we’re confident in how the organization can move forward in this regard. The truth is, we’re not. And it is for this reason we’ve decided to release this message now: ace needs your help.

In light of the dispersal of aceartinc.’s board of directors, we are calling a Special General Meeting to obtain a completely new contingent of volunteer board members who are aware they are entering an organization at a crossroads: one in need of addressing complex values questions in a manner that incorporates as much community feedback and dialogue mechanisms as possible. And although we have worked hard with the previous board of directors to develop a Community Code of Conduct and related frameworks to support the safety of future important dialogues, the work to come will nonetheless likely be challenging. 

The upcoming SGM will serve as a line drawn between an old iteration of aceart and the future that might be possible, and will be focused mostly on the logistical processes needed to facilitate this transition. This, in combination with the meeting’s online nature, means we are aware it may not be the best venue for a truly robust community conversation about the future of aceart. As a result, we have put in place some general community feedback and consultation mechanisms prior to the SGM to help inform and guide the new incoming board, via an online survey and one-on-one confidential feedback appointments with an external consultant. More information on these upcoming processes will be released very shortly. We anticipate this will be just the first of many consultation and feedback mechanisms to come in the very near future. In particular, aceart is very aware of the need to engage in a robust consultation series dedicated to Indigenous and racialized members of our artistic community as soon as is logistically feasible, once we are certain of a mechanism to ensure the integrity of this process. 

The date of the upcoming SGM is set for Thurs Nov. 26, 2020, 7 PM to 9 PM. The meeting will be held online given the uncertainty posed by Winnipeg’s current COVID-19 situation. A formal agenda and other related reading materials will be circulated as they become available. 

Any interested potential new board members are requested to apply via the nomination form by Mon Nov. 9 at 11:59 PM. Per ace’s bylaws, the organization must publicly release board nominee names two weeks in advance, on Thurs Nov 12, and this timeline will ensure that all interested parties can be included. By law, board members must be 18 years of age or older and cannot be bankrupt. Nominees must also be current, paid members of ace. 

While all eligible nominee candidates will be included in the released slate, we believe the organization will be able to move forward in the most efficient manner if candidates include those with legal, accounting, HR management or community non-profit executive directorship experience as well as artists and cultural workers with a prior history of volunteerism on community non-profit boards. To this end, we enlist the aceart community to assist us in ensuring we have the strongest and widest representative slate of nominees possible. 

More information will be released shortly as we work towards the SGM and upcoming initial consultation series. We appreciate your patience and understanding with us.


Tani Miki, Director of Finance and Administration  

Brianna Wentz, Special Projects Coordinator

Click here to view Board of Directors nomination form.

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.


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