Flux Gallery

About

Flux Gallery exhibits engaging contemporary art in any medium by early-stage emerging artists.  Located in Winnipeg at 2-290 McDermot Avenue, within aceartinc., Flux Gallery seeks to address the lack of exhibition space for this group by providing a 400 square foot space dedicated exclusively to the exhibition of work by early-emerging artists.

Flux Gallery is programmed by a committee of Winnipeg-based emerging artists/ Designers/ Curators, aceart Staff and Board.  Shows are programmed on a quarterly basis. Selected artist(s)/ curators will have the gallery for two weeks; this period includes install, run, and strike of exhibition.

aceartinc. is acting as an arm’s length facilitator but is very pleased to provide support to more artists via this innovative project. You can support Flux Gallery by making a donation!




The Committee

Graham Wiebe, Chantel Mierau (ace Finance & Admin Manager), Christina Hajjar, hannah_g (ace Director), Noor Bhangu, Alyssa Bornn, Mariana Muñoz Gomez, Pablo Javier Castillo Huerta, Annie Beach, Olenka Skrypnyk, Kelsey Smith, Hassaan Ashraf, Genevieve Farrell.

Founders & former committee members: Julian Kirchmann, Sean McLachlan, Hannah Doucet, Alena Rieger, Jeanine Saurette, Nicole Flynn, Michael Mogatas.

The committee was awarded the Volunteer Manitoba Investors Group Award for Arts & Culture in 2017.

flux@aceart.org

Writing

Flux Gallery invites emerging writers to respond to exhibitions. You can read their writing here.

Flux Gallery’s first curated exhibition, “Gather,” on Thursday, July 26, 7-10pm.

The exhibition runs July 26 to August 16, 2018
Gallery hours are Tuesday-Saturday, 12-5pm

Exhibition Statement:
For Flux Gallery’s first curated exhibition, Hassaan Ashraf, Niamh Dooley, Ekene Maduka, and Emma Mayer have been grouped together under the theme of portraiture and textiles. “Gather” is an exhibition that includes painting, performance, textiles, multi-media work, photography, and collage. “Gather” speaks to identity formations in relation to garments, fashion, and cultural transience. From humourous, sentimental, or nostalgic; to confrontational, empowering, or inviting; the subjects in these works gesture towards an engagement between artist and subject, artist and viewer, and viewer and subject. Through acts of cultural jamming and resistance Ashraf, Dooley, Maduka, and Mayer recontextualize the textiles and garments they utilize—at times evidenced by the maker’s hand, and at other times evidenced by the subjects’ gaze and mood.

“Gather” is curated by Noor Bhangu, Christina Hajjar, Pablo Javier Castillo Huerta, and Mariana Muñoz Gomez on behalf of Flux Gallery

Bios:
Hassaan Ashraf is a multi-disciplinary artist who moved to Winnipeg in 2012 to pursue a Master’s degree in Fine Arts. His practice reflects on his journey as a displaced artist, dealing with themes of cross-cultural experience, diaspora, homesickness, culture shock, global culture, post-colonialism, politics and the west’s discomfort with alien cultures.

Niamh Dooley: I am an Oji-Cree and Irish contemporary artist based in Winnipeg. I predominantly focus on the exploration of identity and the relationships between Indigenous people, past and present, and connecting them with both traditional and contemporary materials.

Ekene Maduka: As a black female artist, it is important for me to make my identity apparent. Living in Nigeria and being surrounded by a majority of people who looked like me made me inattentive to the fact that in parts of the world, I was a minority. Leaving home changed my perspective on that matter: For me, it is important to share my story and culture with people unaware of it and add to an art community that has for so long been dominated by a western male presence.

Emma Mayer is an emerging interdisciplinary artist from Winnipeg, Manitoba. She has studied at the School of Art at the University of Manitoba and at Griffith University in Brisbane, Australia, and received her Bachelor of Fine Arts (Honours) from the University of Manitoba in 2018. Presently, she works across various media including video, drawing, sculpture, zine-making and photography. Her work explores interpersonal relationships, personal narratives and melodrama.


Katrina Craig    |   It Washes Over

A solo exhibition of work by Katrina Craig. Join us for the opening reception of “It Washes Over” Friday, February 2 from 7 to 10pm.

It Washes Over explores experiences through the objects we hold onto, and how the experiences they represent change us. Using donated items of significance that carry memories, grief, and trauma, Katrina ventures into the inner workings of heartbreak and back again. This exploration of physical and emotional experiences as an unraveling and reworking of self weaves past into present, confronting us with familiar and forgotten.

Katrina Craig is a textile artist whose work focuses on hidden lives, vulnerability, and heartbreak. Craig received a BFA from NSCAD University in Halifax, Nova Scotia and currently resides in Winnipeg, Manitoba Canada.


Jaz Papadopoulos   |   I am here my love

(postponed)
The multimedia exhibition I am here my love pays tribute to memory and the grief of rupture. Stepping into the room is stepping into a sacred space, a space for honouring memory in its wholeness and its brokenness.
The sculptures in the room are modern rambramb – ancient objects that were made to be broken during funerary rites, as a way of releasing grief. They represent both loss and one’s relationship with loss. These bowls symbolically and energetically hold the grief of disconnect from ancestors, as they wait to be broken in catharsis.
I am here my love creates a space to hold memories and acknowledge the gaps. Gaps become spaces for interpretation, spaces to imagine ways to bridge the rupture, spaces in which to grow more fully into wholeness.
Bio:
 
Jaz Papadopoulos is an interdisciplinary artist who works in experimental poetry, installation, video and performance. They are interested in diaspora, gender, bodies, place, memory, grief and ritual. They are a current recipient of the New Artist in Media Art Production Fund at Video Pool, and recently completed the Young Lungs Research Series. Jaz lives in Treaty 1 territory.

Call for Submissions V

Flux Gallery will be seeking exhibition proposals from emerging artists.

To apply please submit the following in a digital format to flux@aceart.org by 11.59pm, 17 November 2017.

To submit, enclose:

  1. An exhibition proposal (1 page)
  2. Support Material
  3. List the dates in your order of preference. We cannot guarantee you’ll get your preferred date.

Support material:

  • You may include up to 5 images
  • Individual images must be jpegs 72dpi, 1024 x 768 pixel, 500k (.5 MB) RGB or SRGB only
  • Video may be submitted through a link to Vimeo, YouTube or any other easily accessed website, a max of 5 minutes will be reviewed by selection committee

When applying, please consider:

  • Flux Gallery is  run by volunteers. Two members of the committee will facilitate your show and help things run smoothly for you. If you need assistance or access to resources they can help point you in the right direction
  • You must know how to install your own work. If desired, you can request time in the space to practice installing your work.
  • Works involving sound must be played through headphones.
  • You must return Flux Gallery to its pristine state during the strike of your exhibition.
  • Your work will be for sale; artist fees are therefore not applicable. We will provide a $100 honorarium per show.
  • A map of the space can be found here.

Be a juror for Flux Gallery

Be part of the selection process for exhibitions in Flux! If you are not submitting an exhibition proposal, email flux@aceart.org and tell us what interests you about being on the Flux jury. Email flux@aceart.org for the next date.



Picture yourself as a car. It can be any car you like. I‘d suggest a practical thing like a mini-van, or some type of smallish sedan.

In my head a car’s favourite time to go driving is in the early morning before the sun comes up, when people are asleep and the roads are empty–some time mid-week, in early fall or early spring.

If cars could feel the wind that runs along their bodies when they move would they enjoy it?



In a movie an actor pretends to be a person they are not, and an audience will choose to believe them so they can enjoy the movie. Tricks of lighting, ambient noise and background scenery contribute to the atmosphere of the movie, which contribute to the audience’s experience of the actor’s performance. In the exhibition Compositions with Coloured Light, an image has been cast as an actor. Composition and lighting are employed as tools for engaging the affected persona of this image-actor; the audience is invited to observe the production.

The image selected for this exhibition was chosen from an archive of photographs documenting unmarked police vehicles in urban situations. This archive is an ongoing project of the artist.

A strong current in Scott Kemp’s artistic practice is their interest in the function of image as a vessel through which social and political values are distributed or reflected. Kemp was a co-organizer of Avenue, an independent gallery and project space that operated in downtown Vancouver from 2013 to 2015, and in 2015 co-founded Duplex, an exhibition space focused on supporting emerging artists, experimental projects, and community events, also in Vancouver. Recent solo exhibitions include Compositions with Toys and Tinted Glass, CSA Space, Vancouver, Canada, 2017; An Upper-Middle Class Fantasy, After Hours, Vancouver, Canada, 2017; Master and Apprentice, Lobster and Leaf, Duplex, Vancouver, Canada, 2016. Group exhibitions include Schererstraße 10 (Institut für Alles Mögliche), Berlin, Germany, 2017; Soil Gallery, Seattle, USA, 2017; Flux Gallery, Winnipeg, Canada, 2015; 221a, Vancouver, Canada, 2015.


Since We Last Spoke  | Sophie Sabet

27 October – 4 November 2017

A response by Noor Bhangu

A response by Christina Hajjar

Since We Last Spoke is an autobiographical three-channel video installation exploring the intricacies and tribulations of a modern Iranian-Canadian home. This project is a personal exploration of the impact of displacement on my family due to migration, and the consequent interpersonal and cultural frictions. Each member of my family has been confronted with complex challenges, and my parents’ choice to relocate from East to West has fractured the harmony between our home and society. Over the years, our diverging struggles spawned from displacement have alienated us from one another, fragmenting the family.

Following our immigration to Canada, my father would frequently travel back to Iran. During these lengthy periods apart, my parents would write letters to each other in Farsi describing their daily lives and hopes for the future. I have asked my parents to revisit these letters written between 1997-2004. In the the silent video portraits featured in the installation these letters come back to life as my father hears his reflections and thoughts spoken by my mother, and in turn my father speaks my mother’s words back to her. The videos capture my parents’ reactions as they listen to each other read these letters years later.

The stresses endured by immigrant families such as ours are frequently overlooked. We are stripped of a familiar community, and left to navigate this strenuous process in isolation. My position as an insider within this family has allowed me to capture the honest and fragile moments that point to fundamental problems surrounding acculturation and displacement. Since We Last Spoke reveals a portrait of a family coping with the realities and consequences of immigration.

Bio
Sophie Sabet is an emerging media artist working predominantly in video. As an Iranian-born woman raised in Canada, her work focuses on exploring identity and the influences of the diasporic experience within the domestic sphere. She holds a BA in Art History from Queens University, and a MFA in Documentary Media Studies at Ryerson University in Toronto, Canada.


Mappings  |  Alyssa Bornn

Please join us for the opening reception of “mappings” September 8 from 7-10 pm.

mappings is a series of recent works examining the mechanics of projection and the creation of (im)material space. Structural compositions are built then transposed into a flat image. Light is taken as construction material – bent and layered, building topographical zones that speak to both landscape and interior spatial relationships.

Alyssa Bornn is a multidisciplinary artist frequently working at the intersection of photography and sculpture. She is interested in materiality, the registration of time, architecture as vessel for memory, the performative aspects of photography and most everything else. She is a collective member of Open City Cinema and currently pursuing a BFA at the University of Manitoba.


A solo exhibition of work by Robyn Adams. Please join us for the opening reception of Decolonist. August 11 from 7-10 pm.

Artist Statement:
I make sculpture as a means of locating my identity within the Indigenous community. I am interested in animal remains and land as material, searching for the materials of my ancestors and exploring hybridization by trading, hunting and gathering for locally sourced fur, leather, antlers and wild plants on Treaty One Territory. Referencing Canada’s rich history my work becomes a hybrid with animal, soil and concrete, commenting on colonization and allowing a space to consider the de-colonist perspective.

In my series, I pair concrete sculptures, and their references to weight, construction, burial and monument with raw animal hide, antlers, sage and soil. This contrasts two cultures and their unification into a hybrid. Land and soil become material as well, as I reference controlled land access and ownership. As a Métis person, I am affected by cultural suppression and my work is to create an environment where conversation for the third space can arise, not only to acknowledge this but also to move forward. The third space is where values and tradition of two cultures can come together to form a hybrid.

I acknowledge that I am living on treaty one territory.


“At the same time” is a sculptural textile installation supplemented with fragments of the artists’ own naive and earnest ninth grade diary. Within the work Abrahams aims to sculpt and stitch a penetrable atmosphere to fabricate feeling where no thought is too heavy and no whim is too trite.

Amanda Abrahams is a multi-disciplinary artist concerned with complication and contradiction within emotional life. Human experience is to feel deeply connected, while, simultaneously, human experience is to feel profoundly alone.


VIAJE(S)   |   Pablo Javier Castillo Huerta 

May 12th – 19th  |   Opening May 12th, 7-10pm.

VIAJE(S) is a sculptural installation that takes inspiration from personal travels, familial struggle, shared stories, as well as current and historical sociopolitical themes. Embodying various elements of the journeys taken by migrants across the world, VIAJE(S) creates an immersive space that invites the viewers to place themselves within the context of an imagined migrant camp. Objects within the installation provide links to life before, during and after the process of migration. The theme of work (or lack thereof) is recurrent throughout this installation, as it is often the primary reason one might feel they need to uproot their lives and that of their families.


Call for Submissions IV

Flux Gallery will be seeking exhibition proposals from emerging artists.

To apply please submit the following in a digital format to flux@aceart.org by 24 April 2017.

To submit, enclose:

  1. An exhibition proposal (1 page)
  2. Support Material
  3. List the dates in your order of preference. We cannot guarantee you’ll get your preferred date.

Support material:

  • You may include up to 5 images
  • Individual images must be jpegs 72dpi, 1024 x 768 pixel, 500k (.5 MB) RGB or SRGB only
  • Video may be submitted through a link to Vimeo, YouTube or any other easily accessed website, a max of 5 minutes will be reviewed by selection committee

When applying, please consider:

  • Works involving sound must be played through headphones.
  • You must return Flux Gallery to its pristine state during the strike of your exhibition.
  • Your work will be for sale; artist fees are therefore not applicable.

A map of the space can be found here.


Shaylyn Plett and Janelle Tougas are multidisciplinary artists who are interested in spatial qualities and their ability to specify the tone and significance of space, as well as the affective potential of object and colour. Their recent collaborative work has explored ideas of whelming comfort found in the dense familiarity of natural forms. In open air langueur colour and shape give order to intangibles and explore opportunities for physical encounters with pieces that can enclose, be circumvented and used for rest.



Christina Bosowec   |   bed of roses

3-10 March 2017

Bed of Roses is a performance and installation based exhibition that responds to the allure of material forms. Originating from her obsession with the household sponge, Christina Bosowec strives to evaluate everyday objects that embody characteristics of comfort and softness.When used alongside the body as a tool ‘comfort objects’ are consoling, providing strength and deeper understanding. In Bed of Roses Bosowec touches on ‘Radical Softness’ seeking to combat the societal idea that feelings are a sign of fragility. Her performance promotes emotion through meticulous interactions that push past presumed functions.


 

Colby Richardson   |   Channelers

7 – 18 February 2017

Reception: 7-10pm, 10 February

Channelers’ is a series of video-sculptures that act as a medium between the living observer and the dead radio waves left behind by the abandonment of analog television broadcasting.

Once popular portable television sets have been modified into curious, altar like, structures resembling both ancient temples and esoteric radio towers.

Each sculpture receives a local transmission of a standard test pattern once used by broadcasters. As the viewer walks amongst the sculptures, the presence of their body acts as an additional antenna, warping and transforming the test pattern on the screens.

By offering a direct line of communication between the observer and the invisible radio waves around them, Channelers seeks to reveal our affect on the electromagnetic spectrum as a eerily mystical, spiritual force.

Here’s a review by Beth Schellenberg.


patrick klassen

My Best Friend      Patrick Klassen 
January 17th- 28th 2017
Opening Reception: January 20th, 2017, 7-10 pm

Despite appearances, Pat’s medium is performance, not painting. “My Best Friend” describes an uneasy bond between artworks and author by presenting his practice as a dysfunctional relationship; one that involves the affection, contempt, and embarrassment that throbs between a person and things.

Playing with some of modernism’s foundational tropes, the paintings themselves waver between abstraction and a kind of expressionism that touches on the epistemic fetish for transparency of process, material, and recursive self-definition. Kurt Schwitters once announced to the Dadaists “I nail my pictures together” which succinctly described his commitment to beaux arts practices (easel, paint, brush) as well as the subversion of the codes defining those practices. Klassen’s canvases are all redaction, smears, and the bare minimum required to summon a drawing, but imbued with imaginary agency. Here, the usual signs of command are given up for the pervert’s compulsion to act out a relationship with the fantasy object.

True to perverse nature, Klassen must find others willing to be put through this exchange. Beyond the conquering gesture of ratchet strapping the paintings to the walls, dividing practices are revealed in a video where viewers can observe Jungian archetypes performed through everyday social engagements, and in the carpet paintings which signal both decorative space and submission. You are invited to walk all over it.

– Jessica Evans

Jessica Evans is an artist and writer based in Vancouver, Canada

Here is a review of the show by Beth Schellenberg.


Upcoming

flux upcoming 2017


 

ducharme

Anyse Ducharme    Transfer

2-10 December 2016

Variances of transparency found in wide circulation, slowed down, in an instance of transference; glitched, bent and sliding onto transparent material.

The image file is an assemblage of processes that form a visual iteration. It is only readable because your platform functions in such a way as to allow it to be read, and manifests a visual on your screen (if you can think of a jpg image as a solidified version of a set of processes). Your computer is in communication with its components (algorithms, programs etc.) in order for you to view an image. It is also in communication with the image that has been transferred to you – which also functions in a state of assemblages of processes that solidify enough in order to create a visual iteration on your screen.


 

animating_self_bryn_vargas_promo

Bryn Vargas   Animating Self

1-12 November 2016

Bryn Vargas is an inter-disciplinary artist concerned about the well-being of relationships in our society today. Seeking to discover, and share the truths she is learning about relationship and what makes them good and worthwhile.

Review of Animating Self by Scott Lercher


 

 

Elise Dawson Daddy PW promoflat

We’ve all got daddy issues, we all live under patriarchy. “Daddy issues” originates from Carl Jung’s theory of the Electra complex, a counteracting theory to the Oedipus complex that suggests women want to compete with their mothers in possession of their fathers. Pop culturally speaking, daddy issues have a lot to do with needing validation from others and seeking approval. Daddy is a minimalist investigation of the artist’s relationship with her father as larger metaphor for our relations within patriarchy and to our environment. The work seeks to question how we deal with our patriarchal relations and the conflict bred from our obsession with validation from authority figures. If this love is immaturely expressed through duty, we might find our value in caretaking and our worth in performance.


Untitled-3

Flux Gallery welcomes writing about any of the exhibitions that are mounted in the program. Responses can be in any style and any length. They will be published as PDFs available on aceart.org/flux-gallery. Email your writing to flux@acaert.org.

An interview with Graham Wiebe by Joy Balmana

Cybersensuality- a response by Jaz Papadopoulos

Cybersensuality– an interview with the artist Nancy Nguyen by Joy Balmana

My Best Friend by Patrick Klassen- a review by Beth Schellenberg

Channelers by Colby Richardson- a review by Beth Schellenberg

Since We Last Spoke by Sophie Sabet –  a response by Noor Bhangu

 


James Malzahn, Privacy Forboden

Opens Friday, July 22, 2016, 7 pm.
Runs until July 29, 2016

promoflux sml

Privacy Forboden, an exhibition by James Malzahn, is an interdisciplinary body of work which critiques the increasing loss of privacy that humanity faces through the abuse of technology at the hands of government agencies. Malzahn illuminates the eeriness associated to mass surveillance programs which includes the bulk interception, collection and storage of the public’s digital communications. This series weaves technology – aesthetically and functionally – through traditional mediums to portray these omnipresent and corrupt entities.

 


 


Call for Submissions III

Flux Gallery will be seeking exhibition proposals from emerging artists.

This third call for submissions will be for three exhibition slots:

To apply please submit the following in a digital format to flux@aceart.org by 10 July 2016.

Successful applicants will hear by August 2016.

To submit, enclose:

  1. An exhibition proposal (1 page)
  2. Support Material
  3. List the dates in your order of preference. We cannot guarantee you’ll get your preferred date.

Support material:

  • You may include up to 5 images
  • Individual images must be jpegs 72dpi, 1024 x 768 pixel, 500k (.5 MB) RGB or SRGB only
  • Video may be submitted through a link to Vimeo, YouTube or any other easily accessed website, a max of 5 minutes will be reviewed by selection committee

When applying, please consider:

  • Works involving sound must be played through headphones.
  • You must return Flux Gallery to its pristine state during the strike of your exhibition.
  • Your work will be for sale; artist fees are therefore not applicable.

A map of the space can be found here.


Graham Wiebe, You Can’t Call People Without Wing’s Angels, 14-20 May 2016, launch: 7-10pm, 14 May

Flux_Handbill_Graham-1

You Can’t Call People Without Wings Angels, an exhibition by Graham Wiebe, is a series of photographs that uses the thematic of Halloween as a way of exploring the holidays uncanny aesthetic while questioning personal anxieties during a time of juvenile purgatory


Nancy Nguyen, Cyber Sensuality, April 17-30 2016

nancy imafge

CYBER SENSUALITY, an exhibition by Nancy Nguyen is a body of work focused on image-crafted internet identity through a combination of graphic design, books, and wall installations to evoke visual information rather than textual information while dissecting the immediate aesthetics of the internet through permanent forms.


michael image

Recent Works, an exhibition by Michael Mogatas, is a new body of work that reflects his past and present processes of painting via photography.


Flux_Handbill-final-1web

This exhibition is comprised of paintings and installation that explore the dynamics of heartbreak. The work embodies the tension within conflicting romantic identities that are negotiated through melodrama, omitting specificity in favor of tropes found in the pop-culture canon.

Review in Uptown Magazine