Monday, September 12, 2011

We're getting there... On achève...

Once again, sorry for the delay.  This time due to technological issues.  Techmology, what a time saver!  As time is running out, and I will continue the virtual tour through quite a bit of the gallery.

Encore une fois, des excuses pour le delais.  Ce fois ci, c'est des issues technologiques...
Puisque le temps s'échappe, je vais vous diriger à travers pluisieurs salles de la gallérie.

And so we continue on from Sarah Anne Johnson's room.  As you see here, from the far end of the room, Sarah's doll house is just peeking through from whence we came.

Alors on continue de la salle de Sarah Anne Johnson.  Come on peut voir ici,  au fond de cette salle, la maison de poupée de Sarah Anne Johnson est encore visible, d'où qu'on est venu.  

And from here in the projection area, we see how the room will eventually meet the hall surrounding the patio.

Et d'ici du coin de projections, on voit comme cette salle va terminer au corridor qui entour le patio.

Daniel Barrow, Winnipeg Babysitter, 2006.  Video, 90min

In the late 60's the CRTC (Canadian Radio-Television and Telecommunications Commission) mandated that cable companies across Canada provide a Channel for the use of the Community. They had the revolutionary idea that Canadian airwaves belong to the Canadian people. The cable companies were expected to spend ten per cent of their income on a Community Channel.

At that time, the CRTC had Policies for the operation of the Community Channel, but no regulations. They wanted people across the country to experiment with various ideas before regulations were put into place.
In September 1972, Winnipeg Videon Inc. hired a program manager to search the community for individuals and groups who would be interested in, or benefit from, programming on the channel. Videon provided two community channels: 1. Public Access - Programs produced by the public, using Videon's facilities and staff. Individuals were trained in the use of the equipment. 2. Informational Programming - National Film Board material and tapes and film provided locally. 
Here, in Winnipeg Babysitter, Daniel Barrow compiles just a few of the many videos created by local people from the community, ranging from singing, to basketweaving and running through the forest with paintball guns, to talkshows and mathematics.  

À la fin des années 1960, le CRTC (Conseil de la radiodiffusion et télécommunications Commission) mandat que les entreprises de câblodistribution partout au Canada offrent un canal pour l'utilisation de la communauté. Ils ont eu l'idée révolutionnaire que les ondes canadiennes appartiennent au peuple canadien. Les entreprises de câblodistribution devaient passer dix pour cent de leur revenu sur un canal communautaire.
À cette époque, le CRTC avait politiques pour l'exploitation du canal communautaire, mais aucun règlement. Ils voulaient des gens partout au pays à expérimenter différentes idées avant de règlements ont été mis en place.

En septembre 1972, Winnipeg Videon Inc. a embauché un gestionnaire de programme pour rechercher la communauté des individus et des groupes qui seraient intéressée à, ou bénéficier, sur le canal de programmation.
Videon fourni deux canaux communautaires: 1. l'accès Public - émissions produites par le public, en utilisant les installations et le personnel de Videon. Individus ont été formés à l'utilisation de l'équipement. 2. Programmation informational - matériel de l'Office National du Film et les bandes et les films fournis localement.

 Winnipeg Babysitter est un compilation fait par Daniel Barrow de quelques-unes des nombreuses vidéos créées par des habitants de la communauté, allant de chanter, de vannerie et traversant la forêt avec des fusils de paintball, de talkshows, et de mathématiques.

On this table people are invited to peruse Rob Kovitz eight volumes dedicated to ice fishing in Gimli.

Sur cette table, les visiteurs sont invités à lire les huit volumes de Rob Kovitz dédiés à la pêche sur glace à Gimli.

Rob Kovitz, Ice Fishing in Gimli, 2010

 Behind Kovitz's table are KC Adams aerial photographs of Winnipeg.  In the stark winter season, these photos seem colourless and almost as abstractions.

Derrière la table de Kovitz on voit les photographes aériennes de Winnipeg prise par KC Adams.  Dans le gel d'hiver, les photos semble sans couleur et presque comme des abstractions.

KC Adams, Circuit City IX, 2007  

KC Adams, Circuit City VI, 2007  

KC Adams, Circuit City III, 2007 

 Standing in front of Rob Kovitz's table, we gaze upon the area Simon Hughes' work lays.
Although some of his pieces are drawn from the prairie landscape, others are defined by his interest in juxtapositions of old and new architectures.

Debout devant la table de Rob Kovitz, on voit la partie de la salle dédié aux oeuvres de Simon Hughes.
Bien que certaines de ses pièces sont tirées de paysage des Prairies, d'autres sont définies par son intérêt pour les juxtapositions d'anciens et de nouvelles architectures.

Simon Hughes, Dream Books and Ice Holes, 2010
Simon Hughes, Livres de rêves et trou dans la glace, 2010
Simon Hughes, Frozen Forest, 2010
Simon Hughes, Forêt de glace, 2010

Simon Hughes, Fortified Coffee Shop, 2007
Simon Hughes, Cafeteria, 2007

Simon Hughes, Mural, 2006

Simon Hughes, Fortified Psychedelic Training Dome, 2007
Simon Hughes, Dôme psychédélique fortifié, 2007

Simon Hughes, Red River Ice Jam, 2007
Simon Hughes, Collision de blocs de glace dans la Rivière Rouge, 2007

(Simon Hughes interview)
1- Have you been to Paris, or shown in Paris before? (when...what...?)
I went there as a little kid (early 80s), and as a backpacking college kid (mid-90s). Never shown there to my knowledge.

2- How would you compare the art scene in Winnipeg to Paris?
Paris has many of the world's most important museums where you can regularly see the greatest works of art ever created, dozens of commercial galleries including some of the most relevant art dealers working today, a strong network of committed collectors who nurture the scene, and a huge audience that strongly supports the arts generally and is interested in the contemporary art world. Winnipeg doesn't.

3- What about Winnipeg's art community do you feel makes it unique?
I have absolutely no idea. I did just read this quote recently: "Marshall McLuhan spoke of the virtues of prairie cities’ isolation—places of conscious media consumption uncontaminated by the burdens and pretenses of media production." He may have been on to something.

4- When away from the Winnipeg winter, do you miss it?
Never. I know it will always be there.

5- What colour is your winter parka, and do you brave the season in sneakers, or prefer the warm comfort of boots?
Grey. Though it is a bit of a poser parka. When things get really heavy, I have to break out my black down-filled "Tough Duck" one. I no longer wear sneakers in winter. I recently got a good pair of brown leather high-top shoes - they look like a cross between Vans skate shoes and desert boots. They are perfect for those not-too-cold winter days. Otherwise I wear "city Sorels" - the Sorel boots that are good for -25. I change into sneakers when I get to my studio like Mr. Rogers. I also have a pair of knee-high black -60 Sorels for shovelling the driveway and other serious winter days.

When we exit that room we are faced with the big hall and outdoor patio.

Quand on quitte la salle, on est enface du grand couloir et le patio.

And this is looking back.  As you see on the far right, there is a segment of Wanda Koops large canvas,  Native Fires, we saw in the beginning of the tour.  We have done a big circle!

Et ceci est regardant du couloir.  Comme on peut voir à la droite, voilà une partie de la grande toile, Feux d'Indiens, par Wanda Koop qu'on a vu au début de la tour.  On a fait un grand cercle!

Aganetha Dyck collaborates with bees by placing objects directly in the hive, leaving the insects to transform simple things with a wonderful layer of wax.

Aganetha Dyck collabore avec des abeilles en plaçant des objets directement dans la ruche, les laissant transformer de choses très simple avec une couche de cire.

Aganetha Dyck, The Helmet, 1995
Aganetha Dyck, La casque, 1995

And to continue the theme, here are more masks, by Wanda Koop, almost resembling Picasso's African masks.

Et pour continuer avec le même thème, voici d'autres casques par Wanda Koop.

Wanda Koop, Untitled (Hockey Head), 1985
Wanda Koop, Sans titre (Tête de joueur de hockey), 1985

Wanda Koop, Untitled (Hockey Head), 1985
Wanda Koop, Sans titre (Tête de joueur de hockey), 1985

And then we turn the corner...

Et ensuite on tourne le coin... find every issue ever published of Boarder Crossing Magazine.

...pour retrouver chaque issue de la revue Boarder Crossings jamais publiée.

 Boarder Crossings magazine was started in 1982 by Robert Enright and Meeka Walsh.  The magazine is meant to have local and regional content, but that the perspective that informed it be international.  This magazine provides an important stage for artists in the centre of Canada.

La revue Boarder Crossings a débuté en 1982 par Robert Enright et Meeka Walsh. Le magazine est censé avoir contenu local et régional, mais que la perspective qui l'informe soit international. Ce magazine fournit une étape importante pour les artistes dans le centre du Canada.

The Boarder Crossings corner is at the beginning of the next big hall, which runs along the patio and restaurant.

Le coin de Boarder Crossings commence le prochain grand couloir, le long du patio et restaurant.

(with your back turned to the collages, this is what you see!)
(avec le dos au collages, ceci est ce que tu vois!)

Paul Butler, Guy Maddin's Keyhole Project, (Jeff Funnell, Shary Boyle, Michael Dumontier, Caelum Vatnsdal, Brad Phillips, Simon Hughes, Sarah Cale), 2008-2011

Here are a series of collages done by Paul Butler and Guy Maddin one fair eve...

Voici des collages de collaboration entre Paul Butler et Guy Maddin.

And to finish the hall, we see these two pieces.

Et pour terminer le couloir, on voit ces deux pièces.

Alex Janvier, Thunderbird Home, 1975 (pardon the reflections)
Alex Janvier, Refuge de l'oiseau tonnerre, 1975 (désolée des reflections)

Alex Janvier, member of the Professional Native Artist's Inc, expresses in his painting using fluid line, bold colour and abstracted landscapes that are inspired by quillwork and bead design.  Hidden in his diagrammatic paintings are symbols and overt expressions that affirm Aboriginal connection and rights to the land, and document colonial encroachment.  Janvier used to sign his works with his treaty number to remind of the injustices served to First Nations, an act that other artists like Eddy Cobiness followed.

Alex Janvier, membre de Professional Native Artist's Inc, exprime dans sa peinture à l'aide de la ligne fluide, les couleurs audacieuses et les paysages abstraits. Caché dans ses peintures schématiques sont les symboles et les expressions manifestes que confirment la connexion autochtone et des droits à la terre et l'empiètement colonial de document. Janvier utilisait pour signer ses œuvres son numéro de traité afin de rappeler les injustices servi aux Premières Nations, un acte que d'autres artistes comme Eddy Cobiness suivie.

Shawna Dempsey & Lori Millan, Forrest Guards, 1997
Shawna Dempsey & Lori Millan, Gardes forestiers, 1997

Shawna Dempsey & Lori Millan have worked together since 1989, producing videos, films, performances, publications and public art projects. For more than twenty years they have been re-writing accepted cultural stories in order to find themselves, as lesbian and social activists, in these stories.
Here we see them in Banff, where along with shooting a video, they made a map of the town, and placed on the map a LBGT community centre, which doesn't exist.  They then passed out these maps to visitors, in hopes it may raise some awareness when tourists realize such a place does not exist.

Shawna Dempsey et Lorri Millan ont travaillé ensemble depuis 1989, produisant des vidéos, des films, des performances, des publications et des projets d'art public.  Depuis plus de vingt ans elles récrivent l'histoire culturelles reconnues afin de trouver eux-mêmes, comme les activistes sociaux et lesbiennes, dans ces histoires.
Ici, nous les voyons à Banff, où, en plus de filmer un vidéo, elles ont fait une carte de la ville et placé sur la carte, un centre de communauté LGBT, qui n'existe pas. Elles ont ensuite données ces cartes aux visiteurs, dans l'espoir, qu'elles peut soulever certains sensibilisations lorsque touristes réaliseront qu'un tel lieu n'existe pas.

And we will finish with this next room.

Et on va terminer avec cette prochaine salle.
This is where you enter...

Ceci est par où tu rentres...

...and this is what you see. ceci est ce que tu vois.

and when at the far end, looking back.

et en regardant par en arrière.

Here we see two works by Kavavaow Mannonee, who born in Brandon, MB, now resides in Cape Dorset, Baffin Island.

Ici on voit deux oeuvres par Kavavaow Mannonee, qui née à Brandon, MB, vit et travaille maintenant à Cape Dorset, Ile du Baffin. 

Kavavaow Mannonee, Dark Fantasy, 2008
Kavavaow Mannonee, Sombre fantasme, 2008

Kavavaow Mannonee, Airlift, 2009
Kavavaow Mannonee, Pont aérienne, 2009

And finally, Shary Boyle's corner.  As well as doing a stunning overhead projection performance earlier during the opening week of the exposition, she also paints, and has done extensive ceramic work.

Et pour terminer, le coin de Shary Boyle.  En plus d'une performance avec un recto projecteur plus tôt pendant l'exposition, elle travaille aussi en peinture et à fait des oeuvres extensifs en céramique.

Shary Boyle, Equestrian, 2006 (oil on wood panel)
Shary Boyle, Hippique, 2006 (huile sur bois)

Shary Boyle, Sami of Tampere, 2006 (oil on wood panel)
Shary Boyle, Sami de Tampere, 2006 (huile sur bois)

Shary Boyle, King Cobra, 2010 
Shary Boyle, Cobra royal, 2010 

Thanks for the patience!  I will leave you with this interview with Paul Butler.

1- Have you been to Paris, or shown in Paris before? (when...what...?)
 yes. i've a 3 times. with family when i was 14, again with buddies when i was 19 and more recently, 2 years ago, when i cam eto visit Herve and his family.

2- How would you compare the art scene in Winnipeg to Paris?
 i didn't really get a sense of the art scene in Paris - just the galleries... i heard most artists work in the south of france. 

3- What about Winnipeg's art community do you feel makes it unique?
the isolation geographically, the strong support (plug In, MAC, WAC, Border Crossings...) i feel like wpg has changed to be honest. artists used to make work for themselves and their circles. now i fear the next generation will emerge with a sense of entitlement. they expect careers like sarah ann johnson and marcel dzama. there's a risk of making art to satisfy the market instead of themselves.

4- When away from the Winnipeg winter, do you miss it?
i do. terribley. i miss skating on the river, hearing the snow under my boots and getting cozy by a fire.

5- What colour is your winter parka, and do you brave the season in sneakers, or prefer the warm comfort of boots?

function over fashion of course.

Merci pour votre patience!!  À bientôt!

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