Curatorial Tours - Entering the Landscape
2017-10-21 15:00 - 2017-12-31 15:00 UTC | Manitoba
Guided tours | tournée guidée en français
Curatorial Tour with Sarah Nesbitt | Saturday, October 21, 3pm
Tournée guidée en française avec Janelle Tougas | Le samedi 28 Octobre, 15h
Joint Curatorial Tour of Insurgence/Resurgence and Entering the Landscape followed by discussion with curators Julie Nagam, Jaimie Isaac, Jenifer Papararo, and Sarah Nesbitt | Tuesday, November 19 4:15-5pm, tour at the Winnipeg Art Gallery and 5:15-6pm tour at Plug In ICA, 6pm discussion at Plug In ICA.
Curatorial Tour with Jenifer Papararo | Saturday, December 09, 3pm

Entering the Landscape
Pia Arke (1958-2007 Greenland and Denmark) • Laakkuluk Williamson Bathory (Iqaluit) • Jaime Black (Winnipeg) • Lori Blondeau (Saskatoon) • A.K. Burns (New York) • The Ephemerals (Winnipeg) • Melissa General (Toronto) • Rebecca Horn (Berlin) • Katherine Hubbard (New York, USA) • Maria Hupfield (New York) • Simone Jones (Toronto) • Tau Lewis (Toronto) • Amy Malbeuf (Rich Lake Alberta) • Meryl McMaster (Ottawa) • Ana Mendieta (Cuba) • Natalie Purschwitz (Vancouver) • Dominique Rey (Winnipeg), • Jamie Ross (Montreal) • Xaviera Simmons (New York) • Ming Wong (Berlin) • Alize Zorlutuna (Toronto)
Entering the Landscape
October 1 to December 31, 2017
Respondent Series talk with Lori Blondeau | Thursday, November 16, 7pm
Premier of After Birth, 2017 by The Ephemerals, discussion moderated by Jenifer Papararo | Thursday, November 23, 7pm
Entering the Landscape, a contemplative group exhibition featuring twenty-one artists from Canada, the USA, Denmark, and Berlin. Working in film and video, photography, sculpture, and performance these artists represent a breadth of politicized contemporary and iconic historical works that place the female or queer body in the landscape. Bringing together artworks that conceptually and aesthetically overlap, this exhibition identifies and considers a persistent motif in contemporary art.
– Curated by Jenifer Papararo and Sarah Nesbitt

Related exhibit:
Entering the Landscape

Clay Figure Building Workshops with Artist Jaime Black
2017-10-23 17:30 - 19:30
Meet at Plug In ICA – 460 Portage Avenue • Workshop at Studio 393 • 393 Portage Avenue, in the skywalk between Portage Place and The Bay

Programmed in conjunction with our current exhibition Entering the Landscape, artist Jaime Black will facilitate clay figure-building workshops on Monday, October 23 and Wednesday, October 25 from 5:30-8:30pm. The programing on both evenings will begin at Plug In Institute of Contemporary Art with a short tour of Entering the Landscape. From there, we will move to Gallery 393 where Jaime will introduce the workshop, and teach participants a basic hand-building technique to sculpt the clay. Please join us for one or both sessions.
Building on Black’s persistent interest in land-based practices, this workshop derives from the premise that the land mutually shapes and is shaped by us. Taking clay as material also draws connections on a wider global scale, recognizing its uses worldwide for utilitarian and spiritual purposes. Drawing out these references, Black facilitates an opportunity for a tangible and embodied relationship to the land.
All materials and tools will be provided. Participants are welcome to bring their creations home with them after the workshop.

Jaime Black is a Winnipeg-based multidisciplinary artist of mixed Anishnaabe/Cree and European descent using installation, photography and performance to examine themes of gender, identity, place and resistance. As an active member of the Winnipeg arts community, Black has developed arts education curriculum for Urban Shaman Contemporary Aboriginal Art, was an active board member for Mentoring Artists for Women’s Art (MAWA), and filed the role of Education Coordinator at Martha Street Print Studio. As an artist, Black has shown widely throughout Canada. Her well-known piece, The REDress Project is on permanent display at the Human Rights Museum, and has become a nationally recognized symbol of the struggle and response to the crisis of missing and murdered Indigenous women and girls. She was recently the artist in residence for the department of gender studies at the University of Toronto where she produced We Are the Land. In the spring of 2017, Black exhibited work for Traces at Urban Shaman, and in the fall of 2017, Shards at Gallery 1c03. Black was recently invited to be a facilitator for the prominent Kaha:wi Dance Theatre Creation Lab.
These workshop are generously supported by Studio 393 and programmed in conjunction with Entering the Landscape (October 1 to December 31, 2017) Pia Arke • Laakkuluk Williamson Bathory • Jaime Black • Lori Blondeau • A.K. Burns • The Ephemerals • Melissa General • Rebecca Horn • Katherine Hubbard • Maria Hupfield • Simone Jones • Tau Lewis • Amy Malbeuf • Meryl McMaster • Ana Mendieta • Natalie Purschwitz • Dominique Rey • Jamie Ross • Xaviera Simmons • Ming Wong • Alize Zorlutuna Entering the Landscape is a contemplative group exhibition featuring twenty-one artists from Canada, the USA, Denmark, and Berlin. Working in film and video, photography, sculpture, and performance these artists represent a breadth of politicized contemporary and iconic historical works that place the female or queer body in the landscape. Bringing together artworks that conceptually and aesthetically overlap, this exhibition identifies and considers a persistent motif in contemporary art.

All public programming is free and open to the public. Everyone welcome!

ASSOCIATED PROGRAMMING
Respondent Series talk with Lori Blondeau | Thursday, November 16, 7pm
Premier screening of After Birth, 2017 by The Ephermerals with discussion moderated by Jenifer Papararo | Thursday, November 23, 7pm
Guided tours | tournée guidée en français
Curatorial Tour with Sarah Nesbitt | Saturday, October 21, 3pm
Tournée guidée en française avec Janelle Tougas | samedi 28 Octobre, 15h
Curatorial Tour with Jenifer Papararo | Saturday, December 09, 3pm

Plug In ICA extends our gratitude to our generous donors, valued members and dedicated volunteers. With special thanks to our Director’s Circle.
We gratefully acknowledge the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council. We thank the Andy Warhol Foundation for the Visual Arts for their support of our 2016 and 2017 program, as well as Payworks and Wawanesa Insurance for the direct support of our youth programs.
Plug In ICA relies on community support to remain free and accessible to all, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/supportor by contacting Angela Forget: angela@plugin.org
For media inquiries please contact: Sarah Nesbitt at sarah@plugin.org or by telephone at (204) 942-1043.

Related exhibit:
Entering the Landscape

SAVE THE DATE | Plug In ICA 2017 Art Auction & Gala
2017-11-04 19:00 - 22:00
SAVE THE DATE
Plug In ICA 2017
Art Auction and Gala

November 4th, 2017
7pm
The Bay Basement | 450 Portage Avenue, Winnipeg
Tickets • $200
VIP Table of 10 • $3000
Post Gala Party (after 11pm) • $45
Special Musical Guests announced soon!

This year’s Gala will take place Saturday, November 04, 2017 at 7pm in the expansive and dramatic space of The Bay Basement. With your help, we are hoping to make our 2017 Gala our most successful fundraiser to date.
We have an incredible list of artists who have generously donated artworks and have amazing culinary partners.
The proceeds you help raise will keep us FREE and accessible to all. Your contributions go directly towards programming, ensuring Plug In ICA continues to provide world-class exhibitions, events, lectures, online projects and education programs that remain free to all.
Please join us for this pinnacle event.
Purchase tickets, make a donation or support a sponsorship here ->https://shop.plugin.org/collections/plug-in-ica-gala-2017
#plugingala17

Art Auction Artists
Abbas Akhavan • Juan Ortiz Apuy • Graham Asmundson • Kristina Banera • Charline Bataille • Nadia Belerique • Scott Benesiinabandan • Irene Bindi • Valerie Blass • Annie Briard • Patrick Cruz • The Ephemerals • Erica Eryes • Dayna Danger • FASTWÜRMS • Ray Fenwick • Kandis Friesen • Kara Hamilton • Frederico Herrero • Instant Coffee • Toril Johannessen • Ursula Johnson • Wanda Koop • Lise Latreille • Chloe Lum (Seripop) • Ursula Mayer • Divya Mehra • Katrina Mendoza • Bernie Miller • Natalie Putschwitz • Andrea Roberts • Andreas Rutkauskas • Fred Sandback • Suzie Smith • Krista Belle Stewart • Tereza Tacic • Ron Tran • Collin Zipp

PRESENTING SPONSOR
Montrose Winnipeg Inc.
CHAMPAGNE SPONSOR
Tony Mitousis – CGM Engineering
GALA HOST COMMITTEE
Co-chairs: David Carr & Silvester Komlodi
Leanne Akman, Tracy Bowman, Zia Hameed, Angela Forget, Erin Josephson-Laidlaw, Joe Kalturnyk, Sotirios Kotoulas, Shana Menkis, Tony Mitousis, Jenifer Papararo, Karine Pelletier, Sarah Secter and Marlene Stern

Gala & Art Auction After Party with JD Samson
2017-11-04 23:00 - 2017-11-05 03:00
Plug In Institute of Contemporary Art Annual Gala and Art Auction
After Party wth JD Samson!
Venue: The Bay, 450 Portage Ave, Winnipeg (Vaughan Street entrance)
Following our annual gala and art auction, Plug In ICA will be holding an after party from 11pm-3am. Gala attendees are invited to stay and dance the night away as a new wave of guests join the party. We are thrilled to announce that we will be bringing in JD Samson (of Le Tigre, MEN) from Brooklyn, NY to play a DJ set in the Bay Basement. JD Samson is best known as leader of the band MEN and for being one- third of the electronic-feminist-punk band and performance project, Le Tigre. For more than a decade JD’s career as a musician, producer and DJ has landed her at the intersection of the music, art, activism, and fashion. During that time she has toured the world, produced songs for Grammy Award winning artists, written for publications such as Huffington Post, Talkhouse, and Creative Time Review, created multi media artwork, hosted documentary programs for VICE, and engaged in direct support with a wide-range of progressive social and political causes.
After Party ticket: $45 each or 2 for $80 (limited time offer)
Ticket price includes a complimentary glass of chamagne and tasty delights provided by Forth and Eva’s Gelato
* the after party is included in the regular gala ticket price
For tickets:
1) Call Plug In ICA during ofﬁce or gallery hours at (204) 942-1043
2) Visit the Plug In ICA Art Book Shop during gallery hours at 460 Portage Avenue 3) Purchase tickets online at https://shop.plugin.org/collections/plug-in-ica-gala-2017/products/gala-after-party-ticket
3) Buy tickets in person at Music Trader (97 Osborne St) and Into the Music (245 McDermot Ave)
For media inquiries please contact our gala coordinator: Amelia Laidlaw at gala@plugin.org or by phone at (204) 942-1043.

Related exhibit:
Plug In ICA 2017 Gala & Art Auction plus After Party

Joint Curatorial Tour and discussion of Entering the Landscape curated by Jenifer Papararo and Sarah Nesbitt; and INSURGENCE/RESURGENCE curated by Jaimie Isaac and Julie Nagam
2017-11-14 16:30 - 19:00
4:15-5pm • Tour at The Winnipeg Art Gallery, INSURGENCE/RESURGENCE
5:15-6pm • Tour at Plug In ICA, Entering the Landscape
6pm • Discussion at Plug In ICA
Plug In Institute of Contemporary Art |1-460 Portage Avenue, Winnipeg, Canada

This joint tour and discussion will focus on the curatorial methods and processes engaged by the curators of Entering the Landscape andInsurgence/Resurgence. All Welcome.
Entering the Landscape
OCTOBER 1 TO DECEMBER 31, 2017
Plug In Institute of Contemporary Art, 460 Portage Avenue

Pia Arke • Laakkuluk Williamson Bathory • Jaime Black • Lori Blondeau • A.K. Burns • The Ephemerals • Melissa General • Rebecca Horn • Katherine Hubbard • Maria Hupfield • Simone Jones • Tau Lewis • Amy Malbeuf • Meryl McMaster • Ana Mendieta • Natalie Purschwitz • Dominique Rey • Jamie Ross • Xaviera Simmons • Ming Wong • Alize Zorlutuna

Entering the Landscape is a contemplative group exhibition featuring twenty-one artists from Canada, the USA, Denmark, and Berlin. Working in film and video, photography, sculpture, and performance these artists represent a breadth of politicized contemporary and iconic historical works that place the female or queer body in the landscape. Bringing together artworks that conceptually and aesthetically overlap, this exhibition identifies and considers a persistent motif in contemporary art.
INSURGENCE/RESURGENCE
SEPTEMBER 22, 2017 TO APRIL 22, 2018
Winnipeg Art Gallery, 300 Memorial Boulevard
Barry Ace • KC Adams • Joi T. Arcand • Dee Barsy • Scott Benesiinaabandan • Jordan Bennett • Heather Campbell • Bruno Canadien • Hannah Claus • Dana Claxton • Dayna Danger • Earthline Tattoo Collective • Bracken Hanuse Corlett • Tsema Igharas • Ursula Johnson • Casey Koyczan • Kenneth Lavallee • Duane Linklater • Tanya Lukin Linklater • Amy Malbeuf • Kent Monkman • Caroline Monnet • Tiffany Shaw-Collinge • Frank Shebageget • Amanda Strong • Joseph Tisiga • Couzyn van Heuvelen • Isabella Weetaluktuk • Linus Woods
INSURGENCE/RESURGENCE brings together 29 emerging-to-established Indigenous artists who are pushing boundaries with their work. The collection considers political insurgency and cultural resurgence to radically shift our understanding of Canada, now and in the future. Working in a variety of media, the artists focus on Indigenous intergenerational cultural knowledge within land based practices, gender, traditional aesthetics, language revitalization, interconnected kinships, identity, and material culture.INSURGENCE/RESURGENCE is the WAG’s largest-ever exhibition of contemporary Indigenous art and includes 12 new commissions from artists across Canadian territories and nations. Feel the pulse of today through tufting, tattooing, painting, sculpture, installation, photography, sound, beading, media, and performance.
All public programming is free and open to the public. Everyone welcome!

UPCOMING ASSOCIATED PROGRAMMING
Respondent Series talk with Lori Blondeau
Thursday, November 16, 7pm
Premier screening of After Birth, 2017 by The Ephemerals with discussion moderated by Jenifer Papararo
Thursday, November 23, 7pm
Upcoming Guided tours
Curatorial Tour with Jenifer Papararo
Saturday, December 09, 3pm

Plug In ICA extends our gratitude to our generous donors, valued members and dedicated volunteers. With special thanks to our Director’s Circle.
We gratefully acknowledge the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council. We thank the Andy Warhol Foundation for the Visual Arts for their support of our 2016 and 2017 program, as well as Payworks and Wawanesa Insurance for the direct support of our youth programs.
Plug In ICA relies on community support to remain free and accessible to all, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/support or by contacting Angela Forget: angela@plugin.org
For media inquiries please contact: Sarah Nesbitt at sarah@plugin.org or by telephone at (204) 942-1043.
Related exhibit:
Entering the Landscape

Respondent Series | An Artist Talk by Lori Blondeau
2017-11-16 19:00 - 20:30
Please join us for a talk by cherished artist, Lori Blondeau on Thursday, November 16 at 7pm. In conjunction with our current exhibition Entering the Landscape, we present this talk by an artist known for her astute use of pop cultural aesthetics paired with searing political commentary and cultural parody.
As a prominent artist, and founding member of the collective TRIBE, Blondeau’s impact on the artistic production and discourse in Canada is enduring. This talk will offer an in depth look at her work, which often looks at the influence of popular media and culture on Indigenous self-identity, self-image, and self-definition.
Blondeau’s work focuses on the impact of colonization on Indigenous women. The Lonely Surfer Squaw, currently on display for Entering the Landscape, is part of a larger body of work that deconstructs racist pop-cultural images – specifically the ‘Indian princess’ and ‘Squaw’. To this end, Blondeau creates absurd hybrid characters placed in classic poses, referencing mainstream pin-up or cover girls. This work interrupts the constructed stereotype of Indigenous women and refers to the damages of colonialism and the ironic pleasures of displacement and resistance.
Lori Blondeau is an interdisciplinary artist working primarily in performance and photography. She is Cree/Saulteaux/Metis from Saskatchewan, her mother is Cree/Saulteaux from George Gordon First Nation, located in Treaty 4, and her late father was Metis from Lebret, Saskatchewan. Blondeau holds an MFA from the University of Saskatchewan. In addition to her extensive exhibition history, Blondeau is co-founder of the Indigenous artist collective, TRIBE, and has sat on the Advisory Panel for Visual Arts for the Canada Council for the Arts. Blondeau has exhibited and performed nationally and internationally including the Banff Centre; Mendel Art Gallery, Saskatoon; Open Space, Victoria; FOFA, Montreal. In 2007, Blondeau was part of the Requickening project with artist Shelly Niro at the Venice Biennale and recently had a solo exhibition at Urban Shaman Contemporary Aboriginal Art Gallery, Winnipeg.

This talk is programmed in conjunction with Entering the Landscape (October 1 to December 31, 2017)
Pia Arke • Laakkuluk Williamson Bathory • Jaime Black • Lori Blondeau • A.K. Burns • The Ephemerals • Melissa General • Rebecca Horn • Katherine Hubbard • Maria Hupfield • Simone Jones • Tau Lewis • Amy Malbeuf • Meryl McMaster • Ana Mendieta • Natalie Purschwitz • Dominique Rey • Jamie Ross • Xaviera Simmons • Ming Wong • Alize Zorlutuna
Entering the Landscape is a contemplative group exhibition featuring twenty-one artists from Canada, the USA, Denmark, and Berlin. Working in film and video, photography, sculpture, and performance these artists represent a breadth of politicized contemporary and iconic historical works that place the female or queer body in the landscape. Bringing together artworks that conceptually and aesthetically overlap, this exhibition identifies and considers a persistent motif in contemporary art.

All public programming is free and open to the public. Everyone welcome!

UPCOMING ASSOCIATED PROGRAMMING
Premier screening of After Birth, 2017 by The Ephemerals with discussion moderated by Jenifer Papararo | Thursday, November 23, 7pm

Upcoming Guided tours | tournée guidée en français

Curatorial Tour with Jenifer Papararo | Saturday, December 09, 3pm

Plug In ICA extends our gratitude to our generous donors, valued members and dedicated volunteers. With special thanks to our Director’s Circle.
We gratefully acknowledge the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council. We thank the Andy Warhol Foundation for the Visual Arts for their support of our 2016 and 2017 program, as well as Payworks and Wawanesa Insurance for the direct support of our youth programs.
Plug In ICA relies on community support to remain free and accessible to all, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/support or by contacting Angela Forget: angela@plugin.org
For media inquiries please contact: Sarah Nesbitt at sarah@plugin.org or by telephone at (204) 942-1043.

Related exhibit:
Entering the Landscape

Screening of After Birth, 2017 by The Ephemerals with discussion moderated by Jenifer Papararo
2017-11-23 19:00 - 21:00
November 23, 2017

Plug In ICA | 460 Portage Ave, Winnipeg MB

As part of the exhibition Entering the Landscape, Plug In ICA presents After Birth, an inter-generational journey to return to a ceremonial custom of burying the ‘after birth.’ Elder Mary Courchene narrates in Anishnaabegmowin the meaning of this gesture, to create a way of the good life for the next generation and to give back to the earth what was created in order to give life. Together these women and their kids walk the land and affirm their intergenerational knowledge and active presence in ancestral memories and matrilineal leadership. This new video work is just over five minutes long and will be followed by a moderated discussion concerning the artists’ process, collaboration, and the exhibition thematic of gendered bodies in the land.
The Ephemerals are a collective of Indigenous women, Jaimie Isaac, Niki Little and Jenny Western. They are interested in curatorial practice and creative based research in film and performance. The collective was established to function as an outlet to foster and motivate artistic production both within their individual practices as well as to engage collaborative projects that revolve around Indigenous contemporary art. Our focus is on Indigenous culture with a political and social context responding to contemporary issues. They draw inspiration from our combined curatorial multidisciplinary art practices, family and mixed cultural backgrounds. The collective’s projects are fueled by collaborative interventions and ephemeral affairs in order to push the boundaries of perceived Indigeneity. They have exhibited at 1C03, Winnipeg; ImageNATIVE, Toronto; the Art Gallery of the University of Manitoba, and Plug In ICA. Their work has been featured in an issue of Parameter Press, Winnipeg and were longlisted for the Sobey Art Awards.

This screening is part of the group exhibition Entering the Landscape(October 1 to December 31, 2017)
Pia Arke • Laakkuluk Williamson Bathory • Jaime Black • Lori Blondeau • A.K. Burns • The Ephemerals • Melissa General • Rebecca Horn • Katherine Hubbard • Maria Hupfield • Simone Jones • Tau Lewis • Amy Malbeuf • Meryl McMaster • Ana Mendieta • Natalie Purschwitz • Dominique Rey • Jamie Ross • Xaviera Simmons • Ming Wong • Alize Zorlutuna
Entering the Landscape is a contemplative group exhibition curated by Jenifer Papararo and Sarah Nesbitt featuring twenty-one artists from Canada, the USA, Denmark, and Berlin. Working in film and video, photography, sculpture, and performance these artists represent a breadth of politicized contemporary and iconic historical works that place the female or queer body in the landscape. Bringing together artworks that conceptually and aesthetically overlap, this exhibition identifies and considers a persistent motif in contemporary art.
All public programming is free and open to the public. Everyone welcome!

Guided tours | tournée guidée en français
Curatorial Tour with Jenifer Papararo | Saturday, December 09, 3pm
Plug In ICA extends our gratitude to our generous donors, valued members and dedicated volunteers. With special thanks to our Director’s Circle.
We gratefully acknowledge the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council. We thank the Andy Warhol Foundation for the Visual Arts for their support of our 2016 and 2017 program, as well as Payworks and Wawanesa Insurance for the direct support of our youth programs.
Plug In ICA relies on community support to remain free and accessible to all, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/supportor by contacting Angela Forget: angela@plugin.org
For media inquiries please contact: Sarah Nesbitt at sarah@plugin.org or by telephone at (204) 942-1043.
Related exhibit:
Entering the Landscape

Curatorial Tour of Entering the Landscape with Jenifer Papararo
2017-12-09 15:00 - 16:00
On Saturday, December 9th at 3pm, Jenifer Papararo, Plug In Institute of Contemporary Art’s Executive Director and co-curator of Entering the Landscape will give a guided tour of the exhibition.

Entering the Landscape
Pia Arke (1958-2007 Greenland and Denmark) • Laakkuluk Williamson Bathory (Iqaluit) • Jaime Black (Winnipeg) • Lori Blondeau (Saskatoon) • A.K. Burns (New York) • The Ephemerals (Winnipeg) • Melissa General (Toronto) • Rebecca Horn (Berlin) • Katherine Hubbard (New York, USA) • Maria Hupfield (New York) • Simone Jones (Toronto) • Tau Lewis (Toronto) • Amy Malbeuf (Rich Lake Alberta) • Meryl McMaster (Ottawa) • Ana Mendieta (Cuba) • Natalie Purschwitz (Vancouver) • Dominique Rey (Winnipeg), • Jamie Ross (Montreal) • Xaviera Simmons (New York) • Ming Wong (Berlin) • Alize Zorlutuna (Toronto)
Entering the Landscape
October 1 to December 31, 2017
Opening Reception: Saturday September 30 | 8pm to 1am
Panel Discussion: Saturday september 30 | 1pm to 3pm
Entering the Landscape is a contemplative group exhibition featuring twenty-one artists from Canada, the USA, Denmark, and Berlin. Working in film and video, photography, sculpture, and performance these artists represent a breadth of politicized contemporary and iconic historical works that place the female or queer body in the landscape. Bringing together artworks that conceptually and aesthetically overlap, this exhibition identifies and considers a persistent motif in contemporary art. (full text and list of works below)
– Curated by Jenifer Papararo and Sarah Nesbitt
For curatorial texts and list of works see: https://plugin.org/exhibitions/2017/entering-landscape
Related exhibit:
Entering the Landscape

Respondent Series | Artist Talk with Bracken Hanuse Corlett
2018-01-20 14:00 - 16:00
Programmed as part of our winter solo exhibition Sweetgrass and Honey by Skeena Reece, Plug In Institute of Contemporary Art is extremely pleased to present interdisciplinary artist Bracken Hanuse Corlett, who will present an artist talk as part of our ongoing Respondent Series on Saturday, January 20 at 2pm.
For Sweetgrass and Honey, Corlett has been commissioned by Reece to paint a new mural, Stekyawden Syndrome, 2018. Created in collaboration with Reece, the mural reinterprets a Gitksan myth, The Mountain Goat, in which village people are punished for their poor treatment of mountain goats who they kill or harm cruelly without reason. For the mural, Corlett and Reece frame this myth within a psychological trauma (Stockholm Syndrome) that leaves captives overly sympathetic with their capturers. Contextualized within the frame of the exhibition, Corlett will give an introduction and overview of his most recent works, and upcoming projects, with insight into what drives him as an Indigenous person, writer and artist.
Working in a breadth of forms and media, including mural painting, animation, and VJing, for this talk, Corlett will speak about the mural at Plug In ICA, as well as his large-scale public art projects, such as Listening. On. Waking Terrain, 2017, a recent commission from the city of Vancouver; his animation Ghost Food, 2017; and SEE Monsters, an audio-visual collaboration with his cousin Dean Hunt.
Bracken Hanuse Corlett is an interdisciplinary artist who hails from the Wuikinuxv and Klahoose Nations, currently based in Vancouver and the Sunshine Coast. With formal training in theatre and performance, Northwest Coast art, and visual arts, Corlett’s work is a hybrid that incorporates Northwest Coast aesthetics and symbols, and fuses painting and drawing with digital media, audio-visual performance, animation and narration. He is a graduate of the En’owkin Centre of Indigenous Art, Penticton and has a B.F.A. from Emily Carr University of Art and Design, Vancouver. He studied Northwest Coast carving, art and design with the acclaimed Heiltsuk artist Bradley Hunt, and his sons Shawn Hunt and Dean Hunt. In 2014 he was awarded the BC Creative Achievement Award for Aboriginal Art, and in 2017 he received a large-scale public art commission for the City of Vancouver, and the Vancouver Mural Festival. His work has been exhibited widely, including at Grunt Gallery, Vancouver; Museum of Anthropology (MOA), Vancouver; Urban Shaman, Winnipeg, and the MacKenzie Art Gallery, Regina; and the ImagineNative and Toronto Film Festivals, Toronto. His work Electricity Blanket Protoype 004, 2017 is currently included in the exhibition INSURGENCE/RESURGENCE at the Winnipeg Art Gallery.

This artist talk is programmed in conjunction with Skeena Reece: Sweetgrass and Honey | January 19 – March 18, 2018.
Opening Reception:
Friday, January 19 | 7-11pm * artists in attendance
Performance:
Skeena Reece Looks Like a Suicide | Friday, January 19 | 7pm
Respondent Series artist talk:
Bracken Hanuse Corlett | Saturday January 20 | 2pm

Interpreting [Interrupting] Youth screening and panel discussion
Saturday, February 10 | 2pm
Respondent Series performance:
Darryl Nepinak | Thursday, February 15 | 7pm

Skeena Reece is best-known for her critically penetrating and humourous performances, in which she portrays a range of personas that are often driven by the potential of a raw exchange with audiences. For Sweetgrass and Honey, she builds on her lexicon of characters at times ramping up the clichés and emboldening stereo-types while sincerely trying to unearth their origins and stonewall their continued perpetuation. From Stockholm Syndrome to Indian Princesses, Reece uses various subjects in building a new lens with which to examine her personal history within a rereading of the displacement and continued disregard of indigenous people in North America.
Sweetgrass and Honey is a concatenation of works from a photographic series to mass-produced posters. This exhibition will feature several newly commissioned works, including a specific installation that challenges the racist history of the Hudson’s Bay, which sits across the street from Plug In. As well she will create a mural that offers a psychological look at the relationship between captor and captive; and another artwork that visualizes the ghosts in our history – buried in the land we occupy. Many of the artworks presented in this solo exhibition were produced in collaboration with other artists who Reece ignites as producers and translators.
Skeena Reece is a Tsimshian/Gitksan and Cree artist based on the West Coast of British Columbia. She has garnered national and international attention most notably for Raven: On the Colonial Fleet (2010) her bold installation and performance work presented as part of the celebrated group exhibition Beat Nation. Her multidisciplinary practice includes performance art, spoken word, humor, “sacred clowning,” writing, singing, songwriting, video and visual art. She studied media arts at Emily Carr Institute of Art and Design, and was the recipient of the British Columbia award for Excellence in the Arts (2012) and The Viva Award (2014). For her work on Savage (2010)in collaboration with Lisa Jackson, Reece won a Genie Award for Best Short Film, Golden Sheaf Award for Best Multicultural Film, ReelWorld Outstanding Canadian Short Film, Leo Awards for Best Actress and Best Editing. She participated in the 17th Sydney Biennale, Australia. Recent exhibitions include, The Sacred Clown & Other Strangers (2015) a solo exhibition of her performance costumes and documentation at Urban Shaman Contemporary Aboriginal Art, Winnipeg and Moss at Oboro Gallery, Montreal (2017). An iteration of Sweet Grass and Honey will travel to the Comox Valley Art Gallery.

Parts of Sweetgrass and Honey were produced in collaboration with Oboro, Montreal exhibited as part of the exhibition Moss.
Plug In ICA gratefully acknowledges the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council. We extend gratitude to our Director’s Circle, valued members and dedicated volunteers.

All public programming is FREE and open to the public. Everyone welcome!

Plug In ICA extends our gratitude to our artists, generous donors, valued members and dedicated volunteers. With special thanks to our Director’s Circle.
We gratefully acknowledge the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council. We thank the Andy Warhol Foundation for the Visual Arts for their support of our 2016 and 2017 program, as well as Payworks and Wawanesa Insurance for the direct support of our youth programs.
Plug In ICA relies on community support to remain free and accessible to all, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/supportor by contacting Angela Forget: angela@plugin.org
For media inquiries please contact: Sarah Nesbitt at sarah@plugin.org or by telephone at (204) 942-1043.

Related exhibit:
Skeena Reece: Sweetgrass and Honey

Skeena Reece: Sweetgrass and Honey
2018-01-26 - 2018-03-18
Skeena Reece is best-known for her critically penetrating and humourous performances, in which she portrays a range of personas that are often driven by the potential of a raw exchange with audiences. For her solo exhibition Sweetgrass and Honey, she builds on her lexicon of characters at times ramping up the clichés and emboldening stereo-types while sincerely trying to unearth their origins and stonewall their continued perpetuation. From Stockholm Syndrome to Indian Princesses, Reece uses various subjects in building a new lens with which to examine her personal history within a rereading of the displacement and continued disregard of Indigenous people in North America.
Sweetgrass and Honey is a survey of sorts, recontextualizing some of Reece’s earlier works, showing out-takes from a 2005 video An Indian Guide: Self Preservation and animating the photo shoot from We Still Know, 2007. Even the exhibition title is pulled from her debut folk music album released in 2011. This revisiting is in constant motion as a series of exposes, demonstrating Reece’s artistic processes as well as sharpening the focus on her layered but direct subject; her process being one of structured improvisation and intimate collaboration. And her subject formed by the outlines of the long, reoccurring and transmuting effects of colonization while effacing racial stereotypes used to relegate Indigenous culture into the past.
Reece often works within a narrative structure she devises to invisibly pulse under the surface of the work she produces. For We Still Know, Reece imagines a moment in the past, set in the 50s and 60s when young native men just graduating from residential schools were entering city life, looking stylish, moving with confidence and optimism, free and unencumbered. Reece posits and attempts to capture this moment, depicting a time of transition encapsulated by potential. This is an experience she imagines as her father’s, and one she knows could have only been fleeting – before the effects of racism and past traumas surfaced, at times expressing themselves in self-destructive and violent ways. But this moment of power no matter how real or sustained, is important for Reece to express as an illustration of strength and survival. This resolute and hopeful moment is the establishing shot for Sweetgrass and Honey, determining a resilient image that should linger steadfast as other narratives and exposures unfold throughout the exhibition.
The out-takes from An Indian Guide: Self Preservation express a struggle of identification, where understandings of indigeneity come into conflict with day to day experiences. At one point in the filming, Reece, who is behind the camera, asks each of the three actors how they would respond to being called a typical native man. This draws out the performers who address the multiplicity of what that description might mean as well as leads them to identify the derogatory inference of being called ‘typical’ anything. The embodiment of a typical native-ness is transformed into caricature in Entitled, 2017, a painting for which Reece commissioned the west coast painter and illustrator Collin Elder to portray her using the clichéd aesthetic devices common to paintings of the glorified Native Maiden, but her portrait sits in stark contrast to the romanticism of the Indigenous female, as she invites the voyeur to gaze upon her self-aware smirk with an air brushed double chin. Reece’s portrait has her dressed in a feather cape, posed stoically in the center of a barrage of wilderness signifiers from the wolf to the grizzly bear, but she asked for a bored wolf, a dumb spirit bear, a contentious totem pole made in the US in Haida style made by non-Haida cravers and the 2010 Vancouver Olympics inukshuk logo in a nauseating mash up of cultural clichés. She is presented as a pervasive image of the Native Indian in her natural habitat, but skewed in parody. She is an absurd dream and flawed vision of the past. Reece exacerbates this relegation to the past, by placing velvet stanchions in front of the painting as if it was in the historical section of a major museum. She further propagates this prolific image as she turns it into a mass-produced poster available for purchase in the gallery’s shop.
The past is an ever-present and fraught subject in Sweetgrass and Honey– one that Reece is constantly pushing back at and pulling into current times. In the photographic series, Un-Entitled, 2017, Reece wears “herstory” on her body. She invited the artist Gord Hill, a deeply politically charged writer and activist who is a member of the Kwakwaka’wakw nation, to illustrate aspects of colonial occupation and its destructive force, which Reece placed on her body as tattoos. Pictured on her skin are line drawings of men ready for battle. A conquistador, an Oka stand off with a Canadian soldier and an Indigenous warrior are part of her flesh. As if rising from the historic depths of battle there is also an illustration of mother and child that on the artist’s skin endure into the present, inviting viewers as caregivers to question why violence is perpetuated. Reece’s Moss Bag, 2015/17 renders this parental relation even clearer as she frees a relic from the confines of museological display. She has made an adult sized moss bag and cradleboard traditionally used as part of child rearing to carry newborns until they could walk. The sculpture, hangs on the wall like an over-sized and kitsch crucifix – a reference that shows the sacrifice of motherhood while also locating it as a place for healing and contemplation.
This unsettled encounter between past and present is part of We Are All One, which she first produced in response to Tsimshian Treasures an exhibition of Tsimshian ceremonial masks and objects at the University of British Columbia’s Museum of Anthropology (MOA) in 2007. Reece commissioned Vancouver-based artist Nathalee Paolinelli to paint a series of child-like black and white water-colours of some of the objects represented as artifacts in the exhibition. The humble depiction of the objects’ has an ethereal quality that reflects meaning that cannot be found in the objects themselves, but instead resonates as a cultural practice. Reece’s representations are an act of reclamation, and an acknowledgement that value is situated within the people and culture who made them and continues to produce them. A re-commissioned series of these water-colours are scattered around the exhibition as stickers on the walls. They are presented in Sweetgrass and Honey as disposable cheap renditions, again undermining their value as objects – now presented as artifacts which in MOA’s exhibition catalogue suggests were originally acquired by Reverend Robert J. Dundas as gifts or purchased for little in the mid to late 1800s, and were last auctioned off in the early 2000s by Sotherby’s for over $20,000 each, breaking records for these types of objects sold at auction. But this monetary value is not where their worth lies.
This economic schism is brought to the fore in Access Denied, a site-specific work that challenges the racialized capitalism of The Hudson’s Bay’s origins in the fur-trade. One of the company’s early flagship stores sits across the street from Plug In Institute of Contemporary Art and can be viewed through the windows of one of the institute’s gallery’s. Reece blocks the view by stacking burlap sacs from floor to ceiling. From the street, the gallery appears to be a storehouse tightly stocked full of goods. The filled room mockingly sits in opposition to The Bay in acknowledgement of Reece’s awareness of the past, and how deeply disturbing is this knowledge. This particular branch of the department store has closed three of its massive floors, amalgamating into two floors. Even with the merging of departments, the store feels barren and on the edge of closure. But Access Denied is a bluff. Once at the interior entrance to the gallery, the viewer can see that the room’s fullness is staged; it is a façade. In actuality, the gallery’s windows are only lined with stuffed sacs that sit in front of a prop wall. Even with the illusion broken, Reece denies visitors access to the gallery space. The ‘goods’ (sacs filled with air) are inaccessible – just out of reach, annunciating an economic rift that is still felt in Indigenous communities who continue to be systemically denied access to the benefits of our country including accurate historical accounting for the disabling injustices of then and now.
Reece’s challenge to historic oppression and cultural genocide is a gesture that carries consequence in that it posits a future to come. InThe Mountain Goat, a Gitksan myth, village people are punished for their poor treatment of mountain goats who they killed or harmed cruelly without reason for food. There are deadly consequences for their brutal and unreasoned actions because retribution from the mountain goats is inevitable. In cultural contrast, the mountain goats sees animals as equals to the villagers, whose moral and physical high ground implies that cruelty is dealt with swiftly and totally as they bring a mountain crashing down on the village. The new work Stekyawden Syndrome, a large-scale mural done in collaboration with Northwest Coast, Wuikinuxv and Klahoose Nations’ artist Bracken Hanuse Corlett, frames this myth within a psychological trauma that leaves captives overly sympathetic with their capturers. Reece has diagnosed Indigenous people as having Stockholm Syndrome, but this blinding condition is breaking as reprisals must be discussed.
Curated by Jenifer Papararo
Skeena Reece is a Tsimshian/Gitksan and Cree artist based on the West Coast of British Columbia. She has garnered national and international attention most notably for Raven: On the Colonial Fleet (2010) her bold installation and performance work presented as part of the celebrated group exhibition Beat Nation. Her multidisciplinary practice includes performance art, spoken word, humor, “sacred clowning,” writing, singing, songwriting, video and visual art. She studied media arts at Emily Carr Institute of Art and Design, and was the recipient of the British Columbia award for Excellence in the Arts (2012) and The Viva Award (2014). For her work on Savage (2010)in collaboration with Lisa Jackson, Reece won a Genie Award for Best Short Film, Golden Sheaf Award for Best Multicultural Film, ReelWorld Outstanding Canadian Short Film, Leo Awards for Best Actress and Best Editing. She participated in the 17th Sydney Biennale, Australia. Recent exhibitions include, The Sacred Clown & Other Strangers (2015) a solo exhibition of her performance costumes and documentation at Urban Shaman Contemporary Aboriginal Art, Winnipeg and Moss at Oboro Gallery, Montreal (2017). An iteration of Sweetgrass and Honey will travel to the Comox Valley Art Gallery.

Good Evening Native America! Live with Darryl Nepinak
2018-02-15 19:00 - 20:00
Good Evening Native America! Live with Darryl Nepinak

February 15, 2018 – 7pm to 8pm

Thursday, February 15th at 7pm. FREE! Everyone Welcome!
Plug In Institute of Contemporary Art is excited to host a live, in house presentation of Good Evening Native America! Live with Darryl Nepinak. On Thursday, February 15 at 7pm, join us for this rare and much anticipated live appearance.
Bask in the brilliance of our current exhibition Sweetgrass and Honey by Skeena Reece while Nepinak banters with special celebrity guests, not including Gord and Lorrie Steeves and Senator Lynn Beyak. This is one night you do not want to miss!
Tickets are free, but make sure to arrive on time. This is sure to be a sold out event.

Darryl Nepinak is a Winnipeg-based writer, film maker, committed youth mentor and educator, occasional curator and performer. Addressing the social structures of racism, Nepinak is unapologetic, absurd and precise. Primarily known for his edgy, satirical videos, Nepinak was introduced to filmmaking at the Aboriginal Broadcasting Training Initiative in 2005 where he produced his first short, Last of the Nepinaks, 2005. Since then his work has been shown nationally and internationally including screenings at Plug In ICA, Winnipeg; The Harbourfront Centre, Toronto; Dawson City Film Festival; the National Museum of the American Indian (NMAI), New York; the Berlinale International Film Festival, Berlin; Wairoa Maori Film Festival, New Zealand. ImagineNative Film and media Arts festival commissioned Zwei Indianer Aus Winnipeg in 2008, a satire that uses the song by German musician Marika Kilius. Nepinak has also worked with APTN and the National Film Board.

Plug In ICA extends our heartfelt gratitude to our generous donors, valued members, and dedicated volunteers. You make a difference.
We sincerely thank the RBC Foundation for the direct support of our Summer Institutes.
We gratefully acknowledge the support of the Canada Council for the Arts New Chapter Fund, the Manitoba Arts Council and Winnipeg Arts Council. We thank the Andy Warhol Foundation for the Visual Arts for their support of our 2016 and 2017 program.
Plug In ICA relies on community support to remain free and accessible to all, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/support or by contacting Angela Forget: angela@plugin.org

Interpreting [Interrupting] Youth | Youth Guided Tour • Screening and Discussion
2018-02-17 14:00 - 16:00
Interpreting [Interrupting] Youth | Youth Guided Tour • Screening and Discussion

Saturday, February 17, 2018 – 2pm
1, Plug In ICA | 460 Portage Ave

Plug In ICA Presents:
Interpreting [Interrupting] Youth
Tour • Screening and Discussion • Free!
Saturday, February 17 | 2-3:30pm
Youth Guided Tour: 2pm
Screening & Discussion: 3pm

On Saturday, February 17, 2018 discover our current exhibition, Skeena Reece: Sweetgrass and Honey through the interpretive lens of five youth.
Starting at 2pm, participants of the fourth edition of our Interpreting [Interrupting] Youth [IIY] program, Elia Ruiz-Fuertes-Holt, Andriy Kramar, Omid Moterassed, Crista Ordonez and Youth Mentor, Niko Lapierre will offer our first ever guided youth tour, before presenting a short interpretive video produced by them in collaboration with Plug In ICA, Just TV and the Broadway Neighborhood Center.
The screening offers a visual reflection of the youth’s collective and individual experience of Sweetgrass and Honey, and marks the culmination of an intensive four weeks of meeting, working, and thinking together about the exhibition; and about video as an interpretive mode. For this iteration of the program, participants had the opportunity to see the work as it was being installed, and speak directly with Reece about her process, and intentions.
The youth tour will begin at 2pm, followed a short reception. The screening and panel discussion with IIY participants is moderated by Assistant Curator Sarah Nesbitt, and will begin at 3pm. Everyone welcome! Snacks and refreshments will be served.

Interpreting [Interrupting] Youth is designed for youth ages 16 to 24. The program reverses a pre-existing interpretive model used within arts institutions that often produce short videos as educational devices. These often include interviews with artists or curators, images of artworks and installation shots; they often reference artists’ biographies, previous artworks, and at times, glimpse into artists’ studios. These videos are usually presented online or within the gallery or museum in close proximity to the artworks, and tend to place an emphasis on the artist’s and institution’s intention over the experience of the viewer.
The “Interpreting [Interrupting] Youth” program inversely begins with the youth’s experience of the artwork, challenging conventional models of art interpretation by overturning basic roles of authority and authorship.

For more information about this and other education programs, please contact Sarah Nesbitt at sarah@plugin.org. For general information please contact: info@plugin.org or call 1.204.942.1043.
We give special thanks to Just TV for their dedicated and expert partnership.

Plug In ICA extends our heartfelt gratitude to our generous donors, valued members, and dedicated volunteers. You make a difference.
We gratefully acknowledge the Manitoba Arts Council and Winnipeg Arts Council. We thank the Andy Warhol Foundation for the Visual Arts for their support of our 2016 and 2017 program, as well as Payworks and Wawanesa Insurance for the direct support of our youth programs.
Plug In ICA relies on community support to remain free and accessible to all, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/support or by contacting Angela Forget: angela@plugin.org

Related exhibit:
Skeena Reece: Sweetgrass and Honey

Curatorial Tour of Skeena Reece: Sweetgrass and Honey with Jenifer Papararo
2018-02-24 15:00 - 16:00
Curatorial Tour of Skeena Reece: Sweetgrass and Honey with Jenifer Papararo

February 24, 2018 – 3pm
Plug In ICA | 460 Portage Ave, Winnipeg MB

On Saturday, February 24 at 3pm, Jenifer Papararo, Plug In Institute of Contemporary Art’s Executive Director and curator of Skeena Reece: Sweetgrass and Honey will give a guided tour of the exhibition.

Skeena Reece is best-known for her critically penetrating and humourous performances, in which she portrays a range of personas that are often driven by the potential of a raw exchange with audiences. For her solo exhibition Sweetgrass and Honey, she builds on her lexicon of characters at times ramping up the clichés and emboldening stereo-types while sincerely trying to unearth their origins and stonewall their continued perpetuation. From Stockholm Syndrome to Indian Princesses, Reece uses various subjects in building a new lens with which to examine her personal history within a rereading of the displacement and continued disregard of Indigenous people in North America.
Sweetgrass and Honey is a survey of sorts, recontextualizing some of Reece’s earlier works, showing out-takes from a 2005 video An Indian Guide: Self Preservation and animating the photo shoot from We Still Know, 2007. Even the exhibition title is pulled from her debut folk music album released in 2011. This revisiting is in constant motion as a series of exposes, demonstrating Reece’s artistic processes as well as sharpening the focus on her layered but direct subject; her process being one of structured improvisation and intimate collaboration. And her subject formed by the outlines of the long, reoccurring and transmuting effects of colonization while effacing racial stereotypes used to relegate Indigenous culture into the past.
Skeena Reece is a Tsimshian/Gitksan and Cree artist based on the West Coast of British Columbia. She has garnered national and international attention most notably for Raven: On the Colonial Fleet (2010) her bold installation and performance work presented as part of the celebrated group exhibition Beat Nation. Her multidisciplinary practice includes performance art, spoken word, humor, “sacred clowning,” writing, singing, songwriting, video and visual art. She studied media arts at Emily Carr Institute of Art and Design, and was the recipient of the British Columbia award for Excellence in the Arts (2012) and The Viva Award (2014). For her work on Savage (2010)in collaboration with Lisa Jackson, Reece won a Genie Award for Best Short Film, Golden Sheaf Award for Best Multicultural Film, ReelWorld Outstanding Canadian Short Film, Leo Awards for Best Actress and Best Editing. She participated in the 17th Sydney Biennale, Australia. Recent exhibitions include, The Sacred Clown & Other Strangers (2015) a solo exhibition of her performance costumes and documentation at Urban Shaman Contemporary Aboriginal Art, Winnipeg and Moss at Oboro Gallery, Montreal (2017). An iteration of Sweetgrass and Honey will travel to the Comox Valley Art Gallery.

Parts of Sweetgrass and Honey were produced in collaboration with Oboro, Montreal and exhibited as part of the exhibition Moss.

Plug In ICA gratefully acknowledges the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council. We extend gratitude to our Director’s Circle, valued members and dedicated volunteers.

Related exhibit:
Skeena Reece: Sweetgrass and Honey

Plug In Institute of Contemporary Art and Publication Studio Vancouver launch Yesterday Was Once Tomorrow, Edited by Kegan McFadden
2018-03-02 19:00 - 21:00
Plug In Institute of Contemporary Art and Publication Studio Vancouver launch Yesterday Was Once Tomorrow, Edited by Kegan McFadden
March 2, 2018 – 7pm

Plug In ICA and Publication Studio Vancouver present:
Yesterday was Once Tomorrow (or, A Brick is a Tool):
Magazines by artists in Canada during the 1990s
Edited by Kegan McFadden • Published by Plug In Editions (Winnipeg) with Publication Studio (Vancouver) • Translation provided by Artexte (Montreal) • Foreword by Gwen L. Allen • Introduction by Jenifer Papararo • Insert by Cube
Vancouver Launch: Friday March 2, 2018 | 7pm
Selectors’ Records/ Publication Studio Vancouver
8 E Pender St, Vancouver BC
~talk ~ slide show ~ 90s music ~ turntables ~

On Friday, March 2, 2018 at 7pm Plug In Institute of Contemporary Art and Publication Studio Vancouver are excited to launch Yesterday was Once Tomorrow (or, A Brick is a Tool). The Vancouver launch will take place at Selector Records/Publication Studio Vancouver. Join Publication Studio for a festive evening including a talk by editor Kegan McFadden with a slideshow illuminating the book, and 90s music. At Plug In ICA the book will be available for a 25% discount from March 2 to 9 in our Book Shop.
Drawing on a methodology of exhibition-as-research, Yesterday was Once Tomorrow (or, A Brick is a Tool). extends a process of investigation by artist, writer, and curator Kegan McFadden. As an exhibition, Yesterday was Once Tomorrow (or, A Brick is a Tool) acts as a historical look at magazines by artists in Canada that were established and terminated in the 1990s. Specifically focusing on Texts (Calgary, 1989-1993), Flower (Toronto, 1992-1996), Talking Stick First Nations Arts Magazine (Regina, 1993-1994), Boo (Vancouver, 1994-1998), The Harold (Winnipeg, 1995-1997), and Cube (Montreal, 1996-1998),Yesterday was Once Tomorrow (or, A Brick is a Tool), debuted at Plug In ICA (2015), and toured to Artexte (2016) and The Banff Centre (2017). The archival impulse is continued in book form, efficiently capturing an under-explored moment in Canadian art history, situated critically within the global technological context of pre-Internet desktop publishing.
Included, in English and French, is a central essay by McFadden reflecting on his curatorial approach and methodology while the main body of the book operates in a similar manner to the exhibition, consolidating the magazines as content and material. Brief recollections from those involved with each of the six magazines coincide with an index chronicling their output, while covers of every issue are scanned and reproduced for posterity. A prescient essay about the state of art criticism in Canada by Bruce Grenville is re-printed thirty years after it originally appeared, followed by a newly commissioned response from Jeanne Randolph, in addition to artist projects and other poetic excerpts from each of the publications. Yesterday was Once Tomorrow (or, A Brick is a Tool) concludes with an archival gesture – the cataloguing of works included in each iteration of the exhibition.
For more information about the publication, or to pre-order a copy of Yesterday was Once Tomorrow (or, A Brick is a Tool), contact: Erin Josephson-Laidlaw aterin@plugin.org.

Softback
200 pages
1 Color poster insert
16.3 cm x 22.9cm
ISBN: 978-1-927385-48-7
$40

DISTRIBUTION
Plug In Institute of Contemporary Art
Unit 1–460 Portage Avenue, Winnipeg, MB, Canada R3C 0E8 • plugin.org •info@plugin.org • 1.204.942.1043
https://shop.plugin.org/products/yesterday-was-once-tomorrow-or-a-brick-is-a-tool-magazines-by-artists-in-canada-during-the-1990s
Publication Studio Vancouver
8 E Pender St, Vancouver BC Canada V6A 1T1 • bookmachine.ca or publicationstudio.biz • psvancouver@publicationstudio.biz • 1.604.836.0865

Plug In ICA extends our gratitude to our generous donors, valued members and dedicated volunteers. With special thanks to our Director’s Circle.
We gratefully acknowledge the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council. We thank the Andy Warhol Foundation for the Visual Arts for their support of our 2016 and 2017 program, as well as Payworks and Wawanesa Insurance for the direct support of our youth programs.
Plug In ICA relies on community support to remain free and accessible to all, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/support or by contacting Angela Forget: angela@plugin.org

Skeena Reece: Sweetgrass and Honey | Visite guidée en français avec Janelle Tougas
2018-03-03 15:00 - 16:00
Skeena Reece: Sweetgrass and Honey | Visite guidée en français avec Janelle Tougas
March 3, 2018 – 3pm

Plug In Institute of Contemporary Art présente :
Une visite guidée de notre exposition d’hiver, Skeena Reece: Sweetgrass and Honey avec Janelle Tougas
Le 3 mars 2018 à 15h.
Skeena Reece est connue pour sa performance humoristique dans laquelle est incarne toute une gamme de personnages. Souvent critique et perçante, elle est motivée par le potentiel d’un échange brut avec l’auditoire. Pour son exposition en solo Sweetgrass and Honey (Foin d’odeur et miel), elle rajoute à son lexique de personnages, joue avec les clichés et renforce les stéréotypes tout en tentant sincèrement de déterrer leurs origines et de faire obstacle à leur pérennisation. Du syndrome de Stockholm à la «princesse indienne», Reece adresse plusieurs sujets afin de construire une lentille par laquelle examiner son histoire personnelle dans une relecture du déplacement et de l’indifférence continuelle accordée aux peuples autochtones de l’Amérique du Nord.
– Commissaire de l’exposition : Jenifer Papararo
BIO :
Skeena Reece est une artiste Tsimshian/Gitksan et Crie basée sur la côté ouest de la Colombie-Britannique. Elle a attiré l’attention nationale et internationale pour Raven: On the Colonial Fleet (2010), une puissante performance et installation présentée dans le cadre de l’exposition de groupe Beat Nation. Dans sa pratique artistique multidisciplinaire on retrouve de la performance, de la création parlée, de l’humour, du «sacred clowning», de l’écriture, du chant, de l’écriture de chanson, de la vidéo et de l’art visuel. Elle a fait des études en arts médiatiques à la Emily Carr Institute of Art and Design et est récipiendaire du British Columbia Award for Excellence in the Arts (2012) et du Viva Award (2014). Pour sa contribution au film Savage (2010) en collaboration avec Lisa Jackson, Reece gagne un Genie Award pour le meilleur court métrage, le Golden Sheaf Award pour le meilleur film multiculturel, le ReelWorld Outstanding Canadian Short Film, et le prix de la meilleure comédienne et du meilleur montage aux Leo Awards. Elle a aussi participé à la 17e Biennale de Sydney en Australie. Parmi ses expositions récentes on retrouve The Sacred Clown & Other Strangers, une exposition en solo des costumes et la documentation de ses performance à Urban Shaman Contemporary Aboriginal Art à Winnipeg (2015), et Moss à la galerie Oboro à Montréal (2017). Une itération de Sweetgrass and Honey sera exposée à la Comox Valley Art Gallery.
Plug In ICA tient à reconnaitre le soutien continu du Conseil des arts du Canada, du Conseil des arts du Manitoba et du Conseil des arts de Winnipeg. Nous adressons aussi un remerciement particulier à notre conseil d’administration, nos chers membres et nos bénévoles dévoués.
Related exhibit:
Skeena Reece: Sweetgrass and Honey

Respondent Series Talk: Cora Morgan, First Nations Family Advocate on the Current State of Child Welfare in Manitoba
2018-03-08 19:00 - 20:00
Respondent Series Talk: Cora Morgan, First Nations Family Advocate on the Current State of Child Welfare in Manitoba
March 8, 2018 – 7pm

Programmed as part of our winter solo exhibition Sweetgrass and Honey by Skeena Reece, Plug In Institute of Contemporary Art is extremely honored to host a Respondent Series talk by First Nations Family Advocate, Cora Morgan on Thursday, March 8, at 7pm.
In 2015, when Morgan began her work as advocate for the newly formed Assembly of Manitoba Chief’s First Nations Family Advocate Office, there were more than 10,000 children in care in Manitoba, with roughly 90 percent of those children being Indigenous. Current numbers are closer to 11,000 and growing. The astonishing rate at which children are being taken from their families is cause for great alarm.
With immediate and urgent links to central themes addressed in Skeena Reece’s exhibition, for her talk, Morgan will speak to the present-day reality of child welfare in Manitoba, as well as make links between contemporary policies and those that formed the Residential School System in Canada, and their intergenerational effects. Morgan will moreover outline ways in which the justice system, and Child and Family Services (CFS) entrench and enable the current conditions. She will speak about her work as First Nations Family Advocate, including the importance of asserting jurisdiction over, and operating outside of the Child Welfare System. With stories and anecdotal evidence, Morgan will move between structural analysis, advocacy initiatives and lived experience to create a multi-faceted picture of what we are facing as a society.

Cora Morgan is a First Nations mother from Sagkeeng First Nation. Her most cherished role in life is being a mother, and she is very passionate about the well being of children.
Professionally, Morgan is the First Nations Family Advocate for the Assembly of Manitoba Chiefs First Nations Family Advocate Office, which opened June 1, 2015 and is the first of its kind in Canada. Cora studied Native Studies and Economic Development from the University of Manitoba, and spent much of her career in leadership roles working in Employment Training and Economic Development. Eventually her interests and career choices lead her towards restorative justice, and an eight-year term as Executive Director of Onashowewin Justice Circle. Morgan brings a commitment to understanding the intergenerational effects of residential schools and links to current issues with foster care. Identifying a direct link between the Manitoba Child and Family Services and the justice system is what specifically motivates her in her current role as First Nations Family Advocate.

All public programming is free and open to the public. Everyone welcome!
This talk is programmed in conjunction with Skeena Reece: Sweetgrass and Honey | January 19 – March 18, 2018.
Upcoming Programs:
Thursday, March 15 | 7pm
Respondent Series Workshop with Artist Ray Fenwick: “Experimental Conversation & Semi-accidental Performance” To register please contactsarah@plugin.org

Part survey, the exhibition Sweetgrass and Honey recontextualizes some of Skeena Reece’s earlier video and photographic projects, within a new body of work that uses Plug In ICA as a place of political address to rewrite and acknowledge how we have come to occupy the land we are on.
Reece is best known for her critically penetrating and humorous performances, in which she portrays a range of personas that are often driven by the potential of a raw exchange with audiences. For Sweetgrass and Honey, she builds on her lexicon of characters at times ramping up the clichés and emboldening stereo-types while sincerely trying to unearth their origins and stonewall their continued perpetuation. From Stockholm Syndrome to Indian Princesses, Reece uses various subjects in building a new lens with which to examine her personal history within a rereading of the displacement and continued disregard of Indigenous people in North America.
For more information on Reece and her exhibition please visit:https://plugin.org/exhibitions/2018/skeena-reece-sweetgrass-and-honey to access the complete list of works and read the curatorial essay written by Jenifer Papararo.

Plug In ICA extends our gratitude to our artists, generous donors, valued members and dedicated volunteers. With special thanks to our Director’s Circle.
We gratefully acknowledge the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council. We thank the Andy Warhol Foundation for the Visual Arts for their support of our 2016 and 2017 program, as well as Payworks and Wawanesa Insurance for the direct support of our youth programs and the RBC foundation for their support of our 2018 and 2019 Summer Institutes.
Plug In ICA relies on community support to remain free and accessible to all, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/support or by contacting Angela Forget: angela@plugin.org
For media inquiries please contact: Sarah Nesbitt at sarah@plugin.org or by telephone at (204) 942-1043.
Related exhibit:
Skeena Reece: Sweetgrass and Honey

International Call for Applications: Summer Institute Session I • DIS: “Thumbs that Type and Swipe: The DIS Edutainment Network”
2018-03-10
International Call for Applications: Summer Institute Session I • DIS: “Thumbs that Type and Swipe: The DIS Edutainment Network”

March 5, 2018 – 6pm

Plug In Institute of Contemporary Art is honoured to announce two exciting opportunities for our 2018 Summer Institute post-graduate research program.
Session I, June 25 – July 6, 2018: “Thumbs that Type and Swipe: The DIS Edutainment Network” with acclaimed curatorial and media artists, DIS, facilitated by Marco Roso and collaborators. Application deadline: March 5, 2018
Session II, August 6-24, 2018: “Site/ation” by BUSH gallery facilitated by celebrated trio of artists, writers, educators and curators, Tania Willard, Peter Morin, and Gabrielle L’Hirondelle Hill. Application deadline: March 10, 2018
Both sessions are invested in alternative frameworks and sites for curatorial and exhibition research and practice; with corollary interests in labour, including systems of value and exchange.

Plug In ICA Summer Institute Session I:
June 25- July 6, 2018
DIS: “Thumbs that Type and Swipe: The DIS Edutainment Network”
A guide for this brave new world that might help us understand how to be and how to live, love, and work in our bodies in this techno-capitalist context. – Marco Roso
For Session I of our Summer Institute research program, Plug In Institute of Contemporary Art is pleased to present DIS. Over the duration of the Institute Marco Roso and collaborators will facilitate “Thumbs That Type and Swipe: The DIS Edutainment Network”. The session will be grounded in discussions that centre on media and the visual arts; offering directed, one-on-one conversations with Roso and guests, as well as group activities that privilege participants and their ongoing work.
The seminar circles around a series of exhibitions organized by DIS and framed by dis.art, a new streaming edutainment platform. Through direct engagement with the artists of dis.art, the session will contemplate a series of linked concerns, including: the nature of belonging in a rootless-seeming, networked world; the changing relationship to the ways one owns, lends or gives time through occupations, bodies, or other forms of value-creation. Some of the topics DIS will covered will be: Money: what is it?; information consumption; the future of citizenship; reparations; love and humor.
Participants will engage in a series of exercises and activities in response to the themes of the Institute. These will range in form and approach, and may include the production of short videos, bike rides, city walks, screenings and guest lectures. Participants will be encouraged to produce individual work generated through our collective thinking and peer-to-peer engagement. The workshop is open to visual artists of all kinds as well as writers, critics and scholars.
DIS is a New York based collective best known for DIS Magazine (2010-2017), and curating the 9th Berlin Biennale for Contemporary Art (2016). DIS has become an umbrella for a number of networked and collaborative platforms – all of which reimagine one format or another.
Today DIS is focused on dis.art. While remaining true to the novel approaches to critical inquiry that defined life as a magazine, DIS is now focused on redefining entertainment and education through the new streaming platform on dis.art.
DIS enlists writers, filmmakers, and artists to offer new forms of genre-bending edutainment that help cut through the atomization and polarization that defines the noisy, disjointed mediasphere. In the last century, public television programming meant that quality information, education and artistic formats could go hand in hand.

To apply, please download our application form (attatched). For more information contact Sarah Nesbitt: sarah@plugin.org
Applications must be sent by email to Sarah Nesbitt at sarah@plugin.org by 6pm central standard time on March 5, 2018 for Session I (DIS), and by March 10th for Session II (BUSH).
Please indicate which Summer Institute session you are applying for in the subject line. Space is limited. Travel and accommodation are the responsibility of the participant. For BUSH gallery, participants will be camping together.

International Call for Applications: Summer Institute Session II • BUSH gallery “Site/ation”
2018-03-10 10:00 - 18:00
International Call for Applications: Summer Institute Session II • BUSH gallery “Site/ation”

March 10, 2018

Plug In Institute of Contemporary Art is honoured to announce two exciting opportunities for our 2018 Summer Institute post-graduate research program.
Session I, June 25 – July 6, 2018: “Thumbs that Type and Swipe: The DIS Edutainment Network” with acclaimed curatorial and media artists, DIS, facilitated by Marco Roso and collaborators. Application deadline: March 5, 2018
Session II, August 6-24, 2018: “Site/ation” by BUSH gallery facilitated by celebrated trio of artists, writers, educators and curators, Tania Willard, Peter Morin, and Gabrielle L’Hirondelle Hill. Application deadline: March 10, 2018
Both sessions are invested in alternative frameworks and sites for curatorial and exhibition research and practice; with corollary interests in labour, including systems of value and exchange.

Plug In ICA Summer Institute Session II:
August 6-24, 2018
BUSH gallery: “Site/ation”
For Session II of our Summer Institute, post-graduate research program, Plug In Institute of Contemporary Art is excited to partner with BUSH gallery. Over three weeks, from August 6-24, Tania Willard, Peter Morin and Gabrielle L’Hirondelle Hill will lead Site/ation, pushing a radical approach to curating and art making, born from active engagements and lived experiences on the land, land marking, contemporary art, the reserve, and the gallery. Using Indigenous methodologies to build a transformational space, that is open to everyone, BUSH seeks to de-centre the gallery, and the city as epicentres of contemporary art.
BUSH gallery Project Statement:
BUSH gallery acknowledges the Indigenous Nations that have ancestral ties to the Treaty 1 Territory and the Métis Nation homeland. As uninvited guests,* we strive to connect what we are doing as Indigenous artists with valuing and circulating within local Indigenous economies and communities, while also creating space for conceptual, experimental and performative land-based Indigenous led contemporary art. By practicing reciprocity and value-based systems of Indigenous knowledges, centred by our specific cultural backgrounds, we make galleries of thought, colour, land, sky, text and interrelationality.
The 2018 summer intensive with Plug In ICA enacts ideas of site/ation. How are we influenced, challenged, changed and politically tied to the lands in our communities and in our orbits. Participants will camp on the land together, read relevant texts, go for walks on the land, dream new relationships, and will research and learn by making and doing.
Using art as strategy to guide resources and value Indigenous led spaces that acknowledge the land as the first gallery, as our gallery as BUSH gallery we will come together to laugh, to make, to eat and to conjure ideas and dreams that will feed the ancestors.
Artists, curators and writers from all backgrounds are encouraged to apply, but preference will go to QBIPOC (Queer, Black, Indigenous, People of Color) applicants. Deadline is March 10, 2018, 6pm Central Standard Time.
BUSH gallery functions as a space that allows for dialogue, experimental practice and community engaged work that contributes to an understanding of how gallery systems and art might be transfigured, translated and transformed by Indigenous customs, aesthetics, performance and land use systems. BUSH gallery is a trans-conceptual galleryspace. Trans-conceptual repositions ideas born within Indigenous and western epistemological conditions. The trans-conceptual space requires your body to be in a constant state of flux. Never settling like the flow of water in a river. One of the goals of BUSH gallery is to articulate Indigenous creative land practices, which are born out of a lived connection to the land.

* When we use ‘uninvited guest’ it means we acknowledge that due to dispossession of Indigenous lands and territories across Canada we operate outside of protocols that would make the local territory we are visiting within the authority of the traditional Indigenous land rights holder.

To apply, please download our application form (attatched). For more information contact Sarah Nesbitt: sarah@plugin.org
Applications must be sent by email to Sarah Nesbitt at sarah@plugin.org by 6pm central standard time on March 5, 2018 for Session I (DIS), and by March 10th for Session II (BUSH).
Please indicate which Summer Institute session you are applying for in the subject line. Space is limited. Travel and accommodation are the responsibility of the participant. For BUSH gallery, participants will be camping together.

Plug In ICA extends our heartfelt gratitude to our generous donors, valued members, and dedicated volunteers. You make a difference.
We sincerely thank the RBC Foundation for the direct support of our Summer Institutes.
We gratefully acknowledge the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council. We thank the Andy Warhol Foundation for the Visual Arts for their support of our 2016 and 2017 program.
Plug In ICA relies on community support to remain free and accessible to all, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/support or by contacting Angela Forget: angela@plugin.org

File Download

BUSH application form

EXPERIMENTAL CONVERSATION AND SEMI-ACCIDENTAL PERFORMANCE | A Respondent Series Workshop by Ray Fenwick
2018-03-15 19:00 - 21:00
EXPERIMENTAL CONVERSATION AND SEMI-ACCIDENTAL PERFORMANCE | A Respondent Series Workshop by Ray Fenwick
Thursday, March 15, 2018 – 7pm

Every conversation is an experiment — and some conversations are more experimental than others. Some conversations are like performances, or games, or music, or a collaborative soundscape.
~ Ray Fenwick

Simple, fun, and often ridiculous! Plug In Institute of Contemporary Art is excited to host a Respondent Series workshop: EXPERIMENTAL CONVERSATION AND SEMI-ACCIDENTAL PERFORMANCE by artist Ray Fenwick.
Programmed in conjunction with Skeena Reece’s exhibition, Sweetgrass and Honey, over the course of one and a half hours participants will engage in collective linguistic experimentation, contorting sound and elemental aspects of conversation, which begin to shift in form and experience between ‘just talking’, ‘performing’, or ‘making art’.
As easy as saying your name! Almost by accident you’ll dip a toe into the world of performance by way of simple games shamelessly stolen from theatre, improvisation, and so-called “icebreaker” activities.
Other “goals” of the workshop:
– Not just break the ice but, through a form of alchemy, turn the ice into a very pleasing slime
– Find new and strange ways to speak to each other, with each other, or out loud
– Make each other laugh
– Make yourself feel weird
– Fail miserably and awkwardly a few times
– Have a few drinks maybe, if that’s your thing

Spaces are limited. RSVP REQUIRED – email Sarah Nesbitt @ sarah@plugin.orgwith “RSVP” in the title line.

Ray Fenwick is an interdisciplinary artist working in performance, video, sound and typography. Known for eccentric, often immersive and durational performances that explore language, voice, and communication, his performance work lies somewhere between experimental comedy and sound art. In addition to his solo work, Fenwick collaborates with Halifax-based artist Mitchell Wiebe in Pastoralia, an art, performance, and music hybrid that acts as a meeting point between the practices of the two artists. Fenwick completed his MFA Degree at the University of Manitoba and has exhibited in both Canada and the United States. Pastoralia has performed at unexpected venues including the opening of Mass MoCA’s Oh Canada exhibition, North Adams Massachusetts; Halifax’s Nocturne festival; and at the recent Saltboxperformance festival in Newfoundland. His work has also been exhibited in Galerie Sans Nom, Moncton; Grenfell Art Gallery, Corner Brook; Southern Alberta Art Gallery, Lethbridge; Truck Gallery, Calgary; and Plug-In ICA, Winnipeg.

Plug In ICA extends our heartfelt gratitude to our generous donors, valued members, and dedicated volunteers. You make a difference.
We gratefully acknowledge the support of the Canada Council, the Manitoba Arts Council and Winnipeg Arts Council. We thank the Andy Warhol Foundation for the Visual Arts for their support of our 2016 and 2017 program.
Plug In ICA relies on community support to remain free and accessible to all, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/support or by contacting Angela Forget: angela@plugin.org

Related exhibit:
Skeena Reece: Sweetgrass and Honey

Przemek Pyszczek: Białystok
2018-03-29 12:00 - 2018-06-10 18:00
Przemek Pyszczek: Białystok
March 29, 2018 to June 10, 2018

Powder-coated colours of steel-poles shape a centralized geometric form inBiałystok – Przemek Pyszczek’s first solo exhibition in Canada. Heavily influenced by the architectural and civic structures from his birth town Białystok in Poland, Pyszczek builds a colourful, sprawling and unified sculpture that simultaneously captures a conformity and resistance to public housing infra-structures in Communist Poland, which turned from grey into an explosion of colour post the fall of the Iron Curtain.
Pyszczek’s palette is compiled from these colourful reprisals of civic space as residential concrete blocks were painted in an array of pastel hues with the structure of his sculptures based on architectural details. The lattice of hand railings, the flourishes in balcony designs and the patterning of fencing and other public to private barriers are references for Pyszczek abstracted forms. The shape comes first and then colour is applied – reflective of the artist’s own encounter with Białystok, as a measuring of time and an articulation of history.
The exhibition title is itself nostalgic in alluding to the artist’s birthplace, his childhood before his family immigrated to Winnipeg, Canada and before his return to Poland after the collapse of communism. This reflection on his childhood home is mediated and doubled in the formal construction of the exhibition, which is an allusion and amalgamation of vintage playground jungle gyms. The form is rigid yet twisted – narrowly escaping the childhood filter of a colourless past retuned as an out-pouring of collective colours.
Przemek Pyszczek is a Polish-born, Canadian-raised artist who is currently based in Berlin. Through architecturally inspired sculptures, installations and paintings Pyszczek’s work traces Poland’s transition since the fall of the iron curtain and also serves as an ongoing journey to rediscover his own past. He obtained his Bachelor of Environmental Design from the University of Manitoba in 2007. Pyszczek’s work has been exhibited in numerous solo and group exhibitions, most recently presenting a solo exhibition at Galerie Derouillon, Paris. His work has been included in Forever Never Comes, Museo Archeologico e d’Arte della Maremma, Grosseto, Italy; 1989 Belenius, Stockholm; Sandomir, Nicodim Gallery, Los Angeles; Industrius, Window Gallery, Winnipeg; Building Systems, Berthold Pott, Cologne; and Corporalitas, Open Forum, Berlin.

Naufus Ramírez-Figueroa: Shit-Baby and The Crumpled Giraffe
2018-03-29 12:00 - 2018-06-10 18:00
Naufus Ramírez-Figueroa: Shit-Baby and The Crumpled Giraffe

March 29, 2018 to June 10, 2018

Shit-Baby and the Crumpled Giraffe is an exquisite display of Naufus Ramírez-Figueroa’s characteristic penchant towards humor, abjection, and performance as he transforms bodily action into object form . For his solo exhibition at Plug In ICA, Ramirez-Figueroa immerses the viewer in a theatrical space where the fantastical meets a corporeal reality. He sets a stage through a series of sculptural forms painstakingly constructed out of Styrofoam, revealing an imaginary and infantile world.
Exploiting an interest in the function and training of the body that is most acutely encountered in childhood, for this presentation at Plug In ICA, Shit-Baby and the Crumpled Giraffe will be adapted from its recent incarnation at the Kunsthalle Lissabon in Portugal (Fall 2017). Invited into the exhibition through a scattering of objects , viewers encounter imperfect colored vessels arranged in careful clusters, and dispersed amidst small piles of “beautifully sculpted poo”. One deviant strand hovers serpent-like – fantastical and ominous, airborne amidst a human-sized giraffe; a sneaker-wearing pelican carrying a sack of feces; and a seated naked toddler.
Nafus Ramírez Figueroa is a Guatemalan-born, Berlin-based artist. Working in sculpture, performance, video, installation and printmaking, Figueroa’s work is grounded in mechanisms and conditions of colonialism worldwide, with specific investment in Guatemalan history. Receiving ongoing support from Corpus (2015-present), Figueroa has engaged in a series of performances that he describes as an “attempt to exhaust my interest into the Guatemalan Civil War (1960-1990)”. The weight of his subjects is often tempered by a playful material sensibility, forays into childhood, dreams, fantasy and the complexity of embodiment. Figueroa holds a BFA from Emily Carr University, Vancouver with a specialization in media art, and an MFA from The School of the Art Institute of Chicago. His work has garnered international acclaim, with notable inclusions in Viva Arte Viva, 57th Venice Biennale 2017; Incerteza viva, 32nd São Paulo Biennale, 2016; Burning Down the House, 10th Gwangju Biennale, 2014 and in 2016, he was a resident artist at DAAD, in Berlin. He also has strong ties to Canada, where his work was featured on the cover of FUSE Magazine in 2013 and in 2018-19 Figueroa will present three major solo exhibitions in Canada, at Grunt Gallery, Vancouver; the Audain Gallery, Vancouver; and Plug In ICA, Winnipeg.

Respondent Series Talk with Art City’s Directors, Eddie Ayoub and Josh Ruth | Wednesday, May 23, 2018 • 7pm
2018-05-23 19:00 - 20:00
Respondent Series Talk with Art City’s Artistic Director, Eddie Ayoub and Managing Director, Josh Ruth

Wednesday, May 23, 2018 • 7pm

As part of our ongoing Respondent Series, on Wednesday, May 23, 7pm Art City Directors, Eddie Ayoub and Josh Ruth will speak about the history and mandate of Art City, one of Canada’s most dynamic and exciting community art centres.
We are hosting this presentation and discussion about Art City within the context of our current exhibitions Shit-Baby and the Crumpled Giraffe by Naufus Ramírez-Figueroa, and Białystok by Przemek Pyszczek to respond to shared themes of youth and childhood. Within Ramírez-Figueroa’s installation, themes of child psychology and the condition of embodiment of youth are explored in his sculptural installation and video. Whereas in Białystok by Pyszczek simple sculptural forms evoke unstructured play that reference early childhood playground forms. For this talk, Ayoub and Ruth will give an overview of the history and programming of Art City addressing their approach to youth education and community art programming, thinking about how play can be a radical tool for education, community development, confidence and self empowerment.
Founded in the West Broadway neighbourhood in 1998 by Contemporary artist Wanda Koop, Art City was created and runs on the premise that “community art programming should be accessible to all”. With a focus on children and youth, Art City runs free programming six days a week. Each day has a specific focus including film photo, ceramics and digital arts; Wednesday’s is the drawing club, and Saturday’s are dedicated to Indigenous arts practices. Guest artists come from Winnipeg, Canada, and abroad to facilitate specialized workshops renewing the interests of artists and youth, while local facilitators also create larger-scale projects that build over a period of a week or a month. Every spring staff and youth organize a much-anticipated parade. A spectacle for the whole neighbourhood, with children and adults moving through the streets holding balloons, wearing masks and elaborate costumes, riding floats or holding banners. Art City is an exciting presence that stimulates the imagination and activates the city.

All public programming is free and open to the public. Everyone welcome!

REMAINING ASSOCIATED PROGRAMMING
Sunday, June 10 | 3pm
Interpreting [Interrupting] Youth screening and panel discussion
Date: TBD
Respondent Series: Play As Radical Practice Toolkit

REMAINING ASSOCIATED PROGRAMMING
Sunday, June 10 | 3pm
Interpreting [Interrupting] Youth screening and panel discussion
Date: TBD
Respondent Series: Play As Radical Practice Toolkit

Plug In ICA extends our gratitude to our artists, generous donors, valued members and dedicated volunteers. With special thanks to our Director’s Circle. You make a difference!
We gratefully acknowledge the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council.
Plug In ICA relies on community support to remain free and accessible to all. Enable us to continue presenting excellent programs! Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/supportor by contacting Angela Forget: angela@plugin.org
For media inquiries please contact: Sarah Nesbitt: sarah@plugin.org or (204)942-1043.
Related exhibitions:

Naufus Ramirez-Figueroa: Shit-Baby and the Crumpled Giraffe
Przemek Pyszczek: Białystok

Visita guiada en español con Francesca Carella Arfinengo
2018-05-26 15:00 - 16:00
Visita guiada en español con Francesca Carella Arfinengo
Sábado, 26 de Mayo | 15h

El día sábado19 de Mayo a las 3pm, la artista Francesca Carella Arfinengo brindará un tour guiado de las exposiciones individuales de Przemek Psyzczek, artista de Winnipeg que reside en Polonia, titulada Białystok, y del artista guatemalteco Naufus Ramírez-Figueroa titulada Shit-Baby and the Crumpled Giraffe. Las exhibiciones de Pyszczek y Ramírez-Figueroa se centran en experiencias psicológicas y corporales relacionadas con la infancia haciendo referencia a la forma de objetos cotidianos y del aprendizaje conductual. Estos trabajos representan la primera exhibición individual para Pyszczek en Canadá, y la primera vez que Ramírez-Figueroa presenta su obra en Winnipeg. Białystok y Shit-Baby and the Crumpled Giraffe corren desde el 31 de Marzo hasta el 10 de Junio, 2018. Ingreso libre. Todos son bienvenidos.

Przemek Pyszczek: Białystok
31 Marzo a 10 Junio, 2018
En Białystok, la primera exhibición individual de Przemek Pyszczek, postes galvanizados dan forma a una estructura geométrica. Influenciado por la arquitectura y estructuras civiles de su ciudad de nacimiento Bialystok en Polonia, Pyszczek ha construido una colorida, unificada y desmadejada escultura. Esta obra apresa conformidad tanto como resistencia a las infraestructuras de vivienda pública en la Polonia Comunista, las cuales, siendo grises se transformaron en una explosión de color luego de la caída de la Cortina de Hierro.
Przemek Pyszczek es un artista polaco, criado en Canadá que actualmente reside en Polonia. Su trabajo; esculturas inspiradas en arquitectura, instalaciones y pinturas, trazan la transición en Polonia desde la caída de la cortina de Hierro y sirven también de un trayecto en el cual va re-descubriendo su propio pasado. Pyszczek obtuvo su Bachiller de Diseño Ambiental en la Universidad de Manitoba en 2007. El ha mostrado sus obras en numerosas exhibiciones grupales e individuales, la más reciente en la Galerie Derouillon, París. Su trabajo ha sido incluido en Para Siempre Nunca Viene, Museo Archeologico e d’Arte della Maremma, Grosseto, Italy; 1989 Belenius, Stockholm; Sandomir, Galería Nicodim, Los Angeles; Industrius, Galería Window, Winnipeg; Construyendo Sistemas, Berthold Pott, Cologne; y Corporalitas, Open Forum en Berlin.

Naufus Ramírez-Figueroa: Shit-baby and the Crumpled Giraffe
31 Marzo a 10 Junio, 2018
El Bebé de Caca y la Jirafa Estropeada es una excepcional escultura que representa la característica predilección al humor, abyección y performance de Naufus Ramírez-Figueroa transformando movimientos corporales en objetos formales. Para ésta exhibición individual en Plug In ICA, Ramírez-Figueroa sumerge al espectador en un espacio teatral donde lo fantástico se hace frente con la realidad corpórea. Él construye el escenario con una serie de formas esculturales construidas minuciosamente con Styrofoam que revelan un mundo imaginario e infantil.
Naufus Ramírez-Figueroa es un artista Guatemalteco. Su trabajo; escultura, performance, vídeo, instalación y grabado, esta fundado en los mecanismos y cualidad del colonialismo a nivel mundial con un enfoque en la historia de Guatemala. Con el apoyo de Corpus (2015-), Ramírez-Figueroa se ha involucrado en una serie de performances que describe como un “atentado en agotar mi interés en la Guerra Civil de Guatemala”. La seriedad de sus temas usualmente es templada con una retozona sensibilidad en el uso de sus materiales, incursiones en la infancia, sueños, fantasías y las complejidades encontradas al representar concretamente ideas o emociones. El obtuvo su Bachiller en Artes Plásticas en la Universidad Emily Carr, Vancouver especializándose en nuevos medios, y un Masters en Artes Visuales del Art Institute en Chicago. Sus obras han causado aclamación internacional, y han sido incluidas notablemente en Viva Arte Viva, la 57a Bienal de Venezia 2017; Incerteza Viva en la 32a Bienal de Sao Paulo 2016; Quemando la Casa, Décima Bienal de Gwangju 2014, y además en el 2016 fue el artista residente en DAAD, Berlín. Mantiene fuertes lazos con Canadá, mostrando su trabajo en la portada de la revista FUSE en 2013. En 2018-2019 Ramírez-Figueroa presentará tres exhibiciones individuales en Canadá, en la galería Grunt, Vancouver, la galería Audain, Vancouver y Plug In ICA, Winnipeg.
Related Exhibitions:
Przemek PyszczekL Białystok
Naufus Ramírez-Figueroa: Shit-baby and the Crumpled Giraffe

Plug In ICA Hosts: Canadian Art Spring Issue Launch Party
2018-06-09 17:00 - 19:00
On Saturday, June 9th Plug In Institute of Contemporary Art will host a launch party for Canadian Art’s Summer Issue. The issue takes on the act of translation as its primary focus and includes a special cover commission by Caroline Monnet. Join us and the Canadian Art team for a drink from 5-7pm in our galleries. Special subscription rates will be available to attendees, as well as individual copies for sale.
This will also be one of the last days to view our spring exhibitions: Shit-Baby and the Crumpled Giraffe by Naufus Ramierz Figueroa and Białystok by Przemek Pyszczek.
We are delighted to host Canadian Art during Gallery Day Winnipeg and look forward to seeing you Saturday. This event is free and open to the public. Everyone Welcome!
For more information about the Gallery Day Winnipeg events see:
https://www.facebook.com/events/169145097089656/
https://canadianart.ca/programs-and-events/2018/05/17/gallery-day-winnipeg/

Exhibition: DIS, Thumbs That Type and Swipe: The DIS Edutainment Network
2018-06-26 12:00 - 2018-07-29 18:00
Exhibition Dates: June 26 – July 29, 2018
Summer Party & Opening Reception: July 7, 2018
Curatorial text:
“Welcome to DIS! Genre nonconforming edutainment.” This salutation spoken by Chus, an animated mouth-eye, who speaks and blinks at the same time, is our intermittent narrator and host through dis.art, a curated video program and DIS’s new video streaming platform. DIS a collective formed in 2010 has been DISmagazine, DISown and DISimages. They curate, make installations and objects, and operate as a hybrid voice that crosses disciplines. In this multi-fold manner of production that frequently shifts identities, DIS questions the very value of segregating modes of making into specific fields of production or defined viewership.
They are connectivity — existing as popular culture, from fashion to advertising through varied platforms from a shop to a life-style magazine, while channelling a criticality that doesn’t necessitate the specified category of ‘art’. In their words, “critique should occur as a compulsory reaction in the body of the public, rather than as a field of specialised labour.”[i] Chus is both a mouth and an eye, seeing as they speak, observing and transmitting synchronously. Education and entertainment align as a means of critique and a methodology. It is a collision of disciplines that in DIS’s hands is both optimistic and dystopic in its visioning of future nations, reprisals of histories and representation of our present.
In Thumbs That Type and Swipe: The DIS Edutainment Network, DIS present a program of videos from their website dis.art that range between documentary, instructional video and self-help guide. In an episode of Circle Time, artist, designer and editor of Bidoun Magazine, Babak Radboy teaches children about money, asking a small deadpan audience of under 5 year olds, “so what is money”. He continues, “money is a skeleton.” The children respond with little surprise. “It hides inside of everything that you see and holds it up like a puppet. If you see a chair, it looks like a chair, but it is also forty dollars; this room looks like a room but it is $20,000 a month.” He makes a compelling metaphor that moves into definitions of wages and labour. In another video, an interview captures the novelist and entrepreneur, and self-proclaimed Sea-evangelist, Joe Quirk pushing a new seaworthy technology that allows large structures to float, at a conference in Tahiti. Quirk, details a sci-fi story in the making that posits movable sea-pods, which can disassemble and reassemble into segregated formations of politically aligned seafaring civic societies. And artist Casey Jane Ellison hosts a program, Mothers and Daughters, where she comedically, and at times uncomfortably, interviews her mother about their relationship in an attempt to unravel the oppositional perception of this matriarchal relationship as a fabricated legacy.
This video program is set with an installation that at first glance resembles tradeshow booths or world-fair pavilions. The walls painted a deep maroon with a selection of backlit photographs of people, objects and text. Four free standing, gridded and synched monitor’s play the video program of short vignettes in front of a couch made from hay bales. DIS could be selling international audiences on the merits of its nation’s policy and lifestyle, or as a corporation, selling its product with its contrived identity. Nations and corporations promote themselves in similar ways through production — gross national and domestic product growth are market gains, and the people they serve are citizens and customers.
In this iteration of Thumbs That Type and Swipe[ii] at Plug In Institute of Contemporary Art, seven images (from an enlarged and isolated mosquito to a close up of a ‘thumbs up’) are placed in light boxes commonly fabricated for advertising — selling you a pesticide or a national symbol? But of course you are in a gallery within an exhibition and this assemblage of seemingly incongruous images is selected by DIS who use the propaganda of nations and promotional material of markets to chop off heads. A figure stands in a fashionable down vest, hands in pocket, headless in a park amongst the trees, or on the video monitors, media theorist McKenzie Wark lectures about the possibility of a post pornographic state of being and techno gender, with his head in his hands or resting on the floor as his body paces near him. “After the beheading what is left on our shoulders?
DIS’s stylized beheadings seems more about shaking one’s head, remembering the weight of it, and shifting one’s perception than a violent removal. But their agenda also reads as direr, pointed and critical of economic interconnections between commerce and state; the alignment of popular culture with consumers; and controlled flows of information through technology. Their questioning is systemic, asking how do we learn and who controls it? Both questions linked to streams of directed data. Who sees what and why?
List of Works
DIS
Onboarding: Thumbs that Type and Swipe, 2018
7 Lightboxes, 38” x 29”
Additional Text Drew Zeiba; Design Chris James
DIS.ART
Video program, total run time: 55 minutes. A compilation of video shorts featuring in order of appearance: DIS; Will Benedict and Steffen Jørgensen; Ryan Trecartin; Darren Bader; Malte Zander; Amalia Ulman; Ilana Harris-Babou; Maroon World; Ryan Trecartin; Casey Jane Ellison; Christopher Kulendran Thomas in collaboration with Annika Kuhlmann; Kim Laughton; Jacob Hurwitz-Goodman and Daniel Keller; Anastasia Davydova Lewis in collaboration with Eno Swinnen (A program guide is available at Plug In)
[i] Mahammad Salemy, “Dis in Conversation,” 2016. https://ocula.com/magazine/conversations/dis/
[ii] DIS’s exhibition at Plug In ICA is an edited version of its first presentation in Madrid at La Casa Encendida from February 2 to May 13, 2018.

Hannah Black Artist Talk
2018-06-27 18:00 - 19:00
Hannah Black will present an artist talk over video as part of the Speaker series for Thumbs That Type and Swipe: The DIS Edutainment Network (Session I of Plug In ICA’s 2018 Summer Institute).*
Prominent artist, writer and critic, Hannah Black studied English Literature at Cambridge University before completing an MFA in Art Writing at Goldsmiths, University of London. She then participated in Whitney’s Independent Study program. Recently, she has published two books; Life (2017), in collaboration with Juliana Huxtable, and Dark Pool Party (2016). Her work has been screened and shown in exhibitions across Europe and the United States with recent exhibitions at Real Fine Arts, New York; Centre D’Art Contemporain, Geneva; CHisenhale Gallery, London UK; mumok, Vienna; Arcadia Missa, Paris; and New Museum Theatre, New York.

For a full list of the DIS: Session I, Visiting and Video Speakers: https://plugin.org/exhibitions/summer-institute-dis-edutainment-network/

* For Session I of our 2018 Summer Institute Program we are extremely pleased to have DIS collective member, Marco Roso as our lead faculty (June 25-July 7, 2018). Framed by our summer exhibition of the same name, DIS’s seminar Thumbs That Type and Swipe: The DIS Edutainment Network circles around a series of exhibitions organized by DIS and framed by dis.art, a new streaming edutainment platform. Through direct engagement with the artists of dis.art, the session will contemplate a series of linked concerns, including: the nature of belonging in a rootless-seeming, networked world; the changing relationship to the ways one owns, lends or gives time through occupations, bodies, or other forms of value-creation. Some of the topics DIS will cover: Money: what is it?; information consumption; the future of citizenship; reparations; love and humor.

Plug In ICA extends our gratitude to our artists, generous donors, valued members and dedicated volunteers. With special thanks to our Director’s Circle. You make a difference! We gratefully acknowledge the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council. Plug ICA gratefully acknowledges the RBC Foundation and the Johnston Group for their support of our 2018/2019 Summer Institute Program as well as the Cultural Office of the Embassy of Spain as cultural partners in the presentation of Session I of our Summer Institute.
Plug In ICA relies on community support to remain free and accessible to all. Enable us to continue presenting excellent programs! Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/supportor by contacting Angela Forget: angela@plugin.org
For media inquiries please contact: Sarah Nesbitt: sarah@plugin.org or (204)942-1043.

Related exhibit:

DIS, Thumbs That Type and Swipe: The DIS Edutainment Network

Artist talk with Simon Denny
2018-06-29 11:00
Simon Denny will be giving an artist talk via video stream as part of our Speaker Series for Thumbs That Type and Swipe: The DIS Edutainment Network (Session I of Plug In ICA’s 2018 Summer Institute).* Everyone welcome!
For a full list of the DIS: Session I, Visiting and Video Speakers: https://plugin.org/exhibitions/summer-institute-dis-edutainment-network/
* For Session I of our 2018 Summer Institute Program we are extremely pleased to have DIS collective member, Marco Roso as our lead faculty (June 25-July 7, 2018). Framed by our summer exhibition of the same name, DIS’s seminar Thumbs That Type and Swipe: The DIS Edutainment Network circles around a series of exhibitions organized by DIS and framed by dis.art, a new streaming edutainment platform. Through direct engagement with the artists of dis.art, the session will contemplate a series of linked concerns, including: the nature of belonging in a rootless-seeming, networked world; the changing relationship to the ways one owns, lends or gives time through occupations, bodies, or other forms of value-creation. Some of the topics DIS will cover: Money: what is it?; information consumption; the future of citizenship; reparations; love and humor.

Talk by Architect Nerea Calvillo
2018-06-29 18:00 - 19:00
Architect Nerea Calvillo will be giving an artist talk at Plug In ICA as part of our Visiting Speaker Series for Thumbs That Type and Swipe: The DIS Edutainment Network (Session I of Plug In ICA’s 2018 Summer Institute).* Everyone welcome!
Calvillo joins us from New York for this special presentation. For a full list of the DIS: Session I, Visiting and Video Speakers: https://plugin.org/exhibitions/summer-institute-dis-edutainment-network/
* For Session I of our 2018 Summer Institute Program we are extremely pleased to have DIS collective member, Marco Roso as our lead faculty (June 25-July 7, 2018). Framed by our summer exhibition of the same name, DIS’s seminar Thumbs That Type and Swipe: The DIS Edutainment Network circles around a series of exhibitions organized by DIS and framed by dis.art, a new streaming edutainment platform. Through direct engagement with the artists of dis.art, the session will contemplate a series of linked concerns, including: the nature of belonging in a rootless-seeming, networked world; the changing relationship to the ways one owns, lends or gives time through occupations, bodies, or other forms of value-creation. Some of the topics DIS will cover: Money: what is it?; information consumption; the future of citizenship; reparations; love and humor.

Talk with Artist, Writer, and Curator Aria Dean
2018-07-02 18:00 - 19:00
Writer, artist and current Assistant Curator of Rhizome’s net art program, Aria Dean will be giving an artist talk at Plug In ICA as part of our Video Speaker Series for Thumbs That Type and Swipe: The DIS Edutainment Network (Session I of Plug In ICA’s 2018 Summer Institute).* Everyone welcome!
For a full list of the DIS: Session I, Visiting and Video Speakers: https://plugin.org/exhibitions/summer-institute-dis-edutainment-network/
* For Session I of our 2018 Summer Institute Program we are extremely pleased to have DIS collective member, Marco Roso as our lead faculty (June 25-July 7, 2018). Framed by our summer exhibition of the same name, DIS’s seminar Thumbs That Type and Swipe: The DIS Edutainment Network circles around a series of exhibitions organized by DIS and framed by dis.art, a new streaming edutainment platform. Through direct engagement with the artists of dis.art, the session will contemplate a series of linked concerns, including: the nature of belonging in a rootless-seeming, networked world; the changing relationship to the ways one owns, lends or gives time through occupations, bodies, or other forms of value-creation. Some of the topics DIS will cover: Money: what is it?; information consumption; the future of citizenship; reparations; love and humor.

Summer Institute Session II: Site/ation with BUSH gallery
2018-08-07 - 2018-08-24
Plug In ICA Summer Institute Session II:
August 7-24, 2018
BUSH gallery: “Site/ation”
For Session II of our Summer Institute, post-graduate research program, Plug In Institute of Contemporary Art is excited to partner with BUSH gallery. Over three weeks, from August 7-24, Tania Willard, Peter Morin and Gabrielle L’Hirondelle Hill will lead Site/ation, pushing a radical approach to curating and art making, born from active engagements and lived experiences on the land, land marking, contemporary art, the reserve, and the gallery. Using Indigenous methodologies to build a transformational space, that is open to everyone, BUSH seeks to de-centre the gallery, and the city as epicentres of contemporary art.
BUSH gallery Project Statement:
BUSH gallery acknowledges the Indigenous Nations that have ancestral ties to the Treaty 1 Territory and the Métis Nation homeland. As uninvited guests,* we strive to connect what we are doing as Indigenous artists with valuing and circulating within local Indigenous economies and communities, while also creating space for conceptual, experimental and performative land-based Indigenous led contemporary art. By practicing reciprocity and value-based systems of Indigenous knowledges, centred by our specific cultural backgrounds, we make galleries of thought, colour, land, sky, text and interrelationality.
The 2018 summer intensive with Plug In ICA enacts ideas of site/ation. How are we influenced, challenged, changed and politically tied to the lands in our communities and in our orbits. Participants will camp on the land together, read relevant texts, go for walks on the land, dream new relationships, and will research and learn by making and doing.
Using art as strategy to guide resources and value Indigenous led spaces that acknowledge the land as the first gallery, as our gallery as BUSH gallery we will come together to laugh, to make, to eat and to conjure ideas and dreams that will feed the ancestors.
BUSH gallery functions as a space that allows for dialogue, experimental practice and community engaged work that contributes to an understanding of how gallery systems and art might be transfigured, translated and transformed by Indigenous customs, aesthetics, performance and land use systems. BUSH gallery is a trans-conceptual galleryspace. Trans-conceptual repositions ideas born within Indigenous and western epistemological conditions. The trans-conceptual space requires your body to be in a constant state of flux. Never settling like the flow of water in a river. One of the goals of BUSH gallery is to articulate Indigenous creative land practices, which are born out of a lived connection to the land.

* When we use ‘uninvited guest’ it means we acknowledge that due to dispossession of Indigenous lands and territories across Canada we operate outside of protocols that would make the local territory we are visiting within the authority of the traditional Indigenous land rights holder.

Participants for Summer Institute II include:
Lacie Burning, Kevin Lee Burton, Jane Harms, Liz Ikiriko, Audie Murray, Joseph Naytowhow, Dana Qaddah, Christian Vistan, Daina Warren, Bo Yeung. Bio’s available here.

Plug In ICA extends our gratitude to our artists, generous donors, valued members and dedicated volunteers. With special thanks to our Director’s Circle. You make a difference!
We gratefully acknowledge the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council. Plug ICA gratefully acknowledges the RBC Foundation and the Johnston Group for their support of our 2018/2019 Summer Institute Program.
Plug In ICA relies on community support to remain free and accessible to all. Enable us to continue presenting excellent programs! Please consider becoming a member of Plug In ICA and a donor at https://plugin.org/supportor by contacting Angela Forget: angela@plugin.org
For media inquiries please contact: Sarah Nesbitt: sarah@plugin.org or (204)942-1043.
