BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Plug In ICA - ECPv6.0.11//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://plugin.org
X-WR-CALDESC:Events for Plug In ICA
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:UTC
BEGIN:STANDARD
TZOFFSETFROM:+0000
TZOFFSETTO:+0000
TZNAME:UTC
DTSTART:20180101T000000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180126
DTEND;VALUE=DATE:20180319
DTSTAMP:20260522T004759
CREATED:20180202T123642Z
LAST-MODIFIED:20180202T123643Z
UID:1682-1516924800-1521417599@plugin.org
SUMMARY:Skeena Reece: Sweetgrass and Honey
DESCRIPTION: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. \nSweetgrass 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. \nReece 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. \nThe 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. \nThe 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. \nThis 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. \nThis 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. \nReece’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. \nCurated by Jenifer Papararo \nSkeena 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.
URL:https://plugin.org/event/skeena-reece-sweetgrass-and-honey/
LOCATION:Manitoba
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180302T190000
DTEND;TZID=UTC:20180302T210000
DTSTAMP:20260522T004759
CREATED:20180319T232906Z
LAST-MODIFIED:20180319T232906Z
UID:4610-1520017200-1520024400@plugin.org
SUMMARY:Plug In Institute of Contemporary Art and Publication Studio Vancouver launch Yesterday Was Once Tomorrow\, Edited by Kegan McFadden
DESCRIPTION:Plug In Institute of Contemporary Art and Publication Studio Vancouver launch Yesterday Was Once Tomorrow\, Edited by Kegan McFadden\nMarch 2\, 2018 – 7pm\n\nPlug In ICA and Publication Studio Vancouver present: \nYesterday was Once Tomorrow (or\, A Brick is a Tool): \nMagazines by artists in Canada during the 1990s   \nEdited 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 \nVancouver Launch: Friday March 2\, 2018 | 7pm \nSelectors’ Records/ Publication Studio Vancouver\n8 E Pender St\, Vancouver BC  \n~talk ~ slide show ~ 90s music ~ turntables ~ \n\nOn 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. \nDrawing 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. \nIncluded\, 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. \nFor 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. \n\nSoftback\n200 pages\n1 Color poster insert\n16.3 cm x 22.9cm\nISBN: 978-1-927385-48-7\n$40 \n\nDISTRIBUTION \nPlug In Institute of Contemporary Art\nUnit 1–460 Portage Avenue\, Winnipeg\, MB\, Canada R3C 0E8 • plugin.org •info@plugin.org  • 1.204.942.1043 \nhttps://shop.plugin.org/products/yesterday-was-once-tomorrow-or-a-brick-is-a-tool-magazines-by-artists-in-canada-during-the-1990s \nPublication Studio Vancouver\n8 E Pender St\, Vancouver BC Canada V6A 1T1 • bookmachine.ca or publicationstudio.biz • psvancouver@publicationstudio.biz • 1.604.836.0865 \n\nPlug In ICA extends our gratitude to our generous donors\, valued members and dedicated volunteers. With special thanks to our Director’s Circle. \nWe 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. \nPlug 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
URL:https://plugin.org/event/plug-in-institute-of-contemporary-art-and-publication-studio-vancouver-launch-yesterday-was-once-tomorrow-edited-by-kegan-mcfadden/
LOCATION:Manitoba
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180303T150000
DTEND;TZID=UTC:20180303T160000
DTSTAMP:20260522T004759
CREATED:20180319T232457Z
LAST-MODIFIED:20180319T232457Z
UID:4604-1520089200-1520092800@plugin.org
SUMMARY:Skeena Reece: Sweetgrass and Honey | Visite guidée en français avec Janelle Tougas
DESCRIPTION:Skeena Reece: Sweetgrass and Honey | Visite guidée en français avec Janelle Tougas\nMarch 3\, 2018 – 3pm\n\nPlug In Institute of Contemporary Art présente :\nUne visite guidée de notre exposition d’hiver\, Skeena Reece: Sweetgrass and Honey avec Janelle Tougas \nLe 3 mars 2018 à 15h. \nSkeena 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. \n– Commissaire de l’exposition : Jenifer Papararo \nBIO : \nSkeena 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. \nPlug 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. \nRelated exhibit:  \nSkeena Reece: Sweetgrass and Honey
URL:https://plugin.org/event/skeena-reece-sweetgrass-and-honey-visite-guidee-en-francais-avec-janelle-tougas/
LOCATION:Manitoba
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180308T190000
DTEND;TZID=UTC:20180308T200000
DTSTAMP:20260522T004759
CREATED:20180319T232620Z
LAST-MODIFIED:20180319T232620Z
UID:4606-1520535600-1520539200@plugin.org
SUMMARY:Respondent Series Talk: Cora Morgan\, First Nations Family Advocate on the Current State of Child Welfare in Manitoba
DESCRIPTION:Respondent Series Talk: Cora Morgan\, First Nations Family Advocate on the Current State of Child Welfare in Manitoba\nMarch 8\, 2018 – 7pm\n\nProgrammed 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. \nIn 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. \nWith 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. \n\nCora 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. \nProfessionally\, 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. \n\nAll public programming is free and open to the public. Everyone welcome! \nThis talk is programmed in conjunction with Skeena Reece: Sweetgrass and Honey  | January 19 – March 18\, 2018. \nUpcoming Programs: \nThursday\, March 15 | 7pm\nRespondent Series Workshop with Artist Ray Fenwick: “Experimental Conversation & Semi-accidental Performance” To register please contactsarah@plugin.org \n\nPart 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. \nReece 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. \nFor 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. \n\nPlug In ICA extends our gratitude to our artists\, generous donors\, valued members and dedicated volunteers. With special thanks to our Director’s Circle. \nWe 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. \nPlug 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 \nFor media inquiries please contact: Sarah Nesbitt at sarah@plugin.org or by telephone at (204) 942-1043. \nRelated exhibit:  \nSkeena Reece: Sweetgrass and Honey
URL:https://plugin.org/event/respondent-series-talk-cora-morgan-first-nations-family-advocate-on-the-current-state-of-child-welfare-in-manitoba/
LOCATION:Manitoba
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180310
DTEND;VALUE=DATE:20180311
DTSTAMP:20260522T004759
CREATED:20180319T231722Z
LAST-MODIFIED:20180319T231722Z
UID:4592-1520640000-1520726399@plugin.org
SUMMARY:International Call for Applications: Summer Institute Session I • DIS: “Thumbs that Type and Swipe: The DIS Edutainment Network”
DESCRIPTION:International Call for Applications: Summer Institute Session I • DIS: “Thumbs that Type and Swipe: The DIS Edutainment Network”\n\n\nMarch 5\, 2018 – 6pm\n\n\n\n\nPlug In Institute of Contemporary Art is honoured to announce two exciting opportunities for our 2018 Summer Institute post-graduate research program. \nSession 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 \nSession 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 \nBoth 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. \n\nPlug In ICA Summer Institute Session I:\nJune 25- July 6\, 2018\nDIS: “Thumbs that Type and Swipe: The DIS Edutainment Network” \nA 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 \nFor 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. \nThe 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. \nParticipants 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. \nDIS 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. \nToday 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. \nDIS 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. \n\nTo apply\, please download our application form (attatched). For more information contact Sarah Nesbitt: sarah@plugin.org \nApplications 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). \nPlease 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.
URL:https://plugin.org/event/international-call-for-applications-summer-institute-session-i-%e2%80%a2-dis-thumbs-that-type-and-swipe-the-dis-edutainment-network/
LOCATION:Manitoba
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180310T100000
DTEND;TZID=UTC:20180310T180000
DTSTAMP:20260522T004759
CREATED:20180319T231821Z
LAST-MODIFIED:20180319T233458Z
UID:4594-1520676000-1520704800@plugin.org
SUMMARY:International Call for Applications: Summer Institute Session II • BUSH gallery “Site/ation”
DESCRIPTION:International Call for Applications: Summer Institute Session II • BUSH gallery “Site/ation”\n\n\n\n\n\nMarch 10\, 2018\n\n\n\n\nPlug In Institute of Contemporary Art is honoured to announce two exciting opportunities for our 2018 Summer Institute post-graduate research program. \nSession 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 \nSession 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 \nBoth 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. \n\nPlug In ICA Summer Institute Session II:\nAugust 6-24\, 2018\nBUSH gallery:  “Site/ation” \nFor 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. \nBUSH gallery Project Statement: \nBUSH 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. \nThe 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. \nUsing 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. \nArtists\, 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. \nBUSH 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. \n\n\n\n* 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. \n\nTo apply\, please download our application form (attatched). For more information contact Sarah Nesbitt: sarah@plugin.org \nApplications 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). \nPlease 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. \n\nPlug In ICA extends our heartfelt gratitude to our generous donors\, valued members\, and dedicated volunteers. You make a difference. \nWe sincerely thank the RBC Foundation for the direct support of our Summer Institutes. \nWe 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. \nPlug 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 \n\n\nFile Download \n\n\n\nBUSH application form
URL:https://plugin.org/event/4594/
LOCATION:Manitoba
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180315T190000
DTEND;TZID=UTC:20180315T210000
DTSTAMP:20260522T004759
CREATED:20180319T232725Z
LAST-MODIFIED:20180319T232725Z
UID:4608-1521140400-1521147600@plugin.org
SUMMARY:EXPERIMENTAL CONVERSATION AND SEMI-ACCIDENTAL PERFORMANCE | A Respondent Series Workshop by Ray Fenwick
DESCRIPTION:EXPERIMENTAL CONVERSATION AND SEMI-ACCIDENTAL PERFORMANCE | A Respondent Series Workshop by Ray Fenwick\nThursday\, March 15\, 2018 – 7pm\n\nEvery 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.\n~ Ray Fenwick \n\nSimple\, 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. \nProgrammed 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’. \nAs 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. \nOther “goals” of the workshop: \n– Not just break the ice but\, through a form of alchemy\, turn the ice into a very pleasing slime \n– Find new and strange ways to speak to each other\, with each other\, or out loud \n– Make each other laugh \n– Make yourself feel weird \n– Fail miserably and awkwardly a few times \n– Have a few drinks maybe\, if that’s your thing \n\nSpaces are limited. RSVP REQUIRED – email Sarah Nesbitt @ sarah@plugin.orgwith “RSVP” in the title line. \n\nRay 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. \n\nPlug In ICA extends our heartfelt gratitude to our generous donors\, valued members\, and dedicated volunteers. You make a difference. \nWe 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. \nPlug 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 \n  \nRelated exhibit:  \nSkeena Reece: Sweetgrass and Honey
URL:https://plugin.org/event/experimental-conversation-and-semi-accidental-performance-a-respondent-series-workshop-by-ray-fenwick/
LOCATION:Manitoba
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180329T120000
DTEND;TZID=UTC:20180610T180000
DTSTAMP:20260522T004759
CREATED:20180319T233025Z
LAST-MODIFIED:20180319T233025Z
UID:4612-1522324800-1528653600@plugin.org
SUMMARY:Przemek Pyszczek: Białystok
DESCRIPTION:Przemek Pyszczek: Białystok\nMarch 29\, 2018 to June 10\, 2018\n\nPowder-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. \nPyszczek’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. \nThe 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. \nPrzemek 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.
URL:https://plugin.org/event/przemek-pyszczek-bialystok/
LOCATION:Manitoba
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180329T120000
DTEND;TZID=UTC:20180610T180000
DTSTAMP:20260522T004759
CREATED:20180319T233121Z
LAST-MODIFIED:20180319T233121Z
UID:4614-1522324800-1528653600@plugin.org
SUMMARY:Naufus Ramírez-Figueroa: Shit-Baby and The Crumpled Giraffe
DESCRIPTION:Naufus Ramírez-Figueroa: Shit-Baby and The Crumpled Giraffe\n\n\nMarch 29\, 2018 to June 10\, 2018\n\n\n\n\nShit-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. \nExploiting 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. \nNafus 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.
URL:https://plugin.org/event/naufus-ramirez-figueroa-shit-baby-and-the-crumpled-giraffe/
LOCATION:Manitoba
END:VEVENT
END:VCALENDAR