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Shelley Niro 7 Pm february . march 2006 611 main street winnipeg manitoba canada r3b 1e1 204.949-9490 [email protected] www.mawa.ca mawa international womens day lecturer shelley niro 7 pm . march 8 . cinematheque . 100 arthur st Lecture SHELLEY NIRO is a member of the Six Nations Reserve, an exhibit re-looking at the works of the Group of Mohawk, Turtle Clan. Niro graduated from the Seven; The Journey, a solo exhibition at the CN Ontario College of Art and received her MFA from the Gorman Museum, University of California, Davis; a two University of Western Ontario. Her art practice includes person exhibit, Affinities, with artist Rebecca Belmore, at painting, photography, filmmaking and beadwork. the MacKenzie Art Gallery, Regina, Saskatchewan. Recent exhibitions include a group show at the Niro has just finished producing a 60-minute film, Cambridge Library and Art Gallery titled G7 Revisited, Suite: Indian. register for studio visits Inspired by what is around her, Shelley Niro usually mawa studio visits works form a domestic point of view. The Grand thursday march 9 River is a source for her work, as well as cultural For further information or to register contact MAWA history, personal history. She is stimulated by the at 949-9490 , 2004. Photo courtesy of the artist. energy that surges through her when she focuses urban shaman gallery on these elements. studio visits Ghosts Shelley Niro will visit your studio to discuss your friday march 10 work with you. There is no fee for this program but For further information or to register contact early registration is recommended. Deadline for KC Adams, Program and Outreach Coordinator, Shelley Niro, registration is March 3. Urban Shaman Gallery at 942-2674 susan mulligan 12 noon - february 3 - 611 main st. irst Fridays F beyond The McLaren the Hotel, Main front desk Street, Winnipeg. Photo: the residential Susan Mulligan hotel as home In rooms typically measuring 10 feet by 10 feet, upwards of 1,000 persons live in what are known as single room occupancy (SRO) hotels. An SRO is simply a traditional hotel that has, over the last century, become a form of affordable rental housing, while also retaining base level hotel services. In Winnipeg, the majority of SROs are located in the downtown and, in particular, are clustered along Main Street. Most persons living in these hotels do so on a month-to-month basis and pay an average of $250 for a sparsely furnished room that may contain a bureau, bed, a few chairs and not much else. The bulk of hotels along Main Street were built in the early 1900s, and thus their size and condition reflect a colourful history that mirrors the changes to the rest of the area. Mulligan’s presentation will be approached from three perspectives: the people who live in single room occupancy hotels, the physical characteristics of the hotels and the surrounding community. SUSAN MULLIGAN joined the Institute of Urban Studies research team in 2003. She holds a Bachelor of Arts Degree (Hons.) in Political Studies from the University of Winnipeg and is completing her Master’s of City Planning from the Faculty of Architecture, University of Manitoba. Her research interests include community development, sustainability, margin-alized forms of housing and the conditions of Aboriginal peoples. Mulligan has worked exten- sively on marginalized forms of housing and has delivered findings of her applied research in a number of settings. Bring your lunch, coffee provided! Everyone welcome. Admission is free. inside 1 IWD Lecture 4 workshop 8-9 11 shelley niro mireille perron member’s news director’s message 5-7 9 heads up 12-13 2-3 first fridays announcements susan mulligan foundation 10-11 sigrid dahle mentor program opportunities sigrid dahle 12 noon - march 3 - 611 main st. irst Fridays F applying for exhibitions Participants will discuss the practice of applying for exhibitions, including interpreting the “Call for Submissions,” deciding where to apply, researching gallery deadlines for both regular exhibitions and special projects, and putting together an application that is compelling and clear. SIGRID DAHLE, a graduate of the School of Art at the University of Manitoba, is an itinerant curator and art writer based in Winnipeg. Her 14-year practice meanders across disciplines and draws from sources and methodologies as diverse as fiction, installation art, local histories, museology and (object relations) psychoanalytic theory. In 2004, Dahle was the curator-in-residence at Gallery One One One, School of Art, University of Manitoba, where she developed a four-part exhibition series, The Gothic Unconscious, which (wildly) speculates on the relationship between Winnipeg’s traumatic social history and contemporary Manitoba art. Recently she participated in Informal Architecture, a seven-week residency at the Banff Centre for the Arts. Currently she is developing a multi-component curatorial project entitled slow, which involves the construction of model-sized exhibition boxes, a manifesto on “slow curating” and the contemplation of time wasted. Following the lunch-hour presentation, you are invited to book a 1/2 hour consultation with Sigrid Dahle. Bring exhibition proposals or other material in progress to discuss. Bring your lunch, coffee provided! Everyone welcome. Admission is free. critical engagement workshop mireille perron february 18 and 19 . 2006 . 9 am to 4pm Critical Engagement is a two-day immersion that will provide the conditions for thinking, discussing, writing and thinking some more. Today’s art world needs critically engaged, culturally aware and socially responsible visual artists, designers and art professionals. The aim of this workshop is to support critical engagement by developing practice and skills in critical thinking and creative communication. This workshop will motivate Workshops participants to engage theoretically with their own work and encourage the production of critical discourse both in writing and in presenting visual work. Participants will also investigate their ‘situated’ relationship to the production of know-ledge by analyzing a few contemporary political discourses that form the context for the production and reception of culture. Activities will include interactive workshops, readings, evaluation of presentation and writing models, and critical feedback. Questions that will be addressed include: How do we approach theory as a practical tool? What are the conditions that enable writing about visual arts? What do agonistic democracy, politics of hope or rearticulatory strategies mean? To take full advantage of this intensive two-day workshop, participants will be asked to perform the following tasks: Before the workshop: 1. Send Mireille Perron a short CV and brief description of work. 2. Read: Democracy – Radical and Plural and Interview with Chantal Mouffe at: http://www.wmin.ac.uk/sshl/pdf/CSDB91.pdf Hope, Passion and the New World Order: Mary Zournazi in conversation with Chantal Mouffe and Ernest Lacau http://www.usyd.edu.au/contretemps/2may2001/zournazi.pdf For the workshop: 1. Prepare a 5-10 minute introduction of your work (with visuals, where appropriate). 2. Choose a critical text about contemporary visual arts, preferably Canadian, and be ready to discuss why/how it effectively communicates during an informal round table discussion/workshop. After the workshop: Maintain a relationship of critical engagement with other participants in regard to writing and presenting about visual arts (minimum one year, no maximum). Mireille Perron MIREILLE PERRON lives and works in Calgary, Pranksters, an installation at the crossroads of Laboratory of Alberta, where she has taught at the Alberta College of medical, sensual and personal imagery; Feminists Feminist Pataphysics, Art and Design since 1990. Perron was born and colporteu(r)ses et pataphysiciennes, a feature essay in Emergency Mobile raised in Montreal, where she graduated from the The Culture of Community, ed. Vera Lemecha, MAWA. Unit, Anatomy University of Montréal with an MA in Art History in Recently, her Laboratory of Feminist Pataphysics was 2004-05. Photo courtesy 1988. Since 1982, her installations have appeared in featured in the 2005 Alberta Biennale of Contemporary the artist. solo and group exhibitions in Canada, the United Art, curated by Catherine Crownston and Anthony States, France, the United Kingdom and Italy. Kiendl, Edmonton Art Gallery and Walter Philips Gallery, Perron’s work explores the construction and Banff Centre. transmission of knowledge through visual repre- sentation and is informed by other fields of knowledge, including feminism, cultural studies, art histories, Registration Deadline: February 11, 2006 criticism, theory, science, medicine and communications Fee: members $70, non-members $100 studies. She has written more than 40 essays and (includes membership) reviews in various anthologies, magazines and Bring your own lunch or have us bring your lunch exhibition catalogues, and two artist books. Examples for an extra $10. For more information contact of her work include: Anecdotal Waters of the Drifting the MAWA office at 949-9490 or [email protected] 4 Nomad, an artist book co-authored with Paul Woodrow; Les Belles Ratoureuses/The Beautiful september 1 . 2006 to august 31 . 2007 The Foundation Mentorship Program is a year-long (audio, video, cd, etc.) program in which senior artists share their experience • Current curriculum vitae with women who are in the early stages of developing their • A paragraph on why you are applying to the program art practices. This non-hierarchical program is designed to and what you hope to achieve during the year help female visual artists develop skills and define their • You are encouraged to include a description of what decision-making philosophies, and to provide access to you would like to work on during the 2006-07 year the information, resources and support they need to realize • Self-addressed, stamped envelope must be included their goals. In addition to a relationship with mentors, the Drop off or mail your submissions to Stacey Abramson, program aims to provide a peer group for the mentees, from 611 Main Street, R3B 1E1.
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