Originally from Winnipeg, Erica Eyres lives and works in Glasgow, Scotland. She holds an MFA from Glasgow School of Art. Through videos, drawings and sculptures, she explores narrative fallacies that complicate the viewer’s understanding of the author’s subjective truth, and problematizes the notion of the autobiographical. Frequently borrowing from the aesthetics of low-budget television, her videos centre around personal narratives and her own performance in her videos is revealed through a disembodied voice or pair of hands. This detached approach to performance is reflected in her recent series Conference Drawings (2016) and Life Drawings (2016).
Congratulations to LKAP artist Derek Dunlop who is participating in the International Studio and Curatorial Program's Spring Open Studios exhibition in New York this week.
Dunlop joins 37 other artists, artist collectives and curators from 22 countries currently in residence for the ISCP's twice-annual Open Studios exhibition, which invites the public to view current artwork and share conversations with the artists and curators currently in residence. This is a two-day exhibition located at the ISCP's post-industrial loft in Bushwick. Additionally, this year the ISCP has invited the Centre for Contemporary Art Lagos (CCA), a non-profit based in Nigeria, as the 2017 institution-in-residence. As well, the group exhibition Gazelle Lost In Watts will be presented in the ISCP's Project Space
The opening reception is this Friday April 21. Open Studios exhibtion hours are Saturday April 22 1-8pm. The ISCP is located at 1040 Metropolitan Ave, Brooklyn New York
While LKAP attends Papier Montreal 2017, the gallery will be close Wednesday April 19th through Friday April 21st.
The gallery will be open Saturday April 22nd for the final day of This Must Be The Place (Home Pt 2).
We apologize for the inconvenience but the gallery will be closed today. We will reopen Wednesday at 12. The gallery will also be open by appointment only from April 20-22 while we are at Papier. Thank you.
Back in October, 2016, we were interviewed about the Daniel Johnston exhibition at the gallery and how to make a commercial gallery viable in a smaller market without compromising creative integrity. One excerpt here, but visit their website to read the full article by Caoimhe Morgan-Feir.
"...these tendencies aren’t deterring gallerists in cities across the country from putting on relatively niche shows. Take Winnipeg gallery Lisa Kehler Art and Projects’s recent presentation of work by cult musician and artist Daniel Johnston, whose drawings, created with marker, reference popular culture and dwell on his recurring theme of unrequited love.
“I was looking to bring Johnston’s work into Winnipeg and into the gallery, without really even knowing if there was a market for it. But it’s something that I’m so passionate about, that when I focus on the education aspect of the show, it’s almost creating a market for it,” said Kehler at the time."
"Aganetha Dyck has spent 20 years working with honeybees, placing found objects into their hives which will then become naturally coated in patches and layers of honeycomb. This transforms the look and feel of the objects into something new and strange. “Most of it is all their own decision, but she sometimes gives them hints about where she wants them to build using pheromones,” adds Falvey.
Interestingly and tragically, Dyck recently developed a “life-threatening allergy to bee stings.” She has not given up, enlisting the help of photographer William Eakin to replace her in the physical act of putting objects in the hives. Eakin then further adds to the collaboration by photographing the objects. It’s curious to consider that if anything were to happen to bees in this uncertain time for them, they will leave an artistic legacy behind."
Jeanette Johns The Weight Of The Earth's Curve at Arprim, Montreal.
Jeanette Johns The Weight Of The Earth's Curve at Arprim, Montreal. January 20th to February 25.
Winnipeg-born, Montreal based artist Jeannette Johns presents a series of new works on paper that explore historical representations of the Earth's sphericity. In various fields of knowledge - philosophy, topology, geography, astronomy - the three-dimensionality of the Earth is collapsed and distorted into two-dimensional representations of scale, dimension and distance. However our lived experience is necessarily tied to the Earth's volume, gravity and movements through three-dimensional space. Johns's works consider the complicated relations of optics, scale, abstraction in our desire to map truth.
Suzie Smith at Centennial Hall, Winnipeg.
Suzie Smith at Centennial Hall as part of a collaboration between Plug In ICA and the Winnipeg New Music Festival. January 20 to February 28.
Winnipeg artist Suzie Smith show new site-specific print works as part of a collaboration between Plug In ICA and The Winnipeg New Music Festival. Through repetition and intentional distortion of the five lined musical staff, Smith's work responds to the ephemerality of experiencing music. The series will be installed on the Piano Nobile Wall of the Centennial Concert Hall (555 Main St. Winnipeg)
Robert Taite at EAGM, Saskatchewan
Robert Taite in Plastic Rhymes at EAGM, Estevan Saskatchewan, January 20 to February 24.
Winnipeg artist Robert Taite shows new work in the group show Plastic Rhymes at the Estevan Art Gallery and Museum, Estevan Saskatchewan. Plastic Rhymes considers Picasso's assertion that painting produces geometrical rhymes in form, colour and space. Extending Picasso's observation beyond the surface of the canvas through the use of various non-traditional media, alternative frames, and by occupying unconventional gallery space, Taite's work critically re-evaluates the language and assumptions of painting.
We are delighted to announce that we will be taking part in Art Los Angeles Contemporary (ALAC) from January 26 - 29, 2017. One of only three Canadian galleries accepted to the fair, we will be exhibiting the work of Winnipeg-born, LA-based artist Jon Pylypchuk, Winnipeg-born, Boston-based artist Guy Maddin, and Winnipeg-based artist Robert Taite.
The fair opens to the public on January 26 at 7 pm. Tickets are available here. If you plan to be in the LA area, please let us know!
Come for a private viewing of Winnipeg-based artist, Suzie Smith's new solo exhibition while tasting incredible cheeses carefully selected by the Cheesemongers, and deftly paired with classic cocktails created by Josey Krahn from the Forth Bar.
Tickets are limited, and are available here.
LISA KEHLER ART + PROJECTS
Booth V06 (VERGE)
October 28 - 31, 2016
VIP Opening: October 27 (Tickets)
We are proud to present the work of Erica Eyres, Krisjanis Kaktins-Gorsline, Guy Maddin, Jon Pylypchuk, and Robert Taite - a diversity in medium including collage, sculpture, drawing, painting, and textiles. We will also have a limited selection of works by Aganetha Dyck, and Kristin Nelson.
We are also honoured to have been chosen to present a special project featuring The Long Weekend, the collective of Winnipeg artists and filmmakers including Paul Butler, Galen Johnson, Julia Anne Leach, Guy Maddin, and Caelum Vatnsdal, with special guests Jonah Corne, Simon Hughes, and Alicia Smith. A series of 6 fantastical, faux movie posters mounted in light boxes will be on display in the cafe. Each work is available for purchase. We look forward to seeing you there.
Preview the works online now at Artsy.
REMINDER: THE GALLERY WILL BE CLOSED FROM WEDNESDAY, OCTOBER 26 UNTIL NOVEMBER 1. WE WILL REOPEN NOVEMBER 2 AND RESUME REGULAR HOURS.
Opening night images from Message to Man International Film Festival, St Petersburg, Russia. Curated by Sasha Ahmadshina
Winnipeg artist Robert Taite presents Acrow Pillow Prop, a collection of architectural paintings that explore the poetics of space. Using the gallery wall as a blank canvas for experimentation and play, Taite uses found fabrics as substitutes for mark-making. Paint mis-tints and structural forms create repetition in pattern and formation, striving towards a serendipitous abstraction through assemblage. Taite, a finalist in the 2014 and 2015 RBC Canadian Painting Competitions, has exhibited throughout Canada, most recently at the gallery AKA Artist Run in Saskatoon, SK.
Guy Maddin at Carpenter Centre for Visual Arts in Boston, MA
Guy Maddin at Message to Man International Film Festival in St. Petersburg, Russia. September 23 - 30
Over a period of 5 days, Maddin will screen 7 films, as well as present an exhbiiton of collages at the Freud Museum of Dreams.
Kristin Nelson in Fibreworks 16 at Idea Works, Cambridge, ON
Fibreworks, now in its 16th edition, is a biennial juried exhibition of contemporary Canadian fibre art. It is a showcase of the most current and versatile approaches to fibre as a medium. This exhibition is one of the largest group shows in Canada and serves as a survey of the artists currently working in the medium. All works selected for the exhibition are eligible for the Juror’s award and may be purchased by Idea Exchange as part of its permanent collection dedicated exclusively to Canadian fibre art.
Fibreworks 2016 is juried by Sarah Quinton, Artist/Curatorial Director, Textile Museum of Canada (Toronto, ON) and Jaime Angelopoulos, Artist (Toronto, ON). This year, the jury received submissions from 194 artists from across Canada, after a thorough selection process 15 artists were selected for exhibition.
Kristin Nelson in Superimposition: Sculpture and Image | Nadia Belerique, Valérie Blass, Ursula Johnson, Kelly Lycan, Ursula Mayer, Kristin Nelson, Dominique Rey and Andrea Roberts: at Plug In ICA, Winnipeg, MB, October 1, 2016 to January 1, 2017
Curated by Jenifer Papararo
Nadia Belerique, Valérie Blass, Ursula Johnson, Kelly Lycan, Ursula Maåyer, Kristin Nelson, Dominique Rey and Andrea Roberts are connected in Superimposition: Sculpture and Image as artists who contend with the spatial terms of sculpture while also contemplating the flat surface of images. “Superimposition” is often used as a technical term in graphics to refer to the layering of photographic images or patterns. It can be as simple as placing a pattern over a shape to give it texture or more complexly creating an illusory effect by joining two photographic images seamlessly as if they were taken simultaneously. The commonality of this effect is exponential. The more acute outcome is that in superimposing one thing over another there is always a concealing of portions of one image or graphic for another that determines its transformative action. It is this characteristic that is overlaid on to the work in this exhibition not as a technique but as a method of approach.
Scott Benesiinaabaandan |Screens and Thresholds at Presentation House Gallery, Vancouver, BC. Group show curated by Raymond Boisjoly : October 7, 2016.
Screens and Thresholds considers the possibilities and anxieties of visualising cultural knowledge, and highlights the potential for transformation.
Derek Dunlop residency at Malaspina Printmakers, Vancouver, BC September 27 - November 3, 2016
During this residency, Dunlop will be exploring two distinct projects that build off the lithography work that he recently produced in Montreal: mono-printing using fingers as tools for mark-making; and, exploring dry-point using mylar or plexiglass as the matrix for drawing into and inking.
Additionally, he will undertake research around abstraction as a way of thinking about subjectivity, taking inspiration from Karen Barad’s ideas about touch, Sarah Ahmed’s ideas about queer phenomenology, and new theories around embodied knowledge.
The gallery will be open by appointment only this summer. You can reach us by email (info@LKAP.ca), or by phone at (204)510-0088.
We will reopen September 2 with Neil Farber's solo exhibition, 9 Paintings. This exhibition marks the first Canadian solo for the artist in over a decade. This exhibition will be followed by a solo show of beloved outsider artist, Daniel Johnston- the inaugural solo exhibition of Johnston's work in Canada. Thank you for the support through our first year. We look forward to seeing you this fall!
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"However clichéd the sentiment, Asher’s photographs give the compelling impression of a raw moment not intended for the camera. It’s why the style remains a fixture of many independent and counter-culture publications, as well as a staple of social media. It’s immediately seductive, endowing celebrities with rebellious scrappiness and rendering them accessibly quotidian. Conversely, and perhaps more importantly, it endows our own photographs with a glamorous sheen."
To read full interview, click here.
PUBLIC INSTALLATION at TIFF BELL LIGHTBOX
The Long Weekend: Paul Butler, Galen Johnson, Julia Anne Leach, Guy Maddin, Caelum Vatnsdal, with special guests Jonah Corne, Simon Hughes, Alicia Smith
April 27–May 31
The Long Weekend is a collective of Winnipeg artists, filmmakers,and designers who, working under the aegis of Paul Butler’s enduring Collage Party practice, have produced movie posters that imagine an alternate history of cinema. The Collage Party, started by Butler in 1998, is an experimental studio where artists are invited to work alongside each other in a social setting, often for days on end. The posters that comprise Coming Attractions depict a fanciful Hollywood realm, one presided over by movie moguls who never quite finalized their plans for global domination, never quite mastered their formulas for churning out blockbusters, never once dreamed of rewiring and homogenizing the public’s perception of itself.
Covering the street-level windows of TIFF Bell Lightbox—the epicentre of the Toronto International Film Festival—Coming Attractions creates the appearance of a welter of one-sheets plastered in the style of advertisements found on construction site hoarding. The montage of posters creates a direct confrontation between The Long Weekend’s specifically contrived film world and the corporate hegemonies of the real film world. These movie-industry détournements, fashioned from advertisements and illustrations cut and recontexualized from old books and magazines, were created in the convivial freedom of near-utopian Collage Party environments. But The Long Weekend has no utopian vision, no illusions about their political impact, no nostalgia for avant-garde movements of the past. The simple act of artmaking in the present is its way of engaging with questions that preoccupy its members, both individually and collectively.
Presented in partnership with TIFF
Curated by Bonnie Rubenstein
FEATURED EXHIBITION at DRAKE HOTEL
April 27–June 22
May 12, 6pm–8p
Filmmaking, like a lot of lens-based artwork, is frequently driven by new developments in the medium, where aesthetics evolve in step with new technologies. Guy Maddin challenges that notion, bringing the viewer back to a time when images were processed by hand with results that often included unpredictable effects. His celebrated films recurrently evoke dreamscapes from the past while addressing contemporary issues of identity and memory. The artist brings a similar approach to his collage practice, and it is this work that grounds his solo exhibition. Maddin brings a narrative approach to these works, and has written of his collage process: “I suppose the playroom of this gluey and scissory medium is where I find refuge whenever cinema’s laws feel too literal-minded, where I can secretly fashion the blueprints for the little visual collisions I hope will work on the big screen.”
Curated in partnership with TIFF, this exhibition brings together original work and mural-sized reproductions that invite the viewer to revel in the subtle details and layered imagery of Maddin’s vision. An installation of his 11-channel film Hauntings, commissioned on the occasion of the opening of TIFF Bell Lightbox in 2010, rounds out the exhibition.
Curated by Laurel MacMillan and Mia Nielsen
Winnipeg photographer makes confident, challenging return from illness
By: Steven Leyden Cochrane
Where do I even start with Karen Asher?
I met her a decade ago but you’ve known her forever after 10 minutes of conversation. She’s a compulsive over-sharer and an irrepressible gossip, a misplaced scene queen in a classic, anachronistic vein, a Jewish girl from the Maples reared on late-night cable access and candy from the 24-hour Shoppers. She loves people but it’s a love entwined with curiosity: she’s not above causing a scene just to see how it plays out.
If I’m getting personal up front it’s because I think that’s what Karen would do, and because destabilizing candor, like a general air of calamity, is a hallmark of the work she makes. Asher is a character, and she’s one of the city’s most distinctive photographers and artists.
Shot on medium-format film in revealing but not altogether flattering light, her photographs capture moments of surreal, unintelligible intimacy. Staged but not pre-meditated, the scenes she directs and documents can be viscerally awkward, though the final compositions seem effortless. Behind the camera, Asher is uncannily perceptive, quick to react to developing situations. Her images are provocative, weird and essentially humane.
The Full Catastrophe (opened April 15 at Aceartinc.) is Asher’s first new body of work and first solo show in Winnipeg since 2010. Five years ago, just as her work was coming to national attention, overlapping and hard-to-pin-down health problems forced her from her practice as she learned to cope with unfamiliar limitations. The show has the hard-won urgency of a real comeback, with Asher exploring new subjects and artistic strategies, all while refining her focus and retaining her inimitable character.
The new work began in earnest two years ago, with illness serving starting point both personally and conceptually. Insightful, abstract, and absurd in equal measure, Catastrophe considers breakdowns of the body’s normal function as they’re felt across all aspects of life, finding parallels in blurred social boundaries and moments of visual ambiguity. The point is of finding in chaos, if not "meaning" or even the illusion of order, something worth celebrating or at least looking at again.
Though she’s never been "conventional," Asher has moved away from conventions of portraiture that informed her earlier work. In the new multi-figure compositions ("collisions" might be the better word), the identities of her subjects are often obscured and not necessarily relevant. It’s not even clear how many people are in the frame sometimes, making the images hard to describe and leading to more than one alarming double-take. Who these people are, what they’re doing together, and how they relate are questions left open by design.
Asher arranges her subjects like sculpture, architecture or rickety Rube Goldberg machines. Bodies collide, fuse and break apart. Partly undressed women fumble into one another like drunken caryatids, a tottering colonnade that rounds a corner into a sequence like a hazily pieced together memory of a makeout party on the couch, one which looks different on closer inspection. As we read, re-read, and misread each new situation, the tone shifts from amorous to awkward to aggressive to tender to inscrutable and back.
If unpredictability is a requirement when Asher is shooting, no decision after the shutter clicks goes unconsidered. The 27 prints were painstakingly selected from a larger group and carefully arranged in the gallery to both suggest and disrupt narrative sequence, direct the viewer’s movement through the space and highlight visual echoes and startling juxtapositions. This focus on installation is a new development, one that underscores Asher’s skill, sensitivity, and precise artistic vision.
After five years on the sidelines, Asher is at the height of her oddball powers and the top of her game. Saturday’s artist talk won’t be one to miss.
Originally published in the Winnipeg Free Press on Thursday, April 21, 2016.