Hosted by the fabulous Trevor and Ify!
“What’s your big reveal?
On the very first Now or Never live show, recorded at the Winnipeg Comedy Festival, hear storytellers muster up the courage to reveal something on stage for the very first time — from confessing to a theft to making a drag queen debut. Plus, live music from Begonia!”
Trevor Dineen: “in addition to co-hosting Now or Never, Trevor makes rush hour fun as the traffic reporter on Information Radio 89.3FM/990AM, CBC Manitoba’s flagship #1 morning show. And when he’s not guiding drivers through stalls and collisions, he’s bringing the laughs on Twitter and settling into a fun new chapter in life as Dad to baby Jack. Prior to joining CBC, Trevor worked at CityTV Winnipeg and hosted a style/fashion web series (obviously given his – self-described – glorious hair).”
“This Nigerian-born, former Calgarian quit a job in the energy sector to pursue her creativity. In doing so, Ify Chiwetelu charted her own path to form a career as a stand-up comic, improv performer, and comedy writer. She has written articles for CBC Comedy and is a contributing writer for the upcoming Season 2 of CBC’s hit television show Baroness Von Sketch Show.”
“As part of our very first live episode, Now or Never put out a challenge to our listeners: what is something you need to reveal right now? That’s how we discovered Kevin Tan, a young Winnipegger who has struggled with bullying and drug addiction but is ready for his big reveal — the debut of his drag alter-ego, SlayTana. ”
Sunday, March 12, 2017 Doors/Show: 7:30/8:00pm
Winnipeg Art Gallery 300 Memorial Blvd.
A piano, alone.
“Everett Hopfner plays pieces that are personal testaments by living composers. These new works by Manitoban composers Heidi Ouellette, Luke Nickel, Diana McIntosh and Kristen Wachniak explore the acoustic manifestation of memories: physical items handed down generations, smoky jazz from a favourite novel, a wild climb…
Finally, Hopfner plays Hallstudie by Jörg Widmann, during which the piano becomes an extension of the player’s body. Every angle of the piano is considered, every surface struck, every string plucked, hammered, brushed and beaten… this is a tour-de-force.” From ClusterFestival.com
Consistent Partial Attention
Friday, March 10, 2017
Rachel Browne Theatre
211 Bannatyne Ave.
Two powerful examinations of contemporary culture:
“In Training is the Opposite, a singer performs a virtuosic boxing routine on stage, accompanied by a string quartet (Quatuor Bozzini). This short opera by Irish composer Jennifer Walshe features mezzo-soprano Laura Bowler, who was trained and choreographed specially for the role by Cathy “The Bitch” Brown, the former number three World Boxing Champion.
CPA (Consistent Partial Attention) is Freya Björg Olafson’s newest ensemble dance piece. It is a paradoxical meditation on what it means to be present in our contemporary screen-obsessed existence, featuring performers guided by found footage videos of dancers dancing in their homes.” from clusterfestival.com
(your name here)
Music composed by: Jennifer Walshe
Voice and Violin by: Laura Jayne Bowler
CPA [Consistent Partial Attention]
“Developed through digital collage the CPA [Consistent Partial Attention] performance is guided by a video score of pre-existing / found Internet footage of individuals improvising in their homes. The performers sight read the choreographic score by referencing diverse sources and monitors. While the performers have familiarity with the digital dances, they can never fully know their ‘choreography’. Thereby CPA sustains as an exercise in ‘nowness’; the performers engage as interfaces in act of realtime translation of data / movement vocabulary from the video score. Through the rich confluence of sources we experience dance as a vernacular, learned language, permeating and crossing communities, provoking consideration upon the evolution of dance in the age of the internet.” from http://www.freyaolafson.com
Concept/Direction/Video Score: Freya Björg Olafson
Performed with Lise McMillan & Philippe Larouche
Technical Coordination: James Jansen
Costume Design: Wanda Farian
Adapted by Severn Thompson from the book by Douglas Glover
February 23, 2017 – March 12, 2017
Preview – February 22, 2017
An epic tale of survival from Canada’s distant past.
Based on a true story and adapted from the Governor General’s Award-winning novel, Elle chronicles the ordeals and adventures of a young French woman deliberately marooned on a desolate island off the coast of Newfoundland in 1542. Sometimes harrowing and often funny, Elle brilliantly reinvents the beginnings of this country’s narrative through bears (both real and spirit) and the embracing of one’s environment.
Running Time: 90 minutes, no intermission
A Theatre Passe Muraille production
Theatre Passe Muraille gratefully acknowledges the generous support of
TD Bank Group as National Tour Sponsor of ELLE.
“Severn Thompson…is absolutely captivating. (She) holds the audience’s attention in a vice grip with her precision, depth and hilarity. Her script is beautifully poetic, and she is a master of its delivery. Through her words and conviction, she creates a landscape and characters that were as vivid and clear as if they had been on stage with her.” – Mooney on Theatre
Bob Says: “This is a story unlike any I’ve ever seen, with an unusual narrative style illuminating a period in our country’s history that you don’t usually see onstage. This story, woven about a young woman on a barren island — the hardships she endures through the bleakness of winter and the positive relationship she establishes with the Indigenous man who teaches her to become part of the land– is perfect for the sesquicentennial of our country. Severn has done a beautiful job of adapting the Douglas Glover novel, and gives a deep and rich performance as the woman who faces incredible adversity and survives to tell the tale.
Starring: Jonathan Fisher and Severn Thompson
Directed by Christine Brubaker
Dramaturgy by Christine Brubaker & Andy McKim
Production Design by Jennifer Goodman
Sound Design & Original Music by Lyon Smith
Movement by Viv Moore
Production Manager & Technical Director: Jason Golinsky
Tour Production Manager: Rebecca Vandevelde
Stage Manager: Sandy Plunkett
“CHECK OUT WHAT WCD AD BRENT LOTT CREATES IN ONLY 5 WEEKS WITH THE DANCERS OF WCD’S EMERGING COMPANY VERGE. RECENT GRADUATES AND GRADUATING DANCERS OF THE PROFESSIONAL PROGRAM OF THE SCHOOL OF CONTEMPORARY DANCERS GET A JUMP START TO THEIR CAREERS AS PROFESSIONAL DANCERS WITH THIS EXCITING WCD INITIATIVE” from winnipegscontemporarydancers.ca
As has become a tradition each year, I have shot Verge with a long exposure and experimented with motion blur to see how the dancers make shapes through the air.
“The Big Fun Festival is an annual, five day music festival showcasing multiple genres of music in several venues in downtown Winnipeg every January. Using Winnipeg’s prairie winter as the backdrop, the festival showcases the best of Manitoba’s current and upcoming artists as well as some hand picked acts from across Canada.
Manitoba maintains a reputation for having a rich artistic community as well as a bitter winter. The Big Fun Festival brings these two elements of our Province together to create an annual festival our city can be proud of.
The festival runs from Wednesday evening to Sunday afternoon. There are a variety of events taking place throughout the weekend in close proximity to each other so that festivalgoers can travel between the shows. . Shows on the same evening are staggered and are distinct in sound and delivery so that you can have many different experiences all in one Big Fun weekend.
Big Fun Productions is comprised of Winnipeg musicians and music lovers who are passionate about their city. Inspired by the layout of Pop Montreal, Sled Island and NXNE, Big Fun aims to create the same excitement within the music and art community in Winnipeg by hosting several events throughout the year.”
Opening night of the festival!
Jan 25, 2017 at The Ballroom, 218 Roslyn Road, Winnipeg
Formerly known as astre, Tansy celebrates all things noisy and beautiful, weaving haunting melodies through minimalist structures. Armed with loops, delays, and lots of reverb, her sound will echo through the ears and hearts of all who listen – and leave its ghost behind. tansyish.bandcamp.com
Hannah Epperson (New York, NY):
Armed with her violin, loop pedal and voice, sonic weaver Hannah Epperson arranges musical landscapes without indulgence or over-saturation. Simplistic, but never lacking, these earworms pulse back and forth from the base of your spine to the center of your mind. As a stirring solo performer and talented collaborative artist, Epperson weaves a collection of songs that ensnare you in a soft and fantastical web that will have you wishing you never had to leave. www.hannahepperson.ca
NOVEMBER – JANUARY RESEARCH SERIES 2017
Since November three research teams have been each working in the studio investigating themes, methods, ideas, questions, approaches related to dance, movement and performance. YLDE is excited to invite the public into their work. You can take in the research via classes, showings, and an endnote discussion and essay presentation.
BRENDA McLEAN is a Winnipeg independent theatre artist, whose focus is on physical theatre performance and design. Recently Brenda has become very interested in Improvisation Dance Movement and Contact Improvisation Dance and how they can be used to create unconventional movement in theatrical performances. Brenda is interested in the combination of Contemporary Dance and Physical Theatre to create hybrid performance techniques with both text and movement. This last summer, she was one of the Choreographers in Company Link summer workshop where they created new choreography everyday with the focus on text and movement with dancers. Brenda is also the founding member of Theatre Incarnate, www.theatreincarnate.ca and The Talentless Lumps (an all female bouffon troupe).
McLean will research with contemporary dancer Ali Robson and mentor Grant Guy, the use of gesture in performance. How does one create gestures, what is gesture, how can it be used as a performance tool, how does one ask or direct gesture work from their performers? Many dancers and actors are asked to generate and create gestures in their performances with little to no training in it, we are going to investigate and train in this technique to better understand how we can use it best as a performance tool.
Performer: Ali Robson is a dancer, teacher and choreographer who has been working since 2004 with artists across Canada including Karen Kuzak, Peter Bingham, Serge Bennathan, Tom Stroud, Treasure Waddell, Natasha Torres-Garner, Lesandra Dodson and with Winnipeg’s Contemporary Dancers. She works in both dance and theatre and teaches movement for actors at the University of Winnipeg as well as creative movement and contact improvisation throughout Winnipeg.
Mentor: Grant Guy is a Winnipeg playwright, director, designer and writer. For seventeen years he was the artistic director of Adhere + Deny. He is currently establishing a new company, The Two Horses of Paladin.
JAIME BLACK is a Métis multidisciplinary artist based in Winnipeg. Perhaps best known for her pivotal work The REDress Project, an installation project addressing violence against Indigenous women and girls. Jaime’s art practice engages in themes of memory, identity, place and resistance.
Currently Researching… Jaime’s work is situated in an understanding of the body and the land as sources of historical and cultural knowledge and is centred around themes of memory, identity, place and resistance. She is interested in the body/land as sites of social and political struggle, sites of historical, and collective memory and as vulnerable and often contested spaces. She is interested in the ways in which we can re-establish agency and resilience through interactions between the land and the body.
Performer: Lise McMiIlan is a contemporary dance artist based in Manitoba. She has performed and toured with several dance companies, and independent choreographers across Canada and abroad. Her own works have been presented by Young Lungs Dance Exchange and Winnipeg’s Contemporary Dancers.
Mentor: Leah Decter is an inter-media artist and scholar currently based in Winnipeg; Treaty 1 territory. Her work focuses on contested spaces, largely contending with histories and contemporary conditions of settler colonialism through a critical white settler lens. Decter’s work has been exhibited, presented and screened widely in Canada and internationally in the US, UK, Australia, Germany, Malta, the Netherlands and India. She holds an MFA in New Media from Transart Institute (Berlin) and is in her final year of a PhD in Cultural Studies at Queens University (Kingston, Canada).
KRISTY JANVIER is from a small northern community in Canada called Flin Flon and is of Aboriginal (Dene), Irish, and Ukrainian decent. At the age of 18 she had an opportunity to work abroad as a performer in Japan. From there, her love of acting, dance, movement and exploring began. After two contracts in Tokyo and moving to California, Kristy embarked on two cruise ship contracts in the Caribbean before calling Hong Kong home for 8 years. While in Hong Kong, Kristy began to search out new forms of movement including yoga, contact improvisation, Gaga and other somatic practices which lead to a Hong Kong-Netherlands exchange of artists and debuting her first choreography credit while working with Korean visual artist Soyoung Lee. Upon returning Canada, Kristy has travelled to Toronto (Kaha:Wi Dance Theatre) and Vancouver (Raven Spirit Dance) to connect with contemporary Indigenous artists in the country. Her vision is to build bridges between the two worlds and filter this work up North. Inspired by all things in nature, Kristy continues to find new ways of connection and creativity.
CURRENTLY RESEARCHING… For Kristy’s research project, the theme is largely based on water looking at it from the views of bloodlines, the rivers through the province that were once the highway systems of our ancestors and what they are now, the fluids in the body and healing rituals for change. Bringing together three other dancers with Indigenous backgrounds to dialogue and explore movement together to create this dance.
” Exploring space without leaving Earth. My feet have carried me to many place and in many ways. Using the soles of my feet as landing pads, I allow the grace of my breath to move my body throughout the environment. Upon my recent return to Canada, I have to come to explore my ancestral and Indigenous roots to discover how their feet have travelled these lands. I’m drawn to elements of nature, incorporating outdoors spaces. Through dance I’m able to step into the shoes that carry one into a world that cannot be expressed with words. ”
Performers: Rayanna Seymour (Hourie) is Anishinaabe from Naongashiing (Big Island), Treaty #3 Territory. Her parent’s are Lorraine Seymour and Raymond Hourie and she has 7 siblings. Today, she is in her second year of law school at Robson Hall, University of Manitoba. Seymour sits on a few Indigenous student groups and works part-time on Anishinaabe nibi Inaakonigewin (water law). Her goal is to continue on in graduate school and become a professor of law one day. One of her favourite activities—besides visiting with nieces and nephews—is dance. She grew up dancing in the pow-wow circle as a fancy shawl dancer, and then started dancing jingle in her teens and has recently picked up her shawl again, so now able to dance both. She also dances Zumba once a week to have some fun and release some stress from studies.
Emily Barker is in her second year of the Professional Program at the school of Contemporary dancers. Recent work includes Laurier with Theatre New Brunswick and Confederation Centre of the Arts. Other training includes Toronto Dance Theatre, Kaha:wi Dance Theatre, Theatre at the University of Winnipeg, and a past member of the Urban Indigenous Theatre Company.
Lise McMiIlan is a contemporary dance artist based in Manitoba. She has performed and toured with several dance companies, and independent choreographers across Canada and abroad. Her own works have been presented by Young Lungs Dance Exchange and Winnipeg’s Contemporary Dancers.
THE RACHEL BROWNE THEATRE
Inspired by the poetry of Jaik Josephson, the work and social activism of visual artist Keith Haring (silenced by AIDS in 1990) and the events of the AIDS plague, AS THOUGH I HAD WINGS is Brent Lott’s re ections on the equation SILENCE = DEATH; the rallying cry of ACT UP (AIDS COALITON TO UNLEASH POWER).
Pre show music: Arthur Russell. silenced by AIDS 1992
choreography: BRENT LOTT
In collaboration with WCD dancers:
JOHANNA RILEY, SAM PENNER, BRIANNA FERGUSON, JASMINE ALLARD, WARREN MCCLELLAND, ALEXANDRA WINTERS, BRETT OWEN
Brent is very grateful for the contributions made by all the artists who helped realize this production especially the dancers, jaymez, Dean Cowieson, Shirley Grierson and Jaik Josephson whose poetry inspired this work. He is also grateful to all those who gave him feedback throughout the creative process: Vanessa Macrae, Jaik Josephson, Faye Thomson, Gaile Hiley, Stephanie Ballard, Charlene Kulbaba, Paula Blair, Xemena Munos, D’Arcy Phillips, Chris Curpen and to the VERGE 2016 dancers Emma Beech, Jennifer Bonner, Samarah McRorie and Aaron Michael Paul who contributed much to the creative process.
original music composition SHIRLEY GRIERSON & WILL GRIERSON
live music ASHLEY AU video design jaymez lighting design DEAN COWIESON
poetry JAIK JOSEPHSON costume design ALEX ESPINOSA
I REALLY LOVED HAROLD melanie safka IF IT BE YOUR WILL leonard cohen
Winnipeg’s Contemporary Dancers
artistic director BRENT LOTT communications and administative director VANESSA MACRAE production manager/technical director JAMES JANSEN stage manager PAIGE LEWIS hang and strike crew MIGUEL FORTIER, HALEY MUMMER, JAMES THURMEIER photogragrapher LEIF NORMAN & FRED MCEVOY archival videographer KAYLA JEANSON marketing design CHRIS LEE
Special thanks to The School of Contemporary Dancers, Nafro, Grant Guy, The Peasant Cookery, Aaron Paul, Investors Group, The Canada Council for the Arts, The Manitoba Arts Council, The Winnipeg Arts Council, Investors Group, RMTC, Cercle Moliere, Masterworks Dance Studio + Royal Dance
NOVEMBER 17–27, 2016
Venue: Rachel Browne Theatre – 211 Bannatyne Avenue
Directed by Ardith Boxall
“Did you see that movie? That new one with the cop? Yes, with the cop, and she’s trying to catch a serial killer, yes, who takes men. Beautiful men. Beautiful naked men who end up dead in basements. And the cop watches TV. Yes, she watches a historical fantasy about an Amazon Queen with a harem of writhing man-slaves. And the queen from that show, she’s watching a play. Right, she’s watching a play.”
TV is better than ever and binge worthy shows like Game of Thrones, True Detective and House of Cards frequently pop into happy hour conversation and accompany us into the wee hours of the night.
Erin Shield’s asks a simple question in her sexy, no-holds-barred play Beautiful Man: What if? What if, in these shows, the roles were reversed?
“Searing and consistently hilarious” –Jordan Bimm
Playwright- Erin Shields
Director- Ardith Boxall
Featuring Sarah Constible, Andrea del Campo, Tracy Penner and David Arial as the Beautiful Man
Production Design- Linda Beech
Video and Lighting Design- jaymez
Costume Design- Angela Vaags
Sound Design- Davis Plett
Production Management- Steven Vande Vyvere
Manitoba Chamber Orchestra
Anne Manson, Music Director
Karl Stobbe, Concertmaster
Westminster United Church
8 November 2016
Anne Manson, conductor
Andrew von Oeyen, piano
Guy Few, trumpet
Zeitgeist (Sprit of the Age)
Concerto in C Minor, for Piano, Trumpet and String Orchestra (Piano Concerto No. 1), Op. 35
Wolfgang Amadeus Mozart
Symphony No. 29, in A Major, K 201
A trip along the Seine River in a canoe, past installations of magical mirrors and mushrooms, lost characters, and audio emanations.
“To be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery. And one does not get lost but loses oneself, with the implication that it is a conscious choice, a chosen surrender, a psychic state achievable through geography.” – Rebecca Solnit
Our main character starts her/his day on a bed made from cotton picked by machines from plants grown thousands of kilometers away.
She might have stayed up late watching a documentary about pink dolphins in the Amazon and imagined herself riding one that wasn’t-quite-right and based partly on the RGB cartoon memory of something she might have remembered seeing once as a child – if she were to have taken a moment to think about where that part of her dream might have come from.
Pulling himself off similarly sourced cotton our main character might have quickly brushed his teeth with an ergonomic implement made of neon and white plastic that was refined in a factory that intakes and secretes water like a human body. He may have squirted the same water between his teeth to dislodge a piece of last night’s late night pretzel.
In their respective apartments, they might have checked their canoe reservation using a device sending unseen waves that jettison stories sailing at light speed to other similarly enhanced beings sending their very gestures anywhere, instantaneously.
The maple syrup she drowns her buttermilk pancakes this morning may have ended up on this particular uncharacteristically frugal person’s grocery bill thanks largely to a graphic design technique developed decades earlier inside an agency in New York, recycled last year by an intern in Buffalo and accidentally printed askew on a label-printing machine in Laval.
Our main character arrives in a 2010 KIA Sedona, on a 1985 Raleigh grandma bike, or the #10. They take a short walk. They will have seen the sign for BoniVital pool and pondered a swim, briefly. They will have passed Poulin’s and thought about what they should/could exterminate next. They may have pointed their car-bike-knees down Des Meurons, seen the street sign and contemplated death again briefly thanks to a combination of vague etymological understanding, a complete lack of historical context and a trailing remnant of high school french.
The main characters arrive on scene furtively. Unsure. She becomes aware of the unconventional venue. The lighting starts to soak in and the ambient sound, even though she knows it was always there, appears and starts to become clearer. She begins to wonder where the theatre is. Patches of darkness, perhaps evoking curtains, start to hide things. Fluttering leaves begin to foreshadow something. Snapping twigs. Surely the way of introducing a secondary character. Perhaps a sidekick. Perhaps a rival. Perhaps a stagehand. Maybe just a squirrel.
Suddenly it dawns on him. He has travelled in time. The landscape in front of him is so different than the landscape he travelled to get here, but he knows, that, physically, he is in the same place.
She reels slightly. Disoriented. Grips just a little more strongly onto the paddle seeking stability but finding only liquid. Her phone is still in her pocket. It probably would bridge a connection, ironically, to the real world, but she doesn’t want to touch it. Not really. For fear of shattering a spell. But spells are silly. They don’t exist.
He has a brief memory of that pink dolphin again (was it his memory or someone else’s?) but doesn’t really realize that the memory is still happening. The dolphin is abstracted now – the slippery, veiny nostril silently breaking the surface like a reflection on the act of seeing something before it actually happens like that person you stumble into randomly that probably should surprise you but doesn’t because for some reason it makes more sense that you just predicted the future even if only ever so slightly.
A slight chill in the air erases any dolphin metaphors – at least ones without fur – just as fur becomes visible on the horizon. Wait. Is that a television? And is that a golfer?
Tic. Tink. Whirr. White noise.
Just as the absurdity of modernity begins to fade, there it is.
Around the next corner, and we are a thousand years old again.
LONG TAKE COLLECTIVE
This project was originally conceived by Leigh Anne Parry, an interdisciplinary artist, director, technician and researcher, Video Pool volunteer and current Executive Director at Young Lungs.
The following is a list of collaborators who have joined the team to present the 2016 show under the name the Long Take Collective:
Natasha Torres-Garner is an internationally presented choreographer, founding member and original Organization Director for Young Lungs Dance Exchange.
Canadian independent artist Ken Gregory whose work has been exhibited locally, nationally and internationally.
Andraea Sartison, theatre artist, producer and founding Artistic Director and Producer of One Trunk Theatre with an extensive background in event planning and a driving force behind many high profile Winnipeg events at the Forks and U of W.
Ryan Klatt, an artist, film maker and director/owner of SKYMAKER Films, a video production company specializing in aerial cinematography,
Internationally recognized multi-media artist, policy writer and designer Anders Swanson, is coordinator of the Winnipeg Trails Association, known in Winnipeg for his outdoor artwork, kinetic sculpture, and visionary work in the trails community.
The show is stage managed by visual artist Jennie O’Keefe and features performances by: Emma Beech, Ali Robson, Jill Groening, Charlene Van Beukenhout, Delf Gravert, Alex Elliott, Anaïs Bossé, Doug Melnyk, Frances Koncan, Darlene Dunn, Brittany Thiessen, Praba Pilar, Mia Van Leeuwen, Ming Hon, Alex Winters, Megan Sekiya, D-Anne Kuby, Zorya Arrow, Kristian Jordan, Chris Sabel, Brenda McLean, and Natasha Torres-Garner.
The Manitoba Professional Planners Institute has assembled a panel of urban planners, dreamers, and shakers. Our four panelists, Jino Distasio (Director, Institute of Urban Studies), Stefano Grande (Executive Director, Downtown Winnipeg BIZ), Brent Bellamy (Architect, Number TEN) and Hazel Borys (Managing Director, Placemakers) will take part in a discussion about urban design and how it affects our daily life. Learn about how this topic plays an integral role in the Portage and Main intersection at the intersection itself!
See, feel and experience the possibility of change at Portage & Main! ADAPTATION is a live, interactive art installation and artistic collaboration addressing the MPPI panel discussion topic: change at Portage & Main. The created artwork will transform the Richardson Building Plaza, evoking awareness of the physical and visual adaptations of space at the scale of the surrounding Portage & Main site. The public is encouraged to contribute their thoughts and ideas in this interactive, hands-on installation.
RE/IMAGINING WINNIPEG 2ND EDITION
Re/Imagining Winnipeg, StorefrontMB’s third publication, brings together twelve provocative ideas for new interventions in Winnipeg’s urban form. Coming from architects, planners and landscape architects, these ideas were originally submitted for a call for ideas sponsored by StorefrontMB and the Winnipeg Free Press. They push the boundaries of what is possible – of what we can imagine – for the future of our city.
Lawrence Bird and Sharon Wohl, the editors themselves, will be present to introduce the book, sign copies, and answer any questions.
Organized by Sharon Wohl and Lawrence Bird.
Design turns challenges into opportunities. Witness Portage and Main transform from an abandoned hard surface, to an active, lively, engaging and exciting space for everyone to enjoy! After discussing the opportunities at Portage and Main, become a part of it, by interacting with live artists while drinking, dancing, socializing and celebrating the fact that design can change how we perceive and interact with the world around us.
Winnipeg Design Festival 2016.
Sound + Space is an installation of live performance that will transform urban space with sound. Cellist Leanne Zacharias, curator of the project Music for Spaces, is known for reimagining both natural and built spaces – from riverbanks to stairwells – with sound and interactivity. In this piece, she brings musicians into an Exchange district alleyway.
Ariadne is an installation that awakens curiosity and entices passersby to enter a space that is otherwise perceived as dark and unsafe. The installation takes a counterintuitive approach of introducing veiling and opacities to counteract the mistaken belief that added light creates a safer space.
The name Ariadne is taken from a legend and alludes to the traditionally feminine craft of weaving and to the offering of safe passage through an intimidating space. Organized by Caroline Inglis and Jaya Beange
“I like to play with architecture! It’s my favorite game.” (Jean Nouvel).
Beachscape comes downtown through a hybrid between an urban sculpture and a game of beach volley. Three white volley nets form a triangle to breakdown the rules of volley, creating an opportunity for an alternate urban play. White volleyballs are spread around generously in the space, instigating an odd game situation. The project takes hints both from beach culture and sculpture but also from the children’s insistence to transform a hard urban surface into a playful landscape. The project brings architecture, urbanism, pop culture and art together to transform the urban space into a pleasurescape. Organized by Eduardo Aquino and Joe Kalturnyk
Winnipeg Design Festival 2016.
Upper Fort Garry Tour.
Explore the stories behind Winnipeg’s trading exchange through the planning, materials and details of the Upper Fort Garry Provincial Heritage Park.
Take a walk through this park with two landscape architects who will teach about the history of the site and the design decisions that respond in a unique way to the history of Winnipeg. Experience how landscape architecture allows us to interact with history.
Forts on Fort.
Join this family-focused event at the recently completed Upper Fort Garry Heritage Park. Re-imagine history as you build new forts on Winnipeg’s old forts. Come and take part in what is going to be Winnipeg’s most memorable cardboard box fort-making event!
Letter Peddler Press:
All are invited to Letter Peddler Press, a mobile printshop from Martha Street Studio where you can create your own custom postcard of Winnipeg! Selecting from a collection of Winnipeg icons, you can choose which Winnipeg landmarks to feature. Be sure to make two so you can keep one and mail another to a friend!
Organized by Sean McLachlan and Francesca Carella Arfinengo
Cool Gardens Bike Tour. Cool Gardens is a public exhibition of contemporary garden and art installations that offers a shift of sensation for the summer—cooling—as a general theme. The exhibit aims to bring architects, designers, landscape architects, and artists together to celebrate contemporary garden culture and the local landscape.
This exhibition is coming to a close after the festival. If you haven’t yet checked out these refreshing installations, take part in this guided bike tour.
Winnipeg Design Festival.
At this event, ten speakers present 20 slides, giving 20 seconds to each slide, to bring the local design community together to share ideas, projects, and design in a fun and informative social setting. Prepare to be inspired!
Started in 2008, 10 x 20 x 20 continues to be well received by the design community and the public. The diverse list of past presenters has included architects, artists, builders, industrial designers, historians, lmmakers, photographers and many more.
Join us for what is always a wild, entertaining and truly thought-provoking experience!
Organized by 10 x 20 x 20 committe – Travis Cooke, Jac Comeau,, KC McCormick, Tyler Lowen, Bobbi MacLennan, & Jaya Beange.
Winnipeg Design Festival.
CHANGE PARKING FOR A DAY.
Graham Ave, and Edmonton St.
PARK(ing) Day is an annual, global event where citizens, artists, designers and activists transform metered parking spaces into temporary public parks, raising awareness of the importance of creating humane, sustainable, urban culture.
Multiple installations from a diverse range of groups transform parking stalls into ‘pop-up’ places that encourage Winnipeggers from all walks of life to consider issues like the importance of public space ownership, car addiction, active living, healthy communities and the value of street life.
The Mixed Media Music Maker
is an interactive public art project created by Art City participants in partnership with Freig & Associates, a neighbourhood community planning firm. The work will make use of mixed media sculpture and reclaimed musical instruments and will be installed in Edward Carriere Salon’s Broadway courtyard, the site of of an ongoing place-making experiment.
Thanks to Edward Carriere Salon and City Councillor Jenni Gerbasi for supporting this project.
Apartment 521 and Top Stitch have collaborated on a project that will be created in front of your very eyes! Get the chance to go home with a beautiful piece of furniture to complement or accent your living space by bidding on the chair tonight at 55 Arthur!
LIST OF VENDORS
- Lovely Moons [website]
- Sara Clark [website]
- Vreem [website]
- Tony Chestnut [website]
- Commonwealth MFG [website]
- Matea Radic [website]
- Bee Project Apiaries [website]
- The Cheesemongers [website]
- Red Herring Supply [website]
- Top Stitch Upholstery Design [website]
- Apartment 521 [website]
- Kal Barteski [website]
- The Bearded Lady [website]
- Verde Plant Design [website]
Winnipeg Design Festival
Work / Play
This lecture presents a number of projects from the last few years. The lecture is divided into two parts: the first a series of building and competition projects commissioned by clients; and the second a series of research projects which, in the main, have been self-initiated. The title of the lecture Work / Play is intended to reflect the duality in the nature of these two types of projects in terms not only of intention but also of circumstance, and, perhaps more interestingly, reflect the ambiguous distinction between Work and Play when both are driven by passion.
John founded Patkau Architects with Patricia in 1978. He is responsible for directing the activities of the firm, with Patricia, for providing design leadership throughout each project from inception to completion.
John is one of North America’s foremost designers. His contributions to the practice of architecture have been recognized by numerous awards including the Royal Architectural Institute of Canada Gold Medal for lifetime achievement and Membership in the Order of Canada for significant contribution to Canadian culture. Internationally, he has also been made an Honorary Fellow of both the American Institute of Architects and the Royal Institute of British Architects. In 1996, John represented Canada at the Venice Biennale. The many accolades of Patkau Architects include Governor General’s Medals for Winnipeg’s Millennium Library and the University of Manitoba’s ARTlab (with LM Group).
John has held distinguished professorship positions at Yale University, Harvard University, Washington University, and the Universities of Calgary and British Columbia. He has been a plenary speaker at several architectural symposia and a guest lecturer at over 50 institutions, including Yale, Harvard, University College Dublin, Manchester Master Series, University of California at Los Angeles, Architecture League of New York, Colegio de Arquitectos de Catalunya, Architectural Association, London, and Royal Institute of British Architects.
John holds a Master of Architecture, a Bachelor of Environmental Studies, and a Bachelor of Arts, all from the University of Manitoba.
Winnipeg Design Festival
A unique tour of one of Winnipeg’s most historic buildings in the exchange. Built in 1906, the James Avenue Pumphouse was built to help fight fires in the Exchange District. The building was decommissioned by the City of Winnipeg in 1986. Since then, it has become a heritage building. This one-of-a-kind space provides us with a unique opportunity to connect to history while we re-purpose, re-invigorate and re-vitalize this industrial building. Take a 20-30 minute visit through the building and experience the pumps in their original state.
“Much of downtown Winnipeg was threatened in 1904 when a fire raged out of control at James Ashdown’s Main Street hardware store. The domestic water supply, fed by artesian wells, proved inadequate to fight a fire of this scale. Untreated Red River water was pumped into the domestic supply in a desperate attempt to increase water pressure. The fire was extinguished but contamination of the city’s water supply resulted in 1,300 cases of typhoid fever in the following days.
Winnipeg already had North America’s highest rate of typhoid since much of the immigrant population north of downtown had no access to the artesian wells and regularly consumed river water. Regardless, the business-oriented civic leaders saw fire protection for their new commercial buildings as the priority. James Ashdown, owner of the fire-ravaged hardware store and foremost member of Winnipeg’ commercial/political elite, led the way in the construction of the James Avenue High Pressure Pumping Station. He became Winnipeg’s mayor in 1906.
The Pumping Station was considered the most sophisticated in the world. Water was drawn directly from the Red River and pushed through an eight-mile network of high-pressure lines to more than seventy downtown fire hydrants. The system was completely isolated from the domestic water supply. Four large pumps were each capable of delivering 1800 gallons per minute and two smaller pumps each produced an additional 900 gallons per minute. As a result, any hydrant in the network could produce a 600-foot stream of water, roughly the height of a fifty-story building. By this time Winnipeg had its earliest steel-frame “skyscrapers”. It was anticipated that the new steelframe technology would send buildings much higher in the future. The Pumping Station assured fire protection for existing as well as prospective buildings.
The British built pumping machinery was set in place in working order before the handsome brick building was constructed over it’ a true example of form following function. An excellent example of early industrial architecture, the building is designed in a straightforward and utilitarian manner. The sole decorative feature is the corbelled brickwork above the large arched windows.
In 1919, the station was connected to the new Shoal Lake Aqueduct. This source was preferable to the muddy water of the Red River. A neighbouring coal gas producer plant and large gas storage tank were demolished in 1962 when the engines were converted to natural gas and electricity. The James Avenue Pumping Station was taken out of service in 1986, a victim of higher operating costs, deteriorating water mains, and modern pumper trucks which offer firefighters greater flexibility.
Today the sophisticated pumping system and the attractive building housing it, stand as a well-preserved example of the “golden age” of machinery.” From HeritageWinnipeg.com