Book a variety of exhibitions at a subsidized monthly rate of $150 up to 2 years in advance.
How do artists participate
Exhibitions are selected on a yearly basis by a jury from an annual call for submission. A Jury selects both emerging and professional artists, presenting a range of media and themes, and features both challenging contemporary work and traditional approaches to art-making through solo, two-person, and group exhibitions.
Scroll down for more information and details on how to book a touring exhibition
2024 Exhibitions: Book Now
Weight We Carry| Kristy Janvier – Contemplates healing and explores how we carry so much while gracefully dancing through the transition to motherhood – balancing it all in our day-to-day existence.
Akiktonz’a S’ni | Jessie Jannuska – Utilizing beading, basket weaving, dreamcatcher technique, hide, and sinew to understand the intergenerational effects of the Residential Schools.
Unconscious Adaptations| Alana MacDougall
Reflecting on the vulnerability and temporal nature of our bodies and consciousness through abstract qualities of medical imaging, the exhibition explores the psychological impact of the familiar appearing foreign.
Northern Lights | Hugh Conacher
Using motion capture to document the evanescent beauty of a dancer’s movement through time. The image lingers, slowly fading away conveying the body’s momentum and elegance like the Northern Lights, dynamic displays of multicoloured luminosity
Stories We Tell |Canada Council Art Bank
description coming soon
Weight We Carry |Kristy Janvier
number of works: TBD
sculpture, wall work, video on IPads (travelling)
This is an interdisciplinary work made during Kristy’s Rural Arts Mentorship with Lita Fontaine (2022) from ideas she has carried since 2018.
Kristy chose rocks for her performance artifact. Images of being weighed down by the rock, balancing the weight, and carrying the rock(s) become the symbolic representation of motherhood. We carry our babies on our breasts, our backs. Balancing it all in our day-to-day existence.
The landscape of her hometown of Flin Flon, MB is where the Canadian Shield and Boreal Forest meet. As she continues to contemplate the healing aspect as in her previous work, she is exploring how we carry so much while gracefully dancing through the transition to motherhood.
Items in the exhibit: “healing dress” (2 willow hoops (17×15.5 and 19×16.5), 100 birch bark cones, stones, ribbon, Imitation sinew, fabric, small stone;
“moss bag”, Secondary item is the weighted moss bag. The moss bag is made of paper, a fragile material which will hold the sturdy rocks placed inside.
“flower rock”: beadwork on a photograph of rocks.
“Weight we Carry” Lastly, an iPad or projector with video of my movement exploration on a loop or if space does not accommodate this, photograph series images. If I am physically able to be at a location, I would like to offer a live performance.
Kristy Janvier was born and raised in Flin Flon and is of Dene (English River First Nation) and of mixed European descent. At 18, she began working overseas as a professional actress/dancer. After 15 years of working with Disney, she returned to Canada. Kristy’s performances are influenced by improvisation yet structured from personal stories incorporating images, installation, sound recording, and/or video. In addition to performance work, Kristy has been sewing beadwork since 2018. Sales from her beadwork, Secret_Life_of_Beads, go toward funding her family’s bush cabin started in 1934 for future generations.
Past Highlights: Kristy explored her research on water, the rivers, bloodlines and healing with the support of the Young Lungs Dance Exchange in Winnipeg (winter 2016-17). Her first solo work “Forest Floor” shown with Free Flow/Saskatoon (Sept ’17), Weesageechak Begins to Dance/Toronto (Nov ’17), Nocturne/Halifax (Oct ’18), and Nextfest/Edmonton (June ’19). The video work from the E|MERGE artist residency at Earthdance, Massachusetts (Feb ’18) has been screened at 5 film festivals in Canada. Her current solo work, Hide, has been supported by the Made in BC Re-Centering/Margins Creative Residency (2019) and shared in Edmonton (Feb ’20) at the Expanse Festival. She has toured as an invited guest with Dancers of Damelahamid with Flicker (Oct-Nov ’17) and the national and international premier of Mînowin (Sept-Nov ’19). She has also worked with Raven Spirit Dance in The Gift (2019) and presented solo work at IndigDIV (2019) and Confluence (2020).
Unconscious Adaptations| Alana MacDougall
number of works: 20 drawings, 5 sculptures, 12 ceramic plates
Alana’s work draws on the abstract qualities of medical imaging and the psychological impact of the familiar appearing foreign. Layered drawings and sculpted forms with multiple associations explore the unnerving nature of the unknown and our instinct to find reflections in objects and images. Reflecting on the vulnerability and temporal nature of our bodies and consciousness, the work incorporates fragile material, finite movement, and forms with manifold meanings.
Biography: Alana holds a Bachelor of Fine Art (Honours) from the University of Manitoba and a Master of Fine Art from the Pratt Institute in Brooklyn, New York. She is a multi-disciplinary artist working primarily in drawing and sculpture. She has an active exhibition record and shows in Canada, the United States, and abroad. She has received a number of awards for her work and was recently awarded production grants from the Winnipeg Arts Council and the Manitoba Arts Council. Alana has taught as a sessional instructor at the University of Manitoba since 2018.
Northern Lights | Hugh Conacher
exhibit details: 5 photographic prints, all 30″high and of varying lengths
“Northern Lights: dynamic displays of multicoloured luminosity appearing in the day or night sky in high latitudes in the Northern Hemisphere.” The Canadian Encyclopedia
When I see a body move through theatrical space, it leaves a trail in my mind’s eye; the image lingers, slowly fading away.
How do I capture stories in the moving body in the same way that I capture them in the natural world? Motion Capture uses dance to draw parallels from the natural world around us. The result is reminiscent of moving water or the Northern Lights.
In this series, I document a journey through time and in movement. I integrate light with live performance and hold the evanescent beauty of the dancer’s movements through space, conveying the body’s momentum and elegance.
The simple installation involves 3M Velcro tabs, which are attached to the back of photographic prints. Peel and Stick the art onto the wall. A laser level will be provided to keep the level of the print
Remove, and separate the velcro. Remove the piece on the wall by gently peeling it off the wall. The heat from a hair dryer will ensure ease of removal from the wall. The Velcro on the art should remain.
MotionCapture1 2020 30” x 240” Archival Digital Print
MotionCapture2 2020 30” x 144” Archival Digital Print
MotionCapture3 2020 30” x 96.5” Archival Digital Print
MotionCapture4 2020 30” x 186” Archival Digital Print
MotionCapture5 2023 30”x120″ Archival Digital Print
Biography: Hugh Conacher is a lighting and multi-media designer, and a photographer, whose practice is based on live performance. He has collaborated with choreographers, directors, visual artists, and dance and theatre companies throughout Canada and around the world, in venues large and small. Selected Canadian artists and companies include the Royal Manitoba Theatre Centre, the Citadel Theatre, Canada’s Royal Winnipeg Ballet, the National Arts Centre, Mirvish Productions, QDance, Gearshifting Performance Works, Theatre Projects Manitoba, Freya Björg Olafson and Wanda Koop.
Hugh’s love of photography and extreme climates has taken him from the Arctic to the Antarctic in order to capture the changing beauty of these unique landscapes. His photographic work resides in private collections and has been published worldwide. Hugh is a member of the Associated Designers of Canada and L’Association des professionnels des arts de la scène du Québec.
Akiktonz’a S’ni | Jessie Jannuska
Dakota: not forgotten
number of works: 13; 12 wall works, 1 sculpture
Largest painting is 48″x28″, second largest is 40″ x 28″.
Jessie Jannuska’s ancestry is Dakota, Ojibway, and European. She was raised in an environment affected by the intergenerational effects of the Residential School. As an artist, she is interested in understanding how this trauma shapes relationships in her family. Akiktonz’a S’ni addresses the experience of poverty, addiction, and loss of Aboriginal culture. Residential Schools were in operation in Canada for over one hundred years. Residential Schools have been operating in her family for her entire life.
Jessie utilizes beading, basket weaving, dreamcatcher technique, hide, and sinew to speak to the history of trauma. This media was traditional to Aboriginal peoples and had a ten thousand-year history on this land. The tactile quality of these materials offers a history to my work. Many of these techniques were learnt from my elders. Jessie is grateful to these elders and knowledge keepers who have helped me create and understand this work – Barb Blind, Julia Brandon, Frank Tacan, Roberta MacKinnon and her grandfather Mervin Demas. That act of visiting an elder continues to be important to her practice.
Artist Biography: Jessie Jannuska is a Winnipeg-based interdisciplinary visual artist with mixed Dakota, Ojibway, and settler ancestry. Her family is from Canupawakpa Dakota First Nation. She completed her Bachelor of Fine Arts degree with honours from Brandon University in 2018. Jannuska primarily works in oil, acrylic, watercolour, pencil, pen, mixed media, beading, and murals. She has had eight solo exhibitions and participated in over thirty group exhibitions. Her work can be found in the Provincial Art Collection of Manitoba. Jannuska teaches freelance art workshops in beading, dreamcatchers, painting, drawing, and sweetgrass baskets across Manitoba. Her most prominent awards include the MAC Arts Leader Grant in 2021, and the MAC Indigenous 360 – Learn grant in 2019.
More than 50 years of sharing art: A selection of artworks from the Canada Council Art Bank
* french version below:
Since 1972, the Canada Council Art Bank makes contemporary artwork available to a wide public across the country through our three programs: corporate art rental, loans to museums and outreach. With more than 17,000 artworks by over 3,000 artists, the Art Bank has the largest collection of contemporary Canadian art anywhere. It houses paintings, sculptures, drawings, photographs and prints by emerging and established artists, including a significant number of Indigenous artworks. The exhibition More than 50 years of sharing art features a selection of 30 works of art that presents the diversity of visual arts culture in Canada represented in the Art Bank collection.
Une sélection d’œuvres de la collection de la Banque d’art du Conseil des arts du Canada
Depuis 1972, la Banque d’art du Conseil des arts met à la disposition d’un large public de partout au pays des œuvres d’art contemporain par l’intermédiaire de ses trois programmes : location d’œuvres d’art aux organismes, prêt aux musées et diffusion. Avec plus de 17 000 œuvres réalisées par plus de 3 000 artistes, la Banque d’art possède la plus vaste collection d’œuvres d’art contemporain canadien, dont des peintures, des sculptures, des photographies, des estampes et des dessins, créés par des artistes en début de carrière ou à carrière établie. La collection contient également un nombre important d’œuvres d’art autochtones.
L’exposition Plus d’un demi-siècle de diffusion d’art présente une sélection de 30 œuvres d’art représentant la diversité de la culture des arts visuels du Canada dont témoignela collection de la Banque d’art.
2025 Exhibits – Book Now!
Craft in Colour |C2 Centre for Craft
number of works: TBD
Craft and colour are intrinsically linked. Humans have been making objects with their hands for millennia and figuring out how to apply colour to them for just as long. Why are we so seduced by colour? Why have our ancestors spent so much of their precious time and energy learning how to dye, glaze, paint, and stain colour onto the objects they made for survival or enjoyment?
Craft tells the story of humans through the objects we use, worship, wear, and admire. When making craft, one cannot help but engage with the culture they are engaged with. Artists pull inspiration from the natural world, cutting-edge technology, the motifs of their cultural backgrounds, fantasy words, and the playfulness we often leave behind in childhood.
C2 Centre for Craft
The Manitoba Craft Council (MCC) was founded in 1978 as Manitoba’s only not-for-profit arts organization dedicated exclusively to contemporary craft. Our purpose is to promote, develop and advocate for contemporary craft and its makers in Manitoba. For over 40 years, the organization has worked to ensure that contemporary craft and the artists who produce it are supported, recognized and celebrated for their contribution to the cultural and economic life of Manitoba.
Residual Effects| Crystal Thorburn
number of works: 20
Moving back to her family farm after 30 years Crystal noticed a huge decline in the number of insects, from crickets, and dragonflies to fuzzy caterpillars that were in abundance growing up. We all see our environment in different ways, through this body of work I have worked from a ground-level perspective as one with nature, thus giving importance to the details and small minutia of every day that we sometimes take for granted. As an organic farmer/gardener successfully following regenerative growing practices without the use of chemicals I would like to bring awareness to this subject through my art. In this series of work, my intent is to shed light on the effects of herbicides, specifically neonicotinoids and glyphosate and their effects on insects and plants through the use of light and leaf mutations.
With the natural leaves as a constant, I have used 2 approaches to symbolize the relationships between insects, plants, and man; mixed media on yupo paper framed in a light box and mixed media encaustic on cradled wood panels.
Rural life has brought out a keen awareness to the various elements of the seasons on the prairies. My work comes directly from observing and studying the reaction to these changes throughout the year. I use my sketches, plein air studies or photos for reference.
My work has been exhibited in many local, regional and provincial groups and solo shows throughout the past years in different communities within the province. Teaching classes in acrylic, watercolor and sketching has also been another part of my artistic journey. In partnership with the Shurniak Art Gallery, we have been awarded the Artist in Communities Project grant for 2022 and held workshops while also creating a community public art Sculpture of a Monarch butterfly.
A Show of Hands/À main levée | Rosemarie Péloquin
number of works: TBD
This is a continuation of my musings on hands and connections that started at an artist residency in Alberta and developed over the pandemic lockdowns. The original 3D works for A Show of Hands have been shown in Killarney and will be in Portage la Prairie in March 2023. This smaller show I am proposing will include a series of mostly 2D needle-felted portraits of Hands.
It is about connections between individuals, family members, their communities, and their environment. It centres around the actions of ordinary people. It is an invitation to individual contemplation, to discussion and sharing of stories.
The material is wool, mostly local heritage breeds. It speaks to a connection with the earth and with the community and the people who live and work there.
The act of needle-felting is as important as the medium – the simple, long, quiet, meditative process is, to me, a metaphor for the many small actions, of quiet seemingly insignificant work done over a long period of time that create connections that make up the fabric of our lives and communities.
ROSEMARIE PÉLOQUIN is a franco-manitoban artist who sculpts wool. Her portraits and vignettes are expressions of moments in time that speak to our shared humanity. She sculpts faces and hands with her barbed wands, teasing the fibres, coaxing them to reveal the character within, presenting a new image of the fibre and giving it a new voice.
Her work has been featured in video-reportages on Radio Canada, TVA and TFO, has appeared in international magazines, Surface Design (US), Fiber Art Now (US), Book Arts Canada and Textile Forum (AUD), and has shown in exhibitions in Manitoba, Alberta, Ontario and B.C.
In May 2022, she had the honour of presenting her life-sized commissioned wool busts of HM Queen Elizabeth and HRH the Prince of Wales during the Royal visit to Canada.
Rosemarie teaches 2D and 3D needle-felting to all ages, offers art talks to engage people with the art and works with artists to nourish confidence and creativity.
The Afterlife | Tim Greig
number of works: 27
This is a series of people-themed acrylic paintings on canvas or board. The quest for leisure and or meditative moments either post-retirement or post-workday or week is what the series is about.
Obtaining a BFA and Ed cert at the University of Manitoba in the late 70s, I taught art at middle schools in Saskatchewan through the early 80s. While I have pursued art for six decades, a move to Dauphin, Manitoba in the early 00s sparked a renewed interest and pursuit of art as a member of the Dauphin Art Group.
2023 Exhibitions – Book Now!
Classic Portraits with Movement | The Magic of Still Life | Pepe Hidalgo (Spain, British Columbia)
number of works: 14
Classic Portraits allow me to present a classic figure in two distinct ways. The image is from the side and from straight on. Combining the side and the front perspective creates movement. The fusion of creating a classic portrait and the movement at the same time is what creates an interesting “Double Vision” of each figure. The clothing worn by the figures contributes to the classic look, dating them to times past. These portraits at the same time as being classic can become deformed with the two faces. In some, there is still, simple beauty, yet in others, they become grotesque, serious, or funny. Each and every one of them are people I have created from my imagination.
Pepe Hidalgo’s style is narrative in the figurative and abstract genre. His figurative is not related to realism, it is created from his imagination, and his memory of his sense of reality.
Hidalgo’s paintings achieve strength through the glazes or velatures he applies. He will apply them until he achieves a greater sensation of space. Hidalgo displaced oil by acrylic in the nineties. He paints direct sketches on the canvas. There is a distinctive element present in his paintings, a two-coloured cord or string that acts as a reference guide between reality and imagination, which, by remaining in time, has become a hallmark of identity.
His artistic process began in adolescence during frequent visits to the Museo del Prado in Madrid, where he discovered his first teacher, Francisco de Goya. His work is influenced by Velázquez, Zurbarán, El Bosco, movements of the 20th century, Picasso and American artists Francis Bacon, Freud, Esteban Vicente, and Pollock.
Art has allowed him to “free himself” and express himself without prejudice, and to dare to do what he feels without expectations. Many people ask him where he gets his ideas for his paintings. When you know him you realize he mixes his knowledge of astrology, mythology, history, life, and experiences. The ideas for his paintings arise from everyday life, and the search to understand the relationship of past or present events with the human being, in relation to who and what we are. This is reflected, manifested, and expressed in his paintings.
Manitoba Wildlife Imaginary | Brian Longfield (Manitoba)
number of works: 20
For some time I have been interested in the factors that grant subjecthood, personality, and character to our perception of others. In earlier work, this interest lead to work using masks to create performance-based work with my partner, Charla Ramsey in which performance of characters using theatrical masks was used as the basis for work that became drawings, paintings, videos, and installations. More recently I have been making paintings of animals to explore their subjecthood.
This exhibition encourages seeing animals as beings with thoughts and feelings but it is interesting to note that the personalities and emotions we ascribe to animals are not likely to be their actual feelings but are based on our human perceptions of human emotions. While many animals do indeed have emotions and feelings that can be observed and recorded by behavioural scientists and certainly people who live with pets develop a sense of their pets’ emotional life, this exhibit is not and cannot function as a substitute for that. It does however act as a small stepping stone towards it.
Over the years, Brian Longfield has exhibited video art, installations, and paintings, as well as exploring performance and theater, and avante garde music. His acrylic paintings are made with original photos and a data projector. His current work incorporates an interest in biodiversity, ecology, science and empathy. Brian has recently returned to painting after focusing on video based work with the now-defunct collective, Viewing Method Group, and performance based work as part of the duo “6.” Through his various projects, Brian has exhibited at The New Music Festival, Nuit Blanche, Video Pool, Graffiti Art Programming, Frame Arts Warehouse, and as part of the Winnipeg Fringe Festival.
Brian holds a BFA from the University of Manitoba and an MFA from the University of Western Ontario. He has curated exhibitions, both at Frame Arts Warehouse and at his own former Gallery, Tumble Contemporary Art. He lives in Winnipeg with his partner Charla and their children, Aria and Zephyr.
Pattern making, pattern mending | Alison Davis (Manitoba)
medium: drawing, animation
number of works: 24
i-pads are included with the exhibit
Nets are patterns that catch and hold. The patterns of our lives also ensnare us. Often, those patterns are beneficial routines, but there are many patterns that hold us back. This series of work is a consideration of patterns generally as well as the work it takes to construct and deconstruct those patterns.
The net drawings are laid out in even grids. Periodically the ordered repetition of the grid is disrupted by extra pieces of string, holes that have been irregularly patched, and places where the nets lose their pattern. There is a tension between the orderliness of the grid pattern and the slight variations that encourage the viewer to come in close to examine each knot and to seek out new patterns in the areas where the regular grid is broken.
The animations and drawings of the hands reference the mundane, day-to-day work that goes into mending and maintaining a routine. Work that is overlooked yet constant and unceasing. Without this vigilance, there are so many ways in which the ordered world can become disordered.
In conflict with this, is the acknowledgment that systems and patterns can also be harmful and require reordering. Sometimes the disruption of a pattern is necessary. And so, while some of the drawn and animated hands work to build and maintain the grid pattern of the nets the other hands take that pattern apart to create spaces that resist the dominant pattern to allow for variation and change.
This project was created with support from the Manitoba Arts Council.
Alison Davis is an artist and animator based in Treaty One Territory, Winnipeg. She has created a number of short films with a focus on traditional animation animation that have screened at festivals and venues around the world. Her drawing practice explores the subtlety of fine lines and delicate interactions. Davis holds a BFA in Film Animation from Concordia University in Montreal and has been the recipient of grants from the Canada Council for the Arts, Manitoba Arts Council, and the Winnipeg Arts Council.
Playing Tag | Karen Schulz (Manitoba)
medium: photography, collage
number of works: 10
One golden autumn day, I looked skyward to the honking of south-bound Canada Geese. Reminded of practicing scales on the piano with each bird a note, I envisioned a musical staff superimposed, or “tagged”, over the iconic flying V formation. Suddenly, musical notes and sounds seemed to be hiding everywhere.
I began to photograph such commonplace images as a scattering of leaves, footprints in the snow, and shadows of objects as Earth made its way around the sun. A notion to stencil symbols over the photos evolved into this suite of ten mixed media prints. In assembling the work, I mimic the action of a Graffiti artist by stencilling my “tags” (musical staffs, clefs, sound effects) onto a barrier of acrylic panels through which the photographs are visible. Their titles painted on the bottom borders reflect my fondness for puns. The works are displayed flat against the wall, although Bridge, Bar, and Refrain are fun to present on the floor with a few dried leaves and pebbles on their surfaces, playfully adding to the score. In this celebration of imagined music, I am inviting viewers to “play tag” for themselves and discover what may be hidden in the gutter, the shadows, or the stars.
Karen Schulz is a visual artist and art event coordinator who is inspired by her birthplace, the farming community of Grandview, Manitoba, and the Winnipeg urban life where she lives and works. From her studio, maintained for several years in the Exchange District, her practice overlaps traditional and contemporary media with an emphasis recently on experimental drawings.
Mind and Heart | Victoria Prince (Manitoba)
number of works: TBD
Mind and Heart is a series of black ink drawings and alcohol ink paintings exploring the connection between neuroscience and the human heart. Victoria’s work is inspired by the drawings and cell-stained illuminations of neuroscientists Santiago Ramon y Cajal and Camillo Golgi. Golgi created a staining technique making brain cells (neurons) visible under the microscope. Deeply inspired by their illuminations, Victoria began drawing neurons using black ink pens on distressed yellow paper mimicking the cell-stained images of Cajal and Golgi. Victoria’s research of the brain and the formation of neurons and specifically memories caused her to question can one overcome and/or change their negative memories. She became intrigued by the connection between the mind (memories and thoughts) and the heart (emotion). This research of the heart-brain connection led her to the work of Dr. Armour who coined the term ”heart brain”. In 1991, Dr. Armour discovered that the heart has its own ”little brain” composed of approximately 40,000 neurons that are alike neurons in the brain. Thus, Victorias research led her to explore the anatomical heart through drawing and photography.
Victoria Prince is a multi-disciplined artist who graduated in 2003 from the University of Manitoba receiving a B.F.A. First Class Honours degree. Her work is broad in style and genre from traditional black ink drawings, alcohol ink paintings, and experimental films.
She has won various awards such as the Winnipeg Arts Council’s “On the Rise”, and Best Picture for the Urban Reels Festival in Winnipeg, Manitoba. Victoria’s work has been shown in film festivals nationally and internationally such as in Egypt, the UK, South Africa, France, Italy and the United Arab Emirates.
About the Touring Arts Program
The Manitoba Arts Network sends high-quality exhibitions to rural communities across the province. The Arts Network covers all expenses such as shipping, insurance, packing and crating, signage, didactic labels, and artist fees for a one-month member booking fee of $150. and $200 for non-members.
Interested in booking an exhibition? Here’s how:
- Review the exhibits.
- Identify the months you wish to book the exhibit link to the booking sheet is here:
- Contact email@example.com
- Confirm availability
- Sign a digital contract
- We coordinate the shipping and email you the times and dates
- We will invoice you during the month you receive the exhibit
- You hang and install the exhibit
- MAN sends you an exhibition evaluation to complete
An average touring season coordinated by MAN yields:
- 4-5 visual arts exhibition
- 20-25 bookings by over 20 communities in Manitoba, NW Ontario, and North Dakota.
- 8 free artist-led workshops for members (dependent on grants)
- Resulting in up to $15,000 in artist fees throughout the year (dependent on grants)
All transportation and shipping services for our touring exhibitions are generously donated by Gardewine. Our touring program is generously supported by the Manitoba Arts Council.
Selected exhibitions typically tour for a minimum one-year period, with the possibility of touring for up to two years.
For more information, contact: the Visual Arts Coordinator.