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Touring Exhibition Program

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

 2023 Exhibitions – Book Now!

Happy Polar Bear, Brian Longfield, Acrylic on Canvas, 24″ x 24″, 2021

Manitoba Wildlife Imaginary | Brian Longfield
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. Brian has 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.

knot-by-knot-detail, Alison Davis

Pattern making, pattern mending | Alison Davis
number of works: 24

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 small variations throughout 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.

Karen Schulz JAM
JAM , 32″x 24″, photography, acrylic paint, 2011

Playing Tag | Karen Schulz
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 stenciling 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.

Victoria Prince Memories 2
Memories, Victoria Prince, watercolour, and Ink

Mind and Heart | Victoria Prince
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 overcome and/or change negative memories. She became intrigued by the connection of 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.

Still Life with Melon Pepe Hidalgo

Classic Portraits with Movement | The Magic of Still Life | Pepe Hidalgo
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 in 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 is people I have created from my imagination.

2022 Exhibitions: Book Now

Forest Royalty | Kathleen Shellrude
wise, acrylic and collage on deep sided museum panel, 14×14, 2018

Forest Royalty | Kathleen Shellrude
number of works: 35

Forest Royalty is a story of seeking the divine and connecting with those whose wisdom is seemingly too sweet for this world. I trace star maps. I crown the Bear. The Owl calls my name. Insects remind me that the cycle of life always brings new birth and hope. In my heart, and in my life, I honour the beasts who give grace and mercy and expect nothing in return.

Like nature, these pieces are multi-layered. The forest, the ocean, as well as our modern world are layered with challenges and puzzles; not to be solved, but to be witnessed.

Gerry Ruecker Ergon Paragon, 2021
Ergon/Parergon, mixed media wall sculpture 25″x23″x3″, 2021

Undiscarded: ReForm/ReFunction Gerry Ruecker
number of works: 6

Discarded and cast-off objects, such as fragments of old furniture and building materials, rusted pieces of metal, and various other disused and disposed of items are prominent, highlighting their unique, well-worn beauty.

These crude, rough objects, along with deteriorated mirrors, are blended with and enclosed within a mash-up of cheap, highly decorative baroque-influenced picture frames. The resulting pieces embrace contradiction on numerous levels, functioning as both an homage to, as well as a caricature of a centuries-old style still viewed as ‘classy’.

Raven with Food, Rosemary Dzus, 24″ x 36″, acrylic on mylar, 2015

Raven Life | Rosemary Dzus
number of works: 7

Regardless of the speculations, ravens are fascinating creatures and have been appearing in mythology and folklore for centuries, including the indigenous cultures of Scandinavia, ancient Ireland, and Wales, North America, and Siberia. In many cultures, the common raven has been revered as a spiritual figure or godlike creature. In others, the raven has become a figure of doom. 

I have been an admirer of ravens for a number of years, and see them as creatures of mystery rather than as harbingers of doom. They seem to be keen observers of their surroundings, and appear to know much more than they are able or willing to share. My fascination with these birds has resulted in a series of larger-than-life-size acrylic paintings of ravens engaged in various activities and attitudes.

BurtonCumming’s ‘moustache, Chris Simonite
2019, 11″ x 14″

Revolting | Artworks inspired by the 1919 Winnipeg General Strike – Frost Shield Kerfuffle
number of works: 21

Inspired by the events surrounding the 1919 strike, “REVOLTING!” is a unique exhibition showcasing original artworks by the Frost Shield Kerfuffle Collective. Artists Cullen Bingeman, Michael Boss, Evin Collis, Kelly-Jo Dorvault, Patricia Eschuk, Peter Graham, Kenneth Harasym, Chris Simonite, and Diana Thorneycroft present works that re-imagine iconic images associated with the strike, along with explorations into its repercussions and the continuum of the class struggle. Artistic approaches to this subject matter range from a tongue-in-cheek parody of classic moments to somber reflections on some of the tragic characters and circumstances that make up this historical event.

2024 Exhibitions: Book Now

Rivers, Kristy Janvier
Rivers, Kristy Janvier
Forest Floor Kristy Janvier
Forest Floor Kristy Janvier

Weight We Carry | Kristy Janvier
exhibit details: performative sculptural installation

This is an interdisciplinary work in process during my Rural Arts Mentorship with Lita Fontaine (2022). The beginnings of this project began in 2018 around ideas of carrying forward the work of our grandmothers and the physical weight of beads especially in regards to Regalia while dancing. As I journey into the transition of motherhood, the weight of the world calls upon deep inner strength for the healing of all.

As the landscape of my hometown is rocky, I have chosen this to be my performance artifact to engage with. Images of being weighed down by the rocks as well as the balance of carrying them and the Baby a symbol of the work women must balance in day to day life. The main visual of this aspect will be video footage of an embodied practice however if gallery spaces do not allow for projection, there will be a photo documentation series that accompany. (Shooting this scene will commence once the snow has melted).

Upon arrival into the space, I would like to have my Jingle dress suspended from luggage weigh scale.Demonstrating the added weight the dancer must move with grace for this healing dance.

Secondary item is the weighted moss bag. As I stitch together the unfinished materials which I intended to do for the arrival of my Baby, I will include beadwork significant to my family lineage. Rocks placed inside.

Original sound recordings will accompany the exhibit.

Motion Capture Hugh Conacher
Motion Capture Hugh Conacher

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 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 dancer’s movements through space, conveying the body’s momentum and elegance.

Buhler Gallery Hugh Conacher
Jessie Jannuska - S-untokec-a-Ska-Wakan-Winyan-Holy-White-Wolf-Woman
Jessie Jannuska – S-untokec-a-Ska-Wakan-Winyan-Holy-White-Wolf-Woman

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 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 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.

Grandparents Portage La Prairie Residential School Jesse Jannuska
Grandparents Portage La Prairie Residential School Jesse Jannuska
Alana Macdougall
Form 1-12 and Touch Go Floor Installation – Alana Macdougall

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 ourselves in objects and images. Reflecting on the vulnerability and temporal nature of our bodies and consciousness, the work incorporates fragile materials, finite movement, and forms with manifold meanings. 

Untitled Installation - Alana Macdougall
Untitled Installation – Alana Macdougall

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:

  1. Review the exhibits.
  2. Identify the months you wish to book the exhibit link to booking sheet is here:
  3. Contact
  4. Confirm availability
  5. Sign a digital contract
  6. We coordinate the shipping and email you the times and dates
  7. We will invoice you during the month you receive the exhibit
  8. You hang and install the exhibit
  9. 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 (dependant on grants)
  • Resulting in up to $15,000 in artist fees throughout the year (dependant 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.