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

Manitoba Wildlife Imaginary | Brian Longfield (Manitoba)
medium: painting
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.

Artist Biography

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.

knot-by-knot-detail, Alison Davis
knot-by-knot-detail, Alison Davis
Alison Davis

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.

Artist Biography

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.

Sampling City Hall, 32″x 24″, 81.28 x 60.96cm photography, stencilling
Karen Schulz

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.

Artist Biography

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.

Memories #1	Image7-Prince-Memories1	2020	10X8	Alcohol ink with Black Fine liner pen and Stamping
Memories #1, 2020 10X8 Alcohol ink with Black Fine liner pen and Stamping

Mind and Heart | Victoria Prince (Manitoba)
medium: drawing
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.

Artist Biography

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.

Still Life with Melon
Still Life with Melon, 30 X 23.5 in, Acrylic on Canvas

Classic Portraits with Movement | The Magic of Still Life | Pepe Hidalgo (Spain, British Columbia) 

medium: painting

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.

Artist Biography

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.

2024 Exhibitions: Book Now

More than 50 years of sharing art: A selection of artworks from the Canada Council Art Bank

* french version below:

artbank logo

Art Bank

View of the Art Bank collection. Courtesy of the Canada Council Art Bank. Une partie de la collection de la Banque d’art. Courtoisie de la Banque d’art du Conseil des arts du Canada.

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.

artbank logo

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

Weight We Carry | Kristy Janvier
exhibit details: TBD performative sculptures 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 Kristy journies 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, Kristy has chosen this to be her 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 accompanies it. (Shooting this scene will commence once the snow has melted). Work in the exhibit includes a jingle dress and moss bag.

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 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 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 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.

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 the 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 (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.