Current Exhibitions

Drawing by Herménégilde Chiasson, Fourteen Stations for Oswald, 1. The Condemnation

Video stills of a woman holding a floral sheet by Maryse Arsenault

reproduction of a seated girl wearing a cloak

An Elsewhere Forever Present Alisa Arsenault, Maryse Arseneault, Rémi Belliveau, Herménégilde Chiasson  

7 June to 25 August 2019
Vernissage: 7 June 2019 at 7:30 pm

Curated by Emily Falvey

The point of departure for this exhibition is Fourteen Stations for Oswald (1990), a series of evocative drawings by Herménégilde Chiasson found in the permanent collection of the Owens Art Gallery. In 1990, Gérald LeBlanc wrote a poetic essay about this work that concluded, “Herménégilde Chiasson proposes/sensible dreams/of an elsewhere forever present.” Moving out from this idea, the exhibition explores the ways in which historical, popular, and familial stories intersect in the work of four Acadian artists. While the question of identity is clearly present in these works, it is not rigidly defined or reduced to simple nationalist stereotypes. Of equal importance is the notion of repetition as an aesthetic gesture and its relationship to time and memory.

The exhibition is accompanied by an Occasional Paper featuring an essay by writer and independent curator Elise Anne LaPlante.

This exhibition was organized in conjunction with the Congrès acadien mondial 2019.

 

Un ailleurs toujours présent Alisa Arsenault, Maryse Arseneault, Rémi Belliveau, Herménégilde Chiasson  

Du 7 juin au 25 août 2019
Vernissage : le 7 juin à 19 h 30

Organisée par Emily Falvey

L’œuvre Quatorze stations pour Oswald (1990), une série de dessins évocateurs de l’artiste Herménégilde Chiasson faisant partie de la collection permanente de la Galerie d'art Owens, est le point de départ de cette exposition. En 1990, Gérald LeBlanc rédige un essai poétique portant sur cette œuvre, qui se terminait sur ces lignes : « Herménégilde Chiasson me propose/des écrans sensibles/d’un ailleurs toujours présent. » S’appuyant sur cette idée originelle, l’exposition met en évidence comment s’entrecroisent les narrations historique, populaire et familiale dans les œuvres de quatre artistes acadiens, acadiennes. Bien que la question identitaire soit très présente dans ces œuvres, elle n’est pas étroitement circonscrite ni réduite à des stéréotypes nationalistes simplistes. D’une importance tout aussi grande est la notion de répétition comme geste esthétique et son rapport avec le temps et la mémoire. 

L’exposition s’accompagne d’une Publication occasionnelle comportant un texte de l’autrice et commissaire indépendante Elise Anne LaPlante.  

Cette exposition est organisée dans le cadre du Congrès mondial acadien 2019.  

 

Photo of Ted Pulford looking up at his graduating student exhibition, including a self-portrait.

 

Teeny Tiny Zine Library

27 May to 24 August 2019

Currently in the lobby, Mount Allison’s Teeny Tiny Zine Library is an ever-growing collection of zines, artists’ books and multiples, independent comics and handmade publications. The collection was created to archive and promote the small by mighty form of the zine, with a special focus on the Sackville zine scene and the work of Mount Allison Fine Arts students, Sackville artists and community youth.

Zines are often ephemeral, capturing a particular time and place. They tend to be non-commercial, reproduced by photocopying, and made to add new voices to the mix of publications out in the world.

Zines can be made by anyone and cover a wide variety of subjects.

 

Image of homepage of the Virtual Companion

A Virtual Companion to All Things Useful and Artistic: Applied Arts at Mount Allison University 1906-1960

online now

This Virtual Companion accompanies the exhibition All Things Useful and Artistic: Applied Arts at Mount Allison University 1906-1960. Serving as a legacy for the exhibition, this website provides in-depth features on selected objects, behind-the-scenes documentation of the exhibition installation, video footage of conservation treatments, archival photographs and oral histories from graduates of the Applied Arts program.

The Virtual Companion is made possible through funding from the Sheila Hugh MacKay Foundation.

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