SWARM

Gallery 1C03 presents the virtual exhibition, SWARM
March 3 - April 9, 2022
https://swarm.greenhouseartlab.com/ 

Gallery 1C03 is pleased to host SWARM, an online exhibition program of the SWARM artist collective. In addition to a film screening and public discussion, SWARM includes the launch of the arc.hive, a virtual sympoetic space that holds the work of 8 artist-researchers. Through beading technologies, digital worlding, embroidery, sculpture, storytelling, poetics, sound, and performance works, artists Dallas Cant, Roewan Crowe, Lorena Sekwan Fontaine, Franchesca Hebert-Spence, Kaliesa Beasse McGillvray, Hailey Primrose, Willow Rector, and Maram Rocha, present work developed in a context of sympoiesis, or, making-with. This research-creation project, partially funded by a SSHRC Insight Development Grant, is based out of the greenhouse artlab at The University of Winnipeg.

Much like the honeybee swarms that inspired the collective’s name, SWARM considers how making and thinking practices attuned to process might function as practical strategies for becoming better humans in the Chthulucene. In particular, SWARM grapples with a turning toward – to one another, relationality and to pollinators and plants themselves – as a way of holding and caring for ecological pasts, presents, and futures in entangled relationality. In doing so, we ask what might we learn from pollinators? What might they teach us in crafting methods of ongoingness in this time of climate trouble?

Facing a global pandemic has certainly forced a shift in the collective’s working and being together, yet it has not drawn us away from our intentions: finding ways to stay with and make meaning out of the crises and devastation brought about by capitalism, colonialism, and the intertwined doctrines of oppression which uphold them. While we may not be able to gather as closely as some pollinators do, we now forge solitary pods of thinking and artmaking - turning inward then reaching out. In this way, we continue being-with the pollinators, and in a small way we feel closer to them.

SWARM is curated by Dallas Cant and Roewan Crowe, in collaboration with Jennifer Gibson at Gallery 1C03.

VISIT THE EXHIBITION
The exhibition can be viewed online at https://swarm.greenhouseartlab.com/ March 3 - April 9, 2022.

READ THE EXHIBITION BROCHURE

ONLINE EVENTS

Conversation with SWARM artists
March 10, 2022, 7:00 – 8:30 pm CT on Zoom
ASL interpretation and live captions will be available.
Event recording

Honeyland Film Screening
March 11 – 18, 2022
Presented in partnership with the Winnipeg Film Group.
Watch the film here

Watch Tamara Kotevska and Ljubomir Stefanov’s powerful 2019 film Honeyland online for free.

ARTIST BIOGRAPHIES

Dallas Cant is a white queer settler and multidisciplinary artist who has recently completed a B.A. in Women’s and Gender Studies at the University of Winnipeg. They are interested in fusing mediums of poetry, textile sculpture, videography, and smutty digital portraiture to create work which grapples with the representation of sex work and ongoing calls for decriminalization. Currently, Dallas is co-curating
SWARM with Dr. Roewan Crowe, focusing on queer and feminist methods of bringing together. Dallas’ video work has screened in spaces like PLATFORM centre for Photographic & Digital Arts, Images Festival and Gimli Film Festival.

Roewan Crowe is energized by acts of disruption and radical transformation. Born under the big skies of Saskatchewan and raised in scofflaw Alberta, Crowe left the prairies to deepen her engagement with art and feminism. After completing doctoral studies at the University of Toronto, a return to the prairies inspired art and writing centered on queer feminist reclamation practices asking questions about site-specificity, whiteness and queer settler identities. This work includes: digShift, a decolonizing and environmental reclamation project using performance and multichannel installation to explore the shifting layers of an abandoned gas station; Lifting Stone, a queer femme performance/installation creating intimate poetic encounters; and the queer Western Quivering Land , a gritty feminist meditation on the possibilities of art to reckon with the ongoing legacies of violence and colonization. As part of the artist collective, CONSTELACIONES, she traveled to the Atacama Desert in Chile to perform and create a monument, an unauthorized sound sculpture with ceramic forms created by Monica Martinez. Dr. Roewan Crowe and Dr. Helene Vosters co-edited the open access digital book, Return Atacama: Engaging Histories of Political Violence Through Performance and Durational Witnessing which assembles the many movements, reflections, and practices from this project. Her paid gig: Associate Professor in the Women’s and Gender Studies Department at the University of Winnipeg.

Lorena Sekwan Fontaine
(LL.B., LL.M., Ph.D) is Cree-Anishinabe and a member of the Sagkeeng First Nation in Manitoba, Canada. She is the Indigenous Academic Lead and an Associate Professor in the Department of Indigenous Studies at The University of Winnipeg. Her research includes Indigenous language rights, linguicide and the legacy of the residential schools. Her most recent research includes Nindibaajimomin: A Digital Storytelling Project for Children of Residential School Survivors, and most recently, the Mite Achimowin (Heart Talk) Research Project, which uses oral history and arts-based research approaches to explore culturally-rooted knowledge concerning oppressive mechanisms influencing the caring for one’s heart among First Nations women. She has also worked with the Assembly of First Nations as an advisor on Aboriginal languages for a number of years.


Franchesca Hebert-Spence
’s first engagements with art were as a maker, creating an emphasis on process and material within her curatorial praxis. She is Anishinaabe and her grandmother Marion Ida Spence was from Sagkeeng First Nation, on Lake Winnipeg, Manitoba. Kinship and its responsibilities direct the engagement she maintains within her community as well as her understanding of how institutions move and breathe. The foundation of this practice stems from Ishkabatens Waasa Gaa Inaabateg, Brandon University Visual and Aboriginal Arts program. She has begun as a PhD student in Cultural Mediations (Visual Culture) at Carleton University, as a Fellow on the Morrisseau Project under Dr. Carmen Robertson. She is an Independent Curator and was previously an Adjunct Curator, Indigenous art, at the Art Gallery of Alberta, and a Curatorial Assistant within the Indigenous Art Department at the National Gallery of Canada.


Kaliesa Beasse McGillvray
is a Scottish/Métis multidisciplinary artist and student pursuing a B.A. in Religion & Culture at the University of Winnipeg. Her art practice is informed by her ancestry and the act of remembering through embodied labour. She is interested in beadwork, painting, and video, where small fragments hold webs of memories and histories. Currently, Kaliesa is a research assistant for the greenhouse artlab and collective SWARM, learning through research-creation methods invested in nurturing earth’s complex kinship systems. She is focused on an on-going project where she creates varying species of bees with beads as gifts for members of her metaphorical hive.


Hailey Primrose
is a Queer/Métis artist, musician and feminist thinker whose ancestral homelands are shared between the Red River Settlement and One Arrow First Nation. She has spent her life exploring various art forms including illustration, collage, multimedia and primarily resonates with singing (nikamowin). Currently she is working on a contribution to SWARM with Dr. Lorena Sekwan Fontaine (University of Winnipeg). Together they will be exploring connections between bee ecology, kinship, and Indigenous language resurgence. She is also pursuing a BA in Women's & Gender Studies with a minor in Indigenous Studies at the University of Winnipeg.


Willow Rector
(B.A. Hons, M.A.) is a land-based, multimedia artist whose practice fuels interplay between archival research and acts of artistic creation by blending scholarly training in 18th century women’s writing and romanticism with the artistic disciplines of hand embroidery, photography, and drawing. Deepening her understanding of the various ecologies in which she lives is a foundational influence of Rector’s visual art practice. Specifically, her research, reflection, and creative output has explored the parallels between the treatment of plants and women artists in colonialist, patriarchal societies (Handing on History 2006-12); the complex dynamics of human/ non-human relationships (TRAPPED 2012-present); and, most recently, the ways in which economics of acquisition have contributed to the demise of indigenous flora as well as the elaborate herbaria that were created to preserve them (Mysterious Specimen 2018; Private Musings: The Journal of Eleanor Cripps Kennedy 2019; Wild: The Paintings of Linda Fairfield Stechesen 2019; Lost Gardens 2019-present). Rector’s work has been highlighted in solo exhibitions in Manitoba and the Yukon, and she has participated in group exhibitions across Canada. She has received grants from the Manitoba Arts Council and the Winnipeg Arts Council.


Maram Rocha
is a queer academic alchemist, and research assistant to Dr. Pauline Greenhill, as well as the greenhouse artlab/ SWARM collective (under supervision of Dr. Roewan Crowe) at The University of Winnipeg. He came from Brazil with his spouse, mostly due to the extreme anti-diversity political climate in their home country. With a former BSc degree in Biological Sciences, his interests shifted into Psychology and Gender Studies, as he participated in activist collectives at the University of Sao Paulo. Now a student and research assistant at UW, he is interested in investigating narratives through Textual Analysis, especially concerning popular culture.


ACKNOWLEDGMENTS
Gallery 1C03 is on Treaty 1 Territory. We are located on the territories of the Anishinaabeg, Cree, Oji-Cree, Dakota and Dene peoples, and the homeland of the Métis Nation. Our water is sourced from Shoal Lake 40 First Nation.