#Manitoba Crafts Museum

[charliecraftsthings]

Last month, I applied to sell work at the Manitoba Crafts Museum and Library (Centre for Craft) museum shop! This was my first time applying as a vendor, and I was pleasantly surprised at how well it went! The centre accepted eight of my pieces to sell in the shop!

You can find my work under the "Textiles" section, or by searching for "Charlie" :)

(Note: I did not take these product photos.)

[dennis3dots]

Crochet bread cloth from the French-Canadian community in Manitoba - Manitoba Crafts Museum and Library_

[cursed-and-haunted]

It's in Manitoba Canada so there's probably some terrain/biome differences but if you can look up research papers you might be interested in looking for one on the Whiteshell Nuclear Research Establishment Field Irradiator Gamma (FIG) experiment.

It ran from 1973-86 and they fenced off a 1km area and irradiated it. FIG was mostly to see how the plants reacted to long term radiation (death, mutation, etc) I believe raspberries were one of the few plants that survived the best.

I believe they were also doing some experiments with nuclear waste storage, nuclear batteries, and something about irradiating field voles, but I know the most about FIG since I came in contact with it

(I love telling ppl that "In high school I came in contact with a since shut down nuclear experiment from the 70s" BC it sounds so much scarier than "yeah, so the nuc lab did this experiment and later shipped the loose leaves to the museum and as a volunteer I got to glue them on to paper")

Interesting I wil definitely look into it. Thanks for the recommendation.

The nuclear facility in my hometown was owned by Lockheed Martin and with the help of the US air force they used the facility to test the viability of nuclear powered air crafts. So they ran experiments determining the effects of radiation on both organic life and non-organic materials (fun fact: radiation makes rubber tires melt or turn to stone). They cleared out 15 square miles of forest for testing. This went on from 1958-1971 then Lockheed sold the land to the government now it's part of the state parks. I've grown up always hearing about this and rumors of two-headed deer and such. It's fascinating stuff

[iamliyv]

A white crocheted breadbasket liner made by Kathleen M. McKechnie. Photo: Manitoba Crafts Museum and Library 3298.00

[towncarrentals]

Exploring Winnipeg with Town Car Rental

Introduction:

Winnipeg, the capital of Manitoba, is a vibrant city filled with cultural attractions, picturesque landscapes, and bustling urban life. Whether you're a local looking for a convenient transportation solution or a visitor eager to explore all that Winnipeg has to offer, renting a car can be the key to unlocking the city's wonders.

 In this guide, we delve into the options available for car rental in Winnipeg, with a spotlight on Town Car Rental – your trusted partner for seamless and affordable transportation solutions.

Why Renting a Car in Winnipeg Makes Sense:

Winnipeg is a city with diverse neighborhoods, each offering unique experiences. From the historic Exchange District to the scenic Assiniboine Park, having access to a reliable mode of transportation can significantly enhance your exploration of the city. While public transportation is available, it may not always offer the flexibility and convenience that a rented car provides. With a rental car, you have the freedom to chart your own course, explore hidden gems off the beaten path, and make the most of your time in Winnipeg.

Introducing Town Car Rental:

Among the many car rental options in Winnipeg, Town Car Rental stands out as a reliable and customer-centric choice. With a fleet of well-maintained vehicles ranging from compact cars to spacious SUVs, Town Car Rental caters to diverse needs and preferences. Whether you're traveling solo, with family, or in a group, you can find the perfect vehicle to suit your requirements at Town Car Rental.

Convenience and Accessibility:

Convenience is key when it comes to car rental, and Town Car Rental excels in this aspect. With multiple locations conveniently situated throughout Winnipeg, including at the airport and downtown area, picking up and dropping off your rental car is a hassle-free experience. Additionally, Town Car Rental offers online booking options, allowing you to reserve your vehicle in advance from the comfort of your home or office.

Affordability Without Compromise:

While renting a car offers undeniable convenience, affordability is also a crucial factor for many travelers. At Town Car Rental, competitive pricing meets exceptional service, ensuring that you get the best value for your money. With transparent pricing and no hidden fees, you can enjoy peace of mind knowing that you're getting a great deal on your rental car. Furthermore, Town Car Rental frequently offers promotions and discounts, making your Winnipeg adventure even more budget-friendly.

Customer Satisfaction Guaranteed:

Town Car Rental takes pride in providing top-notch customer service to every client. From the moment you book your rental car to the time you return it, you can expect personalized attention and support from the dedicated team at Town Car Rental. Whether you need assistance choosing the right vehicle for your needs or require guidance on navigating Winnipeg's roads, their friendly staff are always ready to assist you.

Exploring Winnipeg with Town Car Rental:

With your rental car from Town Car Rental, the possibilities for exploration in Winnipeg are endless. Start your journey by discovering the city's cultural landmarks, such as the Canadian Museum for Human Rights and the Manitoba Museum. Then, venture into nature with a visit to Assiniboine Park, where you can explore lush gardens, encounter wildlife at the zoo, and stroll along scenic pathways.

For those seeking a taste of Winnipeg's culinary scene, your rental car provides easy access to an array of restaurants, cafes, and food markets serving up delicious local fare. From traditional Ukrainian pierogies to innovative fusion cuisine, Winnipeg offers something to satisfy every palate.

As the day turns to night, use your rental car to experience Winnipeg's vibrant nightlife. Whether you're into live music, craft cocktails, or cozy pubs, there's no shortage of entertainment options to discover. With your trusted rental car from Town Car Rental, you can explore Winnipeg's diverse neighborhoods at your own pace, creating memories that will last a lifetime.

In Conclusion:

Renting a car in Winnipeg opens up a world of possibilities, allowing you to explore the city and its surroundings with ease and flexibility. With Town Car Rental as your trusted partner, you can enjoy a seamless rental experience from start to finish, with convenience, affordability, and customer satisfaction guaranteed. So why wait? Book your rental car today and embark on an unforgettable adventure in the heart of Canada's prairies.

Whether you're a local resident in need of temporary wheels or a visitor eager to explore Winnipeg's offerings, renting a car from Town Car Rental is the smart choice for convenient and affordable transportation. With their diverse fleet, convenient locations, and commitment to customer satisfaction, Town Car Rental ensures that your Winnipeg adventure is smooth, enjoyable, and memorable.

[lookatmethere]

Crochet bread cloth from the French-Canadian community in Manitoba, Manitoba Crafts Museum and Library

[piizunn]

some UK vintage shop has a jacket from the 1850s from the Red River settlement that either has Métis or Anishinaabe beadwork on it and i’ve been trying to get into contact with them because me and my friends think we know where it’s from (The Brokenhead community, now classified as nish but was very Métis in the 1850s) and the vintage shop is IGNORING MEEEEE. they’re liking comments suggesting random museums not even in manitoba.

i suggested the Manitoba Métis Federation and the Manitoba Craft Museum and Library, i’m not the biggest fan of the MMF politically but they have nice temp controlled facilities to hold our cultural objects.

[umabloomer]

Crochet bread cloth from the French-Canadian community in Manitoba, Manitoba Crafts Museum and Library

[warmandwild]

Crochet bread cover from the French-Canadian community in Manitoba, Manitoba Crafts Museum and Library

[rozieramati]

Crochet bread cover from the French-Canadian community in Manitoba, Manitoba Crafts Museum and Library

[greatworldwar2]

• Fu-Go Balloon Bomb

A Fu-Go, or fire balloon (風船爆弾, fūsen bakudan, lit. "balloon bomb"), was a weapon launched by Japan during World War II.

The fūsen bakudan campaign was the most earnest of the attacks. The concept was the brainchild of the Imperial Japanese Army's Ninth Army's Number Nine Research Laboratory, under Major General Sueyoshi Kusaba, with work performed by Technical Major Teiji Takada and his colleagues. The balloons were intended to make use of a strong current of winter air that the Japanese had discovered flowing at high altitude and speed over their country, which later became known as the jet stream. The jet stream reported by Wasaburo Oishi blew at altitudes above 30,000 ft (9.1 km) and could carry a large balloon across the Pacific in three days, over a distance of more than 5,000 miles (8,000 km). Such balloons could carry incendiary and high-explosive bombs to the United States and drop them there to kill people, destroy buildings, and start forest fires. The preparations were lengthy because the technological problems were acute. A hydrogen balloon expands when warmed by the sunlight, and rises; then it contracts when cooled at night, and descends. The engineers devised a control system driven by an altimeter to discard ballast. When the balloon descended below 30,000 ft (9.1 km), it electrically fired a charge to cut loose sandbags. The sandbags were carried on a cast-aluminium four-spoked wheel and discarded two at a time to keep the wheel balanced. Similarly, when the balloon rose above about 38,000 feet (12 km), the altimeter activated a valve to vent hydrogen. The hydrogen was also vented if the balloon's pressure reached a critical level.

The control system ran the balloon through three days of flight. By that time, it was likely over the U.S., and its ballast was expended. The final flash of gunpowder released the bombs, also carried on the wheel, and lit a 64 feet (20 meters) long fuse that hung from the balloon's equator. After 84 minutes, the fuse fired a flash bomb that destroyed the balloon. The balloon had to carry about 1,001 pounds (454 kg) of gear. At first the balloons were made of conventional rubberized silk, but improved envelopes had less leakage. An order went out for ten thousand balloons made of "washi", a paper derived from mulberry bushes that was impermeable and very tough. It was only available in squares about the size of a road map, so it was glued together in three or four laminations using edible konnyaku (devil's tongue) paste – though hungry workers stealing the paste for food created some problems. Many workers were nimble-fingered teenaged school girls.

The bombs most commonly carried by the balloons were, Type 92 33-pound (15 kg) high-explosive bomb consisting of 9.5 pounds (4.3 kg) picric acid or TNT surrounded by 26 steel rings within a steel casing 4 inches (10 cm) in diameter and 14.5 inches (37 cm) long and welded to a 11-inch (28 cm) tail fin assembly. Type 97 26-pound (12 kg) thermite incendiary bomb using the Type 92 bomb casing and fin assembly containing 11 ounces (310 g) of gunpowder and three 3.3-pound (1.5 kg) magnesium containers of thermite. 11-pound (5.0 kg) thermite incendiary bomb consisting of a 3.75-inch (9.5 cm) steel tube 15.75 inches (40.0 cm) long containing thermite with an ignition charge of magnesium, potassium nitrate and barium peroxide.

A balloon launch organization of three battalions was formed. The first battalion included headquarters and three squadrons totaling 1,500 men in Ibaraki Prefecture with nine launch stations at Ōtsu. The second battalion of 700 men in three squadrons operated six launch stations at Ichinomiya, Chiba; and the third battalion of 600 men in two squadrons operated six launch stations at Nakoso in Fukushima Prefecture. The Ōtsu site included hydrogen gas generating facilities, but the 2nd and 3rd battalion launch sites used hydrogen manufactured elsewhere. The best time to launch was just after the passing of a high-pressure front, and wind conditions were most suitable for several hours prior to the onshore breezes at sunrise. The combined launch capacity of all three battalions was about 200 balloons per day. Initial tests took place in September 1944 and proved satisfactory; however, before preparations were complete, United States Army Air Forces B-29 Superfortress planes began bombing the Japanese home islands. The attacks were somewhat ineffectual at first but still fueled the desire for revenge sparked by the Doolittle Raid. The first balloon was released on November 3rd, 1944. The Japanese chose to launch the campaign in November; because the period of maximum jet stream velocity is November through March. This limited the chance of the incendiary bombs causing forest fires, as that time of year produces the maximum North American Pacific coastal precipitation, and forests were generally snow-covered or too damp to catch fire easily. On November 4th, 1944, a United States Navy patrol craft discovered one of the first radiosonde balloons floating off San Pedro, Los Angeles. National and state agencies were placed on heightened alert status when balloons were found in Wyoming and Montana before the end of November.

The balloons continued to arrive in Alaska, Hawaii, Oregon, Kansas, Iowa, Washington, Idaho, South Dakota, and Nevada (including one that landed near Yerington that was discovered by cowboys who cut it up and used it as a hay tarp. Balloons were discovered as well in Canada in British Columbia, Saskatchewan, Manitoba, Alberta, the Yukon, and Northwest Territories. Army Air Forces or Navy fighters scrambled to intercept the balloons, but they had little success; the balloons flew very high and surprisingly fast, and fighters destroyed fewer than 20. American authorities concluded the greatest danger from these balloons would be wildfires in the Pacific coastal forests. The Fourth Air Force, Western Defense Command, and Ninth Service Command organized the Firefly Project of 2,700 troops, including 200 paratroopers of the 555th Parachute Infantry Battalion with Stinson L-5 Sentinel and Douglas C-47 Skytrain aircraft. These men were stationed at critical points for use in fire-fighting missions. The 555th suffered one fatality and 22 injuries fighting fires. Through Firefly, the military used the United States Forest Service as a proxy agency to combat FuGo. Due to limited wartime fire suppression personnel, Firefly relied upon the 555th as well as conscientious objectors.

By early 1945, Americans were becoming aware that something strange was going on. Balloons had been sighted and explosions heard, from California to Alaska. Something that appeared to witnesses to be like a parachute descended over Thermopolis, Wyoming. A fragmentation bomb exploded, and shrapnel was found around the crater. On March 10th, 1945, one of the last paper balloons descended in the vicinity of the Manhattan Project's production facility at the Hanford Site. This balloon caused a short circuit in the power lines supplying electricity for the nuclear reactor cooling pumps, but backup safety devices restored power almost immediately. Japanese propaganda broadcasts announced great fires and an American public in panic, declaring casualties in the thousands. With no evidence of any effect, General Kusaba was ordered to cease operations in April 1945, believing that the mission had been a total fiasco. The expense was large, and in the meantime the B-29s had destroyed two of the three hydrogen plants needed by the project. On May 5th, 1945, a pregnant woman and five children were killed when they discovered a balloon bomb that had landed in the forest of Gearhart Mountain in Southern Oregon. Military personnel arrived on the scene within hours, and saw that the balloon still had snow underneath it, while the surrounding area did not. They concluded that the balloon bomb had drifted to the ground several weeks earlier, and had lain there undisturbed until found by the group.

The remains of balloons continued to be discovered after the war. Eight were found in the 1940s, three in the 1950s, and two in the 1960s. In 1978, a ballast ring, fuses, and barometers were found near Agness, Oregon, and are now part of the collection of the Coos Historical & Maritime Museum. The Japanese balloon attacks on North America were at that time the longest ranged attacks ever conducted in the history of warfare, a record which was not broken until the 1982 Operation Black Buck raids during the Falkland Islands War.

[hanna-rousseau]

{ B A S I C S }

LEGAL NAME: Hanna Rousseau Hazelton

ALIAS: Unknown

GENDER / PRONOUNS: Demi-Woman / She/Her or They/Them

AGE: 36 years old

DOB: November 1st, 1984

PLACE OF BIRTH: Winnipeg, Manitoba, Canada

NATIONALITY: Canadian

ETHNICITY: Métis, Saulteaux-Cree, Chinese, and British

OCCUPATION: Museum Curator Currently unemployed;seeking employment

LANGUAGES: English, Michif, Cree (conversational), French (conversational), ASL (elementary proficiency)

RELIGION: Agnostic

ORIENTATION: Pansexual

DRINK | SMOKE | DRUGS: YES | NO | NO

{ P H Y S I C A L  A T T R I B U T E S }

HAIR COLOR: Black

EYE COLOR: Brown

HEIGHT: 5′-9″

WEIGHT: 134 lbs

TATTOOS: A sparrow on her right shoulder for her daughter, Mira

SCARS: A scar on her left arm from a fight

{ P E R S O N A L I T Y }

TRAITS:

+ thoughtful, modest, steady, serious, caring

- secretive, short temper, cunning, pedantic

MBTI: ESTJ

ALIGNMENT: Lawful Neutral/True Neutral

LIKES: Tea, cats, exploring, hikes, reading, spending time with Mira, witchcraft, being on the water

DISLIKES: Coffee, small talk, arrogance, her father, losing control of her abilities, hot weather

GOALS/DREAMS: Getting her daughter back and moving back to Canada, gaining Alex’s trust again and get him back, meeting someone new (?), teach her daughter about witchcraft

FEARS: Losing her sister, losing her daughter, losing her witch abilities, meeting her father

{ R E L A T I O N S H I P S }

Sara Rousseau (mother) - 61 - Alive

Unknown (father) - ## - Unknown

Unknown (adopted/half-sister) - ## - Alive;Estranged

Theresa Rousseau (grandmother) - 86 - Deceased

Alex Hazelton (ex-husband) - 37 - Alive;Estranged

Mira Hazelton (daughter) - 6 - Alive;Estranged

{ B I O G R A P H Y }

trigger/content warnings: death (suspected murder of Hanna’s grandmother), divorce

Hanna Rousseau was born to Sara Rousseau and was part of her mother and grandmother’s small coven. She never knew her father, but her mother said he was also a witch who was living in their town at the time before he up and left. 

Hanna was made aware of her witch abilities from a young age and taught how to use her powers as soon as they appeared. She had an exceptional affinity for witchcraft and caught on quickly with learning the craft. 

When Hanna was young, her mother and grandmother struggled with money as their store didn’t always do well. In their store, they often collected supernatural artifacts and either kept them or returned them to their rightful owners. 

In order to make ends meet, her mother and grandmother would sometimes do special magical favors for people. They would use their abilities to enchant items, create potions, create new identities for people, and even find ways to get winning lottery tickets for people. 

Once Hanna grew up, she chose to go to college far away from home, wanting to learn more about the world and experience it. She went to college and then traveled the world after getting her degree. After that, she realized that she wanted to be a museum curator and find artifacts for exhibits. 

She eventually went to Nova Pangea and landed herself in Astoria while looking for items for an exhibit. It was there that she met Alex Hazelton, a professor at the university nearby. Immediately, they hit it off and Hanna ended up staying in Astoria where they eventually married. 

A few years later, she gave birth to her daughter, Mira. Her mother and grandmother liked Alex, but were never particularly thrilled that he wasn’t a witch and Mira would only ever have abstract powers. Still, they loved Mira and stayed in touch with Hanna. 

About two years ago, Hanna’s mother contacted her to let her know that her grandmother died under possibly suspicious circumstances. However, there was never enough evidence for a case to be opened. Hanna mourned her grandmother but also never saw any reason to believe that her grandmother died under any other circumstances other than old age. 

It wasn’t until Hanna was attacked by an old enemy that she realized that there was probably some truth to what her mother said. She disappeared that night, returning home to Winnipeg to protect her mother and the rest of her coven from the enemies that surrounded them. 

She never told Alex about her former life, although he knew she was a witch. She also chose not to tell him about the enemies that were attacking her. This way, he’d stay safe in Astoria with their daughter and her enemies would never find them. 

But, the longer she stayed with her coven, the less she told Alex and eventually, she decided that there was no way she could be with a mortal human. So, she called him to tell him to stop looking for her and to sign the divorce papers she sent over. 

Fast forward to present day, Hanna has returned to Astoria to get her daughter, Mira, back into her life. She wants to take her daughter back home to Winnipeg to raise her with the rest of her coven just as she was raised so she could learn about being a witch and how to use her abilities. 

[rabbitcruiser]

Public Art, Toronto (No. 8)

Unveiled following the Glenn Gould Gathering, an international symposium of Gould’s devotees, musicologists and scholars. Commissioned by Glenn Gould Foundation. Based on an original photo by Don Hunstein CBC, Front Street, Toronto. Gould was a master at crafting his public image so this portrait replicates a small photo taken by Columbia Records photographer, Don Hunstein. Seated on a plank park bench, Glenn presents himself in an enigmatic pose. Outside his namesake studio he engages Torontonians and throngs of sports fans from the Rogers Centre across the street.

Ruth Abernethy was born in Lindsay Ontario, into an artful, inventive and musical family and an unusual upbringing on a truly ‘mixed’ farm.

Hired for professional theatre at age 17, she subsequently studied at Malaspina College (University) in Nanaimo, British Columbia. At age 21, Ruth was Head of Props at the Royal Manitoba Theatre Centre (MB) and joined the Stratford Festival (ON) where she received an unsolicited Guthrie Award in 1981. Ruth has worked with most of Canada’s regional theatres, the Louisville (US) and National Ballets (CAN), executing and managing work for renowned international designers. She received Canada Council support for pursuing arts explorations in Japan and Europe in 1985.

Ruth designed an off-the-grid home, launched her solo art practice and was offered studio sessions with actor/artist Anthony Quinn following her first bronze commission in 1996. Her refined method of mapping and carving figures led to the commissioning of ‘Glenn’ (Gould) at CBC, Toronto in 1999, the first of numerous distinctive public portraits including Mackenzie King, John Hirsch and Arnold Palmer. A bronze portrait of Al Waxman was acquired for the National Portrait Collection, 2003 and her figure portrait of Oscar Peterson was unveiled by Queen Elizabeth II in 2010.

Ruth’s sculptures have been juried into exhibitions in the United States. She was shortlisted for a large public bronze in Chandler, Arizona (2001). She was the first Canadian artist to exhibit with Sculpture in Context, Dublin, Ireland (2007), also with Sculpture-by-the-Sea in Sydney, Australia (2004). For this, she was awarded a bursary from the Canadian Consulate in Sydney. She was invited for a return to the Casuarina Sculpture Walk in Australia in 2006. The only Canadian short-listed artist in the Beijing Olympic Sculpture contest, Ruth was also awarded an Award of Excellence. Her submission was included in an international exhibit, touring Europe, US and London UK prior to the opening of the 2008 games. Her sculptures have been placed municipally, regionally and nationally and she’s been awarded numerous private commissions. In addition to portraiture, Ruth’s studio works combine textiles, hand-made lace and stainless steel. Pieces from The Canadiana Collection were selected for the Canadiana State Collection for exhibition in Ottawa’s official residences, two works were exhibited in New York State with Crossing Borders, and five sculptures from the group were acquired by the Royal Ontario Museum in 2009.

Each studio work evolves from a conceptual conversation, within which, countering ideas are distilled to potent, well-structured forms. The process of creation is fundamentally abstracted, even if the resultant sculpture is perceived as a literal rendering. With great regard for the public audience, Ruth encompasses studied regard for playful thought and timeless paradoxes, seeking to create moments of personal encounter that linger in the imagination.

Ruth divides her time between studios in Wellesley ON and Vancouver BC.

Source

[robinsoncenter]

[Qsc_asuw] Week 9 Newsletter

Welcome to Week Nine! <3 

QTBIPOC Artist        Spotlight of the Week: 

Gabriella Grimes is a 23 year old        queer artist from New York City. Under the handle ggggrimes, their work        focuses on portraying people of color, many of whom are queer. One of        ggggrimes’ goals is challenging common perceptions of race, gender, and        sexuality in the western world. They want their viewers to question        society’s rigid views of the gender binary, and why individuals expect        artists to adhere to this binary.

ggggrimes is inspired by queer        predecessors and current activists to help young queer people        understand that they’re valid and their existence is important.        Similarly, they acknowledge the humanity of people of color in their        artwork, showing them hurting, healing, and simply living happily.        Buy their art here! 

The Queer & Trans People of        Color Alliance (QTPOCA) will be        meeting this Friday in the ECC Asian room! 

The SEED Scholarship is due this Friday, March 8th!      

This             scholarship is open to any undocumented student who will be             attending UW during the 2019-2020 academic year. The application             will close on March 8th, 2019 at 11:59 PM. If you have any             questions please email asuwraza@uw.edu       

Here is the application link:         http://tinyurl.com/Seedscholarship2019

               MESC & SARVA        #MeToo in the Middle East        (Tuesday, March 5,        2019) 4 PM - 5 PM @ Husky Union Building Room        340     

Join             Menosh, a Clinical Social Worker, Mental Health Therapist, and the             previous Director of the Sexual Assault and Relationship Violence             Activists. We will be having a warm and intimate discussion with             other Middle Eastern and Muslim women about issues relating to #MeToo.       

ACCESSIBILITY INFORMATION:       

Event             venue is mobility aid accessible, the HUB’s front entrance is             wheelchair accessible.

        An             all-genders restroom can be found on the 3rd floor, down the             hallway from the Q Center. Gender binary bathrooms with multiple             stalls can be found on each floor of the HUB.

        The             Husky Union Building is near landmarks such as Allen Library,             Padelford and Sieg. For a map, search HUB on the campus             maps: http://www.washington.edu/maps/.

        The             HUB is not kept scent-free, but we ask that you do not wear scented/fragranced             products (e.g. perfume, hair products) or essential oils to/in the             event in order to make the space accessible to those with chemical             injury or multiple chemical sensitivity.

Alchemy Poetry        featuring Ben Yisrael and Ebo Barton

(Tuesday, March 5, 2019) 7 PM -        8:00 PM @ Alchemy Poetry 

1408 E Pike        Street, Seattle, Washington 98122                Join us at Lovecitylove for our 5th installment of the series on        Tuesday, March 5th, 2019        featuring Ben Yisrael and Ebo Barton!

Alchemy is a curated performance art space that elevates        voices that are often silenced. Performers in our community focus on        the brilliance of storytelling by offering personal stories and        reflections that are socially relevant. We are powerful artists and our        space allows our audience to witness the craft at its highest form. We        believe that art is a divine power to create community.                $5 Admission        ALL AGES        Limited        Showcase Mic Spots                Every first, third and sometimes fifth Tuesday of the month        at 7pm, we call on two featured performers and a showcase mic at        Lovecitylove.                ACCESSIBILITY        INFORMATION:       

Entry             door to LoveCityLove is at least 32 inches wide

        Restroom             is single stall. 

        There             is a grab bar installed in this restroom, clearance measures             TBD. 

        There             are 2 couches, and 20 folding chairs available in the space. We             ask that the audience prioritize folks that need to be seated             during the show. 

        Parking             is paid street parking, or there is a paid lot on the east side of             the building. 

        We             are located near bus routes 11,12, and 2 and 0.4 miles away from             the Broadway and Pike Streetcar stop

         Dean Spade: Fighting to Win! Critical Queer & Trans Politics in Scary Times        (Tuesday, March 5,        2019) 6 PM - 7:30 PM @ Washington State History Museum        1911 Pacific Ave, Tacoma, Washington 98402      

Join             us to hear Dean Spade - trans activist, writer and teacher -             discuss trans liberation. For more information, please call (253)             383-2318.       

ACCESSIBILITY        INFORMATION:        The Washington State History Museum is wheelchair accessible.

The _ Monologues Art        Festival Auditions, All Art Forms Welcome!        (Thursday, March 7,        2019) 12 PM - 7 PM @ ASUW Womxn's Action Commission Office                AN OPEN CALL FOR STORIES, TRUTHS, AND VOICES IN ALL ART FORMS as a part        of the production previously known the Vagina Monologues, which this        year we proudly present as: The Monologues Art Festival!     

Please             go to our website to fill this form for participating in the             auditions or submitting the different art forms: http://women.asuw.org/

        Join             us on March 7th and 8th, any time between 12:00 pm - 7:00 pm to             share with the Womxn's Action Commission your spoken poetry and             artistic talents, so you can be part of this year's The __             Monologues Art Festival!     

About The __ Monologues Art Festival:                - It will take place on April 15th, 16th and 19th at the Intellectual        House, and it will consist of a production that centers the experiences        of womxn, trans*, gender non-conforming and genderqueer folks through        two nights of spoken poetry/Monologues, and one final night (the art        festival!) where all art forms will be displayed in a gallery/show        event. - The festival will also include artisan vendors from local        communities!                - It doesn't matter if your work is still in progress, if you have        never done this before... this is a supportive space where your        stories, creative processes and truths will be honored, and where you        will have the chance to meet other artists and build future projects        with them.                About the Audition Process:                The Womxn's Action Commission team members will be at our office with        welcoming beverages and a supportive environment: Here, you can share        with us your spoken work/monologue work, as well as share your other        art forms.                - We will notify you of the next steps during the following week, and        schedule 101 meetings with each participant, so we can start walking        through the event.                - Our audition/art submission form is coming very soon! so please keep        an eye on this page and submit your responses as soon as possible.

       The 2nd Annual Lee        Scheingold Lecture in Poetry and Poetics @ Walker Ames Room (Kane Hall) Kane 225        Red Square (University Of Washington), Seattle, Washington 98105        (Thursday March        7, 2019) 5:30 - 8:45 PM)         

The Lee Scheingold Lecture in        Poetry and Poetics is thrilled to welcome Dr. Leanne Betasamosake        Simpson and Dr. Alexis Pauline Gumbs to the University of Washington on        Thursday, March 7, 2019. A reception will be held from 5:30-6:30 in the        Walker-Ames Room in Kane Hall. From 7:00-8:15, Dr. Simpson and Dr.        Gumbs will each share a short talk on poetry, poetics, and social        justice, and then will be in conversation in Room 220 in Kane Hall. A        book signing will follow. This lecture is hosted by the UW English        Department and is made possible through the generous support of Lee        Scheingold. Free and open to the public.

         Leanne              Betasamosake Simpson is a renowned Michi Saagiig Nishnaabeg              scholar, writer and artist, who has been widely recognized as one              of the most compelling Indigenous voices of her generation. Her              work breaks open the intersections between politics, story and              song—bringing audiences into a rich and layered world of sound,              light, and sovereign creativity.

         Working              for over a decade as an independent scholar using Nishnaabeg              intellectual practices, Leanne has lectured and taught              extensively at universities across Canada and has twenty years              experience with Indigenous land based education. She holds a PhD              from the University of Manitoba, is currently a Distinguished              Visiting Scholar in the Faculty of Arts at Ryerson University and              faculty at the Dechinta Centre for Research & Learning in              Denendeh. Leanne's books are regularly used in courses across              Canada and the United States including Dancing on Our Turtle’s              Back, The Gift Is in the Making, Lighting the Eighth Fire              (editor), This Is An Honour Song (editor with Kiera Ladner) and              The Winter We Danced (Kino-nda-niimi editorial collective). Her              latest book, As We Have Always Done: Indigenous Freedom Through              Radical Resistance was published by the University of Minnesota              Press in the fall of 2017, and was awarded Best Subsequent Book              by the Native American and Indigenous Studies Association. https://www.leannesimpson.ca/

As              an educator, Alexis Pauline Gumbs walks in the legacy of Black              lady school teachers in post-slavery communities who offered              sacred educational space to the intergenerational newly free in              exchange for the random necessities of life. She honors the lives              and creative works of Black feminist geniuses as sacred texts for              all people. She believes that in the time we live in access to              the intersectional, holistic brilliance of the Black feminist              tradition is as crucial as learning how to read. She brings that              approach to her work as the provost of the Eternal Summer of the              Black Feminist Mind, a transmedia- enabled community school (aka              tiny black feminist university) and lending library based in              Durham, North Carolina.

         A              queer black troublemaker, a black feminist love evangelist and a              prayer poet priestess, Alexis has a PhD in English, African and              African-American Studies, and Women and Gender Studies from Duke              University. She was the first scholar to research the Audre Lorde              Papers at Spelman College, the June Jordan Papers at Harvard              University, and the Lucille Clifton Papers at Emory University              during her dissertation research.

         She              is the author of Spill: Scenes of Black Feminist Fugitivity, also              published by Duke University Press; coeditor of Revolutionary              Mothering: Love on the Front Lines; and the founder and director              of Eternal Summer of the Black Feminist Mind, an educational              program based in Durham, North Carolina. Following the innovative              collection Spill, Alexis Pauline Gumbs's M Archive—the second              book in a planned experimental triptych—is a series of poetic              artifacts that speculatively documents the persistence of Black              life following a worldwide cataclysm. Engaging with the work of              the foundational Black feminist theorist M. Jacqui Alexander, and              following the trajectory of Gumbs's acclaimed visionary fiction              short story “Evidence,” M Archive is told from the perspective of              a future researcher who uncovers evidence of the conditions of              late capitalism, antiblackness, and environmental crisis while              examining possibilities of being that exceed the human. http://alexispauline.com

ACCESSIBILITY        INFORMATION:   

Restrooms: The              most accessible restrooms are on the basement floor.

         Seating: Wheelchair              seating is available at the front of each auditorium.

         For              mapped and numbered ADA access information: https://www.washington.edu/admin/ada/kane.php

         Parking: The              Central Plaza Garage (underground) is closest, has wheelchair and              disability parking on all levels. Use Kane elevator #168.

         Dial-A-Ride: Stop              #17 is located at the ride shelter at intersection of George              Washington Lane and Memorial Way, and is uphill from Kane Hall.

Winter Quarter        Social Justice Film Series        (Wednesday, March 6,        2019) 6:30 PM       

The             Kelly ECC is back with another social justice film series for             winter quarter!

        Each             Wednesday evening at 6:30, we'll be screening a film in the main             lobby! We hope to see you there!       

February's Focus: Black History        Month        March's Focus: Women's History Month        ------        FILM LINE-UP:        • March 6: Ladies First        • March 13: Neerja                ACCESSIBILITY        INFORMATION:        

The             Samuel E. Kelly Ethnic Cultural Center is near landmarks such as             Alder Hall and Lander Hall.

        For             a map, search HUB on the campus maps: www.washington.edu/maps

        The             ECC’s front entrance is wheelchair accessible. There is an             elevator in the building.

        There             are universal, all-gender bathrooms in the building, as well as             gender binary bathrooms with multiple stalls.

        The             ECC is not kept scent-free, but we ask that you do not wear             scented/fragranced products (e.g. perfume, hair products) or             essential oils to/in the event in order to make the space             accessible to those with chemical injury or multiple chemical             sensitivity.      

University District Metro Bus        Routes can be found here: metro.kingcounty.gov/tops/bus/neighborhoods/university_district.html

The In-Between Tour        with DANakaDAN and Mike Bow        (Wednesday, March 6,        2019) 7 PM - 9 PM @ Hub Lyceum        Seattle, Washington 98195       

Ever             feel like you're not Asian enough? Not American enough? Join             Youtube rapper DANakaDAN and actor Mike Bow for a hip hop style             concert celebrating the feeling of being stuck between two             identities.

Free general admission. Interested in VIP meet and greet        tickets? Email asuwasc@uw.edu        or register for VIP tickets!

ACCESSIBILITY        INFORMATION:       

The             Husky Union Building is near landmarks such as Allen Library,             Padelford and Sieg. For a map, search HUB on the campus             maps: http://www.washington.edu/maps/.The             HUB’s front entrance is wheelchair accessible and the common area             is to the right of the main desk.

        An             all-genders restroom can be found at the 3rd floor, down the             hallway from the Q Center. Gender binary bathrooms with multiple             stalls can be found on each floor of the HUB.

Indigenous and Women of Color Rise (Friday, March 8        2019) 7 PM - 10 PM @ The Seattle Public Library        Central Library, 1000 4th Ave, Seattle, Washington 98104     

As             our world burns, injustice festers around the globe. Patriarchy,             racism, and capitalism are bringing us to ruin. In the face of             this brutality, we need to elevate voices from the grassroots. And             not just any voices. We need radical voices that take no             prisoners, that speak the truth, that rip down the fantasies of             the powerful and inspire us to fight like our lives depend on it.

        On             March 8th, 2019 (International Women's Day), an event will be held             featuring two of these powerful voices: Dominique Christina, the             author of four books and the only person to EVER become a two-time             world champion in slam poetry, and Cherry Smiley, warrior hero,             feminist activist, scholar, and artist from the Nlaka'pamux             (Thompson) and Diné (Navajo) nations.       

The evening program will inform,        educate, empower, inspire, and strengthen our spirit for the injustices        we face: male violence, objectification, sexual exploitation, and        racialization.        Tickets are        available now!                ACCESSIBILITY        INFORMATION:       

All             Library locations, restrooms and meeting rooms are             accessible with one or more accessible public computer             workstations.

        Designated             accessible parking spaces are available at all 27 locations.

        Automatic             doors at all main entrances.

        Elevator             access to all levels, with verbal cues at each floor at the             Central Library.

        TTY-enabled             courtesy (public) phones on Level 1 at the Central Library.       

Service Animals 

In compliance with the Washington State Law Against        Discrimination (WLAD), the Americans with Disability Act (ADA), and the        Seattle Municipal Code, service animals are welcome in all areas of the        Library where members of the public are normally allowed to go.

Free, rapid        HIV Testing and PrEP counseling provided by Lifelong.        First come, first serve, walk-in appointments available on the last        Monday of every month during Fall, Winter, and Spring quarters!                 Other Times Offered (All        times at Q-Center from 1:00 PM - 4:00 PM)    

Monday,             March 25

        Monday,             April 29

        Monday,             May 27       

ACCESSIBILITY        INFORMATION:       

The             Husky Union Building is near landmarks such as Allen Library,             Padelford and Sieg. For a map, search HUB on the campus             maps: http://www.washington.edu/maps/.The             HUB’s front entrance is wheelchair accessible and the common area             is to the right of the main desk.

        An             all-genders restroom can be found at the 3rd floor, down the             hallway from the Q Center. Gender binary bathrooms with multiple             stalls can be found on each floor of the HUB.

        The             HUB IS not kept scent-free but we ask that you do not wear             scented/fragranced products (e.g. perfume, hair products) or             essential oils to/in the Q Center in order to make the space             accessible to those with chemical injury or multiple chemical             sensitivity. To request disability accommodation, contact the             Disability Services Office at 206-543-6450 (voice), 206-543-6452             (TTY), 206-685-7264 (fax), or dso@uw.edu preferably 10 days in             advance.

       Let’s Talk is a free        program that connects UW students with support from experienced        counselors from the Counseling Center and Hall Health Center without an        appointment. Counselors hold drop-in hours        at four sites on campus:                

Mondays, 2-4 PM, Odegaard Library Room 222

        Tuesdays, 2-4 PM, Ethnic Cultural Center Room 306

        Wednesdays, 2-4 PM, Q Center (HUB 315)

        Thursdays, 2-4 PM, Mary Gates Hall Room 134E       

Let’s Talk offers        informal consultation – it is not a substitute for regular therapy,        counseling, or psychiatric care. To learn more, visit letstalk.washington.edu.                ACCESSIBILITY        INFORMATION:       

The             HUB’s front entrance is wheelchair accessible and the common area             is to the right of the main desk.

        An             all-genders restroom can be found at the 3rd floor, down the             hallway from the Q Center. Gender binary bathrooms with multiple             stalls can be found on each floor of the HUB.

        The             HUB IS not kept scent-free but we ask that you do not wear             scented/fragranced products (e.g. perfume, hair products) or             essential oils to/in the Q Center in order to make the space             accessible to those with chemical injury or multiple chemical             sensitivity. 

        The             ECC has single-stall gender-neutral bathrooms on each floor, near             the gender-binary bathrooms to which signs are indicated. 

        Odegaard             Library is not ADA accessible nor scent free.  

        All             rooms in Mary Gates Hall are wheelchair accessible. Please contact             the Disability Services             Office at 206.543.6450 or dso@uw.edu.             MGH is not scent free.

Thank you for being a part of our community <3         We are so glad that you are here, and we are so glad to get to know        you!         Have questions about the QSC? Just want to get involved? Find our        office hours online at hours.asuw.org.        To hear more from the QSC be sure to like us on facebook, and follow us on twitter & instagram to stay up to date with        all queer and trans related happenings on campus and in Seattle!                 With love,         Mehria Ibrahimi, Outreach & Engagement Intern. 

[ariellebobbwillis]

Crochet bread cloth from the French-Canadian community in Manitoba, Manitoba Crafts Museum and Library ✨🫶🏼💞💟

[intouncertainpresent]

PLATFORM centre is pleased to announce Into Uncertain Present, a group exhibition featuring the work of Anna Ill (UK), Anna López Luna (ES), Chantal Rousseau (CA), Felice Hapetzeder (SE), Mounir Gouri (DZ), Muhammad Ali (SE) and Tracy Peters (CA). Into Uncertain Present is curated by Abir Boukhari (SE) and runs from 30 April – 29 May 2021. The virtual residency is organized by AllArtNow (SE) in partnership with PLATFORM centre (CA), MAWA (CA) and Jiser (ES). The project is supported by Kulturradet (SE), The Institute of Culture of Barcelona City Council and OSIC of the Generalitat of Catalunya

EXHIBITION | 30 April–29 May 2021

“The art residency acts as a mechanism to encourage and support intellectuals, artists, and cultural workers in the process of their artistic research and creative development. It fosters sustainability for the artistic body of ideas in an inclusive open society. The pandemic crisis illuminates the value of creativity, and the ways that new ideas can be generated in uncertain times.

The Strategy for many art residencies have been implemented through the virtual exchanging of artistic experience and many questions have been raised about the digital residency. Would it be more applicable in the future?  Will we develop and adapt new formats for the art residency?

We began to explore the virtual residency format in 2020, and the program will continue with the second edition in 2021. Three events will be organized during the year, in three cities, Winnipeg, Stockholm and Barcelona. The residency process unfolded through webinars, first proposing the project, then giving the artists time to meet, discuss the concept, produce work and finally exhibit in venues in Winnipeg, Barcelona, and Stockholm.

The Albert Camus’s quotation inspired our concept for this version of the residency “Until now I always felt a stranger in this town, and that I’d no concern with you people. But now that I’ve seen what I have seen, I know that I belong here whether I want it or not. This business is everybody’s business.”  The Plague, p.209

In the novel, the narrator is a stranger who finds himself separated from his own home and his wife because of the Plague which invaded Oran City. First, he is looking for a way to escape the city but later on, he decides to stay to support the others in solidarity.

This collective fight against the pandemic leads to equality and belonging, where all people experience a form of exile, live in isolation, separate from their beloved, and fight against death; we are all prisoners, sharing the fear and the uncertainties of the moment.

Do we understand the plague as a collective disaster that we all must fight against in support of each other? Or, do we experience distress as individuals and believe that one’s own pain is unique and separate? Does this encourage solidarity and compassion between humans or is it a reason to blame each other?

For this residency, I invited seven artists to have online meetings using the selected quotation as a starting point, to discuss and share their thoughts, and create work which reflects on the current situation in relation to their own experience.” – Abir Boukhari, Stockholm, 2021

BIOGRAPHIES

Anna Ill holds the BA in Textile Art from the Escola Massana Barcelona, and the MA in Art and Space from Kingston University London. In 2015, she was selected among the spanish artists for the JCE Biennale 2015-2017, she was the recipient of the 3 month funded art residency program by Le Beffroi de Montrouge in Paris. In 2018, she was part of Sala Parés Prize <35Art in Barcelona and the XXI Biennal Contemporary Catalan Art. In 2019, she was the recipient of the month funded art residency program at Jiser in Tunisia. In 2020, she won the Sala Art Jove Prize (Barcelona) and Inund’art (first Prize Artpertot) with itinerant exhibitions in Spain and France. Her works are present in the Sabadell Bank collection since 2018. In 2021, her work was selected for Video Art program Ten Little Indians organised by MLAC and Khlab (Italy), and she is among the spanish artists for the Vila Casas Sculpture Prize 2021.

Anna López Luna (b.1983/Barcelona) lives and works between Barcelona and Paris, where she studied at Ecole Nationale Supérieur d’Art de Cergy-Paris. Her work is focused on the body’s perceptions and the relationship between intimate, social structures and historical memory. Her work has been shown at the Les parralléles du Sud – Manifesta 13 in France (2020),  the Fonds d’Art Moderne et Contemporain de Montluçon, in France (2019), the Westfälischer Kunstverein in Münster (2019), the Tabakalera, Donostia in Spain, the Ateliers Sauvages in Algiers, Algeria (2017), Les Bains de Géronde, in Switzerland (2018), the 61th Salon de Montrouge in France (2016), the MUDAM in Luxembourg (2015), the Centre Civic de San Andreu, Barcelona (2010) and at Kulturfabrik in collaboration with the Casino du Luxembourg Forum d’Art Contemporain in Luxembourg (2008).

Chantal Rousseau has been a practicing artist for over 20 years. Her work has been exhibited across Canada and internationally, including: Hallwalls Contemporary Arts Centre, Buffalo; Canadian Cultural Centre, Paris; The New Gallery, Calgary;  Latitude 53, Edmonton; Mercer Union, Toronto; and La Centrale, Montreal. In the fall of 2020 she had a solo exhibition at the Agnes Etherington Art Centre in Kingston, Ontario. In 2020 she was also awarded two temporary public art commissions, one for the City of Kingston, the other for Erindale Park in Mississauga. In April of 2021 she organized EXPO-MOTEL, an exhibition at the motel Le Nordet, working with two local artists and in partnership with the Bureau Satellite Vaste et Vague, a site-specific programming arm of the local artist-run-centre. She will be the first artist at 4elements living arts new mobile studio residency on Manitoulin Island, in May and June of 2021. In 2022 she will be participating in an artist residency at the Klondike Institute of Art & Culture. Chantal Rousseau has been involved in multiple artist collectives, including the Agitated Plover Salon, a group of Kingston-based artists who exhibited in non-traditional spaces in 2013 to 2014, as well as the Toronto-based collective Persona Volare, who were active from 2000 to 2009. She is a graduate of the University of Guelph (MFA), and Emily Carr Institute of Art and Design (BFA). Her work is in the collection of the Agnes Etherington Art Centre, Dawson College, as well as numerous private collections.

Click here to listen to an audio piece Chantal created during this residency.

Felice Hapetzeder is a visual artist (b 1973) with MFA degree from the Fine Arts department at Konstfack College of Art, Crafts and Design in 2002. He is interested in the aesthetics and social context of creative practice as well as cultural heritage production and manipulation of collective memory and oblivion. His methods span across video art, installation, sculpture, workshop-performance and photography. Much of his work can be read as expressing a marginal voice, an independent channel outside the dominant narratives. He works both independently and in collaboration with others; interested in the border between documentary storytelling and dramatization or learning as artistic expression. Hapetzeder also works as an independent manager of art projects, often by way of international exchanges and as an art educator. He is the founder of Samtidskonst i Bro – Contemporary art in Bro community 2017 to current, part of the video art exchange and development collaboration Carousell 2013-2018, a part of the artist duo Local A. 2008-2017 and one of the initiators of ak28 independent art space in Stockholm 2003-2008. https://hapetzeder.com

Mounir Gouri (b.1985 Algeria/Annaba) is a multi-disciplinary artist. He is part of the young generation of visual artists concerned both by his status as an artist but also by what young people of his age encounter on daily basis difficulties on the social, cultural, and political level. Being born in 1985 means having lived his childhood and adolescence in the harsh climate of civil war, which influenced his work. Mounir Works as a multi-disciplinary artist. Gouri participated in several group and solo exhibitions. He received the special prize of the friends of the Institut du Monde Arabe in 2019, as he exhibited in Germany at the Westfalischer Kunstverein in Munster, an exhibition in London at the Mezzanine Gallery participated in the Jafre Biennale and in October 2019 as he was artist in  residency of La Maison des Arts in Malakoff. Recently, he was one of the Algerian artists of the exhibition Waiting for Omar Gatlato comisarié by Natasha Liorens at the Columbia gallery in New York.

Muhammad Ali has a multi-disciplinary approach in his artistic practice, which spans across video, installation, digital art, painting, and drawing and explores how the meanings are constructed and understood. He is often focusing on life as he blurs the boundaries between consciousness and unconsciousness. Muhammad’s work has been exhibit in many countries and venues as Moderna Museet Sweden, AllArtNow Syria, Kalmar Konstmuseum Sweden, Bornholms Konstmuseum Denmark, Porin Museum Finland, Malmo Konstmuseum Sweden, Scope Art New York. He invited to be artist in residence in Boktyrka Konshtall Sweden, Delfina Foundation London and IASPIS Sweden.

Tracy Peters is a multidisciplinary artist based in Winnipeg on Treaty 1 Territory. She uses photography, video and installation to examine the interactions between organic and human-built environments. Peters has received grants from the Canada Council for the Arts, the Manitoba Arts Council and the Winnipeg Arts Council, and has attended residencies which include a partnership between Void Gallery and The Social Studios and Gallery in Derry, Northern Ireland, the ArtCenter/South Florida-MAWA artist exchange program in Miami, Florida, the Plug In ICA Summer Institute in Winnipeg, Manitoba, the Independent Imaging Retreat (Film Farm) in Mount Forest, Ontario, and The Banff Centre in Alberta, Canada. Her work has exhibited across Canada, in Europe and Australia.

Abir Boukhari is a curator from Damascus, Syria, based in Stockholm. She is the director, curator and co-founder of AllArtNow that is considered to be the first independent collective space for contemporary art in Syria, founded in Damascus in 2005, but has since the war broke out in 2012 turned into a nomadic space, working from different places. Since 2019, AllArtNow opened a project space in Stockholm. In Damascus (2005-2012), she run the artistic programme for AllArtNow, and was the artistic director for Living Spaces Festival for Contemporary Arts, the artistic director of Studio1 (an informal school for contemporary arts in Syria) and the co-founder of Boukhari House for Artist Residencies and the culture center Maktab Creative Zone. Since her move to Stockholm in 2015, she curated and collaborated with a number of arts organisations and institutions in the Nordic region and the MENA region, among them: Botkyrka konsthall/Residence Botkyrka (Sweden), Pori Art Museum (Finland), The World Culture Museum in Göteborg (Sweden), KRÆ syndikatet (Denmark), Sörmland Museum in Nykoping (Sweden), Jönkoping Läns Museum (Sweden), Kultivera in Tranås (Sweden), among many others.