Galerie contemporaine

double trame

Alisa Arsenault, Mandy Malazdrewich, Rosemarie Péloquin, Tara K. Wells

Commissaire: Lou-Anne Bourdeau
du 1 juin
au 1 juillet, 2023

Le mot trame a un sens double: c’est à la fois l’ensemble de fils tendu sur une métier à tisser, mais c’est aussi le fond sur lequel les péripéties d’un récit se détachent. double trame se tisse du croisement entre ces deux sens et sur la valeur que nous accordons comme individus et comme société à cette matière qui nous enveloppe au quotidien, mais dont les procédés nous sont souvent opaques.

-Lou-Anne Bourdeau, commissaire

 

Pouvez-vous expliquer la différence entre le tricot et le tissage?

De quels matériaux sont faits les vêtements que vous portez présentement?

Quels sont les produits qui leur donnent leurs couleurs?

Qui les a faits?

Combien de fois les porterez-vous?

Qu’allez-vous en faire une fois qu’ils seront abîmés, qu’ils ne vous feront plus

 ou qu’ils seront simplement passés mode? 

 

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Le textile nous enveloppe depuis notre naissance et jusqu’à notre mort. Si vous lisez ce texte en galerie, vous portez sans doute quelques vêtements - sinon, préparez-vous à vous faire escorter dehors bientôt. Cependant, peu d’entre nous sont tout à fait conscient.e.s de l’empreinte que ces vêtements ont sur une échelle globale. Au Canada, c’est environ 1 415 250 000 kgs de déchets textiles produits annuellement pour une moyenne de 37 kgs de vêtements par citoyen.ne. Toujours au Canada, les textiles représentent 7 % de tout le plastique envoyé dans les sites d’enfouissement. Ils constituent ainsi, en volume, la troisième catégorie de déchets plastiques après les emballages et l’industrie automobile. Selon des estimations conservatrices, le géant de l’ultra-fast fashion, Shein, présenterait environ 2 000 nouveaux modèles…quotidiennement.  Ces chiffres ne sont que quelques statistiques dans une mer de faits accablants. Des impacts de la monoculture à l’exploitation des enfants en passant par les liens entre l’estime de soi et les diktats de la mode, les sphères dans lesquelles la notion de textile se déploie sont nombreuses. Malgré une réactualisation incessante par la mode et les tendances, le textile nous semble distant, opaque - autant comme domaine que comme économie. Pourtant, il n’y a qu’un siècle, peut-être moins, le tricot, le tissage et toutes les techniques entre les deux, étaient des savoirs communs…

 

Je considère l’expression textile des quatres artistes de cette exposition non pas comme de l’artisanat, mais comme de l’anarchisanat. Alisa Arsenault (NB), Mady Malazdrewich (MB), Rosemarie Péloquin (MB) et Tara K. Wells (NB) remettent en cause chacune à leur manière nos perceptions et nos habitudes pour ouvrir un questionnement sur la place du textile dans nos vies. L’artisanat, compris comme une intelligence de la main ou comme métier d’art, se comprend aisément; l’anarchie peut-être moins. Contrairement à ce qu’on pourrait croire, l’anarchie ne signifie pas le désordre social et l’absence absolue de règles communes - ce qui devrait plutôt être nommée anomie -, mais plutôt une conception de démocratie directe sans prise de pouvoir vertical. C’est la disparition de l’économie d’exploitation et de la notion du 1% pour l’émergence d’un partage du pouvoir et des biens à l’ensemble, un ordre sans le pouvoir, où l’humain ne peut plus exploiter l’humain pour son profit personnel. Confiance, autonomie et responsabilité individuelle - la liberté des un.e.s s’arrête où celle des autres commence - font partie des valeurs au cœur de la pensée anarchique. Si plusieurs courants anarchistes coexistent, notons que la lutte des classes, la lutte féministe et l’écologie font partie de ces courants, d’autres éléments indissociables de la réflexion qui se tisse entre le textile et son économie. 

 

Dans la récupération des chutes de tissus issues de son travail de courtepointe, les Stacks de Tara K. Wells évoquent l’accumulation et la sédimentation, mais également l'impermanence et la potentialité présente dans tout matériau. Par son geste de récupération, elle redonne de la valeur à des bouts de tissus qui pourraient être considérés comme inutilisables: chaque chute de tissus est retaillée puis empilée selon un ordre bien précis pour former ces stratifications, rappelant le paysage. Le temps et le soin offert à chaque bout de tissu - qui pourrait d’ailleurs être récupéré pour faire partie d’une future courtepointe à tout moment - nous interroge sur notre propre rapport à la consommation et à ce qui est considéré comme un “déchet” versus ce qui est un matériau qui peut avoir une seconde (puis une troisième et une quatrième…) vie. 

 

L’approche de Mandy Malazdrewich s’intéresse également au cycle dans la mesure où les végétaux qui l’entourent dans son jardin et son voisinage - qui nous entourent sur les territoires visés par le Traité 1 - lui servent de matière première dans la création d’impressions végétales telles que celles dans Intus foris, que l’on peut traduire comme à l’intérieur et au-delà. Lié au territoire et au cycle des saisons, son travail propose l’autogestion des ressources qui nous sont accordées sur la terre qui nous accueille, une connaissance qui mène à revenir à une connaissance intime des matériaux et des modes de productions, à comprendre que ce que nous portons et ce que ce nous consommons a une empreinte écologique, sociale et politique importante. Par son travail d’éco-impression, Malazdrewich nous invite à poser un regard neuf sur les ressources qui sont tout autour de nous sans que nous le réalisions. 

 

Le concept de cycle s’applique également aux mains feutrées de Rosemarie Péloquin en traitant de la notion de générations et de traditions.  Entre l’enfance et la vieillesse, que signifie la passation des savoirs?  À la fois si distants et si proches, ces deux temporalités se côtoient dans les gestuelles habillement modelées par Péloquin. Des jeux de ficelles – d’un temps d’avant les écrans – au tricot et la tapisserie qui, malgré une renaissance récente, restent empreints d’un aura d’antan, ce sont des savoirs qui se sont passés d’une génération à une autre, mais qui tendent de plus en plus à disparaître. Mises en scène dans un espace domestique, ces mains mettent en lumière la distance qui se creuse entre la connaissance des techniques faisant autrefois partie d’un savoir domestique général transmis entre les générations, mais qui aujourd’hui relève davantage du métier d’arts ou de l'artisanat de loisir que d’un savoir essentiel.

 

Memorandum d’Alisa Arsenault résonne avec le travail de Péloquin dans la mesure où le temps et l’héritage sont également au cœur de son propos. Le textile, plus particulièrement encore le vêtement, a cette particularité d’être intimement personnel: la peau est en contact direct, l’usure prend la forme du corps qui s’enveloppe. Le vêtement – et par extension le souvenir – est activé par la mémoire des sens, tout particulièrement du toucher et de l’odorat. Parallèlement, dans la série Laine, elle explore la notion d’auto-représentation par l’ambiguïté, le déguisement et le dévoilement. Arsenault y traite de la distance et de la fracture entre la vision de soi et le soi réel. L’image minimaliste amplifiée par l’excentricité des coiffes autant que par la lenteur des mouvements nous mène à la réalisation que le textile ne demeure qu’une image en tout point fabriquée dont on se vêt.  Pour paraphraser Céline Dion, “on ne change pas, on met juste les costumes d’autres sur soi”.

 

Le soin que ces artistes portent à leurs matériaux, à la terre qui les fournit, à l’héritage qui s’y transmet et aux sensations de nos corps qui portent ces textiles, démontre une humilité et une réflexion sans cesse en mouvement, mais aussi une intelligence fine et joyeuse, joueuse même. Rien n’y est pessimiste ou anxiogène; c’est avant tout une invitation, un appel à l’action. Tout geste compte: que ce soit par un questionnement sur la durée de vie de vos vêtements et la manière de les entretenir; à repriser un bas plutôt que de le jeter. Ce que je souhaite, c’est que nous ayons collectivement une réflexion sur l’impact et l’espace immense que le textile occupe dans nos vies. 

 

double trame

"In French, the word “trame” has a dual meaning: it is both the weft stretched across a loom and the background onto which a narrative unfolds. double trame weaves the intersections of these two meanings and of the value we grant - both as individuals and as a society - to this material that we wrap ourselves in everyday, but whose processes are often obscured."

-Lou-Anne Bourdeau, curator

 

 

Can you explain the difference between knitting and weaving?

What materials are the clothing you’re wearing made of?

What products give them their colour?

Who made them?

How many times will you wear them?

What will you do with them once they are worn out, don’t fit you anymore 

or when they become out of fashion?

 

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Textile envelops us from our birth and until our death. If you are in the gallery reading this text, you are most probably wearing some clothing – if not, be prepared to be escorted outside! Meanwhile, few of us are fully aware of the impact that our clothing has on a global scale. In Canada, there is approximately 1,415,250,000 kgs of textile waste produced annually, averaging 37 kgs of clothing per citizen. Still in Canada, textile represents 7% of all plastic sent to landfills. It constitutes, per volume, the third category of plastic waste after packaging and the automobile industry. Following conservative estimates, the giant of fast-fashion, Shein, presents around 2,000 new models… each day. These numbers only represent some statistics in a sea of overwhelming facts. From the impacts of monoculture to the exploitation of children and the links between self-esteem and the dictates of fashion, the notion of textile expands throughout multiple spheres. Despite a constant re-actualization through fashion and trends, textiles seems distant, opaque – as much as a field and an economy. However, not even a century ago (maybe even less), knitting, weaving and all techniques in between were common knowledge…

 

I consider the artistic expression through textile from the four artists in this exhibition not so much as craft, but as “anarchisanat”. Alisa Arsenault (NB), Mandy Malazdrewich (MB), Rosemarie Péloquin (MB) and Tara K. Wells (NB), each in their own way, question our perceptions and our habits to engage in a reflection on the place of textiles in our life. Craft, understood as the intelligence of the hand or a profession, is easily understood; anarchy might not be. Contrary to popular belief, anarchy doesn’t mean social chaos and total absence of common rules – which is actually called anomie – but rather a conception of direct democracy without hierarchical power. It is the disparition of the exploitative economy and of the notion of the 1% in favour of the sharing of power and goods with everyone, an order without power, where humans cannot exploit others for personal profit. Trust, autonomy and personal responsibility – one’s liberty ends where the other’s starts – are part of the values at the heart of anarchy. If many anarchist currents coexist, let us note that class struggles, feminism and ecology are all a part of this stream as other intrinsic elements in the reflection between textile and its economy. 

 

In the reuse of fabric strips from her quilt work, Tara K. Wells evoques accumulation and sedimentation, but also impermanence and the potentiality present within every material. Through this gesture of retrieval, she gives value back to pieces of fabric that could be considered unusable: each remnant is recut and then stacked following a specific order to create these stratifications, reminiscent of a landscape. The time and care given to each piece of fabric – which might be reused to become a part of another quilt later on – interrogates our own relationship to consumption and to what is considered “waste” versus what is a material that could have a second (and third, and fourth…) life. 

 

Mandy Malazdrewich’s approach is also interested in cycles when it comes to the plants that surround her garden and neighbourhood – plants that surround us on Treaty 1 territory – that she uses as material for the creation of plant-based prints such as Intus foris, which could be translated as “inside and beyond”. Relating to the land and seasonal cycles, her work proposes self-sufficiency of the resources available on the land where we live, an awareness that leads us to go back to an intimate knowledge of materials and modes of production, to understand that what we wear and consume has a social, political and ecological footprint. Through her work of eco-printing, Malazdrewich invites us to lay a fresh eye on our surroundings to see all the resources available around us, even when we don’t always realize it.

 

The idea of cycle also applies to the felted hands of Rosemarie Péloquin, by addressing the notions of generations and tradition. Between childhood and old age, what does it mean to pass down knowledge? Simultaneously distant and near, these two timescales coexist in gestures skillfully formed by Péloquin. From string games – coming from a time before screens – to knitting and tapestry that, even after seeing a recent revival keep an aura of yesteryear, are pieces of knowledge that have been passed down from generations, but that are most likely to disappear. Installed in a domestic setting, these hands shine light on the growing distance between knowledge of techniques that used to be part of the general domestic skills passed down from generations, but that today would fall more into categories of a craft or a hobby than of fundamental knowledge. 

 

Alisa Arsenault’s Memorandum resonates with Péloquin’s work in how time and heritage are also addressed in her work. Textile, more precisely clothing, has this characteristic of being intimately personal: the skin being in direct contact, the wear and tear is shaped by the body wearing it. Clothing, and by extension memory, is activated by the senses, especially touch and smell. In parallel to this, in the series Laine (Wool), she explores the notion of self-representation through ambiguity, disguise and unveiling. Arsenault addresses the distance and the divide between how we imagine ourselves and how we actually look. The minimalist image, amplified as much by the eccentric headdresses than by the slowness of the gestures, brings us to realize that clothing is only a fabricated image that we choose to wear. To paraphrase Celine Dion, “on ne change pas, on met juste les costumes d’autres sur soi” (we do not change, we only put others’ costumes on).

 

The care that these artists bring to their materials, to the land that provided them, to the heritage that is being transmitted and to the sensations our bodies feel when wearing these garments shows humility and constant reflection, but also a refined and joyful intellect, playful even. Nothing is pessimistic or anxiety-inducing; it is first and foremost an invitation, a call to action. Every gesture matters: by questioning the lifetime of our clothing and finding ways to care for them; to darn a sock instead of throwing it out. My wish is for us to have a collective reflection on the impact and on the tremendous place textile has in our lives. 

 

La Maison des artistes visuels francophones

La Maison des artistes visuels francophones

La Maison des artistes is located on the territory covered by Treaty 1, the traditional lands of the Anishinabe, Cree, Oji-Cree, Dakota and Dene peoples, and the homeland of the Métis nation. It recognizes that these peoples are the true custodians of the lands and waters of this territory, the values of their traditional  knowledge and the importance of the links between this land and all its peoples. 

La Maison des artistes visuels francophones (La Maison) strives to make the visual arts radiate throughout Manitoba as well as Canada and the world, while providing a welcoming space for francophone artists and members of the community. 

 

The Contemporary Arts Gallery

Each year, the Maison des Artistes offers between 5 and 6 professional exhibitions in its main gallery. By placing these exhibitions in a linguistic minority context, La Maison seeks to awaken and educate the public on how culture shapes our vision of the world around us.

 

The Studio

Adapted into a multifunctional gallery in 2016, the Studio welcomes all your ideas, from the most innovative artistic exploration to community projects! Its short-term exhibitions help local artists promote their work, network and advance their careers.

 

Visit our Boutique

To purchase exclusive items or one of our publications, our Boutique will satisfy the art lover in you!

 

Rent our Gallery

Why choose beige walls when you can surround yourself with beauty Whether for a corporate event, a wedding or any other occasion, our galleries and the Sculpture Garden are ideal for a successful event.

 

About Us

The Maison des Artistes is located in Treaty 1 territory, the traditional territory of the Anishinabe, Cree, Oji-Cree, Dakota and Dene peoples, and the cradle of the Métis nation. It recognizes that these peoples are the true custodians of the lands and waters of this territory.

La Maison des artistes visuels francophones is a not-for –profit organization committed to the pursuit of meaningful dialogue about art and creativity for the francophone community. We provide public programs and art exhibitions that resonate with our many audiences. At La Maison, we warmly invite and welcome people from all backgrounds and ages; artists from all visual arts disciplines to engage in a multi-cultural dialogue about distinct minority communities, identity and sense of place. We provide professional support for artists every step of the way in innovative ways in which to experience art for the community at large. 

La Maison des artistes visuels francophones is a contemporary reflection of the collective stories from the Red River Valley. This important crossroads was a trading route for Indigenous peoples and the European settlers who began arriving in the early 1800s. Through time this created a tapestry which is unique to Manitoba that includes the diverse French Quarter of Saint- Boniface and a multitude of bilingual rural towns located throughout Manitoba.

Reflecting this history, La Maison was founded on February 7, 2000 in Winnipeg and already had about fifteen members. The president at the time, Mario Buscio, indicated that "[La Maison's mandate] will be to promote and distribute the works of French-speaking artists [and] to encourage exchanges between artists. "Breaking through isolation has been an important component of La Maison from its inception: even the choice of its name, La Maison des Artistes, signals the desire to create a space for meeting and gathering. La Maison now has over a hundred members and presents a rich and varied artistic and educational program each year.

La Maison is aimed at a large and diverse audience, from all walks of life and from all economic means, flourishing in the face of the French language's appeal and culture, brimming with solidarity and inclusion for minority communities. In this sense, the original name of the artist center was changed in 2004 to "La Maison des artistes visuels francophones inc." To better reflect the artistic vision of La Maison, which is an integral part of linguistic history of Canada. This vision is based on the many languages ​​used before and after colonialism and which were suppressed until the creation of the Official Languages ​​Act of 1969 and, more recently, the Truth and Reconciliation Commission of 2008 which drew l attention to the loss of indigenous languages.

Defining its actions by belonging to a minority, La Maison takes the representation of diversity to heart. The programming of exhibitions and activities is a way to highlight the richness of  this and to engage the public in the integration and acceptance of difference, but more particularly in relation to linguistic minorities. The values ​​that guide the actions of the organization -- inclusiveness, fulfillment, solidarity, creativity, and  integrity-- testify to this desire.

 

Our Mission

La Maison des artistes visuels francophones is first and foremost an association serving francophone visual artists in Manitoba who want to work to ensure the viability of an artistic career. It sees to their development and is dedicated to the defense of their individual and collective interests. The activities of La Maison must meet the needs of representation, training, promotion and dissemination of the visual arts. The organization is committed to offering training for members in good standing and raising public awareness in general.

 

Our Vision

La Maison strengthens the vitality and diversity of the Francophonie by being recognized as a major player in culture and the visual arts.

 

Our Values

The actions of La Maison are thought out and carried out around the following values:

  • inclusiveness;
  • fulfillment;
  • solidarity;
  • creativity;
  • integrity.

 

Our Partners

Each year, La Maison collaborates with between 20 and 25 various organizations inside and outside its walls and strives to continue supporting its existing partnerships while building new relationships with organizations in and outside the cultural milieu. These partnerships aim to support and diversify La Maison's activities, but also to develop new audiences. The organization actively relies on interdisciplinary dialogue to allow more people to discover the visual arts. 

 

Here are a few partners from  with whom La Maison has worked with in recent years:

 

Accueil Francophone http://accueilfrancophonemb.com

Alliance française du Manitoba  https://www.francophonie-en-mouvement.com

Art AccessAbility Network Manitoba (AANM) https://aanm.ca

ArtCity https://artcityinc.com

Artspace https://art-space.ca

Association des groupes en arts visuels francophones (AGAVF) https://www.agavf.ca

Centre culturel franco-manitobain (CCFM) https://ccfm.mb.ca

Centre Bang https://centrebang.ca

Centre Turbine http://centreturbine.org/d7/

Conseil jeunes provincial (CJP) https://conseil-jeunesse.mb.ca

Éditions du Blé http://ble.refc.ca

Entreprises Riel http://www.entreprisesriel.com/en/

Fédération culturelle canadienne-française https://www.fccf.ca

Festival international des écrivains de Winnipeg https://conseildesarts.mb.ca/2019/09/le-festival-international-des-ecrivains-de-winnipeg-subvention-partage-presentation/

Festival du voyageur https://heho.ca/fr/

Fierté Winnipeg https://pridewinnipeg.com

Jeunesse au travail Canada Jeunesse Canada au travail - Canada.ca

Katimavik https://katimavik.org/en/

Le 100 nons https://100nons.com

Manitoba Art Network https://manitobaartsnetwork.ca

 

 

Contact Us

La Maison des artistes se trouve sur le territoire visé par le traité no 1, territoire traditionnel des peuples anishinabé , cri, oji-cri, dakota et déné, et berceau de la nation métisse. Elle reconnaît que ces peuples sont les gardiens véritables des terres et des eaux de ce territoire.

Address:

219 Provencher Boulevard
Winnipeg, Manitoba
R2H 0G4

Phone:

(204) 237-5964

Contemporary Gallery

Each year, La Maison des Artistes offers between 5 and 6 professional exhibitions in its main gallery. This program seeks to present current works in various disciplines and is reflected each year around a theme. By placing these exhibitions in a linguistic minority context, La Maison seeks to awaken and sensitize the public on the way in which culture models our vision of the world around us.

La Maison constantly reassesses the vision proposed by its programming with the awareness that each cultural creator brings with him the weight of social responsibility and the possibility of societal change. In a period of global challenges where identity and diversity are divisive issues, La Maison plays an important role in the cultural fabric by acting as a linguistic bridge between several minority communities.

La Maison provides an opportunity to celebrate difference and enrich the cultural realm through dialogue , and art in Manitoba and beyond. La Maison is an accessible space for creative dreamers that showcases culture and events in French, where all those who wish can participate and belong to a community full of possibilities.

 

Call for Applications

Chosen by a call for applications or by invitation, the professional exhibitions of the contemporary gallery are scheduled until spring 2023. These exhibitions, lasting approximately 2 months, are presented in the main gallery, but can also spill over if necessary into the Studio, a space adapted into a multifunctional gallery in 2016. La Maison relies on a critical dialogue in the orientation of its programming and the projects it presents address contemporary issues in different mediums of the visual arts spectrum.

The selection of the 2023-24 program will be made in winter 2021 through a call for proposals revolving around a specific theme. The projects that will be part of it will be selected by a committee formed by members of the La Maison team and Francophone artists or cultural workers following a call for projects.

Subscribe to our newsletter to be the first to learn about the launch of our call for applications!

 

Rent our Gallery

Why choose beige walls when you can surround yourself with beauty! Whether for a corporate event, a wedding, or any other occasion, our gallery is ideal for a successful event.

ACCESS OUR RENTAL FORM >>

 

 

Le Studio

A space adapted into a multifunctional gallery in 2016, the Studio welcomes all your ideas, from the most innovative artistic exploration to community projects! Its short-term exhibitions help local artists promote their work, network and advance their careers. With this space, La Maison can also meet the needs of organizations in its community for professional exhibition spaces. The Studio also contains a small room with about fifteen seats, the Mini-Studio, where projections of video works can be presented.

The Studio's programming is usually decided between 4 and 6 months in advance to offer artists a flexible professional space for experimental projects, with critical deadlines or which represent an exciting opportunity. The organization wishes to maintain this flexibility in the use of this space to respond quickly to more innovative, one-off or specific projects. In this way, La Maison listens to artists who wish to develop or test new ideas, who have specific needs (for example, benefit from professional space and lighting to photograph their work) or who wish to receive feedback on their work by taking it out of the studio to exhibit it to the public and the artistic community.

 

Call for applications

With flexible programming planned a few months in advance, La Maison is always interested in receiving new projects for the Studio! Whether you are an artist or a community group, you can submit a project by emailing our programming team with a short statement of intent and some images if you have them.

 

Rent "Le Studio"

Why choose beige walls when you can surround yourself with beauty Whether for a corporate event, a wedding or any other occasion, our Studio is ideal for a successful event.

ACCESS OUR RENTAL FORM >>

 

double trame
Surrounding "La Maison"

In partnership with the City of Winnipeg and various levels of government, La Maison created the Sculpture Garden in 2008, an outdoor green space adjacent to La Maison’s galleries. The gardens contribute to culture, community, economic development, heritage and the arts in the community. Today, the Garden features 5 permanent sculptures commissioned from renowned French Canadian artists as well as ephemeral projects in collaboration with Cool Gardens. The Sculpture Garden also features a light box located directly towards Provencher Boulevard, a major traffic artery in the St. Boniface neighbourhood. This structure, set up a few years ago as part of the Flash Photographic Festival, is designed to showcase photographic works with each work being presented for approximately one year. The Sculpture Garden welcomes thousands of visitors every year with public events organised by La Maison or its partners. As with the art gallery, access is always free for the public.

At the same time as the creation of the Garden, the charitable organization "Les Amis des arts visuels du Manitoba" was registered with the mandate to promote the visual arts and be the custodians of the Sculpture Garden. Its main activities are the maintenance of the 5 permanent public art sculptures, yearly upkeep of the garden and raising the funds for new sculptures.

Become a Member

Membre artiste

The membre artiste category is open to anyone with a visual arts production, curator, art critic or cultural worker can become a member. Visual arts encompass more traditional practices like painting, sculpture, printmaking, fine crafts including fine art photography (analog and digital), illustration, performance, art video, but also new artistic practices such as digital (still and mobile images) and media arts. Multidisciplinary practices which relate to one or more fields of the visual arts are also included as part of the visual arts.

Membership status allows the membre artiste to participate in the annual Membership Show and sell their pieces there if required. They can also take advantage of special offers such as participating in networking activities, workshops and training at no charge or at reduced prices or invitations to VIP events (networking, special evenings, previews). He can also have his profile page on our website. Membre artiste have the right to participate in all the activities of the organization, to receive notices of convocation to members' meetings, to attend these meetings and to vote there.

To maintain their status, the membre artiste must pay their annual membership fee.

 

Membre de soutient

Anyone, business or organization that cares about the arts and culture, wants to offer support to artists and keep abreast of what is happening in the cultural community can become a membre de soutien.

The membre de soutien benefits from discounts on La Maison’s products and invitations to VIP events (networking, special evenings, previews) in addition to receiving our newsletter which allows them to be aware of the latest activities on the scene. artistic and our programming. Membre de soutien have the right to participate in all activities of the organization, to receive notices of meetings of members and to attend such meetings. However, they are not allowed to vote there.

To maintain their status, the membre de soutien must pay their annual membership fee.

 

Membre honoraire

Since its general assembly in October 2019, La Maison des artistes has a new category of members: honorary members. This distinction can be granted to any person who has rendered service to the latter through his work or through his donations or who has shown his support for the goals pursued by the organization or who has offered the Francophone community of Manitoba extraordinary service.

The nomination of an honorary member will be made following consultation of the members who may submit applications accompanied by a complete file respecting the standards established by a selection committee mandated to evaluate the files and recommend a member to the Board. All intentions for the nomination of an honorary member will be sent to all members in good standing with the notice of the general meeting.

To submit an application, you must be a member in good standing (artist member or supporting member) and submit at least one month before the annual general assembly a file including the following elements: a letter explaining why the nominated person should become an honorary member de La Maison, an agreement with the latter for the nomination as well as an up-to-date curriculum vitae.

 

double trame