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DTSTART;TZID=America/Detroit:20260416T000000
DTEND;TZID=America/Detroit:20261025T000000
DTSTAMP:20260415T125512Z
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UID:10176223-1776297600-1792886400@www.visitwindsoressex.com
SUMMARY:The Exhibitionists Take AWE
DESCRIPTION:The Exhibitionists is a fluidly organized collective of figurative woman artists. While individual exhibitionists move in and out of the group\, their shared focus remains the same: how to authentically capture the contemporary experience of being a woman by disrupting and expanding the nude tradition. \nArt Windsor Essex has a collection of roughly 4\,000 works of art\, but fewer than 20% of those works are made by women. The Exhibitionists\, who mostly came of age in the 1960s and 1970s\, are almost the same age as AWE\, which began as the Willistead Art Gallery of Windsor in 1943. As the Exhibitionists studied art and began their careers\, AWE’s holdings were growing alongside them. But here\, as elsewhere\, as these artists gained confidence and grew in their practices\, AWE was still not seriously collecting women artists. \nFor The Exhibitionists\, the female body is a contested site of power and celebration\, of play and vulnerability. Chappus\, Collins\, Draisey and Renaud Fisher have selected work from AWE’s collection that reveals the institution’s strengths and gaps. They have placed their work and the work of other Exhibitionists alongside AWE’s collection to reveal what’s possible when we centre equity and bravery in our collecting choices.
URL:https://www.visitwindsoressex.com/event/the-exhibitionists-take-awe/
LOCATION:Art Windsor Essex\, 401 Riverside Dr. W\, Windsor\, ON\, N9A 7J1\, Canada
CATEGORIES:Arts & Culture
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DTSTART;TZID=America/Detroit:20260416T080000
DTEND;TZID=America/Detroit:20261025T170000
DTSTAMP:20260415T125607Z
CREATED:20260415T125607Z
LAST-MODIFIED:20260415T125607Z
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SUMMARY:Christian Chapman: Run to the Hills!
DESCRIPTION:Christian Chapman\, an Anishinaabe artist from Fort William First Nation in Ontario\, has always cherished and attended to stories\, admiring their depth\, elusiveness\, the ways they carry meaning\, and how storytellers in his family — young and old — could uniquely animate their being. These stories warmly anchored him in Anishinaabe traditions from the north shore of Lake Superior\, stretching back to times before his own. He would listen\, carefully attentive\, beaming with his own curiosity. For Chapman\, these stories are treasures\, sources of inspiration and influence that travel with him into the shifting imaginary of Anishinaabe storytelling. \nRun to the Hills! spotlights Chapman’s gift as a storyteller who\, like relatives before him\, finds his own way of being in conversation with ancestral oral traditions. Using painting\, printmaking\, and other mixed media techniques\, he forms a new graphic language for narrative expression that still carries old-timey sensibilities. \nIn his work\, you’ll find elements of Anishinaabeg humour in the mundane and small moments of daily life\, alongside the deeper political undercurrents that tug at its edges. This situates his practice in a new liminal zone where identities merge\, and stories intersect—sometimes grounded in Anishinaabe Aki\, other times wandering in from the magical world of Disney. He experiments with text\, image\, and visual juxtapositions\, sometimes offering up pointed themes\, other times leaving space for more to be imagined. \nThrough these playful encounters\, he builds a new arbour for Indigenous audiences\, a space where the subtle humour of Indigenous experience and familiar symbols of popular culture coexist seamlessly. Viewers are gently invited into this realm\, which opens with sharp yet recognizable crossings\, showing how the lines between these connected worlds are always changing. \nChapman draws on the styles of visual art icons\, Woodland School\, Mishomis Norval Morrisseau and the American Pop artist Andy Warhol\, bending them through his own unique lens. With profound affection for Anishinaabe story forms from where the North Shore sleeps\, his reinterpretations are brave\, inventive and cheeky. Bounded perpetually to every storyteller in his family preceding him. By bringing in belly laughs\, mischief\, and critical analysis\, Chapman keeps the Woodland style’s pull alive for the next wave of Anishinaabe makers. \nThe exhibit’s name\, Run to the Hills! nods to Iron Maiden’s hit track and references Chapman’s 2017 print\, Fight for Your Life. The song\, widely known and belted outby Native uncles across Turtle Island\, serves as a rallying cry for Indigenous empowerment and grit. Chapman harnesses these forces throughout his practice\, honouring the timeless defiance that lives on across generations — much like old stories — while always leaving room for laughter to sneak in.
URL:https://www.visitwindsoressex.com/event/christian-chapman-run-to-the-hills/
LOCATION:Art Windsor Essex\, 401 Riverside Dr. W\, Windsor\, ON\, N9A 7J1\, Canada
CATEGORIES:Arts & Culture
ATTACH;FMTTYPE=image/jpeg:https://www.visitwindsoressex.com/wp-content/uploads/2026/04/Run-to-the-Hills.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260618
DTEND;VALUE=DATE:20260921
DTSTAMP:20260611T142915Z
CREATED:20260611T142915Z
LAST-MODIFIED:20260611T142915Z
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SUMMARY:Sameer Farooq: The Fairest Order in the World
DESCRIPTION:Cape Breton born\, Toronto based artist Sameer Farooq presents a solo exhibition that offers a deeply poetic space to reflect on the fraught and violent histories of art and anthropological museums\, their colonial origins\, structures\, and impulses. \nWith The Fairest Order in the World\, Farooq probes notions of provenance\, repatriation\, and repair\, composing a series of new and recent sculptures and images to articulate unique ideas for repurposing the emptied spaces of museums devoid of their spoils. Mining the possibilities offered by sustained engagement\, Farooq invites us to envision what the museum might become through the mechanics of restitution\, what it may shift to collect and document\, and what kind of experiences it could nurture. \nThe installation elicits prolonged attention\, asking visitors to look intently and to spend time with the objects\, contemplating their physical and emotional presence as well as the absences they evoke. The artworks may serve as tools for meditation\, revealing a deeper potential that transcends their aesthetic value. An audio environment composed by Farooq’s collaborator Gabie Strong (Los Angeles\, CA) sets a deliberately slow pace\, encouraging six-minute intervals at each vantage point. Lyrical texts contributed by poet Jared Stanley (Reno\, NV) unsettle the rigid format of institutional labels and imagine the objects’ own voices. Farooq’s film produced in collaboration with Mirjam Linschooten (Amsterdam\, NL)\, The Museum Visits a Therapist\, offers a reflection on trauma and recovery\, personifying the museum and imagining therapeutic strategies for healing historic wounds. \nThe exhibition takes its title from a text fragment of Ancient Greek philosopher Heraclitus: “The fairest order in the world is a heap of random sweepings.” Contained in this duality of opposites is the idea that the most organized and just attempt at a universal order is equally as flawed or filled with balance and beauty as an arbitrary pile of refuse. Considering this paradox\, Farooq’s meticulously choreographed assembly invites us to interrogate our relationship with art objects and museum displays\, as well as the ordering narratives they uphold. \nOrganized and circulated by Dalhousie Art Gallery.
URL:https://www.visitwindsoressex.com/event/sameer-farooq-the-fairest-order-in-the-world/
LOCATION:Art Windsor Essex\, 401 Riverside Dr. W\, Windsor\, ON\, N9A 7J1\, Canada
CATEGORIES:Arts & Culture
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260716
DTEND;VALUE=DATE:20260928
DTSTAMP:20260611T143120Z
CREATED:20260611T143120Z
LAST-MODIFIED:20260611T143120Z
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SUMMARY:Racquel Rowe: Breaking the Surface
DESCRIPTION:Breaking the Surface is an emergent series of reflections – interrogating the infrastructure\, tourism\, longing\, and visual construction of paradise. Artist Racquel Rowe\, a Bajan artist currently residing in Canada\, begins her process with underwater investigations; tracing the beaches of Barbados and dwelling just below the surface – where the land\, sea\, and sky blur into abstraction. Through slow observation\, distortion\, and hyper-saturated imagery\, the work imagines the Caribbean outside of a familiar visual narrative\, one shaped by consumption\, fantasy\, and tourism. \nIn the essay Pictoral Depictions of the West Indian Landscape in the 18th Century and Early 19th Century; the Sublime\, the Picturesque\, the Romantic author Colleen Lewis writes about the sanitization of ‘the real’ across the Caribbean – with focus on Barbados – a sanitization developed through naturalizing and protecting what is ‘picturesque’ by removing what is deemed as uncomfortable or distasteful: “the use of the picturesque as a means of ‘processing the physical world for our greater comfort’ also helped to convey a palatable view of social and racial hierarchy to the metropolis while giving the local white elite a sense of control\, and pride in ownership.” \nDrawing on the work of both Colleen Lewis and Art Historian Krista Thompson\, Rowe asks: how might I inherit\, resist\, and reinterpret the visual iconography of the region\, and more locally\, the visual lexicon of Barbadiana? A tension between the sea\, the horizon\, and how the beauty of the island is under pressure to perform paradise.
URL:https://www.visitwindsoressex.com/event/racquel-rowe-breaking-the-surface/
LOCATION:Art Windsor Essex\, 401 Riverside Dr. W\, Windsor\, ON\, N9A 7J1\, Canada
CATEGORIES:Arts & Culture
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260716
DTEND;VALUE=DATE:20261026
DTSTAMP:20260611T143002Z
CREATED:20260611T143002Z
LAST-MODIFIED:20260611T143002Z
UID:10177427-1784160000-1792972799@www.visitwindsoressex.com
SUMMARY:Ink\, Charcoal & Jet
DESCRIPTION:Of the 1028 artists represented in the Art Windsor-Essex Collection\, 7 identify as Black Artists. A total of 0.681% of the collection.\nOf the approximately 4214 total works in the Art Windsor-Essex Collection\, 10 works are by Black Artists. A total of 0.24% of the collection. \nIf we use the American auction market as a metric for understanding what artworks are currently being collected by private collectors\, the statistics are bleak: art by women\, for example\, accounts for 3.3% of auction sales between 2008-2022\, art by Black American artists only 2%\, and art by Black women artists just 0.1%. \nThis exhibition\, pulled from the Art Windsor Essex- Collection\, seeks to locate and foreground Black within the institution; examining absence through presence. By interrogating Blackness as a medium\, alike to the title Ink\, Charcoal\, & Jet – the colour Black is positioned as a central character: an active\, contributing voice\, speaking from the collection. \nThrough close looking\, Black reveals itself through material and formal considerations; lithographic ink\, asphalt\, traces of shadow\, ghosts\, or the gestures of an artist’s hand. Black reveals itself as the foundational bedrock for where we make\, and how we make\, as artists – the material easily found\, the initial sketches\, the finished project\, the process through to the end. \nBy excavating the collection\, Ink\, Charcoal & Jet asks: where does Blackness speak from within the institution\, and how might listening to it reshape our understanding of presence\, absence\, and power?
URL:https://www.visitwindsoressex.com/event/ink-charcoal-jet/
LOCATION:Art Windsor Essex\, 401 Riverside Dr. W\, Windsor\, ON\, N9A 7J1\, Canada
CATEGORIES:Arts & Culture
ATTACH;FMTTYPE=image/jpeg:https://www.visitwindsoressex.com/wp-content/uploads/2026/06/1971.034_1.jpg
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