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DTSTART;VALUE=DATE:20220430
DTEND;VALUE=DATE:20230221
DTSTAMP:20260403T145351
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SUMMARY:Witnessing War
DESCRIPTION:Banner: Lyn Westfall\, The Poppy and the Wellington\, 2016 (acrylic on canvas\, detail) \nThis year marks 150 years since the birth of Lt. Col. John McCrae (1872-1918). An esteemed doctor\, soldier and poet\, McCrae is remembered for his wartime poem “In Flanders Fields\,” which he wrote from the trenches near Ypres\, Belgium\, on 3 May 1915. \nMcCrae was a keen observer of the people and places he visited. In addition to his letters and poetry\,\nhe made many sketches. Over his lifetime\, he wrote dozens of poems and made innumerable drawings. \nAlthough the poet McCrae is often celebrated\, Witnessing War takes a closer look at his drawings\, in graphite and ink\, many of which are held in Guelph Museums’ collection. When considered together\, McCrae’s poems and drawings offer an impression of his inner solitude. \n\n\n\n	“Pickerel Island Ahmic Lake”\, 1892\, John McCrae\, Guelph Museums M1996X.1.1.22 \n\n\n	“Telephone Poles”\, 1890\, John McCrae\, Guelph Museums M1996X.21.1 \n\n\n	"Tarpaulin Cove"\, 1892\, John McCrae\, Guelph Museums M1996.1.1.17 \n\n\n\n\nShaped and inspired by McCrae’s creative expressions\, Witnessing War features drawings\, paintings and sculptures by local and national artists\, spanning 100 years of art as a salve to war. \nThe exhibition includes art works made in response to the six global conflicts in which Canada has fought: South African War (1899-1902)\, First World War (1914-1918)\, Second World War (1939-1945)\, Korean War (1950-1953)\, Persian Gulf War (1990-1991)\, and Afghanistan War (2001-2014). \nWitnessing War also considers responsive works by artists with connections to Guelph and the surrounding region\, who explore themes of human conflict in their art. \n\nWatch History Bites: Is Art a Salve to War? with with contemporary artists Anong Migwans Beam\, Anique Jordan\, Barbara Todd\, and Lyn Westfall\, whose work is featured in this exhibition:
URL:https://guelphmuseums.ca/event/witnessing-war/
LOCATION:Guelph Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions,Past Exhibitions
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DTSTART;VALUE=DATE:20220809
DTEND;VALUE=DATE:20230116
DTSTAMP:20260403T145351
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LAST-MODIFIED:20230218T214840Z
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SUMMARY:Guelph Pipe Band: Celebrating 100 Years
DESCRIPTION:Banner Image: Black and white photo of Guelph Pipe Band in front of City Hall circa 1922. Pictured\, left to right: Pipe Major Jim Hill\, Pipe Cpl. Bill Flanigan\, Jim McHaffie\, Alex Livingstone\, Jimmy Ferguson\, Art Corstorphine\, Tom Patterson\, John Corstorphine\, Dave Fulton\, and two drummers (unknown). 1992.33.1\, Guelph Museums \nThe creation of a pipe band was inspired by the Guelph Burns Club\, which celebrated poet Robbie Burns in the local Scottish diaspora. To fund the band\, a Tag Day campaign raised $72 and the Victoria-Guelph Chapter of the Imperial Order Daughters of the Empire collected $500. The Guelph Pipe Band was officially formed in the fall of 1922. \nMembers of the band served with the Highland Light Infantry during the Second World War. Guelph’s Pipe Major Art Corstorphine led the Canadian bands as they marched into Berlin in 1945. After the war\, the Guelph Pipe Band competed in the Ontario highland games circuit\, under Pipe Major Bob Whittle. \nIn 1968\, Whittle and Lead Drummer Andy Donachie led the band to fifth place in their class at the World Pipe Band Championships in Grangemouth\, Scotland. As a competitive soloist\, Edward Neigh was one of the first non-Scottish players to win the Dunvegan medal\, a prize sought by pipers around the world. In 1976\, the Guelph Pipe Band captured the North American Championship in Grade II. In 1977\, they were the first Canadian band to win the Intercontinental Pipe Band Championship at the Scottish World Festival in Toronto.\nToday\, the Guelph Pipe Band celebrates 100 years under Pipe Major Tyler Bridge and Lead Drummer Thomas Litherland. \nPhotograph taken at the Cambridge Highland Games by Meagan Young \n\nWatch History Bites: Guelph Pipe Band at 100 Years with Guelph Museums curator Dawn Owen\, and past and present band members Tyler Bridge\, Jim McGillivray\, Ellen Mole\, Marilyn Willis\, Larry Willis and more! \nPart 1:\n \nPart 2:
URL:https://guelphmuseums.ca/event/guelph-pipe-band-celebrating-100-years/
LOCATION:Guelph Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions,In Our Cases,Past Exhibitions
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DTSTART;VALUE=DATE:20221213
DTEND;VALUE=DATE:20230718
DTSTAMP:20260403T145351
CREATED:20221213T190038Z
LAST-MODIFIED:20230616T172650Z
UID:10015012-1670889600-1689638399@guelphmuseums.ca
SUMMARY:Call & Response: Querying the Collection
DESCRIPTION:Using a community-curation and crowd-sourcing framework\, Guelph Museums’ invited members\, volunteers\, and staff to select an item from the museum’s collection for display. Call & Response: Querying the Collection highlights what they are most interested in and why. \nVisitors to the museum are encouraged to respond to the items on display with their own reflections\, experiences\, and “queries”. Guests can share their impressions on our community corkboard or use our iPad portal to write directly to the Curatorial team. \nCall & Response strives to connect artifacts to contemporary stories\, shed light on the depth of Guelph Museums’ collection\, and reveal gaps in our collecting narratives. \n\n\n\n	DIY Punk T-Shirt and Photographs\, 1985-1990.  Guelph Museums\, 2022.18.1\, 2\, 9\, 12\, 15\, 16. Chosen by: Laura Coady \n\n\n	Coronation Medal of Queen Elizabeth II\, 1953. Guelph Museums\, 1979X.00.155. Chosen by: Wendy Dabbs \n\n\n	Cribbage Table by Holman Luggage Co.\, 1935. Guelph Museums\, 2006.54.1. Chosen by: John and Anne Holman. \n\n\n	T. Holliday Guelph Brewery\, Name Stone\, 1868. Guelph Museums\, 2018.43.1. Chosen by: Wendy Dabbs \n\n\n	Camouflage; Not just what it seems; A Handsome Couple\, 1916. Guelph Museums\, 1969.48.64\, 77\,85. Chosen by: Julia Busatto. \n\n\n	Advertising Card\, Bell Piano and Organ Company\, Limited\, 1890. Guelph Museums\, 2000X.11.4.  Chosen by: Taliesin Ho-Devine
URL:https://guelphmuseums.ca/event/call-response-querying-the-collection/
LOCATION:Guelph Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions,In Our Cases
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DTSTART;VALUE=DATE:20230304
DTEND;VALUE=DATE:20230904
DTSTAMP:20260403T145351
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LAST-MODIFIED:20230423T153418Z
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SUMMARY:Who What Wear: 200 Years of Local Fashion
DESCRIPTION:Told through the clothes they wore and the pictures they took\, Who What Wear shares stories and experiences of people in the place we have called Guelph for over 200 years. This exhibition features night clothes and undergarments\, work and sport uniforms\, street wear and dress finery\, shoes\, accessories\, and fashion ephemera – from about 1800 to present day.
URL:https://guelphmuseums.ca/event/who-what-wear-200-years-of-local-fashion/
LOCATION:Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions,Upcoming
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DTSTART;VALUE=DATE:20230411
DTEND;VALUE=DATE:20231030
DTSTAMP:20260403T145351
CREATED:20230405T230502Z
LAST-MODIFIED:20230920T203052Z
UID:10018649-1681171200-1698623999@guelphmuseums.ca
SUMMARY:No Word For Art: Exploring the Indigenous Roots of Creativity
DESCRIPTION:Told from historical and contemporary perspectives\, and through the story of beads\, guest curator Naomi Smith shares the ways of the First Nations people of the Woodlands and Northeastern regions of Ontario. No Word for Art features Indigenous beadworks as creative expressions of survival\, crafted by historical artists. The exhibition also includes contemporary beadworks that reflect traditional beading techniques and imagery. \n“Honouring our traditions is my voice within and beyond my culture and community. Traditionally\, there is no word for ‘art’ in Native languages\, yet artistry and visual expression are critical in defining who we are as First Nations people. It is this path I wish to exemplify through my teachings and my work.”\n— Naomi Smith
URL:https://guelphmuseums.ca/event/no-word-for-art-exploring-the-indigenous-roots-of-creativity/
LOCATION:Guelph Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Events,Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20230710T000000
DTEND;TZID=America/Toronto:20230823T233000
DTSTAMP:20260403T145351
CREATED:20230714T185944Z
LAST-MODIFIED:20230714T185944Z
UID:10018737-1688947200-1692833400@guelphmuseums.ca
SUMMARY:Touching Sound: A tactile art installation created by Olivia Brouwer
DESCRIPTION:Touching Sound is a three-dimensional collage created by individuals with sight loss\, following a sensory-led nature walk and workshop at the Guelph Arboretum in late-June 2023. The six participants were asked to rely on their senses of touch\, smell\, and hearing to navigate their walk\, and to record their feelings\, memories\, and associations through a “deep listening” practice grounded in the environment. The walk informed what was created in the workshop\, which consisted of mixed media\, abstract\, mobile sculptures. . Audio recordings made by the participants can be found near their sculpture as touch-activated buttons. \nTouching Sound is supported by the Canadian National Institute for the Blind and funded by the Ontario Arts Council. \nMeet the artists: \nOlivia Brouwer is a partially blind artist based in Cambridge\, Ontario. Olivia creates mixed media paintings\, prints\, sculptures\, and sound art of abstract interpretations of our natural surroundings while inviting both sighted and non-sighted audiences to interact and perceive using the senses of touch and hearing. \nDawn Matheson is an interdisciplinary artist from Guelph\, Ontario\, with a social practice\, co-creating within diverse populations living with difference or disability\, using the medium of video\, installation\, and sound. Dawn hopes to interrupt civic and social spaces with unexpected moments of beauty\, curiosity\, and joy. \n \n 
URL:https://guelphmuseums.ca/event/touching-sound-a-tactile-art-installation-created-by-olivia-brouwer/
LOCATION:Guelph Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions,In Our Cases
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BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20230916T080000
DTEND;TZID=America/Toronto:20240204T170000
DTSTAMP:20260403T145351
CREATED:20230818T182613Z
LAST-MODIFIED:20240202T220639Z
UID:10018751-1694851200-1707066000@guelphmuseums.ca
SUMMARY:Unsettling The Grand: Legacies of Settlement in the Grand River Valley\, from 1700 to the Present Day
DESCRIPTION:What do John Galt and the Canada Company\, the Upper and Lower Canadian Rebellions of 1837-38\, a canal-building enterprise\, and current (and future) land claims all have in common? \nUsing a Two-Eyed Seeing approach\, this exhibition examines the failed enterprise of the Grand River Navigation Company (1832-1861) as a lens through which we can explore historical and contemporary relationships between Indigenous and settler-colonial communities within and along the Grand River watershed. \nThe exhibition dives into the rich and varied historical tapestries of human settlement in the lands currently known as the Grand River Valley in Southern Ontario\, from 1700 to present day. \nIn addition to historical archives\, the display includes stories and creative expressions by Indigenous and settler artists who annually paddle the Grand River in symbolic renewal of the Two Row Wampum. \nCover images: Left: Mohawk Canal\, just east of the Alfred Street bridge in Brantford\, circa 1911 (earliest postmark for this card is September 2\, 1908) Right: Photo courtesy of Two Row on the Grand / http://www.tworowonthegrand.com/ \nUnsettling the Grand is guest curated by Robert Flewelling and funded in part by a grant from The Guelph Community Foundation—Musagetes Fund. \n \n  \n  \n  \n  \n  \n  \n  \nLeft: Map of Grand River\, 1821(Ridout)Right: Plan of theGrand River & Location of 6 Nations of Indians\, 1828 (Lugger)
URL:https://guelphmuseums.ca/event/unsettling-the-grand-legacies-of-settlement-in-the-grand-river-valley-from-1700-to-the-present-day/
LOCATION:Guelph Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions
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DTSTART;TZID=America/Toronto:20230923T080000
DTEND;TZID=America/Toronto:20240204T170000
DTSTAMP:20260403T145351
CREATED:20230824T173926Z
LAST-MODIFIED:20240112T014638Z
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SUMMARY:Light A Candle To Curse The Dark
DESCRIPTION:Amid the pomp and plump of Canada’s sesquicentennial\, fifteen metalsmiths from across the country marked the occasion by crafting new sculptures from melted-down post-Confederation silver. Each piece is an expression of form and function – art object and candleholder – that\, together\, nod to the past and offer a glimpse of the future. \nThe original silver came from two Canadian families\, who had used it over five generations but increasingly less often. They recognized that their tea and coffee sets\, serving dishes\, and cutlery had greater material value to the artists. They imagined something beautiful could be made from the old metal. \nThe metalsmiths transformed the silver into candleholders\, each inspired by the accomplishments of Canadian women in the arts. Known as the “Illuminations” series\, each piece includes a recognizable element from the source silver. \nAt Guelph Civic Museum\, the candleholders are displayed within an exhibition that considers the local Victorian-era\, when the fledgling colony aspired to silver service status. The exhibition looks frankly and truthfully at the colonial period\, positioning “Illuminations” as its centre\, and drawing from the artifacts\, archives\, and images in the museum’s collection. \nFeatured artists: Beth Alber (Toronto)\, Jackie Anderson (Calgary)\, Mary Anne Barkhouse (Kwakiutl First Nation)\, Anne Barros (Toronto)\, Brigitte Clavette (New Brunswick)\, Lois Etherington Betteridge (Guelph)\, Fiona Macintyre (Merrickville)\, Charles Funnell (Coburg)\, Chantal Gilbert (Ville de Québec)\, Elizabeth Goluch (Halifax)\, Mary K. McIntyre (Toronto)\, Kye-Yeon Son (Halifax)\, Myra Tulonen Smith (Almonte)\, Anne-Sophie Vallée (Montreal)\, and Ken Vickerson (Toronto). \nThank you to Laura Brandon (retired curator\, Canadian War Museum) and Ann Malone-Bianconi (manager\, interior design and crown collection\, National Capital Commission) for loaning the “Illuminations” series to Guelph Museums. We also acknowledge key contributions from Keith Betteridge (photography)\, Rob Brandon\, and Anne Greenlay. \n\n\n\n	Film\, Television & Video by Mary McIntyre \n\n\n	Dance by Charles Funnel \n\n\n	Fashion & Textile by Fiona MacIntyre \n\n\n	Craft by Lois Betteridge \n\n\n	Design by Ken Vickerson \n\n\n	Sculpture by Marie Anne Barkhouse \n\n\n	Photography by Anne Barros \n\n\n	Non-Fiction by Myra Tulonen Smith \n\n\n	Gastronomy by Chantal Gilbert \n\n\n	Horticulture by Elizabeth Goluch \n\n\n	Drawing and Painting by Brigitte Clavette \n\n\n	Creative Writing by Kye Yeon-Son \n\n\n	Theatre by Anne-Sophie Vallee \n\n\n	Architecture by Beth Alber \n\n\n	Music by Jackie Anderson
URL:https://guelphmuseums.ca/event/light-a-candle-to-curse-the-dark/
LOCATION:Guelph Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions
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DTSTART;TZID=America/Toronto:20231031T080000
DTEND;TZID=America/Toronto:20240303T170000
DTSTAMP:20260403T145351
CREATED:20231107T184648Z
LAST-MODIFIED:20240228T170607Z
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SUMMARY:Spotlight Series: Marjan Kaviani
DESCRIPTION:The Spotlight Series centres the work of contemporary artists in dialogue with past and present-day lived experiences in the place we call Guelph. Recognizing that the month of November invites reflections of remembrance\, the Spotlight Series broadens understandings of war through the lens of two contemporary conflicts\, in Ukraine and Iran. \nThis instillation features the work of Iranian Canadian artist Marjan Kaviani whose art will be on view at the Guelph Civic Museum until March 3\, 2024. \nArtist Statement\n“My parents lived under the Iranian regime before coming to Canada. Growing up\, I saw that the revolution in Iran left a psychological imprint on my family. I speak to\, and retell\, that experience in my art. I imagine the figures in my work as casualties of the Iranian regime. I have firsthand experience with their rage and trauma. \nIn my paintings\, I create a psychological tableau of the people around me. I reveal their humanity\, suffering\, sadness\, and absurdity. The distorted figures lack connection to their spirituality. Through my art\, I ask the victims of the Iranian revolution to question their pervasive malaise (depression). \nAs an expressionistic painter\, I share the emotional impact of my own experiences. My colour palette and the distortions of my figures are used to exaggerate and intensify my creative expression. I use layers of wet and dry oil paint to create a surreal atmosphere.” \nArtist Biography\nMarjan Kaviani is an Iranian Canadian artist\, based in Guelph. Kaviani graduated from Claude Watson Secondary Arts before undertaking an undergraduate degree at the University of Guelph\, where she majors in Studio Art and minors in Psychology. \nIn 2022\, Kaviani won the Jane Graham Memorial Award (Guelph Arts Council). In 2023\, she placed 3rd at the University of Guelph’s annual Juried Art Show. She has had solo exhibitions at Homer Watson House and Gallery in Kitchener and at Boarding House Arts in Guelph. \nHighlighted Iranian Communities in Guelph\nGuelph Iranian Student Association \n\n\n\n	Father's Abandoned Home\, 2023\, oil on canvas \n\n\n	Is This Home\, 2023\, oil on canvas \n\n\n	Whispers of Zoroaster\, 2023\, oil on canvas \n\n\n	Ishafan\, 2023\, Oil on canvas \n\n\n	Somewhere Far Away\, 2023\, oil on canvas \n\n\n	The Conjuring of Arak\, 2023\, oil on linen \n\n\n	Caste of Arbadil\, 2023\, Oil on canvas \n\n\n	The Dehydration of Anahita\, 2023\, oil on canvas \n\n\n	The Drag of Lily Pads\, 2023\, Oil on canvas \n\n\n	The Edge of Ramsar\, 2023\, oil on canvas \n\n\n	The Cry\, 2022\, oil on linen \n\n\n	The Glimmer of Hope\, 2023\, oil on canvas
URL:https://guelphmuseums.ca/event/spotlight-series-dreamt-on-a-collective-journey-by-marjan-kaviani/
LOCATION:Guelph Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions
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DTSTART;TZID=America/Toronto:20231031T080000
DTEND;TZID=America/Toronto:20240303T170000
DTSTAMP:20260403T145351
CREATED:20231107T185012Z
LAST-MODIFIED:20240228T170509Z
UID:10018766-1698739200-1709485200@guelphmuseums.ca
SUMMARY:Spotlight Series: Taras Lachowsky
DESCRIPTION:The Spotlight Series centres the work of contemporary artists in dialogue with past and present-day lived experiences in the place we call Guelph. Recognizing that the month of November invites reflections of remembrance\, the Spotlight Series broadens understandings of war through the lens of two contemporary conflicts\, in Ukraine and Iran. \nThis installation  by Ukrainian Canadian artist Taras Lachowsky is on view at the Guelph Civic Museum until March 3\, 2024. \nArtist Statement\n“There is war in Ukraine — no one was expecting it\, except the people of Ukraine. The war started with Russia’s annexation of Crimea. Ukranians have been expecting\, dreading\, and praying that war would not happen. \nTaras Shechenko (my namesake and Ukraine’s poet laureate) spoke of destroying a nation by destroying its culture. Unimaginable atrocities have taken place. Cultural landmarks and monuments have been destroyed. \nI am Ukrainian Canadian and I am experiencing this war on a very personal level\, as part of the Ukrainian diaspora. I feel helpless\, stunned\, and numb. \nIn my way\, I am trying to record and understand something that my parents also lived through. Must Ukrainians of every generation know war? \nIn my Guelph studio\, I make art to balance the destruction\, pain\, and horror that I have seen from my safe harbour. Peace and democracy must win.” \nArtist Biography\nTaras Palijh Lachowsky is an Ukrainian Canadian artist\, based in Guelph. He explores the histories of Ukrainian culture\, past\, present\, and future. His parents emigrated from Ukraine\, through Germany to France and finally to Canada in 1950. Born in Sudbury in 1964\, he is the youngest of 10 children. \nLachowsky studied textile and surface design at Sheridan College\, then earned a B.A. in Fine Art at the University of Guelph. His recent exhibitions focus on the symbols\, patterns\, and colours in the Ukrainian cut-paper techniques of Vytynanky\, Vishytchy\, and Pysanky. \nHighlighted Ukrainian Communities in Guelph\nSaving Ukrainian Cultural College\nUkrainian Church Guelph Community  \n\n\n\n	Drevo (Tree) 2023 \n\n\n	The Montanka Project 2023 1 \n\n\n	Which Way Does The Blood Flow in Bucha 2022 \n\n\n	The Montanka Project 2023  \n\n\n	First Day February 2022 \n\n\n\n\n  \n 
URL:https://guelphmuseums.ca/event/spotlight-series-art-out-of-war-ukraine-the-montanka-project-by-taras-lackowsky/
LOCATION:Ontario
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20240217T080000
DTEND;TZID=America/Toronto:20240811T170000
DTSTAMP:20260403T145351
CREATED:20240109T212142Z
LAST-MODIFIED:20240202T220355Z
UID:10018776-1708156800-1723395600@guelphmuseums.ca
SUMMARY:Folklore: Being and Belonging in the Grand River Region\, before and after 1827
DESCRIPTION:Folkloric practices – beliefs and customs passed through generations\, often by oral traditions – have been shared through stories and storytellers in this place\, long before it was known as Guelph. \nAt the turn of the 19th century\, the Grand River region comprised both Indigenous and settler communities\, including the Mississaugas of the Credit First Nation and the Six Nations Confederacy (Seneca\, Cayuga\, Onondaga\, Oneida\, Mohawk\, and Tuscarora)\, as well as Black Loyalists (both free and enslaved peoples who sought refuge in Canada after the American Revolution) and Scottish colonists\, among other European settlers. \nExploring relationships with land\, water\, and weather; food\, plants\, and medicine; language\, stories\, and teaching; music and dance; crafting and creating; and societal roles and community gathering\, this exhibition examines communication and conflict among local cultural\, geographic\, and spiritual communities\, before and after 1827. \nThrough stories\, belongings\, and creative expressions of the past\, we witness the evolution of everyday life in the place we now call Guelph\, and draw connections to present-day lived experiences. Then\, as today\, folkloric practices contribute to culture\, community\, being\, and belonging. \nCover image: Berry Picking on River Road (Six Nations Public Library SNPL000359v00i) \nSophia Lawson Mallotte and Myrtle Mallotte (Guelph Museums 1998.33.12) \nJohn and Irvine Laidlaw (Guelph Museums 1972.20.47) \n 
URL:https://guelphmuseums.ca/event/folklore-being-and-belonging-in-the-grand-river-region-before-and-after-1827/
LOCATION:Guelph Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions,Upcoming
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BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20240305T080000
DTEND;TZID=America/Toronto:20260830T170000
DTSTAMP:20260403T145351
CREATED:20240228T162236Z
LAST-MODIFIED:20251216T161426Z
UID:10018788-1709625600-1788109200@guelphmuseums.ca
SUMMARY:Revelations From The Collection
DESCRIPTION:Guelph Museums has a growing collection of over 50\,000 items\, including objects\, archival material\, and photographs. This collection allows us to record the tangible and intangible history of the place we now call Guelph. Using large-scale photography\, Revelations from the Collection showcases a diverse selection of artifacts and archival material from Guelph Museums’ extensive collection. It provides an opportunity for visitors to engage with artifacts in a unique way and enhance their knowledge and understanding of Guelph’s history and community.
URL:https://guelphmuseums.ca/event/revelations-from-the-collection/
LOCATION:Guelph Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions,In Our Cases
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20240824T080000
DTEND;TZID=America/Toronto:20250105T170000
DTSTAMP:20260403T145351
CREATED:20240730T182919Z
LAST-MODIFIED:20240929T152557Z
UID:10019086-1724486400-1736096400@guelphmuseums.ca
SUMMARY:Weaving Cultural Identities: Celebrating Heritage and Textile Traditions
DESCRIPTION:This Vancouver Biennale nationally-touring exhibition brings together artists and graphic designers of diverse Indigenous and Muslim backgrounds to collaborate on a series of textile artworks that celebrate the sacred\, historic\, and creative significance of prayer rugs and weaving traditions. \nThe project began with a series of questions: \nIn a contemporary society of mixed cultures and values\, how do we begin to navigate heritage and diverse beliefs? How do we share sacred space?\nHow do we come together to understand each other’s experiences?\nWhat can we learn about ourselves from our inherited histories?\nWhat can we learn from each other? \nIn the co-creation of the exhibition\, the artists developed a platform and process for community dialogue centred in discussions of belonging\, forced displacement\, diaspora\, assimilation\, and relationship to the land. The resulting series of prayer rugs became a spiritual conduit from past to present and between peoples and places\, both near and far. \nThrough the integrated motifs and design elements\, this exhibition will inspire visitors to explore their own cultural identities\, while honouring ancestral legacies and celebrating inter-cultural connections. \nWeaving Cultural Identities: Celebrating Heritage and Textile Traditions was curated by Zarina Laalo and commissioned as part of the 2018-2021 Vancouver Biennale\, with touring support from the Canada Council for the Arts and the British Columbia Arts Council. \nGuelph Museums’ presentation is funded in part by the Government of Canada\, through the Museums Assistance Program – Exhibition Circulation Fund. \nTisser les identités culturelles : saluer la diversité et les traditions textiles\nCette exposition nationale itinérante réunit une variété d’ artistes et graphistes autochtones et musulman.es afin de collaborer sur une série d’œuvres d’art en tissu qui fête l’importance sacrée\, historique et créative des tapis de prière et des traditions des arts tissés. \nLe projet a commencé par une série de questions : \nDans une société contemporaine qui mélange des cultures et des valeurs\, comment peut-on commencer à négocier nos héritages et croyances ?\nComment peut-on partager l’espace sacré ?\nComment peut-on venir ensemble afin de comprendre les expériences des un.es et des autres ?\nQu’est-ce que les personnes peuvent apprendre sur eux-même des histoires qu’elles ont héritées ?\nQu’est-ce qu’on peut apprendre les un.es des autres ? \nAu cours de la création conjointe de l’exposition\, les artistes ont établi une plateforme et un processus de dialogue communautaire centrés sur les discussions relatives à l’appartenance\, au déplacement forcé\, à la diaspora\, à l’assimilation et à la relation à la terre. \nLa série de tapis de prière qui en résulte est devenue une voie spirituelle entre le passé et le présent\, entre les peuples et les lieux\, qu’ils soient proches ou lointains. \nCette exposition\, qui intègre des motifs et des éléments de conception\, inspirera les visiteurs à explorer leur propre identité culturelle\, tout en honorant les héritages ancestraux et en célébrant les liens interculturels. \nTisser des identités culturelles : Saluer la diversité et les traditions textiles a été organisée par Zarina Laalo. L’exposition a été commandée pour la Biennale de Vancouver de 2018-2021\, avec le soutien du Conseil des Arts du Canada et du BC Arts Council pour la tournée \nLa présentation des Musées de Guelph est financée en partie par le gouvernement du Canada\, grâce au Fonds des expositions itinérantes — Programme d’aide aux musées. \n\n\n\n	Prayer Rug \n\n\n	Reflections \n\n\n	Skw’enmáylh – Prayer \n\n\n	Unbroken Prayer (Tellequah’s Message) \n\n\n	What Does Your Path Look Like? \n\n\n	Find What You Need \n\n\n	The Other Side \n\n\n	Dialogues of Spirit \n\n\n	Celebrating Knowledge and Belief: An Intercultural Dialogue \n\n\n	Whose Needle (Can) Will Re-stitch the Earth to the Sky \n\n\n\n\n \nImage Credits from Left to Right: \nTop Row: 1. Find What You Need by Dawn Livera & Adrienne Neufeld (textile artists)\, Doaa Jamal (graphic artist) 2. The Other Side by Damian John (graphic artist)\, Nadia Sajjad (textile artist) 3. Skw’enmáylh – Prayer by Angela George (textile artist)\, Michelle Nahanee (graphic artist) 4. Celebrating Knowledge and Belief: An Intercultural Dialogue by Ruth Scheuing & Mary Lou Trinkwon (textile artists)\, Sholeh Mahloji (graphic artist) 5. Reflections by Robyn Sparrow (textile artist) \nBottom Row: 1. What Does Your Path Look Like? by Doaa Jamal (graphic artist)\, Krista Point (textile artist)2. Prayer Rug by Debra Sparrow (textile artist) 3. Dialogues of Spirit by Michelle Sirois Silver (textile artist)\, Damian John (graphic artist)4. Unbroken Prayer (Tellequah’s Message) by Michelle Nahanee (graphic artist)\, Chief Janice George & Buddy Joseph (textile artists) 5. Whose Needle (Can) Will Re-stitch the Earth to the Sky Shamina Senaratne (textile artist)\, Sholeh Mahloji (graphic artist)
URL:https://guelphmuseums.ca/event/weaving-cultural-identities-celebrating-heritage-and-textile-traditions/
LOCATION:Guelph Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20240824T080000
DTEND;TZID=America/Toronto:20250810T170000
DTSTAMP:20260403T145351
CREATED:20240730T191004Z
LAST-MODIFIED:20250520T142142Z
UID:10019087-1724486400-1754845200@guelphmuseums.ca
SUMMARY:Art as We Are: Creative Community Care
DESCRIPTION:Organized by Art Not Shame and Guelph Museums\, Art as We Are: Creative Community Care spotlights three projects centred in collective community-making through art and involving about 200 local creators: Art in Hard Times (2020)\, Art in a Just Recovery (2023)\, and Community Fabric (2024). The exhibition also shares the origin story of Art Not Shame\, a community-engaged\, multidisciplinary arts organization serving youth and adults in Guelph and across Ontario since 2017. \nIn 2020\, artist Melanie Schambach led a team of artists and social support workers in the creation of The Mural Project: Art in Hard Times. Collectively\, they aimed to amplify the voices of those who identified as: newcomers\, LGBTQ21+\, Black\, Indigenous\, people of colour\, street engaged\, adults with developmental exceptionalities\, and youth struggling with mental health and addictions. \nIn 2023\, Art Not Shame\, Guelph Neighbourhood Support Coalition\, and artist Melanie Schambach collaborated on Art in a Just Recovery: Reconnecting to Us\, a project that explored community care in pandemic recovery. Through a series of in-person and online art-making workshops\, participants were partnered with Art Buddies in creating artworks that came together in a large-scale mural. \nIn 2024\, Art Not Shame\, Guelph Neighbourhood Support Coalition\, and Guelph Museums collaborated on the Community Fabric project 一 a ten-week community-arts series in which participants worked together to create a community quilt\, build social connections\, and develop skills to support their mental health and wellbeing. The completed quilt will be unveiled in the exhibition Art as We Are: Creative Community Care\, which opened for public viewing on Saturday\, August 24.
URL:https://guelphmuseums.ca/event/art-as-we-are-creative-community-care/
LOCATION:Guelph Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250118
DTEND;VALUE=DATE:20250714
DTSTAMP:20260403T145351
CREATED:20241214T185038Z
LAST-MODIFIED:20250429T191702Z
UID:10019119-1737158400-1752451199@guelphmuseums.ca
SUMMARY:Darkness and Light: Inside the Ontario Reformatory
DESCRIPTION:For over 100 years\, the Ontario Reformatory/Guelph Correctional Centre was imbedded in lives of the people of Guelph. The exhibition shares stories from within the institution\, addressing misconceptions\, propaganda\, and myths – some perpetuated by the institution itself and recounted in public archives. \nOfficially opened in 1911\, the Ontario Reformatory evolved to be many things\, including the Guelph Correctional Centre from 1972 until its decommission in 2003. The historical record of the property and institution is vast and only partially preserved. There are more stories to tell and many lesser-known aspects of the history to explore. \nThe reformatory was a place of duality: from reform intentions\, which aimed to improve the lives of those who were incarcerated\, to being one of Canada’s most notorious prisons. Despite the lack of humanity within the institution\, some inmates and staff held hope\, creativity\, and a vision for life beyond the cell walls. \nThe history of the Ontario Reformatory/Guelph Correctional Centre is complex and uncomfortable. Guest curated by P. Brian Skerrett\, “Darkness and Light: Inside the Ontario Reformatory” aims to share historical truths as lessons from the past that can inform our actions today and help us to shape a better tomorrow. \nLearn About the “Go-By” Podcast\nRead an article about the podcast here \nWatch The Recording – The Reformatory: Within and Beyond the Cell Walls\n\n\n\n\n	\n\n\n	\n\n\n	\n\n\n	\n\n\n	\n\n\n\n\nLeft to right (details): Soldiers in the Billiards Room at Speedwell Military Convalescent Hospital\, circa 1919 (Guelph Museums 1978.6.4); Painting created in 1985 by John J. Anishinabe\, a member of the Native Sons (Courtesy: Janny Nieuwland); Inmates riot in protest of the living conditions at the Ontario Reformatory\, 1952 (Guelph Museums 2014.1.1); “Hope” banner created by Reformatory inmates (Courtesy: Connie Shaw); Watching brook trout in a stream at the Ontario Reformatory (stonework by inmate labour)\, 1925 (Archives Ontario AO # B117492)
URL:https://guelphmuseums.ca/event/darkness-and-light-inside-the-ontario-reformatory/
LOCATION:Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20250823T080000
DTEND;TZID=America/Toronto:20260222T170000
DTSTAMP:20260403T145351
CREATED:20250719T184832Z
LAST-MODIFIED:20260109T190730Z
UID:10019628-1755936000-1771779600@guelphmuseums.ca
SUMMARY:Portraits – Stories of Black Canadian Military Service
DESCRIPTION:From pre-Confederation conflicts through to the war in Afghanistan\, Black Canadians have a proud tradition of military service. They have fought and died for freedom abroad\, even as they have struggled against discrimination at home. \nPortraits – Stories of Black Canadian Military Service\, a new travelling exhibition circulated by the Canadian War Museum\, celebrates the contributions of Black Canadians in the military through compelling accounts of service and sacrifice from across the country. \nThe exhibition highlights the contributions and experiences of Black men and women from Nova Scotia and southern Ontario — two historic centres of Black migration — as well as from other parts of Canada. \nVisitors will recognize familiar names and events\, such as the story of William Hall\, one of Canada’s first recipients of the Victoria Cross. They will also discover many lesser-known stories\, like that of Connie and Kathleen Brown\, twin sisters who served during the Second World War. \nGuelph Museums has developed a unique\, localized chapter within the national narrative of the touring exhibition. This addendum focuses on the history of Black military service and migration to Guelph\, Ontario\, including the story of First World War servicemen Henry Francis Courtney\, Victor Goines\, Gordon Goines\, and Tom Malott who served in the No. 2 Construction Battalion\, the largest all-Black unit in Canadian military history. \nPortraits – Stories of Black Canadian Military Service was developed by the Canadian War Museum\, Ottawa in partnership with the Black Cultural Centre for Nova Scotia\, Halifax and the Niagara Military Museum\, Niagara Falls. \n\n\n\n	Molly Lamb Bobak Private Roy\, Canadian Women’s Army Corps\,1946 \nBeaverbrook Collection of War Art Canadian War Museum CWM 19710261-1626\n\nMolly Lamb Bobak Soldat Roy\, Service féminin de l’armée canadienne\, 1946 \nCollection Beaverbrook d’art militaire Musée canadien de la guerre MCG 19710261-1626  \n\n\n	Connie and Kathleen Brown \nNiagara Military Museum\n\nConnie et Kathleen Brown \nNiagara Military Museum\n\n \n\n\n	David Johnson in Korea \nNiagara Military Museum\n\nDavid Johnson en Corée \nNiagara Military Museum \n \n\n\n	Alvie Burden \nCourtesy of Eric Brunt \n\nAlvie Burden \nAvec l’aimable autorisation d’Eric Blunt
URL:https://guelphmuseums.ca/event/portraits-stories-of-black-canadian-military-service/
LOCATION:Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20260314T100000
DTEND;TZID=America/Toronto:20270228T170000
DTSTAMP:20260403T145351
CREATED:20260109T192401Z
LAST-MODIFIED:20260121T155450Z
UID:10019667-1773482400-1803834000@guelphmuseums.ca
SUMMARY:Maawnjidyang Maa / Kén:thon / Nę́ntoh / Here / Ici
DESCRIPTION:Maawnjidyang Maa – We come together here \nWhat does it mean to be “here” in Guelph\, where the Speed and Eramosa rivers meet? How do we engage in this place with all our relations— past\, present\, and future? \nThis exhibition\, within the museum and at sites around the city\, invites us to re-story Guelph through Anishinaabe and Haudenosaunee ways of knowing. These stories help connect us to the lands\, waters\, and communities\, who have always been\, and always will be\, here. \nThe Maple tree\, a first responder and guardian of plant relations\, lives on the hill overlooking the city. Guiding us to consider contact zones between Indigenous Peoples and settlers\, the Maple counteracts the founding story of Guelph\, which is often mythologized in the felling of a maple tree. \nVisitors to the hilltop can interact with plants that are Indigenous to “here” along with the teachings they carry. The exhibition within the museum features the work of contemporary Indigenous artists\, who uniquely express the interconnection of life forms. \nThe digital work of the late Anishinaabe Elder\, visual and performing artist\, and author Rene Meshake\, a longtime Guelph resident\, speaks to Indigeneity in the local cityscape. \nWeaving together both traditional and contemporary materials\, Saugeen First Nation visual artist Emily Kewageshig explores cyclical themes of birth\, death\, and rebirth. \nBeing “here” at the junction of the Speed and Eramosa rivers is activated through the work of Kahnyen’kehàka multidisciplinary artist and dancer Santee Smith. Through her use of clay\, Smith embodies the rivers\, evoking the Sacred Feminine\, expressing a deep connection to the Earth\, and affirming the ongoing presence of Indigenous identity on the land. \nIn collaboration with Gayagohó:nǫ’ visual artist Alex Jacobs-Blum\, the future of “here” is celebrated in the artwork of Indigenous youth who call Guelph home. These emerging artists share their relationships to place\, the rivers\, and the importance of protecting the water for future generations. \nFrom March 2026 to February 2027\, sites of kinship between the hilltop and the rivers will be activated by Anishinaabe and Haudenosaunee knowledge carriers. Curated by the Decolonizing Place Narratives Research Collective in collaboration with Guelph Museums and Culture\, City of Guelph. \n  \n \nMaawnjidyang Maa – Nous nous réunissons ici \nQue signifie être « ici » à Guelph\, à la rencontre des rivières Speed et Eramosa? Comment habitons-nous ce lieu avec toutes nos relations\, passées\, présentes et futures? \nCette exposition\, présentée au musée et dans divers sites à travers la ville\, nous invite à retracer l’histoire de Guelph à travers les savoirs des peuples anishinaabe et haudenosaunee. Leurs récits nous relient aux terres\, aux eaux et aux communautés qui ont toujours été\, et qui seront toujours\, ici. \nL’Érable\, premier intervenant et gardien des relations végétales\, se dresse sur la colline qui surplombe la ville. Sa présence nous invite à considérer les zones de contact entre les peuples autochtones et les colons\, là où les histoires se frôlent\, se répondent et parfois se heurtent. L’Érable vient ainsi contrebalancer le récit fondateur de Guelph\, souvent mythifié par l’abattage de cet arbre. \nLes visiteurs de la colline sont invités à interagir avec des plantes originaires d’« ici » et les enseignements qu’elles portent. Au musée\, l’exposition met en valeur le travail d’artistes autochtones contemporains\, qui révèlent chacun à leur manière l’interconnexion du vivant. \nL’œuvre numérique du regretté aîné anishinaabe Rene Meshake\, artiste visuel\, artiste de scène\, auteur et résident de longue date de Guelph\, fait résonner la présence autochtone dans le paysage urbain. \nEn tissant des matériaux traditionnels et contemporains\, l’artiste Emily Kewageshig\, de la Première Nation Saugeen\, explore les cycles de la naissance\, de la mort et de la renaissance. \nÊtre « ici » à la confluence des rivières Speed et Eramosa prend vie dans l’œuvre de Santee Smith\, artiste et danseuse multidisciplinaire Kahnyen’kehàka. Par son usage de l’argile\, Smith incarne les rivières\, évoquant le féminin sacré\, exprimant une connexion profonde à la Terre et affirmant la présence continue de l’identité autochtone sur le territoire. \nEn collaboration avec l’artiste Gayagohó:mo’ Alex-Jacobs-Blum\, l’avenir d’« ici » se déploie dans les œuvres de jeunes artistes autochtones qui vivent et créent à Guelph. Ces artistes émergents partagent leurs relations au lieu\, aux rivières et à l’importance de protéger l’eau pour les générations à venir. \nDe mars 2026 à avril 2027\, des liens de parenté entre la colline et les rivières seront activés par des gardiens et gardiennes du savoir anishinaabe et haudenosaunee. \nExposition réalisée par le « Decolonizing Place Narratives Research Collective » en collaboration avec « Guelph Museums and Culture » et la Ville de Guelph.
URL:https://guelphmuseums.ca/event/maawnjidyang-maa-we-come-together-here/
LOCATION:Civic Museum\, 52 Norfolk Street\, Guelph\, Ontario\, N1H 4H8\, Canada
CATEGORIES:Exhibitions
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