These are dry times. Summer slips away faster than you can catch it – a dime down the drain. The sky hangs damp and icy today. Across the globe, powerful little men toy with the world’s future like it’s a game of chicken. Hurricanes have ravaged large parts of our earth. Families will suffer the effects for years to come. Terrorists won’t let London sleep.
This planet can get so ugly. So broken. So disordered. So many of our mirrors are shattered.
There is order in beauty. A divine order, I believe, but whatever your theology you can feel it. The affirmation of disparate parts falling into place.
Jennifer Berkenbosch’s Cultivar matters because the world needs beauty today. We need to be reminded that there is goodness. There is a solid bed beneath this wild river.
Before we ever opened a gallery, we were a movement. We still are, and this is our Manifesto. Our reason for existing. Our map.
Thanks to all who read the Manifesto for this video, and to every artist who has shared their beautiful work in our space(s) over the years.
You have something to say–why not say it here? Email your blog post idea to dave@bleedingheartart.space and let's chat.
Alana Levandoski is a member of our community with a powerful voice and a gift for songwriting. She's been giving those gifts back to community for a long while now, and this new lyric video and recording is a timely gift for those working towards truth and reconciliation on this, National Indigenous Peoples Day.
You have something to say–why not say it here? Email your blog post idea to dave@bleedingheartart.space and let's chat.
November marks our two year anniversary as an arts space, community space and sacred space at 9132 118th Avenue.
We're hoping for many more years, but we need your help. Please watch and share this new video from Founder and Arts Chaplain at Bleeding Heart, Dave Von Bieker.
You have something to say–why not say it here? Email your blog post idea to dave@bleedingheartart.space and let's chat.
Consider this a 'greatest hits' from the last week of the Bleeding Heart Art Space social media-sphere. These are the posts you liked, clicked on and shared most last week, served together in one tasty meal.
You have something to say–why not say it here? Email your blog post idea to dave@bleedingheartart.space and let's chat.
This new video, in just under two minutes, will take you through the work and wonders of OPEN WALLS. Of course, it's not quite like seeing the real thing. You have until this Saturday, November 14, to do that.
You have something to say–why not say it here? Email your blog post idea to dave@bleedingheartart.space and let's chat.
Now you can experience some of Riley Tenove's Forgotten Places through the magic of video!
Of course, you'll want to see it all in person, taking your time. Paying attention. Here's how you can do that on Thursdays and Saturdays.
You have something to say–why not say it here? Email your blog post idea to dave@bleedingheartart.space and let's chat.
This week we’ve got milestones and motion. Significant calendar dates and a flurry of online videos dominate this #ArtScene13 list. So get your day-timer out and turn your speakers up to discover what’s up this week in the spaces where #yegarts and faith collide.
Happy Birthday to the magic wand!
Show postcard from The Nina Haggerty website.
The Nina Haggerty Centre is a unique gift to our city and the Alberta Avenue community. They provide opportunities for those with developmental disabilities to make art. Celebrate their 12 year anniversary with artist Scott Berry’s sculptural installation Confusement. Berry has been recognized as Stantec’s Artist of the Year. View Confusement at Nina Haggerty Centre for the Arts until February 27.
And they are bringing change. Just watch this new video and see for yourself.
The Women is a collection of black and white photographs of Edmonton women organized by Julie Rohr (sister of Marcie Rohr whose work currently hangs at The Bleeding Heart). More than an art show, The Women is a movement in support of women who have been sexually exploited or trafficked, both here and internationally. Women have paid $50 for a potrait to stand in solidarity with exploited women we may not see. All funds raised through the project are split between CEASE (local) and IJM (international). The March 8 event at the AGA, held on International Women’s Day, is now sold out, but donations can still be made to support the project at thewomen.ca.
Speaking of social good, consider joining us this weekend to walk for the homeless with the Coldest Night of the Year. The walk benefits Hope Mission here in Edmonton. For the first time, The Bleeding Heart has an official team, and if you cannot walk, you can stil give.
Scrabble Anyone else play games inside when it’s cold outside? Austin Kleon wants us to see David Hockney’s awesome Scrabble Game collage.
Another great indoor activity? ArtLuck! Join us at The Bleeding Heart Art Space to share food, friends and art on Thursday, March 5 at 7.
How about learning to transform a space? Harcourt House is offering a workshop on Installation Art with Artist in Residence Ali Nickerson. I wish I could take this in, because it sounds awesome.
Sufjan Stevens has release his new single, No Shade in the Shadow of the Cross. It’s beautiful, but perhaps NSFW (f-bomb ahead).
NextFest is looking for audio work (music and otherwise) for its NuMusic component. The Call for Submissions is up and you have until May 1. Sadly, I have realized that I am now too old to submit to NextFest. Ouch. Don’t be like me. Don’t miss your chance!
February is Black History Month, and Arts On The Ave is celelbrating with Rythms of the Earth, a series of arts events, workshops, great food and more. You can still catch an African dance workshop, a Poetry Slam, an Open Mic poetry night and the Adjè Performers (West African drumming and dance) - all before the month is out.
On important times of the year, I’ve been reflecting on the season of Lent, fasting and what this all means for artists.
According to Loyolla Press, Lent might involve a painting of a sad clown. Take a few moments for this art-focussed Lenten reflection.
Remember to send me your art and arts happenings. Simply email dave@bleedingheartartspace.com or post on Twitter or Facebook with #ArtScene13 and I will do my best to get you on the list next week.
Or, just fill out this form right here.
You have something to say–why not say it here? Email your blog post idea to dave@bleedingheartart.space and let's chat.
Saturday, December 6 was a historic Bleeding Heart day. We opened our new space at 9132 118th ave. Our first show, Blue Christmas, welcomed guests to take in blown glass by Keith Walker, landscapes by Dawn Saunders Dahl and participation by ... you.
Were you there? Do you plan on attending? Please share any feedback or questions below.
You have something to say–why not say it here? Email your blog post idea to dave@bleedingheartart.space and let's chat.
On Saturday, November 23, Jim Robertson curated (and largely created) a worship experience called Reign of Christ the King. This 'Feast Day', in Christian tradition, focusses on the rule of Jesus in the world. What does it mean to say Jesus is king of all, when so many don't even believe in his existence, and especially not his everlasting life? What does it mean to say God is still in control, in the face of Ferguson and Ebola and the middle east? It means a lot that is perhaps best understood beyond reason and rationale – beyond the brain and into the heart. Through image, sound, language, dance and practice.
All of these elements were brought together at St.Paul's Anglican Church on November 23, when dozens of us came together to create an experience for 'one night only'.
I can't describe what that kind of experience is like – when artists get the keys to church for an evening. But I can show you. And I will, in 13 pictures and a video.
When one walks into the room, there may be confusion. Surprise. 'What the ...?'
You've got a lot of explaining to do, Jim Robertson. Here, Jim does explain, and does it well, walking us through the evening's activities and sharing words from his deep well.
The gathering is split into times of singing and reading and listening and sharing together, as well as time for a short dance. Then there is the bulk of the evening, the 'fat middle' where we are on our own to wander through a series of stations. This station, at the back, invites participants to pick up chalk and write (or draw) answers to some guiding questions. Questions like 'What do you see when you see Jesus in others?"
A poem written for the evening by EmTee (and featured in the video below), peers into the various names for Christ. So does the installation piece above, acting as another worship station.
Rocks feature heavily in Jim Robertson's Interface Worship experiences. This display is my favourite. I'm not alone. I once heard Jim recall the incredible story of finding these rocks, years apart and yet two halves of one whole. Behold The Blessings of Brokenness.
Another favourite piece of mine, this station features a large stone, the 'stone the builders rejected' crowned with some very painful looking thorns. It is accompanied, as all the stations are, with a written reflection, either curated or written by Jim Robertson.
In one of the evenings first movements, the congregation each brings a carnation up to lay at the bottom of this beautiful wooden cross. At the bottom of the cross regal robes are draped. It forms a beautiful backdrop to the rest of our evening together, and at the end of the night we will surround this scene for Communion.
Light plays a big part in the evening, and so it should, as Jesus has declared himself Light of the World. I can't get enough of this retro star lamp. If Jim ever wants to get rid of this piece, he knows where to find me.
Interface Worship uses prayer bowls heavily. These liturgical objects are accompanied by written meditations and invoke images of prayers rising like incense, burning in bowls.
The Prodigal Son story forms part of our evening. We are embraced by the king. We are robed in his righteousness. These colourful robes are put on by the participants near the end of the evening, as we gather round for communion. The colours also evoke 'the lilies of the file' - lilies which remind us not to worry, because if God dresses those flowers so beautifully, won't he also care for you and I?
These vintage windows rotate, and as they do, the view through them changes. Reflects. Refracts. Windows for a few newer stations at the back of the room, and offer rich metaphors.
And what would the evening be without these beautiful fabrics hanging above? These colours are rich with liturgical symbolism, and set the stage perfectly for the evening experience. Always look up.
Can you smell those fresh carnations? A reminder that engaging all five senses is a powerful way to connect with God and one another.
The simplicity of candles in the dark remains a favourite image of mine from this evening. Here, a trinity of candles shines small and unassuming. So low I have to nearly lay on the ground to photograph them. But if the Reign of Christ the King matters anywhere it is here, in the dark and low places.
I hope that from those 13 strands you can weave together something of the whole. And if not, perhaps this video will help. And if not, there's always another nterface Worship experience ahead.
You have something to say–why not say it here? Email your blog post idea to dave@bleedingheartart.space and let's chat.
"Oh no!" mutters Keith Walker. Or maybe he exclaims something a bit more colourful.
The molten glass is dripping too fast. The weight of the teardrop pulls downward, stretching the droplet too long too soon. It could stop, frozen solid, any second. But it doesn't. It falls into its cradle and breaks. The piece is ruined.
We've been blowing glass teardrops all day for the upcoming installation, Blue Christmas. Despite the repetition of forging 60-some nearly indistinguishable teardrops, every piece is a challenge. Unpredictable. Uncontrollable.
Less than ten minutes later we are back at that critical moment. Another chance to get it right. The heavy bottom of the teardrop sinks fast. I'm tense. I blow on the bottom of the drop with a 'sofietta' to cool it down. Keith torches the stem to melt it faster. He knows when to blow the torch and when to lay back. His mastery shows. We dance with the molten glass until it harden back to its solid state. This teardrop is perfect. Or as close to perfect as we can hope to get.
Tension. Timing. Knowing when to push forward and when to pull back. When to give and when to demand more. This process is packed with metaphors.
Blue Christmas, our first show in our new home, opens December 6. The installation will create a space for grief in a time declared joyful. Grieving needs space and time. Sorrow bears weight. Like a forming teardop, it can be heavy. In its intensity–its immediate heat–that heaviness can pull us down too hard and fast. It can break us.
But we can learn to dance with sorrow. To give it space and time. To know when to close the book and move forward. We can even draw beauty from it.
In grief we all become fragile. For a time brittle. Once passed through fire, stronger. Like this glass teardrop we have made.
I'm still processing much of what I learned in Keith Walker's glass studio yesterday.
You have something to say–why not say it here? Email your blog post idea to dave@bleedingheartart.space and let's chat.
