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Popular Kempenfest, rooted in art, still celebrates artisans – MidlandToday



With scrapbooks laid out in front of him filled with newspaper clippings from over the decades, Alan Gibbs tells the story of the little club that started up a really big show.

The huge August long-weekend event called Kempenfest — which begins Friday, July 29 and carries on through Monday, Aug. 1 — straddles Barrie’s waterfront and draws an estimated 200,000 people over four days every year. And its origins start with the Barrie Art Club. 

It all began with the Huronia Festival of Arts and Crafts, Gibbs, a self-described amateur portrait artist, tells BarrieToday.

“The paintings were hung on the snow fence at the park,” he says, referring to a 1971 article in the now-defunct Barrie Examiner. “It’s still to this day the Huronia Festival of Arts and Crafts. All those tents that you see at the lakeshore, that is the Huronia Festival of Arts and Crafts.”

The park, as it turns out, was the former Formosa Spring Brewery, which became Molson Park in the city’s south end  long since sold and developed. In that first year, the event attracted 5,000 people. 

Featuring original art, it was and continues to be a juried show, attracting competition from hundreds of artists across central Canada.

The art festival grew every year and four years after its launch, it moved to the relatively new Centennial Beach with access to the entire waterfront. That’s when the Kiwanis Club joined forces to co-sponsor the event and add food to the venue.

That year, crafters were also invited to the show.

Then other community service clubs, recognizing the fundraising possibilities, also joined in, providing food, entertainment, midway rides, beverage gardens, and other attractions. 

A board was then struck to oversee the entire event and Kempenfest was born.

“Arts and crafts are the main centrepiece event, but over the years it has expanded to include a lot more,” says Tom Aikins, who has long been involved in organizing Kempenfest and currently serves as its sponsorship co-ordinator. “Music and entertainment is now a big part of the festival. Right now, we have two stages.”

Entry to the art show has always been free, and the exhibitors pay a fee. The net profits are then split between the art club and the Kiwanis; it roughly works out to $35,000 each, which both clubs use to do more good in the community.

For the art club that means contributing to a spacious King Street facility where members can meet, work and show in separate but connected spaces. The club also funds art scholarships through Georgian College.

Kempenfest is now considered one of the largest outdoor arts, crafts and music festivals in North America, snaking along two kilometres of the Kempenfelt Bay shoreline on what often turns out to be the summer’s hottest weekend.

There are more than 300 juried artisans and crafters showing and selling their wares out of tents. There’s an array of food offerings and there’s four days of live music on two stages.

The long weekend kicks off with a Friday night concert featuring The Sheepdogs, a ticketed event at the stage outside the Southshore Centre. Other acts through the weekend include Death From Above 1979, Tebey and Practically Hip, a tribute to Canada’s Tragically Hip.

A family stage at the foot of Victoria Street includes a cross-section of entertainment starting Friday night right through the weekend. Barrie Wrestling will also host matches.

The kids’ village, next to the midway near Centennial Park, will feature many art-focused activities including painting murals and button designing with the help of the MacLaren Art Centre.

Organizers say Kempenfest has given back more than $10 million to the community since its inception over 50 years ago. 

That’s quite a story for local the art club. But it’s just part of the story.

The club tracks its own origins to 1949, and in its day managed to draw direct inspiration from members of the Group of Seven landscape painters.

One day in 1959, the youngest Group of Seven member, A.J. Casson, swung by and did a demonstration. The result was a painting which he signed and left to the club. It became the jewel of the club’s collection. 

Eventually, a giclée print was made and filed in among the club’s print collection while the original painting was hung proudly on display in the art club’s galley.

Early in 2010, as members worked at the Barrie Art Club’s  location, then off Dunlop Street near Highway 400, they realized it was gone. They searched the entire premises, but only the giclée could be found. The original had somehow disappeared.

Barrie police employed forensic specialists during their investigation. But the painting was never found and the club, instead, filed an insurance claim for $25,000.

Gibbs had done a local television interview the previous week in which he referred to and showed the painting. He figures that may have sparked the theft. Just how it was stolen, though, remains a mystery. 

“How they got in, because we have security, no one knows,” Gibbs says. “We’ve never heard anything more about it.”

Its value now, they figure, has undoubtedly escalated.

The art club, with all its history, remains a grassroots organization attracting everyone from students to seniors, says president Lorraine Maher, a watercolour artist who figures she’s been involved in the club on and off for 30 years.

“It stimulates and encourages education of the art and people who have a talent within the community,” she says. “It focuses on bringing the community together in a social, creative and educational way. It covers all the basis, for people, I think.”

Young artists, many of whom have been involved in Georgian College’s art programs, seek influence and inspiration from older club members, she says. Many also take advantage of the workshops on offer.

Meanwhile, final plans for Kempenfest are underway.

Aikins reports advance ticket sales for the concerts are well ahead of previous years. 

“I think people are just pent up and are now ready,” he says.

Barrie hasn’t experienced a full-on Kempenfest since 2019. And there’s every indication the 2022 iteration could be one of the biggest, weather allowing.

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Montreal exhibit Parle Moi d'Amour celebrates art therapy creations –



After a lifetime as an elementary school teacher, 71-year-old Diane Major would never have imaged seeing herself in an art exhibit, but she says she’s discovered a whole new side of herself ever since a burnout led her to art therapy. 

A sculpture of a clown and prints of abstract art seen in an exhibit.
The piece by Claude Tousignant, top left, already has a bid of $1,550. (Simon Nakonechny/CBC)

For a third year in a row, her artwork is being featured in the exhibit Parle moi d’amour, where creations by participants in art therapy workshops run by the organization Les Impatients are being presented alongside that of some of Quebec’s top artists.

“It’s been such a rewarding experience for me, because we can come together and share what’s going on inside,” said Major, whose work in the exhibit is available to purchase. 

About one-third of the exhibit comes out of the workshops, offered for free across the province to Quebecers with mental illnesses like bipolar disorder or schizophrenia.

Major says it was a diagnosis of major depression and generalized anxiety that led the retiree to a workshop — and ultimately changed her life. 

“I had so much trouble living,” Major said.  “I told the psychiatrist, I have no more will power to do anything. Nothing interests me anymore.”

“In our society it’s always about how well and how fast you can perform. The final product is the most important. But with Les Impatients, it’s the steps you take that matter, and that’s what makes all the difference,” she said. “Each step counts and each one you take has its value, regardless of the end result, whether it’s positive or negative.”

The workshops draw more than 800 each week, with children represented by youth protection also in attendance, said Frédéric Palardy, the general director of the organization. It provides all the material needed to create the art.

“It goes from ‘It saved my life,’ to ‘That’s the only place where I feel good,'” Palardy said about the artists who attend their workshops.

WATCH | Frédéric Palardy explains Les Impatients’ art project:

Montreal exhibit highlights art therapy works

13 hours ago

Duration 0:41

A free exhibit downtown features work by participants in art therapy workshops alongside creations from some of Quebec’s top artists. 

“It’s a very safe space. Everyone respects each other, everyone knows around you people are suffering,” he said. “But when you look at their work, there’s not much suffering.”

All works are given an equal place in the exhibit, whether they’re by one of Quebec’s famous abstract artists like Jean-Paul Riopelle, or someone who’s just started painting.

The organization calls itself Les Impatients since participants are “not thought of as patients” but rather “as creators impatient to heal,” according to its website.

A man in a blazer stands in an art exhibit.
Frédéric Palardy say there’s only two criteria to be eligible for their art workshops; a willingness to work in groups and a willingness to try. (Simon Nakonechny/CBC)

“They’ve experienced difficult things in their life, and they need to express that,” said artist Marilyne Bissonnette who leads workshops in Montreal, Joliette and Repentigny, also featured in the exhibit.

“When they come to visit the show and see all the people that have come, they receive a lot of love, they are so proud.”

Professional artists and private collections have donated the rest of the pieces in the exhibit.

Art-lovers who want to take their favourites home can bid on all the artworks featured, with all proceeds going to the organization. Bids started as low as $50 on most, and can be placed online or during the live auction set for Wednesday night.

The free exhibit is on display at 200 Sherbrooke Street West at the Université du Québec à Montréal until Thursday.

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Why We Must Amplify Artists And Embrace Art In Wartime (Putin’s Invasion Of Ukraine Erodes Culture) – Forbes



“To evoke in oneself a feeling one has once experienced, and having evoked it in oneself, then, by means of movements, lines, colors, sounds, or forms expressed in words, so to transmit that feeling that others may experience the same feeling—this is the activity of art.” _ Leo Tolstoy, What is Art? (1897)

As Vladimir Putin’s senseless invasion of Ukraine ignites global fury, the clamor to vilify all people and all things Russian rages at levels unseen since the height of the enduring Cold War. Everyday Russian people are suffering, alongside their Ukrainian and Belorussian siblings, trapped in the domestic prison built by sanctions, living in constant dread that Putin will exhort his minions to pluck them from their desks and factory production lines to become soldiers fueling his bloodthirsty aggression.

Extending justified abomination for Putin to all Russians harms our collective humanity and undermines the cultural fabric that serves to comfort, inform, and enlighten us in times of strife. Putin doesn’t own the legacies and lives of the masters of visual and performing arts living and working in Russia or those of Russian heritage. Erasing Russian culture in a misguided protest against Putin only underscores his ownership of all things Russian.

Celebrating artists living and working in Russia or of Russian heritage is a powerful affront to Putin. Recognizing their vast contributions to humanity demonstrates that the creative force of the 144 million people living in the motherland and another 30 million ethnic Russians living abroad is more powerful than a warlord who oppresses his own people along with innocent victims in Ukraine. Feeding anti-Russian hate empowers Putin’s criminal agenda. Russophobia is inherently problematic, as it theoretically homogenizes an ethnic identity comprising more than 160 peoples inhabiting the territory of contemporary Russia, including 40 groups who are officially recognized as indigenous.

Artists chronicle and decode our collective joys and struggles, triumphs and failures, and the fungible, frustrating space between. What better way to undercut Putin’s faux Russianess than to amplify the contemporary artists who subvert every Putinesque erosion of creative consciousness? February 24 marked the escalation of the bitter, simmering eight-year Russo-Ukrainian War, and hurled it into the global spotlight, as if the centuries-long strife was breaking news.

Embrace flamboyance over neo-feudalism. Envision a future Russia where outrageous imagery, installation, and performance eclipse Putin’s outrage.

It’s soul-affirming that more than 24,000 people visited the Cosmoscow International Contemporary Art Fair earlier this month, the highest turnout since it launched a decade ago. Seventy-two galleries from Moscow, St. Petersburg, Voronezh, Nizhny Novgorod, Yekaterinburg, Kaluga, and Vladivostok presented more than 1,600 works of contemporary art.

“According to our feelings, the atmosphere at the fair this year was very lively. At the same time, for us, this fair turned out to be one of the most difficult in our practice,” said Marina Gisich, founder of Marina Gisich Gallery and winner of Cosmoscow 2022 Stand Prize. “In difficult times, you want to look for new sources of inspiration and survival. And in that sense, Cosmoscow has probably become such an island of emotional stability.”

Art is an expression of the human condition which enables and encourages us to experience the range of emotions and perspectives of other people throughout history, including the creators, the subjects depicted in artworks, and anyone we interact with through discussion of art. It helps us work toward cultivating empathy and acknowledging the collective human struggle. Only then can we work toward effecting social change that can foster the western construct of peace, which is elusive to many people around the world.

As western media turns its gaze firmly on its decades-long favorite source of disdain — Russia — it’s essential to recognize that wars continue to rage around the world, threatening and subjugating everyday people everywhere.

It’s easy to turn our focus away from the world’s longest civil war, because its rare to spy a western headline. Conflict erupted between various ethnic groups in Myanmar in 1948, the year the country gained independence from the United Kingdom. An estimated 13,646 casualties have been reported so far this year, according to the Armed Conflict Location & Event Data Project (ACLED). Civil war and terrorist insurgency persist in Afghanistan and Mali, civil wars continue in Colombia, Ethiopia, Libya, Syria, Yemen, terrorist insurgency won’t let up in Algeria, Burkina Faso, Cameroon, Chad, the Democratic Republic of the Congo, Iraq, Mozambique, Niger, Nigeria, Tanzania, and Tunisia, and South Sudan remains embroiled in ethnic violence.

Honor the work of artists everywhere, in spite of the governments that oppress the people.

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Art across the water – The Recorder and Times



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As the summer winds down, there are still plenty of opportunities heading into fall for some art-related excursions. Keep your eyes open for autumn studio tours as the fall colours brighten the landscape, but be sure to also cast your gaze over the water for a slightly different outing. Hop on the ferry and head over to Wolfe Island to visit the Wolfe Island Gallery, which is open on weekends now until Oct. 8 (it is open more frequently during the summer).

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The WIG is an artist-run collective comprised of creatives who live on, or have some other connection to, the Frontenac Islands — Wolfe, Simcoe and Howe. This is the main criteria of membership for artists in the WIG, another being that works produced for exhibition must be original fine art, sculpture or fine crafts. (A yearly call for artists goes out on the WIG’s web page and socials in early spring.) Given the emphasis on the island connection, it should come as no surprise that much of the artwork on display is closely tied to the islands themselves, whether the work reflects the landscape, community, fauna or lifestyle. The artwork and crafts at the gallery include paintings, photography, stained glass, sculpture, jewelry, drawings, art from found objects and quilts, among other types of work.

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While most artwork has the stamp of its creator on it that in some way identifies it, with a gallery such as the WIG, it is also interesting to speculate on whether the artwork within it also reflects a certain specificity of Place. This idea of Place can be interpreted in a variety of ways. It may refer to representation of the actual geography and population of a particular region; it may refer to the character, ambience or “vibe” given by a locale; it may refer to a sense of identity. The possibilities, while not quite endless, are many. Historically speaking, for example, the quality of light in and around Venice was well known by painters, who sought to reproduce it in their landscape and city-scape representations. And this particular quality of light (if successfully captured in paint) served to identify this particular Place even if the subject was not made plain by the title of the work or by distinctive architectural or other features.

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So when you’re looking at the artworks on display at the WIG, are there aspects that speak to the work having been produced on one of the Frontenac Islands? You might consider whether Nancy Steel’s figural paintings evoke a sense of community, or if her landscape vignettes offer a sense of a slower pace of island life. Or perhaps the willow bark bowls made by Patricia Howes and enhanced by found objects suggest quietude and long rambling walks of discovery. The black-capped chickadee of Jan Fitch’s carving or the owl in Kathy Schwab’s stained glass may be frequent visitors to their respective gardens or just passing through, with their own stories to tell.

It is the stories, of course, that drive artistic creation, with those stories supported and imbued with the influence of Place. Go and experience some island time and discover the stories being told in art by this very particular place.

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Kamille Parkinson earned a PhD in art history from Queen’s University, and is presently a copywriter, writer of fiction and art historian at large. You can find her on LinkedIn, at, and can contact her at

Art About Town

Agnes Etherington Art Centre:

Gallery Raymond:

MAK Gallery

 Modern Fuel Artist Run Centre:

 O’Connor Gallery

 Studio 22 Open Gallery:

 Union Gallery:

 VAGA Gallery

 Window Art Gallery:

 Wolfe Island Gallery:

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