2009_Genevieve_Cadieux_g© Geneviève Cadieux, Sans titre (Œil), 1991, silver print, 103 x 131 cm. Collection of Université du Québec à Montréal.

Loin des yeux près du corps
Ghada Amer, Caroline Boileau, Louise Bourgeois, Marie-Claude Bouthillier, Geneviève Cadieux, Caroline Gagné, Betty Goodwin, Anne-Marie Ouellet, Kiki Smith, Angèle Verret

Curator: Thérèse St-Gelais

 

January 13 to February 18, 2012
Opening: Thursday, January 12, 5:30 p.m.

 

[More information]

Among the artists who focus on the representation of the subject, there are many works which deliberately leave the affective links between image and gaze in a state of fluctuation. In fact, several do so by involving the body in a manner that is far removed from its normative representation. Beyond the gaze, it is to the body, to its sensory experiences and its visceral memory, that the artists presented here speak. It is as though the images they create were impregnated with a corporeality that is indissociable from their worldview. The artists chosen for this exhibition—all women—share this wish to reach the other by way of an organic experience of the work, one of affects and desires, that can do without the gaze’s viewing distance.

Nadia Seboussi, Le dernier été de la raison (work in progress), video © Nadia Seboussi.© Nadia Seboussi, Le dernier été de la raison, video

Nadia Seboussi. Le dernier été de la raison

Graduating master's student in visual and media arts, UQAM

 

January 13 to February 18, 2012
Opening: Thursday, January 12, 5:30 p.m.

 

[More information]

 Le dernier été de la raison [The last summer of reason] is a video work featuring the testimony of photographers who covered Algeria’s black decade (1990-2000). This was the period of the Algerian Civil War, which plunged the country into a killing frenzy of successive attacks and massacres. Twenty years later, the work returns to this tragedy to question our present memory.

2009_snow_piano_sculpture© Michael Snow, Piano sculpture, video installation, 2009

Solo Snow. Œuvres de / Works of Michael Snow

Curator: Louise Déry

 

A collaboration of Le Fresnoy and the Galerie de l'UQAM, presented at Akbank Sanat, Istanbul

January 18 to February 25, 2012
Opening: February 18, 5:30 p.m.

 

[More information] Initially presented at Le Fresnoy, in France, Solo Snow. Œuvres de / Works of Michael Snow is now shown at Akbank Sanat, in Turkey. The exhibition features a body of photographic, video and sound works and installations of Michael Snow, one of the most inspiring figures in the art world in recent decades. It is curated by Louise Déry and produced in partnership with Le Fresnoy.

The exhibition

Solo Snow. Œuvres de / Works of Michael Snow wants to provide an account of the experimental nature of this pioneer of media arts. His prolific, protean practice reinvents itself through the ceaselessly replayed exploration of a large range of visual and auditory phenomena, and grows through the mutations of technological advances have made possible. His practice is in perfect resonance with the latest issues of research and dissemination in media art while being an integral part of their genesis and development. The body of works exhibited here poses a challenge to assessing Snow’s output, and highlighting recurrent features, such as the motif of the window as a frame, the interplay of interior/exterior and recto/verso, the metamorphosis, stretching or contraction of the image and sound, the representation of the technical referent (photographic, cinematic or audio), the relationship between object and image, and reflection on time and space.

Any exhibition of Michael Snow’s oeuvre can only be a sampling, an attempt to round out a sequence, an incomplete montage, an unfinished picture. Every Snow exhibition sets us before a vast territory to survey, where the various genres, procedures, arrangements and displacements between mediums put us within reach and earshot of sensations and meanings that target and affect a necessarily fleeting part of an imaginary and symbolic world transmitted through the experience of the image. Contact with the work becomes a rare occasion to turn our interest to the nature of the image and, following Snow’s example, attempt in turn to fold and unfold its motifs, open or compress its space, accelerate or slow its speed. This exhibition is the artist’s second collaboration with Galerie de l’UQAM, where his Solar breath, (Northern Caryatids) was the subject of a solo show and a companion booklet in 2005.

The Catalogue

The exhibition is accompanied by a bilingual publication, co-published by Le Fresnoy and Galerie de l’UQAM, which includes an essay by the curator, Louise Déry, as well as texts by the artist, by Érik Bullot, film director; by Jacinto Lageira, art critic; and by Stéfani de Loppinot, film director and historian.

The artist

Michael Snow was born in Toronto, where he lives and works. His renowned talent and prolific output span the fields of painting, sculpture, video, film, photography, holography, drawing, writing and music. He made his first film in 1956. Wavelength (1967) brought him to the forefront of international avant-garde cinema. The excellence of his work and his contribution to the visual and media arts have been widely recognized with awards and honours, including he won the Governor General's Award in Visual and Media Arts (Film) in 2000. In 1995 he was named Chevalier de l’Ordre des arts et des lettres, France, and in 1981 he was made an Officer of the Order of Canada, promoted to Companion in 2007. He also holds several honorary degrees including one from UQAM, awarded in 2008. Since representing Canada at the 1970 Venice Biennale, he has exhibited at leading modern and contemporary art museums, performed and recorded as a pianist, presented his films at international festivals and executed a number of public art commissions.

The curator

Louise Déry holds a Ph.D. in art history and has headed Galerie de l'UQAM since 1997, working with artists such as Manon de Pauw, Dominique Blain, Raphaëlle de Groot, Nancy Spero, David Altmejd, Stéphane La Rue, Daniel Buren, Giuseppe Penone, Sarkis and Shary Boyle. She is the author of the first monograph on David Altmejd and curated his presentation at the 2007 Venice Biennale. In 2007, she received the inaugural Hnatyshyn Foundation Award for Curatorial Excellence in Contemporary Visual Art.

Support

Le Fresnoy. Studio national des arts contemporains, Conseil des Arts du Canada


 

Zidane_gDouglas Gordon and Philippe Parreno, ZIDANE, A 21st-Century Portrait, 2006, 2 channel digital video installation, 90:00 minutes, National Gallery of Canada, Ottawa © Anna lena films / Palomar Pictures

 

ZIDANE, A 21st-Century Portrait
Douglas Gordon and Philippe Parreno


February 28 to April 14, 2012
Opening: Thursday, March 1st, 5:30 p.m.

Exhibition organized by National Gallery of Canada, at the Galerie de l’UQAM

 

[More information]

The Galerie de l'UQAM will inaugurate ZIDANE, A 21st-Century Portrait, by Douglas Gordon and Philippe Parreno, orgazined by National Gallery of Canada. Combining soccer and contemporary art, this exhibition will be an opportunity to observe one of the century most famous players through an almost idolizing portrait.

The Work

Zinédine Zidane was a member of the French national soccer team that won both the 1998 FIFA World Cup and the Euro 2000 Championship. In Zidane, A 21st-Century Portrait, internationally renowned artists Douglas Gordon (b. Glasgow, Scotland, 1966) and Philippe Parreno (b. Oran, Algeria, 1964) deploy contemporary conventions of mass media both to “paint” a portrait of the soccer star and to expose our cultural creation of, and fascination with, heroes and icons.

Filmed in real time during a championship match between Real Madrid and Villarreal on 23 April 2005, the artists worked with a team of film technicians and seventeen cameras positioned throughout Madrid’s Santiago Bernabéu Stadium, instructing each operator to remain fixed on Zidane through the entire match. The resulting installation is a highly edited film of 90 minutes containing footage from each of the cameras. The soundtrack comprises the roar of 80,000 cheering fans in the stadium, Spanish television commentary, and original music by the Scottish band Mogwaï, intercut with sounds from the field and stark moments of silence. In a darkened gallery space, the athlete’s every move is projected larger than life, transforming him into a fascinating object under the scrutiny of our gaze. Gordon and Parreno’s intense survey of the sports hero gives viewers a sense of insight into his inner character, as it examines the cult of celebrity and questions the image as commodity. Zidane is a highly experimental portrait that fuses familiar media and genres, resulting in a radically different experience of spectatorship.

The Artists

Douglas Gordon works in sound, photography, and text, but is renowned for his video installations that alter the conventional relationship between audience and image to create mesmerizing viewing experiences. Winner of the Turner Prize in 1996 and the Hugo Boss Prize in 1998, he lives and works in New York City, USA, and Glasgow, Scotland.

Phillipe Parreno’s work explores concepts of narrative, the image as commodity and new exhibition practices. In addition to working with Douglas Gordon, he has created collaborative projects with Pierre Huyghe, Rirkrit Tiravanija, Carsten Höller, and Maurizio Cattelan, among others. He is a co-founder of Anna Sanders Films, a Paris-based film production company that creates cinema oscillating between document and fiction. He lives and works in Paris, France.

Support

Canada Council for the Arts

2012payette_karine_g© Karine Payette, Confort instable, 2012

Karine Payette. Confort instable
Graduating master's student in visual and media arts, UQAM


February 28 to April 14,  2012
Opening: Thursday, March 1st, 5:30 p.m.


[More information - French only]

À compter du 2 mars prochain, la Galerie de l'UQAM présente l’univers trouble et ludique de Karine Payette. L’exposition de cette finissante à la maîtrise en arts visuels et médiatiques, intitulée Confort instable, réunit une série de photographies et une installation récente, dans laquelle on peut voir des scènes anonymes et génériques d’intérieur de domicile : peut-être chez-soi.

L’exposition

Confort instable est l’aboutissement d’une recherche sur l’habitation, plus particulièrement sur l’adaptation constante du confort dans un monde en perpétuelle transformation. Cette figure de la demeure est centrale dans la pratique de Karine Payette, qui aborde, de façon imagée, la précarité du monde qui nous entoure. À l’aide de matériaux usinés, tel un ventilateur de plafond et un fragment de plancher flottant, elle met en scène des environnements fictifs aux allures de tableaux suspendus. L’univers déstabilisant proposé interroge les espaces domestiques et l’impact de ces frontières sur l’individu. À travers son travail, Karine Payette questionne notre appartenance à nos logis et ce que ces lieux nous procurent : la sécurité, le confort, l’intimité.

L’exposition à la Galerie de l’UQAM nous fait voir un environnement sinistré. À travers ces ruines, on retrouve les indices du passage d’un enfant. La série photographique qui accompagne l’installation, Moments d’incertitudes, est habitée de personnages évoluant dans des espaces énigmatiques et incertains. Ces arrêts sur images nous plongent dans des récits incompréhensibles et inachevés qui se déroulent toutefois dans des lieux reconnaissables : une chambre d’enfant, un salon, une cuisine ou une cour arrière. Ces scènes fabriquées suggèrent l’instabilité et une certaine ambiguïté.

À propos de l’artiste

Karine Payette vit et travaille à Montréal. Artiste multidisciplinaire, elle a présenté ses œuvres dans des expositions collectives, notamment au Musée d’art contemporain des Laurentides (en 2009) et individuelles (Galerie SAS, 2011). En 2012, elle exposera sa nouvelle série d’installations et de photographies au Centre en art actuel, Le lieu, à Québec.

Commandites

COOP UQAM (COOPSCO), Centre du Plancher 640 Inc. et Lozeau.

Remerciements

Eloi Desjardins

2012_manondepauw_g© Manon De Pauw, L’apprentie 3, 4, 5, 2008, exhibition view

Manon De Pauw. Intrigues

Curator: Louise Déry

 

Presented at the Centre culturel canadien à Paris
In partnership with the Galerie de l'UQAM

April 4 to September 8, 2012
Opening: Tuesday, April 3, 2012, at 6:30 p.m.

 

[More information - French only]

Le Centre culturel canadien à Paris et la Galerie de l’UQAM présentent, du 4 avril au 8 septembre 2012, la première exposition en France de la vidéaste et photographe Manon De Pauw. Finaliste québécoise du prestigieux prix Sobey 2011, Manon De Pauw est l’une des artistes très en vue de la scène artistique canadienne. L’exposition a été présentée au Canada à Montréal, Lethbridge, Cambridge et Rimouski.

Intrigues réunit des œuvres qui jalonnent le parcours de l’artiste depuis le début des années 2000. Photogrammes, photographies, monobandes, dispositifs performatifs et installations à projections multiples proposent des investigations aussi variées que poétiques de la lumière et de l’image. Le maniement des accessoires, des matières et des couleurs, le déploiement des gestes, des mains et des corps, le recours à divers moyens de captation et de projection mécanique et numérique et l’utilisation de surfaces d’inscription telles que le papier, la table, l’écran ou la boîte lumineuse participent de ce protocole d’expérimentation artistique qui génère une écriture visuelle traversée par divers âges de l’image.

Si Manon De Pauw explore l’apparaître de l’image – avec sa part d’imprévisible, sa matérialité en suspens, son potentiel narratif, son empreinte et sa mouvance –, c’est qu’une grande partie de son travail naît dans la chambre noire ou dans la pénombre de l’atelier. Elle sait se saisir de ce souffle si fragile de l’image en train de jaillir sous l’effet de la lumière autant qu’elle parvient à en enregistrer la fluidité lumineuse pour créer ce corps bien tangible de l’image qui s’affirme devant nos yeux. Il s’agit de ce même corps émanant, fait d’ombre et de lumière, qui, depuis les lueurs tremblantes des cavernes enténébrées de Lascaux jusqu’aux peintures à la bougie de Georges de La Tour, depuis les purs espaces chromatiques des tableaux de Claude Tousignant jusqu’aux acétates colorés de Michael Snow, réinvente sans fin les sortilèges de l’image. 

Les notions de « corps pédagogique », d’« apprenti », d’« épreuve », d’« atelier » ou de « répertoire » présentes dans les titres des œuvres définissent mieux que toutes autres la nature profonde d’une recherche centrée sur l’expérimentation et le processus d’invention de l’image. Silhouettes spectrales, corps en rotation, effets de transparence et d’opacité, lueurs fugaces ou soutenues devant les rayons de la lumière, effets de temporalité multiples et présences sonores nourries par l’arsenal technologique fabriquent un fascinant manège qui ne peut qu’intriguer le regard et relancer notre quête inassouvie d’image.

Cette présentation est une coproduction de la Galerie de l’Université du Québec à Montréal (UQAM) et du Centre culturel canadien. L’exposition s’inscrit dans le cadre d’une tournée organisée par la Galerie de l’UQAM avec l’appui du ministère du Patrimoine canadien, du Conseil des Arts du Canada et du Conseil des arts et des lettres du Québec.

Manon De Pauw vit et travaille à Montréal. Son travail a été présenté dans de nombreuses expositions collectives, événements et festivals, au Canada, en Europe et en Amérique Latine, notamment au Musée d’art contemporain de Montréal (2006 et 2008), au Centro Nacional de las artes à Mexico (2006), à la galerie g39 à Cardiff en Angleterre (2005) et au Musée national des beaux-arts du Québec (2004). Parmi ses expositions individuelles, notons celles de la galerie Optica et La Chambre Blanche (en collaboration avec Michel Laforest) en 2006, du centre d’exposition Expression à Saint-Hyacinthe (2005), de la galerie Sylviane Poirier art contemporain (2004) et de DARE-DARE (2003). L’artiste est diplômée de l’École des arts visuels et médiatiques de l’UQAM et enseigne la photographie à l’Université Concordia. Manon De Pauw a été finaliste du Prix Sobey 2011. http://www.manondepauw.com

Commissaire, auteure, éditrice et professeure de muséologie et d’histoire de l’art, Louise Déry détient un doctorat en histoire de l’art (1991). Elle est directrice de la Galerie de l’Université du Québec à Montréal depuis 1997. Elle a été conservateure en art contemporain au Musée national des beaux-arts du Québec et au Musée des beaux-arts de Montréal et a dirigé le Musée régional de Rimouski. Depuis les années 90, elle a travaillé avec quantité d’artistes, a publié près de 50 catalogues d’exposition et a contribué à la promotion du travail de David Altmejd, en tant que commissaire du pavillon du Canada à la Biennale de Venise 2007. Elle a remporté en 2007, année de sa création, le prix de la Fondation Hnathyshyn pour l’excellence de sa contribution comme commissaire d’exposition au Canada.

Centre culturel canadien
5, rue de Constantine - 75007 Paris
Tél : 01 44 43 21 90 - Fax : 01 44 43 21 99
Accès : Métro et RER : Invalides, Bus : 28, 49, 63, 69, 83, 93
Entrée libre du lundi au vendredi de 10h00 à 18h00, jeudi jusqu’à 19h00.
www.canada-culture.org

Pour voir la vidéo commentée par Louise Déry : http://youtu.be/Um-6snlPM0k 

 

 


passage2012_gPassage à découvert 2012 (Marie-Pier Côté, Fratzel Descadres, Catherine Dubois, Simon Bouchard) © Galerie de l'UQAM

Passage à découvert 2012

Graduating students from the undergraduate program in visual and media arts, UQAM

 

April 27 to May 12, 2012
Opening: Thursday, April 26, 5:30 p.m.

 

[More information]

Passage à découvert is an opportunity to discover the works of tomorrow’s contemporary artists and teachers who will take their place in museums, galleries and schools. The exhibition illustrates the students’ creative vitality, curiosity and freedom and bears witness, once again, to recent graduates’ professionalism and the excitement that their projects stirs up. Presented each year, this exhibition also reveals the wealth and diversity of the programs offered by the École des arts visuels et médiatiques, which favours a pluridisciplinary education.

fta2012_trougakos_gSoula Trougakos © Michael Slobodian

The Body in Question(s)

This creation-exhibition is presented as part of the Festival TransAmériques 2012

 

May 23 to June 16, 2012 
Opening: Tuesday, May 22, 5:30 p.m.
Dance performances:  from May 28 to June 1, starting at 6:30 p.m.

Curator/Choreographer: Isabelle Van Grimde
Artists: Derek Besant, Caufield/Brennan/Mills, Kate Craig, Nadia Myre, Marilene Oliver, Monique Régimbald-Zeiber
Performers: Marie Brassard, Sophie Breton, Robin Poitras, Soula Trougakos, Brian Webb
Video: Foumalade
Music: Thom Gossage
Lighting design: Lucie Bazzo
Architect and set design: Anick La Bissonnière in association with Éric Olivier Lacroix

 

 

[More information]

From the material body to the conceptual body, from the living to the virtual, the various points of view developed in this creation-exhibition by choreographer Isabelle Van Grimde, offer the spectator-visitor an unfamiliar experience and a pathway to perceiving the body in new ways. Dance, text (presented via various media), installations and visual or media works will be placed in resonance and tension within an encompassing architecture that further multiplies the views of the body produced by artists of varying geographical and cultural backgrounds. Designed in collaboration with architect and set designer Anick La Bissonière and composer Thom Gossage, the visual and sound space highlights the path of the performers and the spectator-visitors.

Assistant choreographer Soula Trougakos / Music Thom Gossage / Architect and set design Anick La Bissonnière in association with Éric O. Lacroix / Lighting design Lucie Bazzo / Video Foumalade / Essays Dr Cristian Berco + Dr Dawna Gilchrist / Photo Michael Slobodian

Produced by Van Grimde Corps Secrets
Coproduction Festival TransAmériques + Brian Webb Dance Company + CanDance Canadian Network of Dance Presenters (Toronto) + Festival Danse Canada (Ottawa) + Centennial Theatre (Lennoxville) + University of Alberta / Codiffusion Galerie de l’UQAM / Creative residencies The Banff Centre + Agora de la danse / Material loan CIRMMT

Supports : Conseil des arts et des lettres du Québec, Canada Council for the Arts, Conseil des arts de Montréal, Conseil de recherche en sciences humaines du Canada

 

2009_mariepier_gARTisMe®, figurines de collection et porte-clés, 2009

 

Marie-Pier Théberge. ARTisME® Store

Graduating master's student in visual and media arts, UQAM

 

May 23 to June 16, 2012
Opening: Tuesday, May 22, 5:30 p.m.

 

[More information - French only]

À compter du 23 mai, la Galerie de l’UQAM accueillera la nouvelle succursale de « produits culturels dérivés », ArtisMe® Store, instaurée par Marie-Pier Théberge. Cette « entreprise » se spécialise dans la création de fictions et d’activités ludiques interactives qui mettent en scène l’héroïne de l’art contemporain, Super MPier. Venez découvrir cet univers qui, par l’entremise de son dispositif immersif parodiant une réalité commerciale, vous fera vivre les plus belles expériences!
Marie-PierTheberge1Marie-PierTheberge2

 

L’exposition ArtisMe® Store propose un simulacre de magasin issu de la combinaison des sphères du divertissement, de la culture populaire, de l’art actuel et du marketing. L’entreprise ArtisMe® a été conçue afin de rassembler des œuvres dans lesquelles évolue l’héroïne de l’art contemporain Super MPier, un personnage né de l’autofiction. Cette installation donne accès à l’application MpiiGotchi 2.0 pour téléphone intelligent, au jeu de société Super MPier and The Game of Contemporary Art; Life and Creation, ainsi qu’à une panoplie de figurines à l’effigie du personnage.

L’artiste produit des œuvres multidisciplinaires s’apparentant aux jouets et aux jeux afin d’incorporer leurs qualités séductrices, attractives, narratives, imaginatives et interactives. L’aspect commercial de la présentation des œuvres lui permet, d’une part, de rejoindre le public sous l’angle de son statut de consommateur et, également, de soulever un questionnement par rapport à la production de l’artiste, à sa légitimation, à sa médiation à travers l’institution artistique et à sa spéculation sur le marché de l’art.

Pour Marie-Pier Théberge, l’emblème du héros et l’entité corporative représentent, par analogie, des mythes relatifs à la figure de l’artiste actuel. D’abord, l’affiliation au super-héros est le résultat de la dichotomie entre son sujet artiste et sa propre personnalité; à la fois idéaliste et défaitiste. Ainsi, de manière ironique, elle souhaite que les « artistes » aient pour mission de créer des visions alternatives pour sauver le monde de l’ignorance. Par ailleurs, la comparaison avec l’entreprise sous-entend que l’artiste est un producteur. Afin d’assurer la postérité de sa carrière, il doit être productif et s’adapter aux paradigmes de sa société. Dans cet ordre d’idées, les moyens mimétiques qu’emploie Marie-Pier Théberge, tels que le détournement et l’appropriation, sont des façons de faire « survivre » sa pratique dans le monde de l’art actuel. Pour ce faire, elle utilise les règles de légitimation des institutions tout en s’infiltrant dans la réalité de la consommation.

Marie-Pier Théberge est une artiste multidisciplinaire qui vit et travaille à Montréal. Elle complète présentement sa maîtrise en arts visuels et médiatiques à l’UQAM. Son œuvre MpiiGotchi : Promenade du critique influent, produite en collaboration avec Pascal Audet, Ratsdeville, Le Mur Mitoyen et le groupe de recherche Diagrammes Actifs (DIAA), a été présentée dans le cadre de l’exposition J.E.U.X. à la Galerie Eastern Bloc en 2011. Elle expose aussi à la Maison de la culture Frontenac, à l’occasion de la Biennale d’art numérique de Montréal, en cours jusqu’au 9 juin 2012, et propose une mise en scène intitulée ArtisMe® Production, complément à l’installation ArtisMe® Store.

Appui

Conseil de recherche en sciences humaines (CRSH)

Remerciements

Nicolas Fournier
Pascal Audet
Ratsdeville
Le Mur Mitoyen
Diagrammes actifs (DIAA)
Guillaume Potvin

Gilot1_2012_g© Stéphane Gilot, MULTIVERSITÉ / Métacampus, installation (detail), 2012  

Stéphane Gilot. MULTIVERSITÉ/Métacampus

 

August 28 to October 6, 2012
Opening: Thursday, September 6, at 5:30 p.m.

Residency project

 

[More information]

Stéphane Gilot explores various forms of utopia and dystopia, architecture, social structures, cosmology and epistemology. His works are often site-specific and transform the space according to its architectural and ideological characteristics while probing the metaphorical realm of art and its audiences. The project exhibited at Galerie de l’UQAM combines installations, maquettes, drawings and filmed interviews with leading thinkers to prompt interdisciplinary reflection on the possible permutations of the university — utopian form par excellence and home to the emergence, circulation and development of thought and knowledge. A book on the MULTIVERSITÉ/Métacampus and Cité performative projects, co-published with Musée national des beaux-arts du Québec, will be launched at the end of the exhibition.

2000_ruiz_ruedumarche_g© Tania Ruiz Gutiérrez, La rue du marché (Market Road), video, 1998-2000

Tania Ruiz Gutiérrez. Les figures du temps et de l'espace

Curator: Anne-Marie St-Jean Aubre

 

August 28 to October 6, 2012
Opening: Thursday, September 6, at 5:30 p.m.

A two-part exhibition produced by DAGAFO and presented in collaboration with Galerie de l'UQAM and Cinémathèque québécoise.

 

[More information]

In her video works, Franco-Colombian artist Tania Ruiz Gutiérrez examines modes of representing time and space and reflects on the future of the city. Mixing popular tradition and high art, she demonstrates that systems of representation such as perspective and the linear passage of time, which puts the past behind the present and proceeds toward the future, are not givens but vehicles of particular world views. Ruiz also focuses on behaviours in public space. She presents the city as a stage, a circumscribed environment where, although everything is possible in theory, forces beyond the individual act on behaviour and call into question our degree of freedom. A second component of the exhibition will be presented at Cinémathèque québécoise at the same time.

2012jacinthecarrier_g© Jacynthe Carrier, Parcours, 2012, video extract

Montréal/Brooklyn. Videozones
Sophie Bélair-Clément, Olivia Boudreau, Robert Boyd, Jacynthe Carrier, Michel de Broin, Pascal Grandmaison, Tatiana Istomina, Elisa Kreisinger & Marc Faletti, Frédéric Lavoie, Marko Markovic, Aude Moreau, Rosemarie Padovano, Celia Rowlson-Hall

Curators:  La Fabrique d'expositions and Boshko Boskovic

 

Galerie de l'UQAM
October 19 to December 8, 2012
Opening: Saturday, October 20, at 2 p.m.

Anthology Film Archives (32 Second Avenue, New York)
January 10, 2013, at 8 p.m.

Interstate Projects (66 Knickerbocker Avenue, Brooklyn)
January 13 to February 3, 2013

In collaboration with Centre Clark

 

[More information]

logo_mb

This show is part of the Brooklyn/Montreal project, a Centre Clark initiative involving 16 institutions and 40 artists in a series of reciprocal exhibitions that reveal the cultural differences and similarities of two cities, both standard-bearers of contemporary art in North America. For the presentations at Galerie de l'UQAM and Interstate Projects (Brooklyn, January 2013), La Fabrique d'expositions and Boshko Boskovic selected works by artists firmly established in the art world of their respective cities. Vidéozones, a compilation of videos by seven Quebec artists and six Brooklyn artists, is a unique exploration of the formal and narrative dimensions of the moving image, where sound, time, archival material and performance provide the cinematic referents for constructing what we are shown.

Educational Booklet

An educational booklet is offered to the public free of charge as a a guide to the exhibition.

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
2012_sebastien_cliche_g© Sébastien Cliche, La doublure (sketch), digital image, 2011

Sébastien Cliche. La doublure
Graduating Master's student in visual and media arts


October 19 to December 8, 2012

Opening: Saturday, October 20, at 2 p.m.


[More information]

Sébastien Cliche seeks to transpose programmatic strategies of hypermedia fiction, such as interactivity, variability and random sequencing, into non-computer-based works. The installation La doublure resembles a psychology lab where the subject is observed through a glass wall, but without the usual observer/observed hierarchy. Who is observing whom? What is the role of the spectator if not to sit and watch the show? In everyday life, an encounter between two strangers causes discomfort that can be partially resolved through an exchange, usually an exchange of looks and a polite smile allowing each person to perceive the other as innocuous and benevolent. La doublure presents an encounter where this basic protocol is not respected.

Website of the artist : http://aplacewhereyoufeelsafe.com

2008_apprentie2_depauw_g© Manon De Pauw, L’apprentie 2, digital print on archival paper, 56,8 x 76,2 cm, Coll. de l'UQAM (2009.7))

Manon De Pauw. Intrigues

Curator: Louise Déry

 

Galerie d'art du Centre culturel de l’Université de Sherbrooke

November 8 to December 16, 2012
Opening: Wednesday, November 7, 5 pm

 

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The works in the exhibition Manon De Pauw. Intrigues, on touring since 2009, describe the path the artist has taken since the beginning of this decade. Photograms, photographs, video performances, performance set-ups, single-channel videos and multi-channel video installations investigate light and the image in ways as varied as they are poetic. A publication accompagnies the exhibition.


2010_moreau_sortir_g© Aude Moreau, Sortir, 2010, video extract

Vidéozoom Québec. L’entre-images

Sophie Bélair-Clément, Olivia Boudreau, Jacynthe Carrier, Michel de Broin, Pascal Grandmaison, Frédéric Lavoie,  Aude Moreau

Curator:  La Fabrique d'expositions

 

Exhibition presented at Museo di Roma in Trastevere, Roma, Italia, as a part of Orrizonte Québec.

November 22 to December 22, 2012

 

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The Fabrique d’expositions, a collective of four Montreal curators, created Vidéozoom Québec. L’entre-images at the invitation from Mary-Angela Schroth, the director of Sala 1. A number of favourable circumstances combined to make the project a reality. Our collective had been involved in an exchange between Brooklyn and Montreal planned for art centres in those two cities in 2012 and 2013. This event provided an opportunity to consider an overview of the video production of a generation of artists who are highly visible on the Quebec art scene. It was a simple matter to adapt its content and to consult the artists on the selection of works. Then, the VIIIo Biennale Orizzonte Québec, organized by the Québec Government Office in Rome, proved to be an ideal setting to host the exhibition.1

Vidéozoom Québec. L’entre-images is a videographic anthology of works by seven Quebec artists who define themselves not as filmmakers but as visual artists motivated by the exploration of the image in motion. The works it brings together are all too brief and make no claim to being representative of video and film practice in Quebec in the absolute. A full account of this impressive effervescence would required a far more ambitious format. It should also be borne in mind that many artists – and all those included here – create video works to be exhibited in museums and galleries as installations, their projection conditioned by format and specific equipment in spaces that enable visitors to experience the works in a controlled environment. However, the present exhibition, in the form of a continuous showing of all the works on the same screen, offers the advantage of conveying shared sensibilities, displaying affinities for an often carefully crafted image, attesting to concern for an audio presence and revealing effective elliptical strategies of the image.

This project is offered as a glimpse, an opening, a breach into the immense production of images that characterizes the contemporary world. The works must be viewed as if one were peeping at them through a slit, a sort of “between-the-images,” both for what they represent within contemporary practices and for what they are individually in their respective formal and narrative dimensions: between video and cinema, film and digital image, visual presence and aural reality. This notion of a “between-the-images,” taken from the theorist Raymond Bellour,2 is first of all interesting because it implies we must seek in depth, dig below the surface of the images, and not be content to pass distractedly, superficially, from one to the next. We must not simply linger over the “endless flow” of images. This same notion also implies that the proliferation and saturation of images are not the real problem facing us today. As Pierre Scheffer writes, “We have no idea whether or not we are saturated with images, and we never will. We weren’t there in prehistoric times, when guys were probably saturated with images because their noses were stuck in graffiti in the caves, and it was a lot worse than TV.”3 This remark eludes a widespread assumption to the effect that no one knows how to look at an image any more because there are too many of them. On the other hand, it is our belief that what matters is what occurs between the images, or between them and the sound that accompanies them, or between them and the sound and text that tell their story in parallel. As witnesses to their movement, we must capture their immobility; before these animated figures, we must “re-figure” their image; exposed to their aural dimension, we must seek their silence.

The works gathered together for this edition of Vidéozoom on Quebec thus provide a moment’s pause to contemplate the work of artists who are among the most captivating and enterprising in investigating the image. These short videos deal with a variety of subjects in the realm not only of politics, popular culture, television and movie imagery but also of the poetical image. The emphasis is sometimes on form, sometimes on narrative or content, while sound, time, the archive, landscape and performance are some of the compositional elements from which what is displayed is constructed.

Several of the works are a function of a specific parameter suggested to the artists: a duration under four minutes. This concentration in time has two consequences. On one hand, such a restriction forces an artist to accelerate the process of giving form to an idea through an image so as to achieve a certain perceptual and narrative effectiveness. On the other hand, a short work can have an effect of slowing down on viewers, who are at liberty to take the time to look carefully, dissect, scrutinize the images one by one to fully appreciate what they see in a time frame that is easier to assimilate than a full-length feature. In the “between-the-images,” a language takes shape between what is perceived and named, what is seen and designated, the world and art. For today, images truly confront us with what they embody or disembody, construct or deconstruct, repeat or reinvent. They are more often a suggestion than a demonstration, and therein lies their appeal.

La Fabrique d’expositions, Montreal, October 2012

 


1. Louise Déry and the Fabrique d’expositions thank the artists, Mary-Angela Schroth of Sala 1, Pierluigi Matera, director of the Museo di Roma in Trastevere, the Québec Government Office in Rome, the Canada Council for the Arts, the Conseil des arts et des lettres du Québec and UQAM, who contributed in various ways to the realization of this project.

2. Since the early 1980s, Raymond Bellour has developed a thorough analysis of the connections between film, video, photography and mixed regimes of the image. He founded the cinema review Trafic (1991) with Serge Daney and has published, among other things, L’entre-Images (1990) and L’entre-Images 2 (1999). He collaborated on the exhibition Passages de l’image at the Centre Pompidou and was the curator of Thierry Kuntzel. Lumières du temps and Thierry Kuntzel – Bill Viola. Deux éternités proches at Le Fresnoy in Tourcoing, France.

3. Pierre Scheffer, in Maurice Mourier, Comment vivre avec l’image (Paris: PUF, 1989), p. 340.

 




Canada Council for the Arts Canada Council for the Arts

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Université du Québec à Montréal
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