2013_carolwainio_pCarol Wainio, Tapestry, 2009, acrylic on canvas. Courtesy of Paul Petro Contemporary Art, Toronto, and TrépanierBaer Gallery, Calgary.

Carol Wainio. The Book

Curator: Diana Nemiroff

 

January 10 to February 22, 2014
Opening: Thursday, January 9, at 5:30 pm

Exhibition produced by Carleton University Art Gallery, Ottawa

 

[Plus d'informations]

Organized and circulated by Carleton University Art Gallery in Ottawa, the exhibition, which was presented in five locations across Canada, will be ending its tour in Montreal. Carol Wainio is specifically interested in the narrative power of images. In this exhibition, she uses illustrated books and fairy tales imagery references to create a dialogue with the current socio-political context. The project, curated by Diana Nemiroff, brings together a body of 15 works made between 2002 and 2010.

The Book

Illustrated books, which seek to educate their readers through images and ideas about the world, are the focal point for Ottawa painter Carol Wainio’s recent reflections on the changing and contradictory role of representation. Many of Wainio’s paintings evoke a mood of disenchantment and loss rather than wonder. In them, books have become crumbling monuments, provisional structures in a landscape littered with empty shopping bags and cheap, discarded shoes. Mass production replaces scarcity and commercial exchange but, in spite of this transformation, poverty remains ubiquitous. The subjects of the traditional European folktale — poverty and excess, high culture and low, desire and consumption, camouflage and forms of recognition or status through representation or dress — become commentaries on today’s global consumerist society and its inequities.

The artist

Carol Wainio’s work combines the visceral and painterly with the discursive to create structures for wondering not only about the practice of art, but about things that often come “from an elsewhere other than the field of painting”. The works draw together diverse references and approaches to explore the nuances of history, narrative, representation, the environment, and the changing nature of human experience.

Wainio obtained an MFA from Concordia University in 1985 and has exhibited widely, including at the National Gallery of Canada, the Art Gallery of Ontario, Musée d’art contemporain de Montréal, and internationally at the Stedelijk Museum in Amsterdam, the Venice Biennale, the Galleria Comunale d’Arte Moderna in Bologna and in the United-States and China.  In Canada, her paintings are represented in private and public collections, including the National Gallery, Montreal Museum of Fine Arts, Art Gallery of Ontario, and the Glenbow Museum.

Carol Wainio was born in Sarnia, Ontario, in 1955, and is currently based in Ottawa. She has taught at the Nova Scotia College of Art and Design, the University of Western Ontario, Concordia University and the University of Ottawa. She is represented by TrépanierBaer Gallery, Calgary, and Paul Petro Contemporary Art, Toronto.

The curator

Diana Nemiroff was a senior curator at the National Gallery of Canada before she was appointed as director of the Carleton University Art Gallery in Ottawa (2005-2012). She won a lifetime achievement award from the Ontario Association of Art Galleries in 2011 and was inducted into the Royal Society of Canada in 2012. In recognition of an exceptional career dedicated to the promotion of Canadian visual arts, Nemiroff has been recognized by the Canada Council for the Arts with the 2012 Governor General’s Award in Visual and Media Arts for Outstanding Contribution.


2013_isabelleguimont_pIsabelle Guimond, Mascarade, 2013, oil and spray paint on canvas.

Isabelle Guimond. Rêve, Baby, Rêve!

Graduating Master's student in visual and media arts, UQAM.

 

January 10 to February 22, 2014
Opening: Thursday January 9 at 5:30 pm

 

[More information]

Isabelle Guimond constructs her relationship to the world in correlation with her pictorial thought. Using what she calls micro-contexts, she develops large-scale paintings in which meticulously painted images are outlined against shaded blends of bright colours to then be intermingled in a garish and trash manner. For the exhibition Rêve, Baby, Rêve!, she explored the streets of the Hochelaga neighbourhood to seek out the motifs for her paintings. She pays particular attention to what survives, what is left behind, and borderline situations.


2014_shalevgerz_gEsther Shalev-Gerz, Entre l'écoute et la parole : Derniers témoins. Auschwitz 1945-2005, 2005, video triptych (detail).

Esther Shalev-Gerz. La mémoire en mouvement

Curators: Annette Hurtig and Charo Neville

 

March 7 to April 12, 2014 
Opening: Thursday, March 6, 5:30 pm.

Exhibition produced and circulated by Kamloops Art Gallery, Kamloops.

 

[More information]

The Galerie de l'UQAM presents Esther Shalev-Gerz. La mémoire en mouvement, the third stop of the artist's first travelling Canadian solo show. Esther Shalev-Gerz is recognized internationally for her investigations into the nature of democracy, citizenship, cultural memory and the politics of the public space. Her work has inspired the contemplation of prominent aesthetic philosophers Georges Didi-Huberman and Jacques Rancière.

The exhibition is organized and circulated by the Kamloops Art Gallery (Kamloops, British Colombia) and curated by Annette Hurtig and Charo Neville. Following its run in Kamloops and at the Morris and Helen Belkin Art Gallery (UBC) in Vancouver, the exhibition will open at the Galerie de l'UQAM with two additional major installations by the artist.

La mémoire en mouvement

By employing a continual dialogue with people sharing their individual and collective experiences, the installations and public art of Esther Shalev-Gerz revisit the traditional concept of portraiture and contribute to contemporary discourse on issues of representation. The artist's work is a sustained investigation into the transitional nature of time and space correlative to the transformation of identities, places and histories. In all her projects, she also queries our understanding of the significance and social function of art.

Most of her works, by their very configuration, create a passage between past and present, confronting onlookers with their own story viewed through the prism of language, culture and history. For example, her work White-Out (2002), which presents the fate of a Sami woman living in Sweden – where even in the 1970s, the Sami, their language, their culture and their songs were not respected or accepted – suggests parallels with the plight of First Nations in North America. In the work D'eux (2009), the artist creates an implied dialogue between renowned French philosopher Jacques Rancière and a young Lebanese philosopher, Rola Younes, about their respective experiences of the renewal and enrichment of their perceptions and their relationship to the world. Younes speaks of her passion for languages while Rancière reads aloud an extract from his book, The Emancipated Spectator, in which he describes a breakthrough in his thinking that led him to "reformulate the relationship between seeing, doing and talking" and in which he comments on the function of contemporary art.

In her art, Esther Shalev-Gerz continually unravels aspects of identity related to temporal constructs of history and memory. She questions the way we understand our place in the world and presents an exchange of ideas that emerge from communication situations created through the use of video, photography, sculpture and installation.

About the artist

Esther Shalev-Gerz was born in Vilnius, Lithuania, grew up in Israel and has lived in Paris since 1984. She has been a professor at the Valand School of Fine Arts, University of Gothenburg, Sweden, since 2003. In 2010, her work was the subject of a major exhibition at the Jeu de Paume in Paris, and at the Musée Cantonal des Beaux-Arts in Lausanne, Switzerland in 2012. Since 1983, she has realized a number of public art commissions and installations focusing on questions of identity and memory (in Israel, Germany, France, the United Kingdom, Sweden and Switzerland). Esther Shalev-Gerz is the artist on a team selected as one of six finalists for the National Holocaust Monument to be erected in Ottawa.

www.shalev-gerz.net

Artist's talk

Wednesday, March 5 at 12:40 p.m., Room R-M120

The artist will deliver a lecture as part of the Intervenants Culturels Internationaux (ICI) program organized by UQAM's School of Visual and Media Arts. 

Pavillon des Sciences de la Gestion, UQAM, 315 Saint Catherine Street East

 

Support provided by:
Canadian Heritage
Canada Council for the Arts
Service de Coopération et d'Action Culturelle du Consulat général de France à Québec

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2014_jeansebastienvague_pJean-Sébastien Vague, Premières alliances, 2011, tattoo.

Jean-Sébastien Vague. À la hauteur

Graduating Master's student in visual and media arts, UQAM.

 

March 7 to April 12, 2014
Opening: Thursday, March 6 at 5:30 pm


[More information]
Jean-Sébastien Vague is the name that the duo Jade Barrette and Sophie Rondeau have adopted for their performance practice. Since 2008, this duo has experimented with notions of identity through their performance strategies, which draw on lived experience in order to question the relationships between individualism and conformity. The exhibition À la hauteur will present a process-based work that uses social codes related to notions of self-image in order to challenge the identity models put forth by popular culture and dominant values.

Support provided by:
Conseil de recherches en sciences humaines
Fonds québécois de la recherche sur la société et la culture


2014_pad_g Passage à découvert 2014, installation view, photo: L.-P. Côté.

Passage à découvert 2014

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


April 25 to May 10, 2014
Opening: Thursday April 24 at 5:30 pm

 

[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 the professionalism of recent graduates and the excitement that their projects provoke. 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 multidisciplinary education.


2014_FO_pLes Fermières Obsédées, Le marché du zombie, performance during the Manif d'Art 7, 2014. Photo: Christian Élie Roy.

Les Fermières Obsédées. Le marché du zombie

 

Screening of the film directed by Les Fermières Obsédées during their performance at the Manif d’Art 7
A production of Manif d’Art and Vidéo Femmes

Wednesday, June 11, 5:00 pm to 6:30 pm

Loop projection of the 14 minutes film

Watch the trailer

[More information]

The Galerie de l'UQAM presents the Montreal premiere of Le marché du zombie, a film directed by the artists collective Les Fermières Obsédées during their performance at the Manif d’art 7, which took place on May 3 in Québec city. The 14 minutes film will be screened in a loop on Wednesday, June 11 2014, between 5:00 pm and 6:30 pm, in the presence of Eugénie Cliche and Annie Baillargeon, members of the collective.

Free admission

Le marché du zombie 

A cross between a demonstration and a party, Le marché du zombie is a walk to the beat of a frantic music ending with a performance. Joined for the occasion by performer Isabelle Lapierre (active within the collective since 2008 ), pianist Marie-Hélène Blay (active within the collective since 2008 ) and tuba player Audray Boivin-Laframboise, Les Fermières Obsédées give themselves body and soul to the articulation of a sung speech. They express their aspirations, making visible the power struggles associated with the current political and economic issues. Armed with their oversized pompoms, Les Fermières Obsédées invite the audience to join the group and wander around this musical inspired by the most beautiful aberrations of our time. Both festive and destabilizing, the event is a satire of our society and, as guest curator of the Manif d’Art Vicky Chainey Gagnon stated, "a manifestive resistance."

The film

A team of documentarians from the artists-run center Vidéo Femmes 

captured the performance. Les Fermières Obsédées then used the images obtained in this unique video project as part of a four days residency in the studio of Vidéo Femmes. This film, going from trash to burlesque, depicts the doings of artists under the influence of live music during their performative walk presented as part of the inauguration of the Manif d’Art 7.

 

CALQmaniflogo_video_femmes

 


2014_michaelblum_p© Michael Blum

Michael Blum. Our History | | Notre histoire

as part of Galerie de l'UQAM's residency program

 

September 2 to October 4, 2014 
Opening and book launch: Thursday, September 4, 5:30 pm

 

[More information]

Our History | | Notre histoire is a project by artist Michael Blum on the issue of Quebec and Canadian identity. The exhibition is the result of work carried out under the Galerie's summer residency program. The artist has set up a museum in the exhibition hall, offering a fanciful rewriting of the history of Quebec and Canada, in addition to a publication containing the responses of 86 people to a survey on their vision of identity.

The exhibition

Born in Jerusalem, Michael Blum settled in Montreal after residing in Europe and the United States. He has been here four years, “here” being UQAM, Montreal, Quebec, Canada and, indeed, the New World. In witnessing the massive student protests of the Maple Spring of 2012, the controversy over the Quebec Charter of Values, which was submitted to public consultation by the Parti Québécois government in 2013, and that government’s crushing defeat in April 2014, he discerned in this conjuncture a sensitive issue that would be conducive to investigating connections between generations, between Quebeckers and Canadians in the rest of the country, whether Canadian-born or immigrants, and between French speakers and English speakers. In response to our invitation to do a residency and an exhibition at the Galerie de l’UQAM, he assumed, as he frequently does, the attitude of an investigator conducting an inquiry into this issue.

Inspired by his own immigrant experience, Blum developed his dual artist’s museum – with a Quebec side and a Canada side, separate entrances but a common exit – as in a “real” museum that displays artifacts according to a classification system in a carefully devised setting with supporting references, the whole lying between truth and fiction, scholarly demonstration and mythifying fantasy.

The museum as an artist’s work is of incontestable interest to a university gallery that focuses on multifarious and changing considerations of exhibition practice and the application of knowledge produced in the museum realm. In this regard, Blum’s project is doubly interesting in that it exemplifies and parodies the genre of the exhibition as an artist’s museum while investigating symbols of cultural, social and political cohesion and division. The result of displaying the recent work of such an artist in the context of an artist residency is exposure to both the project’s conceptual development and its material realization. With Our History || Notre histoire, the Galerie de l’UQAM duly records a partly real, partly imaginary chronicle of this country, activated by the critical yet playful perceptions of the artist as investigator.

In addition, the artist developed a survey—"non-scientific" by his own admission—addressed to more than 600 more or less public figures in politics, the arts, journalism and academia, to help establish a conceptual framework for his artistic project. The exhaustive views of the 86 respondents are collected in a publication that runs between cynicism and humour, candour and fervour, in English and French. They formed a kind of field of reflection on daily life. The publication is neither an exhibition catalogue nor an essay, but rather the report on research conducted by the artist with the goal of examining the history of his host country in the light of certain current events that exposed him to the dizzying notion of "identity". The book reveals the answers to the following questions:

  • What is Quebec for you?
  • How would you explain the difference between Canada and Quebec to a foreigner?
  • If a museum had to preserve the history of the differences between Canada and Quebec, how would you envision it?
  • How do you see the relations between Canada and Quebec within two or three generations?
  • What common language other than English or French could we use?

About the artist 

Michael Blum was born in Jerusalem in 1966. He studied history at the Université de Paris I Panthéon-Sorbonne and photography at the École nationale supérieure de la photographie in Arles (France). Using video, publications and installations, he develops a body of work aiming at a critical re-reading of the production of culture and history. His major projects include A Tribute to Safiye Behar (9th Istanbul Biennial, 2005), Lippmann, Rosenthal & Co. (De Appel, Amsterdam, 2006), Cape Town - Stockholm (On Thembo Mjobo) (Mobile Art Production, Stockholm, 2007), Exodus 2048 (Van Abbemuseum, Eindhoven, 2008; New Museum, New York, 2009), Faktories und Felder (Israeli Center for Digital Art, Holon, 2012) and War and Peace (VOX – Centre de l’image contemporaine, Montréal, 2014). His work has been the object of numerous publications including Monument to the Birth of the 20th Century (Revolver-Archiv für aktuelle Kunst, Frankfurt, 2005); Mein Land (Unrast Verlag, Münster, 2008); and With Different Clothes, It’s a Different Lady (Beit Hatfutsot, Tel Aviv, 2008). He’s a professor at UQAM’s School of Visual and Media Arts since 2010. blumology.net

The residency program 

Since 2009, the Galerie de L'UQAM has extended an invitation to artists in residence. This biennial formula allows an artist to work in the Galerie spaces for an entire summer and exhibit the results of the research at the start of fall programming. The program comes under the mandate of the institution, which seeks to demonstrate the dynamic relationship between exhibiting and publishing, between displaying and interpreting. It is possible to see the outcome of the two previous residencies: David Sprigg, in 2009, and Stéphane Gilot, in 2011. galerie.uqam.ca/en/videos.html

2014_myriamjacoballard_pMyriam Jacob-Allard, Un coin du ciel (detail),
2014, video.

Myriam Jacob-Allard. Un coin du ciel

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

 

September 2 to October 4, 2014 
Opening: Thursday, September 4, 5:30 pm

 

[More information]

Myriam Jacob-Allard's project Un coin du ciel uses an installation and video to explore representations of "the mother" in Quebec's country & western culture. Through the use of iconography and deconstruction of texts from popular songs, she explores the gap between smaller and larger narratives to better understand the distortion caused by these fragmentations. These stories allow us to envisage the construction of identities transmitted from mother to daughter and to consider the concept of lineage in culture, the possibilities for legacy or loss from one generation to the next.


2014_graemepatterson_pGraeme Patterson, Secret Citadel, 2013, animation (still).

Graeme Patterson. Secret Citadel

Curators: Melissa Bennett et Sarah Fillmore

 

October 23 to December 6, 2014 
Opening and book launch: Wednesday, October 22, 5 pm

 

[Plus d'informations]

The Galerie de L'UQAM presents Secret Citadel, a major exhibition by Canadian artist Graeme Patterson, recently shortlisted for the prestigious 2014 Sobey Art Award. With inventiveness and nostalgia, Patterson explores ideas of friendship from childhood to old age. Five years in the making, this body of work is a semi-autobiographical story told by two anthropomorphic animals, a bison and a cougar. Playful creativity brings the characters together while awkwardness splits them apart.

This touring exhibition was co-produced by the Art Gallery of Hamilton and the Art Gallery of Nova Scotia, and co-curated by Melissa Bennett and Sarah Fillmore. After Montreal, the exhibition will be presented in winter 2015 at the Southern Alberta Art Gallery, Lethbridge, Alberta and in autumn 2015 at the Surrey Art Gallery, Surrey, British-Columbia.

Secret Citadel

Secret Citadel features an animated video and four large, intricate installations containing stop-motion animations of the stages of life of the bison and the cougar, representing Patterson and a lost childhood friend. In creating these detailed miniature worlds, Patterson transports the viewer to a parallel universe blending personal memories with fiction.

Although Patterson focuses on the trials and tribulations of male friendship through reinterpreted fragments of memory, the exhibition explores the subtleties that enter into any close relationship. Patterson’s work probes universal themes of longing, loss and recovery.

Exhibition trailer: http://youtu.be/hyIr0ZOVaSY

About Graeme Patterson

Atlantic finalist for the 2014 Sobey Art Award, Graeme Patterson was born in Saskatoon, Saskatchewan, and now lives in Sackville, New Brunswick. Graeme’s practice stems from a self-taught method of producing stop-motion animations but has expanded into building large video/sculptural installations. These installations consist of animation, sculptural models, robotics, sound, music and some interactive elements. Graeme Patterson has been nominated for a JUNO Award (2011) and won the Canada Council’s Victor Martyn Lynch-Staunton Award in Media Arts (2012) for outstanding mid-career artists.
www.graemepatterson.com

Support provided by:

Conseil des arts et des lettres du Québec
Canada Council for the Arts




Canada Council for the Arts Canada Council for the Arts

GALERIE DE L’UQAM

Université du Québec à Montréal
1400, Rue Berri, Pavillon Judith-Jasmin, Local J-R 120
Montréal, Québec
Tuesday to Saturday from noon to 6 p.m.
Free admission