02_do_it_Shaw Instruction do it by Jim Shaw                Photo: L-P Côté, Galerie de l'UQAM

do it Montréal

Curator: Hans Ulrich Obrist

January 13 to February 20 février, 2016
Opening and performances: Tuesday, January 12, 5:30 pm

Exhibition produced and circulated by Independent Curators International (ICI), New York

[More information]

After touring the world for the last 23 years, the exhibition do it, conceived by the renowned curator Hans Ulrich Obrist, is coming to Quebec where it will be presented at the Galerie de l'UQAM. As its title implies, do it involves the host institution, visitors and guest artists in realizing the works, which arrive only as sets of instructions. Featuring more than 80 Quebecois and international artists, do it Montréal rethinks the traditional codes of the exhibition in order to offer new experiences to visitors and to reflect on the meaning and function of museums.

do it is a traveling exhibition conceived and curated by Hans Ulrich Obrist, and organized by Independent Curators International (ICI), New York. The exhibition and the accompanying publication were made possible, in part by grants from the Elizabeth Firestone Graham Foundation, the Robert Sterling Clark Foundation, and with the generous support from Project Perpetual and ICI’s International Forum and Board of Trustees.

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do it

In 1993, curator Hans Ulrich Obrist and artists Christian Boltanski and Bertrand Lavier imagined an exhibition that could constantly generate new versions of itself. To test the idea, they invited 12 artists to propose artworks based on written instructions that can be openly interpreted every time they are presented. The instructions were then translated into 9 different languages and circulated internationally between 1994 and 1996. Since then, more than 400 artists have taken part in the project in over 30 countries, giving new meaning to the concept of an exhibition in progress. Nowadays, the project circulates in the form of a book, do it: the compendium, an anthology comprising 250 instructions, published in 2012. For each incarnation, the host institution is responsible for making a selection from this anthology and coordinating the interpretations. That flexibility provides not only variations among versions of the same work, but also the emergence of a new set, a new configuration whose uniqueness is directly related to the specific context where do it is (re)deployed.

Video presenting the do it concept: https://vimeo.com/93191691

do it Montréal

The Montreal edition of do it includes 60 instructions from the book do it: the compendium, in addition to 10 exclusive instructions developed by Quebecois artists, choreographers, authors or playwrights. 14 artists and collectives were also invited to interpret the instructions of other artists. The project is presented in three spaces: in the Galerie de l’UQAM, on campus and off campus (in a  “take-out” version). Several mediation activities are planned for the Galerie and on the campus, calling on visitors to get involved in interpreting the works. The public will be encouraged to share their contributions via social media with the hashtag #doitmtl .The evening of the opening and the events of January 27 and February 3, 2016 will be an opportunity to watch artists in action interpreting some of the instructions: Danièle Desnoyers, Adam Kinner, Christian Lapointe, Rodolphe-Yves Lapointe, Thierry Marceau, Alexis O'Hara, Pour ici ou pour s’emporter, Françoise Sullivan and Wants & Needs Dance.

For this version of do it, the Galerie de l'UQAM has given curator Florence-Agathe Dubé-Moreau the task of selecting the works  (instructions) and inviting artists to rethink the functions and codes of the exhibition in order to investigate their role in the production of knowledge in the arts. She wants to prompt reflection on curation, new approaches to museology and alternative art discourse and spaces. do it Montréal questions museum institutions by re-examining their political and social engagement as well as their embedding in the broader contemporary art system.

Browse the exhibition photo gallery
More information on the performance program

Artistes

60 instructions from the book do it: the compendium

Etel Adnan, Kathryn Andrews, Cory Arcangel, Robert Barry, Jérôme Bel, Bernadette Corporation, Louise Bourgeois, Cao Fei, Boris Charmatz, Chu Yun, Claire Fontaine, Critical Art Ensemble, Minerva Cuevas, Jimmie Durham, Cerith Wyn Evans, William Forsythe, Simone Forti, Theaster Gates, Jef Geys, Gilbert & George, Édouard Glissant, Leon Golub, Dominique Gonzalez-Foerster, Felix Gonzalez-Torres, Joseph Grigely, Nicholas Hlobo, Carsten Höller, Pierre Huygue, Joan Jonas, Ilya Kabakov, Ragnar Kjartansson, Jiří Kolář, Július Koller, Suzanne Lacy, Bertrand Lavier, Sol LeWitt, Erik van Lieshout, Lucy R. Lippard, Jonas Mekas, Jean-Luc Nancy, Bruce Nauman, Albert Oehlen, Pak Sheung-Chuen, Christodoulos Panayiotou, Amalia Pica, Cesare Pietroiusti, Adrian Piper, Raqs Media Collective, Eszter Salamon, Peter Saville, Jim Shaw, Shimabuku, Michael Smith, Nancy Spero, Mario García Torres, Rosemarie Trockel, Hannah Weinberger, Lawrence Weiner, Erwin Wurm.

10 exclusive instructions

Anonyme, Christophe Barbeau, Martine Delvaux, Chloé Desjardins, Paul-André Fortier, Gallery Girls, Michelle Lacombe, Dana Michel, David Tomas, Larry Tremblay.

14 interpretations

Louis-Philippe Côté, Danièle Desnoyers, Marc-Antoine K. Phaneuf, Adam Kinner, Vincent Lafrance, Christian Lapointe, Rodolphe-Yves Lapointe, Mathieu Lévesque, Thierry Marceau, Alexis O’Hara, Pour ici ou pour s’emporter, projets hybris, Françoise Sullivan, Wants & Needs Dance.

The curator

Hans Ulrich Obrist, a curator of Swiss origin, is Co-Director, Exhibitions and Programmes, and Director of International Projects at the Serpentine Gallery in London. He previously served as Curator of Contemporary Art at the Musée d’art moderne de la ville de Paris, in addition to overseeing various international events (Berlin Biennale, 1998; Biennale d’art contemporain de Lyon, 2007, etc.). With more than two hundred exhibitions to his credit, Obrist is recognized for his innovative curatorial practice, which also comprises writing and publishing. He is considered one of the most colourful, influential and powerful figures in the contemporary art world.

Education

Guided tours of the exhibition:

Available at any time. Reservations required with Audrey Genois, 514 987-3000, ext. 1424, or genois.audrey@uqam.ca

Critical essays (in french):

Maude Johnson was xmandated by the Galerie de l'UQAM to write critical essays that were published each week during the exhibition. Click on the following links to access them.

- « Quand l'exposition performe la ville »
- « Dialectique de l'interprération »
- « L'agentivité du spectateur »
- « L'exposition en tant que témoignage politique de l'institution »

Credits

do it is a traveling exhibition conceived and curated by Hans Ulrich Obrist, and organized by Independent Curators International (ICI), New York. The exhibition and the accompanying publication were made possible, in part by grants from the Elizabeth Firestone Graham Foundation, the Robert Sterling Clark Foundation, and with the generous support from Project Perpetual and ICI’s International Forum and Board of Trustees.

do it Montréal is produced by the Galerie de l'UQAM, with the support of the Canada Council for the Arts. It has been realised by the curator Florence-Agathe Dubé-Moreau, whose participation in the project is part of the initiative Premier commissariat of the Galerie de l’UQAM.

Florence-Agathe Dube-Moreau is a Masters in Art History candidate at UQAM. Her research, supervised by Marie Fraser and supported by the SSHRC, explores the effects of reconstituting contemporary art exhibitions. In 2013, she won the Young Critics writing competition sponsored by the journal esse arts + opinions. Her writing has been published in artichoke and esse, as well as in the monographs Trevor Gould. Watercolours 1996-2013 (2014) and BGL. Canadassimo (2015). The collective work Questionner l’avenir. Réflexions sur la réactualisation de la Biennale de Montréal (2015), which she initiated and co-organized, was published by les Éditions d'art le Sabord.

Support

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The 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.
2015_moreau_gAude Moreau, Waiting for Landing, 2015, digital print. Courtesy of galerie antoine ertaskiran, Montréal

Aude Moreau. The Political Nightfall

Curator: Louise Déry

The Power Plant, Toronto
January 30 to May 15, 2016
Opening: Friday, January 29, 8 pm

[More information]

After its great success at the Galerie de l’UQAM in spring 2015 and in Paris in the fall, Aude Moreau. The Political Nightfall, the first major solo show of the artist, continues a tour that will bring her to Toronto and Luxembourg (September 2016). This exhibition features a body of work developed by the artist over the last 7 years, with night-time panoramas of cities such as New York, Los Angeles, Montreal and Toronto. Curated by Louise Déry, The Political Nightfall is produced by the Galerie de l'UQAM in partnership with the Canadian Cultural Centre in Paris, Casino Luxembourg in Luxembourg and The Power Plant in Toronto.

The exhibition

The photographic, film and sound works of Aude Moreau cast a hitherto unexampled light on the North American city, with its modernist grid, its towers soaring to breathtaking heights, its illuminated logos speaking the language of the multinationals, its solids that box us in, its voids that provide an exit. Because the artist embeds film in architecture, writing in glass, politics in economics, transparency in opacity, indeed the private in the public, she deflects and refashions the iconography of these often stereotypical urban images, whose future shows no way around the gathering political darkness.

The exhibition features the premiere of the film The End in the Background of Hollywood, shot by helicopter over Los Angeles, with the twin towers of the City National Plaza conveying a powerful end-of-the-world message. In tandem,  Inside (23/12/2014 - Los Angeles, Downtown) offers a street view of one of the towers and its mundane nocturnal activity, while The Last Image, shows generic endings of films about the end of the world. The starry night of the world film capital is also captured in several photographs showing the iconic Hollywood sign and the illuminated logos of big financial corporations studding the sky. Visitors will revisit Sortir, shot from a helicopter circling the Montreal Stock Exchange, Reconstruction, a moving panorama of the Manhattan skyline from the Hudson River, and discover Less is more or… on Mies van der Rohe's towers in Toronto. 

According to the curator, by investing architecture with a metaphorical power that lies between reality and fiction, between the image itself and what it recounts, Moreau makes us spectators of the present: we are subjected to the mechanisms of power and grapple with the catastrophic scenarios that flow by in an endless loop. “The artist’s thinking and observations on the city derive from Gordon Matta-Clark, Ed Ruscha and Mies Van der Rohe; created between 2008 and 2015, the four groups of works included in this exhibition give the leading role to Montreal, New York, Los Angeles and Toronto. They exhort us to immerse ourselves in the texture of their images and sounds, to enter the temporality of a relentless end, to cross through the space between the images and, in that movement, perceive a world at rest, perhaps its final rest”, specifies Louise Déry.

The exhibition is accompanied by a richly illustrated monograph with essays by the curator and invited authors, such as Kevin Muhlen (Luxembourg) and Fabrizio Gallanti (Princeton University). 

The artist

Aude Moreau has developed a practice that encompasses her dual training in scenography and the visual arts. Whether with concepts painstakingly developed over several years to produce ambitious installations, films and photographs, or material interventions in an exhibition context, like her famous sugar carpets, Aude Moreau focuses a relevant, critical gaze upon showbiz society, the privatization of the public space, and the domination of the State by economic powers in today's world. Her work has been shown in Quebec, France, the United States and Luxembourg. Aude Moreau has a Master's in Visual Arts and Media from the Université du Québec à Montréal. She is a recipient of the Claudine and Stephen Bronfman Fellowship in Contemporary Art (2011), as well as the Powerhouse Prize from La Centrale (2011). Aude Moreau is represented by galerie antoine ertaskiran in Montreal. audemoreau.net

The curator

With a PhD in art history, Louise Déry has been the Director of the Galerie de l'UQAM since 1997. She has been a curator at the Musée national des beaux-arts du Québec and the Montreal Museum of Fine Arts, and has worked with a number of artists, including Rober Racine, Dominique Blain, Nancy Spero, Michael Snow, Daniel Buren, Giuseppe Penone, Raphaëlle de Groot, Shary Boyle and Sarkis. Curator of some thirty exhibitions abroad, including a dozen in Italy, and others in France, Belgium, Spain, Turkey, the United States and Asia, she was curator of the Canada Pavilion at the Venice Biennale in 2007, with a David Altmejd exhibition, and a performance by Raphaëlle de Groot at the 2013 Biennale. At the 2015 Biennale, she presented several of Jean-Pierre Aubé's interventions on electromagnetic pollution.

Partners

Centre_culturel_canadien Casino_luxembourg Power_plant

Support provided by

Conseil_des_arts_ang Bronfman


 

2016_motion_gMyriam Laplante, Ricochet, 2014, video still

Motion. Montréal / Geneva

Curators: La Fabrique d'expositions, Montréal and LiveInYourHead, Genève

Galerie de l'UQAM, Montréal
March 2 to April 9, 2016
Opening: Tuesday, March 1st, 5:30 pm

LiveInYourHead - Institut curatorial
HEAD, Geneva
May 19 to July 2, 2016

[More information]

Motion. Montreal/Geneva is the first visual arts encounter between Montreal and Geneva. For the occasion, the Fabrique d’expositions and LiveInYourHead, the HEAD Curatorial Institute, Geneva created a video compilation of works by 11 Montreal artists and 12 Swiss and international artists associated with HEAD (Geneva University of Art and Design). Their works share a common theme: motion, as movement or proposition.

The exhibition

The Motion project was born of a conversation between two institutions devoted to art education and dissemination: the Galerie de l'UQAM in Montreal and HEAD – Geneva. To start off this exchange, the Montreal collective of curators at La Fabrique d'expositions selected videos by Quebec artists inspired by the concept of motion. The double meaning of the word encompasses a duality between action and proposition, between what engenders movement and what prompts the adoption of a position. The encounter of these works produces a variety of performative, aesthetic, political and sociological points of view, reflecting what currently activates and motivates the thoughts of the artist as an actor in the world.

In response to the Montreal proposal, HEAD – Geneva is presenting a selection of videos from its project Performance Proletarians. In October 2014, under the leadership of Lili Reynaud Dewar and Benjamin Valenza, a group of artists and students transformed an arts centre into a space for the production of performances that were not open to the public. The creators became their own public, connected to Internet users scattered around the world and absorbed by the contemplation of this continuous flow of performance viewed through the lens of their cinematography. For Motion, Yann Chateigné plunges us into twelve sequences from the intense productions of this active, vital community.

In conjunction with Motion, the Cinémathèque québécoise is also presenting the first projection on this side of the Atlantic of L’Exposition d’un Film / The Exhibition of a Film (2014) by Mathieu Copeland, a singular cinematic experience in which 46 major artists – choreographers, performers, musicians, writers or visual artists – were invited to participate in the creation of a work that is equally an exhibited film, the film of an exhibition and a filmed exhibition.

The artists

Jean-Pierre Aubé, Patrick Bernatchez, BGL, Caroline Boileau, Michel de Broin, Pascal Grandmaison, Nelson Henricks, Myriam Laplante, Eduardo Menz, Nadia Myre, Chih-Chien Wang / Hugo Canoilas, Matthis Collins, Verena Dengler, Christian Falsnaes, Hadley + Maxwell, Lauren Huret & Camille Dumond, Nastasia Meyrat, Lou Masduraud & Antoine Bellini, Lea Meier, Guillaume Pilet, Lili Reynaud Dewar, Benjamin Valenza

L’Exposition d’un Film

On April 7, 13 and 16, 2016, at 7 p.m., the Cinémathèque québécoise will present L’Exposition d’un Film, a project by Mathieu Copeland (2014, 100 min.) produced by HEAD – Geneva with the support of  HES-SO. Mathieu Copeland will be present at the first screening, on April 7.

With the participation of Mac Adams, Fia Backström, Robert Barry, Erica Baum, Stuart Brisley, Jonathan Burrows, Nick Cave, David Cunningham, Philippe Decrauzat, Peter Downsbrough, Maria Eichhorn, F.M. Einheit, Tim Etchells, Alexandre Estrela, John Giorno, Sam Gleaves, Kenneth Goldsmith, Myriam Gourfink, Karl Holmqvist, Marie-Caroline Hominal, Myriam Lefkowitz, Franck Leibovici, Benoît Maire, Charles De Meaux, Karen Mirza & Brad Butler, Ieva Miseviit, Meredith Monk, Charlotte Moth, Phill Niblock, Deborah Pearson, Vanessa Place, Michael Portnoy, Lee Ranaldo, Lætitia Sadier, Laurent Schmid, Leah Singer, Mieko Shiomi, Susan Stenger, Sofia Diaz + Vítor Roriz, Kasper T. Toeplitz, Daniel Turner, Cosey Fanni Tutti, Alan Vega, and Lawrence Weiner.

The curators

Created in 2009 by Jean-Pierre Greff, Director of HEAD – Geneva, LiveInYourHead is an exhibition program, a venue for curatorial experimentation, and a working and living space for artists and students. Its activities are based on an intense program of guests from various fields – artists, curators, critics, designers, filmmakers, and musicians – invited to carry out a specific project, with the sole constraint that it be conceived and produced in collaboration with a group of students. These "curatorial objects" regularly provide an opportunity for cooperation and exchange with partners, including recent collaborations with the CCA Wattis Institute in San Franscisco, the Artsonje Art Center in Seoul, and Kunstverein in Amsterdam. The LiveInYourHead program is run by Yann Chateigné.

Performance Proletarians is a proposal by Lili Reynaud Dewar and Benjamin Valenza. Produced by: HEAD – Geneva and EBABX. Lili Reynaud Dewar is a teacher in the HEAD – Geneva, Work.Master program. Contemporary artistic practices.

La Fabrique d’expositions is a collective of Montreal curators committed to realising projects in a spirit of collegiality in partnership with various exhibitors. They periodically are involved in major cultural events in Canada and abroad, while also developing new initiatives for disseminating the most current artistic forms. Their most recent project, Videozoom. L’entre-images, has been presented in 12 cities in Canada and abroad. Its members have been working together for several years, encouraging the pooling and brewing of ideas. The collective is comprised of three curators: Julie Bélisle, Louise Déry and Audrey Genois.

Educational opportunity

Guided tours of the exhibition

Offered at all times. Reservations required: Christine Lenoir, 514 987-6150 or galerie@uqam.ca

Support provided by

CCFA_BW_black_96_f    CALQinb-Converti

Motion is produced by the Galerie de l'UQAM, Montreal, in collaboration with HEAD – Geneva

Galerie_Head

 

Performance Proletarians is a proposal by Lili Reynaud Dewar and Benjamin Valenza, and a production of HEAD – Geneva and the École des Beaux-Arts, Bordeaux.

The 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.
2016_mauxion_pCaroline Mauxion, peu n’est pas rien – déplacement #1, 2014, inkjet print

Caroline Mauxion. À n'y voir que du bleu

Graduating Master's student in visual and media arts (MFA), UQAM

March 2 to April 9, 2016 
Opening: Tuesday, March 1, 5:30 pm

[More information]

Should a photographic image solely be understood in its capacity to represent and its relationship to the real? If a word is put into practice by being spoken, a text by being read, how does this apply to photography? How do you put an image into practice? Faced with the image’s profusion and dematerialization, Caroline Mauxion aims to reconnect with her images through video and photography. It is by conceiving photography in its indexical logic that Caroline Mauxion seeks to explore the possible status of an image, both in its materiality and in its relationship to space. This deposit of light on the sensitive surface - this tangible and not visible link between the medium and its referent, nourishes her thoughts poetically and theoretically. The image is no longer limited only to an iconic end, it is an object to be manipulated and set in space. Her works are never fixed, but are rather in a state of movement and thus open to future transformations.


2016_expositiondunfilm_gMathieu Copeland, L’exposition d’un film, 2014, film still

L'exposition d'un film

Director: Mathieu Copeland

Screenings at the Cinémathèque québécoise
April 7, 16 and 28, 2016, 7 pm.
The director will be in attendance at the first screening on April 7.

Cinémathèque québécoise
335, boul. de Maisonneuve East, Montréal

[More information]

The Galerie de l'UQAM is pleased to collaborate with the Cinémathèque québécoise for the first screenings in America of L'exposition d'un film (2014, 100 minutes) by Mathieu Copeland. The film, which has achieved great success when it screened at the Tate Modern in London and at the Centre Georges-Pompidou in Paris, is presented as part of the exhibition Motion. Montréal/Gevena, underway at the Galerie de l'UQAM.

Please note that the film is in french.

The film includes interventions and works by Mac Adams, Fia Backström, Robert Barry, Erica Baum, Stuart Brisley, Jonathan Burrows, Nick Cave, David Cunningham, Philippe Decrauzat, Peter Downsbrough, Maria Eichhorn, F.M. Einheit, Tim Etchells, Alexandre Estrela, John Giorno, Sam Gleaves, Kenneth Goldsmith, Myriam Gourfink, Karl Holmqvist, Marie-Caroline Hominal, Myriam Lefkowitz, Franck Leibovici, Benoît Maire, Charles De Meaux, Karen Mirza & Brad Butler, Ieva Miseviit, Meredith Monk, Charlotte Moth, Phill Niblock, Deborah Pearson, Vanessa Place, Michael Portnoy, Lee Ranaldo, Lætitia Sadier, Laurent Schmid, Leah Singer, Mieko Shiomi, Susan Stenger, Sofia Diaz + Vítor Roriz, Kasper T. Toeplitz, Daniel Turner, Cosey Fanni Tutti, Alan Vega, Lawrence Weiner.

L’exposition d’un film by Mathieu Copeland is produced by HEAD – Genève with support by HES-SO.

The exhibition Motion. Montréal/Geneva gathers works by Jean-Pierre Aubé, Patrick Bernatchez, BGL, Caroline Boileau, Michel de Broin, Pascal Grandmaison, Nelson Henricks, Myriam Laplante, Eduardo Menz, Nadia Myre, Chih-Chien Wang/Hugo Canoilas, Matthis Collins, Verena Dengler, Christian Falsnaes, Hadley + Maxwell, Lauren Huret & Camille Dumond, Nastasia Meyrat, Lou Masduraud & Antoine Bellini, Lea Meier, Guillaume Pilet, Lili Reynaud Dewar, Benjamin Valenza. It is presented with the support of the Conseil des arts et des lettres du Québec and the Canada Council for the Arts.


2016_passage_pExhibition view, Passage à découvert 2015, Galerie de l'UQAM

Passage à découvert 2016

Graduating students in Visual and Media Arts (BFA), UQAM

April 21, 2016 
Opening and awards announcement: Thursday, April 21, 5 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 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 multidisciplinary education.

Participating artists

Louis Alex, Sophie Aubry, Maude Auger, Myriam Bélanger, Aubane Berthommé, Ann Karine Bourdeau Leduc, Jorge Oswaldo Carranza Sanchez, Marie-Félix Cayouette, Frédérique Chassé, Véronique Charpentier and Valentine Chauvet, Madeleine-Zoé Corbeil-Robitaille, Mathieu Deschênes, Karolane Doré Desrochers, Kevin Dubeau, Catherine Filteau, Patrick Foisy, Xavier Ford-Legrand, Mélanie Gingras, Denis Gosselin, Rosalie Jean, Amélie Jodoin, Camille Lacasse, Édith-Manoushka Larouche, Amélie Maltais, Alexandre Ménard, Marilyne Minier, Guillaume Pascale, Caroline Pierre, Guillaume Plourde, Marie-Andrée Poulin, Camille Prat, Roxanne Séguin, Véronique Tremblay, Thomas-Alexandre Vincent


2016_contecrepusculaire_gPierre Lapointe et David Altmejd dans le dispositif sculptural de Conte crépusculaire, Galerie de l’UQAM, 2011. Photo : Pascal Grandmaison

Conte crépusculaire

David Altmejd and Pierre Lapointe

Screenings of the film at the Galerie de l'UQAM

May 4 to 7, 2016

Trailer

Behind the scenes video

[More information - French only]

Les univers de création de l’auteur-compositeur-interprète Pierre Lapointe et de l’artiste visuel David Altmejd se sont rencontrés en 2011 pour faire naître Conte crépusculaire, un conte musical et visuel alliant musique, chant et arts visuels. Ce spectacle, coproduit par la Galerie de l'UQAM et Productions 3PM, a fait découvrir au public un univers allégorique d’une beauté fascinante au cours de six représentations à la Galerie de l’UQAM.

Cette rencontre inusitée et unique par sa liberté et son inventivité a donné lieu à une archive vidéographique, réalisée par Rénald Bellemare. Cinq ans plus tard, le public est invité à visionner le film et à revivre le spectacle en images du 4 au 7 mai 2016, à la Galerie de l’UQAM.

Dates et heures des projections :
Mercredi 4 mai, 18 h et 20 h
Jeudi 5 mai, 18 h et 20 h
Vendredi 6 mai, 18 h et 20 h
Samedi 7 mai, 13 h

Tarif régulier : 12$
Tarif réduit
(étudiants, ainés, employés de l'UQAM) : 8$

Places limitées
Achat de billets en ligne

Le film est d'une durée de 42 minutes.

Conte crépusculaire

Conte crépusculaire met en scène un roi, dans un futur lointain, qui doit céder le trône à son fils puis accéder à un autre niveau de conscience en atteignant la mort. Pour perpétuer la tradition rituelle, le roi entreprend une grande tournée d’adieux. De retour dans son royaume, exténué par le voyage, confronté prématurément à l’arrivée de sa propre mort, il est prêt à vivre la cérémonie de passage.

Création multidisciplinaire, Conte crépusculaire est en quelque sorte un « tableau vivant ». Ce mariage de la scène musicale et visuelle a permis au public de vivre une expérience inédite : il a assisté à la création en direct d’une partie du conte, alors que des éléments de la pièce étaient réalisés par David Altmejd tout au long de la mise en scène. Chaque représentation a été unique.

Le conte met aussi en scène le travail du compositeur Yannick Plamondon, de la chanteuse Émilie Laforest, du Quatuor Molinari, du musicien Philippe Brault et du jeune Sacha Jean-Claude, alors membre des Petits chanteurs du Mont-Royal.

 

2016_contecrepusculaire_spectacle1      2016_contecrepusculaire_still1    

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2016_contecrepusculaire_expo1      2016_contecrepusculaire_expo2     

2016_contecrepusculaire_expo3     2016_contecrepusculaire_expo4

 

Genèse

C’est en 2006 que Pierre Lapointe et David Altmejd se sont rencontrés pour la toute première fois à la Galerie de l’UQAM. À l’époque, David Altmejd débutait son entrée fracassante dans l’univers de l’art contemporain québécois, canadien et international, notamment avec la présentation de sa première exposition solo à la Galerie de l’UQAM en 2007, et son exposition au Pavillon du Canada à la Biennale de Venise, dont la commissaire était Louise Déry, directrice de la Galerie de l’UQAM. En 2011, Louise Déry acceptait de soutenir un projet de collaboration qui fusionnerait leurs deux démarches en leur offrant une totale carte blanche. Conte crépusculaire était né.

À l’époque, la documentation vidéographique de Conte crépusculaire n’était pas destinée à être un film en soi. Devant la richesse du matériau, la Galerie de l’UQAM a souhaité en assurer la conservation en produisant cette archive visuelle du conte musical et visuel, coproduite par la Galerie de l’UQAM et Imagide.

Biographies

Né en 1981 à Alma, Pierre Lapointe vit et travaille à Montréal. Remportant le grand prix du Festival international de la chanson de Granby en 2001, il lance son premier album en 2004. Depuis, il en produit plus d’une dizaine qui connaissent un grand succès à la fois au Québec, en France et en Belgique. En plus de performer dans le cadre de nombreux festivals, il crée plusieurs spectacles inédits dans lesquels le travail visuel prend une place considérable, dont Mutantès, La forêt des mal-aimés et Pépiphonique. Outre David Altmejd, il collabore avec l’artiste visuelle Dominique Pétrin, le metteur en scène Claude Poissant et l’architecte Jean Verville. Sa carrière est ponctuée de nombreux prix, dont 13 Félix. pierrelapointe.com

Né en 1974 à Montréal, David Altmejd vit et travaille à New York, Diplômé en arts visuels de l’Université du Québec à Montréal (1998) ainsi que de l’Université Columbia (New York, 2001), David Altmejd a tenu de nombreuses expositions individuelles et collectives tant au Québec, au Canada qu’à l’étranger. Il représente le Canada en 2007 à la 52e Biennale de Venise avec l’installation The Index, sous le commissariat de Louise Déry qui lui consacre plusieurs expositions dès 2000 et publie ses deux premiers catalogues majeurs. Il a de plus participé aux biennales du Whitney Museum en 2004 et d’Istanbul en 2003. Son travail fait notamment partie des collections du Solomon R. Guggenheim Museum, du Whitney Museum, de la Art Gallery of Ontario, de l’Université du Québec à Montréal et du Musée des beaux-arts du Canada. Récemment, le Musée d’art moderne de la ville de Paris lui consacrait une grande exposition rétrospective, Flux, ayant ensuite circulé au MUDAM Luxembourg ainsi qu’au Musée d’art contemporain de Montréal. davidaltmejd.com

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Partenaires

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2016_mcgendron_gMarie-Claude Gendron, La chute, 2015.

Marie-Claude Gendron. Nos terres louables

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

Live screening of the performative action at the Galerie de l'UQAM: May 26-30, 2016, 12-6 pm.
Free admission

Multidisciplinary event: June 5, 2016, 1 pm., as part of OFFTA – live art festival
Tickets between 12$ and 20$
Buy tickets online

[More information]   

The Galerie de l’UQAM presents Nos terres louables by Marie-Claude Gendron, graduating master’s student in visual and media arts (MFA), UQAM. For five days, the artist will occupy the observation deck overlooking the site of the open pit mine located in Malartic, Abitibi-Témiscamingue.

By her steady and continuous presence on site, Marie-Claude Gendron wishes to highlight citizen engagement and resistance movements in the face of ambient stagnation. Visitors will discover this "act of immobility," which follows a series of similar interventions beginning in 2013, as it will be transmitted simultaneously at the Galerie de l'UQAM, from May 26 to 30.

The issues raised by the project will be questioned by the essayist Alain Deneault, artist Michelle Lacombe, author Alexis Desgagnés, art collective AOOS and activist Dominique Bernier in a multidisciplinary event presented on June 5, 2016, in collaboration with the OFFTA - live arts festival.

 

Support

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Thanks to

Hélène Doyon, Jean-François Dugas, Pascal Audet, Katherine-Josée Gervais, Alexis Desgagnés, AOOS, Michelle Lacombe, Dominique Bernier, Alain Deneault, Marie-Andrée Poulin, Kamissa Ma Koïta, Marie-Michèle Beaudoin, Magali Babin and FARE.


2016_momie_gHetep-Bastet: detail of the sarcophagus, circa 600 B.-C., Collection d’œuvres d’art de l’UQAM (1969.3230-2)

Hetep-Bastet. A Famous Mummy in Montréal

as part of Montréal Museums' Day

Sunday, May 29, 2016, 10 am - 5 pm
Free admission

Montréal Museums' Day free shuttle service: Red bus route - Stop 6

[More information]

The Galerie de l'UQAM is proud to present the event Hetep-Bastet, A Famous Mummy in Montréal during the 30th edition of Montréal Museums' Day (MMD) on May 29. For the Galerie’s first participation in Montréal Museums' Day, the public will be invited to meet the iconic mummy in the Collection d'oeuvres d'art de l'UQAM, as well as her sarcophagus. It is a rare opportunity to view these important pieces and learn about their numerous adventures, from the birth of Hetep-Bastet in ancient Egypt to the present day.

Who was Hetep-Bastet?

Hetep-Bastet was a wealthy Egyptian woman who lived during the 26th Dynasty of the Pharaohs, around 600 B.C. In 1927, the Cairo Museum gave her mummy and its priceless sarcophagus to Montréal's École des Beaux Arts, which displayed this extraordinary gift in their entrance hall. Probably during the protests of 1968, Hetep-Bastet was hurled to the ground by a student who had smashed her glass case, also damaging her wooden coffin. With no resources to repair them, the damaged mummy and the sarcophagus were stored in a vault in the building until they were transferred to UQAM in 1969, when it was founded and merged with the École des Beaux Arts. But the treasures would have to wait until the late 1990s for their restoration.

This is only a small piece of the dramatic destiny of Hetep-Bastet, who, in the years that followed, became an object of insatiable study for Egyptologists, an exceptional source of scientific advances, the muse of a documentary film, and the star of exhibitions on ancient Egypt and contemporary art. Visitors will be able to discover Hetep-Bastet's many incarnations on Montréal Museums' Day, more than 2600 years after her birth.

The mummy’s last public appearance dates back to 2008. It was loaned to the Canadian Museum of Civilization for the exhibition Tombs of Eternity: The Afterlife in Ancient Egypt, where it was displayed alongside 200 artifacts from the Boston Museum of Fine Arts and other ancient Egyptian artifacts from Canadian collections. The last time the mummy was on view in Montréal was in 2003. at the Galerie de l'UQAM, for the exhibition Sarkis. 2600 ans après 10 minutes 44 secondes. The Armenian-born artist mounted an installation on the theme of death, featuring various objects, including the remains of Hetep-Bastet.

 

 

2016_momieanubis_g     2016_momieisis_g

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Montréal Museums' Day

Montréal Museums' Day is a popular open house event aimed at publicizing Montréal's museums and encouraging the public to form an attachment to them. Each spring, MMD attracts over 100,000 visitors in a single day. This festive outing is presented by Québecor in collaboration with the STM and a number of other partners. museesmontreal.org

The Collection d'oeuvres d'art de l'UQAM

The Hetep-Bastet mummy is part of the Collection d'oeuvres d'art de l'UQAM, which includes pieces transferred from the École des Beaux Arts (EBAM) at the founding of the University in 1969. Managed by the Galerie de l'UQAM, it currently comprises more than 4000 works and objects that reflect the teaching of art in Montréal, some currents of contemporary art in Quebec, and the individual practices of recognized Quebec artists. The major element of the collection is the legacy of Albert Dumouchel's engraving workshop, comprising some 3000 prints made by students between 1955 and 1970, including Pierre Ayot, Francine Beauvais, and Louis Pelletier. It also includes the corpus of public art integrated into the UQAM campus as well as a number of works acquired independently since 1980. Sculpture (Henri Saxe, David Altmejd, Marcel Barbeau, Danielle April, Michel Goulet), photography (Raphaëlle de Groot, Alain Paiement, Angela Grauerholz, Geneviève Cadieux), paintings (Paterson Ewen, Janet Werner, Françoise Sullivan, Claude Tousignant, Cynthia Girard), drawings (Pierre Gauvreau, Stéphane Gilot, Edmund Alleyn), video (Pascal Grandmaison, Chantal duPont, Michel de Broin, Jocelyn Robert), engravings and artists books create a rich, current portrait of the vitality of the visual arts at UQAM. Several sets of ancient objects from various cultures and periods, mostly inherited from the École des Beaux Arts, complete the collection. Additional information: Collection

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2016_Hupfield_pArtist Field Trip, performance hosted by Maria Hupfield fro YES! Association/Foreningen JA, (art)work(sport)work(sex)work, The Power Plant Contemporary Art Gallery, 2015. ©The Power Plant

Maria Hupfield. Post Performance/Conversation Action

as part of OFFTA - live art festival

June 5, 2016, 1 pm.

Ticket between 12$ et 20$
Buy tickets online

[More information]

Maria Hupfield presents Post Performance/Conversation Action, a hybrid performance and conversation with guest artists on the topics in their work as a form of intergenerational community building and solidarity.

Creation and performance: Maria Hupfield
Special guest: Alanis Obomsawin
Assistant: Lindsay Nixon

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Presented as part of Indigenous Contemporary Scene (ICS), a programming produced by ONISHKA.

About the artist

Currently based in Brooklyn New York, Maria Hupfield is a member of the Anishinaabe Nation at Wasauksing First Nation, Ontario. Her work traveled across Canada for the exhibit Beat Nation: Aboriginal Art and Hip Hop and have shown at the Museum of Arts and Design New York, Toronto Power Plant, and 7a*11d International Performance Festival. Her project Artist Tour Guide was commissioned by The Smithsonian’s National Museum of the American Indian, New York with an iteration at The McCord, Montreal Quebec Canada. In 2015 she designed a nine foot birchbark style hunting canoe out of industrial felt to be assembled and performed in Venice Italy for the premiere of Jiimaan. Her work is represented by Galerie Hugues Charbonneau in Montreal.mariahupfield.wordpress.com

2016_JPAfilm_pJean-Pierre Aubé, Electrosmog Venezia, performance at the Venice Biennale, 2015. Photo: Gwenaël Bélanger

Jean-Pierre Aubé à Venise

Screening of the film produced during the performances of the artist at the 2015 Venice Biennale

June 7, 2016
Screening in a loop from 5:30 to 7:30 pm
25 minutes film, in french

[More information]

On the invitation of the Galerie de l’UQAM and the curator Louise Déry, the Quebec artist Jean-Pierre Aubé carried out a series of live interventions during the preview days of the  Venice Biennale (May 6 to 8, 2015). This project is now the subject of a 25-minute film, Jean-Pierre Aubé à Venise, which will be presented for the first time on June 7 at the Galerie de l'UQAM. The screening will take place in the presence of the artist and the curator of the project, Louise Déry. Free admission. 

Produced by the Galerie de l'UQAM, the film and the project of the Venice Biennale has been made with the support of the Conseil des arts et des lettres du Québec.

To learn more about the project: Venice Biennale

 

2016_Pocreau_gYann Pocreau, image from the slideshow Mémoires, 2016

Yann Pocreau. Patrimoines

Under Galerie de l'UQAM's residency program

August 30 to October 8, 2016
Opening: Tuesday, September 6, 5:30 pm

Events program (in French):

Round table Arts actuels et soins de santé : un esapce partagé: Monday, September 12, 1:30 to 5 pm

Student forum Muséologie, hôpitaux et patrimoines: Friday, October 7, 10 am to 12 pm

Guided tours of the exhibition with artist Yann Pocreau:

Wednesday, September 14, 5:30 to 6:30 pm
Friday, October 7, 12:45 to 1:45 pm


[More information]

The Galerie de l’UQAM opens its 2016-17 program with the exhibition Patrimoines by artist Yann Pocreau. The fruit of work carried out under a summer residency at the Galerie de l'UQAM, Patrimoines takes as a starting point the construction of the new Centre Hospitalier de l’Université de Montréal (CHUM) in place of the Hôpital Saint-Luc. The resulting project is a dialogue between tangible and intangible heritage, artworks and objects, stories and artifacts. It raises questions about art and health, memory, light and their impact on our well-being.

In order to explore the ideas raised by the exhibition, the Galerie de l'UQAM developed a program of events including a round table, a student forum and two tours of the exhibition with the artist.

The exhibition

Over the past two years, Yann Pocreau has had a unique opportunity to witness the construction of the new Centre hospitalier de l’Université de Montréal (CHUM). Under the integration of art and architecture program, he has been developing a process-driven work there that will culminate in 2020 in the form of a book. Meanwhile, over the past two years, the artist has also been accompanying his mother on her visits to the CHUM, where she is being treated for dementia. In the dual situation that has become his day-to-day reality, one thing has emerged clearly: the imperative to reflect, as an artist, on the hospital environment and the notions of heritage it conjures. The starting point of this exhibition is the disappearance of the existing Hôpital Saint-Luc, a component of the CHUM that will soon be replaced by a new building. Hospital architecture is part of the project’s theme, but its main focus is our sometimes paradoxical attachment to these places that shape our lives and our relationships to birth, health and death – and, above all, to the friends and relations who at some point we are obliged by love to chaperone, often repeatedly.

The exhibition Patrimoines presents two new installations composed of recycled elements taken from the Hôpital Saint-Luc, including part of a hospital room, light bulbs, furniture, a few other artifacts and photographs. The exhibition is the product of a residency at the Galerie de l’UQAM, lengthy discussions, fascinating encounters and a number of collaborations. For example, Marie-Charlotte Franco, a doctoral candidate in museology, and her team have provided a historical account of the tangible and intangible heritage of our hospitals, while the artist and filmmaker Anna Lupien has joined Pocreau as co-director of a video portrait of the highly inspiring Auriette Breton, head nurse and doyenne of the Saint-Luc staff. This exhibition, which precedes the inauguration of the new CHUM, will nourish a collective reflection on the symbolic significance of the hospital milieu and the human relations it invokes.

The artist

Born in Québec in 1980, Yann Pocreau lives and works in Montréal. Through photography, he has become interested in the strong presence of place, light and subject, their intimate cohabitation, and their effect on the narrative framework of the images. His solo exhibitions include Sur les lieux, a project in two parts hosted by Expression – Centre d’exposition de Saint-Hyacinthe (2015-16) and by the Musée d’art contemporain des Laurentides (2016); Croisements at Vu photo (2014) and Projections at the Darling Foundry (2013). He took part in numerous group exhibitions, including Lumens at the Musée régional de Rimouski (2016); Québec Gold at the Palais du Tau, Reims (2008); Out of Grace at the Leonard & Bina Ellen Gallery (2010); Lucidity – Inward views at the Mois de la Photo à Montréal (2011); Under the Radar - The New Visionaries at Guided by Invoices, New York (2012), Paperwork at the Flux Factory, New York (2013) and Sinopale 5 – Sinop Biennale, Turkey (2014). He was part of three exhibtions by the Galerie de l’UQAM: Basculer (2007), Expansion (2010) and À Montréal, quand l’image rôde, presented at the Fresnoy – Studio national des arts contemporains in Tourcoing (2013). His work has been documented in a variety of publications (CV, Canadian Art, Spirale, OVNI, Next Level-UK, etc.) and is featured in the collections of the National Bank of Canada, Hydro-Québec, the Montréal Museum of Fine Arts, the Musée d’art de Joliette, the Musée national des beaux-arts du Québec’s Prêt d’œuvres d’art, the City of Montréal’s collection and in several private collections. Until 2014, he was the general coordinator at the Clark Center in Montréal and has been, since 2013, president of the Regroupement des centres d’artistes autogérés du Québec (RCAAQ). He is represented by Galerie Simon Blais in Montréal.
yannpocreau.com

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 at the start of fall programming. The program comes under the mandate of the institution, which seeks to give artists the means to develop important research projects. It is possible to see the outcome of the three previous residencies: David Spriggs in 2009, Stéphane Gilot in 2011 and Michael Blum in 2014.
galerie.uqam.ca/en/videos.html

Free activities

Round table Arts actuels et soins de santé : un espace partagé

Monday, September 12, 2016, 1:30 to 5 pm
In French
Guests:
Azad Chichmanian, OAQ, OAA, AIA, MRAIC, LEED AP, partner architect, NEUF architect(e)s
Tamar Tembeck, PhD, academic associate, Media@McGill, McGill University
Dr. Réjean Thomas, family doctor, chairman, CEO and founder, L’Actuel Medical Clinic
Mona Trudel, professor, École des arts visuels et médiatiques (UQAM), holder of the UQAM Research Chair for the development of innovating practices in art, culture and well-being
Yann Pocreau, artist
Marie-Charlotte Franco, PhD student in Museology (UQAM)

This round table will allow the public to discuss with a panel of experts (art historians, a museologist, an artist, an architect and a doctor) about different issues relating to art, architecture and medicine; about the impact of physical places on the well-being of patients; about hospitals not only as places of care but also as massive research structures; about new fields of research concerning the city, the vulnerability of certain groups and art; and the importance of the CHUM in the context of a neighborhood with a complex social profile like Ville-Marie.

Student forum Muséologie, hôpitaux et patrimoines

Friday, October 7, 2016, 10 am to 12 pm
In French

The Musée-école project in collaboration with the CHUM allowed more than a hundred students from the “Collection et conservation” seminar (UQAM) of the MA in Museology to reflect on heritage issues at the Saint-Luc Hospital (2013), at the Hôtel-Dieu (2014) and at the Notre-Dame Hospital (2015). This event is conceived as an opportunity to reconsider their experience and that of CHUM employees, and to discuss the challenges they faced in the field.

Exhibition tours with the artist Yann Pocreau

Wednesday, September 14, 2016, 5:30 to 6:30 pm
Friday, October 7, 2016, 12:45 to 1:45

Support provided by

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The educational booklet

An educational booklet is offered to the public free of charge as a a guide to the exhibition.
2016_Meyer_gLieven Meyer, Away From Keyboard, 2016, still from the video installation

Lieven Meyer. Away From Keyboard

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

August 30 to October 8, 2016
Opening: Tuesday, September 6, 5:30 pm

[More information]

In Western cultural heritage, classical sculpture represents an ideal of beauty and serves as an emblem of political and military power. In Away From Keyboard (AFK), Lieven Meyer tries to detect the emergence of Neoclassicism 2.0 in the aesthetics of social networks like Second Life. On that platform, the expression AFK indicates the user's absence from the keyboard while still present in the virtual world through the intermediary of an avatar. The exhibition attempts to explore this bipolar phenomenon, between presence and absence, tangible and intangible. By creating a bronze sculpture based on the digital body of the avatar, and documenting this process through four video projections, the artist contemplates new configurations of beauty and power in a globalized, neo-liberal, technocratic civilization.

 2016_MoreauLuxembourg_pAude Moreau, THE END in the Background of Hollywood, 2015, video capture. Courtesy of galerie antoine ertaskiran, Montréal

Aude Moreau. The Political Nightfall

Curator : Louise Déry

Casino Luxembourg, Luxembourg
September 24, 2016 to January 8, 2017

[More information]

After its great success at the Galerie de l’UQAM and at the Canadian cultural center in Paris, Aude Moreau. The Political Nightfall, first major solo show of the artist, concludes its tour in Luxembourg. This exhibition features a body of work developed by the artist over the last 7 years, with night-time panoramas of cities such as New York, Los Angeles, Montreal and Toronto. Curated by Louise Déry, The Political Nightfall is produced by the Galerie de l'UQAM in partnership with the Canadian Cultural Centre in Paris, Casino Luxembourg in Luxembourg and The Power Plant in Toronto.

The exhibition

The photographic, film and sound works of Aude Moreau cast a hitherto unexampled light on the North American city, with its modernist grid, its towers soaring to breathtaking heights, its illuminated logos speaking the language of the multinationals, its solids that box us in, its voids that provide an exit. Because the artist embeds film in architecture, writing in glass, politics in economics, transparency in opacity, indeed the private in the public, she deflects and refashions the iconography of these often stereotypical urban images, whose future shows no way around the gathering political darkness.

The exhibition features the premiere of the film The End in the Background of Hollywood, shot by helicopter over Los Angeles, with the twin towers of the City National Plaza conveying a powerful end-of-the-world message. In tandem, Inside (23/12/2014 - Los Angeles, Downtown) offers a street view of one of the towers and its mundane nocturnal activity, while The Last Image, shows generic endings of films about the end of the world. The starry night of the world film capital is also captured in several photographs showing the iconic Hollywood sign and the illuminated logos of big financial corporations studding the sky. Visitors will revisit Sortir, shot from a helicopter circling the Montreal Stock Exchange, Reconstruction, a moving panorama of the Manhattan skyline from the Hudson River, and discover Less is more or… on Mies van der Rohe's towers in Toronto.

According to the curator, by investing architecture with a metaphorical power that lies between reality and fiction, between the image itself and what it recounts, Moreau makes us spectators of the present: we are subjected to the mechanisms of power and grapple with the catastrophic scenarios that flow by in an endless loop. “The artist’s thinking and observations on the city derive from Gordon Matta-Clark, Ed Ruscha and Mies Van der Rohe; created between 2008 and 2015, the four groups of works included in this exhibition give the leading role to Montreal, New York, Los Angeles and Toronto. They exhort us to immerse ourselves in the texture of their images and sounds, to enter the temporality of a relentless end, to cross through the space between the images and, in that movement, perceive a world at rest, perhaps its final rest”, specifies Louise Déry.

The exhibition is accompanied by a richly illustrated monograph with essays by the curator and invited authors, such as Kevin Muhlen (Luxembourg) and Fabrizio Gallanti (Princeton University).

The artist

Aude Moreau has developed a practice that encompasses her dual training in scenography and the visual arts. Whether with concepts painstakingly developed over several years to produce ambitious installations, films and photographs, or material interventions in an exhibition context, like her famous sugar carpets, Aude Moreau focuses a relevant, critical gaze upon showbiz society, the privatization of the public space, and the domination of the State by economic powers in today's world. Her work has been shown in Quebec, France, the United States and Luxembourg. Aude Moreau has a Master's in Visual Arts and Media from the Université du Québec à Montréal. She is a recipient of the Claudine and Stephen Bronfman Fellowship in Contemporary Art (2011), as well as the Powerhouse Prize from La Centrale (2011). Aude Moreau is represented by galerie antoine ertaskiran in Montreal. audemoreau.net 

The curator

With a PhD in art history, Louise Déry has been the Director of the Galerie de l'UQAM since 1997. She has been a curator at the Musée national des beaux-arts du Québec and the Montreal Museum of Fine Arts, and has worked with a number of artists, including Rober Racine, Dominique Blain, Nancy Spero, Michael Snow, Daniel Buren, Giuseppe Penone, Raphaëlle de Groot, Shary Boyle and Sarkis. Curator of some thirty exhibitions abroad, including a dozen in Italy, and others in France, Belgium, Spain, Turkey, the United States and Asia, she was curator of the Canada Pavilion at the Venice Biennale in 2007, with a David Altmejd exhibition, and a performance by Raphaëlle de Groot at the 2013 Biennale. At the 2015 Biennale, she will present several of Jean-Pierre Aubé's interventions on electromagnetic pollution.

Partners

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Support

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2016_luisjacob_gLuis Jacob, Album XII, 2013-2014, image montage in plastic laminate, 148 panels (44.5 x 29 cm each). Courtesy of Birch Contemporary, Toronto, and Galerie Max Mayer, Düsseldorf

Luis Jacob

BNLMTL 2016 – The Grand Balcony
Curator: Philippe Pirotte

October 21 to December 10, 2016
Opening: Thursday, October 20, 5:30 pm

[More information]

La Biennale de Montréal and the Galerie de l’UQAM are presenting the work of Toronto artist Luis Jacob, as part of BNLMTL 2016 – The Grand Balcony. Jacob will deploy in the Galerie one of his Albums, in which he connects hundreds of images taken from the history of art, popular culture and news feeds.

The 2016 edition of La Biennale de Montréal calls for a materialist and sensualist approach. It recasts the pursuit of sensual pleasures, making a case for its decisive role in everyday life and political decision-making. The Grand Balcony bets on the liberating potential of art and invites us to rethink both the (im)possibility of an emancipation through pleasure – and its urgency.

The exhibition

Luis Jacob’s historical and urbanistic considerations are coupled with a philosophical and anthropological approach that characterizes his artistic, literary and curatorial practice. The bank of images found and then assembled by Jacob in Album XII (2013-14) highlights the subjective framework of the aesthetic experience, which is projected from the work of art into a broader perception, toward the gaze we cast on what we are made up of individually and collectively. Grouped together according to a principle of free correspondence, the images suggest analogies that are to be constructed, developed or completed by the viewer. Analogy is offered as form and content, both in the dialogue between the images and in the meeting of the perceiving subject and the perceived object.

The philosophical extensions of Jacob’s research also come through in the silkscreen print The Demonstration (2013), whose central subject, a white monochrome held by a pair of anonymous hands, frames the personal, complex experience of the viewer, who is responsible for a large part of the content. These pieces reflect the conceptual basis of Jacob’s art, whose many different, unpredictable forms work to neutralize artistic nomenclatures at the same time as they interrogate them.

BNLMTL 2016 – The Grand Balcony

This edition of La Biennale de Montréal draws loosely on Jean Genet’s Le Balcon, in which the play’s high porch is a space of contestation between revolution and counter-revolution, reality and illusion. As stated by curator Philippe Pirotte, “The Grand Balcony is simultaneously playful and fatalistic in its presentation of rooms, corridors and balconies. Deflecting every attempt to fit in or create an overarching narrative, to be introduced into a system of classification or to be pinned down, the exhibition becomes a place of fallacy, where things can go astray”. The Grand Balcony was conceptualized and curated by Philippe Pirotte in consultation with curatorial advisors Corey McCorkle, Aseman Sabet and Kitty Scott, and in close collaboration with Sylvie Fortin, Executive and Artistic Director of La Biennale de Montréal. bnlmtl.org

The artist

Born in Lima, Peru, in 1971, Luis Jacob lives and works in Toronto. Solo exhibitions of his work have been held at Kunsthalle Lingen, Lingen, Germany (2012); Musée McCord, Montréal (2011); Museum of Contemporary Canadian Art, Toronto (2011); Art in General, New York (2010); Fonderie Darling, Montréal (2010); Städtisches Museum Abteiberg, Mönchengladbach, Germany (2009); September, Berlin (2008); Kunstverein in Hamburg, Hamburg (2008); and the Morris and Helen Belkin Art Gallery, Vancouver (2007). He has also participated in group exhibitions at the Solomon R. Guggenheim Museum, New York (2010); Guggenheim Museum Bilbao, Bilbao, Spain (2010); Generali Foundation, Salzburg, Austria (2011); Kunsthalle Bern, Bern, Switzerland (2010); Extra City Kunsthal Antwerpen, Antwerp, Belgium (2010); Contemporary Arts Museum Houston, Houston, TX (2012); Institute of Contemporary Art at the University of Pennsylvania, Philadelphia (2009); and dOCUMENTA 12, Kassel, Germany (2007).

The curator

Philippe Pirotte (born in Belgium in 1972) is an art historian, curator, critic, and Director of the Staatliche Hochschule für Bildende Künste Städelschule and of Portikus, leading centres for contemporary art in Germany and beyond. Pirotte was one of the co-founders of the contemporary art centre objectif_exhibitions in Antwerp, Belgium. From 2005 to 2011, he was Director of the internationally renowned Kunsthalle Bern in Switzerland where he organized solo exhibitions by artists such as Anne-Mie Van Kerckhoven, Owen Land, Oscar Tuazon, Jutta Koether, Allan Kaprow, and Corey McCorkle. From 2004 to 2013, Pirotte held the position of Senior Advisor at the Rijksakademie for Visual Arts in Amsterdam. In 2012, he became Adjunct Senior Curator at the UC Berkeley Art Museum and Pacific Film Archive. He also served as Advising Program Director for the Sifang Art Museum in Nanjing and is an advisor for the Kadist Art Foundation (Paris/San Francisco).

Public activities

Guided tours of the exhibition
Available any time, free of charge. Reservations required with Philippe Dumaine: 514 987-3000, poste 3280, or dumaine_allard.philippe@uqam.ca

Artist's Talk -  Luis Jacob (in English)
Panel with Lena Henke, Shannon Bool and Celia Perrin Sidarous
October 20, 2016, 1:00 - 2:30 pm
Canadian Center for Architecture, 1920 Baile Street, Montréal
$10 / Free for BNLMTL 2016 Passport holders
Organized by La Biennale de Montréal

Support provided by

2016_biennalecredits

Educational booklet

An educational booklet is offered free of charge to guide the public through the exhibition.
2016_13blackcats_gThirteen Black Cats, still from Corpse Cleaner, 2016, video. Courtesy of the artists

Thirteen Black Cats

BNLMTL 2016 – The Grand Balcony
Curator: Philippe Pirotte

October 21 to December 10, 2016
Opening: Thursday, October 20, 5:30 pm

[More information]

La Biennale de Montréal and the Galerie de l’UQAM are presenting the work New York collective Thirteen Black Cats, as part of BNLMTL 2016 – The Grand Balcony. Thirteen Black Cats will premiere Corpse Cleaner, a short film that addresses the legacy of atomic power in the 20th and 21st centuries.

The 2016 edition of La Biennale de Montréal calls for a materialist and sensualist approach. It recasts the pursuit of sensual pleasures, making a case for its decisive role in everyday life and political decision-making. The Grand Balcony bets on the liberating potential of art and invites us to rethink both the (im)possibility of an emancipation through pleasure – and its urgency.

The exhibition

Corpse Cleaner, the latest film produced by the research and production collective Thirteen Black Cats, focuses on the letters exchanged between Claude Eatherly, the air force pilot whose “all clear” weather report enabled the atomic bombing of Hiroshima, and Günther Anders, the German philosopher, theorist and anti-nuclear activist whose work fixated on technology’s capacity to outpace human intention.

As a voice-over retells the content of the letters, we learn that Hollywood producer Bob Hope approached Eatherly to make a film about his life. Anders actively encouraged Eatherly to refuse the offer. A former movie prop cleaner in the Hollywood Custom Palace, Anders claimed that the Hollywood apparatus would not be able to process this “fatal act”.

BNLMTL 2016 – The Grand Balcony

This edition of La Biennale de Montréal draws loosely on Jean Genet’s Le Balcon, in which the play’s high porch is a space of contestation between revolution and counter-revolution, reality and illusion. As stated by curator Philippe Pirotte, “The Grand Balcony is simultaneously playful and fatalistic in its presentation of rooms, corridors and balconies. Deflecting every attempt to fit in or create an overarching narrative, to be introduced into a system of classification or to be pinned down, the exhibition becomes a place of fallacy, where things can go astray”. The Grand Balcony was conceptualized and curated by Philippe Pirotte in consultation with curatorial advisors Corey McCorkle, Aseman Sabet and Kitty Scott, and in close collaboration with Sylvie Fortin, Executive and Artistic Director of La Biennale de Montréal. bnlmtl.org

The artists

Thirteen Black Cats is a research and production collective based in New York, founded by Lucy Raven, Evan Calder Williams and Vic Brooks. thirteenblackcats.org

Born in Tucson, AZ in 1977, Lucy Raven lives and works in New York. Her work has been shown in exhibitions and screenings internationally, including solo exhibitions at VOX – Centre de l’image contemporaine, Montréal (2015); Curtis R. Priem Experimental Media and Performing Arts Center, Troy, NY (2015); Portikus, Frankfurt (2014); and the Yerba Buena Center for the Arts, San Francisco (2014). Her work has also been featured in group exhibitions at the Hammer Museum, Los Angeles (2013); Whitney Biennial, New York (2012); and the Manchester International Festival, Manchester, England (2011). lucyraven.com

Born in Portland, ME in 1982, Evan Calder Williams is a writer, theorist, and artist who lives and works in Woodstock, NY. He is the author of Combined and Uneven Apocalypse (2011), Roman Letters (2011), as well as two forthcoming books, Shard Cinema and Donkey Time. His writing has appeared in Film Quarterly, The New Inquiry, Radical Philosophy, World Picture, The Third Rail, and elsewhere. He has presented films, performances, and audio works at the Serpentine Gallery, London (2014); Images Festival, Toronto (2014); Festival du Nouveau Cinéma, Montréal (2014); Artists Space, New York (2013), Tramway, Glasgow (2012); and the Whitney Museum of American Art, New York (2012).

Born in London in 1979, Vic Brooks lives and works in Woodstock, NY. She is a curator and producer at the Curtis R. Priem Experimental Media and Performing Arts Center and Rensselear Polytechnic Institute, Troy, NY. She has worked at LUX, London, co-founded The Island, London and co-curated at the Serpentine Gallery, London.

The curator

Philippe Pirotte (born in Belgium in 1972) is an art historian, curator, critic, and Director of the Staatliche Hochschule für Bildende Künste Städelschule and of Portikus, leading centres for contemporary art in Germany and beyond. Pirotte was one of the co-founders of the contemporary art centre objectif_exhibitions in Antwerp, Belgium. From 2005 to 2011, he was Director of the internationally renowned Kunsthalle Bern in Switzerland where he organized solo exhibitions by artists such as Anne-Mie Van Kerckhoven, Owen Land, Oscar Tuazon, Jutta Koether, Allan Kaprow, and Corey McCorkle. From 2004 to 2013, Pirotte held the position of Senior Advisor at the Rijksakademie for Visual Arts in Amsterdam. In 2012, he became Adjunct Senior Curator at the UC Berkeley Art Museum and Pacific Film Archive. He also served as Advising Program Director for the Sifang Art Museum in Nanjing and is an advisor for the Kadist Art Foundation (Paris/San Francisco).

Public activities

Guided tours of the exhibition
Available aby time, free of charge. Reservations required with Philippe Dumaine: 514 987-3000, ext. 3280, or dumaine_allard.philippe@uqam.ca

Artists' Talk - Thirteen Black Cats (in English)
Panel with Luke Willis Thompson, Michael Blum and Nathalie Melikian
October 19, 2016, 3:00 to 4:30 pm
Société des arts technologiques, 1201 Saint-Laurent Boulevard, Montréal
$10 / Free for BNLMTL 2016 Passport holders
Organized by La Biennale de Montréal

Support provided by

2016_biennalecredits

Educational booklet

An educational booklet is offered free of charge to guide the public through the exhibition.
2016_judithhopf_gJudith Hopf, still from MORE, 2015, video. Courtesy of Kaufmann Repetto, Milan and New York, and Deborah Schamoni, Munich.

Judith Hopf

BNLMTL 2016 – The Grand Balcony
Curator: Philippe Pirotte

October 21 to December 10, 2016
Opening: Thursday, October 20, 5:30 pm

[More information]

La Biennale de Montréal and the Galerie de l’UQAM are presenting the work of German artist Judith Hopf, as part of BNLMTL 2016 – The Grand Balcony. Hopf will show new hybrid sculptures integrating past video pieces.

The 2016 edition of La Biennale de Montréal calls for a materialist and sensualist approach. It recasts the pursuit of sensual pleasures, making a case for its decisive role in everyday life and political decision-making. The Grand Balcony bets on the liberating potential of art and invites us to rethink both the (im)possibility of an emancipation through pleasure – and its urgency.

The exhibition

In her sculptures, installations and videos, Judith Hopf transfigures modest settings and ordinary materials into droll, sometimes even stupid expressions of humanistic values. The artist herself describes her working method as an attempt to do something “that doesn’t put me in a bad mood”. The small scale and low resolution of most of Hopf’s works stem from her belief that when it comes to human beings expressing themselves, they should enlist whatever means are at hand. For The Grand Balcony, she designed simple, but perforated furniture (a table, a bench, a plinth) that incorporates screens featuring some of her absurdist films that evoke contemporary experience in a society of overstretching, burnout and chronic exhaustion.

BNLMTL 2016 – The Grand Balcony

This edition of La Biennale de Montréal draws loosely on Jean Genet’s Le Balcon, in which the play’s high porch is a space of contestation between revolution and counter-revolution, reality and illusion. As stated by curator Philippe Pirotte, “The Grand Balcony is simultaneously playful and fatalistic in its presentation of rooms, corridors and balconies. Deflecting every attempt to fit in or create an overarching narrative, to be introduced into a system of classification or to be pinned down, the exhibition becomes a place of fallacy, where things can go astray”. The Grand Balcony was conceptualized and curated by Philippe Pirotte in consultation with curatorial advisors Corey McCorkle, Aseman Sabet and Kitty Scott, and in close collaboration with Sylvie Fortin, Executive and Artistic Director of La Biennale de Montréal. bnlmtl.org

The artist

Born in Berlin in 1969, Judith Hopf lives and works in Berlin. Her works have been featured in solo exhibitions at the Museion—museo d’arte moderna e contemporanea di Bolzano, Bolzano, Italy (2016); kaufmann repetto, Milan, Italy (2015); Neue Galerie—Museumslandschaft Hessen Kassel (mhk), Kassel, Germany (2015); PRAXES Center for Contemporary Art, Berlin, Germany (2014); Kunsthalle Lingen, Lingen, Germany (2013); Studio Voltaire, London, Britain (2013); Fondazione Morra Greco, Naples, Italy (2013); Malmö Konsthall, Malmö, Sweden (2012); Grazer Kunstverein, Graz, Austria (2012); Badischer Kunstverein, Karlsruhe, Germany (2008), Portikus, Frankfurt, Germany (2007); Secession, Vienna, Austria (2006); Casco—Office for Art, Design and Theory, Utrecht, Netherlands (2006); and Kunst-Werke Institute for Contemporary Art, Berlin, Germany (2006). Hopf has participated in the 8th Liverpool Biennial, Liverpool (2014); Contour 2013—6th Biennial of Moving Image, Mechelen, Belgium (2013); dOCUMENTA (13), Kassel, Germany (2012) and in group exhibitions at Sculpture Center, Long Island City, NY (2014) and the Hammer Museum, Los Angeles (2013).

The curator

Philippe Pirotte (born in Belgium in 1972) is an art historian, curator, critic, and Director of the Staatliche Hochschule für Bildende Künste Städelschule and of Portikus, leading centres for contemporary art in Germany and beyond. Pirotte was one of the co-founders of the contemporary art centre objectif_exhibitions in Antwerp, Belgium. From 2005 to 2011, he was Director of the internationally renowned Kunsthalle Bern in Switzerland where he organized solo exhibitions by artists such as Anne-Mie Van Kerckhoven, Owen Land, Oscar Tuazon, Jutta Koether, Allan Kaprow, and Corey McCorkle. From 2004 to 2013, Pirotte held the position of Senior Advisor at the Rijksakademie for Visual Arts in Amsterdam. In 2012, he became Adjunct Senior Curator at the UC Berkeley Art Museum and Pacific Film Archive. He also served as Advising Program Director for the Sifang Art Museum in Nanjing and is an advisor for the Kadist Art Foundation (Paris/San Francisco).

Public activities

Guided tours of the exhibition
Available any time, free of charge. Reservations required with Philippe Dumaine: 514 987-3000, poste 3280, or dumaine_allard.philippe@uqam.ca

Support provided by

2016_biennalecredits

Educational booklet

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


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