2018_LaferteCoutu_gAlexia Laferté-Coutu, Ancienne minoterie : les angles adoucis des encadrements moulures, 2018, cast glass, pigments, anthemis

Alexia Laferté-Coutu. Leurs ombres centenaires

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

May 16 – June 16, 2018
Opening: Tuesday, May 15, 2018, 5:30 p.m.

[More information]

Galerie de l’UQAM presents the exhibition Alexia Laferté-Coutu. Leurs ombres centenaires. A graduating student from UQAM’s MFA program in Visual and Media Arts, the artist offers a complex reflection on our relationship to architecture and history. Through the gesture of applying soft clay on the exterior surface of buildings, Alexia Laferté-Coutu seeks to generate an active relationship to sculpture.

The exhibition

The enigmatic forms of Alexia Laferté-Coutu’s sculptures are rooted in a process of material addition and subtraction from the surfaces of historic architectural structures. Moulded shapes harden, carrying within them the mark of liquid glass and the mould’s lacework, or that of the architecture’s forms and the gesture of moulding itself. These characteristics remind us of the base material’s former liquid state, a state that it may indeed someday reclaim. Evoking as they do the reversibility of matter and its forms, casting techniques are associated with a way viewing the world that is always shifting, a way of imagining its transformative potential as being sculptural in and of itself.

Casting is much like the poultice, that medical technique of yore where one would apply a mixture of clay and plant matter to an affected area of the body, to absorb toxins and stimulate blood flow. The poultice — casting’s cousin — here becomes a sensory and tangible mode of recording by which energy capable of penetrating stone, clay and glass is stored and transferred. The resulting sculptures act as bridges for the movement of an imperceptible relationship between fluid and hardened substance, between gesture and architecture, between history and the sculptural object.

As the fragmentation of elements multiplies ways of being born into the visible, so sculpture presents itself here as an act of fragmentation of reality, an act that opens up new associative possibilities and initiates outward movement. A fluid and pluralistic relationship is thus created, a relationship to architecture and history—structures that are perhaps not as rigid and linear as they seem.

The artist

Alexia Laferté-Coutu was born in 1990 in Montréal (Canada), where she also currently lives and works. Following musical training, she studied sculpture at Bauhaus-Universität Weimar, and completed a BFA at Concordia University in 2013. Laferté-Coutu’s installations, sculptures and performances have been presented in numerous group shows in Canada and Germany.
alexialafertecoutu.com

Public activities

Artists Talk: Alexia Laferté-Coutu
Part of the L’art observe event series
Tuesday, June 12, 2018, 12:45 p.m.
Galerie de l’UQAM
In French
Free admission

Guided tours of the exhibition for groups
Available anytime, in French and English, free of charge.
Reservations required with Philippe Dumaine
514 987-3000, ext 3280, or dumaine_allard.philippe@uqam.ca

Support provided by

CCFA_BW_black_96_e      Calq_noir

2018_Refuscontraire_gNoémi McComber, Prise d’assaut, 2011, video, color, sound, 8 min 50 s. Photo: Helena Martin Franco. Courtesy of the artist.

Refus contraire

Curators - visual arts: Doriane Biot, Camille Richard
Curator - live arts: Véronique Hudon

With the participation of Oana Avasilichioaei, Scott Benesiinaabandan, Alix Dufresne, Sarah Chouinard-Poirier, Daria Colonna, Cool Cunts, Pascale Drevillon, Sophie Dubois, toino dumas, Ray Ellenwood, Ellen Furey, Émilie Graton, Mathieu Grenier, Leticia Hamaoui, Hanako Hoshimi-Caines, Benoit Jutras, Alanna Kraaijeveld, Fanny Latreille, Soleil Launière, Niki Little, Anna Lupien, Kamissa Ma Koïta, Noémi McComber, Dana Michel, Chloé Ouellet-Payeur, Dominique Pétrin, Simon Portigal, Marie-Pier Proulx, Marie-Ève Quilicot, Dave St-Pierre, Patricia Smart, Andrew Tay, Becca Taylor, France Théoret, Stephen Thompson, Marilou Verschelden

May 16 – June 16, 2018
Opening: Tuesday, May 15, 5:30 p.m.

At the opening, Galerie de l'UQAM and Éditions les petits carnets will launch their new book, Le petit pot de roses, by artist and author Nicole Jolicoeur.

[More information]

Starting May 16, Galerie de l’UQAM presents the group exhibition Refus contraire. Conceived in the context of the 70th anniversary of the publication of Refus global, Refus contraire seeks to reactivate the principles of commitment, interdisciplinarity and community that animated the signatories of this striking manifesto. Constantly changing, Refus contraire places great emphasis on performative, collective and political practices. Through an abundant events program, the exhibition is thought of as a space for exchanges, collaborations and dissent, questioning both the boundaries between disciplines and the rules and limits imposed by the gallery space.

The exhibition

In the public imagination, Refus global is associated with revolutions, upheaval, and challenging the status quo. Just as it did 70 years ago, art today must continue to reimagine Québec’s societal stage, even though the set has changed. Cultural oppression has taken on more complex forms, but the reasons to oppose it are ever more pressing. This is why our reimagining of Refus global contains multiple refusals. Refus contraire [Contrary Refusal] is a double negative that invites the public to reconnect with the manifesto’s productive radicalism. Now more than ever, the power of refusal can serve the potential for resistance.

This exhibition shows contemporary artists redefining cultural, identity, and gender representation in various performative, poetic and visual modes. It is a place to take the temperature of our artistic and intellectual communities. Whereas the official story on Refus global has emphasized the Automatistes’ pictorial work, this exhibition will provide a space to converse, occupy, and act in ways closer to the original artists’ intentions. Refus contraire reveals the unseen story of the manifesto: histories of women too often dismissed by critics, and examples of interdisciplinary practices that hold up in the light of an appreciative contemporary rereading.

The works assembled here embody the energy and the struggle for freedom that are at the core of Refus global. The exhibition space will be in a state of flux, echoing an original hope of the manifesto signatories, that the transformative power of art could be activated for collective “better life.” Now, artists are reclaiming this legacy in order to express their own refusal of the status quo, in which our future can be embraced or despaired, but the responsibility for it still shared.

The curators

Doriane Biot is an M.A. candidate in Museology as part of Université du Québec à Montréal and Université de Montréal’s joint program. She holds an M.A. in Visual Culture from the University of Aberdeen (Scotland) and a B.A. in Visual Arts and Animation from École de recherche graphique (Belgium). Straddling theory and practice – animated film, drawing, and documentary –, her interests lie in cultural and gender representations through various mediums, as well as in practices that combine art and politics. Meanwhile, Biot also accumulates various international experiences in festival coordination, animation, and video editing.

Camille Richard is an M.A. candidate in Art History at Université du Québec à Montréal. Throughout her research, she has developed an interest in conceptual, feminist and queer practices that redefine traditional notions in regards to exhibition spaces. Her masters deals with relationships of mutual influence between contemporary artistic practices, museum architecture and institutional functions. Moreover, she is the co-coordinator for Hypothèses, a series of lectures, and will act as coordinator for the 2018 edition of the Symposium international d’art contemporain de Baie-Saint-Paul – L’art et le politique –, directed by Sylvie Lacerte.

Véronique Hudon is a PhD student in Études et pratiques des arts at Université du Québec à Montréal. Her research deals with curating live arts. She is the co-director of Curating Live Arts, a collective publication to be released in fall 2018 (Berghahn Books). Writer-in-residence at Centre de creation O Vertigo (CCOV, 2018), she is involved in the fields of dance and theatre. She is also the co-founder of aparté | arts vivants magazine (UQAM) of which she directed the first three issues, and has regularly been published in various magazines in the arts field.

RADAR

Refus contraire is the inaugural exhibition of RADAR, a new initiative of Galerie de l’UQAM for emerging curators. It allows a group of students from UQAM's graduate programs in Art History, Museology as well as Visual and Media Arts, selected by a jury, to contribute to the definition, development and organization of an exhibition presented as part of Galerie de l’UQAM’s annual program.

Coordination: Philippe Dumaine
Consulting Committee: Jennifer Carter, Barbara Clausen, Marie-Fei Deguire, Louise Déry, Jean Dubois, Sophie Jodoin

Educational offer

Guided tours of the exhibition for groups
Available anytime, in French and English, free of charge.
Reservations required with Philippe Dumaine
514 987-3000, ext 3280, or dumaine_allard.philippe@uqam.ca

Public activities – Descriptions (see calendar below)

All events are free of charge. No reservations required.
Unless otherwise specified, the events will take place at Galerie de l’UQAM.

Upheld Memory: Commented Readings of the Manifesto
Guest speakers: Sophie Dubois, Ray Ellenwood
Moderators: Doriane Biot, Véronique Hudon, Camille Richard

Thursday, May 17, 2018, 4 – 6 p.m.

French Literature researcher Sophie Dubois will study the often ignored writings that accompany Bordua’s famous text, in order to renew our understanding of the Refus global manifesto. Art Historian Ray Ellenwood will look back at the interdisciplinary group known as the Automatists, based on their artistic engagement and collectivity. Throughout these different explorations of the manifesto, the collective history of the group that lead to the publication will be broached, as well as the actual materiality of the Refus global manifesto and its critical reception.

Banana Peels (Trying Hard) series
Performative interventions with Ellen Furey, Hanako Hoshimi-Caines, Dana Michel, Simon Portigal, Andrew Tay, Stephen Thompson

Interventions schedule:
Friday, May 18, 2018, 3 – 5 p.m.
Saturday, May 19, 2018, 3 – 5 p.m.
Tuesday, May 22, 2018, 3 – 5 p.m.
Tuesday, June 5, 2018, 3 – 5 p.m.

These intermittent interventions in the gallery space will comprise of a work cycle, based on the identity and corporal history of each performer. The sessions will function as a social dance, in which the performer acknowledges their colonized body while engaging in moments of abstraction in order to escape from preconceived codes.

Native Presence and Resistance
Guest speakers: Niki Little and Becca Taylor, curators of 4th Contemporary Native Art Biennale, and the curators of Refus Contraire.
Moderator: Doriane Biot

Tuesday, May 22, 2018, 12 – 2 p.m.

This discussion intends to open up a space of dialogue on curatorial perspectives pertaining to Indigenous contemporary art in Québec and Canada. The decolonization of the exhibition space, the role of women artists and curators, and the possible forms of resistance within artistic and curatorial practices are all themes that will guide this sharing of past experiences and knowledge. The event is organized in resonance with this year’s Contemporary Native Art Biennale, níchiwamiskwém | nimidet | ma sœur | my sister, taking place in Montreal from May 3 to June 22, 2018.

Blank Cunts / Quatuor en Solos series
Performances with Pascale Drevillon, Alix Dufresne, Émilie Graton, Leticia Hamaoui, Alanna Kraaijeveld, Chloé Ouellet-Payeur, Marie-Pier Proulx, Marie-Ève Quilicot, Dave St-Pierre, Marilou Verschelden

Performances schedule:
Wednesday, May 23, 2018, 12 – 6 p.m.
Thursday, May 24, 2018, 12 – 6:30 p.m.
Friday, May 25, 2018, 12 – 6 p.m.
Thursday, May 31, 2018, 12 – 4 p.m.
Friday, June 1, 2018, 12 – 6 p.m.

The Blank Cunts / Quatuor en Solos series brings together four in situ apparatuses meant to be activated by Cool Cunts, a feminist collective. By the use of a raw aesthetic and strong images, the performers expose their physical resistance to the imaginary and social roles given to women.

Ne faites pas honte à votre siècle
Reading by Daria Colonna and performance by Cool Cunts

Thursday, May 24, 2018, 5 – 6:30 p.m.

A reading by Daria Colonna and a performance art piece by Cool Cunts will take place in the gallery space. Colonna’s collection of poems, Ne faites pas honte à votre siècle (2017), rightly examines social sedation and the ravages of our neo-liberal world. Cool Cunts will, in turn, show striking images in resonance with Daria Colonna’s poetry in their long-duration performance.

Nous serons universel.le.s
Performance by Kamissa Ma Koïta
Presented in collaboration with OFFTA

Saturday, May 26, 2018, 1 p.m.

Followed by a discussion with the performers
Moderator: Camille Richard

The artist will show an experimental performance piece, fueled by feminist approaches, queer and anti-globalization movements, and pop culture. Nous serons universel.le.s is a series of short, contextual and collaborative actions that looks to generate empathy from the public. Throughout this immersive experience, visitors are led to reflect upon notions such as social privilege and the under-representation of the black community.

Collective Body Series

Corporeality and Feminist Materiality
With the collective Cool Cunts
Moderator: Véronique Hudon

Wednesday, May 30, 2018, 12:45 p.m.

Decolonizing Dance, Between Identity and Liberty
Guests: Andrew Tay, Stephen Thompson and other artists from Make Banana Cry
Moderator: Véronique Hudon

Wednesday, June 6, 2018, 12:45 p.m.

Part conference, experimentation and discussion, these exchanges are based on the live art works presented in the gallery space by feminist collective Cool Cunts (May 30) and by the various collaborators of Make Banana Cry and the Banana Peels (Trying Hard) series (June 6).

Counter Histories of Women Artists: from the Manifesto to Today
Guests: Patricia Smart, Anna Lupien
Moderator: Camille Richard

Thursday, May 31, 2018, 4 – 6 p.m.

A conversation between Art Historian Patricia Smart regarding her book entitled Les femmes du Refus global (1998) and artist and sociologist Anna Lupien concerning her publication De la cuisine au studio (2012). Together, the guest lecturers will discuss their research on women’s artistic practices within Québec’s arts system during the modern period. In keeping with the exhibition, this talk will tackle the status of contemporary women artists.

Sylvan and Survivors
Readings by toino dumas

Saturday, June 2, 2018, 3:30 p.m.

The writings of toino dumas explore themes such as ecology, gender identity and survival of capitalism by reimagining and being attentive to the many radical changes our world faces. They will be reading various excerpts from their books Au monde, inventaire (2015) and animalumière (2016).

Make Banana Cry, Part I
Show with Ellen Furey, Hanako Hoshimi-Caines, Dana Michel, Simon Portigal, Andrew Tay, Stephen Thompson

Saturday, June 2, 2018, 4 p.m.

Make Banana Cry is a show at the crossroads of contemporary dance, performance art and visual arts. Inspired by Asian pop culture, it aims to criticize cultural appropriation. In the form of a long-duration catwalk, the show exorcizes non-western cultural stereotypes.

Guided tour of Refus contraire
With curators Doriane Biot, Véronique Hudon and Camille Richard

Saturday, June 9, 2018, 2 p.m.

Long table: Les Oranges Sont Vertes
With the exhibition’s artists
Moderators: Doriane Biot, Véronique Hudon and Camille Richard

Friday, June 15, 2018, 2:30 – 4:30 p.m.

A long table, chairs, paper tablecloth and pens to write comments, draw or scribble ideas. A list of rules of engagement create the basis of this discussion, structured by its participative aspect without however being limited in its content or access. In a spirit of congeniality, the curators invite the artists and the public to share thoughts regarding the exhibition, in a spontaneous manner.

If Refusal Had a Form
Speech, poetry and performances followed by an open mic
Guests: Oana Avasilichioaei, Sarah Chouinard-Poirier, Benoit Jutras, Soleil Launière, France Théoret

Friday, June 15, 2018, 5 p.m.

At Ginkgo café & bar, 308 Ste-Catherine East Street

Within the spirit of the manifesto, an evening during which speech, poetry and performance art will bring about multiple forms of refusal will take place. Poets France Théoret, Benoit Jutras and Oana Avasilichioaei, multidisciplinary artist Soleil Launière and performer Sarah Chouinard-Poirier will be offering thought-provoking texts and actions to start the night. At the beginning of the exhibition, a call for contributions to the open mic will be disseminated, inviting local artists and intellectuals to renew with forms of negation. In opposition to the atmosphere of general agreement of our times, this event will offer resistance to global consensus.

Public activities – Calendar (click for larger view)

2018_RefusContraire_Calendar_g

The educational booklet

An educational booklet is offered to guide the public through the exhibition, free of charge.
Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

 

Support provided by

CCFA_BW_black_96_e       Calq_noir

logo-02         Euguelionne_black-01

 

2018_Passage_gExhibition view, Passage à découvert 2017, Galerie de l’UQAM, 2017

Passage à découvert 2018

Graduating students in visual and media arts (BFA), UQAM

April 27 - May 5, 2018
Opening: Thursday, April 26, 5:30 p.m

[More information]

Passage à découvert is an opportunity to discover the works of tomorrow’s contemporary artists and teachers who will take their place in museums, galleries and schools. The exhibition illustrates the students’ creative vitality, curiosity and freedom and bears witness to recent graduates’ professionalism and the excitement that their projects stir 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.

2018_Majeri2_gLeyla Majeri, There, for a second, 2017, hand-dyed paper, plastic bag

Leyla Majeri. Don't Blame Us If We Get Playful

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

March 10 - April 14, 2018
Opening: Saturday, March 10, 3 p.m.

[More information]

Galerie de l’UQAM shows the exhibition Leyla Majeri. Don’t Blame Us If We Get Playful. Currently completing a master in visual and media arts (MFA) at UQAM, the artist presents a material exploration of the shifting boundaries between nature and culture. Inspired by the work of the gardener, Majeri’s installation reflects on the notion of reciprocity in our relationship to the things and environments that surround us.

The exhibition

A gardener might work by digging through and tending to material stuff, figuring out what it needs to grow and flourish, what sort of relationships need to be forged to create a life, what needs to die. While the studio artist approaches the physical world in a very different way, the relationship with materials remains one of reciprocity, a shifting balance where mastery is gained and lost, where the unexpected springs up. In art, as in gardening, the distinction between the act of cultivating and the object cultivated fades as we try to harness the spirit of that which eludes and surprises us. The artist draws on the practice of gardening to develop a sculptural approach that probes the various materialities, notions and apories emerging at the intersection of art and gardening, thus offering an unusual look at the ambivalent relationship between nature and culture.

Inside the gallery space, art and gardening blur, each practice arriving from a different plane and scale, meeting at ground level to (re)negotiate the limits of matter. Paper, cardboard, plaster and various refuse are sculpted and arranged, not to imitate a garden, but to explore its porous limits. Guided by this eclectic and speculative approach, Majeri draws attention to the intersections of the imaginary, nature and politics, tracing their connections along the way.

The artist

Leyla Majeri’s practice focuses on sculptural installation and film animation, bringing them into relationship with broader themes concerning the ecology of the material, the immaterial and the imagined. Her work has recently been shown at Parisian Laundry (Montréal, 2016); Sounds Like, PAVED Arts (Saskatoon, 2016); Eastern Bloc (Montréal, 2016); and the Festival du nouveau cinéma (Montréal, 2015). She was the recipient of a project grant from the Canada Council for the Arts (2016) and a Grupmuv research grant (UQAM, 2015). In the spring of 2017, Leyla completed a residency at Est-Nord-Est artists’ centre (Saint-Jean-Port-Joli) to research plastic materials and residue. Her first solo exhibition, Harness the Sun (Arprim, Montréal, 2016), began a reflection on the garden, which she now continues at Galerie de l’UQAM. Leyla Majeri is currently completing a master of visual and media arts (MFA) at UQAM.
leylamajeri.blogspot.ca

Public activities

Artist Talk: Leyla Majeri
Part of the L’art observe series
Thursday, April 5, 2018, 12:45 p.m.
Galerie de l’UQAM
In French
Free admission

Guided tours of the exhibition for groups
Available anytime, in French and English, free of charge.
Reservations required with Philippe Dumaine
514 987-3000, ext 3280, or dumaine_allard.philippe@uqam.ca

Support provided by

CCFA_BW_black_96_e     Calq_noir

2018_Terriens2_gShary Boyle & John Kurok, Sugluk, 2016, porcelain, 20 x 46 x 30 cm. Private collection, photo: Rafael Goldchain

Earthlings

Curator: Shary Boyle, in collaboration with Shauna Thompson

Artists: Roger Aksadjuak, Shuvinai Ashoona, Pierre Aupilardjuk, Shary Boyle, Jessie Kenalogak, John Kurok, Leo Napayok

March 10 – April 14, 2018
Opening: Saturday, March 10, 3 p.m.

Exhibition organized and circulated by Esker Foundation, Calgary

[More information]

Starting March 10, Galerie de l’UQAM will be host to Earthlings, a major exhibition touring Canada since its presentation at Esker Foundation in Calgary at the beginning of 2017. The ceramics and works on paper of Earthlings, produced both individually and collaboratively by seven contemporary artists, including six Inuit artists, are at once visionary, transformative and otherworldly – and profoundly human.

Though making work from distinct cultural and geographical positions – from Kangiqliniq (Rankin Inlet), Kinngait (Cape Dorset), Qamani’tuaq (Baker Lake), and Toronto – the artists in Earthlings share an intuitive and labor-intensive approach to materials and narrative imagery. In these works, detailed figures are subject to transformations and transmogrifications, hybrid blendings of animal and human, reality and myth, and actual and imagined spaces. These pieces seem to emerge from phantasmagorical worlds, simultaneously fleshly and physical, sensual and spiritual, alien and familiar.

The exhibition is produced and circulated by Esker Foundation (Calgary).

The exhibition

Space, and how we occupy it, is a political as well as a practical concern. I wish to make small sculptures, slowly, with great care. An invitation to exhibit them at the Esker Foundation was a grand opportunity, on a generous scale. Who could I invite to join me at the table?

There are artists who work from their intuition, who channel their personal experience and cultural memory for narrative. These artists choose their subjects because they know them intimately, personally, physically. It is a way of working that is innate, and encourages a human conversation larger than art.

I think of this work, my own included, as “bridge art”; it spans between things, between people, animals, space, and the earth. It spans languages. It spans the real and the unreal. The living and the dead. The past and the future. It is art to communicate, through symbols, myths, dreams, and hybrids. It connects.

- Shary Boyle

The artists

Roger Aksadjuak’s work is complex, inventive, and embraces multiple forms and playful imagery while respecting traditional narratives. It can be found in many public and private collections across North America, including the Winnipeg Art Gallery and the National Gallery of Canada, Ottawa. His work Square Dance had the honor of being selected as the first artwork purchased by the Nunavut Legislative Assembly in Iqaluit. Roger Aksadjuak lived in Kangiqtiniq (Rankin Inlet); he passed away in 2014.

Shuvinai Ashoona is a contemporary artist based in Kinngait (Cape Dorset) whose work often combines reality and the imaginative. Her work has been shown in numerous exhibitions including SITElines Santa Fe: New Perspectives on Art of the Americas (2014-2015), SITE Santa Fe; Woven Thoughts (2014), Feheley Fine Arts, Toronto; and Oh, Canada (2012), Massachusetts Museum of Contemporary Art, North Adams. Ashoona’s work is the collections of numerous major art institutions, including the Art Gallery of Ontario, Toronto; Canadian Museum of History, Gatineau; National Gallery of Canada, Ottawa; and the Winnipeg Art Gallery, among others.
dorsetfinearts.com/shuvinai-ashoona

Pierre Aupilardjuk’s artistic practice represents his strong roots in a traditional aesthetic. His work is included in the ceramics collection of the Prince of Wales Northern Heritage Centre, Yellowknife; the permanent collection of the National Gallery of Canada, Ottawa; as well as in private collections throughout North America. He lives and works in Kangiqtiniq (Rankin Inlet). His work has been included in several exhibitions, including Modern Echoes: Contemporary Inuit Ceramics and Sculpture (2000), Native American Trading Company Gallery, Denver.

Shary Boyle lives in Toronto and works across diverse media, including sculpture, drawing, installation, and performance. Collected and exhibited internationally, Boyle represented Canada with her project Music for Silence at the 55th Venice Biennale in 2013. Shary Boyle's work was included in Ceramix: Art and Ceramics from Rodin to Schutte (2016), organized by the Bonnefantenmuseum, Maastricht, and la maison rouge, Paris. In 2017 her sculptures were featured in the Gyeonggi International Ceramic Biennale, and in the publication Vitamin C: Clay and Ceramic in Contemporary Art (Phaidon, London). Boyle’s first public art commission will be installed in spring 2018 on the front grounds of the Gardiner Ceramic Museum in Toronto.
sharyboyle.com

Jessie Kenalogak was born in Back River in the early 1950s and currently lives and works in Qamani'tuaq (Baker Lake). Working primarily in drawing, her most meaningful artistic influences came from her grandfather Angushadluk, one of the most important and respected artists ever to work in Baker Lake, and her aunt, Mary Singaqti, another highly respected Baker Lake artist. The titles of her drawings, her very personal interpretations of her work, serve as an expressive element of the overall work.

John Kurok began working full-time as a ceramist in 1996. His work emphasizes the relationships of forms and the visual movements created by those forms over the surface of the sculpture. His work has been shown at the Winnipeg Art Gallery; Canadian Clay and Glass Gallery, Waterloo; and the Cerny Inuit Collection, Bern. Kurok's work is included in the permanent collections of the National Gallery of Canada, Ottawa, and the Museum of Inuit Art, Toronto. He is currently based in Kangiqtiniq (Rankin Inlet).

Born in the early sixties, Leo Napayok spent most of his time growing up in the towns of Salliq (Coral Harbour) and Kangiqtiniq (Rankin Inlet). Working in collaboration with other ceramicists who prepare a vessel or sculptural shape, Napayok then incises extraordinary designs that completely cover the sculpture’s surface. His collaborative work is included in the permanent collection of the National Gallery of Canada, Ottawa.

The curators

Shary Boyle – see above

Prior to joining Esker Foundation as a curator, Shauna Thompson was the curatorial assistant at the Walter Phillips Gallery, The Banff Centre. Thompson has also worked with the Justina M. Barnicke Gallery and YYZ Artists’ Outlet, both in Toronto, as well as the Art Gallery of Mississauga. Her writing has been published in Canadian Art as well as in numerous exhibition catalogs and texts. She currently sits on the Board of Directors at TRUCK Contemporary Art in Calgary. Thompson holds master's degrees in Curatorial Studies from the University of Toronto and in English from the University of Guelph.

The catalog

Earthlings is accompanied by a richly illustrated, trilingual catalog (French, English and Inuktitut). It is on sale at Galerie de l’UQAM.

Earthlings
Authors: Naomi Potter, Shary Boyle, Shauna Thompson and Heather Igloliorte
Editor: Esker Foundation
2017, 142 p., trilingual (French, English and Inuktitut)
$45

Public activities

Lecture by Dr. Heather Igloliorte: Inventions and Interventions in Inuit Art 
Part of the L’art observe series
Monday, March 26, 5:30 p.m.
Galerie de l’UQAM
In English
Free admission

In this lecture, Dr. Heather Igloliorte examines the history of modern and contemporary Inuit art by investigating how artistic innovation and interventions have changed and expanded the field of production. Examining works that break from convention from the mid-twentieth century to the present, Igloliorte discusses the history of Inuit art as one of constant renewal, reexamination, and creativity.

Special presentation of Inuit sculptures from the Collection d’œuvres d’art de l’UQAM
Part of the L’art observe series
April 3, 2018, 10 a.m. – 4 p.m.
Agora of the Judith-Jasmin Pavilion, UQAM
1400 Berri, Montréal
Free admission

The Collection d’œuvres d’art de l’UQAM, which contains more than 4,000 objects and works of art, includes a set of twenty sculptures by Inuit artists. On the occasion of a special presentation of these pieces at the Agora of the Judith-Jasmin Pavilion, the Montreal community will have the opportunity to appreciate the technical and artistic richness of these little-known works. Mediators will be on hand to provide more information about the works and the Collection d’œuvres d’art de l’UQAM.

The presentation will include a Conversation between Louis Gagnon and Anne-Marie Belley

Conversation between Louis Gagnon and Anne-Marie Belley
Part of the L’art observe series
April 3, 2018, 12:45 – 1:45 p.m.
Agora of the Judith-Jasmin
Pavilion1400 Berri, Montréal
In French
Free admission

Learn more about Inuit art from the Collection d’œuvres d’art de l’UQAM through a friendly public conversation. Louis Gagnon, Curator and Director of the Museology Department at the Avataq Cultural Institute, will meet with Anne-Marie Belley, Ph.D. student in Art History at UQAM, whose master's research was specifically interested in Inuit works from the UQAM Collection

Guided tours of the exhibition for groups
Available anytime, in French and English, free of charge.
Reservations required with Philippe Dumaine
514 987-3000, ext 3280, or dumaine_allard.philippe@uqam.ca

The educational booklet

An educational booklet is offered to guide the public through the exhibition, free of charge.
Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

 

Support provided by

CCFA_BW_black_96_e     Calq_noir   

Esker_noir

2018_Bui_gMichelle Bui, Happy Like Doris Day (with garlic), 2017, inkjet print on adhesive polypropylene, 244 x 152 cm.

Michelle Bui. Pool of Plenty

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

January 11 – March 3, 2018
Opening: Wednesday, January 10, 5:30 p.m.

[More information]

Galerie de l’UQAM presents the exhibition Pool of Plenty by Michelle Bui, graduating master’s student in visual and media arts (MFA) at UQAM. In this solo show, the artist engages with a rediscovery of objects, materials, food items and plants that make our environment. Through a process of selection, assembly, and photographic documentation, Bui reveals the aesthetic qualities of these objects, their fragility and malleability. The result is a reflection on where material culture, advertising, desire and identity intersect.

The Espace magazine staff will be present during the exhibition’s opening to launch its new issue articulated around the theme of Wounds.

The exhibition

Michelle Bui is interested in the tenuous, sometimes fraught, and always symbiotic relationship between culture and commerce. While always apparent in the way we visually experience the world, this relationship most fully inheres in our connection to material culture. The accumulation of items consumed by both society and the individual transmit a tremendous amount of data about our identity. For Bui, our sense of self, our identity-consciousness, is communicated equally by the objects that surround us as by language-based discourses that otherwise might define us. The aesthetic, expressive, and symbolic qualities, as well as the materiality of the objects selected, allow the artist to explore personal themes therein. The various objects that Bui acquires – and sometimes creates – are subjected to presentation and ownership in ways that allow for their construction and arrangement to elicit tensions and overlaps that undermine the status of the object as commodity.

Pool of Plenty is an exhibition that brings together photographic work with which the gallery walls will be plastered. Bui transcends the decorative and ornamental language of advertising in a détournement that makes use of touch and smell to surpass mere visual spectacle. To do so, Bui rearranges objects selected for both their visual and tactile qualities in a presentation of photographic and sculptural elements that seduce the viewer, leading us into a subtle and uncanny sense of displacement. The shift in perception she achieves conveys the artist’s intention to make desire itself material, to bring it into being by and with these objects, to viscerally seduce us and to confront the viewer with surface reality.

The artist

Montréal-born artist Michelle Bui earned her undergraduate degree in painting and drawing at Concordia University before continuing on to do her MFA in visual and media arts at the Université du Québec à Montréal. In 2017, she furthered her exploration of the materiality of photographs at the École nationale supérieure des Beaux-arts in Paris and represented emerging Canadian photographers at the Jeux de la francophonie in Abidjan. She was awarded the François-Xavier Marange grant for printing arts, and is next year’s artist in residence at Atelier Circulaire. The residency will be an opportunity for Bui to develop works at the intersection of sculpture and photography, of which a selection of pieces was included in the Projet Pangée exhibition Rêverie earlier in 2017. Additional works resulting from this exploration will be included in the group exhibition Appareillage at Québec City’s VU PHOTO in February 2018.
michellebui.com

Espace #118 (Winter 2018) – Wounds

Can we heal our wounds? And to do so, must we relegate them to oblivion or consign them to a form of liberating reconciliation? In the field of aesthetic representation, how can an artistic gesture bring relief to the spirit? The texts of this issue, launched during the opening of Maria Hupfield. The One Who Keeps On Giving, elaborate various perspectives on these questions.
espaceartactuel.com

Public activities

In Conversation with Michelle Bui
Part of the L’art observe event series
Facilitated by Philippe Dumaine
February 13, 2018, 12:45 p.m.
Galerie de l’UQAM
In French
Free admission

Nuit blanche à Montréal
Saturday, March 3, 2018
8 p.m. – 1 a.m.

At Galerie de l’UQAM: extended opening hours to see the exhibitions Maria Hupfield. The One Who Keeps On Giving and Michelle Bui. Pool of Plenty

At the Agora of the Judith-Jasmin Pavilion: performances by the Buffalo Hat Singers and other guests

Enjoy the Nuit blanche by visiting the exhibitions of Maria Hupfield and Michelle Bui at the Galerie de l’UQAM. For this special occasion, the drums of the Buffalo Hat Singers will resound in the Agora of the Judith-Jasmin Pavilion. You are invited to join and discover several artists who draw from the traditions of indigenous culture.

Guided tours of the exhibition for groups
Available anytime.
Reservations required with Philippe Dumaine
514 987-3000, ext 3280, or dumaine_allard.philippe@uqam.ca

Partners

The artist wishes to express special thanks to Atelier Circulaire for their financial support as well as for the technical assistance which have made this exhibition possible.

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2018_Hupfield_gExhibition view, Maria Hupfield. The One Who Keeps On Giving, The Power Plant, Toronto, 2017. Courtesy of the artists and Galerie Hugues Charbonneau, Montréal. Photo: Toni Hafkenscheid

Maria Hupfield. The One Who Keeps On Giving

Curator: Carolin Köchling

January 11 - March 3, 2018
Opening and performance: Wednesday, January 10, 5:30 p.m.

Exhibition organized and circulated by The Power Plant Contemporary Art Gallery (Toronto)

[More information]

Galerie de l’UQAM opens 2018 with the highly anticipated exhibition Maria Hupfield. The One Who Keeps On Giving, on a Canadian tour since its presentation at The Power Plant (Toronto) in the winter of 2017. Curated by Carolin Köchling, the exhibition includes a selection of objects and videos derived from the performative practice of the artist from the Wasauksing First Nation, Ontario, now established in Brooklyn. Maria Hupfield's work deploys delicate questions about objects and the memories, gestures or relationships they evoke.

Maria Hupfield will present a performance with Electric Djinn and ODAYA during the opening. This evening will also be the occasion to launch the catalog of the exhibition, hot off the press. In addition, the Espace magazine staff will be present to launch its new issue articulated around the theme of Wounds.

The exhibition

Objects contain meanings beyond their materiality, meanings that we bring to them or receive from them. Objects are the result of an action, entail traces of human gestures and evoke reactions or memories. They have the potential to be read collectively or personally. Maria Hupfield’s artistic practice reveals the way objects can trigger relationships between humans or environments.

For her exhibition The One Who Keeps On Giving, Hupfield developed a video installation centred on an object: an oil painting of a seascape by her late mother Peggy Miller. The artist invited her siblings to participate in a performance rooted in memories evoked by the painting that initially took place in Parry Sound, Ontario – the setting depicted on the canvas. To ground the filmed performance and to accompany the painting in the exhibition context, Hupfield and her siblings re-enacted the performance in the gallery space at The Power Plant in Toronto, the setting for the second film.

Alongside this newly commissioned work, the exhibition includes a selection of objects that have been regularly activated during Hupfield’s performances in recent years: a canoe, a snowsuit, a snowmobile helmet, mitts and boots, a cassette recorder with headphones, a light bulb and seven items solicited from other artists. All of these objects are replicated in felt, a material which equalizes the objects beyond their specific functions.

The One Who Keeps On Giving is an English translation of Maria Hupfield’s mother’s Anishinaabe name.

The artist

Maria Hupfield (born 1975 in Parry Sound, Georgian Bay, Ontario) is a member of Wasauksing First Nation, Ontario, and is currently based in Brooklyn, New York. Solo exhibitions include MacKenzie Art Gallery (Regina, 2015), Galerie Hugues Charbonneau (Montréal, 2015) and Art Gallery of Southwestern Manitoba (Brandon, 2011). She has participated in group exhibitions and performances at Trestle Projects Brooklyn (2016), SITE Santa Fe Biennial (2016), A Space Gallery (Toronto, 2015), Campo dei Gesuiti (Venice, 2015), Aboriginal Art Centre (Ottawa, 2015), The Bronx Museum (New York, 2015), Vox Populi (Philadelphia, 2015), Musée d’art contemporain des Laurentides (Saint Jérôme, 2015), North Native Museum (Zurich, 2014), SBC Gallery of Contemporary Art (Montréal, 2013), and Vancouver Art Gallery (2012). Hupfield is the founder of 7th Generation Image Makers, a project from Native Child and Family Services of Toronto; co-owner of Native Art Department International; and was Assistant Professor in Visual Art and Material Practice appointed to the Faculty of Culture and Community, Emily Carr University of Arts and Design (2007-11).
mariahupfield.wordpress.com

The curator

Carolin Köchling studied History of Art and Literature in Rome and Berlin. Since 2016 she has been Curator of Exhibitions at The Power Plant in Toronto. As a curator she conceived Claudia Andujar’s first comprehensive solo exhibition in Europe for the MMK Museum für Moderne Kunst Frankfurt (2017). During her time at the Schirn Kunsthalle Frankfurt (2012–14), Köchling curated an exhibition on Brazilian street art, a solo presentation of Helene Schjerfbeck, and co-organized the cinema program with artists such as James Richards, Keren Cytter and Mohamed Bourouissa. Prior to that, she was involved in the expansion of the Städel Museum Frankfurt’s contemporary art collection, and its initial presentation in the new museum wing (2010–12). From 2012 to 2015, Köchling regularly lectured at Goethe-University Frankfurt.

The catalogue

Launched during the opening at Galerie de l’UQAM, the book Maria Hupfield. The One Who Keeps On Giving includes extensive exhibition views, essays by Crystal Migwans and Richard William Hill as well as a conversation between Maria Hupfield and the artist Andrea Geyer.

Maria Hupfield. The One Who Keeps On Giving
Editor: The Power Plant Contemporary Art Gallery
2017, 128 p., bilingual (English and French)
$30

Espace #118 (Winter 2018) – Wounds

Can we heal our wounds? And to do so, must we relegate them to oblivion or consign them to a form of liberating reconciliation? In the field of aesthetic representation, how can an artistic gesture bring relief to the spirit? The texts of this issue, launched during the opening of Maria Hupfield. The One Who Keeps On Giving, elaborate various perspectives on these questions.
espaceartactuel.com

Public activities

Performance
Wednesday, January 10, 2018
6 p.m.
With Maria Hupfield, Electric Djinn and ODAYA

During opening night, Maria Hupfield will be performing a continuous piece, activating the objects showcased in the exhibition, in collaboration with artists Electric Djinn and ODAYA.

Electric Djinn is a band and performance art project created by multidisciplinary artist Jennifer Berklich, also known as Neptune Sweet. The artist focuses on electronic compositions using sampled sounds, soft synths, drum machines and processed vocals. Collaborating with dancers, visual artists and filmmakers, Electric Djinn has performed in galleries and art spaces primarily in New York and the Philippines.
electricdjinn.com

ODAYA is an Indigenous women's collective formed in 2007. Mostly known as a traditional Indigenous women's drum and song group, its members are also recognized for their solidarity work focusing on Indigenous feminist community-building initiatives. Active on the arts scene and at street marches in Montréal, ODAYA consists of four women of mixed Indigenous heritage: Émilie Monnet (Anishinabe, French), Dayna Danger (Métis, Ojibway, Polish), Nahka Bertrand (Dene, Québecoise), and Anik Sioui (Wendat, Anishinabe, and Franco-Canadienne).
ODAYA – Facebook Page

Nuit blanche à Montréal
Saturday, March 3, 2018
8 p.m. – 1 a.m.

At Galerie de l’UQAM: extended opening hours to see the exhibitions Maria Hupfield. The One Who Keeps On Giving and Michelle Bui. Pool of Plenty

At the Agora of the Judith-Jasmin Pavilion: performances by the Buffalo Hat Singers and other guests

Enjoy the Nuit blanche by visiting the exhibitions of Maria Hupfield and Michelle Bui at the Galerie de l’UQAM. For this special occasion, the drums of the Buffalo Hat Singers will resound in the Agora of the Judith-Jasmin Pavilion. You are invited to join and discover several artists who draw from the traditions of indigenous culture.

Guided tours of the exhibition for groups
Available anytime.
Reservations required with Philippe Dumaine
514 987-3000, ext 3280, or dumaine_allard.philippe@uqam.ca

The educational booklet

An educational booklet is offered to the public free of charge as a guide to the exhibition.
Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

 

Support provided by

The exhibition is a production of The Power Plant Contemporary Art Gallery (Toronto) in partnership with Southern Alberta Art Gallery (Lethbridge), Galerie de l’UQAM (Montréal), Mount Saint Vincent University Art Gallery (Halifax) and Canadian Cultural Centre (Paris). It was sponsored by TD Bank Group and supported by Julia & Robert Foster.

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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