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2017_Sullivan2_gFrançoise Sullivan, Portraits de personnes qui se ressemblent, digital prints mounted on wood panels, black and white, 1971 (printed 2003), 152,4 x 101,6 cm (each). Courtesy of the artist and Galerie Simon Blais, Montréal. © Françoise Sullivan / SODRAC (2017)

Françoise Sullivan. Trajectoires resplendissantes

Curator: Louise Déry

January 11 to February 18, 2017
Opening: Tuesday, January 10, 5:30 pm

[More information]   

The Galerie de l'UQAM is proud to start off 2017 with an extraordinary Montréal artist, Françoise Sullivan. The director of the Galerie and curator of the exhibition has assembled a diverse set of works – many of which will be shown for the first time – by one of the most influential figures in the history of Québec and Canadian art.

The opening on January 10 will include a dance piece, Je parle, choreographed by Françoise Sullivan and performed by Ginette Boutin. Also at the event, the journal esse will launch its latest issue exploring the theme of the Library. A number of other activities (dance pieces, guided tours, a discussion forum, etc.) are scheduled throughout the exhibition.

The exhibition

Unfolding over many decades, the remarkable career of Françoise Sullivan occupies an important place in the history of Québec and Canadian art. In the mid-1940s, when she was surrounded by thinkers, poets and artists from all walks of life, her debuts in dance and painting were an opportunity to explore the aesthetic concerns shaking up the art world of the period, particularly as a member of Les Automatistes. The young woman who created Danse dans la neige (Dance in the snow) in 1948 – the most iconic work of Canadian contemporary dance –, and who exhibited her earliest paintings with Borduas, Riopelle and Gauvreau has since created an extensive, vibrant oeuvre of remarkable versatility and continually renewed inventiveness while remaining faithful to the principles of freedom and engagement she embraced during her early career. Inspired by the great European and Native North American mythological traditions, passionate about art and poetry, and influenced by the time she spent in New York, Italy, Ireland and Greece, Sullivan has, in her boundless curiosity, never stopped experimenting with form and colour, gesture and movement, figuration and abstraction, whether in sculpture, installation, performance, photography or, quite decisively, painting.

The works in this exhibition (some of which have been reconstructed from the artist’s archives) merge various conceptual trajectories that evolved from an investigation of the meaning and practice of art. In the words of Louise Déry, ”In these works, consciousness and the body are in a state of alert. Intuition of place and acuteness of the instant have prompted their appearance; individual destiny and collective myths have conditioned their imaginative thrust. For Sullivan, the frozen ground of a winter landscape, the apotheosis of a site housing oil refineries, the disenchanted legend of our uneasy heroes, the uncommon meeting beyond time of two young faces, and the words offered when a painting speaks or falls silent, when choreographed bodies are activated or immobilized, form a constellation of circumstances laden with meaning”.

In the performances, choreographies, writings, photographs and paintings that mark out path of the artist’s practice since the 1940s, concepts are brilliantly asserted in worked colour, fertilized abstraction, the pictorial body. Some works survive in a photographic image or a documentary record that embodies and extends them; others – tied to process and spontaneous, improvised, at times ephemeral manoeuvres – resist. Sullivan’s trajectories, so radiant and, to use Borduas’s word, so liberating, enlighten both our recent history and the present moment. She who still goes to work in her studio every day and continues to think (and think of herself) in and through art, invites us to engage in the vital relationship between the work of art, memory and the world around us.

A major publication will appear later in the year. In addition to the content of the exhibition, it will include all the texts written and published by the artist in the course of her career.

 

The artist

Françoise Sullivan has made her mark as dancer, choreographer and visual artist. She was one of the founding members of Les Automatistes, along with Paul-Émile Borduas, and a signatory of the Refus global manifesto in 1948. In the 1960s, her work branched out into sculpture, photography, installation and performance. Painting, however, has been her great passion over the years and she continues to work at it with impressive energy.

For many reasons, Françoise Sullivan is an outstanding figure in the history of Québec and Canadian art, as reflected by her numerous awards: the Prix Paul-Émile Borduas, the Ordre du Québec and the Order of Canada, the Governor General's Award, the Gershon Iskowitz Prize, etc. These honours recognize her exceptional career path and the creative diversity of her prodigious body of work. She has been the subject of retrospectives at the Musée d’art contemporain in Montréal (1981), the Musée national des beaux-arts in Québec City (1993), the Montréal Museum of Fine Arts (2003) and the Art Gallery of Ontario (2010) and has been featured in an impressive number of collective exhibitions in Canada, Europe and the United States, including On Line: Drawing Through the Twentieth Century at the Museum of Modern Art in New York (2010), and The Automatiste Revolution: Montréal 1941-1960 at the Varley Art Gallery, Unionville, Ontario (2010) and the Albright-Knox Art Gallery in Buffalo. She is represented by Galerie Simon Blais in Montréal.

The curator

Louise Déry (PhD Art History) is director of the Galerie de l'UQAM and associate professor in the Department of Art History at UQAM. Formerly a curator at the Musée national des beaux-arts du Québec and the Montréal Museum of Fine Arts, and director of the Musée régional de Rimouski, she has curated numerous exhibitions, including Daniel Buren, Giuseppe Penone, Rober Racine, Sarkis, Nancy Spero, David Altmejd, Dominique Blain, Françoise Sullivan, Michael Snow, Stéphane La Rue, Raphaëlle de Groot, Artur Żmijewski, Manon de Pauw, and more recently Aude Moreau, to name just a few. She has presented some thirty foreign exhibitions of Canadian artists, including a dozen in Italy, as well as in France, Belgium, Spain, Turkey, the United States and Asia. She was curator of the Canadian pavilion at the Venice Biennale with a David Altmejd exhibition (2007). At the Venice Biennales of 2013 and 2015, she presented performances by Raphaëlle de Groot and Jean-Pierre Aubé. She is a recipient of the Hnatyshyn Award (2007) and the Governor General's Award (2015), and a member of the Royal Society of Canada.

Activities produced by the Galerie de l'UQAM

In conjunction with the exhibition, two dance pieces with texts by Françoise Sullivan will be presented free of charge:

Je parle (1993)

Tuesday, January 10, 2017, 5:30 pm (during the opening)

With Ginette Boutin, a dancer who has interpreted the choreographic repertoire of Françoise Sullivan for 30 years.

Droit debout (1973)

Saturday, January 21, 2017, 3 pm, 3:30 pm and 4 pm

With the dancers Michèle Febvre, Paul-André Fortier, Dana Michel, Myriam Arsenault, Andréa Corbeil and Nicolas Patry. The text by Françoise Sullivan accompanying the choreography will be interpreted by actress Christiane Pasquier.

The presentations will be followed at 4:30 pm by a Conversation between Françoise sullivan and Louise Déry.

Other complementary activities:

Guided tours of the public art work Montagne by Françoise Sullivan with a mediator

Hall of the pavillon Président-Kennedy, UQAM
Thursday, January 12, 2017, 12:45 pm – 1:45 pm
Wednesday, January 25, 2017, 5:30 pm – 6:30 pm

Guided tours of the exhibition with the curator

Tuesday, January 17, 12:45 pm – 1:45 pm
Thursday, February 9, 2017, 17:30 pm – 18:30 pm

Guided tours of the exhibition

Available any time. Reservations required with Philippe Dumaine, 514 987-3000, ext. 3280, or dumaine_allard.philippe@uqam.ca

Support provided by

2017_Sullivan_appuis2_en-01

Educational booklet

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

 

2017_Passage_gPassage à découvert 2016, exhibition view, Galerie de l’UQAM

Passage à découvert 2017

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

April 21 to 29, 2017
Opening: Thursday, April 20, 5:30 pm

[More information]

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

Participating artists

Claudia Almansa, Marie-Michèle Beaudoin, Céline Bellehumeur, Stéfanie Béland-Robert, Joan Berthiaume, Maude Bertrand, Béatrice Boily, Maxime Boisvert, Charles Bourbeau, Laure Bourgault, Julie Cantin, Jorge Oswaldo Carranza Sanchez, Nancy Charbonneau, Jonathan D’Amours, Luc Dansereau, Charlotte Desserteaux, Laurie Desloges Masson, Marly Fontaine, Richelli Fransozo, Marie-France Gagnier, Sophie Gauthier, Martine Gingras, André Girard, Andréanne Gouin, Marine Gourit, Baptiste Guilhempéré, Sarah Hadjou, Julien Houle, Florence Jacob, Alain Lalonde, Josèphe Landreville, Chloé Larivière, Claudel Lauzière Vanasse, Marilyn Leblanc, Marie-Ève Lemieux, Stéphanie L’Italien, Josée Marchand, Marc-Michel Martel, Gabrielle Morrisseau, Cyrille Pelletier-Lemay, Vivianne Proulx, Kathrine Rose, Sarabeth Trivino, Anouk Verviers

 

01_PBoudryRLorenz_Silent_600pxPauline Boudry & Renate Lorenz, Silent, 2016, installation view at the Biennale of Moving Images 2016. Photo : Annick Wetter, courtesy of the artists and the Centre d’art contemporain de Genève.

Pauline Boudry & Renate Lorenz. Silent

In partnership with the Biennale of Moving Images (Geneva)
Artistic direction: Andrea Bellini
Curators: Caroline Bourgeois, Cecilia Alemani and Elvira Dyangani Ose

February 24 to April 8, 2017 
Opening: Thursday, February 23, 2017 at 5:30 pm

[More information]

The Galerie de l’UQAM and the Centre d’Art Contemporain de Genève are joining forces to present in Montréal a component of the Biennale of Moving Images 2016. This first collaboration is part of an international dissemination approach for this important event that distinguishes itself from most of the existing biennales by the fact that it is exclusively made up of new works, all of which are produced by the Centre and its partners.

Among the 27 new works produced by the Biennale of Moving Images, the Galerie de l’UQAM chose the film installation Silent by Pauline Boudry & Renate Lorenz, two artists based in Berlin. Presented in an impeccably white room, Silent is interested in the aggressive experience of being constrained to silence, and in silence as an act of powerful and performative resistance.

The exhibition

Silent starts with an interpretation of John Cage‘s score 4´33´´ (1952). The score is conceived for any instrument and instructs its performer not to play their instrument during the entire duration of the three parts of 30s, 2m 23s and 1m 40s.  In the Boudry and Lorenz installation, the musician Aérea Negrot performs the score on a rotating stage placed on Oranienplatz, a public square in Berlin where a refugee protest camp took place between 2012 and 2014. In a second part of the film, she performs a song, which has been composed for the occasion.

Dear President,
Your profile is vague,
You have no arms, no hair, no legs, and no sex
Your enemy is your lover
I need make-up, underwear and hormones!

- Aérea Negrot in Silent by Pauline Boudry & Renate Lorenz

Silence has been described either as a violent experience, as in being silenced, or as a powerful performative act of resistance, as it has been carried out by various disobedience movements around the world. Silent asks how both moments are intertwined. It focuses on the performance of a silent act, which might allow for agency, strength and even pleasure without erasing the traces of violence and vulnerability. The film suggests a dialogue between being silent and sounding rather than seeing them as mutually excluding.

The artists

Working as a duo since 2007, Pauline Boudry & Renate Lorenz propose films and performances that revisit filmic and audio material from the past, excavating unrepresented or illegible moments of queer history. These works present a corpus capable not only of traveling across epochs, but also of imagining links between those epochs, so foreshadowing the possibility of a queer future. Their recent solo exhibitions include: Portrait of an Eye, Kunsthalle Zürich (2015), Loving, Repeating, Kunsthalle Wien, Vienna (2015), Patriarchal Poetry, Badischer Kunstverein, Karlsruhe (2013), Aftershow, CAPC, Bordeaux (2013), Toxic Play in Two Acts, South London Gallery, London (2012), Contagieux! Rapports contre la normalité, Centre d´art contemporain de Genève, Geneva (2011). Several catalogues have been published about their work: Temporal Drag, Hatje Cantz (2011), Aftershow, Sternberg Press (2014) and I Want, Sternberg Press (2016). The Montréal public has recently been able to appreciate their work in the solo exhibition To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation at La Centrale Galerie Powerhouse in the Spring of 2016. boudry-lorenz.de

The Biennale of Moving Images

Since its inception in 1985, the Biennale of Moving Images has provided a platform for art and ideas by surveying the ever-shifting territories of moving images while aiming to make sense of this extraordinary profusion of images that has progressively invaded all aspects of contemporary art. Organized by the Centre d’art contemporain de Genève, the 2016 Biennale of Moving Images featured, from November 9, 2016 to January 29, 2017, 27 new productions commissioned, produced and/or supported by the Centre d’art contemporain for the occasion. They were presented as installations, performances or films. Under the artistic direction of Andrea Bellini, director of the Centre d’art contemporain de Genève, the 2016 Biennale of Moving Images was curated by Cecilia Alemani, director and curator of the High Line Art (New York), Caroline Bourgeois, chief curator and conservator of the Pinault Collection (Paris) and Elvira Dyangani Ose, curator and lecturer in visual cultures at Goldsmiths, University of London, and member of the Thought Council at the Fondazione Prada.

Free activities

Guided tours of the exhibition

Available any time. Reservations required with Philippe Dumaine, 514 987-3000, ext. 3280, or dumaine_allard.philippe@uqam.ca

Support provided by

2017_BIM_appuisfr

The educational booklet

12_GFagen_SchemeforPostTruth_600pxGraham Fagen, Scheme for Post Truth, 2016, detail from a series of 18 drawings, Indian ink, enamel and 23 carat gold, 38 x 57 cm. Courtesy of the artist.

Graham Fagen. The Slave's Lament

Curator : Louise Déry

February 24 to April 8, 2017
Opening : Thursday, February 23, 2017 at 5:30 pm

[More information]

The Galerie de l’UQAM and the curator Louise Déry are presenting the Scottish artist Graham Fagen’s first solo exhibition in Canada by proposing a video and music-based installation that is emblematic of his research: The Slave’s Lament. The Glasgow artist, who very successfully represented Scotland at the 2015 Venice Biennale, is interested in the slave trade, the inhuman treatment of the deported populations and the Scottish involvement in Jamaica. Several drawings and photographs have been added to this major work in order to allow for a more encompassing extrapolation of the motifs opposing national identity and cultural identity.

The exhibition is presented in the context of Montréal’s Black History Month.

The exhibition

The exhibition The Slave’s Lament presents works by the multidisciplinary artist Graham Fagen on the theme of slavery and Scottish involvement in the fate of African people deported to the Caribbean in the 18th century. The drawings, with the look of masks or portraits, the seascape photographs and the imposing video and music installation shown here explore the tensions and emotions brought about by colonialism and the African slave trade. Today considerable feeling has been mobilized with the aim of reconciliation and redemption for the economic servitude and cultural oppression of peoples – whether aboriginal, the product of immigration or subject to current insidious forms of servitude. Fagen’s questioning of nationality and identity, however, is based on a particularly pertinent critique of the cultural and social heritage.

It was in sweet Senegal
That my foes did me enthral,
For the lands of Virginia — ginia O!
Torn from that lovely shore,
I must never see it more,
And alas! I am weary, weary O! […]

- Robert Burns, The Slave’s Lament, 1792

The installation entitled The Slave’s Lament refers to a song dating from 1792 attributed to the Scottish national poet Robert Burns, and it expresses Burns’s attitude toward slavery. Sung by the famous reggae artist Ghetto Priest to an accompaniment by members of the Scottish Ensemble, the song haunts us with its poignant melody and troubling tale of a Senegalese who, forced into exile and slavery, mourns the loss of his country. Fagen filmed the singer and instrumentalists in close-up, then divided the temporal sequence into pieces that he recomposed into an epic-style ode to the identity that we inherit, that is stolen from us or that we assume. The camera scrutinizes the gazes and gestures, lingering over certain details as if to track down a potential for authenticity and identity to be safeguarded and shared.

A publication about the exhibition will be launched later in the year.

The artist

Graham Fagen is one of the most influential artists working in Scotland today. His work mixes media and crosses continents; combining video, performance, photography and sculpture with text, live music and plants. Fagen’s recurring artistic themes, which include flowers, journeys and popular song, are used as attempts to understand the powerful forces that shape our lives.

Graham Fagen studied at The Glasgow School of Art (1984-1988, BA) and the Kent Institute of Art and Design (1989-1990, MA). He is senior lecturer at Duncan of Jordanstone College of Art & Design in Dundee. 1999 Fagen was invited by the Imperial War Museum, London to work as the Official War Artist for Kosovo, and since then has exhibited widely both in the UK and abroad. In 2015 Graham Fagen was selected to represent Scotland at the 56th Venice Biennale.

The several exhibitions he took part in include: The Mighty Scheme, Dilston Grove and CPG London, London (2016), GENERATION: 25 Years of Contemporary Art from Scotland, Scottish National Gallery of Modern Art, Edinburgh (2015), In Camera (with Graham Eatough), La Friche la Belle de Mai, Marseille (2015), Cabbages in an Orchard, Glasgow School of Art (2014), Bloodshed, Victoria & Albert Museum, London (2004), Art of the Garden, Tate Britain, London (2004), Golden Age, Institute of Contemporary Art, London (1999) and Zenomap, Scotland + Venice, 50th Venice Biennale (2003). grahamfagen.com

The curator

Louise Déry (PhD Art History) is director of the Galerie de l'UQAM and associate professor in the Department of Art History at UQAM. Formerly a curator at the Musée national des beaux-arts du Québec and the Montréal Museum of Fine Arts, she has curated numerous exhibitions, including Daniel Buren, Giuseppe Penone, Rober Racine, Sarkis, Nancy Spero, David Altmejd, Dominique Blain, Françoise Sullivan, Michael Snow, Stéphane La Rue, Raphaëlle de Groot, Artur Żmijewski, Manon de Pauw, and more recently Aude Moreau, to name just a few. She has presented some thirty foreign exhibitions of Canadian artists, including a dozen in Italy, as well as in France, Belgium, Spain, Turkey, the United States and Asia. She was curator of the Canadian pavilion at the Venice Biennale with a David Altmejd exhibition (2007). At the Venice Biennales of 2013 and 2015, she presented performances by Raphaëlle de Groot and Jean-Pierre Aubé. She is a recipient of the Hnatyshyn Award (2007) and the Governor General's Award (2015), and a member of the Royal Society of Canada.

Free activities

Artist talk by Graham Fagen
Part of the ICI : Intervenants Culturels Internationaux series

Wednesday, February 22, 2017, 12:45 – 1:45 pm
Université du Québec à Montréal
Pavillon des Sciences de la gestion, room RM-110
315 Ste-Catherine East, Montréal

AfroScots, a programme of film, video and sound work
Curators: Mother Tongue (Glasgow)

Artists: Rayanne Bushell, Irineu Destourelles, Kapwani Kiwanga, Maud Sulter, Tako Taal and Alberta Whittle

Saturday, February 25, 2017, 1 pm
CDEx
Université du Québec à Montréal
Pavillon Judith-Jasmin, room J-R930
405 Ste-Catherine East, Montréal

AfroScots is a programme of films and videos by Black artists who have – in the present and historically – lived, worked and studied in Scotland. The works are selected by Mother Tongue, is a research-led, independent curatorial practice formed in 2009 and based in Glasgow. Following the screening, the audience will have the opportunity to interact in a friendly atmosphere with the curators as well as with the artist Graham Fagen, who will be present.

Guided tour of the exhibition with the curator
Thursday, March 2, 2017, 12:45 – 1:45 pm

Talks by Charmaine Nelson and Jennifer Carter

Monday, March 27, 2017, 5 pm
Galerie de l’UQAM

Guided tours of the exhibition

Available any time. Reservations required with Philippe Dumaine, 514 987-3000, ext. 3280, or dumaine_allard.philippe@uqam.ca

Support provided by

GF_appuis

The educational booklet


2017_Plante2_gJonathan Plante, Dance me (detail), 2016, lenticular silkscreen print. Courtesy of Galerie Hugues Charbonneau, Montréal

Jonathan Plante. Angle mort

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

January 11 to February 18, 2017
Opening: Tuesday, January 10, 5:30 pm

[More information]   

The Galerie de l’UQAM presents the exhibition Angle mort by Jonathan Plante, a graduating master’s student in Visual and Media Arts at UQAM. The artist will reveal a series of paintings and prints on lenticular supports, a process that creates an impression of movement. Depending on the viewpoint of the observer, images appear, disappear and transform themselves. Plante activates the gaze and involves the viewer’s body in the experience of the image’s various temporalities.

On the occasion of the opening, the journal esse will launch its latest issue exploring the theme of the Library.

The exhibition

For Jonathan Plante, the Angle mort (Blind spot) is the gap created by setting the image into motion. In revisiting abstract painting, op art and kinetic art, as well as experimental cinema, the series of painting-screens comprising the exhibition explores, amplifies and systematizes the plastic character of the movement. The paintings and silkscreen prints on lenticular supports display images that foreground the indissociable link between the viewer’s movements and his or her perception.

The artist uses the term “kinoplastic” to describe his explorations of the painting’s temporalities. The word was first used by the art historian and essayist Élie Faure in his 1922 article “De la cinéplastique”. He here envisaged “an art where time would really become a dimension of space.” In redefining Faure’s investigations in the current context, Jonathan Plante draws inspiration from his thinking to enrich his research. How can one think the image in a society where attention is constantly lured by movement? Movement becomes the law of our relationship to the world and it formats the way in which we read it. According to Plante, this perpetual movement has nowadays become the tool of an economy based on the creation and commodification of experiences.

The artist

Jonathan Plante lives and works in Montréal where he obtained a BA in Interdisciplinary Studies from Concordia University. In a practice that he characterizes as “kinoplastic,” he explores the conditions of the appearance of movement in the image. He is particularly interested in the still image that is set into motion by the viewer’s movements. Echoing op art and experimental cinema, his exhibitions are a fieldwork exploration of visual perception. Through an investigation of the image’s temporalities, he searches for new ways of seeing. In 2005, he travelled to Amsterdam for a two-year residency at De Ateliers. Throughout his stay in the Netherlands, he participated in solo and group exhibitions. In 2008, his work was included in the first Québec Triennial: Nothing is lost, nothing is created, everything is transformed, organized by the Musée d’art contemporain de Montréal. He presented the solo exhibitions Palindrome at the Musée d’art contemporain des Laurentides in 2010, Parallaxe at Galerie Division, in 2011, and Moonwalk, in 2014, at Galerie Hugues Charbonneau, which represents the artist’s work. In 2013, he proposed a solo exhibition for a young audience, Lapincyclope, at VOX — Centre de l’image contemporaine in Montréal. Lapincyclope subsequently travelled to nine venues in Québec and Canada. In 2017, he will hold a solo exhibition at L’œil de poisson in Québec City. His works are part of private and public collections, including the collections of the Musée d’art contemporain de Montréal and the Musée national des beaux-arts du Québec.

Free activities

Artist talk: Jonathan Plante
Part of the series L’art observe

Tuesday, February 7, 2017
12:45 pm – 1:45 pm
Galerie de l’UQAM

Guided tours of the exhibition

Available any time. Reservations required with Philippe Dumaine, 514 987-3000, ext. 3280, or dumaine_allard.philippe@uqam.ca

Support provided by

2017_Plante_appuis2

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.

ici_logo_orange

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.


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