Diane Kruger: Canadian First Ladies

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Published on : 2014-05-08 01:00:00


Diane Kruger: Canadian First Ladies

Opening Reception
Thursday, May 8th, 2014, 5-8 p.m.

Artist also present Saturday, May 10th, 12-3 p.m.
and Thursday,  May 15th,  5-8 p.m.

Dignam Gallery
23 Prince Arthur Avenue
Toronto, Ontario M5R 1B2
(St. George Subway, Bedford exit)

The exhibition continues until May 20th, with additional viewings by appointment.

The Women’s Art Association of Canada is pleased to present the opening of Canadian First Ladies, an exhibition of contemporary portraits of prominent Canadian women by visual artist Diane Kruger.

The Women's Art Association of Canada was founded in 1886 to support women artists by providing a forum for exchange of ideas and a venue to show their work. It is the oldest arts organization of its kind in Canada, celebrating 128 years.

Kruger’s portraits document and promote the achievements of notable Canadian women, particularly those who have reached a “first” in their profession or vocation. The role models depicted encompass diverse fields of endeavour and reflect the Canadian mosaic.

Collectively, the series promotes a healthy dialogue and serves as a tangible measurement of the current state of women’s advances in Canada. It fosters awareness of the important milestones that have been attained in the last five decades and is meant to give inspiration to the next generation of aspiring young women.

Contact Information:
Diane Kruger
416  967-7720

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Andrew Smith: Warning Signs

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Published on : 2014-05-07 01:00:00




MAY 7 TO JUNE 14, 2014

FRIDAY, MAY 9, 2014
5:30 P.M. TO 9 P.M.

THURSDAY, MAY 29, 2014
7 P.M.

PATRICK MIKHAIL GALLERY is pleased to present WARNING SIGNS, an exhibition of new works by painter ANDREW SMITH. In his first solo exhibition with the gallery, the artist presents a new body of complex abstract oil and acrylic paintings on canvas.

Andrew Smith’s paintings are the result of an attempt to physically embody a line of communication that could be given by the language of movement. The parameters of this movement are oriented by the question of how to make a painting that can have an open dialogue with the representation of its subject matter. Central to this concern is the way in which a viewer could be involved in an active manner in the experience. In his work, Mr. Smith potentially constructs a metaphorical interface between the emotive and sensorial experience of mark making, and the manifold of significations that can be made by a viewer.

The paintings in WARNING SIGNS, are the result of trying to repeat a similar set of approaches in each work—to establish a scenario where the formal components can work together to push out on their own structure. They can be seen as metaphorical mechanisms of passage, propulsion, or capture, where the resultant stasis of movement can operate spatially as a total form that is at once turning into something and disintegrating.

The artist’s reasoning for attempting to make what he imagines as possible “warning signs” stems from his desire to make images that somehow “look like” some kind of naturally occurring interface. If a painting is the presentation of a potential forum for activation or involvement, Mr. Smith then reasons he is interested in the extent to which something can be felt and interpreted in the manner by which an individual experiences their own sense of space in relation to an image that gives the impression of being formed—so as to suggest directions from the act of looking. To the extent that this work shows itself as being made up of kinds of marks, these paintings attempt to organize themselves in such a way that speaks to the fragility of the attempt itself.

Andrew Smith has a BFA and MFA from the University of Ottawa. He has appeared in numerous solo and group exhibitions including Ottawa City Hall Art Gallery. His work can be found in private and public collections including RBC-DEXIA, Foreign Affairs, Canada, and the City of Ottawa public art collection.


  PATRICK MIKHAIL GALLERY gratefully acknowledges the support of the CANADA COUNCIL FOR THE ARTS in the gallery’s presentation of the work of Quebec painter JENNIFER LEFORT at Volta New York from March 6 to 9, 2014. Last year, the Canada Council for the Arts invested $157 million to bring the arts to Canadians throughout the country. For more information: http://www.canadacouncil.ca/

  We are pleased to announce the gallery will be exhibiting at the international art fair VOLTA 10 BASEL during Art Basel week from June 16 to 21, 2014. VOLTA 10 is the renowned platform for presenting the vision of contemporary art galleries of global prestige whose artists represent new and relevant positions for curators and collectors alike. Conceived to bridge a gap between Basel's pre-existing fairs, VOLTA 10 showcases galleries that choose to work with the most exciting emerging artists. This year, to coincide with the fair’s tenth anniversary, VOLTA 10 returns to Markthalle, the domed landmark situated in the heart of the city on the Rhine. For more details: http://www.voltashow.com/

  JENNIFER LEFORT appears with 2014 Sobey Art Award Nominee DOMINIQUE PÉTRIN at Montréal’s OPTICA Centre for Contemporary Art from May 17 to June 28, 2014. Lefort et Pétrin se partagent la salle d’exposition pour y réaliser une œuvre exploratoire en tandem. Constatant leurs affinités pour le motif et la couleur dans leurs pratiques respectives, elles décident d’œuvrer à un projet in situ, un processus «ouvert» instaurant un dialogue entre elles. http://www.optica.ca/

For more information:

2401 Bank Street
Ottawa Canada
K1V 8R9
Tel. 613.746.0690

E-mail: gallery@patrickmikhailgallery.com
Web: www.patrickmikhailgallery.com


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Fashioning the Intangible: The Conceptual Clothing of Ying Gao

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Published on : 2014-05-07 01:00:00


Textile Museum of Canada • May 7 to September 1, 2014

Please join us for the opening reception on Wednesday May 7 from 6:30 to 8 pm.


Fashion designer Ying Gao's clothing appears to be made of air and light. Bridging art, science and technology, she explores the interplay between matter and imagination to produce ethereal and kinetic responses to light, sound and the environment. In this exhibition, Gao's interactive prototypes, embedded with electronic and digital systems, are shown alongside innovative multifunctional designs that integrate materials such as medical grade cotton and latex as well as newly engineered 'super organza,' the lightest fabric in the world.

A fashion designer and professor at the Université du Québec à Montréal (UQAM) in the École Supérieure de Mode for over 10 years, Ying Gao was recently appointed Head of the Design Mode, Bijou et Accessoires section of the Haute école d'art et de design in Geneva, Switzerland. Her garments have been shown internationally in museums and galleries as well as on fashion runways and in publications such as Vogue China, Wired, Time and Interview Magazine. She is the recipient of the prestigious Phyllis Lambert Design Montréal Grant (2009).

Fashioning the Intangible is curated by Renee Baert and circulated by Cargo Curatorial Group.

Image: Ying Gao, no(where) now(here) (detail) 2013. Super organza, photoluminiscent thread, PVDF, electronic devices. Photo: Dominique Lafond.


Textile Museum of Canada
55 Centre Avenue
Toronto ON M5G 2H5


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Barbara Steinman: Reconfigurations

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Published on : 2014-05-06 01:00:00

Barbara Steinman, Reconfigurations, exhibition view @ galerie antoine ertaskiran

Barbara Steinman

until June 7, 2014

galerie antoine ertaskiran proudly presents its first solo show of major Canadian artist Barbara Steinman. The exhibition, entitled Reconfigurations, presents a series of photographs by the artist which refers to individual and collective memory. Steinman has refocused her archive of former works to question the persistence of memory and its traces. Following a rigorous selection of images developed out of a random process, the artist proposes a new interpretation of the past. damaged, shredded, even destroyed material from her previous works or digital archives invite a questioning of the importance and future of images. Photographs of smashed compact discs, unwound reels, and tapes are clues to encoded data now rendered inaccessible and silent. This process has allowed the artist to reconsider her artistic practice, to understand how the past is linked to the present. "Glass, light and the dimension of time have been recurring elements in my work since my earliest video and multimedia installations," Steinman explains.

Steinman’s works are characterized by diverse media and this show includes the presentation of two neon works. one goes back to the opening phrase of Antoine de Saint-Exupéry’s Petit Prince: "J'ai vu une fois une magnifique image" and the other, the emblematic slogan by Muhammad Ali: "Float like a Butterfly". In this way, Steinman explores the metaphorical aspect of a silent message, where the calligraphy is reminiscent of children’s writing which can hold our memories.

galerie antoine ertaskiran invited the artist to present one of her iconic works of art, SIGNS, in the adjoining exhibition room. this work was commissioned in 1992 for the inauguration of the Musée d'art contemporain de Montréal downtown and was shown subsequently at The Jewish Museum in New York , in Toronto, and in Vancouver. This installation of forty-three luminous signs covers one wall with the word "SILENCE" which will turn on and off in a random manner creating the effect of waves of light.

Past artistic productions, significant readings and childhood souvenirs are transformed in various forms to unveil repressed emotions and reinterpret the present.

Barbara Steinman lives and works in Montréal. She has produced a number of site-specific works, such as L’Imperceptible trajet, 1993, Hôtel-Dieu Chapel, Troyes, France; Let Freedom Ring, 1998, Institute of Contemporary Art, Boston, USA and Notion of Conflict, 1995, Stedelijk Museum, Amsterdam, Netherlands. Laureate of the Governor General’s Visual and Media Arts Award (2002), her multidisciplinary works have been shown in numerous exhibitions in Canada and abroad, including the Museum of Modern Art (MoMA) in New York, the Stedelijk Museum in Amsterdam, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Art Institute of Chicago, the Seoul Metropolitan Museum of Art, the Power Plant in Toronto, the Art Gallery of Ontorio (AGO) in Toronto and as well as the National Gallery of Canada in Ottawa. The artist has also participated in several art fairs such as FIAC (Paris), Paris Photo and Art Brussels. Her work was reviewed by numerous specialized publications such as Canadian Art, Art Forum, Arts magazine, Parachute and several exhibition catalogues have been produced. Her works can be found in important collections such as the Maison européenne de la photographie in Paris; the Metropolitan Museum in Seoul, the Vancouver Art Gallery, the Winnipeg Art Gallery, the Canada Council Art Bank, the Donovan Collection, the National Gallery of Canada, the Musée des beaux-arts de Montréal, the Musée d’art contemporain de Montréal, the National Bank of Canada Art Collection, BMO Financial group, the Collection Hydro-Québec, the Collection Caisse de dépôt et placement du Québec and Sun Life Financial Inc.

galerie antoine ertaskiran
1892 rue Payette
Montreal, QC H3J 1P3 Canada
tel : +1 514.989.7886


facebook : http://www.facebook.com/galerieantoineertaskiran
twitter : https://twitter.com/galerieae
instagram : http://instagram.com/galerie_antoine_ertaskiran

Barbara Steinman, Magnetic Tape: Half-inch, No.1, 2013

Barbara Steinman, Reconfigurations, exhibition view @ galerie antoine ertaskiran

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Qu'est-ce que ca FAAS? / What the FAAS?

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Published on : 2014-05-06 01:00:00


(english follows)

Qu'est-ce que ça FAAS?

Un espace commercial vide dans le centre commercial Rainbow au centre-ville de Sudbury sera transformé en galerie d’art expérimental pour les quatre jours de la bisannuelle Foire d’art alternatif de Sudbury (FAAS).

La 4e édition de la FAAS envahit le centre Rainbow du 6 au 10 mai. La FAAS rassemble à Sudbury plus de trente artistes visuels professionnels de partout au pays afin de créer de nouvelles œuvres d’art sur la place publique.

Les artistes visuels de la FAAS seront installés dans l’ancien magasin Benix, à côté du magasin Buck or Two près de l’aire de restaurant du centre Rainbow. La GNO et ses dix-huit partenaires artistiques ont invité des artistes dont les disciplines font la gamme entre l’art de la performance et de l’installation. Si vous vous promenez au centre Rainbow pendant la FAAS, il se peut fort bien que vous alliez témoigner une œuvre de performance spontanée d’un de nos artistes !

Les artistes recevront chacun un chariot d’épicerie et seront encouragés de l’intégrer à leurs œuvres. BGL, un collectif de trois artistes québécois, apportent un carrousel fonctionnel construit à partir de chariots. L’installation/manège sera installée dans le stationnement du marché alimentaire du centre Rainbow. Notons que le collectif BGL fut sélectionné pour représenter le Canada lors de la prochaine Biennale de Venise.

Toutes les activités de la FAAS mènent au Grand Gala de la FAAS, en soirée du samedi 10 mai, où le vernissage des œuvres terminées sera suivi d’une soirée dansante électro-performative avec le groupe Organ Mood et les DJs Masqués.

Horaire des activités

mardi 6 mai
Galerie du Nouvel-Ontario (174 rue Elgin)
À compter de 18 h - Party d’ouverture

mercredi 7 mai
Quartier général de la FAAS (centre Rainbow)
9 h à 18 h - Création en direct
11 h à midi –Shopping for a Public : Critical Writing and Public Engagement with Earl Miller

jeudi 8 mai
Quartier général de la FAAS
9 h à 18 h - Création en direct et présentation d’œuvres
11 h - L’art visuel s’écrit – Atelier d’écriture critique avec Serge Murphy
16 h - Tournée guidée

Salon du livre du Grand Sudbury (hôtel Radisson)
14 h 15 - Table ronde : L’écriture critique en perspectives multiples

vendredi 9 mai
Quartier général de la FAAS
9 h à 18 h - Création en direct et présentation d’œuvres
11 h - L’art visuel s’écrit – Atelier d’écriture critique avec Serge Murphy
11 h - Shopping for a Public : Critical Writing and Public Engagement with Earl Miller

samedi 10 mai
Quartier général de la FAAS
10 h à 18 h - Création et présentation d’œuvres
11 h - Déjeuner causerie avec les artistes, animé par Serge Murphy et Earl Miller
13 h - Tournée guidée
18 h à minuit + - Grand Gala de la FAAS 4
• Lancement de la publication FAAS 3 : L’art au pied carré
• Tournée finale des installations et performances
• Soirée dansante électro performative avec Organ Mood et les DJs Masqués



What the FAAS?

An empty storefront in downtown Sudbury’s Rainbow Centre shopping mall will be transformed into an experimental art gallery for four days during the biannual Fair of Alternative Art in Sudbury (FAAS).

Organized by Sudbury’s own Galerie du Nouvel-Ontario (GNO), the 4th edition of the FAAS invades the Rainbow Centre from May 6th to 10th. The FAAS brings over thirty contemporary artists from across the country to Sudbury and invites them to create new works of art in public spaces.

The visual artists participating in the FAAS will set up shop in the former Benix storefront, next to the Buck or Two store near the Rainbow Centre’s food court. The GNO and eighteen partner artist-run centres and galleries have invited artists whose disciplines range from performance art to installation work. If you wander through the Rainbow Centre during the FAAS, you could very well happen upon a spontaneous work of performance art from one of our artists!

The artists will each receive an empty shopping cart, courtesy of Hart, which they’ll be encouraged to incorporate into their artworks. BGL, a group of three québécois artists, are bringing a working carrousel constructed with shopping carts. This particular installation has toured similar art fairs throughout the years, including Hamilton’s SuperCrawl event. The art installation/carnival ride will be set up in the Rainbow Centre’s Marketplace parking lot.

Everything leads up to Saturday May 10th when the FAAS will host a final reception in the Rainbow Centre food court. The artists’ completed works will be on display and the evening will be capped off with a dance party featuring Organ Mood and les DJs Masqués.

Schedule of Events

Tuesday May 6th
Galerie du Nouvel-Ontario (174 Elgin St.)
Starting at 6 p.m. – Welcome party!

Wednesday May 7th
FAAS Headquarters (Rainbow Centre)
9 a.m. to 6 p.m. – Creating artwork live
11 a.m. to noon – Shopping for a Public : Critical Writing and Public Engagement with Earl Miller

Thursday May 8th
FAAS Headquarters
9 a.m. to 6 p.m. – Creating and presenting artwork live
11 a.m. – L’art visuel s’écrit – Atelier d’écriture critique avec Serge Murphy
4 p.m. – Guided tour

Salon du livre du Grand Sudbury (Radisson hotel)
2:15 p.m. - Table ronde : L’écriture critique en perspectives multiples

Friday May 9th
FAAS Headquarters
9 a.m. to 6 p.m. – Creating and presenting artwork live
11 a.m. - L’art visuel s’écrit – Atelier d’écriture critique avec Serge Murphy
11 a.m. - Shopping for a Public : Critical Writing and Public Engagement with Earl Miller

Saturday May 10th
FAAS Headquarters
10 a.m. to 6 p.m. - Creating and presenting artwork live
11 a.m. – Breakfast discussion with the artists, hosted by Serge Murphy and Earl Miller
1 p.m. – Guided tour
6 p.m. to midnight +
Grand Gala de la FAAS 4
• Book launch of “FAAS 3 : L’art au pied carré” publication
• Final tour of installations and performances
• Electro-Performative Dance Party with Organ Mood and les DJs Masqués



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Ryoji Ikeda: C4I

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Published on : 2014-05-06 01:00:00


For immediate release


Montréal, May 3, 2014 – As part of the second edition of Montréal’s International Digital Arts Biennial (BIAN), the Musée d’art contemporain de Montréal (MAC) is pleased to present the film version of C4I, a majestic work by Japanese artist, composer and performer Ryoji Ikeda, one of the leading names in minimalist electronic music. C4I will be screened in Beverley Webster Rolph Hall at the MAC from May 6 to June 15.

Ikeda, described by the Musée’s Director and Chief Curator John Zeppetelli as “the great poet of our current age of digital exploration,” pursues a practice that explores the rationality, simplicity and intricacy of ultrasounds, frequencies and the essential characteristics of sound. A master of minimalist sound, he takes the manipulation of sonic data to the limits of perception. In Ikeda’s work, the sublime blends with infinity, and the nexus of sensations triggered by his visual and sonic compositions evokes a vast, intangible and strikingly elegant world.

Both a concert and a film, C4I uses data as material and theme, highlighting the ways in which such information shapes our understanding of the world. Video images of landscapes are gradually abstracted into a language of data, while facts, figures and diagrams are used in a montage of dazzling graphic force. Text excerpts elegantly punctuate the on-screen projections. Blurring the lines between nature, science and philosophy, the work subtly suggests a convergence of the real and the virtual. The sound track synchronizes perfectly with the graphical and video images to create a piece of undeniable power and beauty. C4I, with its meticulous composition and technical sophistication, reveals sublime views of reality.

This presentation was organized by Louise Simard, Head of Multimedia at the Musée d’art contemporain de Montréal.

To extend this experience, the Musée d’art contemporain is presenting–in its North American premiere–Ikeda’s superposition at Théâtre Maisonneuve, Place des Arts, next October 11. The superposition project is about the way we understand the reality of nature on an atomic scale and is inspired by the mathematical notions of quantum mechanics. Performers will appear in his piece for the first time, acting as operator/conductor/observer/examiners. All the components on stage will be in a state of superposition: sound, visuals, physical phenomena, mathematical concepts, human behaviour and randomness will be constantly orchestrated and de-orchestrated simultaneously in a single performance piece. Given its world premiere in November 2012 at the Centre Pompidou, superposition was commissioned by the Festival d’Automne à Paris, for its music section.

Ryoji Ikeda was born in 1966 in Gifu, Japan, and now lives and works in Paris. A member of the multidisciplinary artists’ collective Dumb Type, he first attracted attention with his recordings, concerts and installations on the electronica scene in the mid-1990s. In 2001, his work matrix earned him the Golden Nica at the Ars Electronica festival in Linz, Austria, and he was short-listed for the World Technology Award in 2003 and 2010. Ikeda’s first major solo exhibition was held in 2009 at the Museum of Contemporary Art in Tokyo. In 2011, Park Avenue Armory commissioned the work Test Pattern. In 2012, the DHC/ART Foundation for Contemporary Art, at the instigation of its curator at the time, John Zeppetelli, presented Ikeda’s first solo exhibition in North America. Ryoji Ikeda is the recent winner of the Prix Ars Electronica 2014 Collide@CERN.


Source and information
Wanda Palma, MACM
Head of Public Relations
Tel.: 514-847-6232

Ryoji Ikeda, "C4I, AUDIOVISUAL CONCERT", 2004-06
© Ryoji Ikeda
Photo: Kazuo Fukunaga. Courtesy of YCAM (Yamaguchi Center for Arts and Media)

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Branding Terror. The Logotypes and Iconography of Insurgent Groups and Terrorist Organizations

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Published on : 2014-05-05 10:52:34

Branding Terror. The Logotypes and Iconography of Insurgent Groups and Terrorist Organizations. Available on amazon UK and USA.


A book about the visual identity of some of the world's main terrorist organizations wasn't going to remain unnoticed. When it was published by MERRELL last year, every single design blog and magazine wrote about it. Yet, i only discovered the existence of Branding Terror last month, when i had a ridiculously great time at the Graphic Design Festival in Breda (NL.)

In a similar way to what happens with consumer goods, the name, slogans, and visual codes of a terrorist group are not only key manifestations of its identity, they also contribute to the reach and influence of the organization. An anecdote that appears in Artur Beifuss' introduction to the book illustrates the importance and impact of this visual communication. A few years ago, an Italian amateur ­league football club adopted for its players' shirts the logo of the Lebanese terrorist group Hezbollah, changing its name to 'Zassbollah' (a combination of 'Hezbollah' and the name of the team's captain, Luigi Zasso) in the process.

Liberation Tigers of Tamil Eelam (LTTE)

Terrorist mask series #8: IRA (via Branding Terror facebook page)

The book is authored by graphic designer and creative director Francesco Trivini Bellini and by writer and (ex)counter-terrorism analyst Artur Beifuss. Which means that the publication is obviously carefully designed but also that the information about the history, imagery, attacks, ideologies and capabilities of each of the 65 organizations has been meticulously researched.

The authors of the book are conscious that they are dealing with a delicate topic. They approached it in an almost clinical way while acknowledging the suffering of the victims of terrorism.

In his foreword to the book, Steven Heller, a design writer and former Art Director at the New York Times, wrote: The extreme violence committed in the name of these logos makes writing about them in terms of aesthetics or production values seem silly and irrelevant. Yet these terrorist groups are all brands, and are given a certain viability through branding methods. Branding is a tool that has no conscience or morality - it can be used for good or bad, and sometimes for both in tandem.

FAI (Federazione Anarchica Informale) From Branding Terror

I contacted Artur Beifuss as soon as i came back from Breda and he was kind enough to answer my questions:

Hi Artur! Are there logos that stand out from the others? Which ones do you think are the most imaginative, the most efficient (strictly from a design point of view of course)? and why?

Yes, there are some good ones, the Hezbollah logo for example. It perfectly reflects the organizations history and ideology. It is interesting to compare the Hezbollah and Iranian Revolutionary Guards logo. Allegedly the Iranian's founded and trained the group that later became to be Hezbollah. Both logos use the same elements to convey its ideological message. I think the Hezbollah logo is very powerful because it is memorably and easily recognizable.

But more important than the logo is what people will do with this logo. In the digital age, logos can go viral modified and used for all kinds of contexts. It is not uncommon to see fashionably dressed women and men wearing t-shirt with Hezbollah logos. Just google 'hezbollah' and 'girls' to understand what I am talking about. Seeing the logo in such a context tells the recipient that Hezbollah's ideology is indeed applicable in contemporary society. At least more than watching bearded men talking to a camera somewhere in the mountains of Waziristan.

Hezbollah logo

And on the opposite hand, which one do you think is the worst conveyor of ideology?
The one(s) that completely missed the point?

All of the logos analyzed in Branding Terror make some kind of ideological reference. None of them really misses the point. However, there are some logos that are completely overloaded with references and elements, the logo of the Islamic Organization of Uzbekistan as a good example. It has so much Arabic text in it that one does not know where to look first. Also, this particular logo would be lost on all recipients that can't understand Arabic.

Does branding a terrorist organization has to respond to the same rules and requirements than branding any commercial product? Or do you find that other 'laws' are playing?

In a way it has to respond to the same rules, yes. People have to know what you stand for, and the logo should be easily recognizable. However, terrorism means violence and death in most of the times. Even terrorist groups find it difficult to advertise for that. In the letters from Attobotad for example Al-Qaeda media advisors recommended Bin Laden to keep a distance to the Al-Qaeda branch in Iraq because they started beheading people. This is not something that Al-Qaeda central - if you want to call it like this - wants to be associated with. They were losing followers over that.

You used to be a counter-terrorism analyst? Now that sounds really interesting. What did the work involve? And how did you use that background while working on the book? when did it come helpful?

My position involved searching and analyzing information about terrorism in five languages. Through this job I acquired a good understanding of transnational terrorism. This did help me to make the content of the book multilayered. Also, I knew how to find information that gets as close to the primarily source as possible and how to correctly assess them.

I read that you used the official lists of "designated foreign terrorist organisations" of five governments: Australia, India, Russia, United States and the European Union. First of all do the list overlap? Or do they have different definition of what a terrorist organization is?

The definitions slightly differ. And the lists overlap to some degree. But governments tend to put groups on their list that are of relevance to their own geopolitical position. For example many separatist groups from India you will not find on the list of the United States. Globally active groups like Al-Qaeda are listed as a terrorist organization on most of the lists.

After the book was finished, did you get emails from people sending you other logos? And do you now find yourself in front of a long list of logos you wish you could have included? Could you imagine publishing a second edition of the book for example or do you think that what had to be told has already been communicated in the book?

Yes, some people approached us with their own projects and ideas. And we are always happy to get in touch and exchange ideas. Branding Terror was exhaustive as it is at the time of publishing. All organizations that are on the designated foreign terrorist list of which it was possible to track down the logo are included in the book. Branding Terror was set out as an encyclopedia, a branding manual and a collectible item. We like to see it as a work in progress. There are always new groups emerging and designated as a terrorist organization. It would be nice to have the logos of these groups all in one place, preferably in a nicely designed book series.

Babbar Khalsa International logo

RAF logo

Hanns Martin Schleyer under the logo of the RAF (Red Army Faction) and a sign saying "Prisoner for 31 days" in 1977 (via Branding Terror facebook page)

Terrorism is a bit of a tricky subject. It is associated with subversion and violence and that often get people's attention. And it must be difficult not to pass any judgment, political or moral when dealing with the topic of terrorism. How did you approach the topic? Did you struggle to stay neutral? How did you manage that?

Branding Terror is based on information found in Open Sources. It is a technical analysis of the visual communication of terrorist and insurgent groups. The logo is the unit of analysis. Of course many so-called facts can be considered biased since they were collected and collated by people with a certain political and moral agenda in mind. These people can be ELN members in Colombia or Analysts in a Washington think tank. I used analytical techniques I learned in my profession to approach the topic. But of course it is not easy to read over hundreds of dead bodies every day. But I was not there to judge, just to simply collect, collate and analyze the information.

Have you ever received any feedback from any of the organizations you mention in the book?

No, I have not received such feedback.

What are you both working on now? Any new projects you could share with us?

Francesco is taking a creative break at the moment. In the meantime I speak on conferences, in design schools and advice marketing companies about what can be learned from Branding Terror. And yes, coming back to your questions earlier, I do systematically collect logos on the side. The next project is trend research, especially analyzing countercultures of the future.

Thanks Artur!

Views inside the book:




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Marc Audette & Adad Hannah

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Published on : 2014-05-03 01:00:00


Pierre-François Ouellette art contemporain Toronto presents
Marc Audette & Adad Hannah
a CONTACT Photography Festival featured exhibition

May 3 - 31, 2014
Opening: Saturday, May 3rd, 3 pm to 5:30 pm
Centre Space 65 George Street, Toronto M5A 4L8


Pierre-François Ouellette art contemporain is proud to present as part as Scotiabank CONTACT Photography Festival this exhibition which features new works by Toronto-based photographer Marc Audette and Montreal- and Vancouver-based artist Adad Hannah. Unifying these two bodies of work are the artists' expressive interaction between photographic history, nature, and current technology.

Audette exploits and explores the conventions and technological features of photography, establishing both the limits and the possibilities of the image while creating wonder and incongruity. Through videos, photo projections, back lit and still photos with video overlays, he re-stages core processes for viewing, imagining, and communicating. The Line is a series of photographs in which Audette plays with a custom-made, portable lighting system in forests of the Americas. The bright line of light that runs through the photographs operates like a drawing tool, exploring and embracing the landscape while suggesting narrative possibilities.

Hannah is known for his signature video, photography, and installation works that often reference or re-enact famous artworks. Hannah’s Blackwater Ophelia painstakingly restages the 1852 painting Ophelia by John Everett Millais, drawing attention to the artifice of photographic images. The exhibition also includes works from The Russians, a series set in the Russian countryside, which are based on the early colour-photography techniques of Sergei Prokudin-Gorskii.

Marc Audette studied fine art at the University of Québec in Hull and earned a Masters in Visual Arts from York University. His work has been shown in solo and group exhibitions nationally and internationally including Le Mois de la Photo à Montréal, le Musée national des beaux-arts du Québec, Gallery 44, Toronto, MacLaren Art Centre, Barrie and Digital & Video Art Fair (DiVA), New York. He is a founding member of L’Association des groupes en arts visuels francophones (AGAVF), a national arts service organization that represents visual arts groups active in Francophone communities outside the Province of Quebec. In addition to having taught in the Faculty of Fine Arts at York University’s Keele campus, Audette teaches in the Multidisciplinary Studies Department at the Glendon campus, and has been curator of the Glendon Gallery since 2001. In 2009, Audette was awarded the Chalmers Award for Creativity and Excellence in the Arts by the Ontario Arts Council.

Born in New York in 1971, Adad Hannah lives and works in Montreal and Vancouver. Hannah received his BFA from Vancouver’s Emily Carr Institute of Art and Design in 1998 and his MFA from Montreal’s Concordia University in 2004. Hannah has completed projects in diverse locales, with casts that often challenge and update the meanings of the works he’s referencing. In 2009’s The Raft of the Medusa (100 Mile House), he recreated a famous Géricault painting using BC high-school students and treeplanters; in 2008, Hannah made a series of videos in Madrid’s Museo Nacional del Prado that show visitors interacting with works in unusual ways. Other pieces, such as 2010′s The Russians, are more documentary in nature, providing extended “slice of life” scenes that still play on the tension between moving and still images. Hannah has exhibited widely, including at the Prague and Liverpool biennials. He has been longlisted for the Sobey Art Award three times, and his work is in the collections of the National Gallery of Canada and the Musée des beaux-arts de Montréal, among others. On view also in Toronto until June 28 is Adad Hannah solo exhibition "Three Generations (Kodiak Art Club, 1953) at Koffler Centre of the Arts - not to be missed!

Please visit the gallery website for more information and to view the works.


For more information please contact info@pfoac.com

image credits:
Marc Audette, Castlegar BC, 2013, flexprint, 39" x 56" edition of 3
Adad Hannah, Blackwater Ophelia, 2013, c-print, 39" x 64", edition of 7

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Jiri Malik

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Published on : 2014-05-03 01:00:00



         of  JIRI MALIK


“A picture tells me itself”.                                              Wittgenstein

The duty of an artist is to be free of fashions of the art world.
The only thing that matters is his/her inner voice,
it is to walk upon a swaying tightrope.                      Jiri Malik 2014


OPENING: Saturday May 3, 2014  2-5 PM (artist present)

open every Saturday, 2-5PM, exhibition closes on May 24.

The Museum of New was originally founded by artist Joseph Drapell and poet Anna Maclachlan in 1998 to promote the art of the New New Painters and other artists. To complement the Museum’s wider mandate, last year the gallery doubled in size to 5,300 sq.ft. with the addition of a second floor. Located in the heart of Toronto’s Queen West District, the entire venue is now available to artists and curators who want to explore new exhibition possibilities.

                                                                                          CONTACT: joseph@drapell.com


123 Bellwoods Avenue (rear)

Toronto, Ontario, CANADA
M6J 2P6
T 416 603 4111

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Robert Hengeveld: promised lands

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Published on : 2014-05-03 01:00:00

Macdonald Stewart Art Centre presents:
Robert Hengeveld: promised lands

image image

Left: Robert Hengeveld, Howl, 2013; Right: Robert Hengeveld, Kentucky Perfect, 2010 (detail)

Opening Reception at Macdonald Stewart Art Centre (358 Gordon St., Guelph): Saturday, May 3 from 2-4pm
Torontonians! Catch the ARTBus @ The Gladstone Hotel: Pickup at 12:30pm | FREE | Contact info@msac.ca to reserve your seat

Artist Talk & Book Launch at NO Foundations (1082 Queen St. W., Toronto): Saturday, June 14 from 3-5pm
Robert Hengeveld in conversation with curator Julie René de Cotret

Toronto artist Robert Hengeveld harnesses the power of cutting edge technologies in three large kinetic installations at the Macdonald Stewart Art Centre (MSAC), through which the artist seeks to reveal the curiosities of the natural world and explore our understanding of and relationship to landscape.

The urban backdrop of our lives often lacks the awe that the natural world inspires—so we invest considerable effort in cultivating desirable environments from manicured lawns to koi ponds and rock grottos. Fodder for the artist, Hengeveld playfully reinvents these synthetic environments in promised lands. These immersive environments fill the MSAC's main floor galleries.

Hengeveld's musings take us on a "tall tale" journey into environmental facsimiles, never short of inventiveness and always astounding. In the making of unbridled rein, for example, Henegveld uses a CNC operated cutter to impose a desired form and texture upon a grassy knoll. Through the joint efforts of artist, man, and machine, the "lawn" will thrive in the gallery under plasma lights and a mechanized watering system for the duration of the exhibition. The viewer is transported from one installation to the next, each constructed with the whimsical impulses and ingenuity common only to humans in search of "promised lands".

The sheer scale and ambition of these elaborate animated works speaks to the enthusiasm with which Hengeveld utilizes and adapts new technologies in benefit of his art practice, celebrating discovery and enjoying the adventure that is knowledge. promised lands, presented in conjunction with the University of Guelph's 50th anniversary, demonstrates the wealth of possibilities offered by the alliance of art and science. Hengeveld is the artist in residence at the University of Guelph's School of Environmental Sciences (2011-2014).

promised lands is organized by the Macdonald Stewart Art Centre (Guelph) in collaboration with the School of Environmental Sciences and the Department of Plant Agriculture at the University of Guelph and with support from Hallwalls Contemporary Arts Centre (Buffalo, NY), the Canada Council for the Arts, and the Ontario Arts Council.

promised lands is guest curated by Julie René de Cotret for the Macdonald Stewart Art Centre (Guelph).



Macdonald Stewart Art Centre
358 Gordon St., Guelph, ON N1G 1Y1
TUE – SUN 12-5pm
Facebook: https://www.facebook.com/pages/Macdonald-Stewart-Art-Centre/10806818998
Twitter: https://twitter.com/MSAC

Contact Information:
Robbyne MacKenzie
519-837-0010 x2

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