Reception: Saturday December 10, 7 to 9 pm
Every month, Gallery 44 features a monthly discount on equipment and facilities rentals for its members. As an artist-run centre, Gallery 44 maintains affordable production facilities and equipment for artists, which we adapt to advances in photographic technologies while continuing to maintain fully equipped black & white wet darkrooms.
Frances Patella: Still Revolutions | Pieter Bakker: ORDOGENUS II | Dominique PrÃ©vost: Changing Light
Propeller Presents 3 concurrent exhibitions
Nov 23 - Dec 4, 2011
Opening: Thursday November 24, 6 - 9 p.m | *Artist will be present at reception, and on Saturdays & Sundays
Main Gallery | Frances Patella | Still Revolutions |
"It is the visual change in the state of things which will reveal their essential reality". - Roy Ascott
Frances Patella explores issues of time, perception and permanence. She questions the conventional idea that a photograph represents just one instant and point of view. Using photographs of the same areas taken at different intervals of time, she integrates them into larger mosaics. Patella photographs prescribed burns of the endangered Oak Savannah environments of Southern Ontario. The burns stimulate the germination of native species. Her work interprets Marshall McLuhan's term, "all-at-once-ness", to show growth and change of these ephemeral environments simultaneously.
The photographs are shot in fil and paint is used to unite the composites and add another dimension to the idea of permanence. The photographs will eventually fade, but the painted areas will last much longer. The images will change over time, like the environments themselves.
Born in Italy, Patella works and lives in Toronto. She holds a BFA form York University, and a B.Ed. from the University of Toronto. She also studied at the University of Western Ontario, and in Florence Italy. Patella has exhibited extensively and sits on the Boards of Propeller Center for the Visual Arts and the Toronto Outdoor Art Exhibition. She has won numerous awards, including a mid-career grant from the Ontario Arts Council.
Main Gallery | Pieter Bakker | ORDOGENUS II |
In this new series of encaustic and mixed media paintings, Pieter Bakker's work deals with abstraction as
an approach towards semi-recognizable imagery.
Bakker represents a world where the lines between "order" and "genus", in the taxonomical sense, disintegrates. There is also allusion to the ever-present genetic manipulations that our world is now facing.
The artist's work enhances free association in order to allow the mind to be creative in its interpretation and understanding of reality.
North Gallery | Dominique Prévost | Changing Light |
While observing the landscape, I go back and forth between the fore-ground and the back-ground. What was crisp and gleaming one moment becomes evanescent and furtive. From season to season, dusk to dawn, light is fleeting and constantly changing.
Dominique Prévost juxtaposes colours, textures and patterns to suggest movement within the landscapes. The artist's sensibility revels in the fluid uncertainty of watercolour, her medium of choice. In her work she provokes accidents to lead transitional moments. Stains mark the passing of time and emphasize the pigment's particularities on different surfaces. Patterns emerge and become integral to the compositions. The geometric configurations, with the colours and the spontaneous gestures, remain distinct, meet and activate the surface. Prévost uses handmade papers from Japan (washi) as well as other papers from France and England, each one offering a different set of qualities.
Dominique Prévost was born in Québec City and now resides in Oakville, Ontario. She has exhibited extensively in the GTA since the early 80's and her work can be found in many collections here and abroad. A past recipient for Best Watercolour Award and Honourable Mention at the Toronto Outdoor Art Exhibition, she is a Member of Propeller Centre for The Visual Arts and an Art Educator at Oakville Galleries.
For more information contact:
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Published on : 2011-11-22 00:00:00
5 Vietnamese contemporary artists
Exhibition Dates: Tue. Nov. 22nd – Mon. Dec. 5th, 2011
Location: Art Square Gallery
Opening Reception: Thurs. Nov. 24th; 6:30 – 10 pm
About the Exhibition: 5 artists from Vietnam's capital Hanoi,
The art works in The East Gallery's second Vietnam group show all have a dreamlike quality -- ranging from Trinh Quoc Chien's Buddhist-inspired mixed media lacquer paintings and Ngo Van Sac's intricate wood engravings to Nguyen Minh Thanh's haunting, poetic water colours.
'Hanoi Dreams' marks the Canadian debut for all of the five emerging and established artists.
Artists • Trinh Quoc Chien
About THE EAST GALLERY: THE EAST GALLERY's mission is to be a gateway to the vibrant contemporary art scenes of East and Southeast Asia. We want to introduce Canadians to a wide range of exciting modern Asian artists, both established and emerging.
Through a range of events such as book readings, lectures and film nights, visitors will gain a greater understanding of the cultural, historical, and social context of the art and artists we are representing. Furthermore, art lovers can keep up-to-date on the latest trends and happenings in the contemporary Asian art world through The East Gallery's regular updates on Facebook and Twitter.
Initially, we will be organizing exhibitions in different locations around Toronto before taking over the Art Square Gallery space (334 Dundas St. West) on a permanent basis on July 1, 2012.
To learn more about The East Gallery and the artists we represent, or to sign up for email invitations to our events, please go to our website or contact Andrew FitzGerald at:
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Published on : 2011-11-21 11:43:31
I wonder how Jake and Dinos Chapman would have reacted had someone told them in 2004 that their etchings defacing children colouring books would end up being shown in a cozy family exhibition at the V&A Museum of Childhood. Amusingly, the curators placed the works at children's level so you have to bend down to have a look at them. Children, however, are too busy running around the train models, teddy bears and robot displays to care about the exhibition Jake and Dinos Chapman: My Giant Colouring Book
Most of the etchings on view at the museum are based loosely on join-the-dots drawings from children's picture books. Except that the artists strayed from the assigned dot-to-dot path and devised a word of their own. The subjects include sabre-toothed owls, psychedelic grinning cats and bears trapped in the belly of the Loch Ness monster. In describing the series, Dinos Chapman said: "(They) are about how wrong you could make an image."
Jake and Dinos Chapman: My Giant Colouring Book is up at V&A Museum of Childhood in London to January 8 2012.
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Published on : 2011-11-21 01:59:45
I suspect that there are very few places left on this planet that haven't been discovered by intrepid explorers. Yet, Trevor Paglen has found and investigated territories that still need to be documented and exposed to the world. If you've never seen his photographs, i suggest you swing by the Z33 House for Contemporary Art Center in Hasselt, Belgium. They are part of Architecture of Fear, an exhibition that examines how feelings of fear pervade our daily life.
For his Limit Telephotography series, Paglen used high powered telescopes to picture the "black" sites, a series of secret locations operated by the CIA. Often outside of U.S. territory and legal jurisdiction, these locations do not officially exist, they range from American torture camps in Afghanistan to front companies running airlines whose purpose is to covertly move suspects around.
Paradoxically Paglen's images deepen the secrecy of their subject rather than uncover it. Limit-telephotography most closely resembles astrophotography, a technique that astronomers use to photograph objects that might be trillions of miles from Earth. Paglen's subjects are much closer but also even more difficult to photograph. To physical distance, one has indeed to add the obstacle of informational concealment.
The other photos the artist is showing at Z33 are part of The Other Night Sky which tracks and documents classified American satellites in Earth orbit. With the help of a network of amateur "satellite observers" and of a specially designed software model able to describe the orbital motion of classified spacecraft, Paglen could calculate the position and timing of overhead reconnaissance satellite transits. He would then photograph their passage using telescopes and large-format cameras .
I've seen his works in numerous contexts, from new media art festivals to activist conferences and contemporary art exhibitions. However, the more you see Paglen's work, the more questions you want to ask him. I've finally decided to catch up with him and interviewed him via skype for the upcoming Z33 catalogue:
How does you desire to document and reveal coexist with the need to express yourself as an artist? How does your formation as a geographer feeds your art practice and vice-versa?
I guess it's all mixed-up. For me it's difficult to dissociate what is geography from what is art or journalism in my practice. Art has its own methods and the same is true for geography and journalism. Each field can give you ways to ask questions and communicate that other fields can't give you. What i've tried to do is make things a bit more complicated. There are artists pretending to be anthropologists or scientists but i've asked myself "What happens if art is not some sort of degraded, diluted form of pseudo social science or geography but if it is actually also geography or social science in its own right?" I've always been an artist but ten years ago i started studying geography and social science and i'm trying to be as good at it as someone for whom this is the main profession.
Isn't all this government secrecy a bit disheartening sometimes? It seems to have no boundaries nor end, it even appears to keep on growing. Do you ever feel like it's time to close the chapter and dedicate your time to a subject that is easier to circumvent? What keeps you going?
Nothing is particularly easy to understand. People have tried for thousands of years to understand flowers.
In my case the question is about secrecy and i'm interested in the aesthetics of it as much as i'm interested in politics. How does the State look like now? And looking at secrecy is part of who we are now.
I'm also interested in the history behind the individual images of "Limit Telephotography". How much time, energy does it typically take to get one of those images? How much research do you have to make, miles to go, people to contact?
It's different from one image to another. Each of them has taken enormous time to make. The places they picture are very remote and it takes a long time to get there. I often travel from the Bay Area and it can take a 10 hour-drive to get to my destination. After that i have to hike with my telescope and heavy backpacking.
The other thing is that photographs don't look very good the first time so i have to come back time and time again. One photo took me six years. I went to the location twice every year until i got the image i wanted. That can happen not only because the conditions are not what i want but also because i learn a lot in the process, i learn how to see the place. I need some time before i can understand how a place should look like in photo.
Both Limit Telephotography and The Other Night Sky have received wide coverage in the press. Did this attention to 'the black world' have some consequence in the access you had to information?
It's easier now! People get in touch with me because they've heard of who i am and because of that too, it's easier to stay out of trouble.
We have this idea that secrecy is this perfectly oiled machine but the secrecy system is not all that organized. Also we imagine that there is one single brain orchestrating secrecy behind the whole State but this is not the case. Lots of things are contradicting each other. The secrecy system is internally inconsistent but also incoherent.
Who contacts you exactly? People from the military?
Yes, but i'd rather not go into details about who they are.
But now that your books and photos have put the spotlight on what should not be revealed, have you ever heard of bases that had to be closed or covert activities that had to be re-scheduled because of the attention you brought to them?
Yes! A lot of the infrastructure of the rendition program had to be modified because of the way journalists, human right activists and researchers have turned it into a political issue and made it public. But now we have the drone assassination programs which are a kind of version 3.0. of the rendition program.
What should the Black World matter to us beyond the anecdote and the fascination for the hidden? Why should we fear? We are not terrorists after all...
Well, I can only talk from an American perspective. The Black World is a State that is inside the State and it works differently. It's monarchic in the sense that it's not a democracy. It is run by generals and ultimately by the President. There's very little overview of it by other parts of the government and obviously by the people. It has a tendency to change everything around it to its own image.
For example, if you want to build a secret plane then you need first a secret factory to build it. Thousands of workers and managers will be working in that plane factory, they have to swear secrecy and you have to ensure that they will indeed keep the secret. That means that social engineering will also have to be organized. All this will require a lot of money which you obviously can't get from the congress. So you have to find ways to fund your project without ever telling anyone how you're going to use that money. Once you have the planes, you need a secret airbase. But how do you create a place on the surface of the Earth that will remain secret? So you build that place and claim that it doesn't exist. Everything you do is outside of the court system so you also need to set up new laws which are actually not even laws since they haven't been voted by the congress. So you start to create your own laws and legislation. Over time, the rest of the State starts to look more and more like the secret part of the State. It's that structural organization that people should be concerned about, because illegal things are bound to happen where there is no oversight. That's what happened with the rendition flights and torture program and recently with the drone assassination program.
Architecture of Fear remains open at Z33 in Hasselt, Belgium through December 31, 2011. Entrance is free.
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Published on : 2011-11-21 00:00:00
Concordia University's FOFA Gallery presents:
COMBINE 2011: Annual Undergraduate Student Exhibition
COMBINE 2011 is the 26th annual exhibition of Concordia Faculty of Fine Arts undergraduates. The exhibition includes a variety of media: photography, sculpture, drawing, video and installation. Juried by representatives from student-run organizations the VAV Gallery, the Fine Arts Student Association and the Art History Reading Room. The assembled works demonstrate a broad spectrum of aesthetic and technical concerns, reveal current interests in contemporary art and showcase an unparalleled vitality.
COMBINE 2011 is the 26th annual exhibition of Concordia Faculty of Fine Arts undergraduates. Juried by representatives from student-run organizations the VAV Gallery, the Fine Arts Student Association and the Art History Reading Room, the exhibition includes a variety of media: photography, sculpture, drawing, video and installation. The assembled works in COMBINE 2011 demonstrate a broad spectrum of aesthetic and technical concerns, reveal current interests in contemporary art and showcase an unparalleled vitality.
Undergraduate students with work on display are:
Jérémie Albert | Amy Ball | Simon Belleau | Jessica Campbell | Jeremy Dabrowski | Anna Edell | Maura Lisa Forese | Claire Forsyth | Thea Govorchin | Jessika Hade-Précourt | Jean-François Hamelin | Eli Kerr | Irene Lepiesza | Marie Dauverné | Matthew Mewett | Marija Mikulic | Eve Tagny | Ngoc-An Trinh | Véronique Vallières
The FOFA Gallery is proud to announce that COMBINE 2011 represents the multiplicity of approaches to cultural production fostered within the Faculty of Fine Arts. This year's exhibition is accompanied by a catalogue written entirely by students from the Art History undergraduate program featuring responsive texts from Lisa Hoffman, Madeleine Paré, Clinton Glenn, Marie-Joëlle Duchesne, Marie Ohlinger, Katharine Stein, Sarah Nesbitt, Pamela Mackenzie, Marie-Michèle Plante, Morgane De Bellefeuille, Eva-Loan Ponton, Béatrice Cloutier-Trépanier, Pascal Robitaille, Marie-Hélène Busque, Katerina Lagassé, Christelle Proulx and Cliodna Cussen. The publication was designed by undergraduate Design and Computation Art students Vincent Beauchemin and Kerry MacKinnon.
The project recognizes the support of the Fine Arts Student Alliance, Concordia Council on Student Life, Translation Services in the Office of Research, and Art History faculty member Dr. Anna Waclawek, as well as the outstanding efforts of Alannah and Rossanne Clamp, last year's VAV Gallery co-directors.
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Published on : 2011-11-20 03:56:30
I got back yesterday from another edition of the Gamerz festival in Aix-en-Provence. I don't think there's a festival anywhere in the world i visit with more enthusiasm. First of all, it takes place in Aix-en-Provence which is always a bonus. But more importantly, the festival has a strong, unique personality. Gamerz, the organizers would tell you, is only a pretext to invite artists, designers, researchers whose work they admire. And they even have to do game art. The opening performance, for example, wasn't the compulsory electronic music performance, it was an astonishing concert given by Choeur Itineris, professional choir singers interpreting a repertoire of mobile phone ringtones. The rest of the festival programme involves robots, dipterous experiences, video art, food artists, a 'half ship, half woman' DJ and other surprising works. And game art too.
What makes the festival worth the trip for me is that Gamerz always manages to scout young, talented artists i had never heard about. Before i get back to you with a proper report, here's a brief entry about Geraud Soulhiol's extraordinary drawings. His Arena series portrays existing football stadium that are not only decaying and crumbling but have also been colonized by more traditional icons of architectures such as cathedrals, local monuments, skyscrapers designed by starchitects, fortresses, factories, etc. The feeling of desolation is increased by the fact that the hybrid structures are presented in the middle of an empty white page, like carcasses abandoned in the desert.
The images on this blog post are quite miserable but the large scale ones are spectacular and it takes a few minutes to uncover all the details.
What brings us back to the world of game art is that Geraud Soulhiol was inspired by the spirit and aesthetics of strategy video games, in particular the isometric perspective many of them adopt.
This one is for Zoe:
Video interview of the artist (in french.)
Gamerz festival is free and is open throughout the city of Aix-en-Provence until Sunday, November 27 2011.
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Published on : 2011-11-20 00:00:00
Pedie Wolfond: Lumen
Opening Reception and Book Launch: Sunday, November 20 from 2-4pm
As one of Canada's leading abstractionists, Pedie Wolfond strives for luminescence, balance, and movement within each composition, each stroke human in scale and sentiment. Her conscientious and emotive approach to colour and light is rendered in paint on canvas. The major solo exhibition, Lumen, marks Pedie Wolfond's sixth decade in art and focuses on her recent practice. Lumen is curated by Judith Nasby for the Macdonald Stewart Art Centre in Guelph, Canada.
Pedie Wolfond is represented by the Lonsdale Gallery, Toronto.
Location and Contact Information:
Macdonald Stewart Art Centre
Hours: Tuesday to Sunday, noon to 5pm
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Cutline for Thumbnail:
Pedie Wolfond, Tumble, 2004 (acrylic on canvas, 48.5 x 69 inches)
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