Mandy Barber, Steve Dutton, Percy Peacock
From January 14th 1999 to February 20th 1999 Mockapocalyptics
Mockapocalyptics is a gathering of video, photographic and digital work by three British Artists. Mandy Barber currently living in Toronto is working alongside the collaborative practice of Steve Dutton and Percy Peacock. In this, their first three-way collaboration, they are suggesting an overlapping of their distinct practices within the discourses of the disaster and the uncanny.
Presented in the space of the gallery, playful model scenarios tinged with hints of extreme violence repeat endlessly on video loop. Props appear upon a table top, suggesting the construction of some model townscape or landscape. Occasionally movement takes place upon the table, a model house is moved here, a "mountain" placed there; buildings are constructed out of poor materials, bits of wood and dust, and then trashed jubilantly in a spirit of recklessness and glee.
In the presence of this cycle of construction and deconstruction are also a series of large scale photographic and digital works. Dutton & Peacock’s photographs of seemingly banal municipal interiors are displayed upside-down alongside Mandy Barber's images of transitory non-places of travel and consumption. Barely mediated, the uncanny photographic works of Dutton & Peacock present spaces which appear simultaneously possible and impossible; wavering between the recognizable and the unameable. Turned upside-down, the suffocating weight and blandness of the institutional space expands into something lighter but more difficult to grasp. In Barber's work fantasy and reality become blurred in seductive and hyperreal images of climate controlled spaces and systems of conveyance. What initially appear as benign and ubiquitous spaces and events of the everyday begin to reveal an incipient tension which lies at the heart of common spaces, actions and representations.
Dutton and Peacock received the financial support of Sheffield Hallam University, Yorkshire and Humberside Arts, and Photo 98.
Mandy Barber came to Canada in 1996 to undertake an MFA at the University of Windsor. Following her graduation in September 1998 she now lives and works in Toronto. Her most recent exhibItions include, "Public Order" at the Art Gallery of Windsor 1997 and the "Pekao Gallery Toronto Summer Group Exhibition" in 1998. She also has a forthcoming two person exhibition at YYZ, Toronto in March 2000.
Dutton & Peacock is an artists’ collaboration between Steve Dutton and Percy Peacock. Both artists have exhibited individually at a national and international level. They began collaborating on certain projects in 1996. Their collaborative work has recently been shown in Musée Imaginaire ( parts one and two ) at the Museum of Installation in London, England and at the Lewisham Arthouse. Recent shows include an installation at the Art Gallery of Windsor, Ontario and a major Photo 98 commission for Rotherham, England. Forthcoming exhibitions include " A disturbance of memory on the Acropolis " at the Centre for Freudian Research, London, England in early 1999. Both artists lecture at Sheffield Hallam University in the School of Cultural Studies. Steve Dutton is M.A. Fine Art Course Leader and Percy Peacock is Sculpture Course Leader.
Steve Dutton, Percy Peacock and Mandy Barber are also founder members and directors of S1 Artspace/Projects in Sheffield, England.
- Lamarche, Bernard, «Branchés en direct», Le Devoir,, 23-24 janvier 1999, p.B13.
- Miller, Marcus, «Speed Demons», Hour, vol. 7, no 4, 28 janvier – 2 février 1999, p.22.
- «Fast Forward. Mockapocalyptics», Canadian Art, hiver 1999, p.17.
Robin Dupuis, Pierre Fournier, Rémi Lacoste
From January 14th 1999 to February 20th 1999 Fin de siècle : Speed
Commissaire: François Dion
The third part of the Fin de siècle project focuses on the notion of time. The title refers to speed as it is imposed upon us by technology and its endless search for efficiency and performance. The contemporary art context does not make do with the too simplistic equation of "time=speed." The works presented in this exhibition account for the complex relations to time that mark contemporary artistic practices. "Speed" thus refers to the perception of time and the technological context that affects it, and to how this perception is translated in the context of today’s art. How do artists respond to the speeding-up and lack of time that characterize our era?
If the impact of technology on art raises the question of a certain "frame-up" governing our behaviourial patterns and of an increasing space contraction due to technological advances, the exhibition addresses a wider issue concerned with the "quality" of our relationship to things. Moreover it does not dismiss the notion of contemplation and vigil since "Speed" also evokes states of trance and abandonment.
Robin Dupuis is a video artist and founding member of the collective "Perte de signal". His tapes have been presented in Québec and France, including the Montréal Festival international du nouveau cinéma et des nouveaux médias in 1998. He has contributed to the editing of several video productions by Québécois artists. He lives and works in Montréal.
Pierre Fournier is a sculptor and holds an MFA from the Université du Québec à Montréal. His work has been shown mainly in France and Québec, including Galerie Christiane Chassay, Occurrence, Axe Néo-7 and Oboro. He is currently working on a major exhibition of his work at the University of Sherbrooke Gallery. Pierre Fournier lives and works in Montréal.
Rémi Lacoste recently graduated from Université de Montréal. In 1998 he produced a documentary entitled "Tekhnê" which was presented at the last Festival international du nouveau cinéma et des nouveaux médias. He is a founding member of the collective "Perte de signal" and also member of the organizing committee of the 7th and 8th Événement interuniversitaire de création vidéo. He lives and works in Montréal.
François Dion is a critic and a curator. He has worked with various cultural organizations in Montréal and is co-publisher of CUBE. He has organized, among other exhibitions, "Emprunts" (Galerie Vox) in 1995 and "Les présents relatifs" (Quartier Éphémère and Centre d’art contemporain de Rueil-Malmaison) in 1997. He is currently the director of Gallery 101 in Ottawa.
- Lamarche, Bernard, «Branchés en direct», Le Devoir, 23-24 janvier 1999, p.B13.
- Miller, Marcus, «Speed Demons», Hour, vol. 7, no 4, 28 janvier – 2 février 1999, p.22.
Laurie Walker, Pavane pour une infante défunte (détail), 1997.
From February 27th 1999 to April 3rd 1999 Exposition solo
Laurie Walker’s most recent work investigates mortality, transcendence, and the notion of the soul while continuing her exploration of aspects of transformation as manifested in such diverse fields as science, religion, nature, alchemy and mythology. These themes have arisen naturally from broader concerns which have always informed her work, namely the relation between mind and matter, nature and culture, a search for human significance in the natural world.
The works selected for the gallery space also stage the transience of life through the notion of collection and index. Pavane pour une Infante défunte (Pavane for a Dead Princess) takes its title from the well-known music by Maurice Ravel. The work resembles a stone sarcophagus for a child with an array of indigenous and exotic butterflies lining the silk interior. The butterflies’ rich colours create a royal tomb while their power of metamorphosis makes them strongly symbolic. They are nonetheless presented as quite dead and fragile specimens, the pins securing them in place lending a sense of discomfort to what is often referred to as one's "final place of rest."
As soap bubbles silently escape from a pile of rocks and rise to a seemingly arbitrary fate, Pulvis et Umbra (Dust and a Shade) speaks of the boundary between the animate and the inanimate. The title derives from an essay by the Scottish writer, Robert Louis Stevenson, in which he questions why we continue to strive despite our disheartening failures. Walker’s titles are worth considering as they shed light on the origin, meaning and complexity of her work. In a smaller work, lit from above by a fluorescent halo, a child’s stature again serves as a reference point while the title evokes a biblical theme. Jacob's Ladder weaves together Eastern and Western notions of the spirit and its relation to the body. The ladder-like quality of a human backbone is reiterated in the gold leaf pattern applied to the bone, and the biblical story is thus reinterpreted, the path to transcendence now located within the body. The image of a coiled serpent carved around the stone core sample at the base of the piece would tend to suggest evil in the context of the biblical reference, but the image takes on a very different meaning with regard to the Kundalini yoga of Buddhists and Hindus. Kundalin means "coiled up" and refers to the spiritual energy which is pictured as a little female serpent coiled around a lingam, a symbolic male organ at the base of the spine, the base of the body. The goal of the yoga is to wake the serpent and bring her up the spine through seven centres. While this is a recondite concept, its image comes astonishingly close to Walker’s interpretation of "Jacob’s Ladder."
Laurie Walker thanks the Canada Council, the Conseil des arts et des lettres du Québec, Stéphane Le Tirant and Al Orr. The artist would also like to point out that no wild butterfly populations were affected by this work.
Laurie Walker has exhibited widely in Canada since receiving her MFA from the Nova Scotia College of Art and Design in 1987. In Montreal she exhibited for a number of years at Galerie Christiane Chassay and had an exhibition at the Musée d’art contemporain de Montréal in 1994. More recently she has had two-person exhibitions at the Agnes Etherington Art Centre in Kingston, the Macdonald Stewart Art Centre in Guelph, the Musée régional de Rimouski, and participated in "New Science" at The Edmonton Art Gallery. She currently teaches part-time at the University of Ottawa and will be exhibiting in Dortmund, Germany next year.
- Entrevue à la Société Radio-Canada, Émission «Midi Culture» de Gilles Daigneault, 8 mars 1999.
- Horne, Stephen, "The Collector",Canadian Art, Fall 1999, p. 114.
- Lamarche, Bernard, "Branchés en direct",Le Devoir, Saturday – Sunday 23 – 24 January 1999, p.B-13.
- Latendresse, Sylvain, "L’instant d’une éternité",Vie des arts, 176, Fall 1999, p. 73.
- Miller, Marcus, "Between a rock",Hour, March 18 – 24, 1999, p. 28.
-"Ste.Catherine West",Vie des arts, 174, Spring 1999, p. 82.
From February 27th 1999 to April 3rd 1999 Double
In some of her most recent work, Lyn Carter uses fabric as a substitute for skin, the forms she is concerned with suggest outside and inside at once. These works present forms that are dual garment and body. Heart, lung, bladder, the most private (our insides) are worn (exposed). The store bought cloths that make up these works carry patterns that complex the surface further. The deep blood red fabric of one of the shirt/heart forms in Double is covered with cupid images. The chintz fabric used for a shirt/lung form, normally used for interior decorating, has the appearance of a schema of veins.
With an ever increasing technological means to see inside our bodies or our personal lives, the body’s skin feels more and more, said the artist, like a very thin and precarious sheath, barely able to contain or cover its contents. In the English language to «keep one’s shirt on» is to refrain from becoming angry or impatient; to remain calm. To «lose one’s shirt» is to lose all that one possesses. The shirt and in particular the well turned collar signals composure and self containment. In Double shirt after shirt with pattern after pattern, suggests that the construct can no longer mask or protect the flesh, blood and desire that lies just below the surface.
Lyn Carter studied textiles and graduated from Design program of Ontario College of Art in 1978. In the years following she exhibited mostly sculptural work that used textile as an art medium. In the mid-1980’s she organized a touring exhibition, "Clothing as Image". Since that time the sculptures that she has exhibited have become more site specific in their installation and have employed a wide range of materials. In general her work explores the relationship between the internal self and the external human body. In 1994 she completed an MFA at York University and works from her thesis exhibition "Freud’s Mouth" were seen in "Heavy Mental" at the Power Plant Gallery in Toronto (1995-96). Most recently her work was exhibited in "Between Sense and Place" at the Winchester Gallery in England (1997) and in "Made to Measure" at the Lonsdale Gallery in Toronto (summer 1998). She will be showing a new body of work in a solo exhibition called "Balance" at the Red Head Gallery in Toronto (February 10th –March 6th 1999) and also in Toronto, she will be included in the group exhibition "Cluster" at Pekao Gallery (February 19th to March 13th 1999).
From April 17th 1999 to May 22nd 1999 niibiwe / behzig, plusieurs / seule, ------- / -------
Toronto artist, Rebecca Belmore will present an installation work at Optica, her first solo exhibition in Montreal. Her installation work, diverse in media and form, persists in exploring the complex relationships between us and nature ; the human body and site. In her sporadic use of performance art she is drawn to the agility of this medium and views it as a tool to be used and set aside. Her casual use of performance art allows her to respond to issues of personal interest and explore psychological environments.
In the summer of 1990, La Centrale/ Powerhouse Gallery invited Rebecca Belmore to speak about her work. She chose to invite Charlotte Childforever to accompany her. Ms. Childforever, talked about Belmore’s work in the Anishinabe (Ojibway) language. The artist, a non-Anishinabe speaker, read an English translation of the presentation creating a performance on language.
In 1996 she participated in "METISSAGES", a group show organized by the Centre Est-Nord-Est and presented at Optica. Once again, Rebecca Belmore’s piece titled Imposition, a collaboration with Florene Belmore, became a site of resistance dealing with the gap between cultures. Texts in Anishinabe were superimposed on video images ; a close-up shot of a strong river current and another of cloud movement across a sky. The texts that accompanied the evocative images remained voiceless for those visitors unfamiliar with the Anishinabe language. Two monitors were embedded in opposing walls, painted the colour of the occupying forces ; one blue, the other red. Pine needles fixed on a square trellis acknowledged the land and celebrated the meticulous and quiet work of weaving. « Dealing in imagined geographies of community, identity and nature, the work of Rebecca Belmore interrogates usual configurations of location, unmasking imagined relationships to nature and filling the abstractions of identity politics with heartfelt renderings of everyday life.» (Marilyn Burgess, «The imagined Geographies of Rebecca Belmore», Parachute, no 93, March 1999, pp.12-20). nibiwe / behzig, plusieurs / seule is an installation, is a continuation of this approach.
April 17th, 1999
Performative action by the artist during the opening
Rebecca Belmore was born in 1960 in Upsala, Ontario. She studied at the Ontario College of Art in Toronto. She has done performance and installation work since 1988. She has had several exhibitions across Canada, including Wana-na-wang-ong at the Contemporary Art Gallery (Vancouver, 1993), "Ayumee-aawach Oomama-Mowan: Speaking to Their Mother" at YYZ (Toronto, 1993), "Tourist Act #1" at The Institute of American Indian Art Museum (Santa Fe, 1995). Belmore also took part in "Interrogative Identity" (Grey Art Gallery and Study Center, New York University , New York City, 1991), the Fourth Havana Biennial (Cuba, 1991), "Land, Spirit, Power: First Nations" at the National Gallery of Canada (Ottawa, 1992), "Liaisons" (The Power Plant, Toronto, 1996), "Insite" (Santa Fe, 1997), and the Sydney Biennial (1998). She lives in Toronto.
- Miller, Marcus, «ID please : mediations on a vision quest», Hour, 29 avril – 5 mai 1999, p.24.
- Miller, Marcus, «Rebecca Belmore», Mix, vol. 25, no 1, été 1999, p.8.
- Sioui Durand, Guy, «Le printemps en été ou…de quelques expositions et résidences», Inter, vol. 74, pp.46–49.
From April 17th 1999 to May 22nd 1999 Hogan's Alley
"Hogan’s Alley" is the name of a tenement described in R.F. Outcault’s The Yellow Kid (1895-1898), a comic-strip based on immigrant ghetto life. It is a part of an ongoing work which takes the idea of excerpt into abstraction. The series of Spiritmaster drawings exhibited here are studies for hypothetical sculptures, constructed with isolated and reconfigured samples of mark-making and periphery detail found in previous works. The final image is produced with a portable Spiritmaster, a pre-Xerox gestetner that creates an image with a carbon master that degenerates shortly before or after the 20th copy, making a slightly varied image with each successive reproduction.
With this ongoing series of works, I’m using the cast-offs of archival gathering, scrambling mark samples from appropriated sources with my own doodles. The bronzes are an example of this doodling by-product… abstracted three-dimensional approximations of loosely-representational two-dimensional sketches.
My interest in narrative and the archival impulse stems from its status as the common factor within discourses of parentage and genesis. The bind of my practice is the absence of a functional narrative and how this absence continuously collapses all but momentary coherence. I locate my interest at the moment when the text steps from its primary role as a communication tool, and slips between binary opposition – neither functioning as a subject nor as an exercise in anti-narrative.
Born in 1970, Luanne Martineau followed Intermedia Studies at NSCAD in Halifax and is a graduate of the Alberta College of Art and Design, Calgary. In 1995 she completed an M.F.A. in Fine Arts at UBC in Vancouver. Drawing from R.F. Outcault’s comic-strip The Yellow Kid (1895-1898), and using various mediums (water-colour, drawing, ceramic and bronze sculpture), this young artist has created a complex body of work based on the absence and deconstruction of the meaning of narrative. This includes “Ryan's Arcade” presented at Or Gallery, Vancouver (1997) and Mercer Union, Toronto (1998), “Love Letters to the Shiv Artist” at Struts Gallery, Sackville and Eye Level Gallery, Halifax (1998), “Hogan's Alley” currently at Optica and “McFadden's Flats” shortly at Gallery 101 in Ottawa and Truck Gallery in Calgary. She has also participated in several group shows, among them: “House of Cruelty” in Columbus, Ohio (1995), “Residue” at Truck Gallery, Calgary (1996), “Montréal-Calgary” at Galerie Circa, Montréal (1998) and “AFA: Selections from the Collection” at the Illingworth Kerr Gallery, Calgary (1999). Luanne Martineau lives and works in Calgary.
Douglas Gordon, Mathew Jones, Steven Moore, Cornelia Parker
From September 10th 1999 to October 16th 1999 Documents et mensonges
Curator: André Martin
"Documents & Lies" presents the work of artists from the United Kingdom, most of them internationally renowned. The ensemble of work shown here testifies to the vitality and singularity of a certain form of British art today, characterized by sometimes cruel, if not violent aspects, a sense of the pathetic and the nostalgic, and a biting humour typical of the British youth.
Although not photographic, the works point towards a number of photographic notions and could be read as a lexicon of sorts. Their particular use of traces – reproduced, modified or simply invented – allows for the transition from a universal history to another, more personal level. By generating doubt, these projects produce a displacement of what is commonly understood by "document".
Fetishism, play obsession with the morbid, scientific methodologies questioned, suspicion staged as a way of grasping art – these issues are part of "Documents & Lies". Several productions are shown in Canada for the first time.
A publication with essays by Denis Lessard and André Martin, and reproductions of the artists’ work, will be launched at the end of the event.
October 14, 1999
Artist's talk: Cornelia Parker
Concordia University (collaboration)
October 15, 1999
Publication launching Documents and Lies"
OPTICA and André Martin wish to express their warm thanks to Ms Sarah Dawbarn of The British Council, Ms Johanna Wistrom of the Frith Street Gallery in London, Mr Barry Barker of the Lisson Gallery in London and to the artists. We would also like to sincerely thank Ms Goetz of the Sammlung Goetz in Munich for the loan of Douglas Gordon’s work.
For this exhibition, OPTICA has received the support of The British Council, promoting cultural, educational and technical co-operation between Britain and other countries.
Douglas Gordon was born in Scotland and lives in Glasgow. His work incorporates various mediums such as painting, performance and video. He has exhibited at the Musée d’art moderne in Paris (1996), The Institute for Contemporary Art in Boston (1997), the Biennale de Lyon (1997) and the Dia Art Foundation in New York (with Stan Douglas) in 1999.
Mathew Jones was born in Australia. He now lives and works in London. This promising young artist’s conceptual work was qualified as an “outsider spin” by the New York Village Voice. Jones has exhibited at the Museum of Modern in Australia, in England and the United States, and participated in several major group exhibitions in Denmark, Brazil and Venezuela. He was a residing artist at New York’s P.S.1 Museum in 1996.
Steven Moore lives and works in London. “Documents & Lies” will be the first significant exhibition for this artist still unknown in his own country. His work was reproduced in POZ (Fall 1997).
Cornelia Parker lives and works in London, England. She has exhibited in Europe and North America. In 1997 Parker was guest artist in residence at ArtPace in San Antonio (Texas). A retrospective of her work was held in June 1998 at the Serpentine Gallery in London. She participated in “Avoiding Objects”, presented at the Apex Art Curatorial Program in New York in 1999. During 2000 her work will be shown in Melbourne’s International Biennial in Australia, at The Institute for Contemporary Art in Boston and at the Denver Art Museum as part of “Contemporary British Artists”. The Frith Street Gallery in London in currently preparing a solo exhibition of her recent work.
André Martin, head of programming at Dazibao for five years, curated “Matrice” by Aram Dervent, “En dehors de Soi” (with Martine Meilleur), “Un Homme et son Image” (with Thérèse St-Gelais), “Corriger les lieux, après la photographie de voyage” (with Alain Laframboise, Catherine Bédard and Claire Paquet), “Fiat Lux, Photographie et Architecture" (with Denis Bilodeau). He has written numerous articles and reviews, catalogue essays, and several photographic stories, among them L'Impasse D'A.S., forthcoming at Éditions Dazibao in September 1999.
- Lamarche, Bernard, «Jeux de mots; Conférence», Le Devoir, 14 octobre 1999, p.B8.
- Mavrikakis,Nicolas, «Images de marque», Voir, 7–13 octobre 1999, p.68.
- «Documents et mensonges», Mix, vol. 25, no 2, automne 1999, p.20.
- «Fast Forward», Canadian Art, automne 1999, p.22.
From October 29th 1999 to December 4th 1999 Convergences élémentaires
Sylvie Readman’s photographs are in a way the result of her various and selective investigations of photography as a language. In this view, since 1989 her work has evolved around a practice of remaking. She has developed strategies which distance the image in order to resist the immediacy of the represented subject and allow for an observation of the photographic language from within. These strategies have mainly taken the form of "détournement" processes, such as Xerox colour treatment (Inventaire d’une image, 1989), superimposition (Les traversées du paysage, 1991) or image hybridisation techniques (Champs d’éclipses, 1993).
These forays into the photo language have led to her recent interest in the physical aspects of the image and its properties as a form of writing – focus, movement of the camera, multiple exposure, depth of field – in her series Reviviscence (1995-1996). "Convergences élémentaires" is in continuity with this work where the theme of memory emerges out of physical explorations. This series, however, opens up to experiments with chemical processes (solarisation, saturation of silver salts, under and overexposure, etc.) performed in laboratory.
The new body of work presented at OPTICA is structured around a six-part sentence. Landscape is used as a minimal figurative element, reduced to a schematic form (the horizon). The refining of representation serves to give a more pregnant presence to writing within the image, and also seeks to create a delicate tension between represented subject (the landscape) and latent subject (the written form).
Sylvie Readman works in Montréal and teaches at Université du Québec à Montréal. Solo exhibitions of her work were recently presented in Belgium at the Musée de la Photographie in Charleroi (1998) and in France, at the Galeries du Théâtre de Cherbourg and the Musée de Trouville (1997). The series Reviviscence (1995-1996) was presented at Cold City Gallery in Toronto, the Floating Gallery in Winnipeg (1999), the Galerie d’art de l’Université Laval in Québec City, the Galerie d’art de l’Université de Sherbrooke (1998) and Samuel Lallouz gallery in Montréal (1996). "Champs d’éclipses", presented at the Musée d’art contemporain de Montréal (1993), was circulated throughout Canada. "Convergences élémentaires" was recently exhibited at the Centre Vu in Québec City.
- Hakim, Mona, «Sylvie Readman, Convergences élémentaires», CV Photo, printemps 2000, p.31.
- Lamarche, Bernard, «Brouillards de signes», Le Devoir, 13–14 novembre 1999, p.B9.
Germaine Koh, Lucy Pullen
From October 29th 1999 to December 4th 1999 Fin de siècle : 1000 gracias
Curators : François Dion & Luis Jacob
1000 Gracias examines how artists, curators, social subjects – in other words, individuals – integrate into or identify with a community, and how they engage with the other individuals that compose this community. The works presented do not act as signs but rather as triggers, involving people and ideas into activity, dialogue, encouraging exchange, already sketching a community. This is the fourth part, and last, of the Fin de siècle series curated for the multidisciplinary room at Optica.
Lucy Pullen has been developing her practice in and out of Halifax Nova Scotia for the past eight years. She grew up in Halifax, attended an exchange at Cooper Union in New York in 1992, graduated from NSCAD in 1993, met Sandy Plotnikoff in 1994, made a sucker in 1995, exhibited at S.L. Simpson in 1996, continued to work on things in Halifax and New York in 1997, attended residencies in Iceland and Skowhegan Maine in 1998, and is currently working on a graduate degree at Temple University in Philadelphia.Pullen is working to mediate her relation to the world through her art practice, to learn from and encourage her long standing collaborators to invest wholeheartedly in inventive momentum to fuck things up with explosive joy (as E. would say) and make beautiful and intelligent objects for life.
Germaine Koh is a visual artist and curator of no fixed address. Solo exhibitions of her work were recently presented at Ex Teresa Arte Actual, Mexico City (1999), Los Angeles Contemporary Exhibitions (1999), YYZ Artists’ Outlet, Toronto (1998), and Le Centre des arts actuels SKOL in Montréal (1998). Recent group exhibitions include "Every Day: 11th Biennale of Sydney" (1998), "Waste Management" at the Art Gallery of Ontario, Toronto (1999), "In All the Wrong Places" at the Ottawa Art Gallery (1999), and the "World Wide Video Festival" at W139, Amsterdam (1999). She studied at Hunter College of the City University of New York and the University of Ottawa.
Luis Jacob is an artist working as curator, publisher of artists’ multiples, writer, organiser, and studio artist. He is involved with the Anarchist Free School in Toronto, and publishes artists’ multiples through Galerie Largeness World of Art. He enjoys writing for Lola, and has worked with the collectives Truck Stop 12 and See Through Cities. Recent exhibitions include "trans" (University of Western Ontario Art Gallery), "off/site@toronto" (Mercer Union), "Version City" (University at Buffalo Art Gallery), "Limousine (Free Parking)," and "30 seconds + title" (Art Gallery of Ontario).
François Dion graduated from the Université du Québec à Montréal. He has collaborated with several artists’ centres throughout Québec, published texts in numerous arts and culture periodicals, co-edited Cube in 1998-99 and organised exhibitions seen in Montréal, Ottawa and France. He is currently the director of Gallery 101 in Ottawa.
- Miller, Marcus, «Surface of depth», Hour, 2–8 décembre 1999, p.56.
- «Fast Forward», Canadian Art, hiver 1999, p.16.
December 10th 1999 Lancement de la publication Sur l'expérience de la ville : interventions en milieu urbain
Curators: Marie Fraser, Diane Gougeon, Marie Perrault.
Authors: Guy Bellavance, Marie Fraser, Jochen Gerz, Niels Ewerbeck, Mary Jane Jacob, Johanne Lamoureux, Mark Lewis, Rita McKeough, Marie Perrault, Michèle Thériault. Preface : Marie-Josée Lafortune
Artists: Dominique Blain, Robin Collyer, Trevor Gould, Devora Neumark, Lorraine Oades, Anne Ramsden, Robert Saucier, Sites Unseen (Eduardo Aquino, Ricardo Castro, Maxe Fisher, Stephen Horne, Tessa McWatt & Michael Flomen, Ricardo Mendonça), Neil Wiernik.
A 200-page thematic book published in conjunction with the exhibition “Sur l'expérience de la ville : interventions en milieu urbain,” which presented in situ works across the city of Montréal from August 29 to December 14, 1997, and featured a series of talks organised in collaboration with the Visual Arts Department of Université du Québec à Montréal and the Canadian Centre for Architecture. On art in urban spaces, artists and community.
The exhibition and accompanying talks were an opportunity to reflect upon the notion of urban space in an era marked by the end of utopias. Gathering transient and selective works across the city, the project aimed to critically address the socio-political context of Montréal as well as the traditional and monumental role of the art work within the urban fabric.
Sur l'expérience de la ville : interventions en milieu urbain, Optica, Montréal, 1999.
- Critique d'art, no 15, printemps 2000, p.114.
- Canadian Art, été 2000, p.28.
- Art présence, no 34, avril-mai-juin 2000, p.42.
- Parachute, no 97, janvier-février-mars 2000, p.58.
- Bégoc, Janig dans Parachute, no 98, pp.71-72.
- Lamarche, Bernard, «Sur l’expérience de la ville», Le Devoir, 9 décembre 1999, p.B8.