optica

Décades

Images

Years
1972 | 1973 | 1974 | 1975 | 1976 | 1977 | 1978 | 1979 | 1980 | 1981 | 1982 | 1983 | 1984 | 1985 | 1986 | 1987 | 1988 | 1989 | 1990 | 1991 | 1992 | 1993 | 1994 | 1995 | 1996 | 1997 | 1998 | 1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015 | 2016 | 2017 | 2018 | 2019 | 2020 | 2021 | 2022 | 2023 |

Index of artists, authors and curators
| A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | R | S | T | U | V | W | Y | Z |

OPTICA Fonds (Concordia University Archives)

Guidebooks to help in consulting the archives

Electronic Reproduction Fees

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.

Go to publiations catalogue.

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.

Bibliographie
- Miller, Marcus, «Surface of depth», Hour, 2–8 décembre 1999, p.56.
- «Fast Forward», Canadian Art, hiver 1999, p.16.