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Exibitions 1992

Years
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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

Diane Gougeon
From January 18th 1992 to February 16th 1992
Dédale; Oeuvre de chair; Il faut tenir la main courante

Marie-France Giraudon
From February 22nd 1992 to March 22nd 1992
La fin de la terre (neuve)

Alain Paiement, François Élie, Pierre Antoine
From April 11th 1992 to May 10th 1992
x, y, z

Exposition de groupe
From September 12th 1992 to October 11th 1992
Exposition rétrospective : volet I

Artists : Gabor Szilasi, Clara Gutsche, Tom Gibson, Eva Brandl, Pierre Boogaerts, Henri Cartier-Bresson, Sorel Cohen, Krzysztof Wodiczko, Lynn Hughes, Gunter Nolte, Moyra Davey

Pascal Dufaux, Marc Denis, Suzanne Valotaire, Hélène Doyon, Jean-Pierre Demers, Brian Webb, Blair Brennan
From October 17th 1992 to November 15th 1992
Quinzaine de la performance exposition des traces

Exposition de groupe
From November 21st 1992 to December 20th 1992
Exposition rétrospective : volet II

Artists : Denis Farley, Vera Frenkel, Gilles Mihalcean, Carol Wainio, Lorraine Gilbert, Ginette Legaré, Arni Haraldsson, Marik Boudreau, Yves Gaucher, Diane Gougeon

Vera Frenkel, This Is Your Messiah Speaking, 1990-1991. Photo : Harry Chambers

Vera Frenkel
November 22nd 1992
The Velvet Cord and the Dotted Line, An Informal Talk about Dilemmas at the Art-Life Border

Artist talk given by Vera Frenkel during the "Exposition rétrospective Volet II".

Sunday, November 22nd, 14h at Optica, Salle polyvalente.

Works discussed will include the Messiah projects at Newcastle Polytechnic and for the Piccadilly Spectacolor Board in London, - one version of which can be seen in the Optica retrospective – and From The Transit Bar, a six-channel video installation built at « documenta IX » in Kassel earlier this year.

Vera Frenkel’s work is known for it’s questioning of received ideas, and of how we come to know what we think we know. In Messiah Speaking, several interlaced modes of narrative and representation, including American Sign Language, trace the rescue-fantasy connection between messianism and consumerism. Arising from her interest in so-called cargo-cult practices which informed Mad for Bliss performed at the Music Gallery in Toronto in 1989, this work has led to further exploration of related questions of false messiahs, promised lands and the invention and uses of paradises.

The artist’s public stands against film and video censorship helped to clarify the issue in the eighties for the general and arts communities alike. During this period Frenkel built, wrote, performed, directed and edited important video, performance and installation works such as, The Last Screening Room : A Valentine (Minneapolis/Toronto/London, 1984), The Business of Frightened Desires: or the making of a Pornographer (Toronto, Montréal, London, 1985-88); Trust Me, It’s Bliss (The Hugh Hefner/Richard Wagner Connection) (Chicago, 1987).

Excerpt from Messiah Speaking

"This is your Messiah Speaking, instructing you to shop.

Don’t worry.

No one will force you to do anything you don’t want to do.

There’s no rush (he said).

But do shop around (he said)...â€

«C’est votre Messie qui vous parle et qui vous dit : Entrez

N’ayez crainte personne ne vous forcera à faire quelque chose que vous n’auriez pas envie de faire

On est pas pressé (dit-il)

Mais entrez, entrez voir (dit-il)...»

-Press release (Optica)

Born in Czechoslovakia, and raised in England, Vera Frenkel studied in Montreal with Albert Dumouchel, Arthur Lismer, Guy Viau and John Lyman. She lives and works in Toronto.