Highlighted as a “must see” by Canadian Art Magazine, my solo show Réécrire/Rewriting was co-curated by Tianmo Zhang and Jean-Michel Ross, and co-produced by Z Art Space and Galerie Tomas Henry Ross. 14 June – 12 July.
Art critic Emily Falvey described the exhibition as “the perfect antidote to the 150 and ’60s nostalgia that has descended upon Montréal of late: an interesting meditation on identity politics, conceptual art, Canadian and Québec nationalism, and collage as an artistic strategy. And there are some fabulous mashups of Tom Thompson landscapes and Playboy magazine.”
Images above are courtesy of Itzayana Gutiérrez, one of several who attended a round table event on June 28. Tianmo Zhang, Jean-Michel Ross and Kanwal Sayed spoke alongside me. Their combined interests in the reception of “Chineseness” in contemporary art in North America, Québécois contemporary art, and contemporary art from Pakistan provided prismatic lenses for interpretation of the collage-based works.
Images below courtesy of Jean-Michel Ross.
This graphic novella was commissioned in conjunction with Luis Jacob’s exhibition Habitat, May 5 – June 10, 2017, at Gallery TPW. It was also used as a talking point during a Saturday afternoon conversation. The graphic novella weaves together references to the representations of Toronto in Jacob’s work Sightlines, ongoing conversations with the artist, and sociologist Pierre Bourdieu’s explanations of social space. Print versions were distributed throughout the exhibition. A PDF can be downloaded from Gallery TPW.
As I was documenting a work that is presently on display as part of La Nouvelle Biennale, this image emerged from a fortuitous glitch in timing and technique.
La Nouvelle Biennale • From April 23rd to June 4th 2016 • Opening on April 23rd at 3pm
Galerie Thomas Henry Ross Art Contemporain and Galerie Margot Eleanor Ross art actuel
119 m Above Sea Level / 119 m au-dessus du niveau de la mer
6 décembre 2014 – 14 février 2015
Galerie d’art contemporain SBC Gallery of Contemporary Art
CRUM, “119 m Above Sea Level” (installation view), 2014. Courtesy Galerie SBC. Photo: Guy L’Heureux.
A collaborative project with the Centre de recherche urbaine de Montréal (CRUM) imaginatively restaging the lost archives of 45°30′ N-73°36’ W, an exhibition first presented at the Saidye Bronfman Center for the Arts and the Sir George Williams University Art Galleries (1971).
A review of the exhibition for Canadian Art describes the exhibition as, “peculiar, yet compelling.”
– Emily Falvey, “CRUM’s Playful Conceptualism” Canadian Art, 12 January 2015.
et je voudrais les étaler un peu…
A “graphic guide” or comic book-style explanation of Marxist aesthetics created for Romeo Gongora’s project Just Watch Me. To the right, a maquette of Synthèse des Arts, 1967 by Fusion des Arts.
Reading the comic
The dialogue in the comic is quoted from Alain Badiou’s visit to Montreal in 1968. He gave this workshop on Marxist aesthetics at the same time that he attended the trial of “alleged separatist-terrorist leader,” Charles Gagnon, as one of two observers from the International Federation of Human Rights Leagues.
Live translation of 1973 agitprop video at Art Metropole (Toronto) alongside launch of Nathan Isbergs’ Atlantic-Griffin Manifesto, 8 February 2014
Nobu Adilman of the Toronto Eater puts the Manifesto into context with the video screening in, The Atlantic’s Nathan Isberg Cooks Up a Manifesto .
Video screening and Q&A with Julia Oldham at RU (Brooklyn), 18 February 2014
This figure of speech has long been used to describe tangled lines of transportation or communications technologies and the people who use them to send goods and information from point to point. Because of the pervasiveness of social media, mobile phones and other technologies that augment our daily lives, we consider communications systems to mimic human behaviour and thought. By this logic, we can only perform as the technology does… read more
Watch the videos
Cette figure de style a longtemps servi à désigner l’enchevêtrement des technologies du transport et des communications, et les usagers qui les utilisent pour envoyer des biens et des informations d’un endroit à l’autre. L’omniprésence des médias sociaux, téléphones cellulaires et autres technologies qui amplifient notre vie quotidienne nous amène à considérer ces systèmes de communication comme des représentations de nos comportements et pensées. Suivant cette logique, notre productivité ne peut que refléter celle de nos technologies… lire la suite
Visioner les vidéos
Luis Jacob, Light On (Falshlight), 2013, video still. Courtesy of the artist.
Network Consciousness : A Screening of Light On (Flashlight) by Luis Jacob (2013)
Écart Critique, Nicolas Mavrikakis, Le Devoir, Arts visuels, 9 Novembre 2013
Some ideas are further elaborated in an interview with Nikolas Mavrikakis.
SBC Gallery of Contemporary Art, in association with Vidéographe and Vithèque, presents a one-night event at SBC on Tuesday, November 12th at 5:00 pm to launch Vidéographe’s Network consciousness, a series of multi-venue exhibitions that compliment an online video program. In a time when virtual environments are omnipresent, artist and independent curator Felicity Tayler attempts to link physical and online events.
This one night event presenting a new work by Toronto artist, Luis Jacob, is unique and limited in time and space, but nonetheless will be shared, or networked, over time to a wider audience who is also undergoing a similar experience in other locations and on different platforms. Continue reading