'lies'...in between showcases new work by two emerging montreal-based artists, emily hermant and soonok min. The show features interactive and interdisciplinary work from design, textiles and sculpture.
As a Korean artist living in Canada, Soonok Min explores her identity through sculptural forms. Incorporating embroidery with found objects and mixed media. Min's works examine the space between cultures and the discourse surrounding the process of cultural hybridization.
Emily Hermant's current work investigates notions of exaggeration, fabrication, embellishment and tall-tale-telling that constitute the act of lying. 'Lies' is an on-going, two-part installation consisting of embroidery and 'lying' booths; participants can view previous lies and submit their own.
may 03 - 15 mai 2004
vernissage may 04 mai 19h00-23h00
(salty food and drink will be available on site)
EXHIBITION: MAY 3 - 15, 2004
OPENING RECEPTION: MAY 4
DUO
EMILY HERMANT
SOONOCK MIN
Emily Hermant and Soonock Min, Lies... In Between, 2004.
Click to expand the image
Emily Hermant
2004
My current work investigates notions of exaggeration, fabrication, embellishment and tall- tale-telling that constitute the act of lying. Motivated by the idea that our world is made up of hundreds and millions of lies of all shapes, sizes and persuasions, my interest is to explore the seemingly fragile and complex nature of these constructs as they bind our universe together. Based on the assumption that "truth is entirely and absolutely a matter of style'" my interest in approaching lying is both a creative process, one that encourages wit and charisma in the ability to charm the moment, and a psychological process which attempts to push the limits of perception and confines of probability by exploring the terrain where neither truth nor untruth can be ascertained.
"Art itself is really a form of exaggeration; and selection, which is the very spirit of art, is nothing more than an intensified mode of over-emphasis."
I see the process of embroidery as reflecting the nature of the lies themselves: fragile and apt to unravel at any given moment and yet strong and secure. I use the stitch to weave the ephemeral quality of the lies, both materially and metaphorically. I bleach the lies to dissolve their support, leaving only the stitch. In the end, the lies are stripped of their authorship and translated into a conversation with an invisible other.
The second part of the lies project is an interactive web-based project (still under construction) whereby the lies collected are woven into an on-going, on-line network, contributing to a more complex digital web of lies.
Oscar Wilde ‘The Decay of Lying’ Selected Writings Oxford University Press, London: 1961, 15-19.
2004
My current work investigates notions of exaggeration, fabrication, embellishment and tall- tale-telling that constitute the act of lying. Motivated by the idea that our world is made up of hundreds and millions of lies of all shapes, sizes and persuasions, my interest is to explore the seemingly fragile and complex nature of these constructs as they bind our universe together. Based on the assumption that "truth is entirely and absolutely a matter of style'" my interest in approaching lying is both a creative process, one that encourages wit and charisma in the ability to charm the moment, and a psychological process which attempts to push the limits of perception and confines of probability by exploring the terrain where neither truth nor untruth can be ascertained.
"Art itself is really a form of exaggeration; and selection, which is the very spirit of art, is nothing more than an intensified mode of over-emphasis."
I see the process of embroidery as reflecting the nature of the lies themselves: fragile and apt to unravel at any given moment and yet strong and secure. I use the stitch to weave the ephemeral quality of the lies, both materially and metaphorically. I bleach the lies to dissolve their support, leaving only the stitch. In the end, the lies are stripped of their authorship and translated into a conversation with an invisible other.
The second part of the lies project is an interactive web-based project (still under construction) whereby the lies collected are woven into an on-going, on-line network, contributing to a more complex digital web of lies.
Oscar Wilde ‘The Decay of Lying’ Selected Writings Oxford University Press, London: 1961, 15-19.
Emily Hermant and Soonock Min, Lies... In Between, 2004.
Click to expand the image and swipe for additional views
Emily Hermant and Soonock Min, Lies... In Between, 2004.
Emily Hermant and Soonock Min, Lies... In Between, 2004.
Emily Hermant and Soonock Min, Lies... In Between, 2004.
EXHIBITION: MAY 16 - 29, 2004
OPENING RECEPTION: N/A
GROUP
CHI-LUI HSU
ELISE TRUDEAU
ALINE BERIN
SYLVIE LAMBERT
TIFFANY MAIN
VALENTINA GUEVARA
SARAH FISHLER
SABRINA CHONG
VIRGINIE BEAUDOIN
MARC BOUTIN
JULIE SIMONEAU
ÉMILIE CHIRNSIDE
DEBBIE BRANCO
EMMANUEL CYR
AMÉLIE PROULX
ANA MARIA DESMAISONS
NICK ROSIGNOL
Scrumptious Cochon, 2004.
Click to expand the image and swipe for additional views
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Click to expand the image and swipe for additional views
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
Scrumptious Cochon, 2004.
The tripartite series of prints entitled The Wrestlers originated with the intention of demonstrating the rigidity of the structures and conventions that relate to sport and to wrestling specifically. Firstly, I based myself on found photographs and then divided the image into a structure that relates to game and play, namely the checkerboard. The idea of rigidity and of structure implied by the checkerboard motif was extended with the frame of the print, illustrating that wrestling, like sports in general, express themselves within a tightly delineated "frame", whether this be used in its literal or figurative sense. I found that the idea of rigidly coded behaviours could also apply to the representation of masculinity in sport and one might say that just as these men's behaviours are stereotyped, so are their physiques, which correspond to the ideal body that society attributes to men.
Like Roland Barthes implied in his essay on French wrestling entitled "Le Monde ou I' on Catch" in Mythologies (1957), wrestling is closer to spectacle than to sport. He also implied that it is filled with conventions that the wrestlers use to signify their own defeats and victories, so that whatever the passion being expressed, it is coded and instantly recognisable. In The Wrestlers, the figures are shown in states of passion, real or feigned. One image shows a man lying on the floor, perhaps basking in the humiliation of defeat, another shows a wrestler pushing another's head forwards. The crowd is seen cheering to this push, relishing in the predictability of a highly regulated spectacle.
With the Untitled (Games) and Team pieces, I was equally interested in exploring notions related to masculinity and sports culture, albeit from a different angle. The two pseudo-paintings of Untitled (Games) were made using traditional painting frames over which were stretched fabric from the jersey of a Montreal sports team. Team was actually made of two very similar paintings that were hung side-by-side. They were each made using acrylic, enamel and transfers. Both of these pieces are part installation, part painting, and deal with imagery specific to "masculine" things, whether it be sports teams and team affiliation, or the fantasy-like image of a skull with bat wings that may equally recall heavy metal aesthetics and war insignia. The fandom that surrounds sports teams today is ubiquitous is a big part of North American culture. It can also be observed in Europe with the hooliganism phenomenon that has overtaken the sport of soccer/football in Britain, a country with an incredible colonial past. I believe this desire to worship a sports team is partly a sublimation of feelings of war and stems from a masked feeling of nationalism or even colonialism (this concerning Western Europe especially). A lot of the "masculine" desire to fight and be belligerent is sublimated then into a relatively safe, culturally endorsed conflict involving two teams. I try to illustrate this observation in my artwork, notably by juxtaposing images of war with images from sports culture. Both of the pieces are also intended to show how art, just like the supporting of a specific team, can be an indicator of belonging -or desire to belong- to a certain social group and of one's background and education.
EXHIBITION: JUN 28 - JUL 9, 2004
OPENING RECEPTION: JUL 6
DUO
NATALIE FINKELSTEIN
SYDNEY HART
Natalie Finkelstein and Sydney Hart, Recreate, 2004. Click to expand the image and swipe for additional views
Recreate, 2004.
Recreate, 2004.
Recreate, 2004.
Recreate, 2004.
2004
Many of my works use fabric from sports-team jerseys as a way of indicating that even artists, despite the freedom that is conventionally attached to the creative act, bear the mark of their background and influences. Like all of us, their actions are determined and therefore their freedom is limited. To dispel the cliché of the artist working against the grain and creating something that is a pure product of his/her "true self", I have chosen very generic, industrially-produced pieces of cloth for my pieces. These also indicate adherence to a team and submission to the values of a group, something which many contemporary artists would abhor. Also, I have chosen the fabrics for purely aesthetic reasons, and believe, much like the Pop artists of the sixties did, that there is much beauty to be found in mass-produced items.
Parallel to these interests, I have also had a strong will to deal with masculine culture and new male subjectivity. I feel that the jersey fabrics of Distinction and Mosaic/Opposition are "gendered", although ambiguously; the black fabric can be likened in its texture to such feminine items as women's stockings. Also, I have alluded to other subcultures such as heavy metal and fantasy to obliquely deal with masculinity and art in ways that I feel are relatively inexplored. The piece Team 1/Team 2 attempts to do just this while also alluding to themes previously discussed, i.e. it likens the artist's creations to a way of indicating a belonging to a closed, sometimes exclusive community.
The tripartite series of prints entitlted The Wrestlers originated with the intention of demonstrating the rigidity of the structures and conventions that relate to sport and to wrestling specifically. I based myself on found photographs of wrestlers, and then divided the image into a structure that relates to game and play, namely the checkerboard. The idea of rigidity and of structure implied by the checkerboard motif was exended with the frame of the print, illustrating that wrestling, like sports in general, expresse themselves within a tightly delineated "frame", whether this be used in its literal or figurative sense. I found that the idea of rigidly coded behaviours could also apply to the representation of masculinity in sport and I find that just as these men's behaviours are stereotyped, so are their physiques, which correspond to the ideal body that society attributes to men. By the same token, these elaborately sculpted wrestler's bodies ironically appear as homoerotic depictions of the male body within the context of a characteristically macho sport.
Natalie Finkelstein and Sydney Hart, Recreate, 2004. Click to expand the image and swipe for additional views
Recreate, 2004.
Recreate, 2004.
Recreate, 2004.
Recreate, 2004.
Recreate, 2004.
Recreate, 2004.
Recreate, 2004.
Recreate, 2004.
Recreate, 2004.
Embroidery plays an important part in our artistic practices. It falls into the grey area between craft and art. Having been historically considered as mere decoration, embroidery has only recently taken the leap into the realm of high art. This is not to say that all embroidery is thought of as art, but it is starting to be more respected, along with many other craft forms. We use embroidery as a tool of representation and/or an element in the composition of a piece, in textile or drawing work.
We are interested in doing an embroidery show that challenges the traditional position of embroidery by presenting pieces that address contemporary themes in a contemporary way. This show will address the history of women's work by validating embroidery as an artistic practice. We will be showing our own work, some of which is documented in the enclosed slides, and we will also be inviting some of our colleagues working with embroidery as contemporary art. We will be including work that is already finished and new work that we will be finishing as of the end of April. The themes that we address in our work cover a range of issues, including women's work, pornography and the sex trade, romance, the body (body image and anatomy), childhood images and imagination, socialization and memory.
Morag Kydd
Tuulia Law
***
Tuulia Law
2004
The themes of my recent works vary with the media I use. A common trend in my work, however, be it in painting, drawing, sculpture, textile, etc. is a reference to the body in its various manifestations and interpretations - biological, emotional, societal.
My textile-based work often incorporates performance and interactive elements, using clothing as a metaphor for the human body in its physical and socio-cultural connotations. I do a lot of sewing and embroidery as references to women's work and women's stereotypical roles. My textile works have ranged to include works about ideals of feminine beauty and romance to the anatomical physical body to clothing and textiles as extensions of the self.
In recent years I have been concentrating on human (microscopic) anatomy in both drawing and painting. That interest developed to combine sometimes with figures in some semi-abstract paintings. I am concerned with creating space in paintings while at the same time making use of the brushstroke as a vehicle of creative expression such that in my recent paintings I have been creating ambiguous spaces with a relatively minimal and direct application of paint.
In drawing my attention has been more focused on the studious, comparing of medical/biological (human microanatomy and botany) and mathematical/mechanical patterns and information the patterns I have chosen to compare and combine pertain to the relationships between humanity, technology and nature, for the most part leaving the representational figure behind except in me drawings that reference notions of romance or memory. Mark-making is also an important aspect of my drawing work.
Through these explorations I aspire to develop a visual vocabulary appropriate to address the issues with which I am concerned in my artistic endeavours, such as the medical industry, the urban landscape as a social environment, gender, sexuality, nature and technology.
2004
The themes of my recent works vary with the media I use. A common trend in my work, however, be it in painting, drawing, sculpture, textile, etc. is a reference to the body in its various manifestations and interpretations - biological, emotional, societal.
My textile-based work often incorporates performance and interactive elements, using clothing as a metaphor for the human body in its physical and socio-cultural connotations. I do a lot of sewing and embroidery as references to women's work and women's stereotypical roles. My textile works have ranged to include works about ideals of feminine beauty and romance to the anatomical physical body to clothing and textiles as extensions of the self.
In recent years I have been concentrating on human (microscopic) anatomy in both drawing and painting. That interest developed to combine sometimes with figures in some semi-abstract paintings. I am concerned with creating space in paintings while at the same time making use of the brushstroke as a vehicle of creative expression such that in my recent paintings I have been creating ambiguous spaces with a relatively minimal and direct application of paint.
In drawing my attention has been more focused on the studious, comparing of medical/biological (human microanatomy and botany) and mathematical/mechanical patterns and information the patterns I have chosen to compare and combine pertain to the relationships between humanity, technology and nature, for the most part leaving the representational figure behind except in me drawings that reference notions of romance or memory. Mark-making is also an important aspect of my drawing work.
Through these explorations I aspire to develop a visual vocabulary appropriate to address the issues with which I am concerned in my artistic endeavours, such as the medical industry, the urban landscape as a social environment, gender, sexuality, nature and technology.
EXHIBITION: JUL 12 - 17, 2004
OPENING RECEPTION: N/A
GROUP
MORAG KYDD
TUULIA LAW
LINDSAY FORAN
JESSICA PURCELL
JANICE TIEFENBACH
Crewel, 2004. Click to expand the image and swipe for additional views
Crewel, 2004.
Crewel, 2004.
Crewel, 2004.
Crewel, 2004.
Lindsay Foran, Receipt, 2004.
Lindsay Foran, Receipt, 2004.
Crewel, 2004.
Imagined Body Imagined Past
2004
My current work uses textiles to explore memory. Through practices such as embroidery, beading, quilting and printing I contemplate experiences of childhood and the body. Textiles practices in themselves reference history though the evidence of time in these types of art production and thought the history of the medium itself. Work such as Bonfire, and the collage series are an exploration of childhood imagination and sometimes dark overtones of childhood experiences. Textiles also reference the history of women's work and the more female tasks taught to girls as children. This reference is another important aspect of my art, through bringing these practices to my current practice | draw attention to historically lesser domestic arts.
Another focus of my art is the microscopic element that make up the human experience, illness, parasites and the structure of the body. This interest stems from the personal, social and political importance to the viruses, deseases. It's incredible how much these tiny beings affect our personal lives and our culture as a whole.
Lindsay Foran
Receipt
2004
Receipt
2004
Craft materials have a tendency to come pre-embedded with meaningful association.
Traditionally associated with women's work, fibers, and particularly embroidery have long been a means of both survival and personal expression. Craft materials also have a tendency to be intimate; they touch our bodies and participate in and embellish the little daily rituals of our lives. They also often involve excruciating amounts of labour, especially embroidery. For receipt I wanted to play with the ideas of labour and embellishment. By documenting my purchases by stitching them into a ribbon, I tried to question the relationships between my own labour and consumption.
Traditionally associated with women's work, fibers, and particularly embroidery have long been a means of both survival and personal expression. Craft materials also have a tendency to be intimate; they touch our bodies and participate in and embellish the little daily rituals of our lives. They also often involve excruciating amounts of labour, especially embroidery. For receipt I wanted to play with the ideas of labour and embellishment. By documenting my purchases by stitching them into a ribbon, I tried to question the relationships between my own labour and consumption.
Crewel, 2004. Click to expand the image and swipe for additional views
Crewel, 2004.
Crewel, 2004.
Crewel, 2004.
Crewel, 2004.
Crewel, 2004.
Crewel, 2004.
Crewel, 2004.
Crewel, 2004.
Crewel, 2004.
Crewel, 2004.
Crewel, 2004.
Crewel, 2004.
Crewel, 2004.
EXHIBITION: SEPT 7 - 11, 2004
OPENING RECEPTION: N/A
DUO
DORIA CHENEY
CARLA BENZAN
Souvenir is composed of a selection of documentation from the VAV's archives. Our archives are composed of dossiers submitted after the completion of an exhibition. Each dossier is meant to include labeled slides, artist statements, invitations, press releases and any press coverage of the show. During the past year, the VAV has begun to organize and catalogue its archives. Once completed, these will be located at Artexte (a local library of Canadian contemporary art) as a resource for the community and a record of the VAV's presence in Montreal.
We invite you to leave your own personal memories of the VAV and your response to
the show in the guest book provided.
Enjoy the show!
Doria Cheney and Carla Benzan
VAV Gallery Co-Directors 2004-2005
September 9 2004
Concordia University Print Media Exhibition
A Dynamic showing of various traditional and multimedia print forms
Presented at
Galerie VAV Gallery
VA-033 1395 Rene Levesque O, Montreal From September 13 - 18
Artists talk Monday September 13th at noon
Vernissage Tuesday September 14th at 7pm
Galerie VAV will display the finest of Concordia University's 2004 Print Media students. The exhibition will showcase the creations of the undergraduate students from all facets of the print medias, from traditional techniques to the emerging possibilities of digital print. The exhibition will draw attention to the versatility of print media and its influential role in contemporary culture.
The exhibition pieces were selected by an organized call for submissions and a jury guest curator from the community. The exhibition will be inclusive to all areas of the Print Media Department by involving works of silkscreen, intaglio, lithography and digital printing. An important facet of the show will also be to emphasize the dynamic interaction between all methods of Print Media by displaying works that integrate more than one technique, such as digitally constructed hand printed images or images that incorporate more than one traditional technique. Other projects that will be showcased are large format digital prints, made possible by the newly introduced large format digital printer, as well as print media installations, forcing a new conception of the way people see print.
Diversity and quality are vital to the works chosen for this exhibition.
EXHIBITION: SEPT 13 - 18, 2004
OPENING RECEPTION: N/A
GROUP
MARIE-HÉLÈNE BELLAVANCE
SARAH MCLENNAN
SUZAN KORDALWSKI
CATHERINE LAFRANÇOIS
VIVI VU
ÉMILIE RONDEAU
LUKE PAINTER
ROMAN LIFSHITZ
ÉTIENNE LAFRANCE
DORIA CHENEY
MONICA GILIATI
AFKE BENOIT
CHAN TCHEN
HEATER TRAWICK
NANCY TRAN
JANICE TIEFENBACH
AMBER ALBRECHT
EVELYN AYRE
AMÉLIE PROULX
GENNE SPEERS
CATHERINE DE ABREU
MATT MOREIN
EITLEEN MCANN
JAIME VERIN VERK
JANNA PETTET
ASSAF SHATIL
RYAN CLARKE
ROBERT VANDAHL
CHRISTOPHER DIAZ
KATHRYN DELANEY
JACOB ASPLER
Print Media Exhibition, 2004. Click to expand the image and swipe for additional views
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004. Click to expand the image and swipe for additional views
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
Print Media Exhibition, 2004.
PASSAGE
L'effet de l'environnement social et physique immédiat sur les gens est un phénomène qui m'intéresse grandement. Dans mon projet, je veux renforcer cette idée d'appartenance à un milieu particulier et la manière que les gens interagissent avec celui- ci. J'essaie de démontrer comment cela est reflété dans leur façon d'être et dans la manière qu'ils désirent être représentés à l'aide de l'appareil photographique.
Dans ce projet, je tente de découvrir une partie de la psychologie de chaque personne vivant dans une même communauté afin de faire ressortir une atmosphère commune qui lie chaque personne à son propre environnement. L'image que l'on projette et que l'on souhaite projeter prend une grande importance dans notre quête d'identité qui est nécessairement influencée par notre milieu social. A quel point et de quelle façon sont les questions que je me pose constamment en essayant de découvrir les gens que je
photographie.
EXHIBITION: SEPT 19 - 26, 2004
OPENING RECEPTION: SEPT 21
DUO
AMÉLIE VÉRONNEAU
MÉLANIE GAGNON
Amélie Véronneau
and
Mélanie Gagnon, Bleu et Rose, 2004. Click to expand the image and swipe for additional views
Amélie Véronneauand Mélanie Gagnon, Bleu et Rose, 2004.
Amélie Véronneauand Mélanie Gagnon, Bleu et Rose, 2004.
Amélie Véronneauand Mélanie Gagnon, Bleu et Rose, 2004.
2004
La femme est le sujet central de mon travail photographique. Je m'intéresse à ses états d'âme, à sa sexualité, à sa quotidienneté, mais aussi à son attitude. Le travail que je présente met l'emphase sur les attitudes, non pas de la femme, mais de la petite fille qui
aspire à devenir femme.
Je présente donc 8 jeunes filles qui, par l'intermédiaire des parents, ont accepté d'être photographiées dans leur milieu de vie, c'est à dire leur chambre respective. Elles se sont prêtées au jeu spontanément et, impressionnées par le matériel photographique, y ont mit tout leur sérieux. Ainsi, avec un minimum de directives, éloignées des parents, seul avec le photographe, elles ont joué au modèle. Il en résulte une série de clichés où
l'enfant adopte par lui-même une posture révélatrice d'une attitude singulière.
Mélanie Gagnon
2004
Nos travaux respectifs posent la question de l'identité. Dans l'un comme dans l'autre, ce qui ressort relève du sentiment d'appartenance à un groupe, à un lieu, à un sexe. L'environnement influence-t-il la solidification de notre identité. Les lieux que je fréquente sont-ils le reflet de moi-même? La chambre de la petite-fille n'est-elle pas le premier lieu d'une rencontre avec soi-même? Ce lieu, cet environnement qui m'est cher aura-t-il un impact sur mes choix futurs? Faisons-nous corps avec l'environnement? Mais au-delà d'un espace, il y a encore et toujours un regard qui s'y dépose.
Amélie Véronneauand Mélanie Gagnon, Bleu et Rose, 2004. Click to expand the image and swipe for additional views
Amélie Véronneauand Mélanie Gagnon, Bleu et Rose, 2004.
Amélie Véronneauand Mélanie Gagnon, Bleu et Rose, 2004.
March 9, 2004
VAV Gallery - Fall 2004
Proposal for the Fine Arts Chapter of the Concordia University Alumni Association
Dear VAV Directors and Jurors,
RE: Exhibition September 26-October 2, 2004
Concordia Fine Arts Alumni Homecoming Fine Arts Festival
In 2003, the Fine Arts Alumni Chapter launched a pilot Fine Arts Festival to coincide with the general university's alumni Homecoming events. The VAV's juried exhibition (juried by VAV Board members) was one of the best attended events of the Festival. University press (Link, Thursday Report, and the Alumni Magazine the Concordian) covered the exhibition that also raised the profile of the VAV Gallery among non-art alumni from other departments and faculties. All administrative and organizational details of the exhibition were handled by the Fine Arts Chapter. The works exhibited were chosen by VAV jurors to ensure that the VAV aesthetic and mandate was well represented. All costs associated with the exhibit were paid for by the CUAA (Concordia University Alumni Association).
This year, 2004, marks the 30th Anniversary of the CUAA Homecoming Celebration. The Fine Arts Chapter would again like to feature the visual and performing artworks of Concordia's fine arts alumni in the VAV. The VAV is a vital hub for contemporary artists and by providing an exhibition of work by our faculty's alumni we encourage our graduates to return as participants, critics, mentors, advisors, colleagues, and spectators. The exhibition also helps provide a forum for dialogue among students and alumni that develops a stronger sense of community among emerging and established artists. Our organizing committee has already discussed the possibility of offering panel discussions, workshops, and/or talks by artists during public receptions at the VAV to further encourage this level of exchange between students and alumni.
To improve the quantity and quality of submissions, our call will be sent early (pending approval of this proposal) and to the entire fine arts alumni database that includes artists who live outside the Montreal area as well. It is our goal to attract more graduates, to exhibit all media, and to include a generous range of high quality works. Again, we will collate all materials for the VAV jury selection process. Costs associated with this event will be covered by the CUAA. The VAV Will be consulted and acknowledged on all related publicity materials.
We look forward to your response and confirmation of dates. Any concerns or questions, please don't hesitate to contact me.
Sincerely,
Laurel Smith
Concordia Fine Arts
Director, Fine Art Student Life / Fine Art Alumni Relations
EXHIBITION: SEPT 27 - OCT 2, 2004
OPENING RECEPTION: N/A
GROUP
DIANE ARCHER
CHRISSY CHEUNG
SHELLY FREEMAN
JARMILA KAVENA
JUDITH KLUGERMAN
ILGA LEIMANIS
SCOTT MCCLOUD
FRANCESCA PENSERINI
ROSEMARY REUDELHUBER
BERNICE LUFTIE SORGE
BEVERLEY ZAWITKOSKI
Homecoming, 2004. Click to expand the image and swipe for additional views
Homecoming, 2004.
Homecoming, 2004.
Homecoming, 2004.
Homecoming, 2004.
VAV Gallery - Fall 2004
Proposal for the New and Returning Student Orientation and Dean's BBQ
Dear VAV Directors and Jurors,
RE: Exhibition August 28-Sept 11 (or Sept 4)
Concordia Fine Arts Welcome Orientation
For the past two years FASA, Student Affairs, and the Dean have hosted orientation events for new and returning students. Continuing this popular tradition, we would like the VAV Gallery to participate by curating an exhibition of multi-disciplinary works that would be visited by students during the orientation Dean's BBQ (Sept 2), information sharing sessions, and first ten days of classes. Several thematic ideas are suggested here for your review, but one exhibition would be chosen:
- The Tech Show: to be installed by technicians
- The Teaching Assistant Show: to be installed by teaching assistants
-
VAVers: exhibition of works by VAV Gallery's former curators
- To A Greater Degree: exhibition of works by student artists involved in their art community - installed by volunteers
-
2003-4 in Review: a show of selected student works from exhibitions from the 2003-4 academic year chosen by the VAV directors of 2003-4 year (Abbas and Krista) and installed by the artists and Orientation Team
-
2003-4 People's Choice: 'best of works from VAV shows of 2003-4 selected by students - to be installed by the Orientation Team
- Award Show: an exhibition of the 2003-4 scholarship and award winners from the Faculty of Fine Arts -to be installed by the Orientation Team
We look forward to your response and confirmation of dates. Any concerns or questions, please don't hesitate to contact me.
Sincerely, amelhin
Laurel Smith
Concordia Fine Arts
Director, Fine Art Student Life / Fine Art Alumni Relations
Homecoming, 2004. Click to expand the image and swipe for additional views
Homecoming, 2004.
Homecoming, 2004.
Homecoming, 2004.
Homecoming, 2004.
Homecoming, 2004.
Homecoming, 2004.
Homecoming, 2004.
Homecoming, 2004.
Homecoming, 2004.
EXHIBITION: OCT 4 - 8, 2004
OPENING RECEPTION: OCT 5
GROUP
DEVION LOWRY
MARTIN VERREAULT
YANNA KEHRLEIN
DARREN ELL
CELIA PERRIN-SIDARIOUS
LOIS ROWE
JOHANA HELDERO
VALARY HAINES
TRACEY BOCKUS
ARWA ABOUON
Massimo Farina
October 2004
Boarder Crossings
Community and religion are closely knitted within the Sikh population in Ville LaSalle. Their temple, the Gurdwara Guru Nanak Darbar serves not only as a place of worship but also as the centre for this strong community to unite each week. Living close
to the temple, I witnessed the construction of this magnificent structure. With the construction, there was also a large increase of Sikh citizens in Ville LaSalle. Growing
more and more interested in this community I felt that it was a responsibility of mine to learn about this culture and people that would otherwise be left foreign to me. I also felt that it was necessary for me to explore and photograph this community so that others may have a small insight and learn something about these very genuine people.
Sarah Catherine Lapointe
Boarding Crossings
Boarding Crossings
2004
This past year I spent a lot of time in the Deep South documenting my experience there through the photographic image. The title "Drive By Shooting" reflects the amount of time that was spent shooting guns, which became part of my daily routine, it also speaks about how these images were taken, I never once exited the vehicle for fear of being accused of trespassing and being shot at. These images for me are a representation of the depressing beauty that lives deep in the southern states of Tennessee, Arkansas and Mississippi. I learned a lot from doing this project; it allowed me to experience another way of thinking and a new lifestyle, which I believe is just acceptable as another other way of life. This documentation helped me as an artist to show truth and allow my self to be attached to my work, yet allow my self to distance myself from it.
This past year I spent a lot of time in the Deep South documenting my experience there through the photographic image. The title "Drive By Shooting" reflects the amount of time that was spent shooting guns, which became part of my daily routine, it also speaks about how these images were taken, I never once exited the vehicle for fear of being accused of trespassing and being shot at. These images for me are a representation of the depressing beauty that lives deep in the southern states of Tennessee, Arkansas and Mississippi. I learned a lot from doing this project; it allowed me to experience another way of thinking and a new lifestyle, which I believe is just acceptable as another other way of life. This documentation helped me as an artist to show truth and allow my self to be attached to my work, yet allow my self to distance myself from it.
EXHIBITION: OCT 12 - 16, 2004
OPENING RECEPTION: N/A
DUO
MASSIMO FARINA
SARAH CATHERINE LAPOINTE
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004. Click to expand the image and swipe for additional views
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
Massimo Farina and Sarah Catherine Lapointe, Boarder Crossings, 2004.
EXHIBITION: NOV 1 - 5, 2004
OPENING RECEPTION: OCT 29
GROUP
TEGAN FORBES
LUKE PAINTER
DORIA CHENEY
VAV Gallery
October 21, 2004
Tegan Forbes MFA (first year)
October 21, 2004
Tegan Forbes MFA (first year)
RE: Salon Rouge Nov. 1-5, 2004; Submission for physical work
"Living in the moment, pursuing the authentic gesture, living close to the edge... when it's genuine, it's the force that makes life worth living" Kalle Lasn. With the art I create I wish to give people a second chance to observe what they pass by every day. If nothing is permanent and everything is permitted; what do you see?
Through my attraction to innate beauty I am drawn to the patterns and marks made on city walls. I want to find all the hidden messages, tags, stencils and graffiti, then experiment with my own creations and engage visually with urban-counter culture. Inspired by bearing witness to these random acts of individuality, the pieces I make are ongoing samples of research forever contributing to a work in progress.
As I glue my prints on city walls I hope to engage a haphazard audience and then document the physical reaction. Thus far I have glued over 20 pieces in the downtown area of Montreal, within hours most posters were stolen and the majority was covered over with advertisements. A few images were left to be seen for no more than three days before completely covered or ripped down.
With these engagements I explore the borders of what art is, through how it is presented. By challenging the structure of how we see art I hope to encourage people to find beauty in odd places.
If selected to exhibit in the Salon Rouge, I would like to display an original print beside a digital print, both of the same dimensions. The digital print would document the metamorphous of what happens to random acts of art in the cityscape of downtown Montreal as it gets consumed by advertisements.
EXHIBITION: NOV 7 - 13, 2004
OPENING RECEPTION: N/A
DUO
ARWA ABOUON
HAIG AIVAZIAN
Haig Aivazian
2004
Exile is an ongoing negotiation between reconstructed remnants of a past from another place, and a new and unfamiliar setting. It is a tension between a desire to return to the familiarity of a home and the need to be recognized in a new adoptive society. In the context of exile, identifying one self inevitably becomes a political act of double disturbance: "disrupting the givenness of home" on the one hand, and threatening mediated and comfortable generalizations of abroad, on the other. Indeed the exilic context is a context of in- between- ness, of "belonging in both places and neither, engaged and yet detached, conditioned by loss and yet empowered by it to create something new." My work presents a system of signs that finds its origins in a trajectory of multiple displacements and colonizations. However, it is not an explicitly political body of work; rather it explores the personal and social implications of these global phenomena. Daily gestures become significant and culturally charged in the light of these mass movements: we are made aware of the space around us: borders of inclusion and exclusion, the language of cities, their roads and streets. Spaces become ambiguous, ambidextrous: they betray us or comfort us. My work is about an exchange of information, and the residue that is left behind when an en-cultured body transits an en-cultured setting.
Exile is an ongoing negotiation between reconstructed remnants of a past from another place, and a new and unfamiliar setting. It is a tension between a desire to return to the familiarity of a home and the need to be recognized in a new adoptive society. In the context of exile, identifying one self inevitably becomes a political act of double disturbance: "disrupting the givenness of home" on the one hand, and threatening mediated and comfortable generalizations of abroad, on the other. Indeed the exilic context is a context of in- between- ness, of "belonging in both places and neither, engaged and yet detached, conditioned by loss and yet empowered by it to create something new." My work presents a system of signs that finds its origins in a trajectory of multiple displacements and colonizations. However, it is not an explicitly political body of work; rather it explores the personal and social implications of these global phenomena. Daily gestures become significant and culturally charged in the light of these mass movements: we are made aware of the space around us: borders of inclusion and exclusion, the language of cities, their roads and streets. Spaces become ambiguous, ambidextrous: they betray us or comfort us. My work is about an exchange of information, and the residue that is left behind when an en-cultured body transits an en-cultured setting.
Haig Aivazian. Click to expand the image and swipe for additional views
Haig Aivazian
Haig Aivazian
Haig Aivazian
Haig Aivazian
Arwa Abouon
Arwa Abouon
2004
My work is composed of a highly personal hybridized iconography, which permits me to deal with politically charged and socially sensitive issues in a playful and non-didactic manner. The work attempts to bridge generational, geographical and cultural boundaries, as my images are fed from both the traditional Islamic values of my Libyan parents as well as imagery from my adoptive Canadian society. As a result, the two cultures contrast and oppose each other, but also they complement reflect and inevitably comment on each other. The work recognizes the notion of performance inherent in the act of self-representation but it is also important for me to seek a comfortable and honest balance where I am able to stay true to my North African roots and my North American home, while keeping a healthy critical distance from both.
2004
My work is composed of a highly personal hybridized iconography, which permits me to deal with politically charged and socially sensitive issues in a playful and non-didactic manner. The work attempts to bridge generational, geographical and cultural boundaries, as my images are fed from both the traditional Islamic values of my Libyan parents as well as imagery from my adoptive Canadian society. As a result, the two cultures contrast and oppose each other, but also they complement reflect and inevitably comment on each other. The work recognizes the notion of performance inherent in the act of self-representation but it is also important for me to seek a comfortable and honest balance where I am able to stay true to my North African roots and my North American home, while keeping a healthy critical distance from both.
Arwa Abouon. Click to expand the image and swipe for additional views
Arwa Abouon
Arwa Abouon
Arwa Abouon
The VAV is excited to host a week-long interdisciplinary festival exploring
collaborative art practice within Concordia's fine arts community.
The work in the show was selected by a silent jury of undergraduate students in order to provide a range of models of collaboration as well as formal and conceptual sophistication. However, the end product is often less important than the process. In the end what has developed is a show that creates a space of exploration and interaction in the gallery- a proposition to the
viewer.
It is particularly interesting to look at this way of working from within the academic institution. Simply walking into the classroom we all enter into a collaborative environment. And yet some students are compelled to work intimately with others throughout the conceptual and material realization of a piece. > showcases such work which relinquishes a degree of authorship, in order that we consider why (and how) our reading shifts based on this aspect
of its formation.
For some of the artists in the show, collaboration was a technical necessity. For others, it was a tactic by which they question the notion of the lone author-genius. Whether a subversive or practical response to the questions we ask as artists, the works here ask many questions about contemporary art
practice and the gallery system itself.
Carla Benzan
VAV Gallery Co-Director
EXHIBITION: NOV 15 - 19, 2004
OPENING RECEPTION: NOV 16
GROUP
JARMILA KAVENA
BEA PARSONS
ROBERT WINTERS
DAVID KING
EMILY STODDART
RODRIGO MARTI
SONOMI TANAKA
CHANTAL MUSGROVE
ROBERT WINTERS
MARK DIEGO FRAGUA
GRAHAM VAN PELT
NICK KUEPFER
MATT MILLER
NATHAN MCDAVITT VAN FLEET
HAIG AIVAZIAN
HUGO L. CASANOVA
EILEEN MCCANN
ROBERT VANDAHL
OSCAR VARESE
BECKY IP
SARAH MANGLE
PIERRE JULIEN
Greater than One, 2004. Click to expand the image and swipe for additional views
Greater than One, 2004.
Greater than One, 2004. Click to expand the image and swipe for additional views
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
Greater than One, 2004.
EN
Dealing with issues of separation through technology, Shift is an exhibition not to be missed. The exhibition features the work of Emilie Rondeau, a masters student at NSCAD, and Charlotte Joy Callender, an undergraduate at Concordia University. This first collaboration of the artists is an exciting multidisciplinary show with effective use of Concordia's Fine Arts gallery space.
Emilie's work includes books, digital prints, projections, drawings, interactive sculptures, and paintings which provide visions of constructed and rural spaces that we experience through windows, TVs, and computer screens.
Charlotte's work is composed primarily of clothing (with photographs by Olivier Marin), as well as installation, painting, and bookwork which often feature materials and methods of little perceived value or of high exploitation.
The works featured here ask questions about our changing world; the way in which places, spaces, people, and objects are experienced with the shift from our humanity to our technology. What now is our relationship to time and space, to each other, to ourselves? Through an examination of this, we hope to make aware the displacement of self that is characteristic of this situation; to begin to revive the appreciation and questioning of our surroundings.
FR
Traitant de la séparation qu'engendre les technologies, Shift est une exposition à ne pas manquer. L'exposition présente les œuvres d'Emilie Rondeau, étudiante à la maîtrise à NSCAD, et de Charlotte Joy Callender, étudiante au baccalauréat à l'Université Concordia. Cette prometteuse première collaboration, est une manifestation multidisciplinaire sensible au dynamisme de l'espace de la galerie du département des Beaux-Arts de l'Univerité Concordia.
Le travail d'Emilie, présenté sous forme de livres, d'impressions digitales rehaussés de lignes et couleurs, de sculptures interactives et de projections, nous offre une vision poétisée des paysages urbain et ruraux, dont trop souvent, l'expérience se limite à la grandeur des fenêtres d'une voiture, de la télévision, ou même l'écran d'un ordinateur.
La travaille de Charlotte comprend principalement des vêtements (accompagnés de photographies par Olivier Marin) ainsi que des installation, des peintures, et des livres.
Des techniques et matériaux auxquels peu de valeur est habituellement accordée et/ou abondamment utilisés sont re-visités.
Les œuvres questionnent notre monde en changement; la façon dont notre humanité réagit face aux technologies. Les espaces, les personnes, et les objets sont étudiés. Quel est notre relation avec l'époque et les espaces? Cette exploration souhaite souligner l'actuelle déplacement de l'individus et surtout raviver l'appréciation et les questionnements de ce qui nous entoure.
EXHIBITION: NOV 22 - 27, 2004
OPENING RECEPTION: NOV 23
DUO
CHARLOTTE JOY CALLENDER
EMILIE RONDEAU
Charlotte Joy Callender and Emilie Rondeau, Shift, 2004. Click to expand the image and swipe for additional views
Shift, 2004.
Shift, 2004.
Shift, 2004.
Shift, 2004.
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Shift, 2004.
Here follows an attempt at explanation of my work and these pieces in particular:
My work often focuses around ideas of the body or the individual; memory and the body, identity/image, society and the individual, the body in their surroundings, and, basically, the experience of being in the body (a subject for which the possibilities are endless). I have worked and thought a great deal about communications, between people in various levels of contact, the media, surrounding, and within the individual. How do we relate?
For me, an event (below) brought the question of the impact of our changed world on these relations forward. This leads me to these pieces which were inspired by thought of industrialization and urbanization and the affect it has on our lives as well as on how we view our lives and our bodies.
Mass production, general access to accurate time, assembly lines, separation from the production of one's goods, dehumanization of the objects (and people?), and the change in our surroundings: these are what I see as just a few consequences of the industrial revolution and the situation that follows. Here Olivier and I have attempted to deal with them.
The goal of this project is to explore the way in which mechanization has impacted our lives. Clothing, like technology, is one of the things we use to define ourselves as separate from the other animals; one of the things we use to point to our humanity. However, these things that define us as human have disrupted our humanity. Through industrialization, the makers of the majority of our goods are now nameless; a part of a whole, mass producing the same object whereas before, I believe, an object retained the sense of a maker, an individual.
Albert Einstein once said that our technology had surpassed our humanity, I think this is quite likely true. Last year, as I stood on the metro platform, a man ventured onto the tracks. As police escorted the people up the stairs there were numerous complaints about missed buses and dinner, and about the selfishness of the man. I do not think this event could have occurred without that switch of parts to a whole; that desire for the efficiency of machine time.
This is the inspiration for my work, to look at this aspect of our experience.
I do not mean to say that industrialization is the scourge of the earth. I simply mean to say that perhaps we need to rethink the situation. I was strongly influenced consumerism, namelessness, and exploitation of natural resources and people, and feel that while good has come from this technological progress, it has not come for everyone and is not an absolute good. I want the work here not only to make the viewer think, but to look at their surroundings and in some cases to laugh, just to look, to touch, to experience. A break.
These are some of my thoughts. This is some of my work.
Have a nice day,
Charlotte Joy Callender
***
Emilie Rondeau
Road trips backward
2004
Road trips backward
2004
The roads are the vascular system, the communication network of the transportations of our technologic and consuming society. Everything speeds up. Our relation to the environment is too often constrained by a window size, the glass of our car, our TV or our computer screen. We experience nature through controlled situations. The consumption of commercialized landscapes, fast-food like, pre-canned, pre-digested, secure, sterilized and depressing views.
In the past months I have developed a system of re-interpretation and appropriation of my surroundings; beginning from the private to the public. I started with my living space: my apartment. After that I investigated my parent's campground in lieu of self-attachment and memories. My process is now opening up to collective spaces. I am now exploring highway views and the common imagery related with displacement, transportation and movement.
I am proposing a personal, sometimes contemplative, sometimes interactive, vision of constructed urban and rural spaces. It is an appreciation of the banal, a glorification of the insignificant. Windows on the world. The theme is pushed toward different directions. I incorporate simple natural color wood structures with digital prints enhanced of hand drawing and painting. I try various ways to appeal viewer's interest, by creating either pleasant or interactive situations. Books, games, video, projections, paintings, digital prints serve my theme. It is a work in progress. It is only the beginning. I deeply wish to pursue it, to think of new ways to present and build it. Also to keep traveling around to discover new places infinitively. It is a celebration of the action, celebration of the inner beauty of alienate concepts. Let's travel, look consciously and appreciate.
In the past months I have developed a system of re-interpretation and appropriation of my surroundings; beginning from the private to the public. I started with my living space: my apartment. After that I investigated my parent's campground in lieu of self-attachment and memories. My process is now opening up to collective spaces. I am now exploring highway views and the common imagery related with displacement, transportation and movement.
I am proposing a personal, sometimes contemplative, sometimes interactive, vision of constructed urban and rural spaces. It is an appreciation of the banal, a glorification of the insignificant. Windows on the world. The theme is pushed toward different directions. I incorporate simple natural color wood structures with digital prints enhanced of hand drawing and painting. I try various ways to appeal viewer's interest, by creating either pleasant or interactive situations. Books, games, video, projections, paintings, digital prints serve my theme. It is a work in progress. It is only the beginning. I deeply wish to pursue it, to think of new ways to present and build it. Also to keep traveling around to discover new places infinitively. It is a celebration of the action, celebration of the inner beauty of alienate concepts. Let's travel, look consciously and appreciate.
Charlotte Joy Callender and Emilie Rondeau, Shift, 2004. Click to expand the image and swipe for additional views
Shift, 2004.
Shift, 2004.
Shift, 2004.
Shift, 2004.
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Shift, 2004.
EXHIBITION: N/A
OPENING RECEPTION: N/A
GROUP
DESSA HARHAY
KATIE LYLE
MARIE-EVE MARTEL
LOUIS PERRAULT
CODY LEE STEPHENSON
VICTORIA STUSIAK
ANDREW TAGGART
ANNE RENEE HOTTE
ZANE TURNER
Undergraduate Exhibit 2005. Click to expand the image and swipe for additional views
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit, 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Click to expand the image and swipe for additional views
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
Undergraduate Exhibit 2005.
VAV Gallery presents
PRROCESS ‘05
DESIGN ART EXHIBITION
Montreal, Quebec - January 24, 2005
The VAV Gallery presents Process '05, an exhibition of works by undergraduate students of Concordia's Design Art Department. The exhibition highlights the program's unique interdisciplinary approach to design, presenting works spanning the fields of image, object, and multimedia. This will be revealed through the theme Process, as final works will be presented alongside preliminary sketches and mock-ups.
The exhibition runs from February 7'h, 2005 until February 12th, 2005. The vernissage will be held on Tuesday February 8" from 19:00 until 23:00, artist talk beginning at 20:00. The VAV gallery is located at VA-033, 1395 René-Lévesque West, Montreal Quebec.
We look forward to sharing our next generation of designers with you.
EXHIBITION: FEB 7 - 12, 2005
OPENING RECEPTION: N/A
GROUP
SARAH BUTLER
BILL MATTHEWS
MARIA FRANGO
EMILY GILL
JUAN ORTIZ APUY
CONSTANTINOU PAPACONSTANTINOU
RUWAYNA GHANEM
MADELEINE BEAULIEU
KARL BEAUDET
FELIX FAUCHER
ADAM HUMMELL
ROMAN LIFSHITZ
ADAM SOMMERFIELD
KIKI SANTIYART
MEAGAN DURLAK
ANDREW DOLAN
WANG TAT TSO
JESSICA BUTLER
JULIE MANCINI
MARIE-ÈVE BÉLANGER
VANDA DAFTARI
AVI CHARSZAN
TARA CHARTRAND
RICHARD BALDWIN
CLAIRE ELISSALDE
MARC BRIFFAND
MEGHAN KUNTZ
Process, 2005. Click to expand the image and swipe for additional views
Process, 2005.
Process, 2005.
Process, 2005.
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Process, 2005.
Process, 2005.
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Process, 2005.
Process, 2005.
Process, 2005. Click to expand the image and swipe for additional views
Process, 2005.
Process, 2005.
Process, 2005.
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Process, 2005.
Ramsay Jackson & Natalie Finkelstein
Our work stems from the same iconographical ideas, yet the technical side of our artistic practices are very different. Side by side our works relate to one another, while remaining quite distinct. Animals are key elements in both of our art practices, as they act as icons which we use to express very human emotions. This iconography has become a language of sorts which we both use in our own way to express ideas of relationships, sexuality and gender. The thing that sets our work apart is that while one of us strives to take gestural lines, rendered with detail and precision, and make them look deliberate, the other leaves all the traces of every gesture, to show the process and the different stages of the work, along with the finished product.
The images submitted are just a few examples of both of our previous work. Our show would consist of a collection of paintings, sculptural works, screeprints, drawings, digital prints and fibre work.
We would like a chance to set up our work together for the first time in a gallery setting, and allow our furry friends to interact, like a big box of Animal Cookies.
EXHIBITION: FEB 21 - 26, 2005
OPENING RECEPTION: FEB 22
DUO
NATALIE FINKELSTEIN
RAMSAY JACKSON
Natalie Finkelstein and Ramsay Jackson, Animal Cookies, 2005. Click to expand the image and swipe for additional views
Animal Cookies, 2005.
Animal Cookies, 2005.
Animal Cookies, 2005.
Animal Cookies, 2005.
Animal Cookies, 2005.
Animal Cookies, 2005.
Animal Cookies, 2005.
Animal Cookies, 2005.
Animal Cookies, 2005.
Animal Cookies, 2005.
Natalie Finkelstein and Ramsay Jackson, Animal Cookies, 2005. Click to expand the image and swipe for additional views
Natalie Finkelstein, “Oh deer”, Acrylic on fabric and cotton, 2004.
Natalie Finkelstein, “at my most political”, opaque base, ink on canvas and fabric, 2004.
FA/AD brings together 11 artists from multiple backgrounds and fields of study in this large interdisciplinary show. The major themes that link the works include the play between time, history and temporality.
EXHIBITION: MAR 7 - 18, 2005
OPENING RECEPTION: MAR 8
CURATION
IVAN TANZER
GROUP
JACOB ASPLER
JENNIFER BALVINS
JULIE GLADSTONE
SENEM GOCTU
SUNDUS ABDUL ADI
LYNDL HALL
HELISSA HIDIC
MARISSA LARGO
JEDEDIAH M. LOECS
DAVID MORRIS
EMILY SHANAHAN
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005. Click to expand the image and swipe for additional views
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
2005
When I was old enough to leave home, 1 got into the habit of saving my money until I could go somewhere new. Following life's circumstances, this pattern continued on for a few years until one day, sitting penniless in my tiny sauna of an apartment in Mexico, I realized that what I really wanted to do was live in a stable environment and devote myself to becoming a better artist.
Until that point my paintings and drawings had been inspired by my own interest in the forms of nature: the spiral of a galaxy and a snails shell, the cupid and psyche myth as a metaphor for individual growth, super novas and amoeba cells, coral reefs, creation myths, dreams, family and so on. Fascinated by the merging of these scientific and spiritual themes, I developed a very meticulous and obsessive method in which I would hunch over one painting for up to six months with a hair of a paint brush, carefully rendering each individual blade of grass and cell structure. These paintings were exhibited in Guelph, Ontario at the One Night Stand, an event I organized to provide a forum for artists, poets and musicians. Other shows include the Mustard Lounge, Cafe Aquarius, the Juried art Show at the University of Guelph and the Becker Gallery in Ottawa. During this period of time I also completed a number of commissioned works. Shortly after my decision to apply myself to the artist's path, my inspiration became limited by impatience; I could not paint one more blade of grass. Studying art at Concordia has introduced me to the concept of big paint brushes and painting quickly. So far these are the most important things I have learned. This year I was honoured to receive the Stevenson Colour Scholarship.
My recent series of portraits respond to the invitation to contemplate inherent in the medium of painting. These portraits capture individuals as they contend with their personal cross roads. Whether they are looking forward, or dealing with memories from the past, these are moments of clarity and stillness before a move forward.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005. Click to expand the image and swipe for additional views
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
Fleeting Arrivals / Awaiting Departures: Art Matters Festival, 2005.
EXHIBITION: MAR 21 - 25, 2005
OPENING RECEPTION: MAR 22
GROUP
N/A
Creative Works, 2005. Click to expand the image and swipe for additional views
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005. Click to expand the image and swipe for additional views
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
Creative Works, 2005.
EN
TAGNY DUFF
Concordia Studio Art, MFA
[sic]
The name of this community-inspired art exhibition intentionally and critically questions assumptions, constructions and stigmatization of sickness and HIV/AIDS. [sic] is a phonetic pun on the word "sick" and also refers to the Latin word used to connote error of fact and style in printed text. The name of this show further evokes questions on the construction of discourses currently surrounding the representation of HIV/AIDS in mainstream media to medical practices, the semiotics of disease, and the role of institutional frameworks informing these representations.
In the early organizational stages of this show, students in the Concordia HIV/AIDS course, Concordia and McGill faculty, and guest artists, Ed Johnson and Mirha-Soleil Ross were invited to consider an earlier warning by Daniel L. Selden before contributing artwork to the show. In 1993 Selden wrote, "whoever is committed to questioning the representational determinants of AIDS in full, will have to go on to ask, then, to what extent that the demystificating gesture itself, however, progressively conceived, plays unwittingly into the same public spectacle that is set out to critique." It is a warning that remains relevant today. With this warning in mind, [sic] acknowledges the danger and simultaneously seeks to generate visual articulations in the gap between 'data' and 'representation' of HIV/AIDS.
Generating and exploring representations of HIV/AIDS can be both an implicit and explicit political engagement. Some works in the show are informed by a twenty-year history of AIDS activism in North America, and pursue contemporary activist strategies. Other works are personal memorials to loved ones lost to AIDS, aesthetic interventions, safer-sex projects and creative pedagogical projects. The works in the show, and the exhibition title itself, suggest that the line between art, AIDS activism and, I would add, AIDS education, are not mutually exclusive forms of discourse, but rather they are discourses that implicitly inform one another. This is reflected in the philosophy of the HIV/AIDS course at Concordia (the inspiration for this show), and by the representation of the supporters and funders for this event (ranging, for example, from the VAV Gallery and FASA to The Dragonroot Centre and QPIRG). Indeed, the intention of this community-inspired event is to bring aspects of art, education, and activism together through an interdisciplinary art exhibition.
FR
Le nom de cette communauté inspire intentionnellement et d'un cil critique les hypothèses, les constructions et les stigmatisations de la maladie et du VIH/sida. [sic] est un jeu de mot phonétique sur le mot «sick» en Anglais et rappelle le mot Latin utilisé pour suggérer une erreur de fait et de style dans un texte imprimé. Le nom de cette démonstration évoque un questionnement supplémentaire quant à la construction du discours entourant la représentation du VIH/sida dans l'ensemble des médias dédiés à la pratique médicale, la sémiotique de la maladie et le rôle de la charpente institutionnelle dénonçant ces représentations.
Au tout début de l'organisation de l'exposition les étudiants de Concordia inscrit au cours VIH/sida, les facultés de Concordia et de McGill ainsi que les artistes invités, Ed Johnson et Mirha-Soleil Ross, furent invités à prendre en considération l'avertissement précoce fait par Daniel L. Seldon, avant de contribuer artistiquement à la démonstration. En 1993 Selden a écrit: «celui ou celle qui questionne tous les détails des déterminants représentatifs du sida, est obligé de poser aussi la question : jusqu'à quel point cette action de démystification, aussi progressivement qu'elle pu être conçue, joue involontairement dans le même espace publique qu'elle critique?» C'est un avertissement qui reste d'actualité. En gardant celui-ci en tête, il faut apprendre à reconnaître le danger tout en cherchant à engendrer des articulations visuelles à l'intérieur de l'interstice entre information et représentation du VIH/sida.
Regrouper et explorer les représentations du VIH/sida peut être à la fois un engagement politique implicite qu'explicite. Quelques travaux dans l'exposition sappuient sur vingt ans d'histoire de l'activisme sur le sida en Amérique du Nord et poursuivre les stratégies activistes modernes. D'autres travaux sont des mémoires personnelles dédiés à des êtres aimés décédés des suite du sida, des interventions esthétiques, des projets sur le sex protégé et des projets créatifs pédagogiques. Les travaux dans l'exposition et le titre de l'exposition lui-même, suggèrent que la ligne entre l'art, l'activisme autour de sida et, j'ajouterai, l'éducation autour du sida, ne sont pas des formes de discours qui s'excluent, mais plutôt des discours qui s'informent implicitement les uns les autres. Ceci ce reflète dans la philosophie même du cours sur le VIH/sida à Concordia (la source d'inspiration de cette exposition), et par la représentation des tenants et des donateurs pour cet événement (de la Galerie VAV à FASA au Dragonroot Centre et OPIRG). En effet, l'intention de cet événement inspiré par la communauté, est d'amener les orientations de l'art, de l'éducation, et de l'activisme à se rencontrer par le biais d'une exposition interdisciplinaire.
EXHIBITION: MAR 26 - 29, 2005
OPENING RECEPTION: N/A
CURATION
THOMAS WAUGH
TAGNY DUFF
ERIN SILVER
GROUP
KIRA ABELSOHN
NELLY BASSILY
ROB BUCCI
SARAH BUTLER
LOUISE DUBREUIL
JULIEN GOODSTEIN
AERIN HACK
KRISTIN HANLEY
RACEL JAMES
AMY SIEGEL
PHI KENNEDY
PATRICK LONERGAN
ERIN MCCARTHY
RACHEL MILES
KATHLEEN MORBEY
TANYA ROBIN NESI
EMMA PARK
PATRICK GARON SAYEGH
ERIN SILVER
CLARA BIRD
KIMBERLY THIBEAULT
BECKY IP
SARAH MANGLE
ADAM MCNAIR
ED JOHNSON
MIRHA-SOLEIL ROSS
CHRISTIAN DARE
DANICA JOJICH
CLAUDIA MITCHELL
SHANNON WALSH
SANDRA WEBER
SOPHIE CLOUTIER
THOMAS WAUGH
Professor, Mel Hoppenheim School of Cinema
Director, Concordia University AIDS Project.
Director, Concordia University AIDS Project.
EN
Last winter Montreal Catholic seminarians briefly became a new demographic target for compulsory HIV testing, and the archdiocese, before it backed off shame-facedly, showed it could be no less duplicitous and blundering than their friends in ortawa. Meanwhile, a local childen's hospital was blundering its way into a public scandal around a recently deceased PWA surgeon and the infinitesimal theoretical risk to which she might have exposed her hundreds of patients. Yet, instead of public outrage, weby and large seem togo on with our lives with resignation, and these flagrant acts of bureaucratic scapegoating and brutality have been all but torgotten one year later. If it were not for artists who, tor more than two decades, have been acting as a kind of conscience within Canadian culture and society, many of us might succumb to numbness in the face of the ever-worsening global catastrophe. Here at Concordia, over the dozen years of our AIDS course, lecture series and various satellite activities, whenever teaching, fundraising, volunteering and funerals left us enervated, it has been the energy and fresh perspectives of students and student artists that have summoned us not only to action but also to morality, lucidity and affect Welcome to this year's vintage of visual and narrative confrontations with the meltdown of the Pandemic, by our students and their guest artists. They give us hope... and much more.
FR
L'hiver dernier, les séminaristes catholiques de Montréal ont brièvement été une nouvelle cible démographique au dépistage obligatoire du VIH/sida. L'archidiocèse a reculé honteusement, démontrant ainsi qu'il n'était non moins maladroit et faux que ses amis d'Ottawa. Pendant ce temps, un hôpital local pour enfant se sortait maladroitement du scandale public causé par le récent décès d'une chirurgienne ayant opéré une centaine d'enfants tout en étant atteinte du VIH/sida, exposant ces derniers à un risque théorique infime de contracter la maladie. Toujours est-il, qu'au lieu de faire un scandale public, nous continuons à vivre nos vies avec résignation, laissant dans l'oubli, après à peine un an, ces actions bureaucratiques brutales, qui rendent une fois encore les personnes atteintes du VIH/sida des boucs émissaires. Si ce n'était des artistes qui depuis plus de deux décennies font office de conscience collective au sein de la culture et de la société canadienne, plusieurs d'entre nous auraient déjà succombé à un engourdissement certain face à cette catastrophe globale, qui n'a de cesse de s’aggraver. A Concordia, depuis les douze années qu'est offert le cours sur le Sida et notre cycle de conférences communautaires ainsi que de nombreuses autres activités : d'enseignement, de levée de fonds, de bénévolats et des obsèques qui nous ont laissés affaibli. C'est l'énergie et les nouvelles perspectives amenés par les étudiants et les étudiants artistes, qui nous ont appelés, non seulement à l'action, mais à la moralité, la lucidité et à nous émouvoir. Bienvenue aux confrontations avec la Pandémie crées par nos étudiantEs et leurs artistes invitéEs. Ils et elles nous donnent espoir...et bien plus.
EN
Credits:
Special thanks to Professor Frances Shaver, Professor Thomas Waugh, Christian Dare, Carla, Paul Gregory, students in the HIV/AIDS course and all participants and volunteers.
This program would not be possible without the generous in-kind and financial support of our sponsors:
VAV Gallery, Concordia University, CCSL, CSU, FASA, Dragonroot Centre, QIRG, AIDS Project, The MFA Studio Arts Department and the Department of Sociology and Anthropology.
Curator: Tagny Duff
Co-Curators: Brett Tabor and Erin Silver
Press Coordinator: Erin Silver
French Translation: Vera-Maria Zissis and Maude Préfontaine-Leduc
Web Design: Brett Tabor
Program Design: Brett Tabor
Panel Organizer: Christian Dare
FR
Crédits:
Remerciements spéciales à Professeure Frances Shaver, Professeur Thomas Waugh, Christian Dare, Carla, Paule Gregory, étudiant(e)s dans le cours VIH/sida et à tous les participant(e)s et bénévoles.
Ce programme est possible grâce à la représentation généreuse des tenants et des donateurs pour cet événement:
VAV Gallery, Concordia University, CCSL, CSU, FASA, Dragonroot Centre, QPIRG, AIDS Project, the MFA Studio Arts Department et the Department of Sociology and Anthropology.
Curatrice: Tagny Duff
Co-Curateur et Co-Curatrice: Brett Tabor and Erin Silver
Coordinatrice des presses: Erin Silver
Traduction Français: Vera-Maria Zissis et Maude Leduc Préfontaine
Design du site web: Brett Tabor
Design du Programme: Brett Tabor
Organisateur de discussion table ronde: Christian Dare
PRESS
Visualizing a future without AIDS
Art stresses need to accept disease as universal problem
THE LINK • 25.22 • FEBRUARY 8, 2005 •
SEXUALITY 19
BY LINA HARPER
Art stresses need to accept disease as universal problem
THE LINK • 25.22 • FEBRUARY 8, 2005 •
SEXUALITY 19
BY LINA HARPER
Since the discovery of the AIDS virus in the early 1980s, the disease still carries many misconceptions.
Courses like Concordia's AIDS: Cultural, Social and Scientific Aspects of the Pandemic help turn the tide by disseminating information and examining society's perception of sexuality, illness, discrimination, death and art.
Over the next few weeks, some of the students in the year-long interdisciplinary course will be working on their respective art installations for an exhibit at the end of March 2005. Curator, teaching assistant and fellow artist Tagny Duff says the exhibit, [SIC], explores the dangers of placing AIDS within a spectacle, and attempts to represent the disease by "simultaneously [seeking] to generate visual articulations in the gap between "data' and 'representation' of AIDS and illness."
It wouldn't be false to assert that HIV/AIDS is often represented in popular imagery (such as ads) as a gay male epi-demic, even though statistics show that women are contracting the virus at an alarming rate, surpassing the rate at which gay men are acquiring it.
A recent lecture in the AIDS: Cultural, Social and Scientific Aspects of the Pandemic class, taught by the much-adored Fran Shaver, discussed this tendency toward placing gay males in the high risk category through the use of advertisement. The gendered and sexual representations of safe sex advertisements are certainly a contentious issue, as a recent Concordia-hosted lecture series with Firdaus Kharas demonstrated.
Canadian producer-director Kharas is attempting to make an effective, comical and non-gendered advertisement for consistent condom use. Entitled The Three Amigos, this funny series of 20 short ads feature three Latin-American animated condoms named Shaft, Stretch and Dick. Kharas created the cartoons for the United Nations and are aimed at a global audience. Currently being broadcast in the Netherlands, South Africa and Canada, the depiction of these characters in various comical situations are an effort to drastically change the public's conception of condom use and, ultimately, to stop the spread of AIDS and HIV.
The public consciousness' assumptions regarding HIV/AIDS are still the greatest barrier when it comes to art.
Student Aerin Hack says that as an artist and an AIDS activist, he finds thegreatest barrier being"people who refuse to think about AIDS because the topic involves sex and is therefore inappropriate."
Aerin's piece will consist of the re-appropriation of a shocking mid-90s Benetton ad campaign that featured various body parts tattooed with the words "HIV positive."
[SIC] will take place at the VAV Gallery (Visual Arts building, 1395 René Lévesque W.) March 22 April 2, vernissage on March 20 at 7 p.m., artist talk on March 30 at 7 p.m., panel discussion on March 31.
What’s in yer backyard?
BY LUISA SANTOS
BY LUISA SANTOS
Taking place at the VAV Gallery this week is [SIC], a multimedia exhibition that examines the representations of HIV/AIDS and illness in various social, historical, scientific and cultural contexts. Using different kinds of media like painting, sculpture, video and installation works, [SIC] relies heavily on this multiplicity to eflectively depict the wide-ranging messages entailed by something as serious and grave as HIV/AIDS. Many misconceptions regarding the disease perpetuate because of societal ignorance and media misrepresentation, the show intends to deconstruct these erroneous portrayals.
"So many art exhibits have focused on HIV/AIDS, and [it has] consequently been stereotypically conceived of," Erin Silver, one of the show's curators, says of the exhibit's subject matter. "We want people to reconsider notions of representation."
Silver holds art to be a signil-icant component in the light against the pandemic, saying that art has always helped promote and raise awareness. However, a show like this is necessary in the construction of how HIV/AIDS is commonly perceived in contemporary society, especially when new issues and questions are continuously arising and developing.
"How do we conceive of HIV/AIDS and people with AIDS in contemporary times! How do these conceptions affect our responses to [it]" Silver asks, adding that HIV/AIDS also works as a causal system and that a large percentage of the activism that took place in the '80s resulted in governments, media and various medical institutions responding to the problem. However, a show that examines the pandemic directly will help sustain awareness and prevent it from being ignored
Some of the pieces exhibited look at what it means to live with HIV/AIDS, while others examine its common distortion as a gay male disease.
"[We want] to get the viewer to think about the connotations of these representations [...] and not let it fall by the wayside," Silver says.
[SIC] runs until April 4 al the VAV Gallery (VA building, 1395 René-Lévesque); the vernissage and artist talk is on March 29 at 7 p.m.
What's in yer backyard? is a regular feature that showcases art in the Concordia community.
AIDS and art
MONTREAL MIRROR MARCH 24 - MARCH 30 2005
34
CHRISTINE REDFERN
MONTREAL MIRROR MARCH 24 - MARCH 30 2005
34
CHRISTINE REDFERN
This coming week, an interdisciplinary art event co-curated by Tagny Duff, Erin Silver and Brett Tabor explores and challenges various representations of HIV/AIDS and illness.
[sic] opens next Tuesday, March 29, at 6 p.m., with a lecture and performance by transsexual artist and sex worker Mirha Soleil Ross in the Bourget Building (1230 de la Montagne). This will be followed by a 90-minute action and endurance performance by Torontonian Ed Johnston (weather permitting) in the VA Courtyard (1395 René-Lévesque W.). The accompanying exhibition at the VAV Gallery shows work ranging from video installation and performance to handmade zines by students and faculty involved in Concordia's year-long interdisciplinary course, HIV/AIDS Social, Cultural and Scientific Aspeets of Pandemic. A panel discussion, organized by Christian Dare, will look at representations of AIDS in contemporary art, Thursday in the Hall building (1400 de Maisonneuve W., #431). The exhibition runs until April 9.
Print Media Department
Winter 2005
The objective of the Print Media Department exhibition is to display the work of undergraduate students from the various print media disciplines. This year's exhibition will place an emphasis on the increasing application of new technologies within all areas of contemporary print. The focus will be on both the aesthetic and conceptual implications of new technologies, either as the sole medium or in conjunction with traditional print mediums. With such an emphasis in mind, artwork will be selected by a jury headed by guest master printer Matthew Letzelter. In addition to the juried selection, a section of the gallery will be used to display the student portfolios that have been produced thus far in the master printer seminar courses. Each portfolio contains ten to fifteen multicolour prints and each is uniquely bound.
New technologies have resulted not only in the creation of digital images that are printed on our large format printer, but also as a means to create transparencies and/or transfers that are then printed through traditional processes. Additionally, the meeting of new technologies with older print techniques is demonstrated in many works that integrate more than one medium. Another approach wherein digital and traditional imaging meet is in the scanning of drawings, prints and other traditional images into Photoshop, Illustrator or painter programs and printing the newly constructed images digitally. The exhibition will explore a diversity of contemporary printed images and approaches.
A VAV Gallery exhibition is an opportunity for students to show their work. It generates discussion and critical feedback about their work outside of the studio as well as the chance to gain experience by learning how to organize, install, promote and curate an exhibition. As the Print Media Department will be vacating the VA next year and there will be many technical changes, it is very important that there be a department show this winter. A show highlighting the changes that are occurring in the medium would be very suitable for this transition from the old to the new facilities. The VAV Gallery offers the university community and public spectators an occasion to experience the work being created by students in the Print Media Department and allows those students who have not been otherwise introduced to print media a base from which to embark on new horizons.
EXHIBITION: APR 18 - 22, 2005
OPENING RECEPTION: APR 19
GROUP
JOHN BRENT BENNETT
VICTORIA STUSIAK
SOPHIE GLOWA
SIMONE ROCHON
ARMENO SIMAS
KATIE LYLE
LILY LANKEN
KATHLEEN WELDON
GILLIAN WILSON
SARAH ONESCHUK
CHAN TCHEN
DAVID KING
SOULIEMA BACHA
ETIENNE LAFRANCE
CATHERINE ZOUEKI
AMÉLIE PROULX
CATHERINE LEFRANÇOIS
MARGO RAY
MARIE-ÈVE CARON
MAYA BOWERING
AMBER ALBRECHT
MARGARITA LYPIRIDOU
SARA A. TREMBLEY
MARC ALEXANDRE DUMOULIN
Clean Hands, 2005.
Click to expand the image and swipe for additional views
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
From April 18h to 22nd, Concordia's Print Media department will present a dynamic exhibition of recent student works. The richness of Print Media's traditional past flourishes in contemporary practice with students ever conscious of the influence of emerging technology on the art form. The artists have made clever and innovative use of this fact in producing (and reproducing) the works on display. The exhibition has been juried by Matthew Letzelter, Master Printer from the New York print studio Derrière l’étoile.
The vernissage will take place Tuesday, April 19th 2005 at 7 pm, in the VAV Gallery. All are welcome. The vernissage will also coincide with the launch of the new departmental website.
The VAV Gallery will be open Monday to Friday, from 9am to 10 pm.
Clean hands
The Annual Print Media Exhibition
FR
Le département de Print Media de l'université Concordia présentera, du 18 au 22 avril, une exposition dynamique confirmant le potentiel innovateur de l'estampe. Sans nier le riche caractère traditionnel de ce média, les œuvres s'inscrivent dans une pratique contemporaine. Les étudiants présenteront un travail qui témoigne d'une conscience et d'une volonté d'utiliser ce mode de reproduction dans un contexte actuel, où l'influence de la technologie est indéniable. Les œuvres ont été selectionnées par le juré Matthiew Letzelter, Master Printer du studio new-yorkais Derrière l'étoile.
Tous sont bienvenus au vernissage qui aura lieu le mardi le 19 avril 2005, à 19 heures, à la galerie VAV de l'université Concordia. Le département profitera de l'évènement pour célébrer le lancement de son nouveau site internet.
La galerie sera ouverte du lundi au vendredi, de 9h à 22h.
Clean hands
The Annual Print Media Exhibition
Galerie VAV, université Concordia
Clean Hands, 2005. Click to expand the image and swipe for additional views
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
Clean Hands, 2005.
EXHIBITION: APR 25 - 30, 2005
OPENING RECEPTION: APR 26
DUO
MICHAEL FARNAN
TREVOR KIERNANDER
EXHIBITION: APR 22 - MAY 14, 2005
OPENING RECEPTION: APR 21
GROUP
N/A
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Click to expand the image and swipe for additional views
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005. Click to expand the image and swipe for additional views
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.
Round Up: Faculty of Fine Arts Undergraduate Show, 2005.