Monthly Archives: February 2012

In conversation with Althea Thauberger


Althea Thauberger, Zivildienst ≠ Kunstprojekt, 2007. Production still. Courtesy of the artist and MACM © Althea Thauberger

Vancouver based artist Althea Thauberger’s video “Zivildienst ≠ Kunstprojekt (Social Service ≠ Art Project)” has recently been showed at the Museum of Contemporary Art of Montreal, an eighteen-minutes black and white film produced with the collaboration of eight young Germans who devoted part of their civil service to this project. Prior to Zivildienst ≠ Kunstprojekt, Thauberger has been working together with varied and often enclaved groups of people or communities such as young Canadian female singer/songwriters, U.S. military wives, Canadian tree planters and Vancouver-based reserve soldiers. Through diverse media such as performances, films, video, audio recordings and photography, and within the process of the production, Thauberger and her amateur performers co-develop and co-create the narratives through their spontaneous and imaginative self-expression. The resulting works consistently pose pointed questions about self-identification and social belonging.

M-KOS [MKOS]: “Zivildienst ≠ Kunstprojekt” was made in 2007. Have you shown this work in different places before?

Althea Thauberger [AT]: Yes. I’ve shown this work in a number of places prior to Montreal. It was first shown in Berlin where it was made and the production of the video was actually presented as a public exhibition. So the public was more or less able to come and observe the filming of the work and as well participate in the discussions that we were having, in terms of the development of the work. And then the first time the video was shown in its entirety was in Utrecht in the Netherlands in early 2007. Since then this work has been shown in New York, Vancouver, London and Guangzhou in China.

MKOS: So, is this work a result of your residency in Berlin?

AT: Yes. It’s a result of a yearlong residency. It’s the one probably many Canadians [artists] know about because it’s one many Canadians have done since it started in maybe 2004. It’s run through the Canada Council and also through Künstlerhaus Bethanien, an international residency organization and art space in Berlin.
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Conversation on “Sediment”

Sediment
13 January – 26 February 2012
at G Gallery, Toronto


Sediment, Installation view, 2012. Courtesy G Gallery

From 13 January to 26 February 2012, Toronto’s G Gallery presents the group exhibition entitled Sediment. Affiliated with Guelph University, G Gallery’s reputation for supporting experimental shows was substantiated by this latest exhibition, with an arrangement of works that deviate from standard exhibition models. Sediment originated from a call out submission written by Shane Krepakevich, one of the show’s present curators. At the project level, its topic was generally assumed to be about artist books, their ‘support structures’ and the way these operate between the status of document and self-contained artwork. But when incarnated in its physical manifestation, the exhibition grew beyond its original concept and became something more. Sediment is now best described as a show connecting the gaps between art and its many peripherals, or even, as the artists mention, a composite work of art in its own right. The following conversation was conducted between participating artist Yam Lau as well as curators Shane Krepakevich and Michelle McGeean.
 

Conversation on Sediment – an exhibition of artist’s bookwork and book support or an exercise in exhibition arrangement?
 

Yam Lau [YL]: I would like to begin by giving some context for this interview on the exhibition at G Gallery, Toronto entitled, Sediment. I’m Yam Lau, one of the artists in the exhibition and I’m sitting in the gallery with Shane Krepakevich and Michelle McGeean, the two curators of the exhibition.

Because I spent a few days setting up my piece in the exhibition, I saw how the exhibition was put together, how the whole thing unfolds. For this reason I think I have a different perspective from the other artists who only discovered the show and in particular the way their work was treated at the opening. The first thing that struck me about this exhibition is that it’s very unusual. That’s the reason I like it. Rather than an exhibition of discreet art objects, the whole thing reads as one work, one gesture. All the elements, the work, the support of the work, partitions and gallery furniture are interconnected by a kind of flow, or energy.

Maybe you can speak a little bit about this peculiar character of the exhibition. I don’t think it was how the other artists envisioned it when they were invited to participate in an artist’s book and book support project.

Shane Krepakevich [SK]: You mean that people might not have had a sense of what it [exhibition] would be based on that call for submissions? Sure, at that point I didn’t have an intention of making the exhibition as a piece (of work). That was something that came out through developing the exhibition.
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What’s on: 20 February – 4 March 2012

Biweekly global exhibitions pick ‘n’ mix from Montreal, Toronto, Winnipeg, New York, Chicago, St. Louis, Los Angeles, Mexico City, São Paulo, Lima, London, Bristol, Glasgow, Paris, Brussels, Amsterdam, Berlin, Munich, Frankfurt, Vienna, Geneve, Milan, Madrid, Lisbon, Stockholm, Prague, Zabreb, Tel Aviv, Beirut, Dubai, Ho Chi Minh City, Hong Kong, Shanghai, Beijing, Tokyo, Sydney and Cape Town.

Montréal

Art Souterrain
Various venues in underground
25 February – 11 March 2012
 
 

Courtesy Art Souterrain
 

Martin Bourdeau
at Galerie Division, through 24 March 2012
 

Martin Bourdeau, 3h15, 2012. Oil on canvas. Courtesy the artist and Galerie Division
 

Nicolas Baier
at Galerie René Blouin, through 24 March 2012
 

Nicolas Baier, Monochrome (noir), 2010. Meteoric graphite, acrylic on canvas on aluminum. Courtesy the artist and Galerie René Blouin
 


Toronto

Michel de Broin
at Jessica Bradley Art + Projects,
through 17 March 2012

Michel de Broin, Truncated Icosahedron, 2012. Courtey the artist and Jessica Bradley Art and Projects
 

Yael Bartana: …And Europe Will Be Stunned
at Art Gallery of Ontario,
through 1 April 2012

Yael Bartana, …And Europe Will Be Stand, 2007–2011. Film still. Courtesy the artist
 

Vectors: Connections and Interventions
at Art Metropole, through 31 March 2012

Artists: Alexandre David, Yam Lau (in collaboration with Gendai Gallery),
 
 

Image courtesy Gendai Gallery
 


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Highlighting the overlooked – In conversation with Valérie Blass


Photo by Nat Gorry

Montréal artist Valérie Blass is currently showing her solo exhibition at the Museum of Contemporary Art of Montréal, featuring new works as well as more from the past four years. Blass produces hybrid objects by employing various sculptural techniques – casting, carving, modelling, assemblage and more. Her creative point of departure is always about the materials, which range from the hand-made to the industrially fabricated. In exploring the aesthetic connections between techniques and style, her work deals with confrontations of forms and negotiates with multiple sources of meanings. As a result, her art is playful, humorous and idiosyncratic yet often evokes disturbed, sinister and cynical connotations. M-KOS interviews Blass during the opening of her exhibition.

MKOS: Valérie Blass, this is your first solo museum exhibition, how long have you been preparing for that?

Valérie Blass [VB]: For about a year I’ve been working on new pieces, I’m also showing a few older works from the past three or four years. This show was hard work because some of my recent pieces went to art fairs and sold immediately, and I never saw them again. It was hard to produce so many works that could amalgamate together and be consistent. [Curator] Lesley Johnstone helped me to put the show together but I still found it difficult because I never did this before, to create affinities between my recent and not so recent work.
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What’s on: 6 –19 February 2012

Biweekly global exhibitions pick ‘n’ mix from Montreal, Sherbrooke, Toronto, Banff, Vancouver, New York, Pensylvania, Atlanta, Houston, Los Angeles, San Francisco, Mexico City, Bogotá, São Paulo, London, Manchester, Liverpool, Paris, Brussels, Amsterdam, Berlin, Vienna, Zürich, Madrid, Turin, Stockholm, Copenhagen, Oslo, Warsaw, Prague, Istanbul, Dubai, New Delhi, Singapore, Hong Kong, Taipei, Seoul, Melbourne and Tasmania.

Montréal

Ghada Amer / Valérle Blass / Wangechi Mutu / Althea Thauberger
at Musée d’Art Contemporain de Montreal,
through 22 April 2012 (Amer/Blass/Mutu), 19 February 2012 (Thauberger)

Valérie Blass, Femme Panier, 2010. Courtesy Parisian Laundry. Photo: Richard-Max Tremblay

Chronicles of A Disappearance
at DHC/ART, through 13 May 2012
Artists: Omar Fast, Theresa Margolles, Philippe Parreno, Taryn Simon, Jose Toirac

Philippe Parreno, June 8 1968, 2011, film still. Courtesy of Pilar Corrias Ltd © 2010 Philippe Parreno

Traffic: Conceptual Art In Canada 1965–1980
(Part 1: Montreal + Toronto + Guelph + London)
at Leonard & Bina Ellen Art Gallery,
through 25 February 2012
 

Suzy Lake, A Genuine Simulation of…, 1974. Cover, Camérart, exhibition catalogue, Galerie Optica, Montréal, 1974.

BGL: Concessionaire /
Michael Jones McKean: The Gilded Scab
at Parisian Laundry,
through 25 February 2012
 

BGL, exhibition view Conccesionaire, 2011. Courtesy the artist and Parisian Laundry
 


Sherbrooke

Value
at Foreman Gallery, through 17 March 2012
Artists: Cooke-Sasseville, Antoni Muntadas, Red Channels, Anton Vidokle & Julieta Aranda, WochenKlausur. Curated by Vicky Chainey Gagnon
© WochenKlausur
 


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