Exhibition view from “Art Hisotires” at VOX. Courtesy of VOX.
VOX is a Montreal-based artist-run centre founded in 1985. After relocating many times within different areas over the years, VOX settled in March 2012 to its permanent home, in the brand new culture complex building 2-22, situated at the heart of downtown Montreal. The inaugural exhibition of their new space entitled “Art Histories” was curated by VOX artistic director Marie-Josée Jean and showcases a total of 16 international artists which all in their own way attempt to deconstruct art history and challenge this great institution. Jean talked to M-KOS of the history of VOX and their inaugural exhibition.
M-KOS [MKOS]: Can you start by introducing VOX, its mandate and its decision to move to the most central location of Montréal?
Marie-Josée Jean [MJJ]: The history of VOX is quite long because this is a group that was formed in 1985, and it’s interesting to know that at the onset the original name was Vox Populi. It was a communications collective predominantly using photography as one of many means of communications, but also radio. The origins of VOX were socially quite active, notably to the extent that VOX gave itself the mandate to defend the rights of youths. Over the years the group specialized into an exhibition space for photography. Nonetheless, our origins are clearly associated with social activism. In fact, the son of the founders of VOX, Marcel Blouin and Lucie Bureau, is now one of the key leaders of Québec’s current student protest (Leo Bureau-Blouin) [laugh].
Posted in Interview, Visual Arts
Tagged Artexte, Artist-run centre, IRWIN, Kazimir Malevich, Kazimir Malevich (Belgrade), Marcel Duchamp, Marie-Josée Jean, Montréal, RCAAQ, Vox
Scott McFarland’s large-scale photographic mural “Corner of the Courageous, Repatriation Ceremony for Sergant Martin Goudreault, Grenville St., Toronto, Ontario, June 9th 2010″ (2012) in the courtyard of MOCCA. Photo by M-KOS
Toronto’s vibrant art scene and exuberant artist community package many artist-run spaces, a number of notable commercial galleries as well as important public and private art institutions. The annual Scotibank Contact photography festival testifies as a case study to the city’s cultural dynamism, currently showcasing over 100 artists under the theme: Public. M-KOS journeyed to Toronto for this occasion and more, featuring the Canadian metropolis within our regular Art Marathon.
Posted in Art Marathon, Visual Arts
Tagged Angell Gallery, Art Gallery of Ontario, Artist-run centre, Birch Libralato, Contact Photography Festival, Diaz Contemporary, G Gallery, Gallery TPW, Gendai Gallery, Georgia Scherman Projects, Mercer Union, MKG127, Museum of Contemporary Canadian Art, O'Born Contemporary, Susan Hobbs, The Power Plant, Toronto
Side A – David Shrigley “It’s All Going Very… (2010)” Anton Kern Gallery, NY
Barbara Kruger “Too big to Fail” (2012) at Sprüth Marger, London/Berlin.
Jeppe Hein “You Are Right Here Right Now” (2012) at Johann König, Berlin
Sophie Von Hellerman’s work at Greene Naftali (NY)’s booth.
Can’t get much sunlight there… David Maljkovic’s work at Metro Pictures, NY
As the yellow taxi boat approached Randall’s Island northwards on East River which runs between Manhattan and Queens, a long white structure makes an appearance, yet unwilling to disclose its content until landing on the seemingly deserted island. Once docked, scores of smartly clad art lovers tread off the taxi boat and into the snaky tent designed by Brooklyn based architect duo SO-IL, but not before walking through a waterside sculpture garden comprising works from James Angus, Joshua Callaghan, Louise Bourgeois, Ernesto Neto, Ryan Gander and so on.
View from the Frieze boat approaching towards Randall’s Island
Adjacent to the venue’s south entrance stands “Shoe Tree” by Swiss artist Christoph Büchel, possibly in support of Occupy movement’s protest rally underway just outside Frieze’s official $20 per vehicle parking lot. Büchel participated in the sculpture garden by placing shopping trolleys stuffed with newspapers and plastic bags behind Subodh Gupta’s bronze stature “Et tu, Duchamp?” Büchel actually bought the trolleys from homeless people for $350–500 a piece. Without any indication of artistic intent (we later found out these are entitled “1%”), Büchel’s piece of quiet resistance will be remembered as one of the most provocative works in the fair, even before entering the main event venue. In addition to the sculpture park, other exterior Frieze projects included Ulla von Brandenburg’s colourful tent for shadow play, Joel Kyack’s carnavalesque van, themed: “Most games are lost, not won”, Uri Aran’s performance shack and many more.
One of four versions of Edvard Munch’s masterpiece The Scream, (pastel, 1895) fetched $119,9M (Sale price $107M + the buyer’s premium) at Sotheby’s New York on 2 May, a record for auction history. The sale was dominated by two telephone bidders, over a tense ten minutes period. Sotherby’s auctioneer Tobias Meyer was caught exclaiming “I love you!” to one phone bidder when prices soared up to $106M. You can watch an excerpt here. We are all curious to know who won the bidding match for the most expensive artwork ever sold at auction. Petter Olsen, the seller of the painting personally hoped the bidding winner to be MoMA NY…
Posted in News, Visual Arts
Tagged Ai Weiwei, Auction, Berlin, Berlin Biennale, Contact, David Hockney, David Weiss, Ed Rucha, Edvard Munch, Fischil&Weiss, Frieze, Guggenheim, Hilton Kramer, Jeff Wall, Laurence Weiner, London, New York, Paris, Pompidou, Sobey Art Award, Sotheby's, Toronto, Turner Prize, Vancouver, Vanvouver Art Gallery, White Box