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David K. Ross “Positions” at Dazibao, Montréal

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© David K. Ross, Théodolitique (2015)

[français]

DAVID K. ROSS
POSITIONS

10 September – 7 November 2015
Dazibao, Montréal

Positions brings together a selection of three moving image works and a suite of drawings by artist David K. Ross. Through the use of customized lens-based devices, Ross explores how sight and sound can be manipulated to alter perception of physical space. In each of the works on display, the viewer is placed in a privileged position and is offered specific access to locations and activities that would otherwise remain concealed or out of reach. Continue reading “David K. Ross “Positions” at Dazibao, Montréal”

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Nelson Henricks “A Lecture on Art” at Dazibao, Montréal

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Nelson Henricks, A Lecture on Art (2015) Installation view. Courtesy the artist and Dazibao, Montreal. Photo: Veronica Mockler

NELSON HENRICKS
A LECTURE ON ART
25 April – 20 June 2015
Dazibao, Montréal

In a society in which the workings of communications technology are often invisible, the act of revealing its operation can be socially and politically enabling. Works of art created with technology can foster understanding of the interplay between technology, social context and subjectivity. – NH

An artist, writer, musician and sometimes curator, Nelson Henricks is a key figure of video art. For more than thirty years, he has developed a rich body of work addressing issues such as the visual representation of sound, the passage of time, the inherency of slippage in translation – from one language to another, from one medium to another, from one concept to another – and the semantic fields revealed by these slips. Henricks’ work ranges from single-channel videos to complex multi-channel installations, as well as projects that incorporate various other techniques and materials.
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Reynold Reynolds “Almost Six Pieces” at Dazibao, Montréal

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Reynold Reynolds “Almost Six Pieces” Exhibition View at Dazibao. Courtesy the artist and Dazibao, Montréal

REYNOLD REYNOLDS
ALMOST SIX PIECES

19 February – 18 April 2015
Dazibao, Montreal

Almost Six Pieces brings together, for the first time in Canada, five video installations by the American artist Reynold Reynolds. In a scrupulously controlled chaos, exacerbated by the abundance of references – historical, artistic, scientific, etc. – Reynolds somehow develops an aesthetic of “unease”. This unease is maintained by a persistent confusion between bluff and reality and is fed by unexpressed and unacknowledged torments. Without being apocalyptic or completely dystopian, the five works brought together here foretell a world bordering on disaster, making the very idea of progress the allegory of ruin.
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Review: The Visual Semiotics of Discourses and Theories

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© Bernadette Corporation, Hell Frozen Over (2000), in the context of D’un discours qui ne serait pas du semblant/Actors, Networks, Theories (2014). With the collaboration of Electronic Arts Intermix. Photo : Sara A. Tremblay

D’un discours qui ne serait du semblant/Actors, Networks, Theories
25 September – 22 November 2014
Dazibao, Montréal

Text by Cécilia Bracmort

D’un discours qui ne serait du semblant/Actors, Networks, Theories (DDSSANT) denominated Vincent Bonin’s two-part exhibition, focusing primarily on the impact of French theory in contemporary art. The Montréal based independent curator took different aims for each section of his project, with a first show at Leonard and Bina Ellen Gallery (14 November 2013 – 25 January 2014), looking at French thinkers’ influence on North-American artists and writers from the 1970s onwards. Sub-divided into five rooms, this first act confronted works of art with the very texts that inspiring their creation. Alternatively, Bonin’s second program installed at Dazibao (25 September – 22 November 2014), highlighted changes after this assimilation of theory in art became reflective of wider social and cultural developments. Here the Francophile curator adapted his project to Dazibao’s open space to thus enable a perceptible connection between the actors and theories within contemporary art networks. Although the presentation of theory as creative material might have intimidated some viewers – with exhibition constituents involving tightly messed networks of aesthetic and philosophical references – the task was not impossible according to Bonin: “it is not real obscurity, it’s just a lot of homework.” Continue reading “Review: The Visual Semiotics of Discourses and Theories”