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Opportunities: Diagonale + BIAN 2016 – Call for Submissions / Appel à  projets | digital art / art numérique

DIAGONAL_BIAN2016

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DIAGONALE + BIAN 2016
CALL FOR SUBMISSIONS | DIGITAL ART

Deadline: 2 June 2015

Diagonale joins the 3rd International Digital Arts Biennial – BIAN (May–June 2016). In this context, the center is launching a call for projects which relate to Diagonale’s mandate and the theme of the Biennale 2016: AUTOMATA. Curators and artists are invited to submit a proposal until June 2, 2015. The project chosen will be part of the official program of Diagonale and BIAN. It will be presented at the gallery Diagonal May–June 2016 (dates to be confirmed). Continue reading “Opportunities: Diagonale + BIAN 2016 – Call for Submissions / Appel à  projets | digital art / art numérique”

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Opportunities: Open call for Artists and Curators / Appel de dossiers aux artistes et aux commissaires, Circa, Montréal

Circa_Fred-Laforge_2014Fred Laforge, ( ) 14, Exhibition view / vue de l’exposition, CIRCA art actuel, 2014. Courtesy the artist and CIRCA art actuel, Montréal

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OPEN CALL FOR ARTISTS AND CURATORS
Circa art actuel
Montréal

Deadline: Friday 15 May 2015, 11:59pm

Since its inception, CIRCA art actuel’s distinctive profile has been associated with contemporary sculpture. Over the past years, artistic practices that incorporate wider concerns of space have expanded the heart of our programming. Questions of space (social, personal, virtual, geographic, cultural, political, contested and environmental) can be rooted in the real, imaginary or virtual.

A conceptual thread that links our curatorial and artistic directions is the staging space, as it is manifested in diverse, meta sculptural practices including sculpture, installation and performance. CIRCA art actuel welcomes drawing, sound, new media, photography and painting when used to challenge or reconsider expanded definitions of space.
Continue reading “Opportunities: Open call for Artists and Curators / Appel de dossiers aux artistes et aux commissaires, Circa, Montréal”

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Cinema Politica Concordia presents “Breaking The Frame” (2012) & Regarding Susan Sontag (2014)

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Schneemann in studio. Copyright: Marielle Nitoslawska 2012

BREAKING THE FRAME (2012, 100 mins.)

Director: Marielle Nitoslawska

Saturday, 28 March 2015 3.00pm

at Concordia University, Room H-110
1455 de Maisonneuve W. Montreal, QC

Director Marielle Nitoslawska will be in attendance. This screening is part of the 2015 SCMS Conference and is co-presented by Radical Queer Semaine. Entrance is by donation.

Synopsis:
BREAKING THE FRAME is a feature–length documentary portrait of the New York artist Carolee Schneemann by Canadian filmmaker Marielle Nitoslawska. A pioneer of performance and body art as well as avant-garde cinema, Schneemann has been breaking the frames of the art world for five decades, in a variety of mediums, challenging assumptions of feminism, gender, sexuality, and identity. Continue reading “Cinema Politica Concordia presents “Breaking The Frame” (2012) & Regarding Susan Sontag (2014)”

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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.
Continue reading “Reynold Reynolds “Almost Six Pieces” at Dazibao, Montréal”

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Sophie Calle “For the Last and First Time”; Simon Starling “Metamorphology”; Allan Sekula & Noël Burch “The Forgotten Space” at Musée d’art contemporain de Montréal

Sophie Calle, The Last Image. Blind with embroidery, 2010 (detail)
Simon Starling, Autoxylopyrocycloboros, 2006
Allan Sekula & Noël Burch, The Forgotten Space, 2010

Sophie Calle, The Last Image. Blind with embroidery, 2010 (detail) One color photograph under Plexiglas cover, one color photograph with metal frame, one text with metal frame © Adagp, Paris 2014. Courtesy Galerie Perrotin, Paula Cooper Gallery

Simon Starling, Autoxylopyrocycloboros, 2006. 38 color transparencies, Götschmann medium format slide projector, and flight case 4 minutes Projected dimensions variable Courtesy the artist and The Modern Institute/Toby Webster Ltd, Glasgow

Container Ship Image from the film Allan Sekula & Noël Burch, The Forgotten Space, 2010 112 minutes Photo: Courtesy of Icarus Films

Sophie Calle, The Last Image. Blind with embroidery, 2010 (detail) thumbnailSimon Starling, Autoxylopyrocycloboros, 2006 thumbnailAllan Sekula & Noël Burch, The Forgotten Space, 2010 thumbnail
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SOPHIE CALLE
For the Last and First Time
5 February – 10 May 2015

“I went to Istanbul. I spoke to blind people, most of whom had lost their sight suddenly. I asked them to describe the last thing they saw.”

French artist Sophie Calle , one of the most important artists of her generation, makes her debut at the MAC with For the Last and First Time. The exhibition, which reveals great artistic sensibility, consists of two recent projects: The Last Image (2010), a series of photographs accompanied by texts, and Voir la mer (2011), a series of digital films.

Continue reading “Sophie Calle “For the Last and First Time”; Simon Starling “Metamorphology”; Allan Sekula & Noël Burch “The Forgotten Space” at Musée d’art contemporain de Montréal”

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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”

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Review: BNLMTL 2014 – An Archeology of the Future

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Anton Vidokle and Pelin Tan, still from Episode 2, 2014 from 2084: A Science Fiction Show, 2012–2014. Three channel video installation. Each episode: 22 mins, total duration: 66 mins. Courtesy of the artists , produced by La Biennale de Montréal for BNL MTL 2014

BNLMTL 2014
L’avenir (looking forward)
22 October 2014 – 4 January 2015
Musée d’art contemporain de Montréal
and other venues

Text by Miwa Kojima

After undergoing major transformations which involved merging with the Quebec Triennial, partnering with the Musée d’art contemporain de Montréal (MACM) and recruiting Sylvie Fortin (former editor-in-chief of Atlanta-based art magazine Art Papers) as artistic director, the Biennale de Montreal (BNLMTL) opened its eighth edition between 22 October 2014 and 04 January 2015, under the title “L’avenir (looking forward)”. Fortin teamed up with MACM in-house curators Lesley Johnston and Mark Lancot in addition to guest curators Gregory Burke and Peggy Gale to invite over 50 individual artists and collectives from 22 different countries. Among this wider range of demography, some have critiqued the Biennale’s lack of diversity since a majority of these artists are now based in Canada, USA and Europe. Yet the numerous individual projects do confront local, national and global perspectives, to relate to current issues such as the global economy, climate change, technology, along with a myriad of other approaches to envisage the possible futures yet to come, in and out of western perspectives. M-KOS offers one last opportunity to review this Biennale for ourselves, now in its final days of exhibition.
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Oli Sorenson: La Société de la Place des Spectacles at POPOP Gallery, Montréal

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Image courtesy of Oli Sorenson

Oli Sorenson
La Société de la Place des Spectacles

4 – 13 December 2014
at POPOP Gallery, Montréal

Vernissage: Saturday 6 December 2014, 14h – 17h
Performance: Saturday 6 December 2014, 16h

“[…] the very means of damaging these monitors in a performative context, to leave these marks will give exclusive properties to each of them: products of mass consumption will be transformed into unique objects …” (O. Sorenson)

Lodged under the signs of paradox, Oli Sorenson’s performance entitled La Société de la Place des Spectacles is presented on December 6th at 4 pm in Montreal’s Belgo Building. This performance taps right at the heart of spectacular fervor, while investing in the denial his own representation by continuing his series of “revisited works.” This corpus, triggered by a will to comment on the existing work of other creators as much as mass-produced objects, is here explored under the logic of destruction. Strangely, Sorenson’s exercise in transfiguration aspires to restore a stamp of uniqueness onto already original creations. Continue reading “Oli Sorenson: La Société de la Place des Spectacles at POPOP Gallery, Montréal”

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Opportunities: Call for submissions / Appel de dossiers, SKOL, Montréal

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Image courtesy SKOL, Montréal

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CALL FOR SUBMISSIONS
SKOL, Montreal

Deadline: 17 November 17 2014

SKOL is now accepting submissions for its 2015-2016 programming year.

Submissions may be for exhibitions or one-off projects such as: interventions, curatorial projects, workshops, master classes, performances, lectures, archive-based researches, fundraising projects, or any combination of these forms within a more ambitious proposal.
Continue reading “Opportunities: Call for submissions / Appel de dossiers, SKOL, Montréal”

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Leslie Mutchler / Jason Urban “UNIVERSAL” at Atelier Circulaire, Montréal

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UNIVERSAL, exhibition view at Atelier Circulaire, Montreal. ©Photo: Jason Urban

Leslie Mutchler / Jason Urban
UNIVERSAL
18 September – 17 October 2014
at Atelier Circulaire, Montréal

It is a representation of purpose.
It is a shared workplace.
It is a place of tools, materials and making.
It is a site of production.
It is where the magic happens.

As artists and collaborators, Leslie Mutchler and Jason Urban are interested in the handmade (or in this case, hand-printed) and the duality of actual and virtual, experience and meta-experience. In an increasingly digitized world, traces of the human hand are often revered as signs of authenticity and reality, even when viewed on a screen. For the exhibition, UNIVERSAL, their first large-scale collaborative project, Mutchler and Urban are showing a body of work developed at Artists Image Resource (AIR), Pittsburgh, PA. While in residence at AIR, the pair generated prints and recorded the act of printing, an inherently tactile experience, to be presented as a meta-experience alongside the physical. The creation of three nearly identical prints – a silkscreen, a lithograph, and a woodblock – started an inquiry into the nature of making and the nature of documenting making. Continue reading “Leslie Mutchler / Jason Urban “UNIVERSAL” at Atelier Circulaire, Montréal”