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Thomas Kneubühler “Dark Matter” at Patrick Mikhail Gallery, RIDM Headquaters & Galerie B-312, Montréal

©Thomas Kneubühler


THOMAS KNEUBÜHLER
DARK MATTER

11 NOVEMBER – 19 DECEMBER 2015
(Vernissage: 12 November 2015, 17.00 – 20.00)
PATRICK MIKHAIL GALLERY

12 – 22 NOVEMBER 2015
(Vernissage: 13 November 2015, 17.00 – 19.00)
RIDM HEADQUARTERS

19 NOVEMBER – 19 DECEMBER 2015
(Vernissage: 19 November 2015, 17.30)
GALERIE B-312

 

Dark Matter is a three part exhibition by Thomas Kneubühler, a Swiss artist based in Montréal, presented at different venues across Montréal – Patrick Mikhail Gallery, RIDM Headquaters and Galerie B-312. Dark Matter unites Days in Night and Land Claim, two of Kneubühler’s recent projects. Produced as the result of an artist residency at CFS Alert, a military and research station in the high Arctic located 800 km from the North Pole, Days in Night examines the phenomenon of 24 hour-long polar nights, an experience of living in the dark and the limits of how much one can see. (shown at Patrick Mikhail Glalery and RIDM Headquarters) Similarly, Land Claim (shown at Galerie B-312) investigates mining conditions in Northern Quebec, a highly controlled territory hidden from the public eye and its connection to global markets. Thomas Kneubühler is interviewed below about his upcoming exhibition series, by fellow artist Andreas Rutkauskas Continue reading “Thomas Kneubühler “Dark Matter” at Patrick Mikhail Gallery, RIDM Headquaters & Galerie B-312, Montréal”

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Nick Waplington “Battleship Island” at White Conduit Projects, London

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Nick Waplington, Battleship Island Courtesy of the artist and White Conduit Projects, London © Nick Waplington

NICK WAPLINGTON
BATTLESHIP ISLAND

8 October – 7 November 2015
White Conduit Projects, London

White Conduit Projects is pleased to present an exhibition of Nick Waplington’s 1990s photographs of the ruins of Japan’s Battleship Island (Gunkanjima). This tiny abandoned island off the coast of Nagasaki, was once a coal mine with a population of 5000, squeezed into a complex maze of imposing concrete apartment blocks (Japan’s first high-rises). Vacated in 1974, Gunkanjima was recently approved as a UNESCO World Heritage site.
Continue reading “Nick Waplington “Battleship Island” at White Conduit Projects, London”

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Hans Rosenström “Why is the remote always so far away” at Maria Stenfors, London


Hans Rosenström, Together, 2015. C-Print. Courtesy the artist and Maria Stenfors, London

HANS ROSENSTRÖM
WHY IS THE REMOTE ALWAYS SO FAR AWAY

11 September – 24 October 2015
Maria Stenfors, London

Text by Yasmina Reggad

With his first solo exhibition at Maria Stenfors, Finnish artist Hans Rosenström outlines themes that have punctuated his practice in the past years. The exhibition presents recent works that address the notions of liminal and transitional states and study the limits of our experience of the world from a singular perspective.

The title Why the remote is always so far away clearly points at something unattainable ahead of us and at the same time paradoxically replicates the precision of a measuring tool. Nevertheless, the very question Hans Rosenström is raising lies in the position of the body itself in relation to the remote. The body stands in the centre, in the in-betweeness surrounded by unreachable far-aways. In this exhibition, the artist investigates the multiple nature and social functions of liminal spaces. Rosenström also strives to draw and mould the contours of the inside and the outside of the body as well as reveals its faculty of resonance that gives shape to its surroundings.
Continue reading “Hans Rosenström “Why is the remote always so far away” at Maria Stenfors, London”

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Le Polygraphe at Les Territoires, Montréal

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Daisuke Yokota, Untitled, from the series site/cloud, 2013. ©Daisuke Yokota, Courtesy of G/P gallery

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Le Polygraphe

2 – 26 September 2015
Les Territoires, Montréal

Artists: Daisuke Yokota (Japan), Hajra Waheed (Canada), Paulien Barbas (Netherlands)

Curated by Safia Belmenouar (France) and Myrabelle Charlebois (Canada).

The exhibition Le Polygraphe explores the aesthetic perceptions generated when an isolated photograph or preexisting matrix of images are inserted into a new set of narrative. Deliberate technical errors, vernacular productions, recycled images are finding a place in, and redefining art, thanks to the artists who gather, consult, and manipulate them as available objects. Continue reading “Le Polygraphe at Les Territoires, Montréal”

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Prévisualisations at Galerie Trois Points, Montréal

“No More Heroes” by Oli Sorenson. Courtesy of the artist and Galerie Trois Points.

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PRÉVISUALISATIONS

16 May – 27 June 2015
Galerie Trois Points, Montréal

Artists: Jason Arsenault, John Boyle-Singfield, Oli Sorenson, Alex McLeod

Galerie Trois Points features guest artists Jason Arsenault, John Boyle-Singfield and Oli Sorenson along Alex McLeod’s works in Prévisualisations. The selected works reveal certain truths about how virtualization – through the appropriation and distorted use of software, applications, movies, files and digital technologies – may impact our daily life and perception of reality.
Continue reading “Prévisualisations at Galerie Trois Points, Montréal”

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Yasmin Mueller “Gosh, I Fantasise” at Maria Stenfors, London

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Yasmin Mueller, Portrait Skygirl (open eyes), 2015. Courtesy Maria Stenfors, London.

YASMIN MUELLER
GOSH, I FANTASISE

6 May – 13 June 2015
Maria Stenfors, London

In Gosh, I Fantasise, Mueller continues her exploration of the muse through sculptural objects, with an installation that oscillates between the dreamlike and a hardedge reality.

A series of wall and floor sculptures reveal graphic abstractions intertwined with meaning. Black denim is fashioned into geometric shapes, akin to a soft skeleton or a labyrinth of guts, which starkly puncture the white cube gallery space, claiming its own domain. Mueller’s hand makes the soft material behave like hard metal or more traditional sculpture, and the resulting installation presents a tension between external structure and the inner world.
Continue reading “Yasmin Mueller “Gosh, I Fantasise” at Maria Stenfors, London”

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Mathew Sawyer “Please Take All Your Rubbish With You” at Maria Stenfors, London

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Mathew Sawyer, FUCK YOU to the future (without me), 2014, C-Type Print, 103 x 70 cm. Courtesy the artist and Maria Stenfors, Lonodn

MATHEW SAWYER
Please Take All Your Rubbish With You

16 January – 21 February 2015
Maria Stenfors, London

I meet with friends
no one but me is aware
I’ve tied one of my shoelaces
tighter than the other
it’s barely noticeable
but at times all-consuming
I bury the words FUCK YOU
set in concrete
to be discovered at some unknown point in the future
how big is the invisible trap?
I stack pennies
37 precarious
one from each year I’ve been here
the newest the brightest
stupid music
I drink myself drunk as I walk
collecting feathers
in the morning a sculpture
please take all your rubbish with you
Continue reading “Mathew Sawyer “Please Take All Your Rubbish With You” at Maria Stenfors, London”

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HeHe: Anthroposphere at Aeroplastics contemporary, Brussels

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HeHe, Nuage vert, Saint-Ouen, 2009. Inkjet print on dibond. 120 x 120 cm. Ed. of 3. Courtesy of Aeroplastics contemporary, Brussels

HeHe
Anthroposphere
16 January – 15 March 2014
at Aeroplastics contemporary, Brussels

The duo HeHe (Helen Evans, 1972 and Heiko Hansen, 1970) personifies a new generation of artists who create a link between the sphere of technological/digital art (too self-referential, and frequented solely by the initiated), and that of contemporary art (reluctant to accept new modes of expression based on subverting new informational/communicational technologies). Each of these spheres has developed its distinct circuits of communication and ‘diffusion’, and common points of contact between the two remain rare. Continue reading “HeHe: Anthroposphere at Aeroplastics contemporary, Brussels”

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Extending human vision: Interview with Paul Wombell, guest curator for Le Mois de la Photo à Montréal 13

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Raphaël Dallaporta, CHESME SHAFA. Balkh Province, Afghanistan. From the Achaemenid period (6th–4th century BC) to the Ghorid period (12th–13th century AD), 2011, from the series Ruins (2011). Detail. Chromogenic print on Dibond, 120x150cm. Courtesy of the artist.
© Raphaël Dallaporta

Paul Wombell is an independent UK based writer and curator of photography. Previously directing two of the UK’s top photography institutions as well as curating many photo festivals in Europe, Wombell was invited as guest curator for the 13th edition of Le Mois de la Photo à  Montreal, the city’s international photography biennale. In this short interview during the opening event, Wombell talked to M-KOS about his motivations to theme this year’s program under “Drone: The Automated Image” so to suggest the camera is imposing its own agency in relation with humans and thus to further question the meaning of being human in the technology age.

MKOS: How did you start the process of curating Le Mois de la Photo?

Paul Wombell [PW]: This started 26 months ago, a long time ago, I put the proposal in to the biennale and I was quite surprised that they accepted it. The premise was the idea of humans using technology to see or to extend human vision. The key concept was the idea of the drone, which was the idea of using a form of technology to see in the distance, partly with all the military issues with the American government and the idea of surveillance. But I took that as a kind of metaphor to look beyond just the drone. Continue reading “Extending human vision: Interview with Paul Wombell, guest curator for Le Mois de la Photo à Montréal 13”

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DRONE: The Automated Image – Le Mois de la Photo à Montréal 13

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Trevor Paglen, Reaper Drone: Indian Springs, NV; Distance – 2 miles, 2010. Courtesy of the artist; Metro Pictures, New York; Altman Siegel, San Francisco; and Galerie Thomas Zander, Cologne

DRONE: The Automated Image
Le Mois de la Photo à Montréal 13
5 September – 5 October 2013
25 exhibitions in 14 sites across Montréal

Guest curator: Paul Wombell

International photography biennale “Le Mois de la Photo à Montréal” opens its 13th edition on 5 September through to 5 October, to present 25 local, national and international artists on 14 different sites across the city, under the theme of “DRONE: The Automated Image”.

This year’s guest curator Paul Wombell developed this theme by focusing on the materiality of the camera and its changing relationships with human operators, to trace the evolving shapes and characteristics of the camera over the past 40 years which is nowadays adapting more to the advent of drone and other machine behaviours. The artists herein explore human co-authorships with advancing imaging technology, how to creatively deal with intelligent cameras and their transformation into systems that may one day literally capture the imagination. Continue reading “DRONE: The Automated Image – Le Mois de la Photo à Montréal 13”