Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo, 1975–1979 at Leonard & Bina Ellen Art Gallery, Montréal

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View from exhibition, ANARCHISM WITHOUT ADJECTIVES: ON THE WORK OF CHRISTOPHER D’ARCANGELO, 1975-1979. Leonard & Bina Ellen Art Gallery, 2013. Photo: Paul LItherland

Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo, 1975–1979
4 September – 26 October 2013
at Leonard & Bina Ellen Art Gallery, Montréal

Curated by Dean Inkster and Sébastien Pluot in collaboration with Michèle Thériault

“When I state that I am an anarchist, I must also state that I am not an anarchist, to be in keeping with the (….) idea of anarchism. Long live anarchism”
– Christopher D’Arcangelo

Between 1975 and 1979, the North American artist Christopher D’Arcangelo (1955-1979) developed an artistic practice that was notable for its radicality and critical import concerning the role of the artist, the status of the art object and the institutionalization of art. A desire for a radical democratization of the production and reception of art motivated D’Arcangelo’s institutional critique, which he voiced in a statement on anarchism. Recalling the historical expression “anarchism without adjectives,” the statement, which accompanied in various forms the majority of his actions and interventions, contains an ellipsis between brackets in the place of an adjectival descriptor of the noun anarchism.
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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. Read more »

Summertime in Japan: Tokyo Art Marathon part 2

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Tomoko Yoneda, Kimusa 02, 2009. C-type print. Courtesy the artist and ShugoArts.

Tokyo Metropolitan Museum of Photography is currently dedicating a perspicacious mid-career retrospective survey (through 23 September 2013) to London-based / Japanese-born Tomoko Yoneda. “We shall meet where there is no darkness” encloses over a decade of pictures within seven individual series as well as one video installation, all painstaking researching and documenting particular places and artifacts that bring back distant memories and preserve deep historical insight of Japan’s relations with its surrounding nations in the past century. Yoneda jointly organized the solo show “Rooms” at ShugoArts – the gallery in Kiyosumi-Shirakawa art complex which represents her – to gather more sets of congruent photographic works such as the “Topographical Analogies” series. (through 7 September 2013)
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Summertime in Japan : Tokyo Art Marathon part 1

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Yayoi Kusama, Love Is Calling, 2013. Installation view. Photo by M-KOS

Summer in Tokyo started off cooler than usual in the first few weeks of our stay, followed by heatwaves shining through the city streets, filled with polyphonic soundscapes of cicadas. Luckily most art spaces were still open despite the solstice mood, for M-KOS to present its Tokyo art marathon report:

Mori Art Museum celebrates its 10th anniversary with the exhibition entitled “All You Need Is LOVE” showcasing about 200 artworks such as modern masters Marc Shagall, Constantin Brancusi and Fridha Karlo, contemporary greats David Hockney, Yayoi Kusama and Jeff Koons, as well as younger generations Richard Billingham, Shilpa Gupta and Masashi Asada and “virtual” popstar Miku Hatsune. The exhibition was laid out over five sub-themed to include: What is Love?; A Couple in Love; Love is Losing; Family and Love; Love Beyond. (through 1 September 2013)
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Graham Ellard & Stephen Johnstone “Everything Made Bronze” at Satellite Gallery, Aichi University of the Arts, Nagoya

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Graham Ellard & Stephen Johnstone, Installation view “Everything Made Bronze”, 16mm film installation, Satellite Gallery, Nagoya, Japan. August 2013. Courtesy the artists.

Graham Ellard & Stephen Johnstone
Everything Made Bronze

9 – 19 August 2013
at Satellite Gallery,
Aichi University of the Arts, Nagoya
(Concurrent exhibition with the Aichi Triennale 2013)

Everything Made Bronze makes compelling use of one of the most renowned of architect Carlo Scarpa’s buildings, the Gipsoteca plaster-cast gallery in the Museo Canova, in Possagno, Northern Italy.

Shot using a static camera, the film follows the play of light in the Gipsoteca over a number of days as it produces a constantly fluid and changing environment for the appreciation of Canova’s plaster-casts and small-scale terracotta maquettes.
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Tomoko Yoneda “We shall meet in the place where there is no darkness” at Tokyo Metropolitan Museum of Photography

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Tomoko Yoneda, Hiroshima Peace Day, from “Cumulus” series, 2011. C-type print. Courtesy the artist © Tomoko Yoneda

Tomoko Yoneda
We shall meet in the place where there is no darkness

20 July – 23 September 2013
at Tokyo Metropolitan Museum of Photography

Yoneda Tomoko not only addresses subjects visible in reality but also projects the memories and history associated with places and things onto her work. As a result, through the act of looking at photographs, the viewer is challenged to question anew the essence of what is we actually are able to see.
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Opportunities: Call for Entries for the 17th Japan Media Arts Festival

16jmaf_art_Pendulum-Choir_l_webLast year’s [16th] Japan Media Arts Festival Art Division Grand Prize: Cod.Act (Michel Décosterd / André Décosterd) Pendulum Choir, 2012. Music Performance. ©Cod.Act. Photo: Xavier Voirol.

Call for Entries for the
17th Japan Media Arts Festival

Application period:
Thursday 11 July – Thursday 12 September 2013
(Late entries will not be accepted)

j-mediaarts.jp
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Summertime in Japan: Echigo-Tsumari Satoyama Museum of Contemporary Art [KINARE]

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Elmgreen & Dragset, Powerless Structures, Fig 429, 2012. Courtesy Echigo-Tsumari Satoyama Museum of Contemporary Art [KINARE] Photo by M-KOS

For the summer season, M-KOS has taken temporary residence in Tokyo, Japan. During our stay, we will report on the local art scene whenever possible, not only for events going on in the capital but in different parts of the country as well. For starters, we have recently visited the Echigo-Tsumari region’s Satoyama Museum of Contemporary Art [KINARE] in the city of Tokamachi, about two hours north-west of Tokyo by bullet train.

Originally built as a cultural exchange centre in 2003, KINARE was recently refurbished as a museum, inaugurated in 2012 to mark the 5th edition of the Echigo-Tsumari Art Triennale, the most ambitious event by Echigo-Tsumari Art Field, a local cultural development project themed around the symbiosis of nature, humans and artistic practice. Read more »

Kind of like an Accident: Interview with Cory Arcangel

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Cory Arcangel, Power Points, exhibition view. Courtesy the artist and DHC/ART, Montréal. Photo by Vincent Toi

Cory Arcangel is a Brooklyn based artist working in diverse media, including video, music, modified videogames, performances and the Internet. Arcangel often makes use of appropriation as a strategy to draw attention to source materials ranging from best-selling albums, Photoshop gradients and UGG boots. While bridging the gap between the highbrow and lowbrow culture, his work explores the nature of cultural production and consumption in a media and technology saturated world. On the occasion of his solo exhibition at the DHC/ART in Montréal, Arcangel talked to M-KOS about his art, his diverse influences and the role of artists as archivists.

MKOS: You started out as a musician, right? How did you make the transition to visual art?

Cory Arcangel [CA]: Its hard for me to explain, it just happened backwards, when I was in high school I was always making videos and you couldn’t go to art school to make video in 1996, so I went to music school. But I also feel in love with the history of music, so when I got out of school I was composing and I was making videos and I just put my work wherever I thought it would be cool and it’s just the gallery people who kept asking for it. So it happened kind of like an accident.
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Peinture Extrême / Extreme Painting

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Julie Trudel, EllipseCMCYCK (2011-18), 2011. Acrylique and silkscreen ink on plywood. Courtesy the artist and Galerie Hugues Charbonneau

From June to August, AGAC (Association des galeries d’art contemporain / Contemporary Art Gallery Association) organizes the second installment of Peinture Extrême / Extreme Painting. 20 galleries in Montreal are participating in this summer event to showcase the diversity and hybridity of the ever-challenged medium.
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