The Belgo Report » Photography News and reviews of art exhibitions in the Belgo Building Fri, 15 Jan 2016 19:12:50 +0000 en-US hourly 1 Identity Today: Tous décavés, Isabelle Le Minh at SBC Gallery Fri, 25 Sep 2015 15:12:24 +0000 Le Mois de la Photo à Montréal
SBC Gallery of Contemporary Art | space 507
Isabelle Le Minh
Tous décavés
September 10 – October 17, 2015

This is no longer the digital age, the information age, or any other bygone term we have tucked away into our box of landline telephones, bookstores and handwritten letters. Rather, this is the age of a desperation to transmit every aspect of our lives through a screen, to preserve it in something totally public and totally intangible.

Le Minh modernises and interprets the work of late 19th century biometrics researcher Alphonse Bertillon, inventor of an identification system based on physicalities and the mug shot, as well as the bodily impressions of Yves Klein.

For “Anthropometrié sans titre,” 1961, Klein covered nude models in paint and instructed them to drag and press their bodies across the canvas. In Le Minh’s “Digitométrie, After Yves Klein,” the blown-up impressions of dragged fingerprints in a soft purple hue lose the sensuality and spontaneity felt in Klein’s piece, replaced by a lonely image of an iPad screen that needs cleaning. Yet is there not beauty in the sweeping brushstrokes and unique pattern of our own skin? We are making our mark on the world, no matter the surface.

Le Minh draws from Bertillon with her collection of facial features and profiles, pieces of people taken from Facebook. The repetition and fragmentation strips identities, a raised eyebrow or lip curl only offering up hints, and the work becomes as curiously addictive as the scanning and clicking of the website itself.

Tous décavés propels an examination of our own interactions with technology and identity. Part of Le Minh’s show includes colorful, supersized QR codes entombed in plexiglass. Viewers are encouraged to take out their smartphones in order to decipher the works’ messages, but, as Le Minh may have anticipated, chances are they already were. This piece, and ultimately the show, forces a nervous but necessary ‘what does this say about who we are?

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Le Mois de la Photo: Investigating the Post-Photographic Condition Sat, 19 Sep 2015 14:07:18 +0000 Devices and smart phones now exist as part of our personal and physical space. At any given time of the day, most people know where their phone is. Either by seeing or feeling the phone on their physical person, or by mentally knowing where it is. This continuous physical and psychological contact is changing the way we make decisions, share stories, and form memories. Specifically, these devices have changed our relationship with photography and with images. Each person now has inexpensive, easy access to a camera, storage, and everyone is constantly connected to one another. Reality exists increasingly within and through these devices, and via social media and the cloud almost everything ends up on the Internet. The many and varied ways these technologies are changing individuals, and society as a whole, is under examination at this year’s Le Mois de la Photo (MPM).

Opening last week, the biennial – currently in its 14th edition – features 29 artists (emerging and established) from 11 countries who will exhibit at 16 sites across Montreal over the month long event. Four artists will present their work in Belgo Building galleries. Conceptual artist and curator, Joan Fontcuberta, conceived of this year’s theme, The Post-Photographic Condition. Each of the exhibits and the related discussions fit within one of the biennial’s three core conceptual frameworks, also conceived by Fontcuberta.

The first framework sees an exploration of the idea that we’re witnessing the establishment of a new visual order, which is changing the way images are understood and used. Images have now become immaterial, viewed solely as digital objects, and more easily shared than ever; the landscape is characterized by a massive increase in the number and the availability of all kinds of images. Their ubiquitous nature now means that photographs are not valued in the way they once were. Their ease of use, and ease of transmission, has also made communicating via images a day-to-day experience for most people.

Fontcuberta calls the second conceptual idea Reality Reloaded, with obvious reference to The Matrix. In the same way Neo plugged into the matrix, we are now able to engage with a parallel reality in the online world. Although the Internet can be said to act as a mirror of the real world, this mirror and our perception of the reflection is not always accurate. The line between reality and illusion, lies and truth, can be impossible to ascertain. Fontcuberta poses the questions: is what we see on our screens just an interface between subject and object, or is the online image its own reality – a documentation of the world in image form, and ultimately a new form of reality?

In the third framework, Reviewing the Subject, there is a dialogue discussing the way digital culture is changing our construction of society, and the fashioning of our individual identities. The “selfie” has created a new genre of imagery. It has had a huge effect on how people present their own image to the world – it’s the first time in history people have had complete and utter control over how their own personas are perceived by others. Even though, people’s reactions to these images are not always predictable.

The biennial also features a number of events, including: the presentation of the Dazibao Prize, artists’ talks, a portfolio review session, workshops, and guided tours. MPM will conclude with a three-day conference, “À partir d’aujourd’hui … Reconsidering Photography,” in which nine invited scholars will give papers and form panels to discuss the theme and its associated issues. The biennial runs until October 11, 2015.

The Belgo Building will host four artists as part of the biennial:

Centre des Arts Actuels Skols
Christina Battle, “The people in this picture are standing on all that remained of a handsome residence.”

Galerie B-312
Liam Maloney, “Texting Syria”

Galerie Joyce Yahouda
Paul Wong, “Multiverse”

SBC Galerie d’Art Contemporain
Isabelle Le Minh, “Tous Décavés”

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Hank O’Neal at Galerie Joyce Yahouda Fri, 26 Jun 2015 23:29:31 +0000 Exhibition: June 27 – August 8, 2015
Vernissage: Saturday June 27, 2015, 4 – 6 pm

Hank O’Neal
The Golden Age of Jazz

In tandem with the Montreal Jazz Festival, New York-based photographer Hank O’Neal presents The Golden Age of Jazz, a photography exhibition linked to the international world of jazz. Since 1964 to the present-day, Hank O’Neal has photographed some of the biggest names in jazz, including Ray Charles.
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Raymonde April, Alain Chagnon, Claire Beaugrand-Champagne, Roger Charbonneau, Réjean Meloche, Susan Moss, Gabor Szilasi

To echo the exhibition The Golden Age of Jazz by renowned New York-based photographer Hank O’Neal, presented in conjunction with the Montreal Jazz Festival, curators Lara Orsoni, Yan Romanesky, and Joyce Yahouda present Melomania, a photography exhibition, by Montreal-based artists, which depicts an enthrallment for music.
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Text: Galerie Joyce Yahouda
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ALPTRAUM (NIGHTMARE) at Visual Voice Gallery Tue, 23 Jun 2015 01:44:43 +0000 Exhibition: June 18 – 27, 2015
Vernissage: Thursday, June 18, 2015, 5pm – 7pm

Curator: Marcus Sendlinger
Co-Curators: Li Alin, Bettina Forget

Since 2010 Marcus Sendlinger organizes the wandering exhibition “Alptraum” in different countries all over the world. Starting out in Washington D.C., Montreal is now the 13th location of this world wide artist collaboration with the aim to explore the relationship between the individual, the national and the global collective subconscious surrounding nightmares.

“Like George Orwell’s Room 101, in his predictive tale, 1984, we all have our own version of what constitutes a nightmare, and for this reason, the project has been opened to a large number of artists whose many and varied personal nightmare versions, or visions, act to reflect this hugely variable human state of fears and phobias, pain and panic.” (Marcus Sendlinger) The nightmare motif has a longstanding tradition in visual arts with its intertwining of the fantastical, the horrifying and the elusive. The theme has long fascinated artists – from the hellish landscapes of Hieronymus Bosch, Henry Fuseli’s The Nightmare (1781), Goya’s The Sleep of Reason Produces Monsters (c. 1798), right through to the 20th Century, when nightmares became one of the central concerns of the surrealist movement.

But are nightmares individual to all? Like dreams, which have become synonymous with individual ambition? Or are nightmares perhaps expressions of the undesirable unconscious – that common denominator of a community? Do they indicate national archetypes? Or do they simply remain in the grips of the global fears of present age? These are the questions at the centre of the Alptraum exhibition, suggesting answers through the various repetitions of the same theme.

(text: Li Alin)
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Mois de la Photo in the Belgo Tue, 09 Jun 2015 01:33:29 +0000 Le Mois de la Photo à Montréal (MPM) is the leading international photography biennial in Canada. The MPM creates a unique opportunity for the critical understanding of current photographic discourses and generates an engaging dialogue on the contemporary image. From September 10 to October 11, 2015, for its 14th edition, the biennial highlights The Post-Photographic Condition, a theme conceived by renowned Catalan guest curator Joan Fontcuberta. The biennial features 29 artists, Canadian and International, whose works are presented in 15 venues across Montreal including museums, university galleries and art centres. The artworks critically explore the massive presence of images and their unlimited availability in our contemporary culture characterised by the ubiquity of Internet and smartphones. The biennial is complemented by a publication, a colloquium, as well as artist talks, video screenings, workshops and guided tours for all ages. Don’t miss one of the biggest cultural event in Montreal!

Participating galleries in the Belgo building:

- Centre des arts actuels Skol
- Galerie B-312
- Galerie Joyce Yahouda
- SBC galerie d’art contemporain
(text: Le Mois de la Photo à Montréal)

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Louise Elie, Josèe Charbonneau, Apostolos Stefanopoulos at Galerie Luz Sun, 31 May 2015 13:33:11 +0000 Exhibition: June 3 – 27, 2015
Vernissage: Wednesday June 3, from 5 – 8pm

Louise Elie

From click to printout, using all the technical possibilities that the virtual darkroom provides, Louise Elie lets herself be guided by light, transparency, textures and movement; by the swiftness of time passing, the evocation of memories and their disappearance, the beauty and the fragility of life.
The sea is part of her life. Through a regular pattern of separations and reunions, through thousands of hours spent in its company since her childhood, she has developed a close relationship, an intimate bond with the sea. Drawing on that bond, Louise Elie has created a series of images that stretch this dimension of intimacy to the point of abstraction, reducing the sea to line and colour. In another series, captured at night under a full moon and a cloudy sky, the photographer transforms the sea into expressionist images. Infused with power, density and mystery, these pieces evoke the paradoxical permanence of the sea’s infinite and ever-changing motion and its poetic resonance.

Josèe Charbonneau

Photography is Josée Charbonneau’s favourite medium and means of expression. She approaches her works on paper by using the organic shape of the image in a spatial environment. Using photo engraving, she creates visions inspired by her unconscious and the power of her childhood imagination. Through photo engraving, her pictures are always evolving and unique, evoking the spirit of the sea, with its complex currents and shifting winds. With “Water’s edge“ Josée Charbonneau presents an important step in her creative quest.
The eight virtues of the Koi Carp have been a source of inspiration in her artistic research: There is no fixed port, no purpose, live life in the present moment, ignore the straight and narrow, evolve with ease in uncertainty, appreciate your community, remain calm and serene, swim against the current back to the source.

Apostolos Stefanopoulos

Aretephos Studio emerged as a medium of symbolic art—‘Aretephos’—where works are defined and motivated by geometric shapes and script. Quotes are by various philosophers, scientists, musicians, spiritualists, poets, and dramatists that have shaped humanity into what it is today.
Artist Apostolos Stefanopoulos believes that art can visually express words geometrically: lines as length; color as dominance; circles and polygons as continuity; and triangles as stationary objects in space-time. Words finally have a real visual presence-a new way to be understood and appreciated.
Series Aretephos hosts quotes from profound individuals that have shaped humanity into what it is today. In your everyday life, it is nearly impossible to not come in contact with one of their philosophies or methods. All work in this section differs from one to another allowing one to interpret the quotes. 7 Sins & 7 Virtues brings to life our everyday challenges and accomplishments. We have all once in our lives been motivated by these principles. The categories appear similar because the veil between them is slim and dangerous. Mathematics encompasses equations in physics and geometry that defines reality and has been crucial in our understanding what is. One can only imagine what life would be like without these advances.
States of the Soul enters ones’ emotional states. Everyday, we express our selves in different, yet similar ways, but we never have the opportunity to see it on paper, now we can.

(Text: Galerie Luz)

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Chloe Lum and Yannick Desranleau (SÉRIPOP) at Galerie Hugues Charbonneau Tue, 28 Apr 2015 02:10:42 +0000 Chloe Lum and Yannick Desranleau (SÉRIPOP)
The Face Stayed East and the Mouth Went West (elements)

Exhibition: May 2 to June 6, 2015
Vernissage: May 2, 3pm – 5pm

For their sophomore exhibition at Galerie Hugues Charbonneau, Séripop – the collaborative practice of Chloe Lum and Yannick Desranleau – will be exhibiting a new presentation of multi-disciplinary work. Known for their large scale sculptural installations constructed of brightly coloured – sometimes printed – paper materials, theThe Face Stayed East and the Mouth Went West (elements) exhibition distinguishes itself by referencing that sculptural work and its concepts through photo-based installation and performance.

In the last several years Séripop’s practice has explored the entropy of urban space. Their work occasionally engages directly with public architecture and objects (i.e. an entire building is papered and peels away over time in Avancez en arrière(2012)) and their sculptural installations are loosely reminiscent of the shapes and spaces that surround us in the public environment – buildings, construction sites, monuments – slowly shifting and collapsing with gravity and wear during the exhibition period.

At Galerie Hugues Charbonneau, Séripop is exhibiting a series of large scale photographs, presented in light boxes, depicting existing sculptural works in repetition. Through these reproductions the objects are pushed to perform in new and different ways, against their own repeated selves and in the gallery space. Séripop then takes this dynamic a step further, collaborating for the first time with dancers to present a choreographed performance. Séripop’s misshapen objects are activated as props, costumes, and noise-makers, while being manipulated and navigated by the performers. As core members of the now defunct band AIDS Wolf, this overt performance work is new in form but not in nature for Séripop.

(Text: Galerie Hugues Charbonneau)
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Alain Paiement chez Galerie Hugues Charbonneau Fri, 13 Mar 2015 13:41:14 +0000 Exposition : 14 mars au 18 avril 2015
Vernissage :  le 14 mars de 15 h à 17 h en présence de l’artiste

Alain Paiement : Instantanés, peut-être

Dans le cadre du deuxième volet de son projet solo 2014-2015 à la Galerie Hugues Charbonneau, Alain Paiement puise directement dans l’imposante banque de photographies que représente l’ensemble des clichés qu’il a captés au fil de ses trente années de carrière, mais qui, à ce jour, n’avaient presque jamais été exploitées.

L’artiste note : « En fait, j’ai toujours “pris” des photos. Les sujets photogéniques sont trouvés partout où je suis passé. Il y en a des centaines. Ils sont captés instantanément, la plupart du temps avec l’appareil à la main, sans trépied. »

Alain Paiement redéfinit la temporalité de ces snapshots, ce terme suggérant habituellement une spontanéité ou du moins une saisie non préméditée, immédiate, que l’on opposerait à l’idée de mise en scène et de construction préparée. Pourtant, par des procédés rigoureux de manipulation technique de l’image, chacune des œuvres issues de ce nouveau corpus combine plusieurs prises de vue. On y découvre ainsi des images à réalités multiples, des « images d’images », obtenues par surimpressions, juxtapositions, collages et autres formes d’imbrication de moments.

Cette série concrétise un nouveau chantier dans l’œuvre d’Alain Paiement : elle assoit véritablement ses préoccupations grandissantes pour la notion de « temps » en faisant se croiser différentes temporalités à même le processus de création (photographies anciennes vs manipulations récentes). Ces œuvres ouvrent un riche espace de réflexion sur l’instantanéité qui caractérise le régime culturel actuel ou encore sur le présentisme qui marque peut-être la relation au passé et au futur de la société contemporaine.

Alain Paiement

Figure phare de la photographie contemporaine au Canada, Alain Paiement traduit en images ses recherches sur les possibilités de déploiement de ce médium à travers l’espace et le temps. Ses installations et séries photographiques ainsi que son travail vidéo explorent le potentiel que recèlent des jeux de perspectives, de télescopage et de balayage pour sonder la relation entre le sujet percevant et son environnement en constante redéfinition.

Le travail d’Alain Paiement a fait l’objet de nombreuses expositions à travers le Canada et les États-Unis en plus d’être présenté en Europe, en Amérique latine et en Asie depuis les années 1980. Alain Paiement a reçu plusieurs prix en photo contemporaine et a réalisé de nombreuses œuvres d’art public au Québec, dont la monumentale Tessellations sans fin (2012) dans les halls du Centre de recherche du CHUM à Montréal. Il figure au sein de collections institutionnelles et privées majeures au Canada, aux États-Unis, en Espagne et en Belgique.

(texte: Galerie Hugues Charbonneau)

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Mathieu Lambert chez Les Territoires Thu, 12 Mar 2015 13:35:23 +0000 Exposition : 13 mars au 11 avril 2015
Vernissage : vendredi 13 mars à 18h

La Théorie du Complot
Mathieu Lambert

La Galerie Les Territoires est fière de présenter La Théorie du Complot de l’artiste Mathieu Lambert. Fortement influencée par différents types de médias, la pratique de Mathieu Lambert questionne, entre autres, la production de modèles par les industries du divertissement et la circulation d’imaginaires collectifs. Pour La Théorie du Complot, il emprunte des approches appartenant à la sphère du cinéma mêlant des souvenirs personnels, des bribes d’imaginaire collectif et d’actualité. Réunissant images photographiques, objets fabriqués par l’artiste et des preuves d’événements fictifs (empruntées dans un dépôt d’accessoires de cinéma), La Théorie du Complot propose une enquête ouverte sur les rapports imaginaires ainsi que les forces et les faiblesses jalonnant les conspirations qui nous entourent.

(texte: Galerie Les Territoires)

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Raymonde April at Galerie Donald Browne Thu, 05 Mar 2015 15:56:09 +0000 Raymonde April  |  Near You No Cold : two exhibitions on India

Near You No Cold
Partie 1_Near You

Exhibition at Galerie Donald Browne: March 7 – April 11, 2015
Vernissage: March 7, 2015 at 4pm

This body of work examines intimacy and domesticity through a fragmented narrative of small and large-size photographs. Views of an apartment at daytime or at night, windows, suspended clothes, kitchen ustensils, bedrooms, fruit and vegetable are juxtaposed with larger views of the busy, chaotic background of the city. Presence with absence, bits of conversations in broken language (near you, no cold). Fleeting portraits, unidentified shadows.

Near You No Cold
2_No Cold
Exhibition at Centre Clark, 5455, avenue de Gaspé, Espace 114, Montreal: March 13-April 19, 2015
Vernissage: March 12 at 7pm

Located in Mazgaon, an industrial district of Mumbai in the process of gentrification, the neighborhood of the studio offers an array of contrasting views: railroads, warehouses, small traditional shops, precarious dwellings, slums, highway construction sites, cozy apartment buildings, cats, rats, dogs and crows. The photographic series are built with repetition and devoted to a specific scene: a woman throwing plastic tarps in a fire; a sanctuary maintained by believers along a busy road; variations on dusty objects and furniture. The viewers are invited to touch the images, to flip them in order to see the images underneath, experiencing the «no cold» effect of the city and people.

(text: Galerie Donald Browne)

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