The Belgo Report » Print News and reviews of art exhibitions in the Belgo Building Fri, 15 Jan 2016 19:12:50 +0000 en-US hourly 1 Melanie Hoff: 15,000 Volts at Visual Voice Gallery Sun, 11 Oct 2015 22:25:05 +0000 Melanie Hoff
15,000 Volts
Visual Voice Gallery
September 10 – October 18, 2015

Visual Voice Gallery is delighted to present the exhibition 15,000 Volts by American artist Melanie Hoff. The 15,000 Volts – Passage and Control series is the result of years of experimentation with directing fractal burns in wood. Hoff manipulated variables such as the species of wood, the composition of the conductive solution, and the placement of electrodes. From these experiments, she learned how to control specific variables to create compositions. No pattern realized in this way can be exactly replicated. These artworks are a collaboration between the artist and the laws of electricity. The fractal patterns, called Lichtenberg figures, were discovered by 18th Century physicist Georg Christoph Lichtenberg. They were first noted when dust in the air settled on the surface of electrically-charged plates of resin. Hoff’s work fuses scientific and artistic practices by enlisting principles of physics and chemistry as mediums of art.

Melanie Hoff was born in Washington D.C. and lives and works in Brooklyn, New York. She is a graduate of the Pratt Institute where she earned a BFA in sculpture and is currently pursuing a masters degree from New York University’s Interactive Telecommunications Program. Hoff’s work has been exhibited in galleries and on screens internationally. The artist has been featured on the Radiolab podcast’s live show “Apocalyptical”, Discovery Channel’s “Outrageous Acts of Science”, Vice’s “The Creators Project” and on National Public Radio’s “Science Friday”. Hers is a research-based practice that investigates the intangible forces that shape our environment. Though she began her studies as a photography student, after her foray into sculpture, Hoff became increasingly interested in chemistry and electricity, harnessing her knowledge of these scientific fields for her art. She intends to broaden her practice with acquired skills in technology to further investigate our modern environment by exploring not only the hidden behaviors of materials but of one of the most elusive aspects of our environment: humans.

(Text: Visual Voice Gallery)

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Surfaces at Galerie Lilian Rodriguez Wed, 01 Jul 2015 15:13:17 +0000 June 3 – July 25, 2015


Roger Bellemare, Daniel Lahaise, Jennifer Lupien, José Luis Torres, Monica van Asperen

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François Lacasse and Marc-Antoine K. Phaneuf at Arprim Thu, 14 May 2015 13:07:58 +0000 À l’affiche
Launch of limited edition original prints by François Lacasse and Marc-Antoine K. Phaneuf
Thursday, May 21, from 5:30 p.m. to 7 p.m.

Arprim’s initiative À l’affiche assists the creation of original prints and posters by contemporary artists. Working in partnership with the Université du Québec à Montréal’s (UQAM) École des arts visuels et médiatiques, this project lets printing arts students get better acquainted with the printing process, and gives them a chance to work in close collaboration with professional and renowned artists for the production of one of their pieces.

The proceeds from the À l’affiche project go towards financing the centre’s activities and help fund grants for students in the field of printing arts at UQAM’s École des arts visuels et médiatiques.

Arprim is very proud to launch its first print series produced as part of this collaboration: silkscreen prints by François Lacasse and Marc-Antoine K. Phaneuf, on Stonehenge 100% cotton (56 x 76 cm) and limited to 50 numbered copies each. For these, both artists have explored the potential of print media within their own painting and drawing practices.

François Lacasse, a teacher at UQAM and artist, studies the physical and material qualities of color and its application methods. The transformation process plays an important role in his works, which are the results of a sequence of gestures and protocols. His work has been showcased in over ten solo exhibitions, including at the Musée d’art de Joliette (2009), the Musée d’art contemporain de Montréal (2002) and Galerie René Blouin, which represents him. Petits écrasements is in line with his recent work, but expands into new experiments incorporating silkscreen printing and the possibilities it affords with regard to color.

Marc-Antoine K. Phaneuf’s practice, at once playful and conceptual, has been dealing in recent years with the appropriation, détournement, and transformation of found printed matter.  His work has been presented in many solo and group shows, for example at Optica (2015), Arprim (2015), Verticale – centre d’artistes (2014) and at the Musée régional de Rimouski (2013). In Karlsplatz Station, the artists offers an image inspired by his Études préparatoires, in which he draws explosions on the pages of books. Silkscreen printing enables him to mimic both the photographical nature of the architecture textbook’s page, as well as the jagged and colourful shape of the “explosion”.

Get these prints now at Le Magasin – Arprim’s sales area, which offers original artworks at affordable prices – online at (starting May 22), or at UQAM (Judith-Jasmin building, #J-4075). Available at the prices of $125 and $250 respectively, the prints will have a 20% discount on May 21 for their official launch.

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Martha Townsend at Galerie Roger Bellemare / Galerie Christian Lambert Wed, 06 May 2015 01:18:36 +0000 Saturday, May 9, starting at 3pm

Artist book launch and reading
of the latest edition by Éditions Roselin


Artworks by Martha Townsend
Text and layout by Nicole Brossard
Concept and binding by Jacques Fournier
Typography by Pierre Filion

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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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Soirée mexicaine à Arprim Mon, 23 Mar 2015 15:28:26 +0000 Vendredi le 27 mars dès 17h30

Afin de célébrer le succès de l’exposition L’art imprimé : entre mixité et hybridité, présentée du 11 décembre 2014 au 8 mars 2015 au Museo Nacional de la Estampa à Mexico, Arprim réunit les artistes ayant participé à cette aventure pour une soirée festive où seront projetées des images de l’exposition et de leur expérience au Mexique. Le public est convié à participer à cette rencontre, animée par de la musique et un pot luck* à saveur mexicaine, et à échanger avec les artistes et les commissaires du projet.

L’art imprimé : entre mixité et hybridité revisitait l’univers de l’estampe pour en dévoiler les enjeux actuels. L’exposition montrait à quel point la place de l’imprimé dans l’art actuel a évolué au contact des nouvelles technologies et des autres disciplines artistiques telles les pratiques immersives, la sculpture, la vidéo, l’installation ou la performance. Les 10 artistes participants (Philippe Blanchard, Andrée-Anne Dupuis-Bourret, Mathieu Matthew Conway, Pierre Durette, Jérôme Fortin, Fred Laforge, Manuela Lalic, Laurent Lamarche, Yannick Desranleau et Chloe Lum (Séripop), Lysette Yoselevitz) ont été sélectionnés par les commissaires Emilie Granjon et Lysette Yoselevitz pour leur intérêt envers l’imprimé, leur ouverture aux autres disciplines artistiques et leur vision audacieuse et multidisciplinaire.

 *Tous sont invités à contribuer au pot luck en apportant un plat de leur choix à partager.

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Mathieu Grenier at Arprim Wed, 18 Feb 2015 19:48:15 +0000 From February 20 to March 21, 2015
Opening on Friday, February 20, 2015 at 5:30 PM 

For his first solo exhibition, Mathieu Grenier continues his investigations on the system-like nature of the work of art and its relationship with the exhibition space as context. Grenier designed a new installation for Arprim, in which a series of images show various kinds of paper freed from their function as medium to become the actual object of representation.

In documenting this material before the “act of art” has altered its surface, the artist highlights not only its inherent qualities but also the limitless possibilities it represents. Much like the blank page, which both haunts and inspires writers, a sheet of paper, still unmarred by text, evokes that specific moment in the creative process when there is only nothingness, a paradoxically infinite yet bounded white space from which any idea may emerge.

Through this installation, Mathieu Grenier invites the viewer to consider both the images shown and the walls of the exhibition space as sharing not only formal qualities but also a symbolic function. In doing so the artist calls out the moment of creation and the moment of presentation as two entangled entities whose connection to time can be modified.

The artist would like to thank Gwenaël Bélanger, Kevin Beaulieu, Marilyne Fournier, Marie-Josée Jean, Maude P. Hénaire, Marie-Claude Landry, Carolyne Scenna, Martin Schop, Centre SAGAMIE, PhotoSynthèse and the Hnatyshyn Foundation for supporting this project.

Mathieu Grenier lives and works in Montreal where he completed a bachelor’s degree in visual and media art at the Université du Québec à Montréal. His work has been showcased in many group exhibitions, at Diagonale, Les Territoires gallery, Galerie Trois Points and Espace Cercle Carré. His work will shortly be presented in solo exhibitions at Galerie Roger Bellemare et Christian Lambert as well as in the artist run centre Le Lobe in Chicoutimi, where he will also be doing a creative residency. In 2014 he was awarded the Charles Pachter Prize by the Hnatyshyn Foundation.

(text: Arprim)

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This Week in the Belgo Thu, 04 Dec 2014 19:22:56 +0000 The week kicks off with two bazars: Galerie Donald Browne‘s Solstice Bazar actually starts a few weeks before the winter solstice on December 4th, and Arprim celebrate their 35th anniversary with a “fire sale” (Vente du feu) on Friday. Both are good options for holiday shopping.
Saturday is action-packed. Start your afternoon at POPOP Gallery where artist Oli Sorenson is going to demolish a brand-new large-format video monitor, and then head up to SBC Gallery of Contemporary Art where artist collective CRUM will be “employing the technique of Accurism, the collective consciousness of the gallery space, and individual mobile devices, (to) attempt to achieve telepathy.” Let us know how that goes.
Finally, chill out at the vernissage of the group show Nostalgia for the Future at Visual Voice Gallery, where artists Bill Finger, David A. Hardy, and William K. Hartmann reflect on our visions of the future from the 1960s. Moon colonies, anyone?

Thursday, December 4, 2014

Galerie Donald Browne
Solstice bazar
Vernissage from 5:30 p.m. – 8:00 p.m.

Friday, December 5, 2014

Vente du feu
Special 35th anniversary edition
Vernissage ay 6:30 p.m.

Saturday, December 6, 2014

Visual Voice Gallery
Bill Finger, David A. Hardy, William K. Hartmann
Nostalgia for the Future
Vernissage from 3:00 p.m. – 6:00 p.m.

Galerie POPOP
Oli Sorenson
La Société de la Place des Spectacles
Performance at 4:00 p.m.
Vernissage from 2:00 p.m – 5:00 p.m.

SBC Gallery of Contemporary Art
119 m Above Sea Level
Participatory Performance of Texting for Telepathy from 2:00 p.m. – 5:00 p.m.

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Moonwalk at Galerie Hugues Charbonneau Mon, 03 Feb 2014 16:30:36 +0000 Jonathan Plante at Galerie Hugues Charbonneau

Never have I had to restrain myself more from touching an artwork than during my visit of Moonwalk, the latest exhibition presented at Galerie Hugues Charbonneau, which features the mesmerizing artworks by local multidisciplinary artist Jonathan Plante. I was intrigued by the artwork’s surface because I couldn’t quite make sense of it: it seemed to move as though it was reverberating light. My first instinct in a situation like this is to touch to understand (which is always frustrating)! Though I didn’t. Instead, reading the artist’s statement, I discovered that the surface in question is lenticular plastic.

This unique material is a transparent sheet of plastic, embossed on one side with rows of convex ridges which form a lens. The opposite side of the sheet is flat. The moving image that the viewer sees is created by interlacing a sequence of frames. In other words, each frame is cut into stripes the width of a convex row and glued to the plastic; the moving viewer sees the resulting sequence of images creating the impression of motion. For more about lenticular printing, visit this page.

The idea of sequence is one that the artist has been working with throughout his artistic career. Plante researches the multiple stages of life of an artwork, from conception to documentation, and his work also explores the transformation of an artwork, as well as the concept of repetition. All these strands of though come together in his lenticular prints. Moving around the gallery space, every picture moves in response to the viewer’s position in the space. This interaction between the viewer and the artworks creates a dialogue, connecting the viewer and the piece in a very tangible way. The pieces create a sort of performance for each viewer based on the path the viewer takes within the gallery.

Themes such as Greek mythology, motion, and passing time are predominant in this exhibition. Indeed, we encounter the figures of Narcisse (2013) or Sisyphe (2013) and the works Temps de passage (2012) and Temps d’exposition (2013) clearly evoke time passing. Temps de passage is an animated video which underlines the ideas of motion and sequence, and references the lenticular prints through the use of transparent tape. Like all the other pieces in this show, Temps de passage is created with many stills placed into a specific sequence in order to give the impression of movement. Plante’s work starts with still frames which, assembled in a specific way, become kinetic images through the presence and motion of the viewer.

Galerie Hugues Charbonneau, space 308
Jonathan Plante
January 11 – February 15, 2014

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Friday’s Favourite Four Fri, 06 Dec 2013 19:23:55 +0000 the belgo report

This week’s pick of four outstanding artworks you should see in the Belgo focuses on materiality and metaphor. Clockwise from top left:

Dominique Blain at Espace Robert Poulin, Rober Racine at Galerie Robert Bellemare/Galerie Christian Lambert, Janick Deslauriers at Circa, Maskull Lasserre at Pierre-François Ouellette Art Contemporain


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