The Belgo Report » Sculpture and Installation http://www.thebelgoreport.com News and reviews of art exhibitions in the Belgo Building Fri, 15 Jan 2016 19:12:50 +0000 en-US hourly 1 http://wordpress.org/?v=4.1.9 Christina Battle at Skol http://www.thebelgoreport.com/2015/11/christina-battle-at-skol/ http://www.thebelgoreport.com/2015/11/christina-battle-at-skol/#comments Tue, 03 Nov 2015 22:21:21 +0000 http://www.thebelgoreport.com/?p=5277 Centre des arts actuels Skol, space 341
The People In This Picture Are Standing On All That Remained of a Handsome Residence
Christina Battle
10 September – 10 October 2015

Christina Battle’s piece, Skol’s feature for ‘La Mois de le Photo’, “The people in this picture are standing still on all that remained of a handsome residence” uses glitching and datamoshing to transform videos of a tornado in Edmonton into colorful abstractions. Since the images occur on several screens simultaneously, the viewer feels placed within the disaster scene but in a warped, almost dreamlike way. In her interview for ‘Mois de la Photo’, Battle, a Canadian who lives in works in the United States, mentions that only 5% of Americans have actually witnessed a natural disaster whereas the internet and the proliferation of ‘disaster porn’ creates the illusion that we know what one looks like.

When Battle manipulates these images of a disaster, they immediately register to the viewer as intentionally abstracted, altered or somehow ‘wrong’ in their depiction of a disaster. However, it is this very sensation that Battle is trying to invoke in order to cause the viewer to question his or her knowledge of what a natural disaster is ‘supposed’ to look like.

Thus, Battle’s work speaks to the post-photographic condition in that it questions photography as a memetic mode of representation. Since the photograph is often considered an objective and therefore somehow more ‘accurate’ depiction of reality, Battle’s deliberate manipulation of this convention is simultaneously unsettling and fascinating.

The title of the work also speaks to the installation itself in addition to the subject it is depicting. The viewers are standing in the midst of the proverbial wreckage, among the remains of something of unknown. Since photographic media and technology have been used to capture and disseminate these images, it is both ironic and yet appropriate that these same technologies can be used to warp these images and, in turn, our perception of what they seek to represent.

Battle’s work presents us with more than a simple questioning of ‘disaster porn’ in terms of why we are fascinated by it, but what it actually is in the first place. Her work is calling us to question the reality of these images of disasters by presenting us with a visual version of a disaster narrative that has so clearly been deliberately tampered with. Furthermore, in this way, she gives us a sense of the artist’s hand, a human touch in medium that can sometimes feel almost clinical in its disembodied depersonalization.


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Melanie Hoff: 15,000 Volts at Visual Voice Gallery http://www.thebelgoreport.com/2015/10/melanie-hoff-15000-volt-at-visual-voice-gallery/ http://www.thebelgoreport.com/2015/10/melanie-hoff-15000-volt-at-visual-voice-gallery/#comments Sun, 11 Oct 2015 22:25:05 +0000 http://www.thebelgoreport.com/?p=5286 Melanie Hoff
15,000 Volts
PASSAGE AND CONTROL: ELECTRIC MOVEMENTS IN WOOD
Visual Voice Gallery
September 10 – October 18, 2015
www.visualvoicegallery.com

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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Structuring Space at Circa art actuel http://www.thebelgoreport.com/2015/08/structuring-space-at-circa-art-actuel/ http://www.thebelgoreport.com/2015/08/structuring-space-at-circa-art-actuel/#comments Sat, 01 Aug 2015 15:10:20 +0000 http://www.thebelgoreport.com/?p=5203 The surrounding colours were black, grey, and white, like a dystopian wasteland. There were rings, looped together en masse, and weightlessly suspended from the ceiling. Rock-like formations punctuated the floor.

Visiting Andrée-Anne Dupuis-Bourret’s recent exhibit at Circa Art Actuel was like taking a step into the artist’s inner landscape. An immersive, sensory experience of protruding shapes and suspended reality, the environment altered regular visual and spatial perceptions.

Moving around the installation was similar to walking through a forest, or entering new, unaccustomed surroundings for the first time. Stopping to investigate something that could be a plant, considering the view from each angle, experiencing your body in relation to the objects and organisms around you. As Dupuis-Bourret put it, her work is, “A path for the body and the senses to experience.”

The forms that inhabited the space were created using silk screened and twisted sheets of paper, which were covered with lines and pixelated patterns of different tonal qualities. The sculptures began their life as 2D objects, pieces of paper, before the artist transformed them into their eventual 3D formations, which came to resemble organic matter.

An interesting element of Dupuis-Bourret’s installation was its juxtaposition with its outdoor environment. The gallery’s open window let in the sounds from Sainte-Catherine, and allowed a glimpse of dreary office buildings across the street. The contrast was marked, and further highlighted the surreal quality of the work. In her artist’s statement, Dupuis-Bourret says that she is generally interested in the threshold between the real and imagined, the interior and exterior, the outside world and inner thought.

Documenting these processes, including the creation and assembly of her works, is an important part of Dupuis-Bourret’s practice. She posts photos of her installations on her research blog, Le Cahier Virtuel. These actions multiply the existence of her pieces, which become both in-gallery installations and online photographic records. The incorporation of the online consumption environment is interesting and something many artists are realizing is increasingly important in today’s Internet-centric world. Many audiences will only ever see her work online, which in some ways makes this digital format equally important to the physical manifestation.

Andrée-Anne Dupuis-Bourret works across: collaborative and evolving site-specific installations, paper sculptures, images, photographic documentation and artist’s books. She has exhibited at galleries in: Canada, USA, Mexico, Holland, Italy, Israel, and Australia. In 2011, she was awarded the Governor General of Canada’s gold medal for her Master’s degree project. She is currently completing her PhD in interdisciplinary approaches using print media at UQAM. She also teaches printmaking and is the author of two blogs: Le Cahier Virtuel, and Le Territoire des Sens. For a preview of her upcoming work, take a look at her recent blog about her summer atelier.

Circa art actuel
Andrée-Anne DUPUIS-BOURRET | Francis ARGUIN
May 16 – July 11, 2015
www.circa-art.com


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Surfaces at Galerie Lilian Rodriguez http://www.thebelgoreport.com/2015/07/surfaces-at-galerie-lilian-rodriguez/ http://www.thebelgoreport.com/2015/07/surfaces-at-galerie-lilian-rodriguez/#comments Wed, 01 Jul 2015 15:13:17 +0000 http://www.thebelgoreport.com/?p=5195 June 3 – July 25, 2015

Surfaces

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


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Andrée-Anne Dupuis-Bourret, Francis Arguin à Circa http://www.thebelgoreport.com/2015/05/andree-anne-dupuis-bourret-francis-arguin-a-circa/ http://www.thebelgoreport.com/2015/05/andree-anne-dupuis-bourret-francis-arguin-a-circa/#comments Wed, 20 May 2015 13:46:47 +0000 http://www.thebelgoreport.com/?p=5137

Expositions : 16 mai au 11 juillet 2015
Vernissage : 16 mai 2015 à 15 h

Andrée-Anne Dupuis-Bourret
La fabrication de l’espace
La fabrication de l’espace évoque le paysage, un paysage autant réel que fantasmé, thématique récurrente dans l’œuvre d’Andrée-Anne Dupuis-Bourret. En lieu et place des « coin-coin » rouges et noirs ou des bosquets géométriques disposés au sol, c’est une installation plus aérienne à laquelle le visiteur de la galerie est cette fois confronté. Au plafond, des cerceaux de papier noirs et blancs emboités les uns dans les autres, présentant des motifs lignés et pixélisés, sont suspendus par de minces fils, comme en apesanteur. Cette accumulation de papier évoque des nuages créés par l’assemblage de feuilles de papiers sérigraphiés et torsadés. Au sol, quelques grandes pierres noires, faites de papier froissé, ponctuent le parcours du visiteur. Plus que jamais, celui-ci devient le sujet de l’installation dans l’œuvre. Immersive, l’installation est à parcourir, à éprouver par le corps et les sens; elle appelle la tactilité et remet en cause les perceptions visuelle et spatiale. En se déplaçant dans la galerie, le visiteur prend connaissance des limites que lui imposent les éléments de l’installation dispersés dans l’espace. Il doit être attentif et conscient de ses mouvements, se penchant ou contournant les masses lorsque nécessaire. Cette prolifération de matière – ainsi que les ombres projetées sur les murs de la galerie – participe également à dérouter le visiteur et à construire son expérience subjective de l’œuvre et de son environnement, une réflexion qui anime l’artiste.
Extrait d’Architecturer l’espace
texte d’Isabelle Riendeau
Francis Arguin
Essai pratique sur l’usage en général
Essai pratique sur l’usage en général est le deuxième projet sculptural, après Place-du-Concierge (2014), dans lequel Francis Arguin travaille principalement avec des objets préfabriqués. Plutôt que de pasticher de façon artisanale des objets manufacturés comme il avait l’habitude de le faire dans ses constructions antérieures, les objets usinés sont ici intégrés, pratiquement sans retouche, à même sa structure. Ce changement d’approche par rapport au faire et d’attitude quant aux choix des matériaux a un double effet pratique et esthétique. D’une part, et aux dires même de l’artiste, cette nouvelle façon de procéder lui permet de sauver un temps considérable en atelier, lui évitant de refaire jusqu’à satiété d’innombrables retouches afin de satisfaire son penchant perfectionniste. D’autre part, cette nouvelle approche confère à ses œuvres une apparence plus industrielle qui s’écarte de l’esthétique du « décor en carton-pâte » qui faisait préalablement sa signature. L’assemblage d’objets usuels, ainsi détournés, n’est aussi pas sans rappeler notre monde contemporain où le préfabriqué et le prémonté sont légion.
Extrait de
Francis Arguin. Essai pratique sur l’usage en général
texte d’Ariane De Blois
Plus d’infos : www.circa-art.com

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Laurent Mulot, Alexander Pilis at Galerie Joyce Yahouda http://www.thebelgoreport.com/2015/05/laurent-mulot-alexander-pilis-at-galerie-joyce-yahouda/ http://www.thebelgoreport.com/2015/05/laurent-mulot-alexander-pilis-at-galerie-joyce-yahouda/#comments Sat, 16 May 2015 18:23:42 +0000 http://www.thebelgoreport.com/?p=5131 May 14  – June 20, 2015
Vernissage: Saturday May 16, 2015, 4 – 6 pm

Alexander Pilis

For the exhibition Architecture Parallax : Optical Lapse Apparatus, Alexander Pilis presents an installation composed of four cameras situated in the four corners of the exhibition room, emitting in real time the space as well as the visitors onto a glass construction thus virtually recreating the exhibition space with the participating public.
In dialogue with the installation, the artist presents the series Blind Slippage, six humoristic prints displaying storyboards, which reflect the artist’s investigation linking language with image.
Read more

Laurent Mulot

“Laurent Mulot offers us a work that was unseen before taking the form of a long term experience called “Middle of Nowhere”. “Middle of Nowhere”, a work encompassing the artist’s whole production, is a tale opening with the Ghost Contemporary Art Centers that the artist created all over the world, on each continent: Australia, China, France, Brazil, Morocco, Antarctica and soon enough in ISS (International Space Station).» (Abdelkader Damani)
For this exhibition, Laurent Mulot presents a series of photographs of the ghost contemporary art centers as well as a sculpture entitled Now Melting Here. The work Now Melting Here was created following the last installation of the 6th art center, located in Antarctica. In parallel with the development of the project – six centers on six continents – the letters ANTGCAC (Antarctic Ghost Contemporary Art Center), cast in ice and placed above an oval mirror, melt at a rate depending on the climate of the surrounding environment – thus referring to issues of global climate change.
Read more

(text: Galerie Joyce Joyce Yahouda)

More info: www.joyceyahoudagallery.com


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Anna Biro at Visual Voice Gallery http://www.thebelgoreport.com/2015/05/anna-biro-at-visual-voice-gallery/ http://www.thebelgoreport.com/2015/05/anna-biro-at-visual-voice-gallery/#comments Mon, 04 May 2015 11:50:38 +0000 http://www.thebelgoreport.com/?p=5110 Anna Biro
Haptic Voice

Exhibition: May 9 – June 6, 2015
Vernissage: Saturday, May 9, 2015, 3pm – 5:30pm

Please touch the artworks! Visual Voice Gallery invites its visitors to take off their shoes and experience Anna Biro’s exhibition Haptic Voices with their hands and feet.

Biro’s installation of hand woven and machine knit large-format textiles responds to the human touch by playing sound fragments. Walk across the carpet woven of recycled magnetic audio tape, metallic thread, and high-tech yarn and your feet will trigger a playback of audio clips in an array of voices, each a short burst of narrative. Glide your hands across the fibre works suspended from the ceiling and hear your gesture transform itself into a chorus of whispers and sighs. The interplay of the gallery visitors’ interactions with the art installation creates an ever-changing soundscape.

The artworks are a playful exploration of sensory experiences and communication, creating a synthesis between haptics (touch feedback technology) and sonics. The sense of touch may be underrepresented in the art world, but haptic technology is becoming increasingly integrated into our everyday lives – think of smartphones, touch screens, buzzing joysticks, even rumbling cinema seats. Touch is also the first sense we develop, our most deeply rooted and intimate experience. By weaving together sound and touch, as well as analog and digital technologies, Biro creates a memorable synesthetic environment.

Discover the tactile potential of Anna Biro’s haptic textiles from May 9 until June 6, 2015.


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Laurent Pilon à Galerie Lilian Rodriguez http://www.thebelgoreport.com/2015/04/laurent-pilon-a-galerie-lilian-rodriguez/ http://www.thebelgoreport.com/2015/04/laurent-pilon-a-galerie-lilian-rodriguez/#comments Fri, 10 Apr 2015 02:54:52 +0000 http://www.thebelgoreport.com/?p=5105 Laurent Pilon
Un grand dessin et quelques figures

Exposition : 18 avril ‐ 23 mai 2015
Vernissage : samedi le 18 avril 2015 de 14h à 17 h.


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Guillaume La Brie, Satoru Tamura, Philippe Chabot chez Galerie B-312 http://www.thebelgoreport.com/2015/03/guillaume-la-brie-satoru-tamura-philippe-chabot-chez-galerie-b-312/ http://www.thebelgoreport.com/2015/03/guillaume-la-brie-satoru-tamura-philippe-chabot-chez-galerie-b-312/#comments Tue, 24 Mar 2015 14:31:54 +0000 http://www.thebelgoreport.com/?p=5047 Exposition : 27 mars – 25 avril 2015
Vernissage : 27 mars 2015, dès 17h30

En collaboration avec la nap gallery de Tokyo, la Galerie B-312 est très heureuse de présenter Téléportation, un projet exploratoire audacieux qui réunit les œuvres de Guillaume La Brie et de Satoru Tamura. Sous le commissariat de Gilles Mihalcean, les deux artistes ont été invités à recréer, à distance, l’œuvre de l’autre.—Cette idée est née du rêve un peu fou d’un artiste, ici assumant le rôle de commissaire, de présenter une sculpture à milles lieues de son lieu d’origine sans avoir à l’emballer, la mettre en caisse, la transporter, la dédouaner et la ramener. Dématérialiser l’œuvre en quelque sorte. Lui imputer une légèreté qui la rende si transportable. Telles la photographie ou la vidéo, par exemple. D’où l’intérêt d’inviter deux sculpteurs à oser l’exercice, sur la base d’une réciprocité.—Cette idée, la galerie l’a accueillie avec intérêt et curiosité. Tenter l’expérience de l’œuvre de l’autre, mais sans verser dans la reproduction de celles-ci. Telle fut l’invitation lancée aux artistes, qui à leur tour auront eu la folie d’accepter le défi.—Présentées simultanément dans les deux villes, Tokyo et Montréal, l’œuvre de Guillaume La Brie est visible à nap et celle de Satoru Tamura est présentée à B-312. Quoique… Et c’est là tout l’intérêt du projet, il faudra voir en quoi les artistes se seront réappropriés, par la pratique de l’autre, leur propre préoccupation —Nous vous invitons à venir constater et prendre la mesure de cette exploration faite quelque part entre deux villes, deux pays, deux cultures. Deux artistes. Plusieurs langues. Une téléportation, d’une portée de 10 400 km.

(texte: Marthe Carrier)

La Galerie B-312 a le plaisir de présenter dans la grande salle l’exposition Mécanismes, rassemblant les œuvres les plus récentes de l’artiste Philippe Chabot. À la fois peintre et sculpteur, l’artiste adopte une réflexion sur la déconstruction du médium, de la matière et du sujet à travers le temps et l’espace. Initialement par le biais de portraits, puis plus récemment à l’aide de motifs mécaniques, il transforme le sujet en des jeux visuels et des effets optiques pour atteindre une perspective à la fois figurée et abstraite. —Les œuvres présentées dans l’exposition traitent de cette nouvelle thématique. Les schémas techniques détaillés de moteurs automobiles et aéronautiques, notamment ceux de la compagnie Pratt & Whitney, servent de points de départ à la production de l’artiste. —À travers les couches de papiers collés, de crayons, de peinture et dans l’épaisseur du bois brut, le moteur est documenté, étudié, décomposé et recomposé comme pour mieux en exploiter les possibilités. Celui-ci est détaillé sur tableaux, littéralement construit et déconstruit à même un triptyque modulable, allant jusqu’à sortir du cadre, s’agiter et s’actionner dans une autre œuvre. Une surface, des formes, des arêtes, des angles. Des lignes de fuite, des volumes, une perspective. Tous azimuts. Pêle-mêle. D’une proposition à l’autre, les formes et les compositions qu’il offre prennent le dessus sur le motif initial. —Combien y a-t-il eu de tentatives pour atteindre ce résultat final ? La démarche est-elle intuitive ou rationnelle ? La lisibilité a-t-elle une limite ? Peu importe. Le processus a permis la création. Il s’agit même de l’étape fondamentale. —Proche de l’esthétique cubiste dans la multiplicité des angles de vue et héritier des futuristes dans la sollicitation de motifs issus de la machine, Philippe Chabot atteint aussi un résultat voisin de l’abstraction géométrique lorsque le sujet devient de moins en moins lisible au fur et à mesure des déclinaisons. Les genres se mêlent. Les influences s’entrecroisent. Le résultat reste assurément singulier. —L’expérience est tridimensionnelle. L’image construite – peinte ou sculpturale – révèle une certaine machination.

(texte: Cloe Ducroq)

Plus d’informations: www.galerieb312.ca


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Sarah Hatton at Visual Voice Gallery http://www.thebelgoreport.com/2015/03/sarah-hatton-at-visual-voice-gallery/ http://www.thebelgoreport.com/2015/03/sarah-hatton-at-visual-voice-gallery/#comments Sat, 14 Mar 2015 13:00:41 +0000 http://www.thebelgoreport.com/?p=5037 Exhibition: March 12 – May 2, 2015
Vernissage: Saturday, March 14, 2015, 3pm – 6pm
At the vernissage on Saturday, March 14, 2015 the Quebec company Intermiel will offer mead wine and honey tasting.

Sarah Hatton’s Bee Works – Thousands of dead honeybees arranged into dizzying mathematical patterns

Visual Voice Gallery is delighted to present the works of Outaouais artist Sarah Hatton. Hatton raises awareness of the link between neonicotinoid pesticides and the worldwide decline of bee populations by arranging dead bees in vertigo-inducing mathematical patterns symbolically linked to monoculture crops, such as the Fibonacci spiral found in the seed pattern of the sunflower bloom.

Florid places 500 dead bees in the same seed arrangement found on the seed head of a sunflower. The pattern follows the Fibonacci curve – a sequence found in many spiral arrangements in nature, and one that produces a repetitive, destabilizing visual effect when you stand in front of it. 

The disorientation that the viewer feels in the swarm pattern of the sunflower echoes the bees’ loss of ability to navigate due to the toxins held within the very thing that provides their sustenance.

The Circle pieces arrange thousands of bees in mandala-like patterns from famous crop circles. Here, the implication is crop-based human interference that is, once again, causing mass disorientation. The repetition in these patterns conveys the pathos of a mass burial and the maddening frustration of a disorienting epidemic.

Cluster (Flower of Life)
The Flower of Life is an ancient geometric symbol that forms a hexagonal floral cluster pattern from overlapping circles. Honeybees rely on their clustering instinct to survive.

Some of the most attractive flowers to honeybees are those with multiple flower clusters, a trait that makes these flowers especially alluring and deadly when exposed to systemic pesticides.
A cluster is the term for the starting point of an investigation for epidemiologists.
Hatton has arranged laboratory-grade petri dishes in this overlapping pattern, each dish lined with a cycle of dead honeybees.

Sarah Hatton was born in the UK, and raised in Barbados and Canada.
She received her BFA from Queen’s University and her MFA from the University of Calgary, and is the recipient of numerous awards for art and academics.
Her deep interest in human nature, mortality, patterns, and her insatiable curiosity about the natural world are found throughout her paintings and installation work. Her “Bee Works”, made from thousands of dead honeybees, received international acclaim, balancing artistry with advocacy, and winning the RBC Emerging Artist Award in 2014.
Hatton lives and works in Chelsea, Quebec, one of Canada’s most creative and environmentally-friendly communities.

(text: Visual Voice Gallery)

More info: www.visualvoicegallery.com


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