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Moridja Kitenge Banza:1

February 27th, 2019 § 0 comments § permalink

 

Moridja Kitenge Banza, Christ Pantocrator No1, 2017
Acrylique sur bois, feuille d’or
Acrylic on panel, gold leaf
40 x 30 cm (15,75” x 11,75”)

 

For his first exhibition at Galerie Hugues Charbonneau, Moridja Kitenge Banza is presenting  a painting from his series “Christ Pantocrator” which explores the complexity of his Congolese cultural identity through deeply rooted colonial symbols that he subjects to shifts in meaning. The artist describes this series in the following text.

 

A Christ Pantocrator is a Byzantine icon of Christ represented as almighty in his glorious body. This painting series borrows this representation as a starting point to question my relationship to masks from Africa found in Western art museums.

In most African cultures, masks are meant to be used in sacred rites and ceremonies celebrating birth, death or harvest. When dispalced as static objects in museums, they become amputated from their contexts of origin, simultaneously revealing aporias : the aritsts’ identities are unknown and their provenance, undisclosed to the people and places they come from. Silent and detached from contemporary African life, these masks are nonetheless a material testament of the diversity and complexity of these societies. They are essential vehicules of customs and heritage for future generations of africans.

My reflexions are guided by a critical analysis of historical and cultural aspects of my country, the Democratic Republic of the Congo, as well as my own history, combining multiple layers of narratives and meanings. Catholicism plays an important role, passed on to my ancesters by Jesuit priests during the evangelization of the Congo, and carried through my ancestry, as well as my own family’s experiences. My current outlook on these persistant symbols is energized by an intersecting creative intent, between memory and reappropriation.

To this end, I draw from various museum collections that possess African masks. I reproduce Pantocrator paintings, over which I paint the masks I have chosen, covering the face of Christ. Through this intervention, I return its glory to the sacred object and reactivate its function: that of being worn.

 

Moridja Kitenge Banza : 1 (exposition_exhibition), 2019, Galerie Hugues Charbonneau, Montréal, Canada (photo : Jean-Michael Seminaro)

 

 

Biography

Canadian Congolese aritst Moridja Kitenge Banza was born in Kinshasa in 1980 in the Democratic Republic of the Congo. He holds degrees from l’Académie des beaux-arts de Kinshasa, from l’École supérieure des beaux-arts de Nantes Métropole and from the Humanities and Social Sciences faculty of l’Université de La Rochelle.  In 2010, he was awarded the first prize of the Biennale of Contemporary African Art, DAK’ART for his video Hymne à nousand his installation work De 1848 à nos jours. His work was part of exhibitions at the Musée Dauphinois (Grenoble, France), at the Museum of Contemporary Art (Rosklide, Danemark), at the Arndt Gallery and Ngbk (Berlin, Allemagne), at the Biennale Internationale de Casablanca (Casablanca, Maroc), at the Fondation Attijariwafa bank (Casablanca, Maroc), at the Fondation Blachère (Apt, France) as well as at the BAnQ, at galerie Joyce Yahouda, at Oboro and at the Musée des beaux-arts de Montréal (Montréal, Canada).

 

Artist Statement

As a multidisciplinary artist, I express myself through painting, photography, video, drawing and installation.

My process is situated at the intersection of reality and fiction. Through this lens, I question the history, memory and identity of the places where I live or have lived in relation to the place I occupy in these localities. I intentionally confuse fact and fiction to problematize hegemonic narratives and create spaces where marginalized discourse could flourish. Drawing from past and present situations, I organize, assemble and trace figures, as would a land surveyor, by reappropriating the codes of cultural, political, social and economic representations. In so doing, I build my own tools to better invest the “other’s” territory in order to enrich all the fields of research that inspire my practice.

 

The gallery would like to extend its gratitude to Anne-Isabelle Pronkina for her contribution to the development of the exhibition’s concept.

 

Moridja Kitenge Banza, Authentique #1, 2017
Impression archive au jet d’encre sur papier
Archival digital inkjet print on paper
Édition 3/5
86,3 x 61 cm (34” x 24”)

Maria Hupfield: Stay Golden

October 6th, 2015 § 0 comments § permalink

Vernissage: October 10 from 3 to 5pm. The artist will be present.

Stay Golden

Galerie Hugues Charbonneau is pleased to welcome Maria Hupfield for her second solo exhibition at the gallery. Based on her performance titled Jiimaan, which took place in Venice in May 2015, Stay Golden presents a new collection of gold sculptures, a life-size grey felt canoe, and a two-channel video.

Maria Hupfield Jiimaan (Canoe), 2015 Canoe en feutre, ruban, sac et accrochage, avec motif d’eau sur bande orange et sur bâche bleu.  Felt canoe,  ribbon, bag. hanging and water pattern in orange tape on blue trap.

Maria Hupfield
Jiimaan (Canoe), 2015
Canoe en feutre, ruban, sac et accrochage, avec motif d’eau sur bande orange et sur bâche bleu.
Felt canoe, ribbon, bag. hanging and water pattern in orange tape on blue trap.

Maria Hupfield’s installations, much like her performances, employ various strategies for occupying space. The artist is interested in how the charged identity of sites can impact our behaviour, but also how they can define our identity or change our perception of things. How do we appropriate a new place for ourselves? How do we activate the places that surround us? Can these be a source of empowerment or of communion with the past?

Maria Hupfield Victory in Defeat (working title), 2015 Grelots en étain avec fini doré  et élasthanne doré avec polyfil   Spandex fabric, tin jingles with gold color finish and polyfil 43 x 30,5 x 43 cm (17’’ x 12 ‘’ x 17”)

Maria Hupfield
Victory in Defeat (working title), 2015
Grelots en étain avec fini doré et élasthanne doré avec polyfil
Spandex fabric, tin jingles with gold color finish and polyfil
43 x 30,5 x 43 cm (17’’ x 12 ‘’ x 17”)

Similarly, material culture and the symbolic or emotional value we imbue certain objects with, is at the core of her research. In the gallery, public memory is superimposed on the artist’s own, through objects in her Trophy Wall, an assemblage of grey felt or gold fabric sculptures; relics and artefacts of one or many previous performances. This commemorative wall suggests both a celebration and a laying to rest of these now “museum-ified” objects.

Maria Hupfield Jiimaan (Canoe, Video), 2015 Installation video à deux canaux Two channel video installation  Édition : 3 1:15:00 boucle _ loop Camera Dylan McLaughlin Montage_Editing Dylan McLaughlin

Maria Hupfield
Jiimaan (Canoe, Video), 2015
Installation video à deux canaux
Two channel video installation
Édition : 3
1:15:00 boucle _ loop
Camera Dylan McLaughlin
Montage_Editing Dylan McLaughlin

Hupfield’s hand-made nine-foot canoe is the central element of the Jiimaan performance, which the artist enacted as part of the Ga ni tha exhibition in the Campo dei Gesuiti in Venice. An eponymous two-channel video retraces the different stages of this intervention: over three consecutive days, Hupfield performed before the public each evening, then recreated the previous night’s performance the following morning, alone and from memory.

Maria Hupfield Jiimaan (Canoe), 2015 Canoe en feutre, ruban, sac et accrochage, avec motif d’eau sur bande orange et sur bâche bleu.  Felt canoe,  ribbon, bag. hanging and water pattern in orange tape on blue trap. 274 cm long (9’ long)

Maria Hupfield
Jiimaan (Canoe), 2015
Canoe en feutre, ruban, sac et accrochage, avec motif d’eau sur bande orange et sur bâche bleu.
Felt canoe, ribbon, bag. hanging and water pattern in orange tape on blue trap.
274 cm long (9’ long)

This piece reveals key concepts in the artist’s work, namely proficiency, cultural memory, and the body’s presence. She proposes a meeting between nations and their history through the Canadian and Anishinaabe traditions of birch bark canoe building, paralleling this with the fabrication of gondolas by Venetian artisans. Moreover, the participatory nature of Jiimaan’s public performances makes direct reference to Anishinaabe oral traditions and Hupfield’s desire to create memories through shared human experience.

Maria Hupfield Venice Fringe Gloves, 2015 Gants de soirée en soie blanche et dorée avec frange de 2 pieds et frange vénitienne dorée de 4 pieds White satin and gold colored evening gloves with 2’ fringe and 4’ venetian gold colored fringe. 30,5 x 13 x 2,5 cm (12’’ x 4’’ x 1’’)

Maria Hupfield
Venice Fringe Gloves, 2015
Gants de soirée en soie blanche et dorée avec frange de 2 pieds et frange vénitienne dorée de 4 pieds
White satin and gold colored evening gloves with 2’ fringe and 4’ venetian gold colored fringe.
30,5 x 13 x 2,5 cm (12’’ x 4’’ x 1’’)

Maria Hupfield

Maria Hupfield’s work extends through performance, installation, sculpture, video, photography, and collage. Over the past ten years, numerous institutions throughout Canada, the US, and Europe have presented her work and performances in solo and group exhibitions, namely the North American Native Museum, Zurich (2014), the Musée d’art contemporain de Montréal (2014), the Smithsonian’s National Museum of the American Indian, Washington D.C. (2013), the National Gallery of Canada (2013), the Museum of Art and Design, New York (2012), the Museum of Contemporary Native Arts, Santa Fe (2011), and the McCord Museum, Montréal (2011). Maria Hupfield is a Canadian artist of Anishinaabe (Ojibway) heritage, and a member of the Wasauksing First Nation in Ontario. She lives and works in Brooklyn, New York.

Marie-Claude Bouthillier : Mégalithes

May 25th, 2013 § Comments Off on Marie-Claude Bouthillier : Mégalithes § permalink

Marie-Claude Bouthilier, Mégalithe 06, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 59

Marie-Claude Bouthilier, Mégalithe 06, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 59″ x 47″, 150 x 120 cm

Marie-Claude Bouthillier, Mégalithes, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Marie-Claude Bouthillier, Mégalithes, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Marie-Claude Bouthillier, Mégalithes, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Marie-Claude Bouthillier, Mégalithes, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Marie-Claude Bouthillier, Astrolithe, 2013, carbone et acrylique sur toile, carbon and acrylique on canvas, 20 1/2

Marie-Claude Bouthillier, Astrolithe, 2013, carbone et acrylique sur toile, carbon and acrylique on canvas, 20 1/2″ x 14 1/2″

Marie-Claude Bouthilier, Mégalithe 05, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 59

Marie-Claude Bouthilier, Mégalithe 05, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 59″ x 47″, 150 x 120 cm

Marie-Claude Bouthillier, Mégalithes, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Marie-Claude Bouthillier, Mégalithes (nébuleuse), Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Marie-Claude Bouthillier, Mégalithe 33 (étoile), 2012, carbone et acrylique sur toile, carbon and acrylic on canvas, 12

Marie-Claude Bouthillier, Mégalithe 33 (étoile), 2012, carbone et acrylique sur toile, carbon and acrylic on canvas, 12″ x 11″

Marie-Claude Bouthillier, Mégalithe 11, 2012, carbone et acrylique sur toile, carbon and acrylic on canvas, 24

Marie-Claude Bouthillier, Mégalithe 11, 2012, carbone et acrylique sur toile, carbon and acrylic on canvas, 24″ x 24″

Marie-Claude Bouthillier, Mégalithe (pierre blanche), 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 15 1/2

Marie-Claude Bouthillier, Mégalithe (pierre blanche), 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 15 1/2″ x 11 1/2″

Marie-Claude Bouthillier, Mégalithes, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Marie-Claude Bouthillier, Mégalithes, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Marie-Claude Bouthillier, Mégalithe 21, 2012, carbone et acrylique sur toile, carbon and acrylic on canvas, 16 1/2

Marie-Claude Bouthillier, Mégalithe 21, 2012, carbone et acrylique sur toile, carbon and acrylic on canvas, 16 1/2″ x 16 1/2″

Marie-Claude Bouthillier, Mégalithe 23, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 16 1/2

Marie-Claude Bouthillier, Mégalithe 23, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 16 1/2″ x 16 1/2″

Marie-Claude Bouthillier, Mégalithe 25, 2012, carbone et acrylique sur toile, carbon and acrylic on canvas, 16 1/2

Marie-Claude Bouthillier, Mégalithe 25, 2012, carbone et acrylique sur toile, carbon and acrylic on canvas, 16 1/2″ x 16 1/2″

Marie-Claude Bouthilier, Mégalithe 02, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 82.5

Marie-Claude Bouthilier, Mégalithe 02, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 82.5″ x 59″, 210 x 150 cm

Marie-Claude Bouthillier, Mégalithes, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Marie-Claude Bouthillier, Mégalithes, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Marie-Claude Bouthillier, MM et Mégalithe, 2001-2013, encaustique, carbone, acrylique et huile sur papier, encaustic, carbon, acrilic and oil on paper, 15 1/2

Marie-Claude Bouthillier, MM et Mégalithe, 2001-2013, encaustique, carbone, acrylique et huile sur papier, encaustic, carbon, acrilic and oil on paper, 15 1/2″ x 10 3/4″

Marie-Claude Bouthillier, Mégalithe 36, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 36

Marie-Claude Bouthillier, Mégalithe 36, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 36″ x 36″

Marie-Claude Bouthillier, Mégalithe 37, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 36

Marie-Claude Bouthillier, Mégalithe 37, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 36″ x 36″

Marie-Claude Bouthillier, Mégalithe 38, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 36

Marie-Claude Bouthillier, Mégalithe 38, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 36″ x 36″

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