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Interdependence/Indispensability: Benoit Aquin, Maria Hupfield and Karen Tam

April 30th, 2018 § 0 comments § permalink

 

Opening on May 2 from 5 to 7pm

Benoit Aquin
Téléphones intelligents No.22. Los Angeles (série Anton Bequii ou La dimension éthérique du réseau), 2016
Impression numérique à pigments de qualité archive
Archival digital pigment print
Edition 5
102 x 152 cm (40’’ x 60’’)

This group exhibition brings together Benoit Aquin, Maria Hupfield, and Karen Tam, who use different approaches in their work to negotiate power relations between the individual, artifact, place, and history. Whether through the self and its other, or through digital or physical manipulation of the art object, re-enactment is a political gesture that simultaneously allows us to experience the past and present, yet can be used to transform and distort understandings of historical events and peoples. By appropriating methods of re-enactments, the artists challenge and resist conventional production and consumption of the self and the body (Hupfield), of information and knowledge (Aquin), and of culture (Tam).

Revisiting her performative photographic series, Counterpoint, in which two figures (the self and its other) respond to one another’s presence and to the locations in which they find themselves, Hupfield disrupts the original photographs by collaging felt cutouts atop the surface, obscuring one of the models. In doing so, the artist is reasserting an individual identity and contests practices of domination and social control.

Maria Hupfield
Resistance on All Fronts, 2007-2018
Épreuve chromogène et feutre industriel
C-print and industrial felt
Edition : unique
Photo: 102 x 76 cm (40” x 30”)

The double also appears in Aquin’s project based on the life and work of photographer Anton Bequii —an alter ego whose name is an anagram of Benoit Aquin. Documenting a parallel existence and reality, Bequii’s autofictive photographs are counter-sites to the dystopic illusions and transmission of (mis)information fed to us by mass media.

A similar mimicry occurs in Tam’s papier-mâché sculptures that activate historical artifacts through their replicas, as well as in her smoke cutouts depicting woman warriors in Chinese history and folklore as door gods who ward off evil spirits and influences. Through these mirrored figures and doubled objects, Tam questions modes of cultural production and interpretation.

Karen Tam
A Double Stream of Tears, 2018
Techniques mixtes
Mixed media
64 x 23 x 23 cm (25 1/4” x 9” x 9”) ch/ea

Guillaume Adjutor Provost: Introduction

March 1st, 2018 § 0 comments § permalink

Opening on Wednesday, March 14 from 5pm to 7pm. Artist in attendance.

Guillaume Adjutor Provost
La main d’Émilie Gamelin, 2017
Impression jet d’encre sur coton
Ink jet print on cotton
208 x 200 cm (81,89” x 74,74”) | 208 x 138 cm (81,89” x 54,33”) | 208 x 128 cm (81,89” x 50,39”)

Galerie Hugues Charbonneau is delighted to present Introduction an exhibition by Guillaume Adjutor Provost. The artist invites you to this articulation of selected works from his exhibitions Matériellement rien, potentiellement tout (Diagonale, 2017), Providence (Association des travailleurs grecs du Québec / Clark / La SERRE, 2017) and Bonne Fortune (Clark, 2016). Through a re-exhibition of his body of work, the artist proposes a discovery, with him, of the milestones of his art practice. Given that this is the first time in his career that he is represented by a gallery, he is seizing the opportunity to explore the reference points of his artistic language. It is in view of this that he chose to use the exhibition space as a post-production site.

This retrospective exhibition presents the mainlines of Guillaume Adjutor Provost’s practice: referentiality, curatorial approaches, textuality, archival and photographic languages, psychedelic manifestations. Guided by an attitude of conceptual materialism, the artist’s practice inherently reveals zones of immaterial reflections buttressed by the physical object. Through their thoughts and interactions, viewers actively contribute to defining the artist’s language. With Introduction, the encounter with iconographic works by Guillaume Adjutor thus becomes the site of a truly fertile analysis.

About Guillaume Adjutor Provost   

Lives and works in Montreal where he completed a doctorate in art and research at UQAM in 2017. Guillaume Adjutor Provost has received grants from the Conseil des Arts et des Lettres du Québec, the Canada Council for the Art, the OJIQ and the Sodec. His work has been shown in solo and group exhibitions in Canada, France, Germany, Belgium, Catalonia and Switzerland. In parallel, his practice has been highlighted through the Jean-Claude Rochefort award and the Claudine and Stephen Bronfman Fellowship in Contemporary Art. Since autumn 2016, he has been provided with a studio at the Fonderie Darling. In 2018, he will present a solo exhibition curated by Chloé Grondeau and Marthe Carrier at the artist centre Bikini in Lyon, participate in the exhibition … Move or be Moved by Something Rather than Oneself at Critical Distance (Toronto) curated by Florence-Agathe Dubé-Moreau and Maude Johnson, and carry out a research residency at Fondation Rupert in Vilnius, Lithuania.

Performance via the Camera – Maria Hupfield and Lum-Desranleau

August 31st, 2017 § 0 comments § permalink

As part of MOMENTA | Biennale de l’image

Group exhibition by the artists Maria Hupfield, Chloë Lum and Yannick Desranleau

Opening reception: September 9, from 3 PM to 5 PM, artists in attendance

At Galerie Hugues Charbonneau

Maria Hupfield
Waasechign, 2017
Impression numérique sur tissu
Digital print on fabric
3,05 x 5,49 mètres (10’ x 18’)

On the occasion of MOMENTA | Biennale de l’image, the new designation of Mois de la Photo à Montréal, Galerie Hugues Charbonneau is delighted to present the group exhibition Performance via la camera / Performance via the camera. Ami Barak, the guest curator for the 2017 biennale edition, has chosen to explore the status of the still or moving image by way of the question: What does the image stand for? According to him, the ubiquity of new media in everyday life contributes to blur the notion of photography as a witness of the real since it is now being fantasized more than ever by its author.

As a satellite MOMENTA exhibition venue, it seemed quite a propos to present the works/banners by Maria Hupfield and the duo Chloë Lum and Yannick Desranleau, because they explore questions pertaining to the processing of the contemporary image in a singular manner. More specifically, the banners resulting from their performances do not translate a documentary type photography, but rather an aesthetics developed in a premeditated day via the camera. In this case, the visual language is foregrounded both through the retouching of photos and the display of elements that trigger thought.

Chloë Lum & Yannick Desranleau
I really I want Time for A lie – Time for
Jet d’encre sur toile, oeillets
Inkjet on canvas, grommets
Éd. 1/3 (+1 AP)
132 x 196 cm (52” x 77”)

It is in this sense that Hupfield digitally reconstructs a mirror effect within the image in which Waaschign and Portal are played out. The goal of this optical function is to highlight the idea of an intergenerational tribute inherent in the artist’s works. I really / I want / Time for / A lie, produced by Lum and Desranleau during a stay in Qatar, strategically stages portraits and manuscripts so as to bring about an effect of presence and absence recounting the essential concepts pertaining to the local pictorial traditions.

The works by Hupfield, Lum and Desranleau suggest orchestrated images that recall, in some regards, the constructed character of a commonplace publicity banner. Designed to resist changing weather conditions and to be visible from afar, the banner however relinquishes some of its original functions within an exhibition context. Those that are presented in the gallery literally overload the space and set off an immersive effect in this site.

Chloë Lum & Yannick Desranleau
I really I want Time for A lie – I want
Jet d’encre sur toile, oeillets
Inkjet on canvas, grommets
Éd. 1/3 (+1 AP)
132 x 175 cm (52” x 69”)

mariahupfield.wordpress.com

lum-desranleau.com

Benoit Aquin: 10th anniversary of the Chinese ‘‘Dust Bowl’’

May 2nd, 2017 § 0 comments § permalink

Benoit Aquin, 10e anniversaire du Dust Bowl chinois [exposition_exhibition]
2017, Galerie Hugues Charbonneau, Montréal, Canada

Galerie Hugues Charbonneau is proud to exhibit six photographs excerpted from The Chinese “Dust Bowl” (2006-2008) series by Benoit Aquin. These works are coming back to Montréal following the Prix Pictet retrospective at the Mouravieff-Apostol House & Museum in Moscow. The exhibition will celebrate the 10th anniversary of the internationally acclaimed and award winning series of photographs documenting the human caused desertification of northern China and Inner Mongolia.

Benoit Aquin La motocyclette, Mongolie Intérieure (Le Dust Bowl chinois), 2006 Impression numérique à pigments de qualité archive Archival pigment print Éd. 7 : 81 x 122 cm (32" x 48") Éd. 5 : 101 x 152 cm (40″ x 60″)

Benoit Aquin
La motocyclette, Mongolie Intérieure (Le Dust Bowl chinois), 2006
Impression numérique à pigments de qualité archive
Archival pigment print
Éd. 7 : 81 x 122 cm (32″ x 48″)
Éd. 5 : 101 x 152 cm (40″ x 60″)

The Chinese ‘’Dust Bowl’’

Benoit Aquin has been travelling the world for over twenty five years to transform the image into a poignant witness of the often conflictual relationship between humans and the land. Guided by a masterful balance, his work combines some features of documentary photography with those of contemporary art photography. He plays on this tension and the fuzzy boundary between disciplines and formal languages in order to highlight phenomena that are linked to ecological and humanitarian crises, thus placing the series he creates within the tradition of socially engaged photography.

In this series, the success of Aquin’s photography approach is rooted as much in the pertinence of his environmental discourse as in its aesthetic originality. His strong visual signature is characterized by a mysterious golden luminosity, which is both unsettling and mesmerizing. The artist turns his camera away from one-dimensional, sensationalist images to instead favour quilted, complex and decentred compositions that simultaneously display the multiple forces and energies in play: the effect of China’s immense food needs on the agricultural lands, a destabilized nature that is unleashed in sandstorms, the migration of rural populations towards the cities, the austere strategies of communist city planning.

The series The Chinese “Dust Bowl” received the National Magazine Award Silver Medal for Photojournalism and Photo Essays as well as the prestigious Prix Pictet. Benoit Aquin was also the recipient of the Prix Antoine-Desilets (2006), the Canadian National Newspaper Award (2007) and the Grand Prix Lux (2007).

Benoit Aquin Tempête à Hongsibao, Chine (série Le Dust Bowl chinois), 2007 Impression numérique à pigments de qualité archive Archival pigment print Éd. 5 : 81 x 122 cm (32" x 48") Éd. 7 : 101 x 152 cm (40″ x 60″)

Benoit Aquin
Tempête à Hongsibao, Chine (série Le Dust Bowl chinois), 2007
Impression numérique à pigments de qualité archive
Archival pigment print
Éd. 5 : 81 x 122 cm (32″ x 48″)
Éd. 7 : 101 x 152 cm (40″ x 60″)

Benoit Aquin’s Biography

Since 1998, after his studies at the New England School of Photography in Boston, Benoit Aquin has participated in several solo and group exhibitions in Canada, the US, France, Switzerland, Holland, Spain, Greece, Germany, China, UK, Russia and the United Arab Emirates. Among his exhibitions let us highlight the ones at the Canadian Museum of Contemporary Photography (1994); Musée national des beaux-arts du Québec (1996); Palais de Tokyo, Paris (2008); Musée de l’Élisée, Lausanne (2010); Museum of Photographic Arts, Sans Diego (2011); McCord Museum, Montréal (2013); Somerset House, London (2013); Montréal Museum of Fine Arts (2013 and 2015); FotoDock, Holland (2014); Mouravieff-Apostol House & Museum (2016); as well as his participation in Mois de la Photo à Montréal (1993, 1997, 2003); the Canadian Biennial of the National Gallery of Canada (2012, 2017); and the Rencontres d’Arles in France (1991, 2014). His works have been reproduced in many magazines throughout the world, among which Time Magazine, Canadian Geographic, The Guardian, Foto8, Canadian Art, Walrus Magazine, L’actualité and Art Forum. He has also participated in the publishing of over a dozen press stories, monographs or photographic essays in order to share his environmental and humanitarian concerns with a broad public.

Benoit Aquin Camion en feu (Le Dust Bowl chinois), 2006 Impression numérique à pigments de qualité archive Archival pigment print Éd. 7 : 81 x 122 cm (32" x 48") Éd. 5 : 101 x 152 cm (40″ x 60″)

Benoit Aquin
Camion en feu (Le Dust Bowl chinois), 2006
Impression numérique à pigments de qualité archive
Archival pigment print
Éd. 7 : 81 x 122 cm (32″ x 48″)
Éd. 5 : 101 x 152 cm (40″ x 60″)

Benoit Aquin’s works are part of the collections, among others, of the Montréal Museum of Fine Arts; Musée national des beaux-arts du Québec; Canadian Museum of Contemporary Photography; Canada Council Art Bank; Banque Pictet, Geneva; Mouvement Desjardins; Banque Nationale; Caisse de Dépôt; Hydro-Québec; One Drop Foundation; Library of Congress, Washington D.C.; and the François Pinault collection. Benoit Aquin is represented by Galerie Hugues Charbonneau.

Benoit Aquin, 10e anniversaire du Dust Bowl chinois [exposition_exhibition] 2017, Galerie Hugues Charbonneau, Montréal, Canada

Benoit Aquin, 10e anniversaire du Dust Bowl chinois [exposition_exhibition]
2017, Galerie Hugues Charbonneau, Montréal, Canada

Benoit Aquin, 10e anniversaire du Dust Bowl chinois [exposition_exhibition] 2017, Galerie Hugues Charbonneau, Montréal, Canada

Benoit Aquin, 10e anniversaire du Dust Bowl chinois [exposition_exhibition]
2017, Galerie Hugues Charbonneau, Montréal, Canada

Jean-Benoit Pouliot — Tilt and Shift: Flexible Images

March 10th, 2017 § 0 comments § permalink

Jean-Benoit Pouliot Lunettes superposantes, 2016 Lunettes modifiées et miroirs Modified glasses and mirror

Jean-Benoit Pouliot
Lunettes superposantes, 2016
Lunettes modifiées et miroirs
Modified glasses and mirror

Galerie Hugues Charbonneau is delighted to present a new exhibition by Jean-Benoit Pouliot in which he adopts a conceptual and reflexive approach to the painting object. The different states of this exploration variously take shape in photography, painting and in installation or sculpture.

Tilt and Shift: Flexible Images is a project that investigates the image/object relationship through an active reflection on the contemporary conditions of the image’s appearance, transformation and distribution. Jean-Benoit Pouliot takes his own production of abstract paintings as a staring point to release the images that are inherent in them; these images will consequently be free, flexible and will continue to follow their course independently of their primary support. Does the image keep on moving beyond the point where the painting ends? If yes, in what shapes? In what spaces?

Jean-Benoit Pouliot Glissement découpé 1, 2015 Impression jet d’encre sur papier glacé opaque, monté sous plexi sans reflet, sur sintra Ink jet print on glossy opaque paper, mounted under plexi without reflexion, on sintra 36 x 32 cm (14’’ x 12 1/2’’)

Jean-Benoit Pouliot
Glissement découpé 1, 2015
Impression jet d’encre sur papier glacé opaque, monté sous plexi sans reflet, sur sintra
Ink jet print on glossy opaque paper, mounted under plexi without reflexion, on sintra
36 x 32 cm (14’’ x 12 1/2’’)

Nowadays the image can be easily detached from its primary physical reality: it can move, appear and disappear on command depending on the digital vessel that is conveying it. Jean-Benoit Pouliot has sought to contain this new image ubiquity by personally directing several second lives of his paintings along hypothetical paths.The interventions he carries out deeply probe the physical relation that the painting intrinsically sets up between the image and the object. In the gallery space this process triggers a play of echoes between the canvasses and their photographic, textual and sculptural iterations. The paintings were digitized, stretched, cut up, photocopied, put under the microscope or described in words. This approach on several fronts enables the artist to foreground the limits and impacts of digital media in our relationship to the image. Jean-Benoit Pouliot stages his paintings and by the same token, he reframes the way in which we behold them. In reflecting the image by way of the painting, he proposes to take the time to “re-view” the painting by way of the image.

Jean-Benoit Pouliot Sans-titre, 2017 Acrylique sur toile Acrylic on canvas 35,5 x 27,9 cm (14” x 11”)

Jean-Benoit Pouliot
Sans-titre, 2017
Acrylique sur toile
Acrylic on canvas
35,5 x 27,9 cm (14” x 11”)

Jean-Benoit Pouliot

Jean-Benoit Pouliot (b. 1975) is a self-taught artist who began his career in the early 2000s through the medium of printmaking. Painting gained a central place in his practice in 2008, and since then, Pouliot has participated in several solo and group exhibitions in Canada and the United-States. He has also participated in Nuit Blanche Toronto (2016), the public art happening Aires libres in Montréal (2014), the Extreme Painting event in Montréal (2013 and 2010), as well as the Multi Month 10 in Québec City (2009). His works are in numerous private and institutional collections, such as the Musée national des beaux-arts du Québec, Bibliothèque et Archives nationales du Québec, Loto-Québec, National Bank, Bank of Montreal, TD Bank, Mouvement Desjardins, and the collection of the Cirque du Soleil, among others.

Jean-Benoit Pouliot, L'image souple : Inclinaisons et déclinaisons [exposition_exhibition], 2017, Galerie Hugues Charbonneau, Montréal, Canada.

Jean-Benoit Pouliot, L’image souple : Inclinaisons et déclinaisons [exposition_exhibition], 2017, Galerie Hugues Charbonneau, Montréal, Canada.

Jean-Benoit Pouliot, L'image souple : Inclinaisons et déclinaisons [exposition_exhibition], 2017, Galerie Hugues Charbonneau, Montréal, Canada.

Jean-Benoit Pouliot, L’image souple : Inclinaisons et déclinaisons [exposition_exhibition], 2017, Galerie Hugues Charbonneau, Montréal, Canada.

Jean-Benoit Pouliot, L'image souple : Inclinaisons et déclinaisons [exposition_exhibition], 2017, Galerie Hugues Charbonneau, Montréal, Canada.

Jean-Benoit Pouliot, L’image souple : Inclinaisons et déclinaisons [exposition_exhibition], 2017, Galerie Hugues Charbonneau, Montréal, Canada.

Jean-Benoit Pouliot, L'image souple : Inclinaisons et déclinaisons [exposition_exhibition], 2017, Galerie Hugues Charbonneau, Montréal, Canada.

Jean-Benoit Pouliot, L’image souple : Inclinaisons et déclinaisons [exposition_exhibition], 2017, Galerie Hugues Charbonneau, Montréal, Canada.

Isabelle Hayeur: Desert Shores (Lost America)

July 30th, 2016 § 0 comments § permalink

Isabelle Hayeur Looking-back (série Desert Shores), 2015 Jet d’encre sur papier polyester, monté sur Dibond Inkjet print on polyester mounted on Dibond Edition 3 Image : 61 x 91 cm (24” x 36”) Papier_Paper : 76 x 106,5 cm (30” x 42”)

Isabelle Hayeur
Looking-back (série Desert Shores), 2015
Jet d’encre sur papier polyester, monté sur Dibond
Inkjet print on polyester mounted on Dibond
Edition 3
Image : 61 x 91 cm (24” x 36”)
Papier_Paper : 76 x 106,5 cm (30” x 42”)

To launch the 2016-2017 season, Galerie Hugues Charbonneau is pleased to present its first solo exhibition by Isabelle Hayeur. She will be presenting Desert Shores (Lost America) (2015-2016), a new series documenting the polluted and deserted region of Salton Sea, in the United States. Hayeur has selected five photographs from this vast body of work, as well as a 35-minute video and an album of 60 other photos from the series for on-site consultation.

Salton Sea is a large salt lake located on the San Andreas Fault, in an arid depression in South-western California, 227 feet below sea level. It was accidentally created at the beginning of the last century when the Colorado River overflowed its banks and was contained. In the 1950s and 1960s, it became a very popular attraction, and a paradise for fishing aficionados. Its shores were dotted with numerous hotels, marinas, and yacht clubs. Named Desert Shores, the area underwent significant economic and population growth at this time.

Isabelle Hayeur Marea Roja (série Desert Shores), 2015-2016 Jet d’encre sur papier polyester, monté sur Dibond Inkjet print on polyester mounted on Dibond Edition 3 Image : 61 x 91 cm (24” x 36”) Papier_Paper : 76 x 106,5 cm (30” x 42”)

Isabelle Hayeur
Marea Roja (série Desert Shores), 2015-2016
Jet d’encre sur papier polyester, monté sur Dibond
Inkjet print on polyester mounted on Dibond
Edition 3
Image : 61 x 91 cm (24” x 36”)
Papier_Paper : 76 x 106,5 cm (30” x 42”)

Towards the 1970s, it was observed that the lake’s water level was dropping and its salinity rising, in direct relationship with the augmentation of agricultural activity in the surrounding area. Today, this area is deserted and desolate, alluvial deposits saturated with fertilizers and pesticides pollute the water, and algae blooms are decimating fish stocks. Beachside resorts have given way to trailer parks, homes for the poor, the marginalized and Mexican immigrants – a different and less than shining portrait of the United States. For Hayeur, this disenchanted landscape is a mirror image of a lost America, from an era in which everything seemed possible and accessible for all citizens. This area of dire poverty is not unlike others, found all across the United States, a Third World of their own where the most destitute remain, for lack of a better alternative. The works in Desert Shores (Lost America) are fragments of dystopian landscape, modern ruins, dilapidated and graffiti-covered domestic spaces, dried-up fish carcasses and disturbingly coloured bodies of water, summing up a wasteland of human failure at nature’s expense.

Isabelle Hayeur Exposure (série Desert Shores), 2015-2016 Jet d’encre sur papier polyester, monté sur Dibond Inkjet print on polyester mounted on Dibond Edition 3 Image : 61 x 91 cm (24” x 36”) Papier_Paper : 76 x 106,5 cm (30” x 42”)

Isabelle Hayeur
Exposure (série Desert Shores), 2015-2016
Jet d’encre sur papier polyester, monté sur Dibond
Inkjet print on polyester mounted on Dibond
Edition 3
Image : 61 x 91 cm (24” x 36”)
Papier_Paper : 76 x 106,5 cm (30” x 42”)

Isabelle Hayeur   

Isabelle Hayeur’s work has been widely shown in many major shows, such as at the Ryerson Image Centre (Toronto) (2016);theMuseo Cultural (Santa Fe) (2016);theToday Art Museum (Beijing) (2015); the New Orleans Museum of Art(2015); the Centre culturel canadien (Paris) (2012); the Akbank Sanat (Istanbul) (2008); the Musée national des beaux-arts du Québec (2007); the Musée d’art contemporain de Montréal (2006); the Neuer Berliner Kunstverein (Berlin) (2005); the Casino Luxembourg Forum d’art contemporain (2005); and the Massachusetts Museum of Contemporary Arts (2004). Her works are to be found in over twenty collections, including those of the National Gallery of Canada, the Fonds national d’art contemporain in Paris, the Art Gallery of Ontario, the Vancouver Art Gallery, theCanadian Museum of Contemporary Photography, the Musée d’art contemporain de Montréal, the Musée national des beaux-arts du Québec, the New Orleans Museum of Art and the Museum of Contemporary Photography in Chicago.

Isabelle Hayeur Desert Shores [exposition_exhibition], 2016 Galerie Hugues Charbonneau, Montréal, Canada

Isabelle Hayeur
Desert Shores [exposition_exhibition], 2016
Galerie Hugues Charbonneau, Montréal, Canada

Isabelle Hayeur Desert Shores [exposition_exhibition], 2016 Galerie Hugues Charbonneau, Montréal, Canada

Isabelle Hayeur
Desert Shores [exposition_exhibition], 2016
Galerie Hugues Charbonneau, Montréal, Canada

Isabelle Hayeur Desert Shores [exposition_exhibition], 2016 Galerie Hugues Charbonneau, Montréal, Canada

Isabelle Hayeur
Desert Shores [exposition_exhibition], 2016
Galerie Hugues Charbonneau, Montréal, Canada

Isabelle Hayeur Desert Shores [exposition_exhibition], 2016 Galerie Hugues Charbonneau, Montréal, Canada

Isabelle Hayeur
Desert Shores [exposition_exhibition], 2016
Galerie Hugues Charbonneau, Montréal, Canada

A Comfortable Indifference: Benoit Aquin, Cynthia Girard-Renard, Isabelle Hayeur et David Lafrance

June 1st, 2016 § 0 comments § permalink

Benoit Aquin Genghis Khan, Mongolie (série Le Dust Bowl chinois) Genghis Khan, Mongolia (The Chinese Dust Bowl), 2006 Impression numérique à pigments de qualité archive Archival pigment print Éd. 5 : 61 x 91 cm (24

Benoit Aquin
Genghis Khan, Mongolie (série Le Dust Bowl chinois)
Genghis Khan, Mongolia (The Chinese Dust Bowl), 2006
Impression numérique à pigments de qualité archive
Archival pigment print
Éd. 5 : 61 x 91 cm (24″ x 36”)
Éd. 7 : 81 x 122 cm (32″ x 48″)

A Comfortable Indifference 

For its summer exhibition, Galerie Hugues Charbonneau presents a selection of works that highlight the challenging conciliation between the capitalist system and the environmental movement.

Clearly, time is running out while the acceleration of global warming endangers human populations, threatens biodiversity and causes extreme weather events. Denial is no longer an option. And yet, the unrestrained quest for economic growth and our current dependence on fossil fuels compromises our efforts to limit the increase in global temperatures and the decarbonisation of the economy. A shift toward united and sustainable principles must be taken on a global, local and individual level.

Cynthia Girard-Renard Décroissance/ Degrowth, 2014 Acrylique sur mousseline de coton Acrylic on muslin  397 x 300 cm (156 1/4

Cynthia Girard-Renard
Décroissance/ Degrowth, 2014
Acrylique sur mousseline de coton
Acrylic on muslin
397 x 300 cm (156 1/4″ x 118″)
(Photo : Guy L’Heureux)

In the gallery, Benoit Aquin invites us to confront two human-made environmental disasters. First, his celebrated project, The Chinese “Dust Bowl” (2006-2009), portrays the desertification of the former Silk Road in Inner Mongolia, while his series, Mégantic (2013), documents the worst land-based oil spill to date in North America – now emblematic of the careless management surrounding the hydrocarbon lobby. For her part, Cynthia Girard-Renard presents a large painting from her project Unicorns and Dictators (2014), first exhibited at the Esker Foundation in Calgary. The work features a hybrid character reminiscent of a trickster, with smoke-belching factories for ears. He is surrounded by anxious rabbits inquiring about the future, while greenish clouds inscribed with words like, ‘NATURE’, ‘PROFIT’, and ‘CAPITAL’, drift overhead.

Isabelle Hayeur Écume d'étang (série Underworld), 2015 Édition 5 127 x 91 cm (50

Isabelle Hayeur
Écume d’étang (série Underworld), 2015
Édition 5
127 x 91 cm (50″ x 36″)

Isabelle Hayeur takes us elsewhere entirely – underwater – with her multi-year project Underworlds (2008-2015), documenting aquatic scenes of completely impaired ecosystems. This unusual vantage point effectively portrays the degradation of various bodies of water through urbanisation and massive industrialisation. Finally, David Lafrance’s series titled Earthships (2015), depicts the self-sustaining dwellings of the same name, juxtaposing these with miniature bucolic scenes and schematic or abstract interpretations of the homes’ energy efficient systems. Lafrance invites us to reflect on this fantasized green paradise, which sits diametrically opposed to our hyper-consumption and our technological dependence.

David Lafrance Earthship 07, 2015 Huile sur panneau Oil on panel 15 x 20 cm (6

David Lafrance
Earthship 07, 2015
Huile sur panneau
Oil on panel
15 x 20 cm (6″ x 8″)

The title of this exhibition was inspired by Josée Blanchette’s article “La confortable inconscience”, published in Le Devoir on February 26, 2016.

Alain Paiement: Instants, Maybe

February 24th, 2015 § 0 comments § permalink

Alain Paiement Fatras, 2015 Transfert sur aluminium Transfer on aluminium Éd. 2 296 x 383 cm (116 1/2” x 150 3/4”)

Alain Paiement
Fatras, 2015
Transfert sur aluminium
Transfer on aluminium
Éd. 2
296 x 383 cm (116 1/2” x 150 3/4”)

Vernissage: March 14, 3pm – 5pm with the artist present.

Instants, maybe

In the second phase of his 2014-2015 solo project at Gallery Hugues Charbonneau, Alain Paiement delves deep into the imposing photo bank that represents all the images he has captured throughout his thirty-year career, but which until now have almost never been put to use.

The artist states, “Basically, I’ve always ‘taken’ photos. I find photographic subjects wherever I go. There are hundreds. They are captured instantly, usually with hand held camera and no tripod.”

Alain Paiement Images en limbes, 2015 Impression numérique sur papier archive Digital print on archival paper Éd. 5 111 x 179 cm (43 3/4” x 70 1/2”)

Alain Paiement
Images en limbes, 2015
Impression numérique sur papier archive
Digital print on archival paper
Éd. 5
111 x 179 cm (43 3/4” x 70 1/2”)

Alain Paiement is redefining the temporality of his “snapshots,” a term that usually suggests spontaneity and immediacy, in opposition to premeditated staging. Yet, by rigorous technical manipulation of the image, each work in this series combines several individual photographs. As a result we see multiple realities, ‘images of images’, obtained through overlay, juxtaposition, collage and other ways of stitching moments together.

This series embodies Paiement’s most recent research: it situates his increasing interest in the notion of time by bringing together different temporalities within his creative process (recent manipulations of old photographs, for example). These works reflect on the instantaneous nature of contemporary culture and the importance of the present in linking society to its past and to its immanent future.

Alain Paiement Watch, Second, 2015 Impression numérique sur papier archive Digital print on archival paper Éd. 5 75 x 75 cm (29 1/2” x 29 1/2”)

Alain Paiement
Watch, Second, 2015
Impression numérique sur papier archive
Digital print on archival paper
Éd. 5
75 x 75 cm (29 1/2” x 29 1/2”)

Alain Paiement

Alain Paiement has been a key figure in contemporary Canadian photography. He researches the possibilities of how photography unfolds through time and space and translates this into images. Through installation, photo series, and video, Paiement experiments with perspective, telescopic views and lenses, as well as scanning, to explore the constantly changing relationship between the subject, its gaze and its environment.

Paiement’s work has been presented in numerous exhibitions since the 1980s throughout Canada and the United States, but also in Europe, Latin America, and Asia. His work has frequently featured in exhibition catalogues, monographs and articles in various media and specialised journals. He has also realised many public art works, notably Tessellations sans fin (2012) at the CHUM Research Centre in Montreal. Paiement’s work is held in major public and private collections in Canada, the United States, Spain and Belgium.

Alain Paiement, Lampes-particules, 2015 Impression numérique sur papier archive Digital print on archival paper Éd. 5 100 x 100 cm (39” x 39”)

Alain Paiement,
Lampes-particules, 2015
Impression numérique sur papier archive
Digital print on archival paper
Éd. 5
100 x 100 cm (39” x 39”)

Alain Paiement Instantanés, peut-être (exposition solo) Instants, Maybe (solo exhibition) 2015, Galerie Hugues Charbonneau, Montréal, Canada

Alain Paiement
Instantanés, peut-être (exposition solo)
Instants, Maybe (solo exhibition)
2015, Galerie Hugues Charbonneau, Montréal, Canada

Alain Paiement Instantanés, peut être (exposition solo) Instants, Maybe (solo exhibition) 2015, Galerie Hugues Charbonneau, Montréal, Canada

Alain Paiement
Instantanés, peut être (exposition solo)
Instants, Maybe (solo exhibition)
2015, Galerie Hugues Charbonneau, Montréal, Canada

Alain Paiement Instantanés, peut être (exposition solo) Instants, Maybe (solo exhibition) 2015, Galerie Hugues Charbonneau, Montréal, Canada

Alain Paiement
Instantanés, peut être (exposition solo)
Instants, Maybe (solo exhibition)
2015, Galerie Hugues Charbonneau, Montréal, Canada

Alain Paiement: Irreversibles

November 7th, 2014 § 0 comments § permalink

Alain Paiement, Irréversibles (vue d'installation _ installation view), 2014, Galerie Hugues Charbonneau, Montréal, Canada

Alain Paiement, Irréversibles (vue d’installation _ installation view), 2014, Galerie Hugues Charbonneau, Montréal, Canada

For almost thirty years, Alain Paiement has been a key figure in contemporary Canadian photography. He researches the possibilities of how photography unfolds through time and space and translates this into images. Throughout his career, he has represented the movement of the world, at a micro level, mapping architectures with aerial views, and at a macro level, in representationsof solar and lunar cycles.

Alain Paiement, Irréversibles (vue d'installation _ installation view), 2014, Galerie Hugues Charbonneau, Montréal, Canada

Alain Paiement, Irréversibles (vue d’installation _ installation view), 2014, Galerie Hugues Charbonneau, Montréal, Canada

He now turns his attention to the depths of the ocean to capture videos of the hypnotic ballet of the moon jellyfish, and pieces of ice adrift on the Saint-Lawrence River. Here, Alain Paiement reaffirms the rigorous processes that characterize his approach as he plays with the images’ construction and the viewer’s perception. He reanimates series of still photographs or multiple perspectives of the same subject, juxtaposing these representations, but also altering their symmetry, synchrony, movement, and symbolism.

The manipulated images emerge from black backgrounds. It is difficult to determine whether they are photographs or moving images. They are blurring our perception of time, which seems distended and unstructured.

This important solo exhibition by Alain Paiement will be presented in two parts. The second instalment will take place in 2015.

The artist would like to thank Guilhem Molinier and the Fond de recherche du Québec – Société et culture.

Alain Paiement, Irréversibles (vue d'installation _ installation view), 2014, Galerie Hugues Charbonneau, Montréal, Canada

Alain Paiement, Irréversibles (vue d’installation _ installation view), 2014, Galerie Hugues Charbonneau, Montréal, Canada

Alain Paiement’s work has been presented in numerous exhibitions since the 1980s throughout Canada and the United States, but also in Europe, Latin America, and Asia. He has received several prizes in contemporary photography, and has produced many public artworks in Québec, namely for the new CHUM in Montréal (2013). His work is included in major institutional and private collections in Canada, the US, Spain, and Belgium.

Alain Paiement Start, End, Here 2012 Épreuve numérique à pigments qualité archive Archival digital pigment print

Alain Paiement
Start, End, Here
2012
Épreuve numérique à pigments qualité archive
Archival digital pigment print

ECHO 2: Against the Grain of History

May 24th, 2014 § 0 comments § permalink

Écho 2, 2014, Galerie Hugues Charbonneau, Montréal

Écho 2, 2014, Galerie Hugues Charbonneau, Montréal

Trevor Gould, installation, Écho 2, 2014, Galerie Hugues Charbonneau, Montréal

Trevor Gould, installation, Écho 2, 2014, Galerie Hugues Charbonneau, Montréal

Maria Hupfield, installation, 2014, Écho 2, Galerie Hugues Charbonneau, Montréal

Maria Hupfield, installation, 2014, Écho 2, Galerie Hugues Charbonneau, Montréal

Karen Tam, Chinese Fever, 2014, installation, Écho 2, Galerie Hugues Charbonneau, Montréal

Karen Tam, Chinese Fever, 2014, installation, Écho 2, Galerie Hugues Charbonneau, Montréal

Benoit Aquin Carnaval VIII, Jacmel (Haïti) 2011 Impression numérique à pigments qualité archive Archival pigment print Éd. 7, 32″ x 48″ Éd. 5, 40″ x 60″

Benoit Aquin
Carnaval VIII, Jacmel (Haïti)
2011
Impression numérique à pigments qualité archive
Archival pigment print
Éd. 7, 32″ x 48″
Éd. 5, 40″ x 60″

Trevor Gould The Man who Walked Over the Moon 2008 Aquarelle Watercolour 41 x 31 cm (16

Trevor Gould
The Man who Walked Over the Moon
2008
Aquarelle
Watercolour
41 x 31 cm (16″ x 12,25″)

Trevor Gould Heritage, 2014 Aquarelle Watercolour 51 x 36 cm (20” x 14 ¼”)

Trevor Gould
Heritage, 2014
Aquarelle
Watercolour
51 x 36 cm (20” x 14 ¼”)

Trevor Gould Echo 1, 2014 Aquarelle Watercolour 23 x 30 cm (9” x 12”)

Trevor Gould
Echo 1, 2014
Aquarelle
Watercolour
23 x 30 cm (9” x 12”)

Maria Hupfield Step (Plural Positions series #14) 2014 Épreuve numérique de niveau archive, feutre et médium acrylique Archival inkjet print, felt and acrylic medium 28 x 22 cm (11

Maria Hupfield
Step (Plural Positions series #14)
2014
Épreuve numérique de niveau archive, feutre et médium acrylique
Archival inkjet print, felt and acrylic medium
28 x 22 cm (11″ x 8,5″)
Éd. unique

Maria Hupfield Seven (Plural Positions series #13) 2014 Feutre et fil de coton Felt and cotton tread 28 x 22 cm (11

Maria Hupfield
Seven (Plural Positions series #13)
2014
Feutre et fil de coton
Felt and cotton tread
28 x 22 cm (11″ x 8,5″)
Éd. unique

Maria Hupfield Universal Parallels 2014 Feutre, fil à coudre Felt, sowing tread 30 x 31 x 39 cm (12” x 12 ¼” x 15 ½”) Éd. unique

Maria Hupfield
Universal Parallels
2014
Feutre, fil à coudre
Felt, sowing tread
30 x 31 x 39 cm (12” x 12 ¼” x 15 ½”)
Éd. unique

David Lafrance Video poker 2014 Huile sur toile Oil on canvas 203 x 183 cm (80

David Lafrance
Video poker
2014
Huile sur toile
Oil on canvas
203 x 183 cm (80″ x 72″)
(Photo : Éliane Excoffier)

David Lafrance Nuit d'élections 2014 Acrylique sur papier Acrylic on paper 76 x 56 cm (30

David Lafrance
Nuit d’élections
2014
Acrylique sur papier
Acrylic on paper
76 x 56 cm (30″ x 22″)

Karen Tam I May Flirt a Little, but I'm no Yellow Peril 2009 Tissu en vinyl doré Gold vinyl fabric 90 x 40,5 cm (35,5

Karen Tam
I May Flirt a Little, but I’m no Yellow Peril
2009
Tissu en vinyl doré
Gold vinyl fabric
90 x 40,5 cm (35,5″ x 16″)
Éd. 5

Karen Tam The New Old Comet—A Phenomenon Now Visible 2006 Papier doré découpé Gold paper-cutout 13 x 68 cm (5.12

Karen Tam
The New Old Comet—A Phenomenon Now Visible
2006
Papier doré découpé
Gold paper-cutout
13 x 68 cm (5.12″ x 26.77″)
Éd. 4

Karen Tam  Do you mind if I smoke? 2008 Tissu en vinyl doré Gold vinyl fabric 30 x 30 cm (11.81

Karen Tam
Do you mind if I smoke?
2008
Tissu en vinyl doré
Gold vinyl fabric
30 x 30 cm (11.81″ x 11.81″)
Éd.: 5

Karen Tam  Peeping Tom 2008 Papier doré découpé Gold paper-cutout 43 x 61 cm (24

Karen Tam
Peeping Tom
2008
Papier doré découpé
Gold paper-cutout
43 x 61 cm (24″ x 16.93″)
Éd. : 5

The artist Karen Tam would like to acknowledge the support of the Canada Council for the Arts.

CCFA_RGB_colour_f

Trevor Gould, David Lafrance, Alain Paiement

April 13th, 2013 § Comments Off on Trevor Gould, David Lafrance, Alain Paiement § permalink

Installation : Trevor Gould, David Lafrance, Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Installation : Trevor Gould, David Lafrance, Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Trevor Gould, David Lafrance, Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Trevor Gould, David Lafrance, Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

David Lafrance, Plan, huile sur toile, 2013, 70

David Lafrance, Plan, huile sur toile, 2013, 70″ x 56″

David Lafrance, Pas de voisins, 2013, huile sur toile, oil on canvas, 18

David Lafrance, Pas de voisins, 2013, huile sur toile, oil on canvas, 18″ x 24″

Trevor Gould, David Lafrance, Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Trevor Gould, David Lafrance, Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Trevor Gould, God's Window I (détail), 2012, aquarelle et chrome sur papier, watercolor and chrome on paper, 20

Trevor Gould, God’s Window I (détail), 2012, aquarelle et chrome sur papier, watercolor and chrome on paper, 20″ x 14″

Trevor Gould, God's Window (détail IV), 2012, aquarelle et chrome sur papier, watercolor and chrome on paper, 20

Trevor Gould, God’s Window (détail IV), 2012, aquarelle et chrome sur papier, watercolor and chrome on paper, 20″ x 14″

Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Alain Paiement, Doubles lunes, (stéréoscopies asynchrones), 2012 épreuve digitale sur papier hahnemüller photo rag baryta monté sur alupanel digital print on hahnemüller photo rag baryta paper mounted on alupanel, éd 5, 18

Alain Paiement, Doubles lunes, (stéréoscopies asynchrones), 2012 épreuve digitale sur papier hahnemüller photo rag baryta monté sur alupanel digital print on hahnemüller photo rag baryta paper mounted on alupanel, éd 5, 18″ x 18″

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