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Trevor Gould, Moridja Kitenge Banza and Cindy Phenix in residency

June 18th, 2019 § 0 comments § permalink

Trevor Gould, Live in a Box: A Refuge, 2017
Techniques mixtes
Mixed media
75,5 x 68,5 x 50,5 cm (29 3/4” x 27” x 20”)

Moridja Kitenge Banza, Chiromancie #9 No 11, 2019
Encre sur mylar
Ink on mylar
107 x 244 cm (42” x 96”)

Cindy Phenix, The End That Is Not, 2019
Pastel, huile, acrylique et tissus sur lin
Oil, acrylic pastel and found fabric on linen
121,9 x 91,4 cm (48” x 36”)

Guillaume Adjutor Provost: Chambre réverbérante

April 14th, 2019 § 0 comments § permalink

Opening April 17 from 5 to 7pm

Guillaume Adjutor Provost, Sans titre (flux 03.05), 2019
Encre sur papier
Ink on paper
29,7 x 21 cm (11,7” x 8,3”)

For his second exhibition at Galerie Hugues Charbonneau, Chambre réverbérante, Guillaume Adjutor Provost is presenting a selection of drawings from his most recent series entitled Flux. These drawings result from a number of automatic-drawing sessions whereby each pen drawing on paper was executed over the course of several consecutive hours. During these late-night drawing shifts, Provost found himself in a state of altered consciousness provoked by self-induced hypnosis a hypnagogic state that allowed for a free-form exploration of his frame of mind on a given day. He likens the visual vocabulary resulting from this process to a flow of data streaming directly from his psyche.  

Pulling from shapes and hidden symbols that emerged during these sessions, Provost created two sculptures that echo the Fluxdrawings. Fée du Kapital (Shift de jour)and Fée du Kapital (Shift de nuit)represent two pairs of casted feet dressed and bejewelled in boots and fabrics. The presence of these dismembered feet in space create a tension, seeming to conjure up spirits. To the artist, these anchors are stand-ins for a system in deconstruction, they could be considered the foundation to the building of a new order.

Chambre réverbérante results from Guillaume Adjutor Provost’s current desire to create a body of work that bypasses referentiality in order to access the raw internal processes of the psyche and by the same token, expose our relationship to the unregulated labour inherent to artistic work, both material and immaterial.

Guillaume Adjutor Provost lives and works in Montreal where he completed a doctorate in art and research at UQAM in 2017. He has received grants from the Conseil des Arts et des Lettres du Québec, the Canada Council for the Arts, the OJIQ and SODEC. His work has been shown in solo and group exhibitions throughoutCanada, France, Germany, Belgium, Catalonia, Lithuania, 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 where he is currently showing a solo exhibition in conversation with Julie Tremble and Guillaume B.B. entitled “Vapeurs”, curated by Ji-Yoon Han. In 2018, he presented a solo exhibition at Bikini in Lyon, and participated in group shows at Critical Distance (Toronto) and TAP Art Space (Montreal), and conducted a research residency at Rupert Foundation in Vilnius, Lithuania.

 

Guillaume Adjutor Provost, Chambre réverbérante, 2019
Exposition / Exhibition
Galerie Hugues Charbonneau, Montréal, Canada
(photo : Jean-Michael Seminaro)

 

 

David Lafrance: Jours fastes et néfastes

November 6th, 2018 § 0 comments § permalink

Opening November 7 from 5 to 7 PM. Artist in attendance.

David Lafrance, Marée haute, 2018
Huile sur toile
Oil on canvas
182,9 x 228,6 cm (72” x 90”)

The Exhibition

 

David Lafrance’s latest paintings are an extension of his personal reflections on a landscape, and thus a society, in metamorphosis.

 

The artist delves into meteorological phenomena threatening our current era, both physically and psychically. The forecast is distressing and inescapable in Lafrance’s observations.

 

Amid representations of a nature in turbulence, each painting is punctuated by a contrasting window into an idyllic pastoral scene – postcards of an idealized past uninterrupted by climate change. Reminiscent of surrealist paintings from the 1930s, Lafrance’s aerial cognitive landscapes are populated by disembodied hands and arms, geometric and unstructured shapes and cartoonish faces that set the mood for the series. The sun is tired and wrinkled in “Un soleil de trop” (2018) and sleeping heads are metaphors for a dormant populace in “Sun Dog” (2018) and “Marée haute” (2018). Lafrance approaches the canvas with a sense of urgency, skilfully layering distinct forms of composition in a dynamic assemblage of painterly gestures.

 

 

About David Lafrance

 

David Lafrance (b. 1976) holds a Bachelor of Fine Arts from Concordia University in Montréal (2001) where he is currently completing his MFA. His work has been presented in numerous exhibitions and biennales in Canada, the US, and in France. Among his recent solo exhibitions are Maison de la culture Marie-Uguay (2018), Ceaac (2015), Strasbourg; Galerie Hugues Charbonneau (2014); L’Œil de Poisson (2014), Québec City; and the Musée régional de Rimouski (2012), which won the prize for “Best exhibition outside of Montréal” at the AGAC’s Gala des arts visuels. He recently participated in various group exhibitions, namely at the Musée d’art contemporain des Laurentides (2018), Musée des beaux-arts de Montréal (2015), l’Œil de Poisson (2015), Art Action Actuel, in Saint-Jean-sur-Richelieu (2013), and at the Centre d’art l’Écart, in Rouyn-Noranda (2013).

 

His work is part of several private and public collections, including the Musée national des beaux-arts du Québec (CPOA), the Bibliothèque nationale du Québec; the Leonard and Bina Ellen Art Gallery, Montréal; Lotto Québec; Hydro-Québec; and Mouvement Desjardins.

Cindy Phenix: Ces femmes tiennent une fleur à la main

August 24th, 2018 § 0 comments § permalink

Cindy Phenix, The Light Does Not Increase, 2018
Huile et pastel sur toile
Oil and pastel on canvas
183 x 244 cm (72″ x 96″)

The Exhibition

For her first solo exhibition at Galerie Hugues Charbonneau, Cindy Phenix is presenting Ces femmes tiennent une fleur à la main, a new series of paintings that are the fruit of a month-long residence at the gallery where Phenix set up her studio and initiated participation/discussion groups from which she drew inspiration.

With Ces femmes tiennent une fleur à la main, Phenix has developed a lexicon of happiness that pays heed to the complexity of the places it flourishes in and the attitudes it gives rise to. Beaches, boulevards, balconies or cabarets, these spaces where it unfolds are both public and private: there where the multitude becomes a crowd, thousands of isles of intimacy emerge. Voluptuousness, contemplation and friendship blossom there, but also along with voyeurism, vanity and envy. True to her forceful and intense aesthetic, Phenix alternates between solitary depictions and choral scenes to give life to an ode to boundless joy.

Cindy Phenix, Ces femmes qui tiennent une fleur à la main, 2018

Artist Statement

Cindy Phenix’s work focuses on the relationship between the public and private spheres. She explores the various norms that govern them, the dynamic of their coexistence, the power relations they are the site of and the emotions they trigger. To this end, the artist creates complex scenes that convey powerful narrative and affective movements.

Phenix draws her inspiration from participation/discussion groups that she organizes and leads. Through collaborative projects and shared experiences, these groups aim to raise awareness of feminine experience. At first, the women are led to interact with artworks, to take part in games and to position their bodies in installations created by the artist. They are then invited to share anecdotes and reflections as part of the discussions that Phenix guides. The bodily performances and stories shared in the process serve as fertile analysis ground for the artist who reinterprets them in her compositions.

Cindy Phenix’s paintings generate a palpable formal tension. Some surfaces are made up of gestural and abstract impastos, while others—left untouched—reveal the raw potential of the canvass. Painted zones are juxtaposed with drawn lines and take us into paradoxical spaces. Many characters, depicted in transformed complexions and bodies, interact here. The ambitious and ambiguous displays and the broad spectrum of techniques that Phenix puts to the task give rise to a dazzling emotional charge.

Karen Tam (July) and Cindy Phenix (August)

June 20th, 2018 § 0 comments § permalink

Karen Tam
Work in Progress (for Art Toronto), 2018

Cindy Phenix
Sunflowers, 2018
Huile et pastel sur toile
Oil and pastel on canvas
76 x 61 cm (30” x 24”)

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.

Jonathan Plante : Trois Sculptures

January 9th, 2018 § 0 comments § permalink

 

Jonathan Plante
Trois Sculptures, 2018
Exposition_Exhibition
Galerie Hugues Charbonneau, Montréal, Canada

 

Trois sculptures

Galerie Hugues Charbonneau is delighted to present Trois sculptures, an exhibition by Jonathan Plante. The exhibition reveals a series of three works from the artist’s recent production The exhibited sculptures take up the same structure, i.e. a three dimensional assemblage of eight lenticular supports. A lenticular support is an extruded plastic that functions like a series of lenses guiding the eye towards an image that will change according to the viewing angle of the viewer. Known for its commercial uses, lenticular support has been mostly used to manufacture ordinary objects. For example, a postcard that is waved backed back and forth to create the illusion of motion through two overlapping images.

By using the artisanal printing process of silkscreen to introduce an element of randomness, Plant disassociates the lenticular image from an advertising aesthetic. Through this deployment of the lenticular medium, the artist explores other modes to put the image into motion. Trois sculptures proposes an experience that shifts the opposition between activity and passivity characteristic of film. According to an approach he calls kinoplastic, it is the viewer’s movements that both freezes the image and puts it into motion. These works invite viewers to become aware of the fact that it is their movement that brings the world into appearance. A reflection that can also be traced back to the tradition of Robert Morris’s minimalist sculpture; a practice that involves both the materiality of the work and the experience of the viewer.

About Jonathan Plante

Jonathan Plante holds a MFA from Université du Québec à Montréal. His works have been presented in solo exhibitions at Galerie de l’UQAM, Galerie Division, at Musée d’art contemporain des Laurentides as well as De Ateliers in Amsterdam. He has also participated in various group exhibitions in Quebec, the US and the Netherlands. In 2017, L’œil de poisson in Quebec City showed his solo exhibition titled L’immobile. In 2013, the artist created Lapincyclope, the first of a series of exhibitions for a young viewership to be presented at VOX — Centre de l’image contemporaine in Montréal, in addition to taking part in the Quebec Triennial 2008. His works are currently part of several public and private collections among which Musée d’art contemporain de Montréal and Musée national des beaux-arts du Québec. Jonathan Plante lives and works in Montréal.

Cynthia Girard-Renard : Love and Anarchy

November 10th, 2017 § 0 comments § permalink

Cynthia Girard-Renard
Plaisir fétichiste d’une militante antifasciste
(série Amour et anarchie)
2017
Acrylique sur toile
Acrylic on canvas
150 x 124 cm (59” x 49”)

Opening reception Saturday November 11, 3 PM to 5 PM. Artist in attendance.

Love and Anarchy
Cynthia Girard-Renard invites you to her latest project titled Love and Anarchy, inspired by the film of director Lina Wertmüller within which the action takes place inside a brothel under the ruling of Mussolini’s fascist Italy. The artist has elaborated 6 erotico-political paintings where inter-species characters mingle in a carnival of pleasure even if the days are dark and the speculative scenarios apocalyptical.

Inspired by a constellation of women artists and works such as the erotic paintings of Dorothy Iannone, the body art of Carolee Schneemann and the ecosexual movement of Annie Sprinkle, Girard-Renard has produced a body of work in which polymorphous figures, intertwined between plant, human and animal, are copulating and are in exaltation, defying passivity and the status quo. Figures constructed from her own body prints cavort within a ground printed directly from tree trunks. These bark backgrounds are the perfect burlesque theater to animate this vigorous troupe of characters who defy obscurantist scenarios with satirical playlets.

About Cynthia Girard-Renard 

Cynthia Girard-Renard received her MFA from Goldsmiths College, London, UK (1998). In the fall 2017, she takes part in the Canadian Biennial presented at the National Gallery of Canada and she presents her solo exhibition Our Mad Masters at the Musée d’art de Joliette. For more than 20 years, she has been actively exhibiting in Canada and internationally, including: Uma Certa Falta de Coerencia, Porto, Portugal (2015); Esker Foundation, Calgary, Alberta (2014); Thousand Plateaus Art Space, Chengdu, China (2011); Dunlop Art Gallery, Regina (2010); Musée national des beaux-arts du Québec, Québec (2010); September Gallery, Berlin (2009); Künstlerhaus Bethanien, Berlin (2009); SPACE, London (2006); Musée d’art contemporain de Montréal (2005); etc.

The artist has been the recipient of grants from the Canada Council for the Arts and the Conseil des arts et des lettres du Québec to partake in residencies in London, Paris, New York and Berlin. Girard-Renard’s work is found in the collections of the Musée d’art contemporain de Montréal, the Montreal Museum of Fine Arts, the Musée national des beaux-arts du Québec, the Canadian Ministry of Foreign Affairs, the Carleton University Art Gallery, the UQAM Gallery, the TD Bank as well as many private collections. Cynthia Girard-Renard lives and works in Montréal.

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

Situation #7 : David Lafrance : Forbidden Rendez-vous in the Ghost Wing

August 16th, 2017 § 0 comments § permalink

Entrance door: 6217 rue Henri-Julien

 

David Lafrance
Atelier rouge (série Peur de perdre)
2015
Huile sur panneau
Oil on panel
20 x 25,5 cm (8” x 10”)

David Lafrance is delighted to invite you to his studio in the ghost wing of 305 rue de Bellechasse on next Wednesday August 23, from 10 AM to 10 PM. As part of our summer program titled “8 situations: 8 artists”, this exceptional rendezvous will be an opportunity to revisit his artistic production and archives covering the last twenty years (1997-2017).

David Lafrance
Étude pour Atlas No 2
2014
Peinture à l’acrylique sur madrier de ferme sculpté
Acrylic paint on sculpted recycled wood
35.5 x 10 x 18 cm (14” x 4” x 7”)

An installation of works will pay tribute to his favourite workspace. Several paintings, drawings, engravings, aquarelles, sketches, studies and some never-before-seen works will be available for acquisition purposes. This meeting will also be an occasion for open discussions with key art milieu professionals in attendance (artists, photographers, gallerists). A not to be missed event that will unfold in a convivial ambiance, in the image of David Lafrance.

David Lafrance
Force
2003
Huile sur toile
Oil on canvas
198 x 259 cm (78” x 102”)

About David Lafrance

David Lafrance (b. 1976) holds a Bachelor of Fine Arts from Concordia University in Montréal (2001). His work has been presented in numerous exhibitions and biennales in Canada, the US, and in France. Among his recent solo exhibitions are Ceaac (2015), Strasbourg; Galerie Hugues Charbonneau (2014); L’Œil de Poisson (2014), Québec City; and the Musée régional de Rimouski (2012), which won the prize for “Best exhibition outside of Montréal” at the AGAC’s Gala des arts visuels. He recently participated in various group exhibitions, namely at the Musée des beaux-arts de Montréal (2015), l’Œil de Poisson (2015), Art Action Actuel, in Saint-Jean-sur-Richelieu (2013), and at the Centre d’art l’Écart, in Rouyn-Noranda (2013).

David Lafrance
M’as tu oublier 07
2003
Graphite sur papier
Graphite on paper
55,88 x 76,2 (22” x 30”)

His work is part of several private and public collections, including the Musée national des beaux-arts du Québec (CPOA), the Bibliothèque nationale du Québec; the Leonard and Bina Ellen Art Gallery, Montréal; Lotto Québec; Hydro-Québec; and Movement Desjardins; Blakes; and Apollo Studios.

David Lafrance
Les sinistrés
2011
Huile sur toile
Oil on canvas
107 x 122 cm (42” x 48”)

David Lafrance
En ordre d’apparition 01
2016
Huile sur toile
Oil on canvas
122 x 102 cm (48” x 40”)

Situation #6: Matthew Biederman: A Generative Adversarial Network

August 9th, 2017 § 0 comments § permalink

Opening reception on August 16th from 5pm to 7pm with the artist in attendance
At Galerie Hugues Charbonneau
With the kind collaboration Art45 gallery

By modifying algorithms and training scenarios, what will the network synthesize?    


Using a state-of-the-art technique – a generative adversarial network (itself an interesting turn of phrase), a neural network has been trained to generate full body portraits that are learned from TSA three dimensional scans. The mongrel images created are not of specific persons but are ‘hallucinated’ by the network, through which the ‘learning’ process is revealed. The training dataset is from the very same scans made every time a person enters an airport terminal in the United States and several other countries. These images were released by the TSA to the public in the hope that they can develop an algorithm to automatically detect ‘threats’.  On display here is the system as it learns to create images in an awkward loop of a machine being taught to imitate the images that are gathered from the biometric data.

Matthew Biederman

About Matthew Biederman

Matthew Biederman (b. 1972, Chicago Heights, IL, USA) lives and works in Montreal. He was the recipient of the Bay Area Artist Award in Video by New Langton Arts in 1999, First Place in the Visual Arts category of Slovenia’s Break21 festival. He has since co-founded the Arctic Perspective Initiative, with Marko Peljhan, in 2007, a non-profit, international group of individuals and organizations, whose goal is to promote the creation of open authoring, communications and dissemination infrastructures for the circumpolar region.

Biederman works have been exhibited in the US, South America, Europe and Japan, in a variety of festivals and venues such as 7 ATA Festival Internacional (Lima), the 11th Lyon Bienniale, the 2011 Quebec Trienniale, 2014 Montreal Bienniale (Musee des Arts Contemporain), Bienniale of Digital Art (BIAN, Montreal), Artissima (Turin, IT) and Moscow Biennale, among others. As a film and video maker, his works have been included in the FILE festival (Sao Paulo), New Forms Festival (Vancouver), the Edinburgh Fringe Festival, Paris/Berlin International Meetings, and the Chicago Underground Film Festival. His public works have been shown at the ZeroOne2006 Festival (San Jose US), the SCAPE Biennial (New Zealand), notably.

Biederman is currently represented by Art45.

Situation #5: Nadège Grebmeier Forget: Instagram Takeover

July 22nd, 2017 § 0 comments § permalink

As part of our summer program “8 artists: 8 situations”, Galerie Hugues Charbonneau is delighted to grant carte blanche to the performance artist Nadège Grebmeier Forget. For a period of 24 hours only, the artist will occupy our gallery space to produce a series of interventions, images and exclusive videos for our Instagram account. From midnight July 28th to midnight July 29th 2017, follow this intensive thread via the hashtag

#nadegegforgettakeover

 

Artist Statement:

Nadège Grebmeier Forget’s art practice provokes reflection on the act of looking as a form of implicit consumption, as well as the power dynamics within which the gaze operates. Her work is characterized by a preoccupation with re-appropriation, actively exploring the role of mediation on identity performance, construction and fiction on display. Circulating within the visual and live arts communities, she has participated in numerous events, festivals, panels, residencies and exhibitions in Canada, the USA and Europe. Vulnerable, intimate, baroque and decadent, she serves discomfort.

www.nadege-grebmeier-forget.com

Situation #4: Maria Hupfield : KA-POW!

July 18th, 2017 § 0 comments § permalink

Public artwork KA-POW! on view at Victoria Square

As part of the Montreal 375th anniversary donation project “Promenade Fleuve-Montagne” #PromenadeFM.

Maria Hupfield
KA-POW!, 2017
Sculpture publique
Public sculpture
(Photo: Sébastien Roy, DHC\ART)

KA-POW!

 

The word KA-POW! speaks the language of action, force, movement, breath and sound. KA-POW! is comprised of two seated bench areas fixed amongst a grove of trees at Victoria Square park. Referencing lightening bolts, geometric star blanket patterns and cartoon action text bubbles the benches are a radical act of unity to bring more integration between public spaces and the more than human natural world. The geometric forms are anchored in many levels of meaning at ground level, supporting the public under a canopy of leaves. For this site specific commission Brooklyn based performance artist Maria Hupfield centers trees as dynamic living forces in an effort to bring people together with our relations a busy intersection. KA-POW! is part of le Sentier de résilience curated by Cheryl Sim in collaboration with Phi Centre and DHC/ART. It is located at the heart of la Promenade Fleuve-Montagne.

Maria Hupfield
KA-POW!, 2017
Sculpture publique
Public sculpture
(Photo: Sébastien Roy, DHC\ART)

Maria Hupfield
Hupfield activates her creations in live performance. She is interested in shared moments that open spaces for possibility and new narratives. She is deeply invested in intersectionality, indigenous feminisms, race, gender, and class. Hupfield is a member of the Anishinaabe Nation at Wasauksing First Nation, Ontario. Her recent traveling solo exhibition, The One Who Keeps On Giving, opened the thirtieth anniversary of the Power Plant Contemporary Art Gallery, Toronto. Hupfield is an alumna of the AIM program at the Bronx Museum and a Joan Mitchell Foundation recipient. Exhibitions include shows at the SITE Santa Fe Biennial, James Gallery, the BRIC Biennial, the Bronx Museum, Vox Populi, and Panoply Performance Laboratory. Hupfield was also a part of the group exhibition Beat Nation. Art, Hip Hop and Aboriginal Culture (2012-2014) presented at the Vancouver Art Gallery, Power Plant Contemporary Art Gallery and the Musée d’art contemporain de Montréal.

 

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.

Spaces for Agency — Recomposer la ville

January 12th, 2017 § 0 comments § permalink

Isabelle Hayeur

Maria Hupfield

David Lafrance

Alain Paiement

Recomposer la ville / Spaces for Agency, 2017 Isabelle Hayeur, Maria Hupfield, David Lafrance, Alain Paiement Vue d'exposition Installation view

Recomposer la ville / Spaces for Agency, 2017
Isabelle Hayeur, Maria Hupfield, David Lafrance, Alain Paiement
Vue d’exposition
Installation view

Recomposer la ville / Spaces for Agency, 2017 Isabelle Hayeur, Maria Hupfield, David Lafrance, Alain Paiement Vue d'exposition Installation view

Recomposer la ville / Spaces for Agency, 2017
Isabelle Hayeur, Maria Hupfield, David Lafrance, Alain Paiement
Vue d’exposition
Installation view

Galerie Hugues Charbonneau is delighted to launch the year 2017 with a group show bringing together Isabelle Hayeur, Maria Hupfield, David Lafrance and Alain Paiement. Recomposer la ville / Spaces for Agency sets out to question notions of the “public” and “collective” in urban space. The exhibition is an invitation to reflect in a critical and different perspective on the celebrations being held as part of Montreal’s 375th anniversary.

Isabelle Hayeur Day Trading (série Nuits américaines), 2006 Jet d’encre sur papier polyester, monté sur aluminium avec traitement UV Ink jet prin on polyester mounted on aluminium with UV traitement Édition 5/5 109 x 165 cm (43

Isabelle Hayeur
Day Trading (série Nuits américaines), 2006
Jet d’encre sur papier polyester, monté sur aluminium avec traitement UV
Ink jet prin on polyester mounted on aluminium with UV traitement
Édition 5/5
109 x 165 cm (43″ x 65″)

Isabelle Hayeur, Pulse, 2015 Vidéo HD, couleur, stéréo Video, HD, color, stereo Édition 3 3 minutes

Isabelle Hayeur,
Pulse, 2015
Vidéo HD, couleur, stéréo
Video, HD, color, stereo
Édition 3
3 minutes

While not exclusive to our city, the questions we raise touch on: inhabiting city space and urban territory; established authorities; citizen resistance and engagement strategies; issues of peaceful coexistence — or its possibility in certain current political contexts. The works are presented along two mainlines in which, on one hand, the artists reimagine the topography of the city, and on the other, they explore ways of culturally and socially re-appropriating one’s environment. These mainlines which overlap in the gallery perhaps make it possible to glimpse the political potential that the works and places of art can signify in their immediate communities.

Maria Hupfield Survival and Other Acts of Defiance, 2011 Installation video et ruban adhésif en aluminium au sol en forme de

Maria Hupfield
Survival and Other Acts of Defiance, 2011
Installation video et ruban adhésif en aluminium au sol en forme de “X”
Video installation with silver “X” on floor made of aluminium tape
Édition 3
2,4 x 1,2 x 1,2 x m (8’ x 4’ x 4’)

Isabelle Hayeuris proposing two composite works. The photograph Day Trading (2006) shows the construction site of a building with an ambiguous function, which is in fact artificial because it is entirely the result of a digital manipulation. The video Pulse (2015), which is inspired by the student strike of the spring of 2015 in Montreal and the social struggles surrounding it, brings together a myriad of images found or filmed by the artist, who herewith denounces neoliberal austerity measures and erosion of political liberties. For her part, Maria Hupfield presents the video Survival and Other Acts of Defiance (2011) in which she is shown jumping on the spot, in a loop, and thus infinitely. Reinforced by the sound of tin jingles worn on her boots, she strongly affirms her presence as an indigenous woman who is constantly (re)negotiating her environment. On the floor, a large metallic X invites visitors to join in with her.

David Lafrance Place publique 1, 2015-2016 Bois et peinture acrylique Wood and acrylic paint 13 x 20 x 23 cm (5’’x 8’’ x 9’’)

David Lafrance
Place publique 1, 2015-2016
Bois et peinture acrylique
Wood and acrylic paint
13 x 20 x 23 cm (5’’x 8’’ x 9’’)

David Lafrance Place publique 4, 2015-2016 Bois et peinture acrylique Wood and acrylic paint  15 x 20 x 33 cm (6’’x 8’’ x 13’’)

David Lafrance
Place publique 4, 2015-2016
Bois et peinture acrylique
Wood and acrylic paint
15 x 20 x 33 cm (6’’x 8’’ x 13’’)

David Lafrance is presenting sculptures in multi-coloured wood that form part of the series Places publiques (2016). These imaginary city planning projects suggest a grandness and a dazzle that are paradoxically troubled by drab splashes or the affixing of disproportionate botanical sketches on their surface. Finally, Alain Paiement brings us a new large-scale photographic work,Voisinage contextuel (2016), in which he disregards the functional side of the Montreal city map and reduces the macro to the micro. He suspends the practical relationship to city space to instead recompose it in dialogue with the humans who collectively inhabit and animate it on a daily basis.

Alain Paiement Voisinage contextuel, 2016 Impression numérique sur papier coton archive Digital print on archival cotton paper Image : 142 x 213 cm (55,9” x 83,9”)  Papier_paper : 152 x 223 cm (60” x 88”)

Alain Paiement
Voisinage contextuel, 2016
Impression numérique sur papier coton archive
Digital print on archival cotton paper
Image : 142 x 213 cm (55,9” x 83,9”)
Papier_paper : 152 x 223 cm (60” x 88”)

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

Julie Trudel: Bone Black and Titanium White — Transparency and distortion

April 6th, 2016 § 0 comments § permalink

Julie Trudel Transparence et distorsion NNBN, 2015 Acrylique et gesso sur feuille acrylique Acrylic and gesso on acrylic sheet 117 x 59,5 x 35,5 cm (46

Julie Trudel
Transparence et distorsion NNBN, 2015
Acrylique et gesso sur feuille acrylique
Acrylic and gesso on acrylic sheet
117 x 59,5 x 35,5 cm (46″ x 23 1/2″ x 14″)
(Photo : Jordan Blackburn)

Galerie Hugues Charbonneau is pleased to present Julie Trudel’s second solo exhibition, featuring the latest development in her work with the materiality of colour. This series of approximately 10 three-dimensional paintings was created in 2015 during various artist residencies, and was presented in part at the Anna Leonowens Gallery at NSCAD University last fall.

Julie Trudel Transparence et distorsion NNBN, 2015 Acrylique et gesso sur feuille acrylique Acrylic and gesso on acrylic sheet 117 x 59,5 x 35,5 cm (46

Julie Trudel
Transparence et distorsion NNBN, 2015
Acrylique et gesso sur feuille acrylique
Acrylic and gesso on acrylic sheet
117 x 59,5 x 35,5 cm (46″ x 23 1/2″ x 14″)
(Photo : Jordan Blackburn)

With Bone Black and Titanium White—Transparency and Distortion, Julie Trudel continues to work with the self-imposed chromatic constraint she adopted in 2012, namely the use of pure black and white pigments which she simply dilutes in large amounts of clear acrylic medium. This time, however, she has innovated her approach by adding clear acrylic supports (also known as Plexiglas). Technical considerations at the end of 2014 led her to choose this material as a way to explore its material properties – transparency, reflection, reversibility and plasticity – in conjunction with her fascination for the translucence and opacity of paint. While experimenting with various types of plastics, light emerged as a central component and the paintings were subsequently pulled out from the wall to better enable the interplay of light and surface.

Julie Trudel Transparence et distorsion BNNN, 2015 Acrylique et gesso sur feuille acrylique Acrylic and gesso on acrylic sheet 117 x 59,5 x 35,5 cm (46

Julie Trudel
Transparence et distorsion BNNN, 2015
Acrylique et gesso sur feuille acrylique
Acrylic and gesso on acrylic sheet
117 x 59,5 x 35,5 cm (46″ x 23 1/2″ x 14″)
(Photo : Jordan Blackburn)

Each piece is created on a very thin sheet of Plexiglas painted on one side before being bent into three sections through thermoforming. Two sections are painted in flat black tints, giving them a mirror-like quality, or in white, which reflects light. The third section is clear and covered in a pattern of translucent dots that seem to break away from the surface, producing the illusion of movement and depth. The folding of the two panels on either side of the central one produces a complex interplay of reflections between the three sections, while the concave shape it creates captures light and multiplies the effect of transparency or distortion within the cluster of dots. Trudel’s choice of Plexiglas has evidently deepened her research into the materiality of colour and light, thereby opening new possibilities within the pictorial field. Moreover, their presentation in the gallery allows viewers to experience the near-sculptural nature of her paintings as they extend into the exhibition space, and to witness how dramatically their appearance shifts depending on the angle of view.

Julie Trudel Noir d'ivoire et blanc de titane -- transparence et distorsion, 2016 Vue d'exposition Exhibition view Galerie Hugues Charbonneau, Montréal, Canada

Julie Trudel
Noir d’ivoire et blanc de titane — transparence et distorsion, 2016
Vue d’exposition
Exhibition view
Galerie Hugues Charbonneau, Montréal, Canada

Julie Trudel

Over the past five years, her work has been presented in France, in Germany, Japan, United-States, and throughout Canada. Trudel was a two-time finalist in the RBC Canadian Painting Competition (2011, 2012), and winner of the Joseph Plaskett Award in painting (2013). Her work is included in several collections, including the Collection Prêt d’œuvres d’art of the Musée national des beaux-arts du Québec; the Ville de Montréal; RBC Bank and TD Bank. She lives and works in Montréal.

The artist would like to warmly thank the Joseph Plaskett Foundation, the Triangle Arts Association, NSCAD University and the Robert Pope Foundation, who supported the development of this new project. She would also like to acknowledge the contribution of her skilful and reliable studio assistants, Katie Lesser and Arkadi Lavoie Lachapelle, as well as Donald Thompson, Martin Schop and Atelier Clark, who helped resolve many technical challenges.

Julie Trudel Noir d'ivoire et blanc de titane -- transparence et distorsion, 2016 Vue d'exposition Exhibition view Galerie Hugues Charbonneau, Montréal, Canada

Julie Trudel
Noir d’ivoire et blanc de titane — transparence et distorsion, 2016
Vue d’exposition
Exhibition view
Galerie Hugues Charbonneau, Montréal, Canada

Cynthia Girard-Renard: La revanche des Sans-culottes

February 18th, 2016 § 0 comments § permalink

Cynthia Girard-Renard, La revanche des Sans-culottes, 2016, exposition _ exhibition, Galerie Hugues Charbonneau, Montréal

Cynthia Girard-Renard, La revanche des Sans-culottes, 2016, exposition _ exhibition, Galerie Hugues Charbonneau, Montréal

La revanche des Sans-culottes

For her first solo exhibition at Galerie Hugues Charbonneau, Cynthia Girard-Renard proposes a body of work created during the CALQ residency in Paris in 2015 and presented last fall in Porto, Portugal, under the title Les Sans-culottes. For the present exhibition, the series has been enlarged to include several new works, and already-existing puppets, banners and paintings have been complexified and reused. Girard-Renard’s starting point is the French Revolution, from which she develops a critical reflection on revolutionary thought in our current context of neoliberal austerity.

Cynthia Girard-Renard Sous les pavés, la plage, 2015 Acrylique sur toile libre de coton Acrylic on unstretched cotton canvas 224 x 287 cm (88’’ 1/4 x 113’’)

Cynthia Girard-Renard
Sous les pavés, la plage, 2015
Acrylique sur toile libre de coton
Acrylic on unstretched cotton canvas
224 x 287 cm (88’’ 1/4 x 113’’)

La revanche des Sans-culottes borrows its irreverent and comical energy from the caricatural social satire genre in 18th century France, an important influence for Girard-Renard during the development of the project. The title of the exhibition refers to the derogatory moniker applied to working-class protesters, that wore trousers or striped skirts, rather than the “culotte”, knickers favored by the Ancien Régime aristocracy. Girard-Renard stages confrontations between the monarchy and the people through an array of works depicting the decadence of Marie-Antoinette and Louis XVI’s court, which she compares to the voracity of today’s oligarchs and millionaires. The luxury industry, fashion, and finance collide with the threat of debt in Greece and the ubiquitous austerity that clobbers us in Québec, Europe and elsewhere – not unlike Punch’s beating-stick.

Cynthia Girard-Renard Petit théâtre du grand capital, 2016 Techniques mixtes Mixed media 240 x 90 x 90 cm (94 1/2’’ x 35 1/2’’ x 35 1/2’’)

Cynthia Girard-Renard
Petit théâtre du grand capital, 2016
Techniques mixtes
Mixed media
240 x 90 x 90 cm (94 1/2’’ x 35 1/2’’ x 35 1/2’’)

In the gallery space, Le petit théâtre du grand capital (2016) depicts this confrontation between the 99% and the elusive and shapeshifting 1%. Puppets and papier mâché props adopt the burlesque and ribald codes of the Théâtre du Grand-Guignol, active in Paris from 1896 to 1963. For its part, the theatrical curtain of Sous les pavés, la plage (2015), a reference to the famous May 1968 slogan, acts as a bridge between the exhibition and 1789, invoking past revolutionary ardor and defiantly taking a stand against mediocrity’s dominion.

Cynthia Girard-Renard Les Sans-culottes, 2015 Papier, bois et corde Paper, wood and rope 167,5 x 90 x 244 cm (66’’ x 35 1/2’’ x 96’’)

Cynthia Girard-Renard
Les Sans-culottes, 2015
Papier, bois et corde
Paper, wood and rope
167,5 x 90 x 244 cm (66’’ x 35 1/2’’ x 96’’)

Cynthia Girard-Renard

For more than 20 years, Girard-Renard has been actively exhibiting in Canada and internationally, including: Esker Foundation, Calgary (2014); Thousand Plateaus Art Space, Chengdu, China (2011); Dunlop Art Gallery, Regina (2010); Musée national des beaux-arts du Québec, Québec (2010); September Gallery, Berlin (2009); Künstlerhaus Bethanien, Berlin (2009); SPACE, London (2006), not to mention her solo exhibition, Fictions sylvestres, at the Musée d’art contemporain de Montréal (2005) and her participation in the 2008 Quebec Triennial. Girard-Renard’s work is found in the collections of the Musée d’art contemporain de Montréal, the Montreal Museum of Fine Arts, the Musée national des beaux-arts du Québec, the Carleton University Art Gallery, the UQAM Gallery, as well as many private collections. The artist lives and works in Montréal.

Cynthia Girard-Renard, La revanche des Sans-culottes, 2016, exposition _ exhibition, Galerie Hugues Charbonneau, Montréal

Cynthia Girard-Renard, La revanche des Sans-culottes, 2016, exposition _ exhibition, Galerie Hugues Charbonneau, Montréal

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.

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