LISTEN SPEAK AND SING, PREFIX ICA
Oct
4
to Nov 30

LISTEN SPEAK AND SING, PREFIX ICA

October 4 to November 30, 2019

Nadia Myre

Listen, speak and sing

Prefix Institute of Contemporary Art is pleased to present Listen, speak and sing, a solo exhibition by Montreal-based interdisciplinary artist Nadia Myre. This premiere exhibition, curated by Betty Julian, features photographic, video and sound artworks that expand our understanding of the complexities of living as an Indigenous artist and citizen in the twenty-first century. In these new artworks, Nadia Myre presents multiple subjects, objects, and sounds that speak beyond the limited notions of recognition. The artist and curator’s conversations have evolved into this exhibition that explores Indigenous ways of being and creating.

Listen, speak and sing invites viewers to consider the ways in which we recognize and engage with one another. Nadia Myre encourages us to continue the conversations that enable us to challenge the nature of our complicated colonial relationships. The three-channel video Living with Contradiction (2018) presents a round-table dialogue between Indigenous artists, art educators, curators and writers focused on the realities of being and working in the Canadian visual arts sector. The artworks in the exhibition bring attention to the nature of collaboration, as well as the labour and the reality of Indigenous cultural ways of making that are impacting creative practices and community development. Nadia Myre calls upon the viewer to reflect on their experiences and to consider how and when we listen, speak and sing.

An opening reception will be held on Friday, October 4, 2019 from 7 to 9 PM at Prefix, located at 401 Richmond Street West, Suite 124, Toronto. The artist and the curator will be present. A curator’s walk through will be held as part the imagineNATIVE Art Crawl on Thursday, October 24, 2019 at 7 PM at Prefix. The exhibition continues until Saturday, November 30, 2019. The gallery is open to the public from Wednesday to Saturday, 12 to 5 PM, and by appointment. Admission is free.

About the artist

Nadia Myre is an Algonquin member of the Kitigan Zibi Anishinabeg First Nation and a Montreal-based interdisciplinary artist. As exemplified by seminal works Indian Act (2002) and The Scar Project (2005–2013), Myre emphasizes collaboration, community building and skill sharing in her practice as strategies for Indigenous futurity and cross-cultural understanding. Her use of transcultural objects and artifacts looks at how shifts of form, utility and significance occur as they are shared and/or appropriated between cultures. Her recent exhibitions include Code Switching and Other Work (2018) for Glasgow International, Balancing Acts (2019) at the Textile Museum in Toronto, and Volume 0 (2019), a collateral project at the Venice Biennale.

About the curator

Betty Julian is an off-reserve citizen of Sipekne’katnik First Nation (Indian Brook First Nation) in Nova Scotia. Betty is the Adjunct Curator at Prefix ICA and a curator of contemporary art with a specialization in photography, film and video as art forms. She has an intersectional artistic research practice that is informed by her work as a curator and by her studies in the critical discourses of aesthetics, culture and psychoanalytic thought. Betty is a founding member of the New Initiatives in Film Program for Aboriginal Women and Women of Colour at Studio D, National Film Board. She is also a founding member of the national advisory board of Prefix Photo magazine, and since 2004, a member of the curatorial council for Prefix ICA, where she curated 31 (2005) by Lorna Simpson, the group exhibition Trade Marks (2013), Facing (2016), the first solo exhibition in Canada by Renée Green, and the group exhibition Movers and Shakers (2018).

About Prefix

Prefix Institute of Contemporary Art is a public art gallery with the distinguishing features of publishing an art magazine and presenting an international lecture series. A registered charitable organization, Prefix fosters the appreciation and understanding of contemporary photographic, media and digital arts through exhibitions, publications, public programmes and related activities.

Acknowledgements

For their support of Listen, speak and sing, Prefix gratefully acknowledges the in-kind support of the Ryerson Image Centre and V-Tape. Prefix Institute of Contemporary Art gratefully acknowledges the assistance of the City of Toronto through the Toronto Arts Council, the Ontario Arts Council and the Canada Council for the Arts.

Photo: Nadia Myre, video still from Living with Contradiction, 2018. Courtesy the artist

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May
2
to Sep 14

RÉPLIQUES | STATUER. Les figures du socle - Partie IV

  • Centre d'exposition de l'Université de Montréa (map)
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www.expo.umontreal.ca/expositions/en_cours.htm

Emmanuel Galland – commissaire

RÉPLIQUES est la quatrième partie du cycle d’expositions STATUER. Les figures du socle entamée en 2017. Cette nouvelle incarnation présente 14 artistes québécois en art actuel, qui se jouent de la forme et de la fonction du socle. En contrepoint, une série d’œuvres picturales de la Collection de l’université offre une traversée décalée du XXe siècle.

Avec les œuvres de Magali Baribeau-Marchand & Sara Létourneau, John Boyle-Singfield, Marie-France Brière, Eric Cardinal, Cooke-Sasseville, Eric Ladouceur, Mathieu Latulippe, Paryse Martin, Nadia Myre, Pierre&Marie, Olivier Roberge et de la Collection d’œuvres d’art de l’Université de Montréal, Edmund Alleyn, Marcel Barbeau, Louis Comtois, Ernest Cormier, Yves Gaucher, Pierre Granche, Alain Laframboise, Henry Léopold Masson, Louise Masson et Alfred Pella

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Show Me Your wound
Sep
20
to Aug 25

Show Me Your wound

http://www.dommuseum.at/en/exhibitions/zeigmirdeinewunde/

Co-curated by Klaus Speidel

The exhibition focuses on artistic representations of physical, psychological, and sociopolitical wounds against the backdrop of a Christian pictorial tradition. The works shown span the Middle Ages to modern and contemporary art, exposing very different approaches to the subject of wounds, such as the vulnerability of the artists’ own bodies or the slicing of the canvas.

Artists: Kader Attia, Jan de Beer, Renate Bertlmann, Joseph Beuys, Louise Bourgeois, Léa Le Bricomte, Günter Brus, Heinz Cibulka, Guillaume Courtois, Lucas Cranach, Ricardo Cuevas, Raphael Dallaporta, Katrina Daschner, Manfred Erjautz, VALIE EXPORT, Lucio Fontana, Joseph von Führich, Giovanni Giuliani, Birgit Jürgennsen, Lamia Joreige, Anders Krisár, Iris Legendre, Meister des Albrechtsaltars, Meister des Winkler-Epitaphs, Nadia Myre, Hermann Nitsch, Erkan Özgen, ORLAN, Gina Pane, Hannes Priesch, Markus Prachensky, Sophie Ristelhueber, Gabriele Rothemann, Gerhard Rühm, Romain Sarrot, Anneliese Schrenk, Andres Serrano, Shozo Shimamoto, Hana Usui, Tanzio de Varallo, and others.

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Sep
15
to Oct 15

Aujourd'hui Encore Eight Canadian Artists

Trepanier Baer, Suite 105, 999 - 8th Street S.W., Calgary, Alberta, Canada T2R 1J5
T 403.244.2066 info@tbg1.com . Gallery Hours: Tuesday through Saturday 10:30 a.m. - 5:00 p.m.

Vikky Alexander, Shary Boyle, Lyse Lemieux, Luanne Martineau,
Meryl McMaster, Nadia Myre, Beth Stuart, and Carol Wainio.

Opening Reception: Thursday, September 15, 6:00 p.m. – 9:00 p.m.
Curator’s Talk: Saturday, September 17, 4:00 p.m. – 6:00 p.m.


Aujourd'hui Encore began as a casual discussion between Yves Trépanier and myself about the Musée des beaux-arts de Montréal 2016 exhibition ELLES
Aujourd'hui, which featured the work of Marie-Claude Bouthillier, Wanda Koop, Christine Major, Angèle Verret, Carol Wainio, and Janet Werner.

ELLES Aujourd'hui’s curatorial thematic focused upon the medium of painting and how the exhibition’s featured artists negotiate with abstraction, figuration, hybridity, and counter-narratives within their painting production. From this conversation evolved a list of artists we both admire who engaged with these issues from a multiplicity of mediums and methods, and how the tensions of representation and its manufacture is an inextricable pivot point within their work.

This was how Yves and I began this project, and together we generated many lists of artists and sub themes, which brought us to the conclusion that this conversation should be physically realized not only in exhibition form, but within the breadth of multiple combinations and permutations at the gallery.

Many of the works in this exhibition have never been shown before, and were made exclusively for this exhibition, and based entirely upon the participating artists’ interests.  Of primary concern to us was to put artists together that we admire without an over-determined or dictated curatorial framework - to prioritize trust in the strength of the artist and her work to develop unanticipated and meaningful linkages, disruptions, and breaks, both individually and as a grouping within this exhibition, which we hope, is the first of several.                       

Luanne Martineau

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Sep
10
to Oct 8

The Crossing Over Place

INCA: 2 West Roy St. Seattle, WA, 98110

Ka’ila Farrell-Smith, David Huffman, Nadia Myre, Trinh T. Minh-ha, and Justen Waterhouse

I crossed oceans and histories to speak with you—it is hard work.

The Crossing Over Place is an exhibition about negotiation. It is about navigating irreducible and unresolved cultural and racial borders. Featuring artists who cross these borders, this exhibition invites viewers to consider the alienating and strategic labor of cultural navigation, especially in the context of a “progressive” and fast-growing American city. Seattle—a city of professional global transplants and historically displaced peoples—reverberates as a site of translation, mimicry, intersection, and “crossing over” between peoples and living history. Appropriately, the exhibition is titled after the Whulshootseed Salish place-name for Seattle.

Often these irreducible borders intersect. How does one live in between these untranslatable cultural borders? How does one speak, standing just outside a crossing over place? This labor of negotiation invites and implicates.

We abandon the idea of fixed being …. The history of a transplanted population,
but one which elsewhere becomes another people, allows us to
resist generalization and the limitations it imposes.
—Édouard Glissant

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Sep
9
to Oct 9

Ensemble

Vu Photo 550, côte d'Abraham, Québec

Charles-Étienne Brochu, Jacynthe Carrier, Charles Guilbert et Nathalie Caron, avec la collaboration de Jean Corbeil, Nadia Myre, Jean-François Prost / Adaptive Actions, Outre-Vie / Afterlife (Raymonde April, Jessica Auer, Jacques Bellavance, Velibor Bozovic, Gwynne Fulton, Katie Jung, Jinyoung Kim, Lise Latreille, Celia Perrin-Sidarous, Marie-Christine Simard, Bogdan Stoica, Andrea Szilasi, Chih-Chien Wang). Avec un texte collaboratif entre Caroline Loncol Daigneault et Anne-Marie Proulx. Ensemble est un projet imaginé par Anne-Marie Proulx.

Dans l'ensemble, il y a tout d'abord une intention d'une grande simplicité, celle de rassembler des travaux, de mettre en commun des idées. De constituer un ensemble d'œuvres et d'artistes, qui eux-mêmes réfléchissent à ce que signifie ensemble, créant ainsi une sorte de mise en abyme. Avec une réflexion sur l'être ensemble, il y a aussi irrémédiablement de belles utopies, celles qui motivent le désir même de se dire ensemble, de se regrouper et de coopérer. Mais il y a un pendant plus obscur, avec ses complexités, ses échecs et ses mises en garde. À l'heure où de nombreuses sociétés se divisent et où les valeurs et les mœurs sont guettées par nombre de voix autoritaires, l'art apparaît comme un moyen de réfléchir, de questionner et d'imaginer différentes manières de vivre ensemble. Entre le tout blanc et le tout noir, les artistes occupent un entre-deux où ils ne laissent pas leur conscience du monde les empêcher de rêver.

Ensemble ouvre ainsi une réflexion plus large proposée pour la programmation 2016-2017 de VU, c'est-à-dire une réflexion sur l'art comme occasion de se rassembler mais aussi de joindre ou de confronter les images et les idées. Ainsi se rejoindront des pratiques photographiques qui, de près ou de loin, approchent et observent les réalités, les rêves, les utopies et des dystopies de l'être ensemble.

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DECOLONIAL GESTURES OR DOING IT WRONG? REFAIRE LE CHEMIN.
Feb
18
to May 29

DECOLONIAL GESTURES OR DOING IT WRONG? REFAIRE LE CHEMIN.

As part of the Artist-in-Residence program, the McCord Museum will host Algonquin multidisciplinary artist Nadia Myre, who will draw inspiration from Victorian (1837-1901) women’s periodicals and publications to create her work. From these texts, instructions for the creation of four aboriginal inspired objects will be read aloud to the artist, with the omission of any hints as to the nature of the objects. She will thus follow the instructions without any knowledge beforehand of what they describe. The resulting works will be exhibited next to objects drawn from the Museum’s ethnological collection, illustrating a decolonial gesture as a process for the recovery of a Native identity.

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Mois Multi 2016: Recto Verso
Feb
3
to Feb 27

Mois Multi 2016: Recto Verso

ŒUVRES WEB | 3 AU 27 FÉVRIER 2016

 

The Scar Project est un projet participatif portant sur les blessures et la guérison. Des individus ont été invités à « coudre leurs plaies » sur des toiles, de façon littérale ou métaphorique. Mettant en relation les paroles et les cicatrices recueillies dans ce contexte, Nadia Myre a créé un site Web interactif pour illustrer des paysages psychologiques collectifs.

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Myth of Fishes
Jan
21
to Mar 3

Myth of Fishes

  • Campbell River Art Gallery (map)
  • Google Calendar ICS

Sybil Andrews
Claire Falkenberg
Meghna Haldar
Olia Mishchenko
Nadia Myre
Wendy Red Star
Jennifer Stillwell
Holly Ward

Bringing together diverse artists from different backgrounds, Myth of Fishesexamines eight radically distinct feminist interpretations of nature. The exhibition, in part, takes its name from Rhonda Abrams’ 1985 short film of the same name, in which a woman’s first fishing experience results in a comic-opera of uncertainty where everyone involved as well as the objects emerge with physical and emotional contusions. 

A near-rhyming alliteration, Myth of Fishes is a tongue-twister, stretching the imagination, flipping the lips and slipping the S’s as the mind grasps at the species of fishes in the seas, streams, oceans and lakes, evoking the North Vancouver Island community’s history (and prehistory) with fishing.

Myth is a story passed through time, person to person, linked here with the fish or the symbol of shared plenty.Myth of Fishes is the expression of eight artists speaking through their diverse practices and conceptual engagements. Notions of nature as a pure realm apart from the human are redefined through political ecology, indigenous rights struggle, and feminism.

Sybil Andrews is an internationally renowned linocut artist who produced work from the late 1920’s through 1988. Born in England and emigrating to Campbell River in 1947, her influence in the Campbell River community was and continues to be profound. The linocut, Wings, will be Andrews’ contribution to the exhibition. The print is typical of Andrews’ style and rhythm, exploring the action of people, air, and birds in an agricultural scene. The work is part of the Campbell River Art Gallery’s Permanent Collection, presented to the Gallery by the Campbell River Arts Council upon opening.          

Claire Falkenberg is a visual artist who works in photography, paint, collage and sculpture to make landscape-based images and constructions. Born in Toronto, living and working in Brooklyn NY, Falkenberg’s large-scale photo and oil paint collages are at once mysterious and familiar, reimagining the Canadian landscape. Her photographs layer the picturesque with refuse and grime, working through understandings of beauty and materiality. Falkenberg has exhibited nationally, including a nuclear power plant in Pickering ON.

Meghna Haldar is an independent filmmaker based in Vancouver, originally from Bangalore, India. Haldar’s contribution to Myth of Fishes includes the three-part video installation, Bol (Speak!) inspired by the famous poem by Pakistani Marxist, Faiz Ahmed Faiz and is about an act of violence. Each film contends with shattering events that took place in 2008 in Haldar’s hometown, as well as newspaper headlines of related violence. The film project was made in partnership with Katkatha, a puppet troupe working with social justice and women’s rights in India, and Guru Shashidhara Nair, a Chauu dance exponent with a soundtrack designed by Jesse Zubot, Gael MacLean and Simon Goulet that features contribution by throat singers, Tanya Tagaq and Celina Kalluk.

Olia Mishchenko was born in Kiev, Ukraine and moved to Canada in 1997. She studied architecture and art history at the University of Toronto prior to becoming a practicing artist. Mishchenko’s practice consists predominantly of drawings based on, and concerned with, built environments. Mishchenko’s drawings are incredibly precise, controlled and detail-oriented, a result of studious applications of the aesthetic of architectural drawings and blueprints. Four drawings from Mishchenko’s Don Blanche series will be exhibited that show an interesting relationship between land and people, living, exploring and making.

Nadia Myre is a contemporary visual artist of Algonquin heritage living in Montreal, QC, known for using small, craft-based media to affect aesthetic and political shock-waves. Included in this exhibition, Meditations on Red #1utilizes traditional Algonquin beadwork to open a healing verse into wounding and resilience. This work is described as a large, textured tondos resembling gongs, planets, mandalas, or darkened pools with ripples extending radially from their centres. Closer inspection reveals a digitized universe of intertwined glass seed beads of varying shapes, sizes, and colours. The audience will receive this large print as they leave Haldar’s Bol (Speak!)video installation as a moment of meditation and as a mirroring of the trauma exposed in both works.

Wendy Red Star is a multi-media artist based in Portland, Oregon who is of Crow Indian and Irish background. Red Star’s work explores the intersection between life on the Crow Indian reservation and the world outside of that environment. She thinks of herself as an Indigenous cultural archivist speaking sincerely about the experience of being Crow in contemporary society. Red Star’s contribution to Myth of Fishes is the photographic series, The Four Seasons that are staged self-portraits of the artist using artificial costumerie and landscapes as well as symbolic references to indigeneity.

Jennifer Stillwell is a contemporary Canadian sculpture and installation artist based in Victoria, BC. Stillwell’s artistic practice comments on Canadian landscape and labour, often utilizing domestic and industrial techniques. Stillwell’s sculpture, A Piece of Turf, included here in Myth of Fishes, is a hand-hooked rug whose weave is based upon natural grass patterns derived from architectural design. This textile piece takes on the architectural cues and the humourist qualities among the group exhibition, consequently interacting with the interventionist work by Holly Ward within the physical space among the two-dimensional works and video installation included.

Holly Ward is a Vancouver, Berlin and Heffley Creek-based interdisciplinary artist working in sculpture, multi-media installation, architecture, video and drawing as means to examine the role of aesthetics in the formation of new social realities. Her Myth of Fishes gallery intervention and installation, Island, is a large pile of soil that must be moved by gallery staff and volunteers once a week for the duration of the exhibition. Stemming from research into various visionary practices such as utopian philosophy, science fiction literature, Visionary Architecture, counter-cultural practices and urban planning, Ward’s work investigates the arbitrary nature of signs, and the value of forms in both personal and public contexts.

An aggregate of all the works mentioned, Myth of Fishes is a woven whole comprised of collective vision, bound by each of the artists’ practices and conceptual logic, through which the past and present collapse onto each other, reflecting, refracting, fueled by the warp and weft of what we have come to know and unknow of “nature”. Within the gallery space, the female is extolled as natural, simulation, (un)controllable, irrevocably linked with politics and social convention. Myth of Fishes heeds the necessary call for change in our current environmental and civil rights situation in Canada. This exhibition reflects the call through creativity, exposing the cynical, the blunt, and the nuanced truths from eight artists. The core question of the human-nature relationship as interpreted through a feminist perspective, mirrors a recurrent discourse in contemporary art at large, and corresponds to the overall focus of the gallery’s program.

Sponsored by Denise Mitchell Interiors

Exhibition Statement available digitally and in print

Myth of Fishes is curated by Julia Prudhomme

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Territoires partagés / Shared Lands
Nov
19
to Apr 30

Territoires partagés / Shared Lands

  • Musée Amérindien de Mashteuiatsh (map)
  • Google Calendar ICS

Territoires partagés / Shared Lands

Le Musée amérindien de Mashteuiatsh vous invite à venir découvrir l’exposition Territoires partagés / Shared Lands.  Cette exposition placée sous le thème du territoire présente les oeuvres des artistes autochtones Jordan Bennett (Mi’gmaq), Hannah Claus (Mohawk), Nadia Myre (Algonquine) et Sonia Robertson (Ilnue). Le vernissage aura lieu le 19 novembre à 16h30. L’exposition se poursuivra jusqu’au 30 avril 2016.

Cette exposition a été conçue et réalisée dans le cadre du projet de commissariat triennal Mawita’jig que France Trépanier dirige depuis 2012, de concert avec le centre d’artistes Vaste et Vague situé sur le territoire Gespe’gewa’gi de la nation Mi’gmaq, aussi connu sous le nom de péninsule gaspésienne. Mawita’jig, qui signifie se rassembler, vise un rapprochement entre les communautés autochtones et non-autochtones. Il mise sur la force du langage artistique pour favoriser des rencontres ouvertes et respectueuses.

La proposition de commissariat pour cette exposition s’inspire d’une esthétique relationnelle où l’art devient un état de rencontre. Les artistes ont été invités à concevoir et à mettre en action des stratégies de collaboration et d’engagement avec la communauté pour la création de leurs oeuvres. Pendant une résidence de création qui s’est tenue du 28 octobre au 8 novembre 2013 à Listuguj, Gesgapegiag et Carleton-sur-Mer, ils ont exploré le territoire. Leurs oeuvres se sont élaborées au fil des échanges, des recherches, des conversations, des rencontres et des collaborations. Elles investiguent la complexité, la richesse et l’ambigüit. de cette notion, parfois acceptée, parfois contestée, de territoire partagé.

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A Casual Reconstruction
Oct
9
to Nov 7

A Casual Reconstruction

Blurring the line between theatre and multimedia installation, A Casual Reconstruction is a scripted reading of an unscripted dinner conversation between a group of local First Nations people surrounding issues of Native Identity as they discus their everyday experience of living in three cultures French, English and Indigenous. 

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GROUP EXHIBITION: NATION TO NATION, WIDENING THE NARROWS
Jul
2
to Sep 26

GROUP EXHIBITION: NATION TO NATION, WIDENING THE NARROWS

Nation to Nation brings together five exceptional artists whose practices explore way of thinking through colonization. Through a range of media, sites and strategies, these artists will bring local and non-local, Indigenous and non-Indigenous perspectives to a discussion about cultural perceptions of “nation,” and nation-to-nation relationships. This discussion will be propelled by the artists’ research and explorations into the Mnjikaning Fish Weirs National Historic Site and the arrival of Samuel de Champlain to the Orillia/Rama area exactly 400 years ago.

Participating Artists:
Michael Belmore(Manitoulin Island), Michael Farnan (Midland), Nadia Myre (Montréal), Travis Shilling (Rama) and Osvaldo Yero (Montréal).

Nation to Nation is a collaboration between curators Wanda Nanibush and Matt Macintosh, produced with the generous support of the Ontario Arts Council.

http://www.orilliamuseum.org/events/472-nation-nation

 

OMAH is open
Mondays – Saturdays 10am-4pm
Sundays 1-4pm
Closed Mondays from January-May

We are located at
30 Peter St. South
Orillia, ON
3V 5A9

You can call us at 705-326-2159 for any further inquiries.

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Jun
27
to Sep 12

GROUP EXHIBITION: CUSTOM MADE

  • Google Calendar ICS

Curated by Tania Willard, Aboriginal Curator in Residence at the Kamloops Art Gallery. 

CUSTOM MADE focuses on artists working with skills-based artistic production within a contemporary context. It looks at ways artists are re-learning skill-based arts like beadwork and basketry and how they are relating these skills to cultural heritage, new materials, concepts and techniques. CUSTOM MADE frames a dialogue between artists whose work crosses boundaries, challenging and conflating binaries of art and craft, contemporary and traditional. The selected artists investigate notions of identity and culture through forms such as the re- purposing of found objects, moose hair tufting and kinetic art.

Featuring works by: (TBC)

Wally Dion, Phil Gray, Maggie Groat, Maureen Gruben,  Gabrielle Hill, Ursula Johnson, Merritt Johnson, Brian Jungen,  Hannah Claus, Bev Koski, , Canuppa Hanksa Luger, Amy Malbeuf, Peter Morin, Nadia Myre, Wendy Redstar, Charlene Vickers.

KAMLOOPS ART GALLERY INFORMATION:

Located at the corner of 5th and Victoria in downtown Kamloops, the Kamloops Art Gallery is a public art museum that features changing exhibitions of regional, national and international art with a contemporary and historic focus.

HOURS:

Monday to Saturday: 10:00 am to 5:00 pm

Thursday: 10:00 am to 9:00 pm (Free thanks to support from BCLC)

Closed Sunday and Statutory Holidays

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Jun
18
to Aug 22

Group exhibition: The Body in Question(s) 2

  • Google Calendar ICS

Presentation of works 

The perception of the body is one of the themes underlying the artistic approach and theoretical research of choreographer Isabelle Van Grimde. After interviewing various specialists throughout the world, she resolved to share her findings with other artists and researchers. In 2012, she thus brought together eight visual and media artists, five dancers and two theoreticians to consider how the profound social, cultural and technological changes in modern societies are affecting the way we conceptualize and interpret the body. Offering a kaleidoscopic view of the body, the creation- exhibition Le corps en question(s)/The Body in Question(s) was presented in its world premiere at the Festival TransAmériques at the Galerie de l’UQAM. Two years later, this hybrid work has spawned two other eponymous works, equally hybrid: an exhibition catalogue containing essays by scientists, historians and theoreticians, which pursue and extend the themes of the creation-exhibition; and an interactive web creation in which Internet users can immerse themselves in some twenty scenes based on the original work, and access all texts from the publication, as well as behind-the-scenes documents related to the creative process (texts, photographs, audio-visual material).

http://corpsenquestions.com

Artists: Derek Besant, Blair Brennan/Sean Caulfied/Royden Mills, Kate Craig, Foumalade, Nadia Myre, Anick La Bissonnière, Éric O. Lacroix, Marilène Olivier, Monique Régimbald- Zeiber and Isabelle Van Grimde.

Performers: Marie Brassard, Sophie Breton, Robin Poitras, Soula Trougakos and Brian Webb.

Choreography: Isabelle Van Grimde
Sound Installation: Thom Gossage
Architecture of the space: Anick La Bissonnière in collaboration with Éric O. Lacroix Lighting: Lucie Bazzo.

Writers: Dr Cristian Berco, Fabienne Cabado, Dr Paul Cassar, Dr Sean Caulfield, Dr Timothy Caulfield, Raphael Cuir, Dr Dawna Gilchrist, Roland Huesca, Dr Lianne McTavish, Marilène Oliver, Mireille Perron, Monique Régimblad-Zeiber, Isabelle Van Grimde and Brian Webb.

___________________________________

Enterprise Gallery, University of Alberta

10230 Jasper Avenue, Edmonton, Alberta, Canada
Main floor, 1-200

Gallery Hours

Thursday/Friday 12-6pm
Saturday 12-4pm

Admission

By donation.* Suggested:

  • Adult: $10
  • Youth/Student/Senior: $5
  • Family: $20

*Supports future University of Alberta Museums programming

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Apr
28
to Jun 7

Exposition de groupe: Oubliées ou disparues : Akonessen, Zitya, Tina, Marie et les autres

L'enquête est ouverte sur la destinée parfois tragique des femmes autochtones à travers le temps. La commissaire Sylvie Paré propose dans cette exposition une autopsie archéologique par l'art. Sept artistes, sept femmes sont invitées à créer des oeuvres pour des femmes autochtones oubliées ou disparues. Le temps et la relation intime entre celles à qui on rend hommage et la collecte des matériaux confèrent un pouvoir à l'objet ainsi créé. Il devient habité d'un esprit... comme si ces femmes n'avaient pas cessé d'exister.

Maison de la culture Frontenac

2550, rue Ontario Est
Montréal (Québec) H2K 1W7
Téléphone : 514 872-7882
Metro Frontenac
maison_fr@ville.montreal.qc.ca

Du mardi au jeudi de 13 h à 19 h
Du vendredi au dimanche de 13 h à 17 h
Les studios d'exposition ouvrent dès 12 h

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Mar
19
10:30 AM10:30

Hommage à Nadia Myre, COCKTAIL–BENEFICE

A l'occasion de la soirée du 19 mars nous rendrons un hommage à l'artiste Nadia Myre, prix Sobey 2014. http://www.sobeyartaward.ca/

Nadia Myre (née en 1974) est une artiste visuelle du Québec. Algonquine, elle est membre de la nation Kitigan Zibi Anishinabeg. Depuis plus de dix ans, sa pratique multidisciplinaire est inspirée de l’implication des participants ainsi que des thèmes récurrents de l’identité, de la langue, de la nostalgie et de la perte. http://www.nadiamyre.net/

Marie-Eve Beaupré, Conservatrice de l'art québécois et canadien au Musée des beaux-arts de Montréal fera l'éloge de l'artiste.

Nadia Myre est représentée par la galerie Art Mûr à Montréal. 

___________________________COCKTAIL–BENEFICE______________________________

Vous pouvez dès à présent vous inscrire au cocktail-bénéfice le jeudi 19 mars à partir de 17h30. Le coût à la soirée est de 100$  vous donnant droit à un reçu pour fins fiscales de 75$.

Votre contribution comprendra une entrée pour le cocktail-bénéfice (préparé par le restaurant Le Serpent http://www.leserpent.ca/), un accès prioritaire et à prix réduit à l'achat d'œuvres de l'exposition vente (-15 %), un accès privilégié aux studios d'artistes à la Fonderie Darling, et autres surprises durant la soirée qui sera animée par le poète Jean-Paul Daoust http://www.jeanpauldaoust.com !

Les profits de la  vente des œuvres et du cocktail-bénéfice serviront à financer les activités du CIAC-MTL pour la période 2015-2017.

Votre soutien nous est essentiel. Il est important que le bagage de connaissances accumulées serve à répondre aux enjeux de l’art d’aujourd’hui, à faire appel à de nouveaux commissaires et à diffuser de nouveaux artistes.

Achetez vos billets en ligne : https://cocktail-30-ans-ciac.eventbrite.ca
Ou payez par chèque à l'ordre du CIAC-MTL, posté à l'adresse suivante :
CIAC-MTL
C.P. 42105, BP ROY 
Montréal (Québec) H2W 2T3

Nous remercions La Fonderie Darling pour sa grande collaboration.
http://www.fonderiedarling.org.

Nous serions très heureux de vous rencontrer lors de ce rendez-vous. 
Si vous avez des questions ou pour vous inscrire au cocktail-bénéfice, n’hésitez pas à nous contacter pour recevoir un bon de commande pour l'achat des billets. alexandra.spahn@ciac.ca

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Nov
21
to Mar 29

Formes et Paroles, l'île de Gorée, Sénégal

  • Google Calendar ICS

L'usage des langues de communication internationale – anglais, français, espagnol et arabe – constitue un enjeu géopolitique, économique et culturel majeur. Dans nombre de pays anciennement colonisés, le multilinguisme a entraîné des transformations profondes dans la façon de nommer les choses et fait tomber les barrières entre le monde de l'oralité et celui de l'écrit.

La pratique de plusieurs langues nourrit la réflexion et le travail des écrivains de façon souvent consciente. Mais qu'en est-il pour les plasticiens qui ont choisi d'intégrer le mot dans leurs oeuvres ? Quel sens celui-ci revêt-il dans sa dimension visuelle ou sonore ?

La thématique de l'exposition Formes et Paroles– conçue en deux volets, arts plastiques et bande dessinée – s'appuie sur ces interrogations pour mettre en évidence des démarches artistiques qui, tout en étant ouvertes sur les réalités contemporaines, se nourrissent des héritages culturels respectifs de leurs créateurs.

Cinq plasticiens concernés par cette problématique de la parole – ils ont en commun le français et utilisent une ou plusieurs autres langues – ont été invités par le musée Dapper à réaliser une oeuvre originale. Ainsi, NDARY LO(Sénégal), BILL KOUÉLANY (Congo), THIERRY FONTAINE (La Réunion), TRÂN TRONG VÛ (Vietnam / France) et NADIA MYRE (Canada) ont conçu des installations qui se déploieront en plein air, sur deux sites exceptionnels de l'île de Gorée.

Le neuvième art, qui approche de son centième anniversaire en Afrique subsaharienne, offre un véritable espace de liberté pour mettre en scène les images et les mots.

Le musée Dapper a sollicité cinq artistes de bande dessinée pour enrichir le propos de l'exposition Formes et Paroles. AL'MATA(République démocratique du Congo / France), JASON KIBISWA (République démocratique du Congo), ODIA (Sénégal), HECTOR SONON(Bénin) et TT FONS (Sénégal) ont créé, chacun avec un style marqué par de multiples influences, une histoire originale. Une sélection de leurs planches sera présentée au Centre socioculturel Boubacar Joseph Ndiaye et un livre, L'Afrique en partage, réunira leurs travaux.

 

Au moment où s'ouvre le XVe Sommet de la Francophonie, l'exposition Formes et Parolesmontre que les langues s'enrichissent au contact les unes des autres et participent de plus en plus à la dynamique des pratiques artistiques.

 

À Gorée
Esplanade face à l'embarcadère
Centre socio-culturel Joseph Boubacar Ndiaye
Place face à l'église

Entrée libre
Ouvert tous les jours sauf le lundi, de 10 h 30 à 18 h 30

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Nov
1
to Jan 25

Sobey Art Award Exhibition, Winnipeg Art Gallery, MB

For the first time in Western Canada, the WAG is honoured to host the exhibition of shortlisted artists for the Sobey Art Award—the pre-eminent award for contemporary Canadian art. Announced November 19, the recipient of the 2014 Sobey Art Award is Nadia Myre of Québec.

Myre was chosen from a shortlist that includes:
West Coast and the Yukon: Evan Lee
Prairies and the North: Neil Farber and Michael Dumontier
Ontario: Chris Curreri
Atlantic: Graeme Patterson

Members of the 2014 Curatorial Panel:
Jordan Strom, Curator, Exhibitions and Collections, Surrey Art Gallery, British Columbia
Paul Butler, Curator of Contemporary Art, Winnipeg Art Gallery, Manitoba
Srimoyee Mitra, Curator of Contemporary Art, Art Gallery of Windsor, Ontario
Marie-Eve Beaupré, Conservatrice de l'art contemporain, Musée national des beaux arts, Québec
Pan Wendt, Curator, Confederation Centre Art Gallery, Prince Edward Island

The Sobey Art Award: The New Masters
Over two shows, CBC's DEAS will profile the five regional finalists. The programs air at 9 p.m. (9:30 p.m. NT) on December 15 & 22, 2014, and are produced in partnership with The Art Gallery of Nova Scotia. Listen to Part 1 here.

About the Sobey Art Award:
The Sobey Art Award was created in 2002 by the Sobey Art Foundation. It is an annual prize given to an artist age 40 and under who has exhibited in a public or commercial art gallery within 18 months of being nominated. A total of $100,000 in prize money is awarded annually; $50,000 to the winner; $10,000 to the other four finalists; and $500 to each of the remaining longlisted artists. Since its inception, the Sobey Art Award and accompanying exhibition have been organized and administered by the Art Gallery of Nova Scotia.

About the Sobey Art Foundation:
The Sobey Art Foundation was established in 1981 with a mandate to carry on the work of entrepreneur and business leader the late Frank H. Sobey, of collecting and preserving representative examples of 19th and 20th century Canadian art. One of the finest private collections of its kind, the Sobey Art Foundation has assembled exemplary works from Canadian Masters like Cornelius Krieghoff, Tom Thomson, and J.E.H. MacDonald.

About the Art Gallery of Nova Scotia:
The Art Gallery of Nova Scotia is the largest art museum in Atlantic Canada, with a mission to engage people with art. The Gallery houses the province’s art collection and offers a range of exceptional exhibitions, education, and public programming. 

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