When I speak of complexity, I am referring to the primary meaning of the Latin word “complexus,” “that which is woven together.” -Edgar Morin While the environmental issue has been and continues to be widely expressed in an alarmist context, many artists now believe that such an
The evolutionary span of Isabelle Hayeur’s photographic and videographic body of work is related to her capacity to cast an ever-deeper gaze at environmental issues (urban sprawl; the impact of the petroleum, housing, and tourism industries on the deterioration and destabilization of ecosystems). For fifteen
The collaboration between Nicolás Uriburu, an Argentinian artist who has played a role the ecological art field since 1960, and Greenpeace, a non governmental organization founded in 1971, stands out as an exception. Indeed, the NGO has not been very eager to get involved in
MacLaren Art Centre Barrie, Ontario December 4, 2014— March 8, 2015 To say we live in a society utterly devoted to the superficial, to the surfaces of things, certainly isn’t the most profound thing one might utter about us. It’s pretty self-evident, all in all. But “self-evident” doesn’t necessarily
AXENÉO7 Gatineau December 17, 2014— February 7, 2015 Presenting an exhibition of new site-specific work at AXENÉO7 titled Something that accompanies one everyday and everywhere, Montreal artist Nicolas Fleming combines unusual display tactics to re-image the conventional white cube gallery space as a contingent, transitory site for experimentation. With
Galerie Antoine Ertaskiran Montréal October 15— December 6, 2014 “A profound dissonance” is how Giorgio Agamben explains the condition of being contemporary. He continues: “the contemporary is he who firmly holds his gaze on his own time so as to perceive not its light, but rather its darkness.” 1 In
Milutin Gubash, exhibition catalogue, co-published by Rodman Hall Art, Centre/Brock University, Carleton University, Art Gallery, Kitchener-Waterloo Art Gallery, Southern Alberta Art Gallery and Musée d’art de Joliette, 2013, 192 pages. Colour ill. Eng/Fra.
With issue 109, ESPACE, the new generation, completes its first lap around the track. While the first two issues focused on Re-Thinking Sculpture?, this third issue features the diorama, as put forward (
The term diorama entered the contemporary art lexicon in the 1990s, due mainly to a rising interest in realistic three-dimensional representations, at full or reduced scale, such as the striking works of Jake & Dinos Chapman and Paul McCarthy. Employed to designate a method rather
The dioramas that Dominique Gonzalez-Foerster created in New York for the DIA Art Foundation present us with heterogeneous temporalities and places. These display boxes, which are about the size of a small theatre stage, are fascinating because they captivate the gaze and project the body
The first dioramas to represent animals in their natural habitat were introduced into North American natural history museums at the end of the 1880s. Although these displays were directly inspired by the dioramas Louis Daguerre had devised in 1822, they differed with regard to one
In an 18th century Parisian drawing room, a fox sits enthroned on the divan of a duchess. The animal seems absorbed by a pigeon perched the decorative back moulding, wings spread, readying perhaps to fly off. In the centre of a reception hall with walls