118 (winter 2018)
Emotions and Visual Arts
Art as a fictional presence has always encouraged the expression of artistic emotions. Whether it is through theatre, fiction writing, music, painting, sculpture, photography, film or video, human beings as readers, spectators or viewers are inclined to be moved. And while an emotional experience is always encouraged in many artistic categories, this was not always…
Dominique Sirois, Deux cannibales, 2015
Dominique Sirois lives and works in Montreal, she holds a degree from University of Quebec in Montreal in visual art (MFA 2010). Her practice takes the form of installation involving an interplay of sculptures, videos, sounds and prints. With her projects, Sirois creates mental spaces, semiotic constructions linking economic, aesthetic, archeologic and digital references. Often…
Henrique Oliveira – Being & Form
Presented as wall reliefs, free-standing pieces or walking-in environments, Henrique Oliveira’s works are always hybrid forms, organic structures that merge with architecture or objects crafted to blur the limits with nature and destabilize codes of visual perception such as space, surface and consistency. Rather than making judgments over the disequilibrium of today’s human relations, they are presented as “growths” nurtured by the deteriorating residues of society, images that couldn’t have been thought of beforehand but can now appear as a side-effect of the contemporary world.
Michael A. Robinson, Corporate Logos, 2017
Michael A. Robinson teaches sculpture and drawing at UQAM’s Department of Visual and Media Arts (2004-present) and recently as full-time Artist in Residence at Concordia University (MFA Sculpture, 2016-2017). He holds a Bachelor of Fine Arts from Concordia University (Montréal), and a Masters of Fine Arts from Université de Paris 1 – Panthéon-Sorbonne (Paris). Michael…
Steve Giasson, Performance invisible no. 20 (Imaginer une pièce vide), 2015
Steve Giasson is a conceptual artist who uses a wide variety of forms and mediums (writing, performance, installation, video, photography…) in order to question boundaries and defy genres. For Giasson, romantic notions of authenticity and originality are put at risk in a politically engaged practice that borrows freely from daily life and art history—through tribute and…
Sculpture in the Digital Age
For many, the word “digital” is not always conceptually clear. Used both as an adjective and a noun, its definition is, at times, vague. There is no question, however, that over the course of the past few decades, the digital world has taken over our daily lives. Our various digital devices—cell phones and computers, all…
Motionless Bodies in a World on the Go
The theme Faire Statue (Statue Play) is the special topic for this collection of essays that inaugurates the 30th anniversary of ESPACE art actuel magazine. Co-directed by Mélanie Boucher, a member of the editorial committee, this issue is concerned mainly with performance acts in which artists identify body and soul with certain aspects of statuary.…
Édition/Forme/Expérimentation : Rethinking the book
Created in 2006 in memory of Jean-Pierre Latour (1951-2005), the Jean-Pierre-Latour Prize is awarded yearly to a graduate or under-graduate student studying at École Multidisciplinaire de l’images (ÉMI) in order to encourage the development of critical thought in writing a text related to practices of art and museology. Jean-Pierre Latour was an art critic and a part-time teacher at ÉMI from 1985 to 2005, and from 2000 to 2005, he was also a member of the editorial committee of ESPACE sculpture magazine, now called ESPACE art actuel, which in 2009, published the posthumous work Jean-Pierre Latour, critique d’art : voir et comprendre. When this first text was published, ÉMI and the part-time teacher’s union of Université de Québec en Outaouais, who award this prize, entered into a partnership with ESPACE, which has resulted in the prize-winning text being published in the magazine each year.
