Renewing Sculpture’s Possibilities

This second part of the Re-Thinking Sculpture special feature continues the reflection we began in issue 107 on current developments in sculpture, particularly among young artists. In the springsummer 2014 publication, we examined various aspects related to sculpture and its appearance in what has come to be known, after Rosalind Krauss, as its “expanded field.”…

Sculpture, You Ask?

Rethink sculpture? The question is addressed to us, obviously, those of us who reflect on art. Critical thought, somewhat like the fire brigade, always comes late: we try to keep up to date with reality’s transformations, its upheavals. But when we realize that critical thought no longer holds true, we tend to want to reinvent…

Man and Machine in Sculpture and in War Alike

Prologue The history of every art form shows critical epochs in which a certain art form aspires to effects which could be fully obtained only with a changed technical standard, that is to say, in a new art form. The extravagances and crudities of art which thus appear, particularly in the so-called decadent epochs, actually…

Soundscape as material

Public art is generally associated with the visual arts. We think spontaneously of the many sculptures that are present in our parks and public buildings due to application of the Government of Quebec’s Politique d’intégration des arts à l’architecture et à l’environnement. Photography also comes to mind: for a number of years, through its Plan…

Monoceros: of the Earth, for the Stars (a meditation on the concretized magyck of FASTWÜRMS)

Since 2003, following the recommendations of a multi-levelled, multi-bureaucracy, multi-year study (too many cooks, too many spoons), the city of Toronto has implemented the Percent for Public Art Program – the goal of the program being to compel new private sector buildings to spend a minimum of 1% of their gross construction costs on the…

Derya Akay: Material Hangings, Hangouts

Derya Akay’s work begins at the point where medium distinctions —familiar terms such as sculpture, photography, painting or installation— dissolve, intermingle and flavour one another. The languages of cooking and gardening—open-endedness, warmth and socialization— characterize Akay’s approach to art-making. As a result, the confines of the traditional gallery space fade away, and the meandering networks…

If You Are So Smart, Why Aint’ You Rich?

Conceived of as a parallel exhibition to the 5th Marrakech Biennale, the group show If You Are So Smart, Why Aint’ You Rich?  sought to examine, as the title suggests, the growing discrepancy between the nebulous notion of quantifiable knowledge (as well as its production and dissemination) and the individual loss of economic value thereof…

Hua Jin: Conversing in the Passing of Time

FOFA Gallery, Concordia University Montreal February 24— March 28, 2014   Artistic depictions of mountains usually conjure visions of enormity. However, Chinese artist Hua Jin privileges the small over the sublime in her solo exhibition of two vividly contrasting, mixed-media mountain landscapes, Conversing in the Passing of Time, at Concordia University’s FOFA (Faculty of Fine…

The space that remains : an interview with Guillaume La Brie

Guillaume La Brie lives and works in Montreal. Since holding his first solo exhibition in 2003 at Skol an artist-run centre in Montreal, he has presented his work in many other artist-run centres and museums across Quebec. He has also participated in a number of intervention projects, exhibitions and international residencies, including Studio du Québec in Barcelona and a residency at Les Perles in Barjols, France. In addition, La Brie has completed several works in the public sphere in the context of the policy for integrating art into architecture.