Co-Presenters – Exhibits
Co-Presenters – Exhibits

Co-Presenters – Exhibits

Antitube in partenership with Les Productions Recto-Verso

Studio d’essai
591, rue Saint-Vallier Est
Québec
418-524-2113
antitube.ca
mmrectoverso.org

MAY 3 TO MAY 18
Screening schedule
Saturday May 3rd
6 p.m. to 9 p.m.

Sunday May 4
1 p.m. to 4 p.m.
6 p.m. to 9 p.m.

Thursday May 8
Friday May 9
6 p.m. to 9 p.m.

Saturday May 10
Sunday May 11
1 p.m. to 4 p.m.
6 p.m. to 9 p.m.

Free

Groupe d’action en cinéma Épopée (Montréal, Canada)

epopee_antitube_R-V

Fractures

Installation made up of the films :

Insurgence (2013)
high definition video, 136 min

Rupture (2012)
high definition video, 86 min

The Groupe d’action en cinéma Épopée presents the films Insurgence and Rupture, in the form of an installation entitled Fractures. Insurgence addresses the great social mobilisation of 2012, which accompanied the student struggle for access to education, while Rupture is made up of interviews with students injured and criminalised during the same strike. While the demonstrators filmed in Insurgence have a pure corporeal presence – a diverse multitude, momentarily fused in a stasis of political action – the students and activists interviewed in Rupture, despite their on-screen presence, are pure speech. Their faces, filmed in close-up against a neutral background, become the means to convey ideas before anything else.

Acknowledgements
Productions Réalisations Indépendantes de Montréal (PRIM)

Conseil des arts et des lettres du Québec

Avatar

541, rue Saint-Vallier Est, Bureau 5-62
Québec, Québec
Canada
418-522-8918

MAY 3 TO JUNE 1
Monday to Sunday
12 to 5 p.m.
Free

Jacqueline Hoang Nguyen (Brooklyn, États-Unis / Stockholm, Suède)

Jacqueline_H_Nguyen_avatar

For An Epidemic Resistance (2009)
Sound installation

Documentation for An Epidemic Resistance (2008)
Video, 2 min

The conceptual framework of the project For An Epidemic Resistance is the unexplained laughter epidemic that occurred in central Africa in 1962. This wave of social hysteria, which began in a girls’ school in the village of Kashasha, took on epidemic proportions and infected hundreds of people in the contaminated community and surrounding villages. Nguyen discovered this incident listening to New York public radio and decided to employ it freely in order to propose an original and unusual interpretation of the phenomenon.

Acknowledgements
Genelec et BEK, Bergen Center for Electronic

Engramme

510, côte d’Abraham
Québec, Québec Canada
418-524-0972

MAY 3 TO JUNE 1
Wednesday to Friday
12 to 5 p.m.
Saturday and Sunday
1 to 5 p.m.
Free

Justseeds Artists’ Cooperative (États-Unis)

justseeds_engramme

Voices from Outside: Artists against the Prison Industrial Complex (2008)
Portfolio of prints

Uprisings: Images of Labor (2013)
Portfolio of prints

The portfolio Uprisings: Images of Labor, produced for the annual conference of the Southern Graphics Council International, is made up of large-format silkscreens which illustrate the present-day state of work and how it is organised. The portfolio Voices from Outside: Artists against the Prison Industrial Complex was created in association with Critical Resistance, an organisation opposed to the excesses of the American prison system. Both these collective portfolios gave rise to exhibitions, presentations and discussions on the topics they address.

Galerie des arts visuels

295, boulevard Charest Est, local 404
Québec, Québec
Canada
418-656-2131

MAY 3 TO JUNE 1
Wednesday to Sunday
12 to 5 p.m.
Free

Gisele Amantea (Montréal, Canada)

Gisele_Amantea_Galerie_des_arts_visuels

At the end of the visible spectrum (2014)
Installation

Several forms of resistance permeate the work of Amantea, whose early work deals with topics connected with marginalised groups or individuals. The materials and scale of her works are essential to confront the viewer as she seeks to highlight a social event, a contradiction or a historically important moment with significance for present-day social and political issues. In At the end of the visible spectrum, Amantea extends her exploration of forms of resistance by taking as her point of departure the recent symbol of protest in Quebec, the red square.

Acknowledgements
Canada Council for the Arts

Le Grand Théatre de Québec

269, boulevard René-Lévesque Est
Québec, Québec
Canada
418-643-8111

MAY 3 TO JUNE 1
Outdoor works
visible at all times
(northwest entrance)
Gallery
Monday to Friday
12 to 6 p.m.
Open until 9:30 p.m. on event nights
Free

Thomas Kneubühler (Montréal, Suisse)

private property 008

Access Denied (2007)
Inkjet prints on banners

Private Property (2006)
C-prints

In the outdoor installation Access Denied, Kneubühler presents giant portraits of security guards looming over passers-by near the Grand Théâtre in Quebec City. Kneubühler’s desire to explore unfamiliar or forgotten territory has led to his interest in themes around break-ins and surveillance, as well as the boundaries between public and private spaces. The series Private Property, being presented inside the building, shows us deserted places that are generally forbidden to the public. Kneubühler works by night, when only the security personnel appear to be on the premises. Together, these two series reflect his interest in the North American concern for security and private property.

La Bande Vidéo

620, côte d’Abraham
Québec, Québec
Canada
418-522-55612

MAY 3 TO JUNE 1
Wednesday to Sunday
12 to 5 p.m.
Free

Richard Ibghy & Marilou Lemmens (Montréal / Ascot Corner, Canada)

Ibghy_Lemmens_bande_video

Visions of a Sleepless World (2014)
Video

In 1963, the Swiss pharmaceutical company Sandoz commissioned the writer and painter Henri Michaux to create an educational film on the effects of mescaline and hashish. Inspired by this unusual collaboration, Richard Ibghy & Marilou Lemmens conceived the work Visions of a Sleepless World as the response to a fictive commission from a pharmaceutical company. The result takes the form of a film on the neuro-cognitive effects of stay-awake medication. Through a demonstration of the effects of a lack of sleep on the perception of time and on memory and cognition, Ibghy & Lemmens explore the organic limits of the body. Their work examines the notion of sleep as a controllable biological function and its relation to cognitive labour and to the goal of uninterrupted productivity.

Acknowledgements
The Canada Council for the Arts

LA CHAMBRE BLANCHE

185, rue Christophe-Colomb
Québec, Québec
Canada
418-529-2715

MAY 3 TO JUNE 1
Wednesday to Sunday
1 p.m. to 5 p.m.
Free

Geneviève Chevalier (Québec, Canada)

genevieve_chevalier_chambre_blanche

Mon boisé (2013-14)
Installation

Mon boisé examines the forces in play when an urban woodland is threatened. Green spaces in the heart of the city, whose trees are often more than a hundred years old, are of great importance to the people who use them. For real estate developers, however, they represent a business opportunity. In Montreal, Saint-Bruno- de-Montarville and Quebec City, citizens and organisations are mobilising against this threat and to defend their rights, but the battle is often lopsided. Chevalier’s project, an extension of her contextual methodology, develops through field research that includes consultation, documentary research and discussions.

Le Lieu

345, rue du Pont
Québec, Québec
Canada
418-529-9680

MAY 3 TO JUNE 1
Monday to Thursday 9 a.m. to 4 p.m.
Friday 9 a.m. to 3 p.m.
Saturday and Sunday 1 p.m. to 5 p.m.
Free

Regina José Galindo (Guatemala, Guatemala)

regina_jose_galindo_le_lieu

Expansive (2014)
Performance

Looting (2010)
Photograph taken from the video

Marabunta (2011)
Video, 31 min 14 s

¿Quién puede borrar las huellas? (2003)
Video, 37 min 22 s

Tierra (2013)
Video, 33 min 56 s

At Manif d’art, Galindo is presenting three videos, a photograph and a performance. The videos ¿Quién puede borrar las huellas? and Tierra were made in memory of the victims of the genocide that took place in Guatemala and claimed more than 200,000 lives. The photograph Looting is taken from an action that recalls the colonial past of the artist’s native country. The video Marabunta (a Spanish word for a massive and destructive migration of army ants), establishes a metaphorical connection between the aggressiveness of the “mad Caribbean ant” and the madness of the human race, which is engaged in consuming and destroying everything. Finally, the performance Expansive opens a dialogue on the art object, emphasising the relation between art and the public. In her performances, Galindo uses her body not only as an individual body, but also as a social, collective and universal body.

Acknowledgements
Prometeogallery di Ida Pisani

L’Oeil de Poisson

580, côte d’Abraham
Québec, Québec
G1K 3P7
Canada
418-648-2975
oeildepoisson.com

MAY 3 TO JUNE 1

Wednesday to Sunday :
12 to 5 p.m.

Monday and Tuesday
by appointment
Free

Marc-Antoine Côté (Québec, Canada)

marc-antoine_cote_nom

Il/elle n’a pas de nom (2014)
Sculpture

Il/elle n’a pas de nom is a work which carries out an act of resistance by virtue of its mere presence. This imposing sculpture is a direct rebuke to several of the more frenetic aspects of contemporary society: the saturation of information, signs and meanings and, as a result, passivity, indolence and credulity. By creating a dissonant and asemic work, Marc-Antoine Côté forces the viewer to pose questions or even adopt a contemplative or doubtful attitude. More than that, he urges viewers to address the work with their own bodies to question its relation to both space and time.

Acknowledgements
Première Ovation

Chto Delat? (Saint-Pétersbourg, Russie)

chto_delat_oeil_de_poisson

Border Musical (2013)
Film, 48 min 30 s

The film Border Musical draws on the present-day situation in the Russian-Norwegian border zone. It follows a Russian woman, Tanja, who leaves her homeland to join her new husband, Ola, in Norway. Through the joys and challenges of this mixed marriage, the film gives viewers a glimpse of the boundaries between the two countries, particularly with respect to cultural and social norms and values. With this film, Chto Delat? examines the way our behaviour and our vision of the world are influenced by cultural relations between individuals and within the family and society. It also explores the extent to which people are responsible for their actions and to what extent they leave this responsibility to the state.

The film is subtitled in English.

Guillermo Trejo (Mexico, Mexique)

guillermo_trejo_banderas

BANDERAS (2014)
Installation

BANDERAS seeks to analyse the political history of Quebec vis-à-vis that of Latin America. By virtue of the specificity of its geographical territory and its culture, Quebec has been in a state of constant resistance to external forces; in this sense it is similar to Latin America for political and cultural reasons. To connect these two histories, Guillermo Trejo presents a series of flags similar to those used by various revolutionary or social movements in Latin America. Trejo’s flags, however, are unique in that they use only the blue and white of the Quebec flag.

Acknowledgements
The Ontario Arts Council

Mathieu Beauséjour (Montréal, Canada)

mathieu_beausejour_riot

This is Not a Riot (2011)
Video

This is Not a Riot is a sound track of urban riots which suggests an ambience of distress, panic and chaos. The sound samples employed by Mathieu Beauséjour come from turbulent demonstrations in Cairo, Athens, London and Toronto, recorded on video and available on YouTube. They express people’s rage against the police and the financial and governmental authorities. For Beauséjour, the machination of brutality can be counteracted by the organisation of chaos and the pooling of human resources against the “standardising” machine.

Sound performance on the roof of Coopérative Méduse. Visitors will hear from the street the creation process of the work on May 1, between 12 and 1 p.m.

Materia

395, boulevard Charest Est
Québec, Québec
G1K 3H3
Canada
418-524-0354
centremateria.com

APRIL 25 TO MAY 25
Wednesday to Sunday
11:30 a.m. to 5:30 p.m.
Free

Clint Neufeld (Saskatoon, Canada)

clint_neufeld_materia

One Yellow Rose (2012)

Pink 350 (2010)

Left for George (2011)

Trailer Queen (2010)

Engine Block (2013)

Carburetor (2013)

Crank Shaft (2013)
Sculptures

Neufeld’s sculptures One Yellow Rose, Pink 350, Left for George and Trailer Queen continue his exploration of mechanical forms. The pieces are painted in bright colours and their floral motifs add to the distance separating utilitarian function and aesthetic object. Set on pieces of household furniture, they are displayed as if they were fine porcelain. A new series of three light boxes accompanies them. Set in gilded frames, Engine Block, Carburetor and Crank Shaft take up the imagery of the sculptures.

Musée de la Civilisation

Le Salon des visiteurs
85, rue Dalhousie
Québec, Québec
Canada
418-643-2158

MAY 3 TO JUNE 1
Tuesday to Sunday
10 a.m. to 17 p.m.

Free with the pin
Without the pin
Adults $15
Seniors (65 and over with ID card) $14
Students (18 and over with ID card) $10
Age 13 to 17 : $1
Age 12 and under, Musée de la Civilisation subscribers : Free

Dominique Blain (Montréal, Canada)

dominique_blain_MCQ

Blancs de mémoire (à Georges Anglade) (2013)
Installation

With Blancs de mémoire (à Georges Anglade) Blain confronts the viewer with the reality of a people whose situation is sometimes denied. In a confined space, the viewer stands between a photograph of a group of Haitians and a video image of a shoreline being swept by the sea. Through a reflective effect, the figures in this photograph, animated by the constant motion of the waves, seem to appear and disappear before the viewer’s eyes. In looking at them, the viewer connects with them for a few seconds. The title of the work is a reference to a book by Georges Anglade, a Haitian intellectual exile in Montreal who died in the 2010 earthquake.

Acknowledgements
Le Conseil des arts et des lettres du Québec

Jamelie Hassan (London, Ontario)

Jamelie_hassan_MCQ

Poppy Cover for Holy Roller Tank (2010)
Installation

Could we ever know each other…? (2013)
Installation

In covering a military monument with a net of poppies for the work Poppy Cover for Holy Roller Tank, Hassan explored military history and memory. The poppy has several meanings: while it refers to the Canadian Remembrance Day tradition, it also calls to mind the poppy fields of Afghanistan, which supply opium and heroin. For Manif d’art, however, she has found a new framework for her work by creating an installation composed of the net and of photographs of the outdoor installation. The work Could we ever know each other…? is inspired by a quotation of the writer Gabrielle Roy, inscribed on the former Canadian twenty-dollar bill: “Could we ever know each other in the slightest without the arts?” In the face of a constant focus on the armed forces in Canada, the quotation reminds us that it is through culture that we communicate who we are and acquire a sense of belonging.

Nadia Myre (Montréal, Canada)

nadia_myre_MCQ

For Those Who Cannot Speak… (2013)
Beads and threads

Shown here full length for the first time, the belt, made out of thousands of beads, leads us not only to admire the complexity of its hand-made work but also prompts us to enter into a contemplative state. The title For Those Who Cannot Speak… is inspired by a declaration read by Algonquin kokoms (grandmothers) on Parliament Hill on 11 January 2013. Like the movement Idle No More, the kokoms demanded greater respect for Aboriginal peoples. At the end of the text, they said they were making these demands on behalf of those who cannot speak, namely the earth, water, animals and future generations.

Acknowledgements
The Canada Council for the Arts
Le Conseil des arts et des lettres du Québec
Art Mûr

Rebecca Belmore (Winnipeg, Canada)

rebecca_belmore_MCQ

Perimeter (2013)
Video, 22 min 30 s

The video Perimeter was shot in the area around Sudbury and the Whitefish Lake First Nation community. The letter “X,” which today is on the back of workers everywhere, is worn by the artist as a sign of solidarity and becomes a mark of recognition of the work that remains to be done. Written in fluorescent orange letters, the statement “somewhere between a town, a mine and a reserve, is a line” accompanies the video.

Acknowledgements
First presented in Sudbury, Ontario as a co-commission of La Galerie du Nouvel-Ontario and Musagetes in summer 2013.

Musée National des Beaux-Arts du Québec

Parc des Champs-de-Bataille, Québec, Québec Canada
418-643-2150
mnbaq.org

MAY 3 TO SEPTEMBER 14
Monday closed
Tuesday 10 a.m. to 5 p.m.
Wednesday 10 a.m. to 9 p.m.
Thursday to Sunday 10 a.m. to 5 p.m.

Free

Jean-Robert Drouillard (Québec, Canada)

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Des hélicos sur l’Îlot Fleurie (2013-14)
Sculptural installation

For his project Des hélicos sur l’Îlot Fleurie, Drouillard continues to work in life-sized figures in wood. Breaking somewhat with the logic of past projects, here he has created teenaged figures to examine youth in all its fury, rebellion, power, poetry and beauty. Broadening his self-representation methods, he employs his sons and their friends as models, putting their postures, clothes, colours and the shape of their bodies at the centre of this project.

Acknowledgements
The Canada Council for the Arts
Le Conseil des arts et des lettres du Québec

Regart

5956 rue Saint-Laurent
Lévis, Québec
Canada
418-837-4099

MAY 3 TO JUNE 1
Tuesday to Sunday 12 to 5 p.m.
Free

Marie-France Légaré (Montréal, Canada)

marie_france_legare_regart

La résistance à l’uniformisation (2014)
Installation

For her project La résistance à l’uniformisation, Marie-France Légaré has created fifteen porcelain “helmet heads,” thereby creating a parallel between the war helmet and the human cranium. Made from the same mould, the sculptures prompt the viewer to think about resistance to standardisation. Headphones suggest what each of the helmet heads is thinking: each head utters a list of things to do, different in every case, on themes both banal and vital.

VU PHOTO

550, côte d’Abraham
Québec, Québec
Canada
418-640-2585

MAY 3 TO JUNE 1
Wednesday to Sunday
12 to 5 p.m.
Free

Carole Condé + Karl Beveridge (Toronto, Canada)

conde_beveridge_VU

Calling the Shots (2002)
Video loop based on an eight-part photo series

Futures (2013)
Photographic triptych

Liberty Lost (G20, Toronto) (2010)
Digital print

Scene Otherwise (2012)
Digital print

The Plague (2009)
Digital print

The four photographic works and the video by Condé + Beveridge presented at Manif d’art are a commentary on the state of present-day society, with reference to great historical events or figures. The Plague evokes the double-edged crisis today in the environment and the economy; Liberty Lost (G20, Toronto) is a response to the police presence at the G20 summit in Toronto; Scene Otherwise is inspired by the Occupy movement; and Futures addresses the relations between various companies and their social and political interests with nature. Finally, the video Calling the Shots looks at the anti-globalisation movement and the media.

Jean-Maxime Dufresne et Virginie Laganière (Montréal, Canada)

JMDVL_VU

Post-Olympiques/Olympic Afterlife (2014)
Photographic installation

The photographic installation Post-Olympiques/Olympic Afterlife examines the complex and often controversial post-Olympic reality, tied to the profound urban and social transformations brought about by hosting the Olympic Games. For Dufresne and Laganière, the diversity of the appeal these spaces have for the imagination and their potential appropriations can bring about forms of resistance to certain dominant discourses. In the best of cases, the Olympics are used as political levers to develop neglected areas of cities; in a dystopian scenario, however, they can become poison pills whose legacy is a large public debt and white elephants which are often difficult to maintain.

Acknowledgements
Le Conseil des arts et des lettres du Québec
La Société de développement des entreprises culturelles