Tag Archives: biennial

Sobey Art Award announces 2010 longlist

Manifestation internationale d’art de Québec congratulated Brendan Fernandes for his Sobey Art Award’s nomination. The long list for the 2010 Sobey Art Award was announced on Thursday, meaning twenty-five artists from across Canada are one step closer to $50,000.

The shortlist will be unveiled June 15, while the winner will be announced during a gala event at the Montreal Museum of Contemporary Art on November 18, 2010. Manif d’art’s team wish good luck to Brendan Fernandes and invites you to contemplate THE HUNTING presented at Place Québec from May 1 to June 13, 2010.

Brendan Fernandes’ bio

Source : Sobey Art Award announces 2010 longlist

ARTISTS ANNOUNCED FOR CATASTROPHE? QUELLE CATASTROPHE! Manif d’art 5 – The Québec City Biennial

PARTICIPATING ARTISTS

  • Patrick Altman (Québec, Canada)
  • Salvatore Arancio (Londres, Angleterre)
  • Bill Burns (Toronto, Canada)
  • Luca Buvoli (New York, états-Unis)
  • Cooke-Sasseville (Québec, Canada)
  • Doyon/Demers (Québec, Canada)
  • Sarah Emerson (Atlanta, états-Unis)
  • Carole Epp (Saskatoon, Canada)
  • Brendan Fernandes (Toronto, Canada / New York, états-Unis)
  • Amélie-Laurence Fortin (Québec, Canada)
  • Laurent Grasso (Paris, France)
  • Johan Grimonprez (Bruxelles, Belgique / New York, états-Unis)
  • Milutin Gubash (Montréal, Canada)
  • Hadley+Maxwell (Vancouver, Canada / Berlin, Germany)
  • Maryam Jafri (Copenhague, Danemark)
  • Gwen MacGregor (Toronto, Canada)
  • Lynne Marsh (Montréal, Canada / Berlin, Allemagne / Londres, Angleterre)
  • Daniel Joseph Martinez (Los Angeles, états-Unis)
  • Michael Jones McKean (Richmond, états-Unis)
  • Gean Moreno (Miami, états-Unis)
  • Ahmet ögüt (Istanbul, Turquie / Amsterdam, Pays-Bas)
  • Ernesto Oroza (Miami, états-Unis); Iván Navarro (New York, états-Unis)
  • Trevor Paglen (Berkeley, états-Unis)
  • Christodoulos Panayiotou (Chypre)
  • Gwendoline Robin (Bruxelles, Belgique)
  • Samuel Roy-Bois (Vancouver, Canada)
  • Lindsay Seers (Londres, Angleterre)
  • SUPERFLEX (Copenhague, Danemark)
  • Katherine Taylor (Atlanta, états-Unis)
  • Myriam Yates (Lennoxville, Canada)

A finalized list of artists will be released in early April 2010

Lynne Marsh‘s new single-channel video installation Plänterwald, a work commissioned by Manif d’art 5, takes as its protagonist a derelict amusement park at the edge of the city of Berlin. Here, the masses are present through absence, as the park’s policed borders isolate it from public space. The work plays on the absurdity of the use of force in relation to the decay and obsolescence of the site. Plänterwald pursues Marsh’s exploration of worlds contained by an internal logic, and quietly, yet relentlessly—like the defunct roller coaster—echoes the rumbles of deep social and political fault lines and their explosive potential.

Trevor Paglen’s Debris consists of a new series of photographs of man-made debris, garbage, and flotsam in earth’s orbit. Composed of spent rocket bodies, inactive spacecraft, and satellite fragments caused by collisions and explosions, the series encapsulates perennial public fear of objects falling from the sky as well as the fact that this debris will ironically outlast humankind’s presence on the planet.

Ahmet Ögüt‘s Exploded City premiered at the 53rd International Art Exhibition of the Venice Biennial in 2009. Exploded City is inspired by Italo Calvino’s novel, Invisible Cities, based on a dialogue between Kublai Khan and Marco Polo that describes distant and fantastical cities of the past, present, and future, with each chapter devoted to a different city. Exploded City serves as an additional chapter of Calvino’s novel, in the form of a three-dimensional 1/100-scale model of a city consisting entirely of buildings that have been destroyed due to terror attacks since the 1990s.

In the film The Financial Crisis (Session I-IV), 2009, the Danish collective SUPERFLEX addresses the financial crisis and meltdown from a therapeutic perspective. The film comprises four sections (or sessions) during which we experience the fascination of speculation and power, as well as the fear, anxieties, and frustration of losing control, economic loss, and personal disaster. In one example, Session 1: The Invisible Hand introduces us to the backbone of capitalism—the idea of the “invisible hand” as the benign faith in self-regulation that prevents markets and people from spinning out of economic control. A hypnotist guides us through our worst nightmares, revealing that the crisis without is the psychosis within. Under hypnosis we are asked to interrogate that faith and to imagine a world no longer governed by the invisible hand.

Manifestation internationale d’art de Québec particularly wishes to thank the Entente entre le ministère de la Culture, des Communications et de la Condition féminine du Québec et la Ville de Québec and the Québec Government Office in New York, for its support of Manif d’art 5’s public relations efforts in New York. Manifestation internationale d’art de Québec also acknowledges the support of the Canada Council for the Arts through the Audience and Market Development Office and the Québec Government Office in Boston.

MANIF D’ART 5 WILL ANNOUNCE ARTISTS SELECTED FOR ITS 5TH EDITION AT THE ARMORY SHOW IN NEW YORK CITY

Manif d’art 5 will hold a press conference at The Armory Show in New York City on March 5, to announce the list of artists participating in Catastrophe? Quelle catastrophe! Sylvie Fortin, curator of Manif d’art 5, will make the official announcement. Several of Manif d’art 5’s partners will also be present.

Manifestation internationale d’art de Québec particularly wishes to thank the Québec Government Office in New York, for its support of Manif d’art 5’s public relations efforts in New York. Manifestation internationale d’art de Québec also acknowledges the support of the Canada Council for the Arts through the Audience and Market Development Office and the Québec Government Office in Boston.

The Armory Show

The Armory Show is a leading art fair in the USA. For the last 11 years, artists, gallery owners, collectors, and media from around the world have gathered in New York City for this major event. In2009, over 56,000 visitors attended. www.thearmoryshow.com

Artists and venues of Manif d’art 5 will be announced in a press release immediately following the New York City press conference on Friday, March 5, 2010. 

Catastrophe? Quelle catastrophe! : theme of La Manif d’art 5

Catastrophe? Quelle catastrophe!
We all live in a catastrophic world!

While catastrophe dominates the contemporary imaginary and mainstream media, its real work remains elusive. Its hypervisibility safeguards its foundational, requisite invisibility. Which is to say that the omnipresence of the catastrophic event acts as a smokescreen, ensuring the very invisibility of catastrophe’s real work. Politically, the catastrophic event is used to legitimize the enactment of states of exception. But in recent years, catastrophe has also been put to preemptive use. We no longer need a catastrophe to be subjected to the logic of catastrophe. As such, its temporality has shifted, its operational terrain expanded to the entirety of time and space. So much so that catastrophe has become the condition of contemporary life. If, in the midst of WWII, Walter Benjamin could define history as “one single catastrophe which keeps piling wreckage,” Slavoj Zizek has recently demonstrated that catastrophe has expanded to the future, “the true catastrophe already is this life under the shadow of the permanent threat of catastrophe.” Daily life is now the playground of low-level, yet dreary, incessant, inescapable, catastrophe. It is also the theater of exception where democracy and equality are reduced to mere form.

Once the climax of Greek plays and poems, catastrophe is now the wallpaper of our daily lives, the score of our everyday drama. But the concept of catastrophe operates in an expanded sphere, which includes mathematics and biology, in addition to literature and theory.

This project will bring together new and recent art work from artists working around the world in order to discern and present strategies of resistance to the wreckage of catastrophe’s slow, incessant, non-spectacular work. In order to do so, it will deploy a number of complementary platforms over an extended period of time–working groups, conferences, publications, exhibitions, screenings, performances, as well as an online seminar.

The project will delve into a number of questions, which will concomitantly refine the notion of catastrophe and pressure visual arts’ foundational concepts:

1. Imaging catastrophe / Image as catastrophe / The catastrophic image
2. The time of catastrophe / catastrophe’s temporalities
3. Catastrophic Space / space of catastrophe / spatializing catastrophe
4. Performing the catastrophic / performance as catastrophe / theater of catastrophe
5. Catastrophic matter / catastrophe’s residue