Manif d'Art 5




  • 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 Pla?nterwald, 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. Pla?nterwald 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 O?gu?t‘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.