100, Quai Saint-André
MAY 3 TO JUNE 1
Tuesday and Wednesday
10 a.m. to 5 p.m.
Thursday and Friday 10 a.m. to 8 p.m.
Saturday and Sunday 10 a.m. to 5 p.m.
With the pin : Free
Without the pin : $10
Students : $8
Children 12 or under accompanied by an adult : Free
Claire Fontaine (Paris, France)
Capitalism kills (love) (2008)
Work presented in the hall of Espace 400e Bell.
STRIKE, (K. font) (2005)
Visions of the world (Green Square, June the 24th 2011) (2012)
Fluorescent tubes and light box
For Manif d’art, Claire Fontaine is presenting three works with political intent which bear the marks of the visual language of advertising. Visions of the world (Green Square, June the 24th 2011) is one of a series of works which seek to show a neglected detail, whose obscurity is examined by blowing up the image and studying it as if it were placed on a light table. STRIKE, (K. font) is a piece in neon that leads viewers to reflect on movement and its effects: the activity of the bodies around the sign deactivates it, while solitude and emptiness make it work. Finally, Capitalism kills (love) is a work in neon which lights up in a three-position sequence, suggesting that capitalism kills even the sole space that supposedly lies outside commercial transactions: love.
Project supported as part of the FRIMAS operation launched by the Institut français and the Consulat Général de France à Québec in 2014.
Thanks to the Metro Pictures Gallery, New York
Dominique Blain (Montréal, Canada)
Photo op 1 (2013)
Photo op 2 (2013)
Photo op 3 (2013)
Au sommet (2013)
Inkjet print on rag paper
La république (1990-2003)
Emulsion on film, wood, microphones
Dominique Blain’s work takes up themes which make the viewer think about power relations, inequality and injustice. The work La République, for its part, denounces political repression. A rostrum topped with microphones is covered with photographs of a crowd. Each individual’s mouth has been rubbed out, however, suggesting limits to their freedom of expression. Finally, the works Au sommet, Photo op 1, Photo op 2 and Photo op 3 address the relations between the powerful figures who attend global summits (the G8, the G20) and their responsibility for the present-day wars and conflicts taking place in several countries. As the “official” photograph of the heads of state and government, ministers and banking heads breaks down, faces appear.
The artist is also part of the Musée de la civilisation exhibition.
Conseil des arts et des lettres du Québec
UQAM art collection, gift of the artist
Jarod Charzewski (Charleston, États-Unis)
The Machine Gunners (2011-2012)
The Machine Gunners, which depicts three soldiers advancing towards the enemy, was built and sculpted out of military publications. The present-day situation of the publishing industry provided Charzewski with a large quantity of used books, obtained from institutions wishing to get rid of them because they were digitising their libraries. As he salvaged piles of books, he noticed that their principal topic was war, reminding him how Americans are obsessed with military conflict. The fact that the books used to create his work were directly or indirectly related to war leads the viewer to reflect on our culture’s relation with this subject. At the same time, the large quantities of material needed to create these more than two-metres-high soldiers is an indication of the quantity of old publications that institutions must manage.
Jean-Robert Drouillard (Québec, Canada)
Des hélicos sur l’Îlot Fleurie (2013-14)
For his project Des hélicos sur l’Îlot Fleuri, Drouillard continues to work in life-sized figures in wood. The artist also exhibits works from this series at Musée national des beaux-arts du Québec.
The Canada Council for the Arts
Conseil des arts et des lettres du Québec
Juan Ortiz-Apuy (Montréal, Canada)
This sleep, full of folded dreams (2014)
For his project This sleep, full of folded dreams, Juan Ortiz-Apuy brings together various disciplines to explore the idea of failure and resistance in politics and in art. Using distortion, reconfiguration and illusion, the installation seeks to sow doubt as to the reliability of perception, making the viewer aware of the way in which our subjective experiences influence our understanding of our surroundings. Although the work grows out of an interest in formalism and abstraction, Ortiz-Apuy has chosen to use materials with concrete associations and uses, such as IKEA coffee tables and fire-resistant fabric.
Julie Andrée T. (Sagard, Canada)
Mouvance: entre trépasser et dépayser (2014)
Performance of the artist on May 3 at 6:15 p.m. in the hall of Espace 400e Bell
Julie Andrée T. is a performance and installation artist who explores questions around the body and space. Recently, her work has begun to investigate the concept of landscape. Her creative process is based on the ideas of Michael Jakob (The Landscape, 2008), for whom a landscape is the result of three indispensable factors: nature, the subject and the relation between them. Death is also a part of this equation, not only as the end of a cycle but also as a presence, a constant questioning. In this sense the performance-installation Mouvance: entre trépasser et dépayser (Movement: Between Trespassing and Uprooting) is like a memento mori, which means “remember that you will die.”
Justin A. Langlois (Vancouver, Canada)
The Academy of Tactical Resistance (2014)
Installation and project space
Presence of the artist on May 3, 4, 8, 9, 10 and 11
May 10 and 11 from 2 p.m. to 3:30 p.m.: Re-Scaling Resistance: A Workshop on Big & Small Ideas for Everyday Change.
The Academy of Tactical Resistance is an installation and project space which includes a series of posters, workshops, educational videos, brochures, exercises and demonstrations and seeks to share the tactical ability for small-scale resistance. Beyond the compartmentalised practices of anarchists, activists and artists, Langlois enables citizens to construct their own resistance practices in their milieu. This educational zone, whose goal is to radicalise everyday practices, is an extension of his interest in alternative pedagogical models.
Mark Boulos (Amsterdam, Pays-Bas / Genève, Suisse)
No Permanent Address (2010)
Video installation, 28 min
For the video documentary No Permanent Address, Boulos spent eight weeks in the Philippines jungle with two groups from the New People’s Army. He followed these communist guerrillas as they organised the peasant masses for their Maoist revolution. In devoting themselves entirely to the party, the film’s subjects had to give up any fixed address and all personal desire in order to avoid being captured by the Philippine Army. By focusing on the personal background of the members of the New People’s Army, Boulos touches on themes such as love, family and sacrifice. This video documentary, projected onto three screens, also offers the viewer an immersive aesthetic experience.
No Permanent Address was commissioned by The Morris and Helen Belkin Art Gallery at the University of British Columbia, and funding was provided by the Netherlands Film Funds and the Mondriaan Funds.
Martin Bureau (Québec, Canada)
Roasted Globalization (2014)
For his project Roasted Globalization, Bureau has created an installation about the overheating of the stock market. A series of video images shot at the Festival St-Cyprien Toasté are projected on white-painted car hoods surrounded by two large-framed circular paintings. The highlight of this festival in Quebec’s Beauce region, a symbol of extreme consumerism, is the Saturday “smoke show,” which consists in creating as much smoke as possible with one’s car by performing endless figure 8s in a designated ring.
Le Conseil des arts et des lettres du Québec
Oliver Ressler (Vienne, Autriche)
Take The Square (2012)
For his video installation Take The Square, Oliver Ressler was inspired by the emergence of protest movements in public places in Madrid, Athens and New York in 2011. These mass mobilisations, which grew out of the economic and financial crisis, are understood by the artist as a reaction to increased social inequality and the dismantling of democracy. A video was made in each of these three cities in which four to six activists carry out a discussion before the camera.
Austrian Cultural Forum in Ottawa, Austrian Embassy
Richard Martel (Québec, Canada)
POÉTIK SUBTERFUGE (1988)
For the Manif d’art, Richard Martel revisits a work he never completed or showed. POÉTIK SUBTERFUGE is a video that arose out of an intervention at the Banff Centre on 17, 18 and 19 February 1988. Invited to the Centre as an artist in residence, Martel carried out performances with Robin Poitras, a dancer, chorographer and performance artist from Regina. The two artists’ activities took place in the cafeteria of the Banff Centre, where four hundred RCMP officers were lodged during the Olympic Games in Calgary.
Rebecca Belmore (Winnipeg, Canada)
Rebecca Belmore is an Anishinabe artist whose work expresses the political and social realities of Indigenous peoples. Combining the personal and the political, her work evokes these communities’ resistance while at the same time articulating a fine poetic sensibility. She addresses notions of history, place and identity through sculpture, photography, installation, video and performance. In 2005, Belmore became the first aboriginal woman to occupy the Canadian pavilion at the Venice Biennale.
Alain-Martin Richard (Québec, Canada)
Le bloc que j’habite (2014)
Manœuvre, interactive multimedia
For Le bloc que j’habite, Richard entered the lives of the residents of a subsidized housing project to carry out an action around a key-sentence. He gave a part of this sentence, printed on a board, to each of the building’s occupants. A part of the text was thus assigned to each apartment, a little like the different pieces of a jigsaw puzzle. Each board was equipped with motion sensors, so that when the resident moved about the sensors sent a signal which appeared on a previously been filmed video image of the sentence. The result is a sentence whose parts flicker when projected, because their legibility depends on each person’s movements. This manoeuvre suggests the idea of a community that produces its own work of art, offering an alternative to isolation, albeit temporary.
The project Le bloc que j’habite was made possible through a partnership with the École des arts visuels and the Faculté d’aménagement, d’architecture, d’art et de design of the Université Laval. Thank you to the Office municipal d’habitation de Québec.