// TEAM // ÉQUIPE //
ÉQUIPE du // FESTIVAL // TEAM
Laurent Viau-Lapointe -- Outreach Coordinator / Coordonateur de sensibilisation
Claudia Edwards -- Exhibitions Coordinator / Coordonateur de l'exposition
Edwin Isford -- Administrative Coordinator / Coordonnateur administratif
Trina Daniel -- Graphic Designer / Designer graphique
Stephanie Iacovelli -- Web Programmer / Programmeure web
Daniel Freder -- Technical Director / Directeur technique
Christopher Bacon -- Technical Director / Directeur technique
Milo Reinhardt -- Technical Director / Directeur technique
Derick Darby -- Technical Director / Directeur technique
Samuel Hogue -- Poster Pal / Responsable de l’affichage
Derick Darby -- Technical Director / Directeur technique
Lindsey Carter -- Copy Editor / Réviseure du contenu anglophone
Charlotte Forbes -- Translator / Traductrice
Stéphanie Pineau -- Event Photographer / Photographe d’événement
Clara Lacasse -- Exhibition Photographer / Photographe d’exposition
Emilie Usher -- Volunteer Coordinator / Coordonnatrice des bénévoles
Sarah Haberl -- Driver / Conductrice
BOARD OF DIRECTORS // Conseil d'administration
// EXHIBITIONS & PHOTO DOCUMENTATION //
EXPOSITIONS & DOUMENTATION VISUELLE
Opening Party // Rumpus Room: A Night of Play // Off Kilter // Intermittence // Intimacy (Limits and Consequences) // Presences // Archipel // Oppression Aesthetics // Impermanent Vacations // An Evening of Alchemy // The Tall Glass // There is Something About Spaces // Survival Instinct //
ART MATTERS OPENING PARTY / FÊTE de COMMENCEMENT
March 6 mars
DJ Special Guest
The Leage of Lady Wrestlers
RUMPUS ROOM: A NIGHT OF PLAY
Coop Les Katacombes
Curator / Commissaire: Laurie-Anne Bergeron + naakita feldman-kiss
Julien Bouthillier & Laïla Mestari
Hope Erin Phillips
The 2015 edition of Nuit Blanche x Art Matters presents Rumpus Room: A Night of Play. Taking place at Coop Katacombes, this event presents a selection of interdisciplinary artworks that do not simply beckon but require viewer interaction in order to realize their respective potentials. Rumpus Room brings with it a tactility that is often discouraged within the art viewing space. By introducing ephemeral works of art into a space for nightlife, we hope a childlike excitement will be ignited in our participants. We invite you to come play on February 28.
Vernissage: March 10 mars
Curator / Commissaire: Annika Steimle + Rihab Essayh
Kajibi (Kevin Andres-Teixeira, Jun Wang & Benoit Savard)
Off Kilter presents a narrative, both of life’s insecurities created by a perceived imbalance in the natural order and of the human endeavour to cope with the uncertainty of life in a world just slightly out of sync. Off Kilter combines works that illustrate a subtle decay of nature in the presence of man, and also the ensuing human response that distorts and perverts yet also creates. Combining a variety of mediums, Off Kilter uses a segmented approach to pursue the human quest to struggle with their uncertainties. The strain for a solution is found in small glimpses, ambiguous pairings of objects, distorted identities, and denaturalized reproductions and challenges to the artwork's own materiality. Some works attempt to create order by defining a system of compromises between humans, nature, and machine. Others spring from human desire by envisaging a utopian future: a communion through the juxtaposition of body and nature. Finally, some offer respite, an escape from the tensions of the surrounding works and the environment they inhabit.
The narrative created in Off Kilter is ambiguous. No clear solution is offered and, in an attempt to deal with the uncertainty of an out of balance environment, the artworks create an unsettling microcosm of their own.
Vernissage: March 11 mars
Curator / Commissaire: Tiffany Le
Patrick Kenneth Evans
Intermittence emerges through an understanding of the relation between art and life as a perpetual and necessary struggle with the human experience. Included are a series of works that respond to the different and often conflicting aspects of reality, never resolving themselves to a single perspective. Different narratives and voices combine, creating an in-between space for the discussion about, renegotiation of, and reflection on the fixity of the past while engaging with the historical present.
The exhibition underscores the contrastive themes of movement and stillness, interior/exterior experience, and presence/absence. In each instance, the flux of lived moments is rendered more solid than ordinarily perceived. The familiar is endowed with new meaning as it transcends realistic transcription into a stage of unresolved moments and meanings. Accidents of memory, blurred remembrances, and abstractions of reality offer passage to the intimate world of experience by establishing a new visual dialogue that rearticulates memory and identity into new narratives. In a comingling of material and immaterial dimensions in art, Intermittence responds to a climate of anxieties of the individual and the collective. The works address the disquietude that reverberates in everyday life paradigmatically, turning the ordinary into foreign landscapes.
(INTIMACY) LIMITS AND CONSEQUENCES
Galerie Yellow Fish Art
Vernissage: March 12 mars
Curator / Commissaire: Luna Dykstra-Santos
The boundaries of intimacy in a globalized, technological age are shifting and protracting, yet nothing can distill the desire to relate to others, ourselves, our spaces, our objects, and our memories. We memorialize moments more than ever through easier access to technology, but in the lengthening of this memorialization, do our moments of communion remain sentimental? Or are they just another piece of a puzzle in which others might recognize us? We live in a world where to copy is easier than to delete. How does this affect our own memories, when the ability to hold in the mind is done for us? The art displayed aims to show us that perhaps how we see and identify with our memories of intimacy are what affects us most in the long term. Working with themes varying from HIV to representation to religion, the artists showcased illustrate the limits and consequences of intimacy in our day and age.
Glass Door Gallery
March 12 mars
Curators / Commissaires: Noémie Avidar
Matthew J. James
Kaitlyn Ramsden, Eryn Tempest & Maxine Segalowitz
Isabella Donnati-Simmons, Roxane Halary, & Caitlin Ross
Peter Shaw & Annie Maheux
Burcu Emeç, Tyson Houseman & BUFFLO
Our era is ruled by immateriality, by untouchable digital information and, in response, objects, physical forms, and spaces morph in order to stake a claim on the collective consciousness. As technology gives life to the inert and as the internet creates a dimension parallel to our everyday lives, bodies and objects strive to inhabit an equally ephemeral form and be present at all costs.
Presences relies on the fleeting nature of the collected performances and installations. Some pieces will exist only by grace of the witness’s attention while others will only last a moment. Materialized in the intimate and fragile universe of the Glass Door Gallery, data, digital images, gestures, objects, and time will play off one another. For a finite period of time, we will be reminded of the existence of the concrete world and our relationship to it. At this semi-chaotic gathering, all participants will be witness to a vanishing beauty.
Vernissage: March 13 mars
Curator / Commissaire: Luisina Sosa Rey + Florencia Sosa Rey
Following a quote from Frederic Streicher concerning the work of French philosopher Gilles Deleuze, according to whom we are no longer defined by our essence or our species but rather by our power or capacity of affecting and being affected1, the purpose of this exhibition is to reunite artists working at the crossings of the individual and the collective, of reality and fiction. While blurring the boundaries between intimacy and collective experience, this exhibition project observes the artistic potential that lies in triviality, in the quotidian.
Like islands scattered in the ocean at varying distances but often originating from the same geographic origin, Archipel intends to reunite works that, while being aesthetically different from one another, are connected by their conceptual and relational approach, thus revealing the multiple realities embedded between the artwork and the viewer.
1. Streicher, Frederic. À propos de Différence et Répétition, dans Sciences Humaines, Hors-série spécial n°3, mai-juin 2005, p.79
Vernissage: March 17 mars
Curator / Commissaire: Laurence Beaudoin-Morin
Kourtney Aletha Persaud
In a time when our province is on the brink of a new season, highly charged with memories of student general strike, pepper spray, and chanting saucepans. Thrilled by a sense of renewal, the exhibition Oppression Aesthetics wishes to inscribe itself in a broad movement in spring 2015. The exhibition is anchored in the current Quebecois reality organizing in a common front against austerity measures dictated by the government, measures that affect us all.
The intent of the show is to display engaged art, addressing questions of social issues, feminism and gender, cultural identity, propaganda, environmentalism, and historical conflicts through a variety of approaches and mediums. In a desire to exchange with the public a discourse of claiming and of solidarity by portraying a satirical, shocking, or iconic image of the oppressor or oppressed, the exhibition intends to raise questions and drive the spectator for an engaged reflection that incites action. The presenting artists come together to reflect on themes related to international politics or of the everyday life. Side by side, these works provide a sense of responsibility towards our priorities and concern as individuals who are part of a living community.
The exhibition is considered as a place for meeting, sharing, and organization; a platform for thoughts and a sketch of an action plan in order to engage with the struggles we are called to engage in.
Vernissage: March 18 mars
Curators / Commissaires: Nina Patterson
Documenting travel experiences through photographs, video, or writing is a common experience. Does the photograph in your album convey truth? Do we censor ourselves in order to only remember positive events? The works in Impermanent Vacations meditate on the experience of displacement, whether a short trip or a migration. Each work is linked with a yearning to be transported to a different time, a certain melancholy in the fleeting nature of memories, and the evolution of the perception of these experiences. This exhibition explores how these select pieces help us to remember key moments in life’s journey while simultaneously meditating on life’s impermanence. These documents attempt to take hold of and incorporate the unreliable nature of memory while reflecting on the individual curation of our own tokens of travel and movement. We hope these works will inspire a nostalgia for being outside of one’s comfort zone, whether exploring a new place or navigating life.
AN EVENING OF ALCHEMY
march 19 mars
Curator / Commissaire: Claire Maclsaac,
& Maria Paula Cano Bueno,
of Studio 7
Nien Tzu Weng
An Evening of Alchemy seeks to expand artistic boundaries through the collaborative process. Taking Loyola Chapel as a point of departure, we will make use of its architectural potential—as well as its limitations—to instigate new relationships between collaborators, performers, and audience members. Visual and performing artists come together to push past conventional expectations of their respective art forms through an immersive experience of simultaneous performance and installation. Working with time as our constraint, we will not simply find a meeting ground between these disciplines, but create one that triggers an alternative experience.
THE TALL GLASS
Perte de Signal
Vernissage: March 20 mars
Curators / Commissaires: Aaliyeh Afshar + Max Taeuschel
Simon Chioini & Félix Gourd
Milo Reinhardt & Conan Lai
Halo-halo (or “mix-mix”), a popular dessert in the Philippines, is a combination of shaved ice, boiled kidney beans, jackfruit, tapioca, sweet potato, caramelized plantains, coconut jelly, seaweed jelly, cheese, caramel flan, chick peas, and purple yam ice cream served in a tall glass with evaporated milk poured on top. Like its namesake, The Tall Glass explores collisions as a means for creation. By interrogating the role of contexts and challenging the conventions of signification systems, the works find new meaning in the familiar. Through a process of ‘defamiliarization’, a term coined by Viktor Shklovsky in “Art as Device”, the exhibition attempts to disrupt conventional interpretations and re-present familiar content in unfamiliar ways. Removals, subversions, and augmentations transform recognizable signifiers, shaping new understandings and visual discourses. Collisions not only generate new meanings but also provoke a reflection upon existing models. These concerns illustrate the systems through which continuous presentations of disparate images permeate and mediate experience, particularly in online environments. The gallery space explores and complicates this entanglement as it places these works in conversation. Rejecting the possibility of stasis in a networked culture, The Tall Glass anticipates kinetic, active exchanges: endless collisions of content, context, and connotation.
THERE IS SOMETHING ABOUT SPACES
Espace Cercle Carré
Vernissage: March 20 mars
Curators / Commissaires: John Shukin + Julie Tremblay
There Is Something About Spaces explores and questions the surrounding environment, the nothingness of both the collective and the individual that comes to make a space tangible. We crave awareness of what exists in the real and the invisible, in addition to the emotive capabilities and vibes a space emits and permits. Our fascination lies in how the human affects and is affected by the three dimensions. Rarely are we keenly aware of the systems we cohabit. We want to provide a situation, a framework, within which the human can focus on questioning and considering their being and mental state. There Is Something About Spaces is a collaborative exhibition, harmonizing and opposing painting, sculpture, photograph, subject, sound, and interactivity into a single environment. We are pushing what makes a space whole, and how ineffable emotions, movements, and rhythms are therein derived.
Vernissage: March 21 mars
Curators / Commissaires: Anne Bertrand + Jérémie Cyr
Devon Spencer Levine
Our interest resides in the idea of ‘’spectacularization’’ of art, that is to say, the production of art works in a competitive and publicized context – springboard to instantaneous stardom and short-term recognition generated by one’s victory. Visual arts are following the trend of challenge based TV shows popularized by other disciplines such as gastronomy, fashion, drag, or even wilderness survival. We are referring to Les Contemporains (Quebec) and Work of Art : The Next Great Artist (USA). We aim to reproduce this phenomenon at a smaller scale: Concordia’s Faculty of Fine Arts. Thus, the exhibition Survival Instinct acts as the product of a simulated competition. The latter allows us to analyze the process leading to the glorification and acknowledgment of the artists-contestants. How do they manage pressure when it comes to the production of a specific piece bound by constraints? Is the creative process being affected? In Survival Instinct, the idea of the vernissage is reinterpreted and transformed into a flamboyant and spectacular gala evening where only one artist will be awarded.