Thursday, September 30, 2010
Wednesday, September 29, 2010
Why Does My Body Hurt When I Drink?
Bertrand R. Pitt
Bertrand R. Pitt Artist in Residence Artist in Residence
Bertrand R. Pitt lives and works in Montreal. His video works have been presented in nearly a dozen solo exhibitions and various events in Quebec, Canada, France and Switzerland.
exploration of unexpected connections between sounds and images and putting them in space are at the heart of his practice that tends to question our habits of perception. With his works Drift, Turmoil, and Ghosts its latest interactive installation Horizons uncertain where the pulsations of the skyline are triggered by the action of participants, the artist questions the relationships that are sensitive and cognitive weave between body and landscape. He is currently preparing a new series of paintings entitled interactive video Travellings
to be presented to the video in Quebec City in November and at SESC Pinheiros Sao Paulo (Brazil) in April 2011. It will also present a new version of its installation Horizons uncertain at Gallery 44 in Toronto in March 2011.
His work has been supported on several occasions by the Conseil des arts et des lettres du Québec and the Canada Council for the Arts and is part of the collection of National Museum of Fine Arts of Quebec. He holds a Master of Fine Arts from UQAM, it is also a professor in the Department of Visual Arts College Lionel-Groulx.
For more information, visit: www.bertrandrpitt.net *************
Bertrand R. Pitt
Bertrand R. Pitt lives and works in Montreal. His videographic works have been featured in nearly fifteen solo exhibitions and at various events in Quebec, Canada, France and Switzerland.
Through the exploration and spatial configuration of unexpected relationships between sounds and images, his work engages in a fundamental questioning of our perceptual habits. In works such as Drift, Tumults, Afterglow,
and his most recent interactive installation, Uncertain Horizons, in which the throbbing of the horizon is triggered by the participating spectators, the artist explores cognitive and sensual connections between body and landscape. He is now working on a new series of interactive-video pictures entitled Travellings, to be shown at La Bande Vidéo in Quebec City in November and at SESC Pinheiros in São Paulo (Brazil) in April 2011. A new version of the Uncertain Horizons installation will be presented at Gallery 44 in Toronto in March 2011.
His work has received the support of the Conseil des arts et des lettres du Québec and the Canada Council for the Arts and is included in the collection of the Musée National des Beaux-Arts du Québec. He completed a Master’s degree in visual arts at the UQÀM and currently teaches in the visual arts department of the Collège Lionel-Groulx.
For more information, please visit: www.bertrandrpitt.net
Tuesday, September 28, 2010
How Do I Fake An Abortion
complex Harlequin
complex Harlequin
Praise of inconstancy. Gilles Achache
Zapping is the intellectual process of making a succession without transitions different frame of mind. The téléspectacteur adopted in a few seconds the mental attitudes that will enable him to appreciate both TF1 and Arte. This provision will allow him to master complex narratives, seeking his active role ('24, Memento, Lynch's films and even more beautiful life that has many parallels more intrigues than the series of the same Type 60s). The viewer becomes capable of identifying constantly new rules of the game, as in video games. In Art: advertising and pop culture show him the rules of contemporary art (not the museums or the Houses of Culture). In Politics: the citizen voting taking into account the political balance than of universal ideals. The problem is not that politics is a show, but it is poorly told and only put forward the decision-making, without context and consequences.
Negative consequences:
Everything is formatted to be "zappable" may take a TV program at any time, even in the press: the practice of "editing" (large headings in the middle of press articles) to be able to zap in reading.
is thought to reality as we zap zap unpleasant information. Make
with the flow or want him outside?
Zapping mind requires both adhesion and sliding, be good and bad groups, play the game between believing and not believing. In theory you hate the TV market, the flow of information. In practice, we love them and we love to criticize. They do not affect us in spite of such violent or unconscious, but they give - more or less - of common forms and public representations to the individual. This vision of G. Achache thus opposes the hypercritical of Bernard Stiegler for whom the TV and the market are addiction, desire without mediation, preventing sublimation, and it should be amended by a control democratic. 
complex Harlequin
Praise of inconstancy. Gilles Achache
Zapping is the intellectual process of making a succession without transitions different frame of mind. The téléspectacteur adopted in a few seconds the mental attitudes that will enable him to appreciate both TF1 and Arte. This provision will allow him to master complex narratives, seeking his active role ('24, Memento, Lynch's films and even more beautiful life that has many parallels more intrigues than the series of the same Type 60s). The viewer becomes capable of identifying constantly new rules of the game, as in video games. In Art: advertising and pop culture show him the rules of contemporary art (not the museums or the Houses of Culture). In Politics: the citizen voting taking into account the political balance than of universal ideals. The problem is not that politics is a show, but it is poorly told and only put forward the decision-making, without context and consequences.
Negative consequences:
Everything is formatted to be "zappable" may take a TV program at any time, even in the press: the practice of "editing" (large headings in the middle of press articles) to be able to zap in reading.
is thought to reality as we zap zap unpleasant information. Make
with the flow or want him outside?
Zapping mind requires both adhesion and sliding, be good and bad groups, play the game between believing and not believing. In theory you hate the TV market, the flow of information. In practice, we love them and we love to criticize. They do not affect us in spite of such violent or unconscious, but they give - more or less - of common forms and public representations to the individual. This vision of G. Achache thus opposes the hypercritical of Bernard Stiegler for whom the TV and the market are addiction, desire without mediation, preventing sublimation, and it should be amended by a control democratic.
Tuesday, September 14, 2010
What Excatly Is Rehhresh
Jacynthe Carrier
Artist in Residence / Artist in Residence
(Français FOLLOWS)
Artist Statement
My artistic approach is built around a practice photography and video. Through these mediums of representation, I examine the different relationships of the body to the environment and our ways of thinking and eating landscaped areas. Specifically, I experience the home landscape, or rather "places scars" (those who tell the passing scenery and the presence of humans). Territories inappropriate habitat, they were drawn by need, productivity, abundance and are now characterized by abandonment. The landscape, urban or rural, is a land of re-creation, an area to tame. My work focuses on demonstrating, for the still image or motion, different interventions and experiments to tame the body for these spaces. In the meeting of the staging and performance, the body becomes a tool for storytelling and a surveyor of the landscape and tries to draw a discourse between place and body. Within these maneuvers housing, landscape shaped by discarding its distance and aspires to become a venue for the meeting, a space of experimentation and cohabitation.
Biography
native of Quebec Jacynthe Carrier works primarily in photography and video. She holds a BA from the University of Quebec at Montreal, she is currently pursuing a Masters in Fine Arts at Concordia University. In recent years, particularly his artistic questioning the way we occupy and alter the contemporary territory. His work was, among others presented at the Biennial Art of Quebec (2008), the Center of the photography Seen (2009), the center at Rimouski Caravanserai (2009) and the gallery at UQAM (2010). In 2009 she won the Prix Videre Changing
highlighting the recent production of a performing artist emerging in the region of Quebec.
*************
Jacynthe Carrier
Artist in Residence
Artist’s Statement
My artistic approach through photography and videography is founded on an exploration of the different relationships between body and environment and of the ways we have of conceiving and consuming landscapes. More precisely, I portray the experience of inhabiting a landscape or rather the “scar zones” (those landscapes which are a testimonial to the passage and presence of man). These are areas not immediately suited to habitation but which are shaped by need, productivity and surfeit, and then subsequently abandoned. Landscape, urban or rural, is the territory of re-creation, an area that has been tamed. My work seeks to reveal, through still or moving images, the different attempts made and means used to adapt the body to these spaces. Where setting and performance meet, the body becomes the surveyor of these landscapes and a narrative tool attempting to establish a dialogue between itself and the territory. Through the sustained intent to inhabit the land, the feeling of distance is attenuated in the reshaped landscape and it becomes the ground of encounters, a place of experimentation and cohabitation.
Biography
Jacynthe Carrier is from Quebec City and works primarily in the fields of photography and videography. She obtained her Bachelor’s degree from the Université de Québec à Montréal and is presently completing a Master’s degree in fine arts at Concordia University. During the last few years, her artistic work has been an exploration of the different ways we have of occupying and altering modern-day territory. Her work has been presented at the biennale d’Art de Québec(2008), the Centre de la photographie Vu (2009), the centre Caravansérail in Rimouski (2009) and the UQAM gallery (2010). In 2009, she won the Prix Videre Relève,
awarded for the recent work of a new artist in the Quebec City area.
Jacynthe Carrier
Artist in Residence / Artist in Residence (Français FOLLOWS)
Artist Statement
My artistic approach is built around a practice photography and video. Through these mediums of representation, I examine the different relationships of the body to the environment and our ways of thinking and eating landscaped areas. Specifically, I experience the home landscape, or rather "places scars" (those who tell the passing scenery and the presence of humans). Territories inappropriate habitat, they were drawn by need, productivity, abundance and are now characterized by abandonment. The landscape, urban or rural, is a land of re-creation, an area to tame. My work focuses on demonstrating, for the still image or motion, different interventions and experiments to tame the body for these spaces. In the meeting of the staging and performance, the body becomes a tool for storytelling and a surveyor of the landscape and tries to draw a discourse between place and body. Within these maneuvers housing, landscape shaped by discarding its distance and aspires to become a venue for the meeting, a space of experimentation and cohabitation.
Biography
native of Quebec Jacynthe Carrier works primarily in photography and video. She holds a BA from the University of Quebec at Montreal, she is currently pursuing a Masters in Fine Arts at Concordia University. In recent years, particularly his artistic questioning the way we occupy and alter the contemporary territory. His work was, among others presented at the Biennial Art of Quebec (2008), the Center of the photography Seen (2009), the center at Rimouski Caravanserai (2009) and the gallery at UQAM (2010). In 2009 she won the Prix Videre Changing
highlighting the recent production of a performing artist emerging in the region of Quebec.
*************
Jacynthe Carrier
Artist in Residence
Artist’s Statement
My artistic approach through photography and videography is founded on an exploration of the different relationships between body and environment and of the ways we have of conceiving and consuming landscapes. More precisely, I portray the experience of inhabiting a landscape or rather the “scar zones” (those landscapes which are a testimonial to the passage and presence of man). These are areas not immediately suited to habitation but which are shaped by need, productivity and surfeit, and then subsequently abandoned. Landscape, urban or rural, is the territory of re-creation, an area that has been tamed. My work seeks to reveal, through still or moving images, the different attempts made and means used to adapt the body to these spaces. Where setting and performance meet, the body becomes the surveyor of these landscapes and a narrative tool attempting to establish a dialogue between itself and the territory. Through the sustained intent to inhabit the land, the feeling of distance is attenuated in the reshaped landscape and it becomes the ground of encounters, a place of experimentation and cohabitation.
Biography
Jacynthe Carrier is from Quebec City and works primarily in the fields of photography and videography. She obtained her Bachelor’s degree from the Université de Québec à Montréal and is presently completing a Master’s degree in fine arts at Concordia University. During the last few years, her artistic work has been an exploration of the different ways we have of occupying and altering modern-day territory. Her work has been presented at the biennale d’Art de Québec(2008), the Centre de la photographie Vu (2009), the centre Caravansérail in Rimouski (2009) and the UQAM gallery (2010). In 2009, she won the Prix Videre Relève,
awarded for the recent work of a new artist in the Quebec City area.
Monday, September 13, 2010
German Anti Tank Heroes Wwii
absolutely-bor-dee! or the paradox of the official. For a librarian
The real subject of this book docu-drama is how the management vocabulary can swell up to replace the content management, and become the focus of work.
The book describes a service of Community Relations Internationales, which barely define its function, to assess its own performance, to launch a realistic project.
Director agitated and tells his staff: "The process should be streamlined and should globalize inputs. But what is interesting is that taken by itself, the idea is probably good, even if it means nothing other than "it would be good to gather information to better organize them." But failing to connect to specific targets and modest, this slogan is cast and wall of smoke.
But the fuss about this book is far more important topics: French officials are they lazy, Should we punish an officer who is writing a novel cons officials, Zoe Shepard is it unbearable to work, members of the department of the Aquitaine region RI are they cool? 
The real subject of this book docu-drama is how the management vocabulary can swell up to replace the content management, and become the focus of work.
The book describes a service of Community Relations Internationales, which barely define its function, to assess its own performance, to launch a realistic project.
Director agitated and tells his staff: "The process should be streamlined and should globalize inputs. But what is interesting is that taken by itself, the idea is probably good, even if it means nothing other than "it would be good to gather information to better organize them." But failing to connect to specific targets and modest, this slogan is cast and wall of smoke.
But the fuss about this book is far more important topics: French officials are they lazy, Should we punish an officer who is writing a novel cons officials, Zoe Shepard is it unbearable to work, members of the department of the Aquitaine region RI are they cool?
Tuesday, September 7, 2010
How To Identify The Malar Rash
Exposition MILUTIN GUBASH Exhibition
MILUTIN GUBASH
TITO MON AMI ET D'AUTRES HISTOIRES MILUTIN GUBASH
TITO MY FRIEND, AND OTHER STORIES
English follows
VERNISSAGE
This Thursday, September 9 at 17:00
EXHIBITION September 9 to October 8, 2010
My recent work ( Re-enacting Tragedies While My Parents Look On, 2003 Near and Far, 2005;
BATCH 2007; Born Rich Getting Poorer, 2009) have all been created from topics that are very close to me: my mother, my father, my lover and my daughter, some friends intimate and other artists accomplices. Appearing with me in my work, they allow me to express thoughts about love, failure, hope, death, film, television, past, future and art. My practice consists of anecdotes, dialogues, events or traits drawn from real life, which are then staged for the camera, then to the public, forming sequences and experimental portrait biography. I'm more and more to explore the process and aesthetics of narration in order to create and follow the thread of my own evolutionary history and that of those around me. In the video TITO HOTEL,
Then she tells her story in the video, I gathered a group of people - some familiar faces from the Montreal art scene including Sylvain Campeau, Doug Scholes, John Lalonde, ...) and other friends who are in my works earlier - to help me visualize this event which had a huge impact on what I am and what I'm here now, away from my own heritage and my culture. TITO HOTEL looks like a home version of the image I have of a TV series of the Eastern bloc during the 1960s, it could have looked at the visual and aural . The work was dubbed in French with the participation of another group of people from this time to the art scene in Quebec City. Recent adoption, but also interpret this piece in the video enthusiast. The exhibition is also accompanied by a project called THESE PAINTINGS, an assortment of what I call "false" abstract painting is like having all of the portraits of Tito (both visionary architect of socialism and, from 1945 to 1982, the ruthless dictator of Yugoslavia). It is often said that Modernism was born of disaster, that of war in particular. While abstraction was illegal in the Soviet Union, it was not in Yugoslavia after the war of 1950-1960. It just was not an art form recognized by the State (then the dominant style is the socialist realism). Behind the scenes, the fact remains that the means were taken for discourage this form of art, so as to disturb the lives of artists who tried to push those boundaries aesthetic. We report the case of police intimidation and allegations of imbalance or mental disabilities were made by various authorities to interfere and expose these practitioners. In this context, where the painterly abstraction was seen as a real political statement, I would propose a question as to its meaning in Yugoslavia
Born in Novi Sad (Serbia) and living in Montreal (Quebec) since 2005, Gubash presented exhibitions in Quebec, Canada, the United States and Europe. Recently, he presented his solo work in Montreal, Museum of Contemporary Art (Lots,
2007) and Optica (Born Rich Getting Poorer, 2009), Paris, Galerie 3015, and Marseille, the RLBQ ( Which Way to the Bastille?,
2008). Using photography, video and performance work is often directed Gubash his family and friends who play their own roles within achievements house comedies, soap operas, family portraits and plays improvised. In simple gestures and often comic, roles are reversed and tangles from the simple home to various social and professional status. Thus we are invited to follow the artist who mixes the received ideas about our identities and our surroundings.http://www.milutingubash.com
***************
Gubash
TITO MY FRIEND, AND OTHER STORIES
Opening
Thursday, September 9, 5 p.m.
Exhibition du 9 septembre au 8 octobre 2010
September 9 - October 8, 2010
All of my recent works ( Re-Enacting Tragedies While My Parents Look On 2003; Near and Far 2005;
LOTS 2007 ; Born Rich, Getting Poorer 2009) are created from the subjects I keep closest to me in my daily life. My mother and father, my lover and my daughter, some close friends and a few other artists with whom I share an affinity, appear alongside me in my work to express thoughts on love, failure, hope, death, movies and television, the past, the future, art. My practice borrows anecdotes, dialogue, events or character traits from actual life, and represents these elements in front of a camera, and eventually an audience, as a series of experiments in portraiture and biography. Increasingly, I have become interested in engaging with the process and aesthetics of narrative, creating and maintaining an evolving story of myself and those around me. In the video HOTEL TITO,
While she relates her story in the video, I assemble a group of people -- a few recognizable from the Montreal art milieu (Sylvain Campeau, Doug Scholes, Jean Lalonde…), and other friends who appear in my earlier works -- to help me visualize this event which had an enormous impact on who I am, and why I am now here, removed from my own heritage and my own culture. Created as a homemade version of what I imagine an Eastern-Bloc sitcom from the 1960s may have looked and sounded like, the HOTEL TITO has been dubbed into French by soliciting the participation of another group of people from the art milieu in Quebec City, who animate and interpret the amateur theatre presented in the video. Accompanied by a related project entitled THESE PAINTINGS, the exhibition is further constituted by a set of what I call « false » abstract paintings, all claimed to be portraits of Tito (the alternately visionary architect of socialism and ruthless Yugoslav dictator from years 1945-1982). It is often said that Modernism was born from catastrophe, war most particularly. Unlike the Soviet Union, where abstraction was illegal, in post-war Yugoslavia in the 50s and 60s, it was simply not a state recognized form (the dominant form was social realism). Nonetheless, unofficially it was « unsupported » in ways that were detrimental to the lives of artists who pushed at those boundaries. There are documented instances which suggest that police intimidation, allegations of mental instability and incompentance were used by various officials to destabilize and denounce its practioners. I want to put into register questions about what abstraction in Yugoslavia meant since it was seen there as a determined political statement. Born in Novi Sad (Serbia) and lives in Montréal (Québec) since 2005, Milutin Gubash has mounted exhibitions in Québec, Canada, the United States, and Europe, including recent solo shows in Montréal at the Musée d’art contemporain de Montréal (“LOTS”, 2007), and Optica (“Born Rich, Getting Poorer”, 2009), Galerie 3015 in Paris and RLBQ in Marseille (“Which Way to the Bastille?”, 2008). His practice encompasses photography, video, and performance, and regularly features the participation of his family and friends, who portray versions of themselves in Gubash’s Do-It-Yourself sitcoms, soap operas, family photos, and improv theatre pieces. Using simple means and often comical gestures, conventional domestic, social and professional roles are mixed-up and up-ended, as we are invited to follow the artist in reconsidering assumptions about our own identities and environments. http://www.milutingubash.com
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