Skip to main content

Posts

Showing posts with the label Galerie B-312

Reviews: Radar at Galerie Hughes Charbonneau; Honorer le bois, révéler l’intime at Circa; Off the Grid at McBride Contemporain; Monument politique poème performatif at Skol; Alexis Gros-Louis at Galerie B-312

  The group show Radar at Galerie Hughes Charbonneau does not have much unity. It is figurative and not; it contains painting, drawing, sculpture, etc. There is some extremely loose representational concern, but resonance between the works is hardly laboured, even though some can be detected. It is also uneven, so I will focus on the better work. Marie Danielle Duval is back with more of the same of what she has shown there and elsewhere. She continues her obsessive attention to pattern and the melding of the figure to décor. The fusion of figure and detail comes through more here than before and the heads of her figures continue to have a floating quality, as though she can’t commit to a full-on mimetism between figure and ground. These themes are coincidentally suggested in titles for Kimberly Orjuela ’s sculptures, which are a mixture of figures and objects, with the former far superior to the latter. The two stand-outs in the show are the pieces by Karam Arteen and Mallora...

Reviews: Clay Mahn at Galerie B-312 | Steve Giasson at Laroche/Joncas | Kara Eckler at Atelier Suarez | Caroline Schub at Espace Maurice

Steve Giasson’s Andy Warhol at Laroche/Joncas Steve Giasson paints and draws several copies of Warhol works, often filtered through the copies of those works by other artists to the point that they are more depictions of copies. As exercises in representing painting, the works at Laroche/Joncas are exercises in intimacy and affection that are very different from the wrapped works of Tammi Campbell’s On View shown at Blouin|Division recently. Here, the show becomes a demonstration of touching through the reproduction of the image, given new mediation, and reconstituted. Generally of a different scale than the first and its copies, these re-imaginings are not simply invitations to a kind of mental comparison, itself perhaps rife with a kind of nostalgia. The framing justification claims “[h]is committed and tongue-in-cheek practice is based on pre-existing artworks or historical or daily fragments, which he appropriates in different ways, in order to undermine romantic notions...