Skip to main content

Posts

Showing posts with the label Galerie Popop

Reviews: Rick Leong at Bradley/Ertaskiran | Muriel Ahmarani Jaouich at Patel/Brown | Syrine Daigneault at Galerie Popop

  Three different shows of mostly painting this week. One of these was quite good while the others were not to widely varying degrees. They are all settled in vague mythological spaces. Both Leong and Jaouich’s shows are afflicted with a hysterical form of reactionary humanism while Daigneault’s is an admirably concise rendering of pessimistic comedy.

Reviews: Hannaleah Ledwell's Rêves insolites at Galerie Popop | Anne Sophie Vallée's Visions at Galerie Laroche/Joncas

  You don’t see a great deal of erotic art in the city, so it was a pleasant surprise to walk into Hannaleah Ledwell Rêves insolites at Galerie Popop . The works span the last few years and there is some divergence in terms of the treatment of spatialization even if the colour schemes remain consistent. These shifts don’t appear to have been linear, although there does seem to have been a gradual flattening of the surface and simplification of its texture. The earlier paintings are a bit more built up, almost sculptural in articulation, which also gives them a slightly more morbid quality.  Rêves insolites explores the physical manifestations of love languages. Focusing on intimacy with oneself and with others, this body of work aims to convey tangible sensations, both corporeal and emotional. It is an exploration of the viscerality of touch, the softness of a caress, the vulnerability of pleasure and the chaotic mix of all these feelings at once. The more surprising thing about

Review: Félipe Goulet Letarte's Political Poem 3 at Galerie Popop.

Félipe Goulet Letarte 's Le Poème politique 3 at Galerie Popop is the third part of a series of paintings/performances. According to the artist, "Political Poem 3 is a conceptual painting series following the score: paint the phrase ‘I am ashamed to be white’ in a different language on each painting’’ It would be easy to dismiss it as crude agit-prop or trolling but there’s a little more to it, either deliberately or not, than something that asinine. And as easy as it would be to dismiss the gesture as exploitative and narcissistic, it’s interesting as a particularly naked instance of some of the tendencies in the city’s Contemporary Art. Letarte claimed that the idea for the works occurred to him in 2014, which means these have been gestating for nearly a decade. This may be true or defensive. It seems eerily too much an appropriation of the meme moral panic associated with the “It’s Okay to be White” posters from a few years ago to be coincidental.