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Showing posts with the label Galerie de l'UQAM

Reviews: Three at Eli Kerr; Cynthia Girard-Renard at Galerie Cache; Cindy Phenix at Hughes Charbonneau; Kuh Del Rosario at Galerie B-312; Steffie Bélanger at Circa; and Marion Schneider at UQAM

  Stuck on the metro beside an anglophone with a manicured beard and beanie and a nondescript female companion, I listened as he bemoaned entering the “dark romantic era” of his life just as Gen Z was apparently abandoning their brief commitment to “new sincerity” and “post-irony” only to return to an irony that he pathologized as being a psychological defense mechanism to avoid dark thoughts.  This article is mostly about not understanding what people are referring to. Why bring this anecdote up? It seems vaguely relevant to the shows I saw before getting on the metro. Not that it strikes me as relevant to much of the work itself, none of which seemed especially ironic, post-ironic, sincere, or romantic, but these were things that some of the PR material around them marketed them as. The cruder and more relevant thing is that it is an example of someone constructing some narrative about their subjectivity (or someone else’s) and recognizing (at least performatively), that t...

Reviews: Group Show Le septième pétale d’une tulipe-monstre and Stanley Wany's Espaces imprévisibles at galerie de l'UQAM

This week we look at the two exhibitions running at galerie de l’UQAM: the group show Le septième pétale d’une tulipe-monstre and Stanley Wany ’s Espaces imprévisibles . Both are mostly interesting as genre exercises. They are pleasant there is not that much else at play. Each exhibition consists of running through a gambit of genre clichés, one by way of a group curated by a gender category and one by an individual assuming a symbolic role as the derivation of a genealogy. Le septième pétale d’une tulipe-monstre was curated by Elise Anne LaPlante and involves the work of artists Caroline Boileau , Mimi Haddam , the collective Ikumagialiit (Laakkuluk Williamson Bathory, Cris Derksen, Jamie Griffiths, Christine Tootoo), Daze Jefferies , Helena Martin Franco , Dominique Rey , and Winnie Truong . This is the third stop for the group exhibition. The works are in a variety of media (video, sculpture, watercolour, performance records, stenciled poetry, etc.) which are spread around the...

Reviews: MOMENTA (Part II): Marion Lessard at Galerie de l'UQAM | Marianne Nicolson at Centre Vox

MOMENTA has opened. While I have only seen about two-thirds of it so far, it does seem to be better than past instances. I have already written an introductory preamble examining the self-contextualization and curatorial claims that have accrued around this iteration. In this, and a few future articles, I will examine some of the actualized exhibitions. There are, from the outset, a series of interesting clashes amid a number of the exhibitions. I will only deal with a couple of them here, but they seem neatly in line with the general theme of masquerades. The two discussed here were directly funded by MOMENTA so this should not be surprising. One of the three exhibitions on at Galerie de l’UQAM is The Roman de Remort, or the inhumane, villainous fabliaux of the Ultimate Carnaval by the collective Marion Lessard (Marie Cherbat-Schiller, Alice Roussel, Jean-Nicolas Léonard, Claude Romain, and Élisabeth M. Larouine). According to its official gloss: Marion Lessard appropriate...