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Exibitions 2019

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Index of artists, authors and curators

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OPTICA Fonds (Concordia University Archives)

Guidebooks to help in consulting the archives

Electronic Reproduction Fees

Juan Ortiz-Apuy, La Guaria Morada, 2016. Humidificateur industriel, déshumidificateurs, peinture Skylla, orchidées Guaria Morada (aka la fleur nationale du Costa Rica), éclairage et système de chauffage, dimensions variables | Industrial mist humidifier, dehumidifiers, Skylla paint, Guaria Morada Orchids (aka the national flower of Costa Rica), lighting and heating systems, dimensions variable. Avec l'aimable permission de l'artiste | Courtesy of the artist

Juan Ortiz-Apuy
From January 19th 2019 to March 16th 2019
La Guaria Morada

Juan Ortiz-Apuy’s exhibition La Guaria Morada uses tropical orchids, dehumidifiers, and an ultrasound industrial humidifier to create an artificial environment in a constant state of negotiation and precariousness. Centred on Costa Rica’s national flower, the installation—a truly fragile ecosystem—refers to the artist’s home country and to situations caught in conditions as uncertain as they are vulnerable. Dependent on gallery lighting and the staff required for its maintenance, the orchids are like art objects, which are maintained by systems that favour and sustain artistic practices.

Léa Moison, Traduction 1, 2016. Impression 3D de la traduction 1, 12 X 9 X 10 cm.
| 3D Print from the translation 1, 12 X 9 X 10 cm. Avec l'aimable permission de l'artiste | Courtesy of the artist

Léa Moison
From January 19th 2019 to March 16th 2019

As part of the exhibition 25/09=1, Léa Moison is presenting a set of drawings and sculptures produced through 3D modelling and derived from protocols and systems that attempt to translate sound three-dimensionally. Each piece derives from a data transfer process following a series of relays from one discipline to another, according to a well-defined system of equivalencies; thus, music becomes a score, which becomes a drawing, which becomes an object, which becomes music, and so on. Moison attempts to recreate an ethereal universe, almost non-existent, unreal, a dreamlike mood that comes from her playing with the codes of virtual reality.

Pavitra Wickramasinghe, Studio Experiment, 2013. Photographie numérique, dimension variable. Avec l’aimable permission de l’artiste. | Digital photography, variable size. Courtesy of the artist

Théâtre d’ombres avec Pavitra Wickramansinghe | Shadows theater with Pavitra Wickramansinghe
From February 1st 2019 to April 30th 2019
NOUVEAU ! Projet satellite avec les tout-petits de La Sourithèque

La Sourithèque day-care centre, Centre-Sud district
Spring 2019

This satellite project—off OPTICA’s premises—is jointly produced with artist Pavitra Wickramnasinghe. Children from the La Sourithèque will help create a collective kinetic work, a fantastical shadow play temporarily set up in their own environment. The project is an invitation to a journey, an encounter with the other, and aims to help kids discover their friends’ cultures.

Théâtre d’ombres receives support from the Foundation of Greater Montreal as part of the 2018 Community Initiatives program, which follows the United Nations’ sustainable development objectives.


OPTICA's educational program is supported by the Foundation of Greater Montreal, Community Initiatives Program 2018, and the Caisse Populaire Desjardins du Plateau-Mont-Royal.

Adam Basanta, A Large Inscription / A Great Noise, 2018. Installations sonores cinétiques. Médium mixte. | Kinetic sound installations. Mixed media. Photo: Emily Gan. Avec l'aimable permission de l'artiste | Courtesy of the artist

Adam Basanta
From April 13th 2019 to June 15th 2019
A Large Inscription / A Great Noise

Adam Basanta’s solo exhibition, A Large Inscription / A Great Noise, brings together two kinetic sound installations featuring automated microphones that attempt to draw a circle on the gravel-covered ground. By the same token, Basanta suggests a reflection on the circle, a major natural form without beginning or end. Each work articulates a tension between the conceptual origin of the circle, as perfect geometric form, and its material limitations. The gallery will thus be occupied by imperfect circular traces left by automatons that produce textured, ambient sound.

Jo-Anne Balcaen, David Zwirner, Tuesday, January 13, 2015, 4:32 pm, 2015. Photographie numérique, 40,64 x 50, 8 cm. | Digital Photography, 40,64 x 50, 8 cm. Avec l'aimable permission de l'artiste | Courtesy of the artist

Jo-Anne Balcaen
From April 13th 2019 to June 15th 2019
Dynamique interne/ Internal Dynamics

With Dynamique interne/ Internal Dynamics, Jo-Anne Balcaen presents a series of photographs produced during a six-month residency in New York in 2014-2015. Balcaen proposes a critical analysis of the art system and of the homogeneousness of commercial New York gallery spaces. Appropriating the spaces, she aim to capture what lies behind the institutional curtain: the interior snapshots attempt to show the opacity of the machinery behind the art world, hidden aspects of gallery work, the power relationships. Each photograph stages the physical and psychological barriers between the gallery’s public space and its restricted areas: office entrances, blocked hallways, and doors marked “PRIVATE.”