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Exibitions 2022

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Caroline Cloutier, Downstairs (by Day) / En bas (le jour), 2022. Impression numérique, 266 x 178 cm. Avec l'aimable permission de l'artiste | Downstairs (by Day) / En bas (le jour), 2022, digital print, 266 x 178 cm.
Courtesy of the artist.

Caroline Cloutier
From January 22nd 2022 to March 19th 2022
Le travail de l'ombre

Open from Saturday, January 22, 2022 - 12PM to 5 PM
Artist Caroline Cloutier in attendance
Reservations are mandatory for your exhibition visit, please use this form:
https://form.jotform.com/202475220037243

Shadow Work / Le travail de l’ombre is an exhibition by visual artist Caroline Cloutier, that continues the interrogations conducted in her recent work, which has been presented both in gallery and in situ. Based on perceptual experiments, generally photographic, her works propose interlocking and enfolded spaces that develop into quasi abstract architectural structures. As opposed to artists who reflect on the particularities of a place through its partial reconstruction in the exhibition space, Cloutier works with spaces as they present themselves, as a material; not to reveal a particular essence, but rather to document the specific experience of their ambivalences, their liminal dimensions.

Premiering at OPTICA, Shadow Work comprises a pair of photographic prints and a wall installation, related to each other through an intervention that divides the gallery space into clear-cut areas of shadow and light. The two photographs reveal an exemplary fragment, smooth and angular, of a certain legacy in modern architecture; the photographed space—reconstituted, despite the telescoped and partial view afforded us—thus seems to belong simultaneously to the dominions of the private and the public, of the domestic and the civil. In these images, Cloutier relates the effect of both the artificial and natural light entering the space, depending on the time of day, light that has a profound impact on one’s reading of the work by creating visual interstices in its construction.

This fascination with light is also evinced in a sculpture composed of polished triangular plaques placed concentrically on the wall. While sculptural practice is a recent arrival in the artist’s work, it partakes of an intention similar to that of the photography: to work directly on light’s ability to transform and interfere in our perception. Just as important in the present body of work is the revelation of human labour, as her detailed images show up the asperities of the walls and floors, surfaces that are usually lustrous and polished. Thus, while Cloutier’s works aline with the geometric rigour of abstraction and minimalism, or with modernist photography and the sites she reproduces, they are also informed by an interest in the traces, and ultimately the experience, of these felt spaces.

Daniel Fiset

Translator: Ron Ross



Caroline Cloutier is the recipient of the 2020 Yvonne L. Bombardier Graduate Scholarship in Visual Arts from the J. Armand Bombardier Foundation.

J. Armand Bombardier Foundation
Created in 1965 by the wife and three daughters of the inventor, the J. Armand Bombardier Foundation contributes to the advancement of individuals, organizations and communities by supporting initiatives that foster social innovation and capacity building. Since its inception, the Foundation has been chosen by Bombardier as one of the vehicles through which it fulfills its social responsibility.

One foundation, three destinations: in addition to its philanthropic work, the Foundation supports the Museum of Ingenuity J. Armand Bombardier and the Yvonne L. Bombardier Cultural Centre in Valcourt, through which it promotes academic perseverance and access to the arts and culture.

Caroline Cloutier would like to thanks the Fondation J. Armand Bombardier, the Conseil des arts de Longueuil and the Centre Sagamie.

Reminder Health Guidelines

In view to protect both our visitors and our staff, we set up health implementing measures.

We ask that you respect the following rules:

- Reservation, please use this form:
https://form.jotform.com/202475220037243

or by telephone: 514-874-1666;

Unannounced visits may be accepted, depending on the number of visitors in the gallery spaces. We can accommodate a maximum of 8 people at a time.

- masks or other face covering are mandatory throughout the visit;

- hands must be disinfected upon arrival: hydroalcoholic gel is available on site;

- 2-meter distancing must be maintained between each person to facilitate circulation during your visit.

If you have COVID-19-related symptoms, please postpone your visit.
Welcome one and all!

PRESS RELEASE (pdf)

PRESS REVIEW

CHOQUETTE, Emmanuelle (2020). “Caroline Cloutier, Variations," Espace art actuel, Issue No. 126, Fall, p. 96-98.

fondationbombardier




Caroline Cloutier is based in Tiohtià:ke/Montreal. Her works have been presented in Montreal, Toronto, Linz, Rome and New York. She is represented by the Galerie Nicolas Robert and the production of her work have repeatedly been supported by the Canada Council for the Arts and the Conseil des arts et des lettres du Québec. She is an MFA candidate in Studio Arts, Photography at Concordia University.

Daniel Fiset is a cultural worker based in Tiohtià:ke/Mooniyang/Montreal. He currently holds the position of Adjunct Curator of Engagement at the PHI Foundation. His recent research focuses on the intersections of artistic, critical and pedagogical practices in Quebec.




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Olivia Boudreau, J'ai peur, 2022. Installation vidéo à deux projections, HD, 28 min. 28 s, couleur, stéréo. Avec l'aimable permission de l'artiste. | Two-channel video installation, HD, 28 min. 28 sec., color, stereo. Courtesy of the artist.

Olivia Boudreau
From January 22nd 2022 to March 19th 2022
J'ai peur

Open from Saturday, January 22, 2022 - 12PM to 5 PM Artist Olivia Boudreau in attendance
Reservations are mandatory for your exhibition visit, please use this form:
https://form.jotform.com/202475220037243

“Amaxophobia—Fear of riding in a car.”
—The Phobia List

Don’t be afraid, just contemplate: the soothing hum of a classic Lincoln cruising along a winding country road late at night; the rhythmic comfort of two women’s voices whispering back and forth to each other in the backseat; the calming cinematic views of a darkened highway gradually unfolding over the course of half an hour. Olivia Boudreau’s most recent video projection J’ai peur (2021) has at its conceptual core a two-person script rooted in countless phobias, but its overall affect is one of warmth. Tucked in, in this familiar and timeless scene, a certain nostalgia sets in for the quiet rocking sensations of nocturnal automotive adventures.

The verbal score for the performance, taken from an open-sourced website that alphabetically compiles a list of phobias, speaks of fear in the first person as the two actresses alternatively confide in each other onscreen: “J’ai peur des objets qui sont à ma droite…J’ai peur du diable...J’ai peur d’aller à l’école.” Filmed from the waist up in cozy off-white fur and wool tops, they exchange words with an unsettling mix of intimacy and deadpan. Delivering each line without hesitation or anxiety, and barely acknowledging the other’s murmured confession, the cadence of the responses becomes as important as their content. Fear, or its close relative phobia, alternates unpredictably between the all-encompassing or minimal, the abstract or precise, the relatable or ridiculous, the funny or sad. A dread or unease at the mention of specific phobias creeps up every so often, striking an emotional chord in the spectator who recognizes one of their own fears.

Boudreau places this roomy backseat scene on a projection at the rear of OPTICA’s gallery, behind the entrance of the spectators. As a result, the immersive point of view of the vintage car effortlessly caressing the smooth nighttime pavement is our first sight. This big boat of a machine, this canister of steel, evokes a protective feeling against the great unknown of what lies outside. Within of the vehicle, watching the yellow median strip dance, the underlying fears drone away in the background and we are transported.

Didier Morelli

Actresses: Rosa-Anne Déry, Sarah Laurendeau
Director of photography: Julien Fontaine
Sound Designer: Frédéric Cloutier
Makeup and hair artist: Mary Khalife

Reminder Health Guidelines

In view to protect both our visitors and our staff, we set up health implementing measures.

We ask that you respect the following rules:

- Reservation, please use this form:

https://form.jotform.com/202475220037243

or by telephone: 514-874-1666;

Unannounced visits may be accepted, depending on the number of visitors in the gallery spaces. We can accommodate a maximum of 8 people at a time.

- masks or other face covering are mandatory throughout the visit;

- hands must be disinfected upon arrival: hydroalcoholic gel is available on site;

- 2-meter distancing must be maintained between each person to facilitate circulation during your visit.

If you have COVID-19-related symptoms, please postpone your visit.
Welcome one and all!

PRESS RELEASE (pdf)

PRESS REWIEW

Olivia Boudreau is interested in our ability to read and experience the real. She strives to capture unconscious and cultural influences on the meaning we give to images and events. The experiences offered in her films, video installations, and performances engage spectators’ perceptual capacities and invite them to go beyond the obvious. Through highly composed images, of bodies waiting, of actions slowly unfolding, Boudreau’s work brings to light subtle changes that can provoke varied interpretations. Her works have been widely shown in Canada, notably at the Musée d’art contemporain de Montréal, The Rooms, in St John’s, the Vancouver Contemporary Art Gallery, as well as abroad, at the Fresnoy, in France, and at Casino Luxembourg - Forum d'art contemporain.

Boudreau’s short films have been screened at many major festivals: the Toronto International Film Festival, the Internationale Kurzfilmtage Oberhausen (Germany), SIFF (Seattle, United States), and the Stockholm Film Festival. Also, in 2012, 2014, and 2016, Boudreau was nominated for the prestigious Sobey Art Award for contemporary art in Canada.



Didier Morelli is a performance and art historian, critic, and curator with a PhD in Performance Studies from Northwestern University, Chicago. Associate Editor at Espace art actuel, his writing has been published in Art Journal, Canadian Theatre Review, C Magazine, Border Crossings, Esse Arts + Opinions, Performa Magazine, Spirale and TDR : The Drama Review, among other publications.




Clara Gutsche
From April 9th 2022 to June 11th 2022
Clara Gutsche

From the series Milton-Parc (1970-1973), Les sœurs Cencic (1974-1976), Sarah (1982-1989), Jeanne-Mance Parc (1982-1984), Siblings and Singles (2008 - 2022)

Curator: Marie-Josée Lafortune

Remarkably, photographer Clara Gutsche has observed the social reality of her contemporaries from a point of view both intimist and engaged. The significant legacy of civil rights and of the cause of women has certainly had a critical impact on her way of apprehending of the real. Drawing inspiration from ordinary household situations—an approach that meshes with her feminist convictions—she has sought to represent this position in a constantly evolving cultural and social context.

This monographic exhibition addresses the artist’s feminist approach and engagement, inscribed within the tradition of documentary photography. The selected body of work brings together portraits produced from the 1970s to present day.

Thirty-two silver prints from the series “Milton-Park” (1970-73), “The Cencic Sisters” (1974-76), “Sarah” (1982-1989), and “Jeanne-Mance Park” (1982-1984) come from the Montreal Museum of Fine Arts collection. The “Siblings and Singles” series (2008-2022), produced during residencies in Europe and among families and friends in Canada and the United States, continues her artistic research on gender and identity.

A publication accompanying this exhibition will be published in 2023.

We would like to thank the Montreal Museum of Fine Arts for the loan.

Translator: Ron Ross