+ Programming + Archives Décades + News + Publications + Support Optica + Info

Décades

Exhibition

Years
1972 | 1973 | 1974 | 1975 | 1976 | 1977 | 1978 | 1979 | 1980 | 1981 | 1982 | 1983 | 1984 | 1985 | 1986 | 1987 | 1988 | 1989 | 1990 | 1991 | 1992 | 1993 | 1994 | 1995 | 1996 | 1997 | 1998 | 1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015 | 2016 | 2017 | 2018 |

Index of artists, authors and curators

| A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | R | S | T | U | V | W | Y | Z |

OPTICA Fonds (Concordia University Archives)

Guidebooks to help in consulting the archives

Electronic Reproduction Fees





Nestor Krüger
From November 3rd 2000 to December 9th 2000
Misfit

Most wall paintings are an attempt to create an art of place, a site work which does not take part in the homelessness that characterizes so many of our art objects.

"Misfit" is, at its most basic, simply a wall painting carried out at Optica. But where wall paintings usually involve an exploration or restatement of the space in which they take place, in this case, the work involves two different spaces, Optica and Eye Level (in Halifax)*, which are superimposed on each other, and stuffed into each other. As a result, the wall painting at Optica can no longer "equal" the space in which it takes place. I'm tempted to say that the wall painting does not "take place" at all, since it only occurs as a result of being mapped out in the non-place of the computer model where two places can transparently interpenetrate each other.

I think it's also important to note that in Nestor Kruger's work, the computer is always relied on for all the planning and modeling of the artwork. This creates his by-now characteristic emphasis on information rather than phenomena, where the tactility, sensuousness, and contingency of the real world is deliberately abstracted or boiled away while the work is planned and carried out. What results is an oddly fascinating, almost familiar, almost sensuous, non-sensuousness.
- Andy Patton

Nestor Kruger was born in 1965 in Montréal. He studied at the Ontario College of Art and Design in Toronto, where he continues to live and work. He is a founding member of Toronto’s Painting Disorders collective with whom he has exhibited in 1994 "Painting Disorders", 1995 "Surface Matters" and 1996 "Fast". Kruger has had solo exhibitions at Mercer Union, Toronto, 1996; Artcite, Windsor, 1997; The Loggia Gallery, North York, 1997; The Art Gallery of Ontario, Toronto, 1999 and a collaborative exhibition with the artist David Armstrong at Cold City Gallery, Toronto, 1998. Most recently his work was seen at "The Balcony", a project taking place on the balcony of Toronto artist James Carl in Kensington Market, Toronto. Kruger will be exhibiting in 2001 at Eye Level Gallery in Halifax, Southern Exposure, San Francisco and in a group exhibition in Lyon, France.

Bibliographie
- Crevier, Lyne, «Enfilade virtuelle», Ici, 23-30 novembre 2000, p.40.
- Krishtalka, Sholem, «Surreal Subversions», Mirror, 16-23 novembre 2000, p.50.
- Lehmann, Henry, «Gaucher true to his vision. (Nestor Kruger’s wall paintings, Baier)», The Gazette, 2 décembre 2000, p.18.
- Mavrikakis, Nicolas, «La galerie en perspective», Voir, 30 novembre – 6 décembre 2000, p.19.