+ 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





Joey Morgan
From January 10th 1987 to January 31st 1987
Vancouver Now / Vancouver 86 : Insertion

"Vancouver Now-Vancouver '86: Insertion" is an exhibition set up last May by Manon Blanchette for the Walter Phillips Gallery. It demonstrates not only the importance of the work of Vancouver artists, but also its multiplicity and current relevance to postmodernist discussion. Marie Perrault coordinated the advent of this exhibition in Montreal, which will be presented simultaneously in the six artist run centres during the entire month of January:

Articule: Alyson Clay, Graham Gillmore and Richard Prince. Dazibao: Katie Campbell, Trudy Rubenfeld and Ian Wallace. Oboro: Gathie Falk and Jerry Pethick. Optica: Joey Morgan and videos by S. Diamond, Ivo, T.T.V., E. Vander Zaag, P. Wong and C. Wyngaarden. Skol: Greg Murdock and Charles Rea.

At Optica:
"Fugue", by Joey Morgan:
The large space is virtually empty. There is only a tired looking armchair which faces, from a slight distance, a kind of low table constructed of wire netting. On top of the table are ten wooden frames, each except the outer ones equiped with a light grating representing the walls and roofs of houses. Directly behind, in an immense photograph, a bulldozer and the studio extracts of the demolition. Then appear their metaphorical variations: the small houses with their razed foundations and the sounds of a piano being destroyed. Into this metaphorical level, a countersubject is introduced which sems to transform the theme of demolition into the more abstract theme of deconstruction. The piano exercices, as well as the tiny houses with the malleability of wax, are an apparent reference to childhood, to the patient learning of musical skills and even to the privacy and protection afforded by a home. This deconstruction thus interacts with a reconstruction which is at once musical, plastic and physical. Furthermore, "Fugue" would seem to have a second metaphorical level, becoming an allegory of the very process of artistic creation in the postmodernist age. It involves more than the illegibility of signs and loss of meaning: it signifies a reconstruction, out of disorder and explosion, of a more limited and circumstancial meaning, centered on the very act of composition. We may thus regard the worn out chair, which keeps us at a distance, as designating a space for both audio perception and a maximal reading of the work, and as referring to the temporality of this position. All of this, however, combines in paradoxical fashion with the possibility of a purely aesthetic enjoyment of the work, with the attractiveness of its aura..."
-Press release (Optica)

Bibliographie
Dumont, Jean, « Expositions: Quand les parallèles font le cercle... », Montréal ce mois-ci, Janvier-Février 1987, p. 14.
Daigneault, G., « Melvin Charney chez René Blouin: Venise n'est pas en Italie », Le Devoir culturel, samedi 31 janvier 1987.