+ 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





Patriciu Calimente
From April 16th 1998 to May 23rd 1998
Double Mary

In my work, I re/construct situations which make the viewer consider the nature of different social and cultural positions as they are reflected within various architectural settings ( museums, galleries, alternatives spaces). Having a Romanian background, the work touches on issues of cultural identity, displacement and one's expectations in the context of North American culture.

By using contemporary industrial materials such as fibreglass and aluminium, Double Mary mimics the mass produced object in the form of a triptych. The fibreglass statuettes are replicas of a Virgin Mary, a religious found item which is already a duplicate. The gesture of the figurines, one duplicate Mary looking to another as no "original" exists, is central when interpreting the work. The mass produced surrogate of hope turns away from the viewer to contemplate her "mirror image". Ultimately we ask ourselves : Is this Mary able to protect us? Is her numinous quality retained?


Double Mary registers social and historic conditions, looking at spirituality in a commodity culture and inviting speculation about the relationship between kitsch and the expression of faith. The work becomes critical of the status quo yet at the same time shares a complicity. The concept of "authenticity" is subordinate to the means of mass production, implying a secularisation of the icon. The gesture of removing a triptych from the altar space of the church and placing it in the gallery, alludes to a lost mythology. The questions that the piece address are multilayered. Is this a deconstruction of a religious artifact? or a reconstruction in a new context?

Patriciu Calimente was born in Romania and came to Canada in 1984. His academic studies were done at the University of Windsor (BFA 1990), York University (MFA 1992) and University of Toronto (B.Ed 1996). He lives and works in Toronto as an artist and educator. Calimente's selected group of exhibitions include Art Gallery of Ontario, Time Base Gallery, Institute of Chicago School of Art, Budapest Academy of Fine Arts and selected solo exhibitions at Pitesti Museum of Art, Romania and interventions at George Pompidou Centre, Paris. His work has been acquired through various public and private collections including York Civic Centre and Schulich School of Business- York University, TD Bank Tower, Toronto.

Bibliographie
- Lehmann, Henry, «Exhibit offers portraits that avoid our eyes», The Gazette, 9 mai 1998, p.J6.