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Diane Landry
From March 13th 2010 to April 17th 2010
Chevalier de la résignation infinie

Experience is one of the motifs of Diane Landry’s practice, a way of understanding , exploring the world in a intuitive way in her relation to the object and time. A multidisciplinary artist working in performance, she creates a kinetic universe from ordinary objects whose main purpose, meaning, and attributed values she diverts and re-utilizes, ultimately aiming to change the emotional memories tied to their recognition. Whether automated or fixed, the body in performance serves as a yardstick for the study of time and movement, material that is then taken up in archetypal form in her installations.

In the gallery, large luminous wheels made of plastic bottles and containers of sand revolve in the space, transforming it into a Luna Park. The alternating shadows and light of their revolutions allude to the passage of time, the alternation of day and night. The installation Knight of Infinite Resignation (2009), conceived during a residency at L’Oeil de Poisson in Quebec City, makes a disquieting allusion to the performance L’Imperméable, presented at Mois Multi the same year, where Landry, suspended and fixed upon a motorized structure, pivots on an axis and becomes a human hourglass. Though these works are separate, it’s hard not to think of them as a sequence, allowing us to appreciate the contribution of her performance as "source" material for her perceptual practice.

The fascination with animated surfaces—an archaeology of the image characteristic of the cinematographer—informs the exhibition, the mesmerizing effect of the projected shadows in particular. Additionally, Landry pursues her investigation of the everyday in Juggling (2009), an animation-performance-video in which the artist appears in silhouette before a window. Every minute for twenty-four hours, a picture is taken to document the pose. The fixed images are then animated, time condensed, and experience reconstructed in staccato motion. The speed of the projection is one of a silent film (16 images/second), and Landry complicates our rapport with the image by introducing objects that she moves while remaining apparently motionless. A performance indeed.
- Marie-Josée Lafortune

An exhibition strongly recommended by Nicolas Mavrikakis ("Renouveau hivernal", Voir, January 14th, 2010) and Jérôme Delgado ("Arts visuels - Entre les murs des galeries", Le Devoir, January 16th, 2010)!


Chevalier de la résignation infinie & Ce qui part au lavage    DVD
   Knight of Infinite Resignation & What Comes Out in the Wash
   Essays by Alison Syme

   Distribution :
   L’Œil de Poisson
   Vacuohm
   28 pages booklet with color photos
   DVD
   Video ntsc ~ 45 min
   5 installations & 3 performances 2008-2009
   extra : 2 interviews and technical documentation on the performance l’Imperméable.
   ISBN 978-2-9803525-9-1


"There are 237 bottles here, the liquid contents of which would apparently fill a bath—no more. The short-sightedness of human management of natural resources is made pitifully obvious by the work’s evocation of cosmic time, in comparison with which the human lifespan and even the existence of the species seem simply irrelevant. And there is something terrifying about this assemblage, which is so cold and serene, so unperturbed by the viewer’s presence."
- Alison Syme

This booklet accompanies the exhibition Knight of Infinite Resignation, a project created by Diane Landry, commissioned by l´Œil de Poisson with funding from the Canada Council for Arts. The exhibition was presented for the first time in Québec City from September 11 to October 18, 2009.

Diane Landry lives and works in Quebec City. Honoured with many prizes and awards, she has exhibited and participated in residencies at venues throughout North America, Europe, and Asia. Publications have appeared dealing with her work and, in 2009, the Musée d’art de Joliette organized her first retrospective. She is represented by the Solway Jones gallery in Los Angeles.

Bibliographie
Charron, Marie-Ève, «Roues égrenant le temps», Le Devoir, 20-21 mars 2010, p.E7.