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2015 - 2016

Programming

Colloque codirigé et modéré par Marie-Ève Charron, Marie-Josée Lafortune et Thérèse St-Gelais.

Conférencier-ère-s : Marie-Claude Bouthillier, Philippe Dumaine, Arkadi Lavoie Lachapelle, Catherine Lalonde Massecar, Johanne Sloan et Giovanna Zapperi.

le August 28th 2015

Simon Menner
from September 10th 2015 to October 17th 2015

Roy Arden
from September 10th 2015 to October 17th 2015

Les samedis famille | Family Saturdays
le September 19th 2015

Journées de la culture
le September 26th 2015

Chris Lloyd & Kim Waldron
le October 5th 2015

Nicolas Lachance
from November 14th 2015 to December 19th 2015

Martin Leduc
from November 14th 2015 to December 19th 2015

Les samedis famille | Family Saturdays
from November 21st 2015 to December 21st 2015

Exposition des élèves de 5e et de 6e année de l'école Saint-Enfant-Jésus (Mile End) sur une proposition de Nicolas Lachance
from December 12th 2015 to December 19th 2015

Jaana Kokko
from January 23rd 2016 to March 19th 2016

Philippe Caron Lefebvre
from January 23rd 2016 to March 19th 2016

Jaana Kokko
le January 23rd 2016

Les samedis famille | Family Saturdays
le January 30th 2016

Exposition des élèves de 5e et de 6e année de l'école Saint-Enfant-Jésus (Mile End) sur une proposition de Philippe Caron Lefebvre
from March 12th 2016 to March 19th 2016

Raymonde April & Emily Jan
le March 31st 2016

Julien Discrit
Claire Hannicq
Anouk Kruithof
Jacinthe Lessard-L.
Pétrel | Roumagnac (duo)
Alana Riley

Commissaire | Curator : Claire Moeder

from April 16th 2016 to June 11th 2016

Claire Hannicq, Jacinthe Lessard-L. et Alana Riley
le April 19th 2016

Samedis famille
from April 23rd 2016 to June 11th 2016

Alana Riley, Jacinthe Lessard-L. et Claire Moeder
from April 30th 2016 to May 21st 2016

Claire Moeder
from May 7th 2016 to June 10th 2016

Edith Brunette et Gaëlle Choisne
le May 19th 2016

Pétrel | Roumagnac (duo)
from June 3rd 2016 to June 11th 2016

Pétrel | Roumagnac (duo)
le June 11th 2016

Julien Discrit
from September 1st 2016 to October 8th 2016

Simon Belleau
from September 1st 2016 to October 8th 2016

Edith Brunette
from September 1st 2016 to June 17th 2017

Les samedis famille + Journées de la culture
from September 10th 2016 to October 8th 2016

Knut Åsdam
from October 19th 2016 to January 14th 2017




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Arkadi Lavoie Lachappelle, Just Care, 2 août 2015. Performance dans le cadre de l'événement ACTES DE DISPARITION // en réaction à la destruction d'Agora de Charles Daudelin. Avec l'aimable autorisation de l'artiste. Photo: Christian Bujold.

Colloque codirigé et modéré par Marie-Ève Charron, Marie-Josée Lafortune et Thérèse St-Gelais.

Conférencier-ère-s : Marie-Claude Bouthillier, Philippe Dumaine, Arkadi Lavoie Lachapelle, Catherine Lalonde Massecar, Johanne Sloan et Giovanna Zapperi.

August 28th 2015

Archi-féministes! : Le colloque - Au croisement des savoirs et des pratiques artistiques

Since Archi-féministes! : Le colloque is presented as part of a French congress in Montréal, the written communications were not translated in English.

Dans le cadre du 7e Congrès international des recherches féministes dans la francophonie (CIRFF) à l’Université du Québec à Montréal.

Inscription obligatoire pour assister au colloque.
Des frais d'inscription sont requis.

Horaire et lieu d'inscription :
Le 24 et 25 août à compter de 8h
Dans le foyer de la salle Marie-Gérin Lajoie de l’UQAM (J-M400)

Mercredi 26, jeudi 27 et vendredi 28 à compter de 8h :
Au rez-de-chaussée du pavillon J.-A. De Sève


Codirigé et modéré par Marie-Ève Charron, Marie-Josée Lafortune et Thérèse St-Gelais, le colloque Archi-féministes!, organisé par OPTICA, centre d’art contemporain, s’inscrit dans la thématique Pratiques féministes, militantisme et mouvement des femmes de l’édition 2015 du CIRFF. Il se penchera sur les enjeux historiques et actuels du féminisme en termes d’activisme, de mobilisation citoyenne et de communautés d’intérêt en soulignant l’impact sur la pratique artistique et l’histoire de l’art.

Le colloque se compose de contributions présentées sous la forme de communications orales et de manifestations artistiques. Elles aborderont, entre autres, la discipline de l’histoire de l’art et sa construction, lesquelles ont été maintes fois interrogées à l’intérieur des engagements féministes. Compte tenu d’un regain d’activisme dans les pratiques féministes contemporaines qui s’exprime, par exemple, par l’entremise de travaux de couture ou de tricot, elles commenteront également cette réappropriation d’un savoir-faire longtemps confiné à l’espace privé et domestique, redevenu porteur d’enjeux identitaires et de discours féministes transformés. La résurgence du féminisme sera enfin examinée à travers les pratiques qui persistent à faire résistance et qui obligent à revoir les déterminismes sociaux.

Nous souhaitons surtout présenter des regards originaux sur les savoirs et les modèles d’actions féministes en privilégiant un contexte interdisciplinaire et la mise en avant de certaines innovations conceptuelles et méthodologiques qui résultent d’un maillage entre interventions théorique et artistique. Ces interventions témoigneront des modèles d’action d’ici, soulignant la réalité propre au territoire québécois.

Il importe dans ce colloque que la parole soit donnée à des chercheur-e-s mais également à des artistes, les deux statuts se confondant parfois dans l’activisme de leurs positions féministes.


Constitué de trois séances, le colloque se tiendra sur une journée

Horaire Colloque Archi-féministes !
Vendredi 28 août 2015

Activité # 277
UQAM, local DS-R515

9h- 10h30
Séance 1 – Engagement féministe et histoire de l’art

Modératrice : Marie-Ève Charron

9h – 9h30
Philippe Dumaine : Norme, races, désirs : pour une pratique radicale de l’histoire de l’art

Le travail d’appropriation fait partie des stratégies de prédilection des artistes postmodernes. À partir d’œuvres qui utilisent ce procédé (Sherrie Levine, 2fik, Mickalene Thomas), j’entends poser les bases d’une réflexion épistémologique sur le caractère normatif de la discipline de l’histoire de l’art. Surtout, mon intention est ici de réfléchir à la position de l’historien.ne, et à une possibilité de construire une pratique radicale de l’histoire de l’art. Pour ce faire, j’utiliserai les écrits d’auteur.e.s qui, dans la foulée de Michel Foucault et de Monique Wittig, ont formulé des critiques queer des disciplines normatives (Judith Jack Halberstam, Lee Edelman, José Esteban Muñoz, Elisabeth Freeman).

9h30 – 10h
Marie-Claude Bouthillier : Vie d’artiste

Il s’agit d’une présentation-performance où je compte tirer les cartes devant public à partir de mon jeu Vie d’Artiste afin d’aborder divers aspects de ma pratique et de mon engagement en tant qu’artiste. Le récit se construira au fur et à mesure et au hasard des cartes tirées, entrainant des récits divergents, des dialectiques imprévues, des rencontres fortuites entre les idées suggérées par les cartes. Je suivrai également ce protocole pour répondre aux questions de l’assistance.

10h – 10h20
Période de questions

10h20 – 10h30
Retour sur la séance


10h30 – 11h
Pause café


11h – 12h30
Séance 2 – Discours féministes repris et transformés
Modératrice : Marie-Josée Lafortune

11h-11h30
Johanne Sloan : Écho d’un récit féministe

Quand l’artiste canadienne Joyce Wieland s’est tournée vers des questions féministes dans les années 1960 et 1970, les résultats artistiques ont souvent pris comme point de départ la tradition des courtepointes et de la couture en général. Récemment, Cynthia Girard a créé des bannières qui font référence aux œuvres de Wieland, tandis que l’engagement politique de l’artiste montréalaise est ancré dans un contexte contemporain. Le lien entre ces pratiques artistiques nous permet de nous demander comment un discours féministe peut être repris et transformé.

11h30-12h
Catherine Lalonde Massecar : Engagement et mobilisation actuels --- ANNULÉE ---
---Virginie Jourdain et Véronique Boilard présenteront une conférence en remplacement ---


La Centrale Galerie Powerhouse propose une plateforme pour les artistes en arts actuels qui entre en dialogue avec les féminismes. À la lumière de la dernière publication de la Centrale, Impact féministe sur l’art actuel - La Centrale a 40 ans, un recueil de textes et d’images d’artistes et de chercheures qui réfléchissent sur les années d’engagement du centre, nous nous questionnerons maintenant sur les nouvelles formes de résistance, de féminisme et de mobilisation. Nous observerons notamment les transformations et les nouveaux paradigmes dans lesquels s’inscrit le centre et examinerons certaines démarches de membres artistes en regard de leur réalité et de leur engagement politique et social.

12h-12h20
Période de questions

12h20-12h30
Retour sur la séance


12h30 – 14h
Dîner


14h – 15h30
Séance 3 – Savoirs et féminisme en actions
Modératrice : Thérèse St-Gelais

14h-14h30
Arkadi Lavoie Lachapelle : Foyers en irruption, Femmes en feu : Je m'aime comme je jouis, mais qui jouis-je?

Pourquoi avons-nous la nausée lorsque nous lisons le nom du restaurant Ma grosse truie chérie ? Pourquoi ça semble si rassurant pour notre beau-frère de prédire que nous serons enseignantes en arts plastiques au primaire ? Pourquoi les blagues sexistes et misogynes entendues à la Ligue d'improvisation nous ont fait rire ? Savions-nous que la chasse aux sorcières était un des business très lucratif à la Renaissance ? Pour toutes ces questions, un réseau complexe d'hypothèses, de gestes et d'actions ; dans le discours senti, chante l'espiègle tambour : «Un bon, cunni, jamais ne sera vaincu !» Et sa puissance des tremblements.

14h30-15h
Giovanna Zapperi : « Le féminisme a été ma fête » : Carla Lonzi, la politique à l’oeuvre

Le point de départ de mon intervention sera une actualisation du féminisme séparatiste de Carla Lonzi (1931-1982) critique d’art, puis féministe dans l’Italie des années 1960-70. Je voulais proposer une lecture transversale de ses textes à travers un regard rétrospectif susceptible d’en mettre en évidence les croisements entre les domaines de la politique, de la subjectivité et de la créativité. Carla Lonzi, qui abandonne la critique d’art pour le féminisme, choisit de se séparer (du monde de l’art, de la culture patriarcale) afin de se constituer en tant que sujet. Décrit en tant qu’irruption imprévue dans le continuum de l’histoire de l’oppression de la femme, le sujet féministe s’articule pour Lonzi à une dimension collective. Son intérêt constant pour l’art et la créativité s’exprimera tout au long des années 1970 par la tentative d’inventer des formes de vie et de créativité alternatives, dont on essayera de mettre à jour les résonances avec les problématiques qui traversent les luttes féministes contemporaines.

15h-15h20
Période de questions

15h20 – 15h30
Retour sur la séance





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Simon Menner, Images from the Secret Stasi Archives, 2011-2013. De la série From a Seminar on Disguises | From the series From a Seminar on Disguises. Épreuve à développement chromogène, encadrée, 120 x 90 cm. | Chromogenic print, framed, 20 x 90 cm. Avec l’aimable autorisation de l’artiste. | Courtesy of the artist © Simon Menner and BStU 2013

Simon Menner
from September 10th 2015 to October 17th 2015
Le Mois de la Photo à Montréal Top Secret. The Stasi Archives

*Opening Saturday September 12, 7:30 PM - 9 PM*

Le Mois de la Photo à Montréal presents, in partnership with OPTICA, centre d'art contemporain, Top Secret. The Stasi Archives by Simon Menner.

Le Mois de la Photo à Montréal – 14th edition
The Post-Photographic Condition
Guest Curator : Joan Fontcuberta

Are archives the bastions of power? On January 15, 1990, hundreds of enraged citizens stormed the headquarters of the Stasi – the sinister secret police of communist East Germany – managing to stop the destruction of a large portion of its archives. Their action saved millions of files, photos, films and recordings, which have requests for consultation that are still running at approximately 5,000 a month.

Simon Menner has explored these archives, which would undoubtedly have thrilled Foucault. For two years, Menner concentrated on seeking out materials related to the themes at the heart of his work: observation, surveillance and camouflage. The images he found were unremarkable in appearance, but horrifying or hilarious, depending on the mood of the spectator, or whether or not he or she had suffered at the hands of the Stasi. Some were training materials for spies, showing them how to give coded signals; others documented covert searches, recording the placement of objects so that they could be replaced in the exact same position; and others still bore witness to the agents' transvestism, and the disguises and characterizations they could adopt in order to go unnoticed.

Decontextualized, which is how Menner organizes these series of photographs, Top Secret: Images from the Stasi Archives (2011–13), may seem like a cross between Hans-Peter Feldmann, Sophie Calle and Cindy Sherman, with the corresponding questions regarding clarification of authorship, availability, appropriation and story. It also illustrates how the trivialization of evil, analyzed so profoundly by Hannah Arendt, can be exposed by bringing to light the neglected residue of a much-abused memory.

Joan Fontcuberta
Guest Curator

Le Mois de la Photo
PRESS RELEASE (pdf)

PRESS REVIEW

MOEDER, Claire, 2015. « Le Mois de la Photo à Montréal, Centre Clark, Occurence, Optica, Parisian Laundry», Esse art + opinions. Web, "http://esse.ca/fr/le-mois-de-la-photo-montreal-centre-clark-occurence-optica-parisian-laundry".



Simon Menner was born in 1978 in Emmendingen; he lives and works in Berlin. He holds a master’s degree in fine arts from the Berlin University of the Arts (2007), and has exhibited his works in solo and group exhibitions in various art institutions and festivals, such as the Arbeit Gallery in London (2015), the Goethe-Institut in Prague (2014), the Copenhagen Photo Festival (2014), the Museum of Contemporary Photography in Chicago (2014), the Open Society Foundation in Washington, D.C. (2014), the Grand Palais in Paris (2013), the Aperture Gallery in New York (2013), and the Grand Curtius in Liège (2013). He has received many awards, such as the Working Grant from the German Kunstfonds Foundation in 2014, the Lotto Brandenburg Photography Award in 2011, and the Paul Huf Award in 2010. His publication Top Secret – Images from the Stasi Archives was nominated for the First PhotoBook Award by Paris Photo–Aperture Foundation in 2013.
www.simonmenner.com



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Roy Arden, The Terrible One, 2007. Impression et pigments, 135,9 x 109, 2 cm | archival pigment print, 135,9 x 109, 2 cm. Avec l’aimable autorisation de l’artiste | Courtesy of the artist Photo : Roy Arden

Roy Arden
from September 10th 2015 to October 17th 2015
Le Mois de la Photo à Montréal - The World as Will and Representation

*Opening Saturday September 12, 7:30 PM - 9 PM*

Le Mois de la Photo à Montréal presents, in partnership with OPTICA, centre d'art contemporain, The World as Will and Representation by Roy Arden.

Le Mois de la Photo à Montréal – 14th edition
The Post-Photographic Condition
Guest Curator : Joan Fontcuberta

In 1818, Arthur Schopenhauer published The World as Will and Representation, considered the most fully developed manifestation of philosophical pessimism. For Schopenhauer, knowledge of what the world is and means can only originate in aesthetic experience. We are slaves to our desires, to the blind will to live – “Life is a torment and an opaque yearning” – but we have art to help us overcome it. Aesthetic contemplation detaches us from the endless chain of needs and desires.

In 2004, Roy Arden borrowed the title of this major work to in turn present his visual essay, which can be considered a precursor to the fundamentals of post-photography. His video, an austere slide show displaying a dizzying succession of 28,144 images found on the Internet, evokes a shocking arbitrariness that holds us hypnotized in front of the screen for 1 hour, 36 minutes and 50 seconds. The compiling of this set of images was initially motivated by Arden's need for raw materials with which to make collages. In 1985, he had decided to reorient his documentary practice to working exclusively with archival images, in order to produce a new form of “history painting.”

The kaleidoscopic flow of The World as Will and Representation – Archive 2007 (2007) embraces the most varied manifestations of life, and combines an almost exhaustive repertoire of random inclusions that leave us mired in surprise and confusion. What may seem to be a celebration of encyclopedic knowledge and the triumph of the culture of the archive in fact reveals the subordination of any will for classification and knowledge to the poetic imperatives of chance.

Joan Fontcuberta
Guest Curator

Le Mois de la Photo
PRESS RELEASE (pdf)

PRESS REVIEW

MOEDER, Claire, 2015. « Le Mois de la Photo à Montréal, Centre Clark, Occurence, Optica, Parisian Laundry», Esse art + opinions. Web, "http://esse.ca/fr/le-mois-de-la-photo-montreal-centre-clark-occurence-optica-parisian-laundry".



ROY ARDEN (BRITISH COLUMBIA, CANADA)
Roy Arden was born in 1957; he lives and works in Vancouver. He had solo and group exhibitions at the Equinox Gallery in Vancouver (2015), the Monte Clark Gallery in Vancouver (2013), the Smithsonian Hirshhorn Museum in Washington, D.C. (2013), the International Center of Photography in New York (2013), La Alhóndiga in Bilbao (2012), the Vancouver Art Gallery (2012, 2010, and 2007), the Fotomuseum in Antwerp (2012), Les Rencontres d’Arles (2011), and the Centre de la photographie Genève (2010), among others. His works are part of public collections, such as those of the Canada Council Art Bank in Ottawa, the Centre Pompidou in Paris, the Hammer Museum in Los Angeles, the Musée d’art contemporain de Montréal, the Museu d’Art Contemporani de Barcelona, and the National Gallery of Canada in Ottawa. He is represented by Monte Clark Gallery in Vancouver.
www.royarden.com
www.monteclarkgallery.com



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Les samedis famille | Family Saturdays
September 19th 2015
Visit and How to Make an Artist Book

September 19th, October 3rd and 17th 2015

Images invade our world and our everyday lives. Come to classify and contain them in an artist’s book made by you!

Internationally renowned Vancouver-based artist Roy Arden present works at OPTICA that highlight the omnipresence of images in society. We invite families to discover his exhibition and approach to art in the company of OPTICA’s cultural mediator. Children will then continue their foray into the world of contemporary art time during a workshop in which they will associate images according to a chosen theme and make an artist's book showcasing their collection of images.

You can start the activity when you want and make the artist's book at your pace.


PRACTICAL INFORMATIONS
Saturdays, September 19th, October 3rd and 17th
Free
From 1 pm to 4 pm
For children aged 4 and older.

For more information, please contact Marie-Laure Robitaille: mediation@optica.ca

The educational program is supported by the ministère de la Culture et des Communications and the City of Montreal as part of the Entente sur le développement culturel de Montréal.



Entente sur le développement




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Journées de la culture
September 26th 2015
Virée familiale d’art actuel | Deux départs : 13h30 et 15h30

26 septembre 2015

- - - Information in French only - - -

Circuit photographique, salon de lecture et sucreries!

Participez à une visite interactive des expositions photographiques, présentées dans quatre centres d’artistes du Pôle de Gaspé, autour du thème de l’image. En parcourant le circuit accompagné d’une médiatrice, vous découvrirez des œuvres dans une ambiance chaleureuse et animée. Un salon de lecture pour petits et grands ainsi que des surprises à grignoter vous attendent à la fin de l’expédition.

Vous découvrirez pour l'occasion quatre expositions présentées en partenariat avec Le Mois de la Photo à Montréal.

- - - Centre CLARK - - -
Memories Center de Grégory Chatonsky & Dominique Sirois
Torrent de Dina Kelberman

- - - Occurrence - - -
All Yours de Erik Kessels
Other People’s Photographs de Joachim Schmid

- - - Atelier Circulaire - - -
Autoportraits Robots de Leandro Berra

- - - OPTICA, centre d'art contemporain - - -
The World as Will and Representation de Roy Arden
Top Secret. The Stasi Archives de Simon Menner


INFORMATIONS PRATIQUES
Deux départs : 13h30 et 15h30
Point de rencontre : Centre CLARK, 5445, avenue de Gaspé, espace 114.
Visite en français seulement
Gratuit

ORGANISATEUR : OPTICA, centre d'art contemporain
COLLABORATEURS : Centre CLARK, Occurrence, et Atelier Circulaire

Affiche de l'événement ici



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@ Chris Lloyd & Kim Waldron

Chris Lloyd & Kim Waldron
October 5th 2015
Papineau All-Candidates Debate 2015

In the run-up to the 2015 federal elections, OPTICA, centre d'art contemporain is collaborating with independent candidates and professional artists Chris Lloyd (former Conservative candidate) and Kim Waldron to organize a debate to which all candidates in the Papineau riding are invited to participate.

Art critic and journalist, writer for Le Devoir newspaper, Nicolas Mavrikakis will moderate the debate.

Part of VIVA! Art Action’s off-site programming, this event will take place in a professional environment, very much like a regular televised debate. Candidates will be invited to rethink the limits of our democratic institutions and to re-imagine how we are governed. Culture will obviously be a major consideration, but other issues will also be raised.

Preliminary list of participating candidates
- Chris Lloyd - Independent candidat
- Kim Waldron - Independent candidat
- Danny Polifroni - Green Party of Canada
- Fernand Deschamps as a replacement for Peter Macrisopoulos - Communist Party of Canada (Marxist-Leninist)
- Beverly Bernardo - Communist League
- Maxime Claveau - BLOC Québécois
- Anne Lagacé Dowson - NPD

PRACTICAL INFORMATION
Date: October 5
Time: 7-9 p.m.
Location: Auditorium du Complexe William-Hingston
419 St-Roch Street (Parc-Extension)
Parc Metro Station
Free admission

- - - Independent Candidat's Electoral Platform - - -

Kim Waldron
- Advocate for more voices in government through election reform.
- Empower women to seek leadership roles and strengthen social programs that encourage the equality of women.
- Make culture a priority and improve the art industry with tax incentives that are internationally competitive.
- The environment should shape our economic policies in order to address climate change.
- Simplifying the immigration process for family members of Canadian citizens.
- Diminish the gap between rich and poor.

Chris Lloyd
- To make art and the environment genuine priorities.
- For electoral reform and proportional representation.
- To reform a system that privileges partisan politics.
- To limit the powers of the PMO.
- To end the over-compensation of MPs (if elected I will donate half my MP's salary -- $83,700 per annum to community organizations in Papineau).
- Send a clear message to Ottawa: only a free and independent voice can truly represent Papineau!

Viva


VIDEOS

Débat introduction 1/6 from Lotus Productions on Vimeo.



Débat art et culture 2/6 from Lotus Productions on Vimeo.



Débat économie 3/6 from Lotus Productions on Vimeo.



Débat environnement et science 4/6 from Lotus Productions on Vimeo.



Débat réforme des institutions 5/6 from Lotus Productions on Vimeo.



Débat égalité des droits entre citoyens 6/6 from Lotus Productions on Vimeo.

PRESS REVIEW

FORTNER, Anderson, 2015. « Two Works in Progress : Chris Lloyd and Kim Waldron», Blog VIVA Art Action!. Web, "http://vivamontreal.org/en/two-works-in-progress-chris-lloyd-and-kim-waldron/".



Born in Saint John (NB), Chris Lloyd graduated from the NSCAD, Halifax (NS), and has resided in the Papineau riding since 2007. With a politically oriented art practice, Lloyd has been working on the project Dear PM, since 2001, which involves writing daily to the Prime Minister of Canada.
dearpm.blogspot.ca

Kim Waldron is a Montreal-based visual artist who frequently uses self-portraiture to engage with contemporary social situations. Over the years, while addressing the role of images and the importance of context, her artwork has depicted how we construct reality. She was the recipient of the Claudine and Stephen Bronfman Fellowship in Contemporary Art and Pierre-Ayot Award in 2013.
kimwaldron.ca
kimwaldron.com



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Nicolas Lachance, Untitled III, 2015. Encre à papier carbone sur toile | Carbon paper ink on canvas, 244 x 183 cm. Avec l’aimable autorisation de l’artiste | Courtesy of the artist. Photo : Richard-Max Tremblay

Nicolas Lachance
from November 14th 2015 to December 19th 2015
Sous roche transpirer

How do we generate intensity in a world swamped with images, with second- and third-hand imagery, in a world that has itself become a simulacrum?

This question drives the work of Nicolas Lachance, who summons the device of painting while subjecting its components to a rigorous process of compression and accumulation. He uses the very techniques that lie behind the exponential proliferation of images—prints and transfers, layered lamination, piled sediments—to create particularly dense tableaux, a profusion of condensed stratifications. Yet Lachance subtracts as much as he adds: he exhausts the pigment, sands the layers of paint, wipes all surplus to the point of opening up the weave of the canvas; he cracks through the wall of the invisible to extract a single image from it.

Extraction means labour. The image’s appearance here never registers as the epiphany of revelation, but proceeds, rather, from a logic of perspiration. Skin is what the over-consumers of images see with today—at times by effect or consequence, through nebulous attention or peripheral sensation; at others by pressure, friction, or some stubborn attachment—such that images infiltrate and suffuse us through every pore. As such, what the artist offers us is an image that is itself emulsified and exuded, its contact contagious, corrosive by design, in its inscription both of the traces on the canvas and of the image on our retinas.

In his recent works, Lachance examines the replication of the image. He culls motifs from the world of infinitely reproduceable images, like the backs of laminated posters, finds unearthed from thrift stores, or archival photographs recovered from the dustbins of memory. These motifs are then reworked, not as subjects for representation but as fragments of time or natural inscriptions to be interpreted, much like a divinatory reading of the stars, stones, or the flight of birds. The monotony of shaded monochrome (dust painting, transfers from carbon paper to canvas) renders the ambiguity of the image and reveals its palimpsest body, activated like a skin, a membrane permeable to affective proliferations.

Author: Ji-Yoon Han
Ji-Yoon Han is pursuing doctoral studies in art history at Université de Montréal.

PRESS RELEASE (pdf)

School Workshop
As part of OPTICA’s educational program, Nicolas Lachance will met up with 5th and 6th graders at Saint-Enfant-Jésus elementary school in the Mile End. Schoolchildren participating in the project will visit the exhibition with the artist in attendance and explore the creative process through a workshop given at their school. The works the students will produce during the workshop will be presented at centre OPTICA’s new AGORA space.

Schoolchildren Opening
The students will exhibit their masterpieces at centre OPTICA's new AGORA space from December 12th to the 19th. There will be an opening on december 15th from 6 PM to 7 PM.

For more information on OPTICA's educational program, please contact Marie-Laure Robitaille à mediation@optica.ca

The educational program is supported by the ministère de la Culture et des Communications and the City of Montreal (as part of the Entente sur le développement culturel de Montréal), and the Caisse Desjardins du Mont-Royal, Caisse Desjardins de l'Est du Plateau, and Caisse Desjardins des Versants du mont Royal.


Entente sur le développement



Since 2014, Nicolas Lachance has exhibited his work at the Darling Foundry and at Galerie René Blouin, which represents him. He garnered an Honourable Mention at the 2014 RBC Canadian Painting Competition. He lives and works in Montréal.




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Martin Leduc, Cordes, 2013-2015. Sculpture sonore cinétique, aluminium, électronique, algorithmes, 7 m de diamètre, 3 m de haut, mouvements et sons perpétuels.| Kinetic sound sculpture, aluminum, electronics, algorithms, 7 m in diameter, 3m high, perpetual motions and sounds. Avec l’aimable autorisation de l’artiste | Courtesy of the artist. Photo : Martin Leduc

Martin Leduc
from November 14th 2015 to December 19th 2015
Cordes : in situ / in city

*The artist will be present at OPTICA on December 12 and 19 from 3PM to 5 PM*

Martin Leduc is an artist of sound and of the moment. A Montrealer hailing from Île Perrot, Leduc draws inspiration from observing and listening to the cycles of nature, such as the steady yet ephemeral modulations of wind in the leaves or on the surface of water. As in his previous work, Cordes proposes a reflection on our relationship with the sound environment through a constantly renewed, infinitely variable auditory excursion. Suggestive of eolian phenomena, this kinetic instrument spatializes sound progressions that are constantly modified according to the movements it generates. As in the Heraclitean river that one cannot enter twice1, Cordes is a stream of sound that offers an entirely different listening experience at every audition.

This sculpture-instrument adopts the notion of controlled randomness, inspired by the probabilistic stochastic compositions of Iannis Xenakis, and combines it with a mobile hanging in the space, which recalls a peal of bells or an aeolian harp. Its particularity resides in creating an autonomous kinetic and audio progression, at once indeterminate and continuous, yielding a flow of interactions between space, time, and movement. Decidedly old-fashioned in the underlying emotions it kindles, it is also profoundly modern in conception. The work speaks to us of the technical know-how at work, which is extended into new technologies with which it shares a common cultural background. We are the innovative heirs or, as Régis Debray put it, we innovate by what we store. 2

Leduc proposes to discover other listening potentialities in situ, beyond the framework of recordings, performances, and sound synthesis. He invites audiences to a perceptual and sensory experience. He offers us a now all-too-rare and often neglected time-space of respite. Cordes thus becomes the tamed echo of a breath of nature, an in situ aside in the urban bustle, the fertile humus of reflection on our sound environment, a sound that marks the body as well as the mind.

1. Pradeau, J. F. (2004). Héraclite, Fragments. Paris : Flammarion, p. 102.
2. Debray, R. (2000). Introduction à la médiologie. Paris : PUF, p. 17.

Author: Louise Mongeau
Louise Mongeau studied social anthropology and ethnomusicology in Paris and in Montréal and social communications in Brussels.

1. Pradeau, J. F. (2004). Héraclite, Fragments. Paris : Flammarion, p. 102.
2. Debray, R. (2000). Introduction à la médiologie. Paris : PUF, p. 17.

PRESS RELEASE (pdf)

PRESS REVIEW
Poirier, Josianne (2016). "Martin Leduc : L'espace de la rêverie"Espace art actuel. no. 113, spring-summer, pp. 95-96.

Martin Leduc is completing a doctorate in art studies and practice at Université du Québec à Montréal. At the same time, he studied in electroacoustics at Université de Montréal. He draws inspiration from and appropriates various concepts and theories, especially the autopoiesis of Francesco Varela, the stochastics of Iannis Xenakis, Bernard Stiegler’s general organology, and Régis Debray’s mediology. He has presented his work in Brazil, in the United States, and in Québec, at the Jardin de Métis, among other venues.


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Les samedis famille | Family Saturdays
from November 21st 2015 to December 21st 2015
Exhibition Visit and Introduction to the basics of printing on paper

Last Family Saturdays - Workshop inspired by the work of Nicolas Lachance - Today Saturday December 12th - 1 PM - 4 PM

In his new exhibition, Montreal painter Nicolas Lachance traces the shades and vestiges of spare, subtle imagery. We invite you and your family to join our cultural mediator in discovering the artist’s work. You will also have an opportunity to leave your own traces by taking part in our workshop, an introduction to the basics of printing on paper.

With carbon paper as your main material, you will employ drawing, colour, cut-and-paste, and scrubbing to create an abstract image.

The workshop is open to the whole family and will run continually from 1 pm to 4 pm Feel free to join in at any time.

PRACTICAL INFORMATIONS
Saturdays November 21st and December 12th.
Free
From 1pm to 4 pm
For children aged 4 and older.

For more information, please contact Marie-Laure Robitaille: mediation@optica.ca

The educational program is supported by the ministère de la Culture et des Communications and the City of Montreal as part of the Entente sur le développement culturel de Montréal.



Entente sur le développement




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Atelier à l'école Saint-Enfant-Jésus, 2015. Photo : Marie-Laure Robitaille

Exposition des élèves de 5e et de 6e année de l'école Saint-Enfant-Jésus (Mile End) sur une proposition de Nicolas Lachance
from December 12th 2015 to December 19th 2015

OPENING, Tuesday December 15, 2015 from 6PM to 7PM

As part of the program Artists at School developed by OPTICA last year, Nicolas Lachance has worked with fifth- and sixth-grade school children from elementary school Saint-Enfant-Jésus (Mile End). They visited the exhibition of the artist at OPTICA in his company and took part in a creative workshop led by the artist at their school. The artworks created by the students under the supervision of Lachance are exhibited at OPTICA in the AGORA space from December 12 to the 19th.

For more information on OPTICA's educational program, please contact Marie-Laure Robitaille - mediation@optica.ca

The educational program is supported by the ministère de la Culture et des Communications and the City of Montreal as part of the Entente sur le développement culturel de Montréal.



Entente sur le développement




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Jaana Kokko, Haven (Sadam), 2015.
Image tirée d'une vidéo haute définition avec son, 29 min. | Still frame from a HD video with sound, 29 min.
Avec l'aimable autorisation de l'artiste | Courtesy of the artist.

Jaana Kokko
from January 23rd 2016 to March 19th 2016
Days and Ideals

Jaana Kokko draws on philosophy to examine the political potential of representation and its performative power, which she explores in videos that merge the experimental and the didactic.

Mingling history and political philosophy in diological games to form often Brechtian narratives, Kokko articulates her video work around thematic investigations based on such paradigms as the meaning of life, memory, freedom, humanity, the environment, architecture, and social space. The artist edits and assembles sequences to construct contemporary fables that have a paradoxical resemblance to social documentary. Formally, the presentational device of the image echoes the arbitrary objectivity of historiography, highlighting the intrinsically political nature of the representation, while the parallel narratives deployed in each video are often at odds with one another, language in Kokko’s work also being a catalyst for memory, both individual and collective.

In Sadam (2013) and The Reading Circle (2010), the artist devotes her attention to setting up an intergenerational community of women whose divergent discourses and political visions nonetheless support each other in constructing the experience of a kind of sisterhood. She uses interviews to weave a mosaic of intimate portraits that pose the dual question of political and gender identity. Inspired by Hannah Arendt’s thought, the artist employs a phenomenological approach to broach the often conflictual or antagonistic relationship between modernity and tradition, the individual and society.

In the video installation The Forest is Young and Full of Life (2012), humanity is examined through its romanticized and speciest relationship with the environment and animals, conjuring the age-old nature vs culture argument. Like a contemporary vanitas, the work metaphorizes our alienation before a now precarious nature, under constant threat of being consumed by unbridled capitalism—a social ill that eats away at our own humanity.

Author: Anne-Marie Dubois
Anne-Marie Dubois is an author and art critic.

PRESS RELEASE(pdf)

DOSSIER DE PRESSE
HORNE, Stephen (2016)."Jaana Kokko: Days and Ideals", ETC Media, no. 108, pp. 95-96.

Originally from Finland, Jaana Kokko is pursuing doctoral studies at the School of Arts, Design and Architecture in Helsinki and holds masters degrees in both visual arts and economics from Helsinki’s Aalto University. Her video practice has been presented in many video festivals in Finland, Russia, and Europe, including solo exhibitions in Finland, Germany, Japan, and Sweden. OPTICA presented her work in 2010, in the exhibition Life Must Be Alive.


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Philippe Caron Lefebvre, Cétacé fantôme, 2015.
Polyuréthane, polystyrène, peinture, 130 x 200 x 75 cm | Polyurethane, polystyrene, paint.
Avec l'aimable autorisation de l'artiste | Courtesy of the artist.
Photo : Guy L’Heureux

Philippe Caron Lefebvre
from January 23rd 2016 to March 19th 2016
La position de l'apex

The evolutionary adaptions of living organisms reveal a prolific capacity to ensure survival by fashioning vital forms from inert materials. With his sculptures and graphic creations, Philippe Caron Lefebvre has devised a vocabulary to transpose elements of these vital mechanisms. Exhibiting traits of bizarre and unspecifiable organic entities, the works evoke strange, unlocatable, albeit natural, environments. These outlandish creatures appear to inhabit a world that simultaneously points to a primeval origin and a far-off future. An ambiguity that is further conveyed in certain sculptures, which exert a fascinating attraction through their well-crafted textures, shapes and surfaces, while their sharp protrusions or globular orifices trigger a sense of impending threat. In crafting strange entities by drawing features from nature, the artist conjures up a world in which the familiar and unknown, the recognizable and unfathomable are juxtaposed eliciting both wonderment and disquiet. More specifically, in harnessing the remarkable inventiveness of biological adaption this approach draws on the mimicry strategies deployed by various organisms to maximize survival.

This concept of mimicry, though present throughout Caron Lefebvre’s work, is foregrounded in the current exhibition. Biological mimicry designates the operations whereby certain animals or plants use aesthetic and formal means to alter their appearance, behaviour or even scent in order to be perceived as something other than they are. In the exhibited works, mimicry is operative in a twofold manner. At first, through a transposition of visual, textural and behavioural characteristics derived through observations of plant and animal organisms; and second by mobilizing mimicry directly in the works through a crafty manipulation of materials aimed at producing an illusion of shared traits, mirrored appearances and reciprocal behaviours. It is thus not so much an imitating of nature, but a mimicking of nature’s mimicry that is at play here. In thus blurring the borders between natural dupery and anthropic artifice these singular works suggest more inventive ways to shape our role within the natural web, where things are not always quite what they seem to be.

Author: Bernard Schutze
Bernard Schutze is a Montréal-based independent critic and curator.

PRESS RELEASE (pdf)


REVUE DE PRESSE

DELGADO, Jérôme (2016). "Entre mer et monde (de l’art)", Le Devoir, Saturday February 13. Web, "http://www.ledevoir.com/culture/arts-visuels/462774/entre-mer-et-monde-de-l-art". (Accessed February 13, 2016).

School Workshop
This winter, Philippe Caron Lefebvre will be mentoring fifth- and sixth-grade students at the Saint-Enfant-Jésus elementary school. During the creative workshop he will be giving, schoolchildren will come to familiarize themselves with the artist’s work, while works created by the students during the workshop will be put on display in March, in the centre’s AGORA space.

Schoolchildren Opening
The students will exhibit their masterpieces at centre OPTICA's new AGORA space from March 12th to the 19th. There will be an opening on March 8th from 6 PM to 7 PM.

For more information on OPTICA's educational program, please contact Marie-Laure Robitaille à mediation@optica.ca

The educational program is supported by the ministère de la Culture et des Communications and the City of Montreal (as part of the Entente sur le développement culturel de Montréal), and the Caisse Desjardins du Mont-Royal, Caisse Desjardins de l'Est du Plateau, and Caisse Desjardins des Versants du mont Royal.


Entente sur le développement



Philippe Caron Lefebvre holds an MFA from Concordia University and a BFA from UQAM. His works has been exhibited in various solo and group exhibitions in Québec, Mexico and Japan. He recently undertook residencies in Japan and in Mexico. He lives and works in Montréal.


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Jaana Kokko, The Reading Circle, 2010. Image tirée d'une vidéo haute définition avec son, 32 min. | Still frame from a HD video with sound, 32 min. Avec l'aimable autorisation de l'artiste | Courtesy of the artist.

Jaana Kokko
January 23rd 2016
Artist Talk

Artist Talk in English
2 PM


As part of her artist talk, Jaana Kokko will address two videos, Haven (Sadam, 2015) and The Reading Circle(2010), while focusing on the construction of female characters in her work.

Jaana Kokko is fascinated by the expressive and historical potential of artworks, yet also by the possible political impact of a finished work and its public exhibition. Her video practice captures the complexity of individuals through an array of reflexive accounts dealing with social and political issues, both historical and current. Kokko dwells on the opinions of women, of different generations, and on the status of women in Estonia during the communist period, exploring what the “political” means for them today. The artist also examines humanity’s now transformed relationship with animals, nature, and the built environment.

Keywords: capitalism, socialism, women, architecture, utopia, private space, public space.


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Exemple d'origami. | Origami Sample
Photo : Marie-Laure Robitaille

Les samedis famille | Family Saturdays
January 30th 2016
Interactive Tour and Origami Workshop

January 30th and March 19, 2016
Interactive tour of the Philippe Caron Lefebre exhibition and an origami workshop inspired by the artist’s creations.

Why not get to know this centuries-old art form with a contemporary feel? Creative can even make up their own paper sculpture models!

You can start the activity when you want and make the artist's book at your pace.

PRACTICAL INFORMATIONS
Free
From 1 pm to 4 pm
For children aged 6 and older.

For more information, please contact Marie-Laure Robitaille: mediation@optica.ca

The educational program is supported by the ministère de la Culture et des Communications and the City of Montreal as part of the Entente sur le développement culturel de Montréal.



Entente sur le développement




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Atelier à l'école Saint-Enfant-Jésus, 2016. Photo : Marie-Laure Robitaille

Exposition des élèves de 5e et de 6e année de l'école Saint-Enfant-Jésus (Mile End) sur une proposition de Philippe Caron Lefebvre
from March 12th 2016 to March 19th 2016

OPENING, Tuesday March 8, 2016 from 6PM to 7PM

As part of the program Artists at School developed by OPTICA in 2014, Nicolas Lachance has worked with fifth- and sixth-grade school children from elementary school Saint-Enfant-Jésus (Mile End). They visited the exhibition of the artist at OPTICA in his company and took part in a creative workshop led by the artist at their school. The artworks created by the students under the supervision of Caron Lefebvre are exhibited at OPTICA in the AGORA space from March 12 to the 19th.

For more information on OPTICA's educational program, please contact Marie-Laure Robitaille - mediation@optica.ca

The educational program is supported by the ministère de la Culture et des Communications and the City of Montreal as part of the Entente sur le développement culturel de Montréal.



Entente sur le développement




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Raymonde April, Intérieur, Pékin, 2008.
Impression Chromira | Chromira print, 76 x 56 cm.
Édition 1/5
3 500$ (encadré / framed)


Raymonde April & Emily Jan
March 31st 2016
Evening Fundraiser - In Conversation with Raymonde April and Emily Jan

Cocktail + Artist Presentations + Draw Raymonde April + Door Prizes
R.S.V.P. at OPTICA by March 24, 2016

Thursday March 31, 2016
6-8 pm
At OPTICA


OPTICA, a contemporary art centre, is launching its annual fundraiser In Conversation with Raymonde April and Emily Jan. Our objective is to raise $10,000, which will serve to develop our educational program and set up our documentation centre.

Join us on March 31, to meet the artists and get a chance to win Raymonde April’s Intérieur, Pékin (2008) as well as several door prizes. A cocktail, refreshments, and a selection of wines and beers will also be served.

During the evening, we will be highlighting April’s career as a photographer. She was the recipient of the 2003 Paul-Émile-Borduas award in visual arts and was given the Order of Canada in 2010 for her exceptional contribution as an artist and teacher. Also, Emily Jan’s installation, After the Hunt (2014-2016), will be specially presented for this event. Both artists will be on hand to comment on the exhibited works and on their practice.

The purchase of a ticket automatically gives you one year’s membership at OPTICA and a draw for the prize. We invite you to discover the full range of advantages of membership.

The centre is registered with the programme Mécénat Placements Culture, which matches every dollar and raises it by three!

We are truly grateful for your support and are looking forward to celebrating with you.

Serge Murphy - Chairman of Board of Directors 
Marie-Josée Lafortune - Director


DRAW

Engin Raymonde April, Intérieur, Pékin, 2008.
Chromira Print
76 x 56 cm
1/5 Edition
3 500$ (framed)


EXHIBITION

Engin Emily Jan, After the Hunt, 2014-2016.
Installation, mixed media
Variable dimensions
Photo: Eric Tschaeppeler


PRACTICAL INFORMATIONS
Where : OPTICA, centre contemporain
5445, de Gaspé avenue, #106, Montréal
Date : Thursday, March 31, 2016
Time : 6-8 pm
For informations or reservations, please contact Julie Alary Lavallée : communications@optica.ca | 514-874-1666 


TICKET PRICES

$100 (cost base)
Evening Fundraiser =
Cocktail + one draw ticket + door prizes

$50 (per single additional draw ticket + door prizes)*
* The purchase of a $100 ticket is required

TAX RECEIPT
Every $100 ticket comes with a deductible tax receipt for $70 and every additional ticket is wholly deductible at $50.

PROCEDURE 
R.S.V.P. by March 24, 2016

- Print the form (pdf)
- Send us the reply coupon by March 24 by mail or digitally by email: communications@optica.ca

PAYMENT METHODS
- Cheque (payable to OPTICA)
- Carte VISA (call us: 514-874-1666)
- Online (PayPal)

OPTICA Evening Fundraiser


DONATION
You can make a donation at any time and enjoy the benefits of membership!

TAX RECEIPT
The eligible amount corresponds to the total value of the donation.



OPTICA would like to thank Raymonde April, Emily Jan, Galerie Donald Browne, Galerie Leonard and Bina Ellen Art Gallery, Centre canadien d'architecture, Musée d'art de Joliette, Musée régional de Rimouski, Musée des maîtres et artisans du Québec, Musée Stewart, le Centre commémoratif de l'Holocauste à Montréal, Salle Bourgie du Musée des beaux-arts de Montréal, Cinémathèque québécoise, the magazines Ciel Variable, esse arts + opinions, Espace art actuel, artist-run centres Dazibao and VU PHOTO, OPTICA'S board members, the staff and the volunteers.

OPTICA thanks Rézin, the microbrewery Alchimiste, Maison du Rôti, Fabrique Arhoma for their contribution to culture and our fundraiser.





Conseil des arts du Canada Conseil des arts et des lettres du Québec Relations internationales Québec Conseil des arts de Montréal
placementsculture donaldbrowne binaellen cca
Joliette Rimouski artisans artisans
commémoratif bourgie cinémathèque cv
esse espace dazibao Vuphoto  
Rézin Alchimiste Maison du Rôti Arhoma




Raymonde April lives and works in Montréal where she teaches photography at Concordia University. Known since the 1970s for a practice and images inspired by her everyday private life, she has influenced generations of artists in Québec and in Canada. The recipient of the Paul-Émile-Borduas award (2003) and the Paul de Hueck and Norman Walford Career Achievement Award for Art Photography (2005), she was made an officer of the Order of Canada (2010) for her contributions to photography. April has exhibited both in Canada and internationally.

Emily Jan is a Montréal-based artist and writer. Originally hailing from Northern California, Jan has travelled to 33 countries and lived in South Africa and Mexico. Her biophilic sculptures and installations combine everyday found objects with meticulously worked raw materials to evoke the faraway and the fantastical. As a wanderer, naturalist, and collector of objects and experiences, she is guided in her work by the spirit of exploration, kinship, and curiosity.



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Julien Discrit, Brighter than a thousand suns (détail), 2007.
Avec l'aimable autorisation de l'artiste | Courtesy of the artist

Julien Discrit
Claire Hannicq
Anouk Kruithof
Jacinthe Lessard-L.
Pétrel | Roumagnac (duo)
Alana Riley

Commissaire | Curator : Claire Moeder

from April 16th 2016 to June 11th 2016
Loin des yeux

Saturday, April 16

2 PM - Discussion with Julien Discrit and Anouk Kruithof - Moderated by Claire Moeder

3 PM to 6 PM - Opening

Loin des yeux engages the viewer in an exploration of the invisible. The exhibition encompasses a selection of photographic and video works in which the images—partial, ambivalent, subterranean—shy away from the gaze. It brings together artists Julien Discrit (France), Claire Hannicq (France), Anouk Kruithof (United States/Netherlands), Jacinthe Lessard-L. (Québec), Pétrel | Roumagnac (duo, Finland/France), and Alana Riley (Québec).

These artists experiment with visual blurrings that testify to the many layers of visibility. They shift our perception, leading (or losing) it, as hidden images oscillate between disappearance and revelation. Infiltrating the various existential possibilities, the exhibition explores peculiar strategies of dissimulation and resistance that have an immediate impact on our reading of the works.

The total or partial disappearance of the subject, access to it made nearly impossible by an intentional and parasitic blurring, is a recurring strategy. It calls for experiencing works of vacillating perception and in a constant state of tension, placing the viewer in a physically and reflexively ambiguous position. The exhibition thus introduces new relationships between the spectator and the works, which are removed or partially obscured. These variations spawn a latent frustration that forces viewers to apprehend the image differently, whether it be fixed or moving.

Anouk Kruithof is producing a series based on found photo-negatives on which she applies the luminous impression of a flash. The glare from the iPhone, like an act of erasing or wiping memory, nonetheless produces hybrid, residual images. Jacinthe Lessard-L.'s work, for its part, suggests the use of a silver halide camera. She produces the elliptical and reversed image of a lens, drawing on the non-visual aspect of photography in order to examine its very nature. Of photography, Julien Discrit only preserves its luminous source. Using a spectrometer to isolate the light taken at a specific point in time and place, he creates an installation where the captured real now becomes an imageless image that refers solely to colour filtre.

In her video work, Alana Riley turns the digital camera back toward the luminous source in order to produce a liminal image at the limits of abstraction. And like Riley, Claire Hannicq generates intentionally dazzling effects that interrogate the act of photography. Both artists exploit the luminous potential of a filmed sequence or of a photograph arranged in the installation space to momentarily blur one’s sight and to instill doubt regarding the terms of the image’s existence. With a series of photographs that are available online for one time only, Hannicq also underscores the paradox of the image’s unique status and its reproducibility. Pétrel | Roumagnac's book-object places the spectator in front of an absent image. The duo proposes a textual transcription of photographs and of image transformations produced in museum conservation facilities. The writing borrows its form from theatre, restoring images through stage directions and blocking without coming into view. On the whole, the exhibition brings contradictory images into play, images meant to dissolve at the moment of their appearance, while affirming the persistance of the photographic medium despite their fleeting nature: whether through disappearances or omissions, concealment or abstraction, the materiality and fragility of the image are never far way.

Through simple manipulations, sometimes combined with new technologies, the processes at work can suggest luminous explorations of the beginnings of photography and cinema. The artists here brought together fashion sensitive, variously tenuous or more self-assured connections with these experimentations in order to return to an accidental, spontaneous, or compound use of light as primary creative material. Loin des yeux does not propose a nostalgic rapport with the medium so much as a critical though playful deflection that enables us to redefine our relationship with images and their current modes of appearance. It invites us to reinvent a contemplation before unstable and defiant images and to begin a reflection on their mass production and proliferation in today’s visual culture.

Claire Moeder wishes to thank the Conseil des arts et des lettres du Québec for its financial support.


Conseil des arts et des lettres du Québec

PRESS PACKAGE (pdf)

ART WORKS DESCRIPTION (pdf)

PRESS RELEASE (pdf)

PRESS REVIEW

DELGADO, Jérôme, 2016. « L’expérience du (in)visible », Le Devoir, April 30. Web, "http://www.ledevoir.com/culture/arts-visuels/469484/l-experience-du-in-visible".

DISCUSSION
Saturday Avril 16- 2PM (before the opening)
Julien Discrit & Anouk Kruithof
Moderated by Claire Moeder

French / English

The artists will discuss their practice as it relates to photography and their participation in artist residencies.



Julien Discrit was born in Épernay, France, in 1978. He lives and works in Paris.

Julien Discrit is a graduate of the École supérieure d’art et design, in Reims (2004). His work has been shown in both solo exhibitions (Ensapc Ygrec, Paris, 2015; Institut français de Roumanie, Bucarest, 2006; Jeu de Paume, Paris, 2005) and group shows (Centre Pompidou-Metz, 2016; Galerie Thomas Henry Ross, Montréal, 2014; Fundación Proa, Buenos Aires, 2012; La Biennale de Lyon, 2011). He took part in several collaborative projects in Europe between 2009 and 2013. Discrit was among the finalists of the 10th Fondation d’entreprise Ricard Prize (Paris, 2008).
http://www.juliendiscrit.com/

Claire Hannicq was born in Auxerre, France, in 1984. She lives and works in Besançon.

Claire Hannicq graduated from La Haute École des Arts du Rhin de Strasbourg (2010). Her work has been shown in France in both solo exhibitions (Toshiba House, Besançon, 2015; My monkey, Nancy, 2014) and group shows (Musée du temps, Besançon, 2015; Musée de l’imprimerie, Lyon, 2012). She also took part in the cross-border event Regionale (France, Switzerland, Germany, 2013 to 2015) and in several international residencies (Darling Foundry, Montréal, 2014; Ergastule, Nancy, 2014; Strasbourg/Dresde Grafikwerkstatt, Dresden, 2012).
http://www.clairehannicq.com/

Jacinthe Lessard-L. was born in Québec City. She lives and works in Montréal.

Jacinthe Lessard-L. holds an MFA from Concordia University, Montréal. Her work has been presented in solo exhibitions in Québec (Dazibao, Montréal, 2014; VU Photo, Québec City, 2011; OPTICA, Montréal, 2009) and in Canada (Truck, Calgary, 2014). She has also taken part in group shows in Europe (Museum im Kulturspeicher, Wurzbourg, 2015; Musée de L’Élysée, Lausanne, touring from 2010 to 2015; Galerie Genscher, Hambourg, 2012; Biennale de l’image, Nancy, 2008) and in Russia (Festival of Photography in Arkhangelsk, 2015; the State Russian Museum and Exhibition Centre Rosphoto, Saint-Petersburg, 2013). She has published artist books La Pataphysique de l’espace, 2015, Le Décalogue, après dieu et Kieślowski, 2013) and teaches visual arts at Collège Montmorency (Laval).
http://jacinthelessard-l.com/fr/

Anouk Kruithof was born in Dordrecht, the Netherlands, in 1981. She lives and works in New York and Brussels.

Anouk Kruithof is a graduate of the Academy of Art and Design St. Joost in Breda (2003). She had several solo exhibitions (BoetzelaerINispen, Amsterdam, 2015; Festival Images, Vevey, 2014; Künstlerhaus Bethanien, Berlin, 2009). Her work has also been part of group shows in the United States, in Europe, and in Asia (MoMA, New York, 2015; Stedelijk Museum, Amsterdam, 2014; Daegu Photo Biennale, South Korea, 2012; Festival international de mode et de photographie, Hyères, 2010; Musée d’art moderne et d’art contemporain, Liège, 2008). Kruithof won the Infinity Award, given by the International Center of Photography (New York, 2012) and Prins Bernhard Cultuurfonds’ Charlotte Köhler Prize (Amsterdam, 2014). She has published several artist books that are catalogued on her publishing platform www.stresspress.biz.
http://www.anoukkruithof.nl/

Pétrel | Roumagnac (duo)
Aurélie Pétrel was born in 1980. She lives and works in Paris and Geneva.
Vincent Roumagnac was born in 1973. He lives and works in Helsinki.

Since 2012, Aurélie Pétrel and Vincent Roumagnac have combined their respective background in photography and theatre. Their collaboration takes the form of installations and actions that have been presented in galleries (Galerie Escougnou-Cetraro, Galerie Michel Journiac, Paris, 2015), exhibition centres (Cité Internationale des Arts, Paris, 2014; Centre Photographique d’Ile-de-France and Cinéma Apollo, Pontault-Combault, 2014), and theatres (Théâtre de Vénissieux, 2015; Zodiak-Center for New Dance, Helsinki, 2013; Théâtre de l’Élysée, Lyon, 2012). They took part in a residency together at the Darling Foundry (Montréal, 2014). Pétrel currently teaches and heads the Photography Pool at the Geneva University of Art and Design. Roumagnac is pursuing a doctorate at University of the Arts, Helsinki.
https://petrelroumagnacduo.wordpress.com/

Alana Riley lives and works in Montréal.

Alana Riley holds a Masters from the University of Southern California. She presented several exhibitions in Québec (Musée régional de Rimouski, 2010; Musée d’art contemporain de Baie-St-Paul, 2008; Joyce Yahouda Gallery, Montréal, 2007, 2009, and 2010) and abroad (Division of Labour, London, 2016; Crawford Art Gallery, Cork, 2011; Shanghai World Fair – Art Contemporain de Montréal, 2010; The National Sculpture Factory, Cork, 2009). She has participated in several residencies (Opekta, Cologne, 2012; The National Sculpture Factory, Cork, 2009). In 2010, Riley received the City of Montréal’s Pierre-Ayot Prize and was among the finalists for the Flash Forward award at the Magenta Foundation (Toronto).
http://www.alanariley.com/

Claire Moeder was born in Strasbourg, France, in 1984. She lives and works in Montréal.

Claire Moeder is a writer and a curator. She is a frequent contributor to esse art + opinions and Ciel variable magazines. She is a columnist for ratsdeville and CIBL radio station, and has contributed to two publications devoted to photography, Le Mois de la Photo à Montréal (2009) and Christian Marclay: SNAP! (2010). Having taken part in curatorial residencies in the United States (International Studio & Curatorial Program, 2013) and Québec (Est-Nord-Est and La Chambre Blanche, 2015), Moeder has recently organized solo exhibitions for artists Sayeh Sarfaraz (Maison des arts de Laval, The Invisible Dog Art Center, Brooklyn, 2014) and Jacinthe Lessard-L. (Maison des arts de Laval, 2016). Her research into current uses of the image is guided by an attentive examination of invisible forms, in which contemplation of that which eschews the gaze allows her to reinvent a moving relationship with the world.
http://clairemoeder.blogspot.ca/



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Claire Hannicq, Image-fumée/Ashes (détail), 2014.
Avec l'aimable permission de l'artiste | Courtesy of the artist.

Claire Hannicq, Jacinthe Lessard-L. et Alana Riley
April 19th 2016
Discussion animée par Claire Moeder

As part of the exhibition Loin des yeux

OPTICA, centre d'art contemporain and the Darling Foundry invite you to take part in a public discussion with artists Claire Hannicq, Jacinthe Lessard-L., and Alana Riley and curator Claire Moeder. The artists will discuss their practice as it relates to photography and their participation in artist residencies.

6 PM to 8 PM
French / English

Fonderie Darling
745 Ottawa St, Montréal
Square Victoria Metro station

Fonderie Darling

Claire Moeder thanks the Darling Foundry for hosting and collaborating on this event.


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Photo : Paul Litherland

Samedis famille
from April 23rd 2016 to June 11th 2016
Interactive Tour and Creative Workshop

April 23 and June 11, 2016

1 PM to 4 PM

Interactive visits of the exhibitionLoin des yeux and creative workshop offered continuously to familles from 1 pm to 6 pm.

Discover six artists who use photography and video to explore light. After visiting the exhibition Loin des yeux, curated by Claire Moeder, visitors of all ages will be invited to take digital snapshots using a flashlight and other luminous objects.


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Jacinthe Lessard-L. Sans titre (tiré de la série Des Objectifs) (détail), 2014.
Avec l'aimable permission de l'artiste | Courtesy of the artist.

Alana Riley, Jacinthe Lessard-L. et Claire Moeder
from April 30th 2016 to May 21st 2016

April 30, May 14 and 21, 2016
3 PM

Guided tours of the exhibition Loin des yeux provide a forum for discussion among the artists, the curator, and the public. They help lend perspective to the spectator’s experience of works that call on us to reconfigure our gaze.

Claire Moeder will be present on April 30, May 14 and 21, 2016

Alana Riley will be present on April 30, 2016

Jacinthe Lessard-L. will be present on May 14, 2016


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Photo : Claire Moeder

Claire Moeder
from May 7th 2016 to June 10th 2016
Group Writing Workshop - Loin des yeux, from image to text

Group Writing Workshop
Hosted by Claire Moeder

The writing workshop invites participants to revisit their viewers’ experience of the exhibition through creative writing related to the works on display.

Saturday, May 7
2 pm - 4 pm

Friday, June 10th
5 pm - 7 pm

Maximum 10 participants
Reservation required: communications@optica.ca
Activité gratuite



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Edith Brunette et Gaëlle Choisne
May 19th 2016
Publication
Résidence de recherche jeune création OPTICA + art3 (Valence-France)
Edith Brunette [Ce qui est séparé] & Gaëlle Choisne [Grangou]

Book Launch
May 19, 2016
6pm to 8 pm
Librairie Le Port de tête
262 Mont-Royal avenue East, Montréal
Mont-Royal Metro


This co-publication presents research projects conducted in 2014 by Gaëlle Choisne in Montréal and Edith Brunette in Valence, both taking part in a joint program of research residencies initiated by the partner organizations, OPTICA and art3.

Choisne is interested in Montréal’s Haitian diaspora. As Montréal is known to house the largest number of Haitians abroad, Choisne thought it the best place to conduct a series of interviews with members of the community while carrying out extensive work in the archives of the Centre International de Documentation et d’Information Haïtienne, Caribéenne et Afro-canadienne (CIDIHCA). The artist presents a book of typical Haitian recipes that she augments with material gleaned from the country’s history.

Edith Brunette, for her part, focuses on the luxury goods industry, the Louis Vuitton and S.T. Dupont corporations in particular, in the Auvergne-Rhône-Alpes region. Examining the image of itself this industry nurtures in the media and its evolution in the era of outsourced labour and increasingly scarce craftsmanship, the artist establishes some parallels with the contemporary art world and art fairs and shows how the luxury milieu remains “separate” and generally inaccessible. 

48 p, ill. col. 20 x 20,9 cm
Texts: Edith Brunette, Gaëlle Choisne
Graphic Design: Tamzyn Berman - Atelier pastille rose
500 copies
ISBN 978-2-922085-14-3 [$20]

Consulat Général de France Région Auvergne-Rhône-Alpes art3



The publication receives support from the ministère des Relations internationales et de la Francophonie du Gouvernement du Québec, the région Auvergne-Rhône-Alpes and the Consulat général de France à Québec as part of the 64th Commission permanente de coopération franco-québécoise.


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Photo : Claire Moeder

Pétrel | Roumagnac (duo)
from June 3rd 2016 to June 11th 2016
Actions in the Gallery Space

Reactivation of Réserves #2 by Vincent Roumagnac

Stranded and doubtful, Réserves #2 is a piece that is either late and as yet unpacked or already taken down and repacked. During the exhibition, the curator regularly and rather fitfully moves the work from one room to another in the exhibition. Artist Roumagnac will appear on behalf of the duo in the last week of the exhibition to act upon the work.

PRACTICAL INFORMATION
June 2 and 11, 2016
Variable schedule during the gallery’s opening hours


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Pétrel | Roumagnac (duo), Réserves #2, 2016
Avec l’aimable permission des artistes et de la Galerie Escougnou-Cetraro | Courtesy of the artists and Galerie Escougnou-Cetraro



Pétrel | Roumagnac (duo)
June 11th 2016
Talk - Closing

OPTICA, a centre for contemporary art invites you to take part in a open discussion between curator Claire Moeder and the artist duo made up of Aurélie Pétrel and Vincent Roumagnac. The artists will exchange ideas on their work together since 2012 and on the specific productions Répétitions (La Réserve) #2 and Réserves #2, a piece that follows a “reactivation protocol” that is transformed, manipulated, and reactivated during the time of the exhibition, first by the curator and then by the artist Roumagnac.

PRACTICAL INFORMATION
4:30 pm
With Vincent Roumagnac and Aurélie Pétrel
Moderated by Claire Moeder



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Julien Discrit, Animation (détail), 2016
Image tirée de la vidéo, vidéo 4k, couleur, son. | Video still, 4k video, color, sound.
Avec l'aimable permission de l'artiste et de la Galerie Anne-Sarah Bénichou|
Courtesy of the artist and Galerie Anne-Sarah Bénichou

Julien Discrit
from September 1st 2016 to October 8th 2016
Nature. Culture.

Opening - September 1st - 5pm to 8 pm

Borrowing by turns from installation, performance, photography, and video, Julien Discrit’s work draws on the potential for dialogue between the humanities and the natural sciences and proposes art as a topos by which the two fields may interact. His art practice examines the gap between the actual experience of a territory and its visual or material representation, going on to investigate the divisions between ideas and practices, between concepts and percepts.

For his work presented at OPTICA, Discrit focuses on the Möbius strip (or band), a paradigmatic object in topology. Flourishing in the nineteenth century, the science of topology was concerned with the possibility for continuous transformation of space. The strip featured in this work bears the name of German mathematician August Ferdinand Möbius, who submitted the discovery as his own to the French Academy of Sciences in 1858. While the strip remained an object of fascination for mathematicians throughout the 19th century, it was quickly taken up by some very influential thinkers in the human and social sciences. Lacanian psychoanalysis, for instance, uses the Möbius strip as a spatialization model for the work of the unconscious. 1 As for formal dimensions of Discrit’s video, they refer to a series of drawings and woodcuts produced by M.C. Escher in the early 1960s depicting nine red ants crawling along a Möbius strip, usually placed vertically.

Following a precise contortion, the Möbius strip—which becomes a felt space in the video— reveals the cyclical relationship between the physical elaboration of a mathematical concept, its reuse in the social sciences, its potential artistic representations, and the experience it can afford as a physical phenomenon. Conjuring these various contexts simultaneously, Discrit’s proposition highlights the connections between mathematical abstraction and organic realism, the artist stating that “any conception emanating from the psyche must be based on its grounding in the body, by the sensory perception of a concrete and external object.” 2

1. See, among others, Jacques LACAN (2001 [1972]), “L’étourdit”, Autres écrits. Paris: Seuil, pp. 449-495.
2. Our translation. Fernande SAINT-MARTIN (2010), L’immersion dans l’art. Comment donner sens aux œuvres de sept artistes. Québec: Presses de l’Université de Québec, p. 4.

Author: Daniel Fiset
Daniel Fiset is an art historian and educator. He lives and works in Montreal.

Translator: Ron Ross

Julien Discrit was born in 1978 in Épernay, France. A graduate from the École supérieure d’art et design de Reims (2004), he lives and works in Paris. His works have been the subject of solo exhibitions (Ensapc Ygrec, Paris, 2015; Institut français de Roumanie, Bucarest, 2006; Jeu de Paume, Paris, 2005) and group shows (Centre Pompidou-Metz, 2016; Galerie Thomas Henry Ross, Montreal, 2014; Fundación Proa, Buenos Aires, 2012; La Biennale de Lyon, 2011).


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Simon Belleau, Film Still (détail), 2016
Impression jet d'encre, 43 x 36 cm| Inkjet print, 43 x 36 cm.
Avec l'aimable permission de l'artiste | Courtesy of the artist.

Simon Belleau
from September 1st 2016 to October 8th 2016
SOIF

Opening - September 1st - 5pm to 8 pm

The Royal moth has no mouth.
Royal Saturniid caterpillars will eat until surrender. Melting and rearranging themselves with the raw materials of their adolescence, they reappear, fuzzy and fat, with a silent face and no digestive tract. Insatiable, burdened with an impossible itinerary, they make slow triangles and moon eyes, executing the gesture of their singular potential.

And they will fuck until they die, still thirsty.

Mars lost his war and his atmosphere fled, drying up promises of a dazzling garden and leaving behind dire warnings in a red oxide dust.

The amount of available moisture in an enclosed room is recorded on every surface, and every surface is recorded in the whole of the eye. Seeing requires attention, recognition, interpretation. It also requires an image, even one not there, and at least one orifice.

At its center, Simon Belleau’s work travels in two separate but simultaneous directions; pulling focus both inward and outward. Inward, towards the core of desire, past hunger and sex, towards death; and outward, through narrative, language and the production of the image. It is here, in his careful negotiation between the image and the act of production, that Belleau’s installations become an act of transmutation: a mushroom erupts from a tactical dry bag and time becomes material; your eye travels swiftly over the steely surface of an unreflective mirror, drinking in humidity and time, turning obligatory sips of water into corrosion; the stone foot of Michelangelo’s David is suspended in motion, set in a singular film still.

In Antonioni and Wender’s film, Beyond the Clouds, the narrator, a director himself, muses, “[W]e know that behind every image revealed, there is another image more faithful to reality, and in the back of that image there is another, and yet another behind the last one, and so on, up to the true image of the absolute mysterious reality that no-one will ever see.”

Our desire for that last true image ruptures any stillness and shatters the blank mirror on the floor. It is quite the gift, to leave your gaze resting on the floor like that, with no obligation to harbor it when it labors back.

Author: Elena Ailes
Elena Ailes is interested in both that which makes her a better person and a worse person, especially in theory. In reality, she is an artist and writer living and working in Chicago.

Conseil des arts du Canada



Simon Belleau has exhibited in several solo and group exhibitions in Canada, the United States, and Europe. He is the recipient of the Jacques and Natasha Gelman Trust Scholar Award, a Project Grant from the Canada Council for the Arts, and the Contest jeune tête d’affiche from Dazibao. Currently based in Chicago, he is the co-founder of the curatorial project Jeux d’été.


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Edith Brunette, 2016

Edith Brunette
from September 1st 2016 to June 17th 2017

In partnership with OPTICA, artist Edith Brunette will undertake a documentation and art intervention project during the coming year in which she attempts to bring the worlds of art and multimedia closer together. This project falls in line with the artist’s ongoing focus on the economy of the art milieu.


Edith Brunette conjugue pratique artistique et recherche théorique. Elle s’intéresse aux discours à l’œuvre dans le champ des arts et aux forces et jeux politiques qu’ils révèlent. Ses projets récents ont porté, entre autres, sur la vidéosurveillance (Caméraroman, 2011), sur la prise de parole en période de crise sociale (Consensus, 2012) et sur l’agentivité politique des artistes (Faut-il se couper la langue?, 2013; Cuts Make the Country Better, 2015, en collaboration avec François Lemieux).


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Photo prise lors d'un atelier samedis famille (Julie Lequin) | Photo taken during a Family Saturdays Workshop (Julie Lequin) © Photo : François Côté

Les samedis famille + Journées de la culture
from September 10th 2016 to October 8th 2016
Interactive Tour and Creation of a Collaborative Installation

Take part in an interactive tour of Simon Belleau’s and Julien Discrit’s exhibitions at OPTICA. Accompanied by the centre’s mediator, you’ll discover works that elicit enigmatic questions. Here you’ll find a playful, friendly environment where family members can discuss what they’ve seen and take part in the creation of a collaborative installation.   

Let your creativity take over OPTICA—we’re counting on it!   

September 10 – 1 pm to 4 pm
October – 1 :30 pm to 3 pm – Journées de la culture
October 8 -1 pm to 4 pm  

PRACTICAL INFORMATIONS
Free

For children aged 4 and older.

For more information, please contact Daniel Fiset: mediation@optica.ca

The educational program is supported by the ministère de la Culture et des Communications and the City of Montreal as part of the Entente sur le développement culturel de Montréal.



Entente sur le développement




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Knut Åsdam, Egress, 2013.
Image tirée de la vidéo | Video still.
41 min, couleur, son | 41 min, color, sound.
Avec l'aimable permission de l'artiste | Courtesy of the artist.

Knut Åsdam
from October 19th 2016 to January 14th 2017
Biennale de Montréal - Le Grand Balcon

Exhibition of the Norwegian artist Knut Åsdam presented in collaboration with la Biennale de Montréal for BNLMTL 2016, Le Grand Balcon

Curator: Philippe Pirotte

More information to come shortly



Biennale de Montréal