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Exibitions 2013

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Index of artists, authors and curators

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OPTICA Fonds (Concordia University Archives)

Guidebooks to help in consulting the archives

Electronic Reproduction Fees

© Manuela Lalic, Happy End, 2012. Chariot usagé, objets décoratifs en plastique | Used caddy, decorative plastic objects. 90 x 75 x 65 cm. Avec l'aimable permission de l'artiste | Courtesy of the artist.

Manuela Lalic
From January 19th 2013 to February 23rd 2013
Activisme timide

Manuela Lalic’s installations present themselves as spaces of excess, marked by a practice of overabundance that nonetheless conceals minimalist concerns. Without saturating the spaces they invest (but contaminating them considerably), these interventions establish a series of associations that borrow elements drawn from the inexhaustible font of consumer society.

Generally stripped of their initial function, the sundry elements the artist reactivates seem to be chosen for their formal qualities and the suggestive power of their seductive and unexpected combinations. This “shock of the heterogeneous”(1) is symptomatic of an approach that aims to reveal the poetic potential of everyday reality. While critical, the organic and quasi scientific micro-actions the artist brings into play offer various narratives punctuated by a hierarchical arrangement of spatial elements and a mock dichotomy between nature and culture.

Her polymorphic production reveals the artist’s propensity for excess, embodied in the transitory chaos of a functionalist breakdown. As with the arrangement of motifs, it is also suggested by the unstable and formless volumes that recur in the artist’s installations. Twisted paperclips, present in some of her works since 1998, also figure in the one shown at Optica, where they are scattered over a denuded area. For Lalic, this shapeless mass acts upon the ambivalent observation of time lost, as suggested by the repetitive and mechanical gesture of its construction. In this failed action, she sees a metaphor for collective momentum concentrated in solitary obstinacy. This process recalls the principle of loss, “which must be as great as possible for the activity to gain its true meaning.”(2) As unproductive as the gesture may seem, the energy thus expended testifies to a desire for commitment that averts inertia. Comparable to an ice floe, the surface to which the hotchpotch structure clings grows organically while accentuating the idleness.

Indubitably ironic, Lalic’s “timid activism” turns out to be the caricature of a glacial landscape confronted with an array of oddities, all of it masking a critique of a society that constantly tends to prefabricate and standardize every aspect of our existence.

Alexandre Poulin

1. Jacques RancieÌ€re, Malaise dans l’esthétique (Paris, Galilée: 2004).
2. Georges Bataille, La part maudite [1967] précédée de La notion de dépense [1949] (Paris: Les éditions de minuit, 2011), 24.

The artist thanks the Conseil des arts et des lettres du Québec.

"Activisme timide" is briefly mentioned and recommended in an article by Nicolas Mavrikakis, Pistes hivernales ( Voir, January 10th 2013).

Manuela Lalic's "Activisme timide" exhibition, presented at OPTICA from January 19th to February 23th, is the focus of a several published articles one by Jérôme Delgado, Fragiles monuments de petits riens (Le Devoir, Saturday, February 9 2013), by Daniella E. Sanader, Manuela Lalic : Activisme timide (C Magazine, numéro 118, été 2013), by Catherine Martel, Dialogue créatif avec Manuela Lalic (Querelles, July 10th 2013) et de Cynthia Girard, Patate indécise dans l'atelier de Manuela Lalic (Espace Sculpture, no. 105, Fall 2013). It is also possible to listen to the radio interview with Chantal l'Heureux broadcasted during the In situ radio show, aired on CIBL, February 17th. Listen to Manuela Lalic's interview (In situ, February 17th 2013).

Originally from France, Manuela Lalic obtained an MFA from Université du Québec à Montréal (2000). Powerhouse Award finalist in 2012, she was awarded the Pratt and Whitney Canada Prize in 2009 and has presented her work in Canada, the United States, France, Germany, Lebanon, Japan, China and, more recently, Serbia.

© Marjolaine Bourdua, Sans titre (Les béatitudes), 2012. Sculpture murale, pâte polymère, armature de métal | Wall sculpture, polymer clay, metal frame. 48 x 42 x 6 cm. Avec l'aimable permission de l’artiste | Courtesy of the artist. Photo : David Jacques.

Marjolaine Bourdua
From January 19th 2013 to February 23rd 2013

Marjolaine Bourdua’s work centres on the medium of sound, which she combines with her production of environments, sculptures, and drawings. Emerging from this is a universe constructed from a repertoire of cultural references and pop culture; sculpted or drawn, the forms are never wholly articulated. Through variations on a common motif in entertainment—the stage—her works come into play by means of breakages and simulacra. They place us in situations of expectation, with no indication of a timeframe, of even whether the performance has ended or is about to start. While Bourdua had dealt separately with sound and formal materiality in her prior work, her current practice is focused on their fusion within a single sculpture.

In La société du spectacle, Guy Debord describes the fetishism of commodities and its spectacular display as symptomatic of the capitalist influence on daily life. The simple, summary nature of Bourdua’s work, replete with references to empty theatrical space, seems to echo this political thought by proposing an anti-spectacular event on the fringes of the market and mass consumption. Reinforcing this proposition is the absence of spectacle and the intentional banality and scantness of the decor, creating a state of latency that characterizes much of the artist’s production. Kept at a distance, a scene invites spectators to fill the vacuum according to their own interpretations and cultural references.

As for the looped soundtrack, it establishes a complex dialogue with the physical components of the sculpture. Mixing various phonographic source—sound samples, vocal explorations, melodic tunes—the sounds, interrupted as soon as they are triggered, help create a referential and perceptual system at once incomplete and constantly contradicted. While consumer society relies on the stimulation and construction of desires for possession, Bourdua invites us to reflect on the metaphorical import of an object emitting a singular language diametrically opposed to the superficiality of the said “society of the spectacle.”

Julie Alary Lavallée

The artist thanks the Canada Council for the Arts and Raphaël Huppé-Alvarez.

Come meet Marjolaine Bourdua, Saturday, February 23rd at 2 pm!

Marjolaine Bourdua's sound sculpture, presented at OPTICA from January 19 to February 23, is the focus of a short article by Karine Bouchard, L'inquiétante étrangeté d'une présence sonore (Webzine, Vie des arts, Wednesday, February 20 2013).

Born in 1983, Marjorlaine Bourdua holds a BFA in visual and media arts from Université du Québec aÌ€ Montréal (2007) and a master degree in visual arts from Villa Arson, France (2008). She has curated shows and taken part in several exhibitions, both here and abroad: Galerie Frédéric Giroux (Paris), Centre d’art et diffusion Clark, Circa, Galerie Verticale, Sporobole, and the Musée d’art contemporain des Laurentides. This is her first solo exhibition in Montreal. The recipient of a grant from the Conseil des arts et des lettres du Québec (2011) and of project funding from the Canada Council for the Arts (2012), she lives and works in Montreal.


Date limite | Deadline
February 28th 2013
28 février : appel à projets (programmation 2014)

Click on the following link for more information on our annual call for proposals.

© Noémi McComber, Prise d'assaut, 2011. Image tirée d'une vidéo | Video still. 8 min 50 sec. Avec l'aimable permission de l’artiste | Courtesy of the artist.

Noémi McComber
From March 16th 2013 to April 20th 2013
Mise en échec

If the works Noémi McComber last presented in Quebec seemed to indicate a marked interest in public space (La peau du bronze, Maison des arts de Laval; Nouveaux drapeaux pour vieux monuments, Dare Dare; Déploiement en règle, Viva! Art Action 2011), the recent videos making up Mise en échec reconnect with the artist’s prior performative practice, reading no less political themes into the private sphere.

True to her feminist approach, the performance videos in which McComber stages herself raise questions about women’s confinement in a private and undeniably codified space, a highly symbolic space that she ineluctably defies and transgresses by exacerbating the material and fictional constraints. She thus returns to a methodology that recalls her public interventions, where subversion becomes an inherent condition of an approach that unfolds in a universe of risk, and we are led onto the moving and unpredictable sands of an exploration of society’s prescribed limits.

In high-strung playfulness, the series presented at Optica expresses a mood of resistance, which the artist renders through acts of aggression, whether sustained or committed. As veritable fictions of a power struggle, these actions induce a form of narrative that assumes a constant rivalry between the artist and an unknown Other. Dissenting and manifestly exasperated, McComber leads the spectator-witness into an uncomfortable voyeurism, as she seeks to create a sense of catharsis by way of repressed and suppressed emotional experiences.

Mise en échec, polysemous though it is, certainly prompts a reflection on the role of women and, more broadly, of any individual in the social sphere. The aesthetic strategies employed, however, with their emphasis on negation and violence, lead us to consider the power relationships the artist engages as a negotiation with the materials. It is all conceived from the prospect of a breach that spurs the subject toward emancipation: a kind of defiance exploited for its liberating quality, a fundamental resistance.

Alexandre Poulin

The artist thanks Helena Martin Franco, Stéphanie Chabot, Stéphanie Bertrand, Josh Worman and le Centre des arts actuels Skol.


On Saturday, April 20th, Noémi McComber will be at OPTICA at 2pm. Come and meet her!

Noémi McComber's "Mise en échec" is the focus of a short article by Maude Lefebvre, Mise en échec de Noémi McComber à OPTICA (The Belgo Report, March 2013). It is also discussed in an interview Noémi McComber gave to Bettina Forget for the radio show No More Radio, aired April 14th, 2013.

Artwork on sale at OPTICA, until April 20th
Noémi McComber, Prise d'assaut, 2011 (1/3)
Inkjet print
Hahnemühle Photo Rag :matte finish, 100% cotton, acid-free, thickness 308 gsm.
43 x 56 cm. (paper), 45 x 58 cm. (framed)
Signed on the back
1 070$ / 1 200$ (framed)

Having obtained an MFA at Chelsea College of Art (London), Noémi McComber has presented her work in Canada, in Columbia, and in Europe (Finland, Greece, Russia, among others). She also engages in a curatorial practice with the Araignée collective and has been an active member of the feminist art centre La Centrale (Montreal) since 2007.

© Hyang Cho, Trial II, 2012. Crayon graphite sur rouleau de papier | Graphite pencil on paper roll. 128,27 x 1 188 cm. Avec l'aimable permission de l’artiste | Courtesy of the artist.

Hyang Cho
From March 16th 2013 to April 20th 2013

Hyang Cho’s conceptual work is essentially concerned with the performative rendering of language: “I use language as a primary medium to question the contradictions of the various systems governing the society in which I live, from my position as a ‘fringe observer.’” Cho develops exacting working protocols in order to then transcribe major works by philosophers (Baruch Spinoza in The Rest is Silence, 2011), musicians (Johann Sebastien Bach in Three Variations of Two-Part Inventions, 2009), and writers (Mary Shelly in Frankenstein, 2009). Broaching disciplines and languages that are not her own, the artist questions notions of authority. Procès is a new body of work closely tied to Franz Kafka’s Der Process (1925).

In Trial I, Cho faithfully reproduces 26 pages from the original German manuscript—including all the deletions and ink stains—preserved in the Literaturmuseum der Moderne (Marbach am Neckar, Germany). Taken from chapter 9—“Im Dom” (“In the Cathedral”)—excerpts available on the Web were downloaded, printed, and then meticulously traced in pencil in three (nearly) identical copies. Placed in counter-chronological order and interspersed with blank sheets of paper, the resulting “drawings” are compiled into three unbound books and arranged side by side on a shelf. While such a display suggests archival and museum presentational standards, spectators here may handle the objects.

Trial II rather figures in a sculptural mode; in both its creative process and in its reception, it solicits the body. On an 11-meter-long roll of Stonehenge paper placed on a floor-level base, the artist attempts to transcribe the English version of Kafka’s work at the accelerated pace of an audio book—an activity tirelessly repeated until all the space has been filled. The resulting text, incomplete and practically illegible, opens onto a semiotic approach to writing: reduced to a surface covered in signs, the work refers us to the materiality and to the limits of the act of writing. In the end, Cho reveals the artist’s and the spectator’s mutual inability to intelligibly render all the stages of the mediation, along with the divergences between original, copy, and simulacrum (Deleuze), and all that is “lost in translation.”

Geneviève Bédard

The artist thanks the Ontario Arts Council.

After completing a bachelor’s in history at Sogang University (Seoul, South Korea, 1998), Hyang Cho commenced studies in fine arts: she holds a bachelors’ from the Alberta College of Art and Design (2007) and a master’s from the University of Guelph (2009). Although her work has been shown in solo and group exhibitions throughout Canada since 2006, Procès is her first project in Quebec. Represented by the Georgia Scherman Projects (Toronto), Hyang Cho lives and works in Guelph, Ontario.

© Rodney LaTourelle, Winnipeg Supply, 2012. Acier, bois, peinture nacrée | Steel , wood, pearlescent paint. 25 m2. Avec l'aimable autorisation de la Winnipeg Art Gallery | Courtesy of the Winnipeg Art Gallery.
Photo : Elaine Stocki.

Rodney LaTourelle
From May 11th 2013 to June 15th 2013

Rodney LaTourelle’s practice, a combination of architecture and visual art, explores affective relationships between colour and various spatial arrangements. Three-dimensional painted and custom-made environments establish an unfettered, geometric visual language the structured aspect of which changes with the spectator’s experience. Dealing with notions related to metaphysics and phenomenology that activate perceptual effects produced by the body and mind, his work is conceived around immersive installations built at various scales. He is currently focused on establishing specific relationships between colour, space, and the body, work that he is pursuing in the space at OPTICA.

Drawing on art history, LaTourelle actualizes various art movements, from the neoplasticism of De Stijl to Hard-edge painting. The outcome is a formal combination connected with architecture that allows him to cast this strict treatment of colour in a mode of contingency and unpredictability. Taking both natural and artificial light into account, these installations augment their perceptual potential by deploying an array of visual and chromatic affects. They transcend the generic sculptural experimentations of minimalism to engage new affective and physical connections, sometimes through the use of mobile structural elements.

And though the space within these installations is empty, the place embodies a dynamic and sometimes labyrinthine receptacle built of many points of entry and exit. Understood as space at once natural and fabricated—a trompe l’oeil that helps “activate colour”—the work gives a predominant role to individual perception. According to Anne-Marie Ninacs, LaTourelle’s work appears to be less interested “in exploring something—an architectural feature, a colour—than in exploration itself as a fundamental means for apprehending the world.”(1) In light of such considerations, these structures that temporarily alter our senses harbour within themselves the complexity of the world.

Julie Alary Lavallée

(1) Anne-Marie Ninacs, Caught in the Act: The Viewer as Performer, exhibition catalogue, October 17, 2008 – February 15, 2009 (National Gallery of Canada, 2008).

The artist thanks Lisa Ames, Ron & Ardis LaTourelle, Louise Whittöft, the Winnipeg Art Gallery (Helen Delacretaz, Chief Curator and Curator, Decorative Arts), l'Atelier Clark, the Manitoba Arts Council, the Canada Council for the Arts and Panolite.

Atelier Clark Panolite

Rodney LaTourelle's Chromakenón is briefly mentionned in Serge Fisette editorial The Adventure Continues... ( ESPACE sculpture, #106, winter 2013-2014).

Born in Winnipeg in 1965, Rodney LaTourelle is an artist, an architect, and a critic. He completed his undergraduate studies in architecture (environmental section) at the University of Manitoba in 1988, and went on to complete a master’s program in landscape architecture in 1996 at the same university. Gathering professional experience as a colour designer, landscape architect, curator, and researcher, he recently co-produced a public sculpture commissioned by the city of the Berlin. His work has been shown several times in North America, including at the National Gallery of Canada and the Cité de l’Énergie, and in Europe, at the Berlin Program Gallery and the SKC Belgrade, in Serbia. He lives and works in Berlin.

© Richard Deschênes, Les bêtes et le sexe, 2011. Collage sur papier journal | Collage on newsprint. 19 x 25 cm. Avec l'aimable permission de l’artiste | Courtesy of the artist. Photo : Guy L’heureux.

Richard Deschênes
From May 11th 2013 to June 15th 2013
De la piscine aux verts

Richard Deschênes’s work essentially examines the process of (de)forming, reproducing, and perceiving the image. He proposes what he loosely calls “imaginary models”: often using existing material such as reference documents and news clippings that he appropriates and recontextualizes, the artist systematically blurs the spectator’s visual and cognitive points of reference. His practice eschews foregone conclusions, whether they be formal—he employs painting, drawing, collage—or thematic—his work shifts between genre art and landscape, figuration and abstraction.

“De la piscine aux verts” comprises around fifteen works drawn from a series begun in 2009 and to which he devoted a residency at the Cité Internationale des arts in Paris in 2011. Constructed from images found in various newspapers, they question the very nature of journalistic photography, of which Deschênes subverts the documentary function, “freeing it of its referential chains”(1) by erasing any trace of the originally captured action, a process of substracting the information through the addition of thin layers of newsprint meticulously chosen, cut, arranged, and pasted. This simultaneous process of camouflaging the central subject and of revealing/creating the background that takes over the whole picture comes to an end with the exhaustion of the available raw material, drawn from various copies of the same photograph. Yet, as opposed to conventional collage, the procedure isn’t obvious at first: only the faintly visible scars of these subtle gestures tell of the materiality of the artist’s surgical interventions upon the real (instead of the virtual, a territory favoured by so many of his contemporaries).

The resulting images are seductive and disturbing: fragility, absence, contemplation, silence... They sometimes seem strangely familiar, marked by the uncanny (the Unheimlich). Instinctively, the eye searches these monochromes, landscapes, “psychological loci” (« lieux psychologiques », as the artist deftly calls them), looking in vain for what the lens had focused on. Some hints of the original pattern persist, however, in terms both of display and of narration: the occluded figures are recalled in the titles of the works, which echo the captions of the initial snapshots, breathing new poetic life into now visually unmoored descriptions.

(1) Bernard Schütze, « Images en transit », Richard Deschênes – Transfert, EXPRESSION, Centre d’exposition de Saint-Hyacinthe, 2012.

The artist thanks the Canada Council for the Arts.


SCHÃœTZE, Bernard. «Richard Deschênes, De la piscine aux verts», published in Ciel variable, no. 96, « Performer pour l'image », Montréal, 2014.

After a bachelor’s in visual arts from Concordia University (1985), Richard Deschênes studied at the Pratt Graphics Center in New York (1985-86). The recipient of several grants and residencies, he has presented his work in a number of solo and group shows in Canada, Mexico, China, Spain, Austria, the United States, France, and Japan. He lives and works in Montreal.

© Elina Brotherus, Le Chemin, 2011, de la série | from the series 12 ans après (1999-2012). Épreuve à jet d’encre à pigments sur papier chiffon baryté beaux-arts, 90 x 120 cm. | Pigment ink print on Fine Art Baryta rag paper, 90 x 120 cm. Avec l'aimable autorisation de l'artiste | Courtesy of the artist.

Elina Brotherus
From September 7th 2013 to October 17th 2013
Le Mois de la Photo à Montréal :
Drone, L'image automatisée

*The exhibition is extended until October 17th*
For its 13th edition, Le Mois de la Photo à Montréal has invited renowned British curator Paul Wombell to develop an exhibition program around his theme, Drone: The Automated Image. From September 5 to October 5, 2013, 25 exhibitions deployed in different sites will transform the city into a vast yet coherent photography exhibition. This event will chart the changing relationship between the camera and the human body.

There are two recurring subjects in Elina Brotherus’s video Artists at Work (2010) and her photographic series 12 ans après (1999–2012): the artist herself and the camera. Given her long-time interest in the representation of artist as model, Brotherus features predominantly in virtually all of her photographs and videos. The self-portraits picture her in expansive landscapes or in claustrophobic rooms, portraying a range of different emotions, from melancholy to anger, from perplexity to serenity. The other subject is the camera. Sometimes the cable release can be seen winding along the floor toward her hands, leaving the camera off image. In more recent works, the camera is present in her photographs, sharing the space with the artist.

For its 13th edition, Le Mois de La Photo à Montréal, in collaboration with OPTICA, a centre for contemporary art, will feature 12 ans après by Elina Brotherus.

Source :: Le Mois de la Photo à Montréal :: Press relations
François Bernier
P 1 514 390 0383

Le Mois de la Photo

Guided tour by Anthony Burnham on Saturday, September 28th at 3pm (in French only). Free activity organised for the Journées de la culture.

Les Journées de la culture

Elina Brotherus' work is mentioned in a published article by Éric Clément Le Mois de la Photo - Quand l'appareil photo n'a plus besoin de l'homme (La Presse, Saturday, August 18 2013).The exhibition is the focus of a published article by Marie-Ève Charron, Celle qui est vue, celle qui regarde (Le Devoir, September 14-15 2013, p. E10).

Interview with Paul Wombell, Mois de la Photo à Montréal guest curator, on the Lèche-Vitrine blog.

Born in 1972 in Helsinki, Elina Brotherus divides her time between France and Finland, where she obtained an MA in photography at the University of Art and Design Helsinki in 2000. Her works have been in solo and group exhibitions around the world, including at the Photographers’ Gallery in London (2013); the Lianzhou Photography Festival (2012); the Musée d’art moderne et d’art contemporain in Liège (2012); the Louisiana Museum of Modern Art in Humlebæk, Denmark (2012); BOZAR, Centre for Fine Art in Brussels (2012); the Sørlandets Kunstmuseum in Kristiansand, Norway (2011); the Bloomberg Space in London (2010); the Finnish Museum of Photography in Helsinki (2009); and the National Art Center in Tokyo (2008). She has received numerous grants and awards and her works are in major public collections. Brotherus is represented by gb agency in Paris, The Wapping Project Bankside in London, and Martin Asbæk Gallery in Copenhagen.


Paul Wombell
From September 7th 2013 to October 12th 2013
La publication Drone : l'image automatisée
en vente chez OPTICA

Drone: The Automated Image is the official publication of the 13th edition of Le Mois de la Photo à Montréal. More than an exhibition catalogue, this reference book is lavishly illustrated with the works from the 25 exhibitions of the event, and includes essays by leading commentators on contemporary art and technology. For the first time, Le Mois de la Photo à Montréal co-produced its publication with Kerber Verlag, a renowned German publisher of high-quality art books.

The camera is not a tool just waiting to be picked up and used, but a sophisticated instrument with its own laws, its own ways of working, and even its own life. With the incorporation of automatic devices – and, more recently, computers – the camera has its own agency. It can see what is invisible to the human eye; it can work continuously; it can travel to places that humans would find impossible or dangerous to visit; it can enter the human body and travel into outer space. It has been taken for granted that the photographic image is the most important aspect of the photographic process. However, the artists and writers in Drone: The Automated Image suggest something completely different. At the centre of their concerns is the changing relationship between the camera and the body and how the camera can function with little human involvement. As humans rely more and more on technology to extend vision, the camera takes on behaviours associated with the body. From CCTV to Google Street View, from remote cameras to robots, and from photo booths to drones, cameras are remaking the conditions of human existence.

PAUL WOMBELL (ed.) – Guest curator of Le Mois de la Photo à Montréal 2013, independent curator and writer on photography, London, U.K.

JORDAN CRANDALL – Artist, theorist, performer, professor in the Visual Arts Department, University of California, San Diego

FRANCINE DAGENAIS – Author, theoretician, art historian, professor in the Visual Arts Department, Université Laval, Québec City

GEORGE LEGRADY – Artist, professor in Media Arts & Technology, University of California, Santa Barbara

MELISSA MILES – Senior lecturer in the Faculty of Art, Design and Architecture, Monash University, Melbourne

JOANNA ZYLINSKA – Artist, professor of new media and communications, Goldsmiths, University of London, U.K.

Price: $40.00 ($42.00 TPS incl.)
Format: 232 p. (162 colour ill., 35 b&w ill.), Hard cover, 16.8 x 24 cm
Release date: Sept 2013
Book launch: Saturday, Sept. 7, 2013 at 5 pm, Formats bookstore, 2 Ste-Catherine St. E., suite 302
Languages [2 versions] :
English: ISBN 978-3-86678-803-9
French: ISBN 978-3-86678-832-9
Publishers: Le Mois de la Photo à Montréal et Kerber Verlag
Graphic design: Dominique Mousseau
Distribution: Canada (in English by D.A.P. / in French by Édipresse) and abroad


Appel à projets / Call for proposals
September 18th 2013

Because of the moving, OPTICA will not call for projects in 2014.For more information, please contact us by email at info[a]optica.ca or follow us on FACEBOOK.

© Mathieu Latulippe, Pavillon de l'Uchronie, Exposition Universelle de Nulle Part, 2010. Matériaux mixtes | Mixed media. 120 x 110 x 180 cm. Avec l'aimable autorisation de l'artiste | Courtesy of the artist. Photo : Louis-Philippe Côté.

Mathieu Latulippe, Laurent Pernel
September 18th 2013
Publication à venir : 3e cycle de résidences Montréal/Valence

This fall, OPTICA and art3 (Valence), host organizations of the research residency exchange program, will begin production of the publication for the third series in the program. The new catalogue, which follows upon the publications Résidence de recherche jeune création Montréal, Valence (France): David Dupont, Diane Morin (2009) and Résidence de recherche jeune création Montréal, Valence (France): Anne-Lise Seusse, Olivia Boudreau (2011), will explore the practices of Laurent Pernel (Lyon, 2011 recipient) and Mathieu Latulippe (Montreal, 2012 recipient).

Publication of this third edition is set for 2014. From its inception, the research residency has benefited from the support of the Ministère des Relations internationales, de la Francophonie et du Commerce extérieur du Québec, of Région Rhône-Alpes, and of the Consulat général de France à Québec.

Laurent Pernel
© Laurent Pernel, images from the booklet Vendredi 29 octobre 2011. 9:00/13:00, 2011.


Grande vente de déménagement
From December 10th 2013 to March 1st 2014

OPTICA is selling part of its furniture and various office items! For the detailed list, please check out our CATALOGUE.

For more information, please contact us by email info@optica.ca or just come and shop at OPTICA!