DAVID BALZER
Thursday, September 25, 2014, 6pm
Le jeudi 25 septembre à 18h00
Concordia University Fine ArtsVA Building 1141395 René Lévesque Blvd West, MontrealL’université de Concordia, 1395 René Lévesque Ouest, Montréal
http://goo.gl/maps/L9uSV
www.finearts.concordia.ca 
Admission for all Conversations in Contemporary Art events is FREE and open to the general public.Seating is first come, first serve.  Doors open at 5:30 p.m. The lectures will be held in English.
Tous les événements du programme Conversation in Contemporary Art sont gratuits et ouverts au public. Les sièges sont assignés selon le principe du premier arrivé, premier servi. Les portes ouvrent à 17h30. Les conférences se dérouleront en anglais.
* * * * * 
David Balzer is a Winnipeg-born, Toronto-based author, editor and teacher. He has written about art, film and culture for The Believer, the Globe and Mail, Modern Painters, Hazlitt, Artforum.com and others. His first book, a collection of short fiction entitled Contrivances, was released in 2012, and featured illustrations by Marcel Dzama, Janet Werner, Margaux Williamson and others. His new book is Curationism: How Curating Took Over the Art World and Everything Else. He is currently associate editor at Canadian Art magazine.
Everyone, it seems, is now a curator. In our daily lives, we engage with any number of digital entities that require us to pick and choose, creating playlists and “likes” that are carried over, algorithmically, into future picking and choosing. Boutiques and chain stores alike tout curated aesthetics, for which products, employees and store designs are tailor-made and “experiential.” In the art world, since the 1990s, curators have shaped visions of large institutional shows and international biennials, acting powerfully as arbiters, tastemakers, advisors and ambassadors.
David Balzer’s new book Curationism looks at the origins and nature of this mania for curating, drawing distinct parallels between the art world and popular culture. Where did curating come from? How can it be related to our understanding of the avant-garde, of value-making and of work? Have we reached a “curationist” saturation point, in which contemporary curating’s many paradoxes and paranoias have led its own undoing?
* * * * * 
Aujourd’hui, il semble que tout le monde travaille comme conservateur. Chaque jour, nous utilisons une multitude d’outils numériques; ils nous obligent à faire des choix en créant des sélections et des préférences, qui sont transformées, de manière algorithmique, en choix futurs. Les boutiques, tout comme les magasins à succursales, vendent avec insistance une esthétique tout organisée où produits, employés et décoration semblent faits sur mesure et « expérientiels ». Dans le monde de l’art, depuis les années 1990, les conservateurs ont façonné la vision des grandes expositions institutionnelles et des biennales internationales. Ils incarnent les rôles de puissants arbitres, de créateurs de goûts, de conseillers et d’ambassadeurs.
Dans son dernier livre, David Balzer se penche sur les origines et la nature de la folie de la conservation, et dresse des parallèles distincts entre le monde de l’art et la culture populaire. D’où vient cette pratique? Comment l’associer à notre compréhension de l’avant-garde, du travail et de la création de valeur? Avons-nous atteint un point de saturation? Les nombreux paradoxes et paranoïas reliés à la notion moderne de conservation ont-ils mené la pratique à sa propre perte?

DAVID BALZER

Thursday, September 25, 2014, 6pm

Le jeudi 25 septembre à 18h00

Concordia University Fine Arts
VA Building 114
1395 René Lévesque Blvd West, Montreal
L’université de Concordia, 1395 René Lévesque Ouest, Montréal

http://goo.gl/maps/L9uSV

www.finearts.concordia.ca 

Admission for all Conversations in Contemporary Art events is FREE and open to the general public.Seating is first come, first serve.  Doors open at 5:30 p.m. The lectures will be held in English.

Tous les événements du programme Conversation in Contemporary Art sont gratuits et ouverts au public. Les sièges sont assignés selon le principe du premier arrivé, premier servi. Les portes ouvrent à 17h30. Les conférences se dérouleront en anglais.

* * * * * 

David Balzer is a Winnipeg-born, Toronto-based author, editor and teacher. He has written about art, film and culture for The Believer, the Globe and Mail, Modern Painters, Hazlitt, Artforum.com and others. His first book, a collection of short fiction entitled Contrivances, was released in 2012, and featured illustrations by Marcel Dzama, Janet Werner, Margaux Williamson and others. His new book is Curationism: How Curating Took Over the Art World and Everything Else. He is currently associate editor at Canadian Art magazine.

Everyone, it seems, is now a curator. In our daily lives, we engage with any number of digital entities that require us to pick and choose, creating playlists and “likes” that are carried over, algorithmically, into future picking and choosing. Boutiques and chain stores alike tout curated aesthetics, for which products, employees and store designs are tailor-made and “experiential.” In the art world, since the 1990s, curators have shaped visions of large institutional shows and international biennials, acting powerfully as arbiters, tastemakers, advisors and ambassadors.

David Balzer’s new book Curationism looks at the origins and nature of this mania for curating, drawing distinct parallels between the art world and popular culture. Where did curating come from? How can it be related to our understanding of the avant-garde, of value-making and of work? Have we reached a “curationist” saturation point, in which contemporary curating’s many paradoxes and paranoias have led its own undoing?

* * * * * 

Aujourd’hui, il semble que tout le monde travaille comme conservateur. Chaque jour, nous utilisons une multitude d’outils numériques; ils nous obligent à faire des choix en créant des sélections et des préférences, qui sont transformées, de manière algorithmique, en choix futurs. Les boutiques, tout comme les magasins à succursales, vendent avec insistance une esthétique tout organisée où produits, employés et décoration semblent faits sur mesure et « expérientiels ». Dans le monde de l’art, depuis les années 1990, les conservateurs ont façonné la vision des grandes expositions institutionnelles et des biennales internationales. Ils incarnent les rôles de puissants arbitres, de créateurs de goûts, de conseillers et d’ambassadeurs.

Dans son dernier livre, David Balzer se penche sur les origines et la nature de la folie de la conservation, et dresse des parallèles distincts entre le monde de l’art et la culture populaire. D’où vient cette pratique? Comment l’associer à notre compréhension de l’avant-garde, du travail et de la création de valeur? Avons-nous atteint un point de saturation? Les nombreux paradoxes et paranoïas reliés à la notion moderne de conservation ont-ils mené la pratique à sa propre perte?

SUPPORT THE MOONA day-long site-specific installation of paintings by Aaron ZakCome and see…
Sunday, September 14All dayRooftop of abandoned building at Parc & Van Horne Stairwell access via southeast corner of building
aaron-zak.com

SUPPORT THE MOON
A day-long site-specific installation of paintings by Aaron Zak
Come and see…

Sunday, September 14
All day
Rooftop of abandoned building at Parc & Van Horne
Stairwell access via southeast corner of building

aaron-zak.com

SUPPORT THE MOONA day-long site-specific installation of paintings by Aaron ZakCome and see…
Sunday, September 14All dayRooftop of abandoned building at Parc & Van Horne 
Stairwell access via southeast corner of building

More information at aaron-zak.com

SUPPORT THE MOON
A day-long site-specific installation of paintings by Aaron Zak
Come and see…

Sunday, September 14
All day
Rooftop of abandoned building at Parc & Van Horne 

Stairwell access via southeast corner of building
More information at aaron-zak.com
Thursday, September 11, 2014, 6pm
Le jeudi 11 septembre à 18h00
Concordia University Fine ArtsVA Building 1141395 René Lévesque Blvd West, MontrealL’université de Concordia, 1395 René Lévesque Ouest, Montréal
http://goo.gl/maps/L9uSV
www.finearts.concordia.ca 
Admission for all Conversations in Contemporary Art events is FREE and open to the general public.Seating is first come, first serve.  Doors open at 5:30 p.m. The lectures will be held in English.
Tous les événements du programme Conversation in Contemporary Art sont gratuits et ouverts au public. Les sièges sont assignés selon le principe du premier arrivé, premier servi. Les portes ouvrent à 17h30. Les conférences se dérouleront en anglais.
* * * * * 
Nadia Myre is a visual artist from Québec and an Algonquin member of the Kitigan Zibi Anishnabeg. She received a degree in Fine Arts from the Emily Carr School of Art in 1997 and a Master of Fine Arts from Concordia University in Montréal in 2002. Her work has been widely exhibited, with solo shows in New York, Ottawa, Winnipeg, Montréal, Kingston and Vancouver. In 2011, Éditions Art Mûr published En[counter]s, a bilingual monograph surveying Myre’s work, in collaboration with the Carleton University Art Gallery and the Musée d’art contemporain des Laurentides. Myre participated in the prestigious Sydney Biennial in 2012 and was given a prominent commission for Sakahàn: International Indigenous Art at the National Gallery of Canada in 2013. Her work appears in numerous public collections including the Canada Council Art Bank, Canadian Museum of Civilization, Musée des beaux-arts de Montréal, National Gallery of Canada, Smithsonian Institute and the National Museum of the American Indian. Presently, Myre is a finalist for the 2014 Sobey Art Award.
Née en 1974 à Montréal, Nadia Myre est une artiste algonquine multidisciplinaire qui expose sa production localement, nationalement et internationalement. Diplômée du Emily Carr Institute of Art + Design, elle complète une maîtrise en beaux-arts avec spécialisation en sculpture à l’Université Concordia en 2000. C’est en 1997 que Myre et sa mère retrouvent leur statut de membre de la réserve anishnabeg Kitigan Zibi (Maniwaki, Québec) – statut initialement perdu lorsque la mère de l’artiste, devenue orpheline, fut adoptée hors de la réserve. Le recouvrement de ce statut bouleverse la production artistique de Myre, qui se transforme alors en une quête identitaire, en une exploration de son identité algonquine, de son hybridité culturelle. C’est dans le cadre de ce long processus qu’elle s’est entre autres initiée aux traditions artisanales de ses ancêtres – notamment à la broderie et au tissage de perles de verre et à la fabrication de canots en écorce de bouleau – pour mieux les intégrer à son art.
http://artmur.com/artistes/nadia-myre/

Thursday, September 11, 2014, 6pm

Le jeudi 11 septembre à 18h00

Concordia University Fine Arts
VA Building 114
1395 René Lévesque Blvd West, Montreal
L’université de Concordia, 1395 René Lévesque Ouest, Montréal

http://goo.gl/maps/L9uSV

www.finearts.concordia.ca 

Admission for all Conversations in Contemporary Art events is FREE and open to the general public.Seating is first come, first serve.  Doors open at 5:30 p.m. The lectures will be held in English.

Tous les événements du programme Conversation in Contemporary Art sont gratuits et ouverts au public. Les sièges sont assignés selon le principe du premier arrivé, premier servi. Les portes ouvrent à 17h30. Les conférences se dérouleront en anglais.

* * * * * 

Nadia Myre is a visual artist from Québec and an Algonquin member of the Kitigan Zibi Anishnabeg. She received a degree in Fine Arts from the Emily Carr School of Art in 1997 and a Master of Fine Arts from Concordia University in Montréal in 2002. Her work has been widely exhibited, with solo shows in New York, Ottawa, Winnipeg, Montréal, Kingston and Vancouver. In 2011, Éditions Art Mûr published En[counter]s, a bilingual monograph surveying Myre’s work, in collaboration with the Carleton University Art Gallery and the Musée d’art contemporain des Laurentides. Myre participated in the prestigious Sydney Biennial in 2012 and was given a prominent commission for Sakahàn: International Indigenous Art at the National Gallery of Canada in 2013. Her work appears in numerous public collections including the Canada Council Art Bank, Canadian Museum of Civilization, Musée des beaux-arts de Montréal, National Gallery of Canada, Smithsonian Institute and the National Museum of the American Indian. Presently, Myre is a finalist for the 2014 Sobey Art Award.

Née en 1974 à Montréal, Nadia Myre est une artiste algonquine multidisciplinaire qui expose sa production localement, nationalement et internationalement. Diplômée du Emily Carr Institute of Art + Design, elle complète une maîtrise en beaux-arts avec spécialisation en sculpture à l’Université Concordia en 2000. C’est en 1997 que Myre et sa mère retrouvent leur statut de membre de la réserve anishnabeg Kitigan Zibi (Maniwaki, Québec) – statut initialement perdu lorsque la mère de l’artiste, devenue orpheline, fut adoptée hors de la réserve. Le recouvrement de ce statut bouleverse la production artistique de Myre, qui se transforme alors en une quête identitaire, en une exploration de son identité algonquine, de son hybridité culturelle. C’est dans le cadre de ce long processus qu’elle s’est entre autres initiée aux traditions artisanales de ses ancêtres – notamment à la broderie et au tissage de perles de verre et à la fabrication de canots en écorce de bouleau – pour mieux les intégrer à son art.

http://artmur.com/artistes/nadia-myre/




In the years following the 1994 financial crisis in Mexico, artist Victor Arroyo spent his days wandering homeless in the outskirts. Distant from the city centres densely occupied by mass manifestations, Arroyo’s black and white photographs inscribe a different geography of exclusion and trauma. During this period, a heavily devalued currency, financial speculation and capital flight devastated Mexico, and in turn placed her in a vulnerable geopolitical position subservient to a new neoliberal order. Within this climate, the artist created a series of photographs developed and shown here for the first time in eighteen years. The film negatives were silently stored in a copy of Umberto Eco’s Opera Aperta (The Open Work)—one of the few books the artist carried with him on his dramatic journey. Photographs of crumbling buildings are visually contrasted with seemingly tranquil images of the sea, which are in fact Arroyo’s last sentimental snapshots of a place steeped in vivid family memories. These photographic remnants speak of loneliness, isolation and abandonment. Juxtaposed with fragmented writings and a blurry video document of the assassination of presidential candidate Luis Donaldo Colosio; an event that remains in clear focus in Mexico’s collective memory. Through quiet reflection, the cinematic landscapes in Crisis act as a personal memorial—one of forgetting and remembering.

In the years following the 1994 financial crisis in Mexico, artist Victor Arroyo spent his days wandering homeless in the outskirts. Distant from the city centres densely occupied by mass manifestations, Arroyo’s black and white photographs inscribe a different geography of exclusion and trauma. During this period, a heavily devalued currency, financial speculation and capital flight devastated Mexico, and in turn placed her in a vulnerable geopolitical position subservient to a new neoliberal order. Within this climate, the artist created a series of photographs developed and shown here for the first time in eighteen years. The film negatives were silently stored in a copy of Umberto Eco’s Opera Aperta (The Open Work)—one of the few books the artist carried with him on his dramatic journey. Photographs of crumbling buildings are visually contrasted with seemingly tranquil images of the sea, which are in fact Arroyo’s last sentimental snapshots of a place steeped in vivid family memories. These photographic remnants speak of loneliness, isolation and abandonment. Juxtaposed with fragmented writings and a blurry video document of the assassination of presidential candidate Luis Donaldo Colosio; an event that remains in clear focus in Mexico’s collective memory. Through quiet reflection, the cinematic landscapes in Crisis act as a personal memorial—one of forgetting and remembering.

The Leonard & Bina Ellen Art Gallery presents Just Watch Me, an event initiated by Romeo Gongora. The social club Just Watch Me is a meeting place that encourages dialogue and collective creation in which the Concordia community is invited to take part. It fulfills multiple roles including: disco-bar, fair trade café, a venue for shows and screenings, an artists’ residency, etc. Numerous free daily events and activities provide opportunities for the Concordia community to meet artists in a festive environment. Its concept was inspired by artists collectives from the Quiet Revolution.
Just Watch MeSeptember 5 – October 11, 2014
LAUNCH:Friday September 5, 7 to 10 pm Disco with DJ Poirier at 8 pm

The Leonard & Bina Ellen Art Gallery presents Just Watch Me, an event initiated by Romeo Gongora. The social club Just Watch Me is a meeting place that encourages dialogue and collective creation in which the Concordia community is invited to take part. It fulfills multiple roles including: disco-bar, fair trade café, a venue for shows and screenings, an artists’ residency, etc. Numerous free daily events and activities provide opportunities for the Concordia community to meet artists in a festive environment. Its concept was inspired by artists collectives from the Quiet Revolution.

Just Watch Me
September 5 – October 11, 2014

LAUNCH:
Friday September 5, 7 to 10 pm
Disco with DJ Poirier at 8 pm

Co-curated by MFA Student Chloë Charce (Sculpture)Rencontre interculturelle exclusive aux Jardins du précambrienavec le co-fondateur de la Biennale de la Havane Nelson Herrera Ysla et co-commissaire du Symposium Guy Sioui DurandNe manquez pas cette conférence interculturelle exclusive du commissaire et co-fondateur de la Biennale de la Havane Nelson Herrera Ysla et du co-commissaire du Symposium international d’art-nature Guy Sioui DurandVenez en grand nombre ce samedi 9 août à 14hadultes : 15$ / étudiants : 10$1301 Montée Gagnon, à Val-DavidÉcoutez et partagez l’entrevue vidéo de Caroline Cloutier, artiste du Symposium international d’art-nature dans Les Jardins du Précambrien : http://vimeo.com/102506967facebook.com/jardinsprecambrienvimeo.com/jardinsduprecambrien
___________________________________________Exclusive intercultural meeting at the Jardins du Précambrien with co-founder of the Havana Biennal Nelson Herrera Ysla and co-curador of the Symposium Guy Sioui DurandDon’t miss this exclusive intercultural conference by curador and co-founder of the Havana Biennal Nelson Herrera Ysla and co-curator of the International Symposium of Site Specific Art Guy Sioui Durand See you there this Saturday August 9 at 2 p.m.adults: $15 / students: 10$1301 Montée Gagnon, in Val-DavidWatch and share Caroline Cloutier’s video interview, artist of the International Symposium of Site Specific Art at Les Jardins du Précambrien: http://vimeo.com/102506967facebook.com/jardinsprecambrienvimeo.com/jardinsduprecambrien

Co-curated by MFA Student Chloë Charce (Sculpture)


Rencontre interculturelle exclusive aux Jardins du précambrien
avec le co-fondateur de la Biennale de la Havane Nelson Herrera Ysla et co-commissaire du Symposium Guy Sioui Durand

Ne manquez pas cette conférence interculturelle exclusive du commissaire et co-fondateur de la Biennale de la Havane Nelson Herrera Ysla et du co-commissaire du Symposium international d’art-nature Guy Sioui Durand

Venez en grand nombre ce samedi 9 août à 14h
adultes : 15$ / étudiants : 10$
1301 Montée Gagnon, à Val-David

Écoutez et partagez l’entrevue vidéo de Caroline Cloutier, artiste du Symposium international d’art-nature dans Les Jardins du Précambrien : http://vimeo.com/102506967

facebook.com/jardinsprecambrien
vimeo.com/jardinsduprecambrien

___________________________________________

Exclusive intercultural meeting at the Jardins du Précambrien
with co-founder of the Havana Biennal Nelson Herrera Ysla and co-curador of the Symposium Guy Sioui Durand

Don’t miss this exclusive intercultural conference by curador and co-founder of the Havana Biennal Nelson Herrera Ysla and co-curator of the International Symposium of Site Specific Art Guy Sioui Durand

See you there this Saturday August 9 at 2 p.m.
adults: $15 / students: 10$
1301 Montée Gagnon, in Val-David

Watch and share Caroline Cloutier’s video interview, artist of the International Symposium of Site Specific Art at Les Jardins du Précambrien: http://vimeo.com/102506967

facebook.com/jardinsprecambrien
vimeo.com/jardinsduprecambrien

drawinglabdessin:

Maurice Montagne : Entretiens
In April 2014, Drawing Lab Dessin published Maurice Montagne : Entretiens, a collection of rare images from Maurice Montagne’s Blackboards series with an interview by Simon-Thimothée Palmaire, in Montagne’s St-Dominique Street studio in November 1970. 


Au mois d’avril 2014, Drawing Lab Dessin a publié Maurice Montagne : Entretiens, qui présente de rares images de sa série Les tableaux noirs. Une entrevue, entre Montagne et Simon-Thimothée Palmaire à l’atelier de la rue St-Dominique à Montréal en novembre 1970, accompagne les documents visuels.

Remerciements à Karin Zuppiger, Éric Simon, Tim Messeiller et Matt Palmer.

drawinglabdessin:

Maurice Montagne : Entretiens

In April 2014, Drawing Lab Dessin published Maurice Montagne : Entretiens, a collection of rare images from Maurice Montagne’s Blackboards series with an interview by Simon-Thimothée Palmaire, in Montagne’s St-Dominique Street studio in November 1970. 

Au mois d’avril 2014, Drawing Lab Dessin a publié Maurice Montagne : Entretiens, qui présente de rares images de sa série Les tableaux noirs. Une entrevue, entre Montagne et Simon-Thimothée Palmaire à l’atelier de la rue St-Dominique à Montréal en novembre 1970, accompagne les documents visuels.

Remerciements à Karin Zuppiger, Éric Simon, Tim Messeiller et Matt Palmer.

OPEN STUDIO NIGHT at the Bovril Studios (formerly Dmitri Cuir Building)
6201 Parc, coin Van Horne
6-9pm - Open studios
9 onwards - live music, bar & DJ

The Bovril Studios house over 15 up-and-coming artists working in a wide range of mediums such as painting, drawing, sculpture, photography, fashion design, print media and music. Join us for an evening of open studios & live music.
OPEN STUDIO NIGHT at the Bovril Studios (formerly Dmitri Cuir Building)
6201 Parc, coin Van Horne
6-9pm - Open studios
9 onwards - live music, bar & DJ
The Bovril Studios house over 15 up-and-coming artists working in a wide range of mediums such as painting, drawing, sculpture, photography, fashion design, print media and music. Join us for an evening of open studios & live music.
image: Zapantera Negra
The Leonard & Bina Ellen Art Gallery is participating in the 2014 Encuentro by presenting three installations and performative projects, June 21 - June 28, 2014.

image: Zapantera Negra

The Leonard & Bina Ellen Art Gallery is participating in the 2014 Encuentro by presenting three installations and performative projects, June 21 - June 28, 2014.

Now online!: http://issuu.com/emilyjan/docs/okokokOK OK OK : an mfa thesis exhibition cataloguefeaturing the work of: Stéphane Calce, Jude Griebel, Jacquelyn Hébert, Nathaniel Hurtubise, Emily Jan, Blair Phillips, Tammy Salzl. exhibition essay written by Dr. Tammer El-Sheikh. designed by Emily Jan with Jacquelyn Hébert. printed May, 2014

Now online!: http://issuu.com/emilyjan/docs/okokok

OK OK OK : an mfa thesis exhibition catalogue

featuring the work of: Stéphane Calce, Jude Griebel, Jacquelyn Hébert, Nathaniel Hurtubise, Emily Jan, Blair Phillips, Tammy Salzl. exhibition essay written by Dr. Tammer El-Sheikh. designed by Emily Jan with Jacquelyn Hébert. printed May, 2014

OPEN DOORS, our 2013/14 MFA Studio Arts publication, is now viewable online!

Click on image to access.

OPEN DOORS, our 2013/14 MFA Studio Arts publication, is now viewable online!

Click on image to access.

Because neither the book nor the sand has any beginning or end
Présentation publique - MFA in Studio Arts Film Production option
En collaboratioin avec Alain Lefebvre
Triptyque visuel, utilisant une imagerie hybride minimale et abstraite provenant de gravure et peinture sur pellicule 16mm sur des images d’archive, cette performance audiovisuelle se veut une démonstration primitive et impulsive d’un traitement d’image en direct, en boucle, où les trois images sont présentées sous trois formes différentes
- 16mm - VHS - Feedback -

Eastern Bloc
7240 Clark, 2e étage
19h - Portes
19h30 - Performance

Gratuit

Because neither the book nor the sand has any beginning or end

Présentation publique - MFA in Studio Arts Film Production option

En collaboratioin avec Alain Lefebvre

Triptyque visuel, utilisant une imagerie hybride minimale et abstraite provenant de gravure et peinture sur pellicule 16mm sur des images d’archive, cette performance audiovisuelle se veut une démonstration primitive et impulsive d’un traitement d’image en direct, en boucle, où les trois images sont présentées sous trois formes différentes

- 16mm - VHS - Feedback -

Eastern Bloc

7240 Clark, 2e étage

19h - Portes

19h30 - Performance

Gratuit

Une formation de gestion de carrière pour femmes en art actuel! Les inscriptions sont en cours et une session d’information aura lieu le 6 février.

Une formation de gestion de carrière pour femmes en art actuel! Les inscriptions sont en cours et une session d’information aura lieu le 6 février.

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