Document généré le 29 sept. 2021 23:28

Vie des Arts

English reports

Jean-Paul Riopelle Volume 46, numéro 187, été 2002

URI : https://id.erudit.org/iderudit/52892ac

Aller au sommaire du numéro

Éditeur(s) La Société La Vie des Arts

ISSN 0042-5435 (imprimé) 1923-3183 (numérique)

Découvrir la revue

Citer ce compte rendu (2002). Compte rendu de [English reports]. Vie des Arts, 46(187), 91–95.

Tous droits réservés © La Société La Vie des Arts, 2002 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/

Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ plates is a physically demanding SACKVILLE, NB , "SfN f"'"" '| practice, but with Armata the process has resulted in some un­ o SALON HANGING expectedly delicate images that dance the fine line between ab­ March 15-September 29, 2002 * straction and representation. "I Owens Art Gallery have always thought of the creative i_ Mount Allison University process as being like a chain of in­ 61 York St., Sackville, terconnected impacts, emotions, NBE4L1E1 decisions, incisions," Armata ex­ n J) Tel.: 506 536-2574 D D •" i* tMK\ ï plains. "I try to avoid narration, to Every two years, the Owens Art shut it down as much as possible." ' Gallery hangs part of its collection in DIQDD DDDC The smallest prints scattered much the same manner that it was around the gallery are absolutely hung at the end of the 19* century. delightful nuggets of ideas, some The Owens first opened its doors on i OJ of which she later translates into the Mount Allison campus in 1895 larger works. Organic and surreal, after the collection was transferred these prints are like contemporary there lock, stock, and barrel from Salon Hanging Wall 1 visual haikus, marked by the artist's Saint John, New Brunswick. Much of irreverent sense of humour and her this original collection of some 300 it has a collection of well over 3000 is another story.) Presented in what mastery of the medium. hundred works was gathered in Eu­ works and a full programme of ro­ is now considered the normal way to rope by the artist John Hammond tating exhibitions that covers every show works in a gallery "lined up Stretch, a magnificent oil stick earlier in the century. He came with aspect of art from the historic to the single file on a white wall", we would on vellum drawing rips through the the paintings to Sackville taking on contemporary. You will no longer look at them differendy than in a sa­ surface space like a frenzied, frenetic the role of painting and drawing in­ find, as at the end of the 19* century, lon hanging style, where a single pic­ gash. Like a giant stain metamor­ structor at the campus. The collec­ women art students carefully copy­ ture is just a part of the whole. Some­ phosing into a human form, it tion became a major pedagogical ing a Landseer in the gallery. Now you thing can be said for the idea that the stretches upward and downward, tool for Hammond, whose students are more likely to find a video in­ whole is more than the sum of ils headless yet imbued with a frighten- learned their craft by copying paint­ stallation or a one person exhibition parts. This is certainly the case with ingly living energy. ings and by drawing from plaster of a Toronto or Montreal artist. Even this outstanding exhibition. It is well This primordial mass, deter­ copies of antique sculpture. Put to­ so, the salon hanging is still one of worth seeing, particularly because it mined to be born, to walk, is like the gether for this purpose, the collec­ the galleryi's most popular exhibi­ provides a window into how art was very core of the artist. It pushes out­ tion also reflected the conservative tions and brings new viewers to the viewed a hundred years ago. With a ward with an unbridled, creative en­ tastes of Hammond and his patron gallery each time it is hung. Perhaps better understanding of history we ergy, looking for new ways to express John Owens. because it is so sentimental and nar­ can hopefully avoid repeating its itself. One gets the feeling, that at rative, the exhibition still strikes a mistakes. Let us not forget the old times, the very demands of the ar­ The present Owens Art Gallery chord with the average viewer for Latin saying: ars longa, vita brevis duous process of printmaking are had photographs of the original whom contemporary art is so diffi­ (art is long, but life is short). simply too slow for this energy to hanging of the collection and used cult to fathom. Virgil Hammock them as the basis for this exhibition. The gallery is blessed with what is The gallery provides a guide to Ludmila Armata the exhibition which will help iden­ Urne, 2001 called the high wall gallery (a two Etch and drypoint story space), a spectacular venue for tify some of the individual pictures MONTREAL the exhibition. The gallery walls have unique to this collection. These in­ clude the Pre-Raphaelite artists John been painted a deep red which was LUDMILA ARMATA: the fashion in the 19* century. While Everett Millais (Playing Marbles) an effort has been made to put some and Edward Burne-Jones (Tree of GRAPHIC LIFE IN BLACK paintings in the same locations as in Golden Apples), and all sorts of Bar- AND WHITE 1895, other 19* century pictures in bizon School works by the likes of March, 2002 Louis Welden Hawkins and Wyatt this exhibition came to the collection Galerie McClure at a later date. The effect of the sa­ Eaton. For something completely dif­ ferent, there is a rather strange copy Visual Arts Centre lon hanging is in no way hindered by 350 Victoria Ave. of the Mona Lisa by one C. Velten these additions, but instead is Westmount strengthened, as many later works that has caused more than one viewer over the years to say to the Etching is a difficult and unfor­ are of a higher quality than the orig­ giving medium, but it also has its inal collection. However, it is not the gallery staff: "I thought that picture was in Paris!" whimsy. Ludmila Armata plays it like individual quality of the works that is a fine instrument with the deftness important, but, rather, the overall ef­ This exhibition is a fine example and audacity of a virtuoso performer. fect of seeing all of these works pre­ of how styles and fashions change The work she produces makes her sented in a way modern viewers are over the years. The art in the exhibi­ one of the most interesting and ac­ not used to. In 1895, pictures were tion has not changed, but the way we complished printmakers in Quebec, generally hung from floor to ceiling look at it has. When many of these and she has the awards to prove it. and in pretty much of a jumble, but pictures were bought by John Ham­ She was this yearis recipient of the there is nothing haphazard in the mond they were contemporary, current exhibition. The collection though even by the standards of the Grand Prize in Loto Quebec's 2002 was hung with great care and is day, conservative. Now, with the pas­ Printmaking Competition and a prize probably much nicer than viewers sage of time, they have become his­ winner at last yearis Biennale de l'E­ would have found it displayed at the toric art. (Hammond could have stampe et du Papier du Quebec in end of the 19th century. bought Impressionist art, but did not. Aima, 1996. Armata likewise won He likely paid more money for the grand prize at the Biennial of Graphic While the Owens Art Gallery was, conservative art he bought than if he Art in Belgrade, Yugoslavia in 1996. until 1965, also the art school, today had been more adventurous, but that Shifting and engraving heavy metal

VIE DES ARTS N°l87 91 take shape, and so Armata reaches black and white photos of a white for the immediate, the pure gesture, material in flux on an air vent grill. literally tearing, ripping into the pa­ The effect is Haiku-like, almost per with an audacity that stems from Japanese in character, sublime and a well of emotions that her urns can simple in effect. The same goes for no longer contain. the selenium photo series titled Dorota Kozinska Croix de chemin (1998) or Pont Marie, Paris (2001) where haphaz­ ard asphalt and paint marks on cement can look like stitchings or ERIC DAUDELIN: concrete abstracts. Photographed BLANC, NOIR close-up, these magical abstract in­ ET LASSITUDE cantations are more interesting Until May 18, 2002 than many intentional "painterly" abstracts. The magic is in the way Galerie Yergeau, 2060 )oly Daudelin composes each photo, frames the parameters and defines Tel.: 843-0955 the visual aesthetic (always reality- Fax: 849-2421 based) in each piece. [email protected] Eric Daudelin is an artist thinker. The Ecrits (2001) series of etch­ His miniature works reflect a clear ings are simple mimetic linear understanding of how to communi­ arrangements in columns. Not cate visual thoughts, notes, ideas... words, just very poetic, all traces of His artwork can be more interesting time. The only painting, Deuxième than many so-called "renowned" Blanc (2000) mixes od and earth, artists because he seizes on reality and mimics the icy form in an adja­ for his visual clues and executes his cent photo piece tided -30C. The work with a modesty and economy summer counterpart, +30C, is sim­ that is rare. The art, he seems to say, ply a faint green cube of grass sur­ is out there, and just needs an aes­ rounded by dry earth. Eric Daudelin thetic framework to describe it. is an artist/photographer whose art Daudelin creates those aesthetic pa­ has a modesty to it, a sensitivity and rameters, as, for instance with a se­ taste for a life that is lived. ries of miniature time sequence John K. Grande Betty Goodwin Vest three, 1970 OTTAWA 59.2 x 45 cm

THE PRINTS OF naturally favoured the use of com­ BETTY GOODWIN mercial print techniques to dissemi­ nate art. What followed were a series May 31-September 2, 2002 of Goodwin artworks that used every­ National Gallery of Canada thing from hats, parcels, tins, shirts, 380 Sussex Dr. gloves, and vests. These seemingly Ottawa, Ont. KiN 9N4 everyday objects were part of a lan­ Tel.: 613-990-1985 guage anyone could understand, but http://national. gallery.ca they likewise carried a history with Since the Montreal Museum of them and markings, traces of life. Fine Arts landmark Betty Goodwin The 100 prints and related works show in 1988 which featured her gathered for the National Gallery of Swimmer and Carbon series from Canada's current exhibition date pri­ the 1980s, Canadians have come to marily from 1968 to 1975, a period appreciate her work. Goodwin's sub­ when Betty Goodwin was establish­ sequent exhibition at Galerie René ing the language of expression she Blouin in 1989, seems to a degree to has become known for. The NGC has have been influenced by Goodwin's the largest collection anywhere of early printmaking experience. It in­ artworks by Betty Goodwin. It in­ cluded her The Steel Notes series of cludes 4 sculptures, 1 painting, 32 sculptural assemblages. These drawings and 212 prints. A catalogue pieces included everything from written by Rosemarie Tovell, Curator nails, fine copper wire joiners, metal of Canadian Prints and drawings at filings and delicate locks of hair the National Gallery of Canada, ac­ along with steel plates. When Betty companies this exhibition. The Goodwin began producing print- Prints of Betty Goodwin opens a making in the 1960s, Pop art was in window for the public into under­ full flower. Pop was a movement that standing the early artistic endeavors of one of Canada's most appreciated and recognized artists. John K. Grande

Éric Daudelin l/Marylin (detail), 2001 Digital printing 76 cm x 56 cm

92 VIE DES ARTS N°l87 stand. Another photo tided Factory displays another section of a man­ TORONTO nequin assembly plant (Is this the leg and ass department?). There is STEPHEN something of Cindy Sherman, Louise SCHOFIELD: Lawler, or Hans Bellmer here, but Cohen's in situ compositions were SWELL never conceived as art. They were May 8-Sept. i5,h just there and are so au naturel. Toronto Sculpture Garden Over 65 of Cohen's black and 115 King St. East white gelatine silver print and colour Tel.: 416-526-9563 dye coupler photographs are on view SWELL, Stephen Schofield's latest for this show. These photos docu­ sculpture has a poetic cadence and ment a reality, but between the im­ sexual sense seen in earlier works ages, and under the surface of all of presented at the Southern Alberta Art Lynne Cohen's photography, there is Gallery, Toronto's Power Plant and tins sense that reality itself is a kind Montreal's CIAC. The Toronto piece of fiction or hyper-designed dream. developed naturally out of a drawing The dichotomy between virtually de­ of wind-whipped clothes on a line fined, designed space and reality as Schofield made. His response to this a form of truth is a theme Cohen per- initial inspiration, now on view at the sistendy pushes. The natural style ev­ Toronto Sculpture Garden, is an ident in her earlier photos seems to amorphous and playful sculpture. have changed. The more recent An uneven and somewhat awkward works are obsessive, in their treat­ looking structure of metal piping be­ ment of controlled, organized space, Lynne Cohen comes the frame onto which a series Model Living Room, 1976 and monitored reality. This is part of order reality in her photo composi­ of appendages hang. These beautiful Gelatin silver print what makes Lynne Cohen's remark­ 111 cm x 129 cm tions. Her aesthetic is unmediated colourful biomorphs, made of a able photographic output so strong, and 1980s. polymerized cement and fibreglass her persistent adherence to one ap­ Some of these photos are tinged mixture and filledwit h polyurethane, proach to photo documentation. with a sardonic sense of humour and are pure post-Pop in spirit. They look OTTAWA These non-spaces that Cohen cap­ irony, something that dates their aes­ seemingly unclassifiable. There is tures actually exist, and are a largely thetic, but make them also more fun. still some of that inflated hybridized unseen part of contemporary reality. LYNNE COHEN: A recent book No Manis Land: The feel here, as seen in Schofield's pre­ Neutral, generic, these photos make Photographs of Lynne Cohen co- vious cloth and rubber glove pieces. NO MAN'S LAND a statement about contemporary life published by The National Gallery of The forms spread out from their (in­ Feb. l-May i2,h, 2002 in so-called civilized societies. They Canada and Thames & Hudson in­ visible) centres. Some of the ap­ evidence places that are rigid, in­ National Gallery of Canada cludes an even greater selection of pendages have what look like feet or flexible and remarkably inhuman, 380 Sussex Dr. images, similar to those in the arms protruding like tentacles out of where 1st world activities like med­ Ottawa, Ont. KiN 9N4 show. In the book, we see Cohen's them. The tactile and sensual (emis­ ical laboratory research, military http://national. gallery.ca photo Factory (1994), a series of sion or emotion) and feeling of phys­ training and other kinds of formal­ identical assembly line heads and ical fragility are a universal in all of Lynne Cohen has, for thirty years, ized labour take place. Lynne Cohen's torsos for future window display Stephen Schofield's art. produced an incredible collection of photos witness all this with a sense mannequins in the process of being photographs. Devoid of people, of candor and sublime unreality. In spirit, Schofield's biomorphs "horn". Military InstaUation (1998) these empty spaces, borrow from in­ share something in common with with its seven doll-like figurines on John K. Grande dustrial photography, yet they look Juan Miro's plastic sculptural forms synthetic carpeting fluorescent light­ dead, devoid of life, and anes­ Stephen Schofield because they are so unabashedly syn­ ing and TV monitor, looks austere thetized. They evidence contempo­ Swell thetic and hybrid in conception and but equally ludicrous. Are these kids Polymerized cement, fibreglass mixture rary reality and document the real and filled with polyurethane realization. The curvilinear surfaces life spaces we would largely disre­ or adults playing these war games? gard as art or photography, and that We get a sense of how technology has are not usually thought to be part of abstracted our view of the world in the popular mythology of art. Military Installation (2000). Here, a Canadian armored vehicle has its American-born Canadianized turret pointed towards a fake Cohen is best known for the living panoramic landscape with standard rooms, motels, halls, labs, show­ topographical features and sky. Fic­ rooms, classrooms, and factories of tional reality becomes a training the ordinary she has photographed. ground for real life death... A work She uncovers the quirky eccentrici­ from 1998 has a man in military gear ties of these places as if life were a (or is he a mannequin?) seated and stage. The scenes and spaces look moving down a hall with installed in­ like theatre props and scenarios. The door tracking. This Endgame photo absence of people is disquieting. Co­ is symmetry personified. hen strangely twists these places of clean steel, chrome and glass into Laboratory (1996) has a syn­ potential abattoirs of the contempo­ thetic torso all wired up with no rary psyche. She doesnit intrude and place to go that is worthy of the film her aesthetic neutrality is quite dis­ Bladerunner. This torso has a fully quieting, (even very Canadian). It as detailed facial expression. He looks if Lynne Cohen has to remove her like a talk show host but his lower identity like clothing to capture and half is just an austere, dull metal

VIE DES ARTS N'187 93 are crinkled in varying degrees ac­ Stephen Schofield plays willfully inches into space. The second sur­ the film experience. Film Noir (Fly) cording to the plastic used to wrap with the ambiguity of reconstructed prise is a sudden movement from a is an eloquent metaphor that not only each form as a mold. These works meanings and associations, and what tiny video monitor that occurs every describes the director (who fixesth e recall Schofield's early forays into looks innocent could actually have few seconds. In a futile attempt to fly to the table and the noir hero to working with clay as a young artist. some sexual connotation. These right itself, the fly kicks furiously, and his dark fate) as a sadist, but impli­ The mystery that pervades SWELL is amorphous baubles are like bodies then just as suddenly, stops. That the cates the viewer in the same project. precisely because they look taboo attached by chance and affected by struggle in this animated still life has In an interview with David and the aesthetic doesn't look main­ random occurrences like the twist­ no effect suggests that the insect is Sylvester, Douglas Gordon explains stream. SWELL treads a fine line be­ ing whitish form amidst the rest, that glued to the table. Film Noir (Fly) is that during his art school years, he tween presence and absence, the vis­ recreates the original clothesline perhaps the most uncanny and af­ lost pleasure in watching movies. ible and invisible, the seen and motif that inspired this piece. As fecting work by Douglas Gordon at The analytical skills he learned unseen to great effect. The ultimate Schofield says: "I've often asked my­ the Vancouver Art Gallery. In an ex­ caused him to read and deconstruct realization is that there is no resolu­ self when the outside ends and the hibition replete with generously the mechanisms of the film rather tion of formal properties or qualities. inside begins..." spaced large, projected video instal­ than just enjoy the movie. There is a Part of Schofield's purpose with John K. Grande lations, photographs and wall texts, great pleasure to be found in turn­ SWELL seems to be to defy the tradi­ this postage stamp-sized video steals ing off the meaning making machine tional site sensitive or functional la­ the show. in our heads and letting the art effect bels that most public art and sculp­ VANCOUVER Scottish artist Douglas Gordon is work on us. I think Gordon uses film tural commissions adhere to. As famous for winning the 1\irner Prize noir movies because he likes them, opposed to site sensitive work, while still in his twenties (1996) and and he likes them because they offer Schofield's work from the inside out, DOUGLAS GORDON: for his re-presentations of classic a glimpse at the darker aspects of the from inner senses outwards into FILMIC RE-PRESENTATION(S) Hollywood film noir movies. I went space. The idiom is expressive and culture that constructed him. Utili­ March 9-lune 16, 2002 to this exhibition prepared for dis­ tarian nostalgia provides the inform­ impressive for the layout and appointment. What is a 35 year old Vancouver Art Gallery ing principals of those who raised us. promiscuity of forms is daring, par­ artist doing having a retrospective? 750 Hornby St. These secret meanings are less read ticularly as the industrial piping How could he fillsuc h a huge space? Vancouver, B.C. than understood. I have nothing to holding the whole piece together has I expected cleverness spread thinly. not been embellished. Individually, V6Z 2H7 say before Film Noir (Fly) and noth­ The work is clever, in the best Schofield's forms look isolated, but Tel: 604-662-4700 ing I can say will help. And yet I am and fullest sense of the word. Each they exist as a loose and intermittent Fax: 604-682-1086 flooded by memories of my own petty installation is well crafted, intelligent cruelties. grouping that follows the raised A little square of light levitates at and witty. Gordon is a conceptual piping as it wends its way through the eye-level before a black wall. Moving artist interested in identity, repro­ David Garneau garden space. closer, the beam resolves into an im­ duction, authorship, audience and age of an inverted housefly. Even be­ pleasure and filters these through his fore considering the picture, the sensibility. Gordon's works are the VICTORIA, B.C. viewer will be amazed by this spare records and experiments of a rest­ illusion. While touch reveals the im­ less imagination interested in the MEDRIE MACPHEE Douglas Gordon age to be flush with the wall, the eye very processes of being and becom­ Black Spot. 2000. & LANDON Digital C-print. remains unconvinced: the glowing ing. Rather than burden us with his Collection of Mark & Vanessa Mathysen-Gerst. square seems to hover at least four MACKENZIE: Courtesy of Gagosian Gallery, New York. wounds and plead for empathy, Gor­ don appears amused by his own con­ DOUBLE VISION struction and wants to pass on this March 22-June 30, 2002 curiosity and his findings to viewers. Horace Walpole once said, "This Art Gallery of Greater Victoria world is a comedy lo those that think, 1040 Moss Street, Victoria, B.C. a tragedy to those that feel." Douglas V8V 4P1 Gordon seems to be a thinker inter­ Tel: 250-384-4101 ested in feelings. Fax: 250-361-3995 [email protected] Among the many installations on view one finds Gordon's famous 24 Landon Mackenzie (Vancouver) Hour Psycho, a silent, crawling ver­ and Medrie MacPhee (New York) sion of the Hitchcock thriller. The are two artists whose paintings desta­ idea is simple and riveting. While it bilize our traditional notion of land­ would be impossible to maintain at­ scape and the physical relationship tention for the day long run of the they bring to one another. They share film, stumbling into sections is oddly intellectual backgrounds informed intoxicating. You find yourself at­ by the discourses of abstraction, tending to ridiculous details, held in feminism, and conceptualism. Both frustrated anticipation, wanting to artists remain connected through leave and yet willing to wait to for the an intricate exchange of ideas next thrilling change in Janet Leigh's and language (both real and virtual) expression. An artwork for autistics, and share a complex layering and the world is silenced and slowed for structuring, embedded with personal leisurely consumption. Especially histories and fictions. Their works during the shower scene, we are not challenge how we think about loca­ only made self-conscious of our voyeurism, but are given ample time tion. to interrogate it, if we don't flee first. Medrie MacPhee's eight paint­ Like Hitchcock, Gordon is interested ings in the AGGVis Double Vision in affect, and in reception more than show are meticulously constructed, expression. Both are also preoccu­ characterized by "life forms" and fol­ pied with making the viewer aware low a long meditation on survival. of the sadomasochism that underlies Recent MacPhee surrogates have

94 VIE DES ARTS N°l87 Au service des sculpteurs depuis plus de 35 ans

l*tc Au premier rang des fonderies d'art au Canada

Fonte à la cire perdue de bronze, argent, aluminium, étain et acier inoxydable.

Nous offrons une gamme complète de services.

Fabrication et agrandissement Medrie MacPhee de moules. The State of Things. 2002 Northwest Passage, Mackenzie the artist/cartographer transcribes these onto canvases that resemble the UNE FOIS PAR MOIS shapes of maps. These palimpsests Rendez-vous à l'Hôtel Maritime been hybrids derived from industrial are further obliterated by the artist's Tel (905) 877-5455 cast-offs with body parts and inter­ energetic reworkings, paint layerings nal organs, an examination of the and adding of embellishments such connections between bioforms and as doilies, beads and glass, all this in technology. Disturbing and hdarious, an effort to develop a highly per­ potent and flaccid,deforme d and el­ sonal, part real, part imagined nar­ egant, these mutants sustain them­ rative. Space Station (Falls Said to Michèle Biner "Rose" 9 1/2" x 6 1/4" X 4" bronze. selves in irradiated landscapes, be the Largest in the Known World colour fields of intense opacity that So Far) remaps the night sky as seen 14 Armstrong ave Georj etown, (Ontario) L7G4R9 allow entry. The State of Things perhaps from Jupiter and contains a email: into» artcastlnc.com Tel: (905)457-9501 (2002), is a painting that embodies stunning array of celestial elements. website: www.artcastinc^omm Téléc: (905) X77-II205 Stephen Jay Gould's notion that if we Constellations cluster around a small (the human species) die out,"...we'll gridded area of colourful lines, a be replaced by some strange forms visual reference to early space struc­ of bacteria and other odd, unimag­ tures used to map the Northern ter­ inable hybrids." Six elements co- ritories. Mackenzie's red "fallopian inhabit a landscape of saturated tube entrance" disrupts the implied colour, a space glowing with ra­ space odyssey with a more sensuous dioactivity, illuminated from within. image, one that is corporeal and in­ The left side is paired with a fragment timate. In Macke it to Thy Other of industrial detritus and an erotic Side (Land of Little Sticks) a dia­ airbag. The rightsid e supports a pair logue between the artist and a Native of exhausted, plant-like prostheses. woman develops. Visual elements in­ In the space between, a forked bone, clude yellow blobs, meant to repre­ a furcula, floats accompanied at a sent 1950's uranium mine sites at GALLERY M LTD, distance by small, fleshy tissue frag­ Lake Athabasca. ments, possibly from an inner ear. Landon Mackenzie's revisions Dissolving the boundaries between are postmodern and subvert the actual space and the illusional space Utopian idealism of modernist paint­ of painting, Medrie MacPhee's paint­ ing and literature. Coincidentally, her en permanence ings work like classical frescoes. We research is encoded with the ideas enter into her future world and are she attempts to undermine. What changed by the dysfunctional mu­ emerges is a cacophony of sounds, Jean-Paul Riopelle tants who reside there. discordant echoes of silenced histo­ In the adjacent AGGV gallery, ries and these paintings become four large scale paintings from repositories of this music. Tran­ Landon Mackenzie's Tracking scribing geography, they reconstruct Athabasca series (1998-2000) are spaces of dislocated consciousness. on view, a body of work that evolved Both Mackenzie and MacPhee's out of her Saskatchewan paintings paintings are encrusted with infor­ (1993-1997). The under structure mation, memory, and desire. Worlds for the later works are actual 18* and of intricate beauties and unresolved 622 Richmond Street West, Toronto relationships are re-imagined. 19* century maps of the northern Ontario M5V 1Y9 border between Alberta and Theirs is a postmodern, dystopian Saskatchewan, i.e. the Northwest vision of layered displacements Tel.: (416) 504-5445 Territories. Mining the histories of (Mackenzie), and cyborg hybrids Fax: (416) 504-5446 exploration-texts from early explor­ (MacPhee). ers, fur traders, and seekers of the Linda Giles Membre de l'Association Professionnelle des Galeries d'Art du Canada

VIE DES ARTS N"l87 95