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English Reports 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.
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