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Document generated on 09/30/2021 3:57 a.m. Vie des Arts Here, There and in between Volume 42, Number 173, Winter 1998–1999 URI: https://id.erudit.org/iderudit/53176ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this review (1998). Review of [Here, There and in between]. Vie des Arts, 42(173), 75–86. Tous droits réservés © La Société La Vie des Arts, 1998 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ t/ï HERE, THERE AND IN BETWEEN •M O The 1994 donation of 300 works, the poUtical and inteUectual stature O; MONTREAL mosdy blockprints, to the Glenbow of artists in Mexico, and reflects upon QUEBEC'S NORTH-SOUTH-WEST Museum from 19 donors, was the cat Derouin's migrations there. Contents CONNECTION alyst to this exhibition. The Glenbow's include the sub chapters: Migration, already vast coUection of blockprints, Land, Memory, Integration, bib FRONTIERS, FRONTIÈRES, including those by Walter J. Phillips, liography, chronology, complete list FRONTERAS: RENÉ DEROUIN is particularly suited to the produc of works, 18 colour prints, 47 black Montreal Museum of Fine Arts tion of this exhibition with prints, and white and illustrative process c Jan. 14 to Mar. 14,1999 paintings, photographs, books, video photographs. QJ Frontiers, Frontières, Fronteras: and instaUation. Frontiers, Frontières, Fronteras: René Derouin, (Jan. 14 to Mar. 14, Derouin was first introduced to René Derouin, with introduction 1999) al the Montreal Museum of the colour woodprint process when by Patricia AinsUe; Jeanne Watson, Fine Arts, explores Derouin's work he attended a symposium at the Uni catalogue editor, 160 pp., including and his recurrent themes of land, versity of Calgary in 1967, led by the French translation, produced by memory and migration. Derouin Japanese master printer Toshi The Glenbow - Alberta Institute, employs nature to explore concepts Yoshida. He has since presented 1998, Sundog Printing Ltd., ISBN 1- of time, place, cultural and per his own workshops and exhibited 895379-11-3. sonal identity. The impact of the regularly in Calgary. This exhibition Michael J. Molter St. Lawrence River, the Laurentians, reveals the extent of die artist's break James Bay and the North, is integral through from traditional print- in his work. His alignment with the making. Derouin's formal invention, outside world, particularly with experimentation with woodcuts, and STANISLAV GERMANOV: Mexico, (illustrated throughout this his range of materials and techniques, CONTINUITY (REVIEW) exhibition), provides a unique bring a bold strength to his choice of Gallery Jean-Pierre Valentin perspective on the international im subjects. From Peasant # 26,1956, Nov. 7-21, 1998 portance of Derouin's work and an (red chalk on paper, 28 x 21.5 cm), Stanislav Germanov: Continu understanding of its influences, in to Equinoxe til, 1989-1990, (poly ity, is a balancing act that astonishes cluding the pre-Columbian. The chrome reUef plates, 188.3 x 188.3 cm) with a timeless sense of harmony, rich artist's landscapes, such as Rem through Place Publique, 1992 ness of texture, seemlessly balanced Stanislav Germonov parts, 1967 (with Fleuve mémoire, (wood relief, ceramic, steel, water, and static. TranquiUty is achieved by Returning, 1997, woodcut on paper, 24.7 x 20.5 cm), 580 x 488 cm), the breadth of sub an ardorous shaping and conquering mixed media on canvas, 36 x 44" speaks of the pure uninhabited spirit ject and depth of use of material and of materials, taming and silencing of the frontier North. This contrasts technique outside the mainstream, chaos, in the space of creation. on paper differ from his highly tex- with his landscapes of the mind, as in credit Derouin's ambitious produc Returning (oil on canvas) cap turalized canvasses, yet Germanovs Échographie de la mémoire géné tion. A catalogue drawing upon tivates through a combination of el vision is identified by subtle use of tique, 1986, (woodcut on polyester various Uterary inspirational sources ements, infinite inner movement and colour, use of reverse perspective and with hand-painted acryUc, wood re as John Steinbeck, Salman Rushdie reverse perspective characteristic of exploration of infinity motif. lief, ceramic and water, 2% x 396 x and the Quebec origins of the artist, Byzantine icons. The thick vibrant 396 cm), which deals with his mem complements this four decade retro The elasticity in Germanovs work body of the painting recaUs the mural ory of the Mexico City earthquake spective. An introduction by curator is endowed with a poetic quality that technique sgraffito. Layers of and acts, in part, as therapy against Patricia Ainsley, with quotes by penetrates the canvas and pulls the etched, smoothed and sculpted paint the congestion, violence and chaos Derouin, contrasts solitude in the viewer into the frame. There is an reveal a canvas abounding in colour of the modern metropobs. north and plenitude of resources with ancient tinge to the surfaces of this and texture appUed 111 subde fashion, recent body of work, that evokes a which at a distance is seemingly reflection on art as a phenomenon, monochromatic. which can be likened to alchemy Returning, a peculiar landscape and archeology, balancing between of the mind, is a metaphoric paint past, present and future. ing in which Germanov recreates a Rossitza Daskalova moment frozen in time through op tical effect. As if seen from a train, changing horizons merge into a sin gle vanishing point where in four triangular shapes converge. The artist achieves stasis through a mirror ef fect reversing the movement between the objects in the painting, the sub ject, and viewpoint. Inner tension between motion and contemplation inhabits this painting that the artist has quieted into an unperturbed peacefulness. The Last Supper (mixed media on paper) creates a highly styUzed table separation between the central René Derouin figure and group portrayed acting as Fleuve-Mémoires, 1994, a crown of thorns that places the im Stanislav Germonov wood relief, ceramic, crates, The Last Supper, 1995. photographs, wood on paper. ages into a spiral maze. The works mixed media on paper. 40 x 38" VIE DES ARTS N° 171 I T> the works reveals glimmers of gold tip - a striking recurring icon for •H throughout. Angular and organic, MiUette, reminiscent of a Copernican i_ translucent and opaque, her untided scientific device. On the wall and O works are constmcted outward from floor the Ught traces curves and pyra a_ a dark foundation. As the edges cut mids in clean silhouettes of darkness Qj away, the darkness recedes, and that confront shadows melting into forms emerge. In some, abstract muffled shapes of lesser intensity. A reds and greens float as though re second work, Métissage, comprises vealing the inner workings of the a series of metal arches, approxi natural world. In others, geometric mately 15" each, that weave across shapes are defined and dissected by the space over the floor. A two- angles of light, almost quivering, like tiered vertical steel rectangle peers a city perceived at night from across over the flock of arcs, as these seem QJ the water. These works undulate with to effortlessly penetrate and surface an energy that is contained only by from the ground. Rayonnance, a the thin black frames that enclose third work, spreads like a comb of them. honey in welded steel, tilted on its Quebec sculptor Claude MiUette side like a top about to spin. Wo has presented his monumental metal ven of metal cells, it resembles a works in over twenty group exhibi complex molecular model, sup Teresa Velasquez, Claude Millette ported at each extremity by a pro D'Ombres et de lumière. tions since the early 1980's. Since Vue d'ensemble partielle. then, we have witnessed an escalation truding tip. Yet Ught from above can Photo: François Larivière in the emphasis he places on purity not pass through steel, no matter of form, the context of the site, and how debcately it is carved, and we CLAUDE MILLETTE & ancient cathedral, whUe the solemn on the positioning of his works in re are struck by the intricate darker TERESA VELAZQUEZ works by Millette inhabit the space as lation to each other and to light. The patterns drawn on the floor below. OMBRES ET LUMIÈRES though witnessing, inviting, partaking most recent exhibition constructs Like an insect at the nucleus of a spi Musée d'art de Mont-St-Hilaire in ceremonious ritual. The dim, an environment that is delineated, der's web, the steel centre hovers sus Sept-Nov 1998 spacious museum that houses this but not defined, by the volume of the pended at the vortex of a majestic shadow of lace. Vmaïiy, Arborescence The dramatic and powerful ex exhibition, with its high ceilings and metal structures. comprises a waist-high pedestal, re- hibition Ombres et Lumières, shown carpeted silence, assumes the aura While the works of Millette, like sembUng a bistro table, topped with recendy at the Musée d'art de Mont- of a sacred place. those of Velazquez, vibrate with light a bundle of wooden sticks in cast Saint-HUaire, attests to the fact that, Teresa Velâzquez is a Mexican and shadow, this occurs differendy in bronze. Suspended overhead like a when things go weU, the pairing of artist whose paintings have been his, namely through the dialogue be chandeUer is a second form recaUing two artists in a single environment shown extensively in solo and group tween the work and the space that the pointed tips of Generescence.

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