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Magazine of the Musée D'art Contemporain De Montréal Volume

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Magazine of the Musée D'art Contemporain De Montréal Volume Magazine of the Musée d’art contemporain de Montréal Volume 28, Number 1 Summer 2017 Photo: Carl Henrik Tillberg John Zeppetelli EDITORIAL Director and Chief Curator Photo: John Londoño John Photo: It must be said that fifty years ago this summer, Montréal was briefly the centre of the known universe. Initially mired in controversy, but ultimately dramatically staged on man- made islands in the St. Lawrence River, Expo 67 was the most successful international universal exposition ever concocted. Titled Man and His World, it unleashed creative freedoms and technological advances never before seen, while uniting artists, architects, visionaries, scientists and vast audiences in a global conversation seldom experi- enced on such a scale. In Search of Expo 67 revisits this profound moment and natural phenomena. Eliasson proposes immer- with contemporary artistic reflections on both its sive and participatory experiences for a viewer legacy and some of its most interesting achieve- who is usually called upon to complete and activate ments. Consisting of mostly commissioned works the work. For this his first, much-anticipated by Québec and Canadian artists, none of whom museum solo in Canada, the Musée d’art con- was even born in 1967, the exhibition is a fascinating temporain de Montréal is thrilled to present a con- celebration of archival research which the artists cise but important selection of works from 1993 make manifest through film (David K. Ross, to the present, highlighting the artist’s signature Emmanuelle Léonard, Marie-Claire Blais et Pascal alliance of design, engineering and scientific explo- Grandmaison); multimedia installations (Jean-Pierre ration. Drawn from the Musée’s own collection, Aubé, Geronimo Inutiq, Charles Stankievech, Your space embracer, from 2004, is a simple but Althea Thauberger); large-scale wall works (Duane highly effective sculptural installation: a focused Linklater, Leisure); and sound (Chris Salter, Kathleen spotlight on a rotating mirrored ring casts both a and David Ritter, Cheryl Sim). Many of these artists dark shadow and a sweeping arc of light across critically engage with the underlying assumptions the darkened room to cosmic effect. Big Bang of either the world’s fair or specific pavilions, while Fountain transforms a jet of water into an endlessly offering a multitude of fresh perspectives—both shifting sculptural mass when seen through the Magazine of the Musée d’art contemporain de forward-looking and elegiac—on the tumultuous freeze-frame effects of a strobe light. The itinerary Olafur Eliasson Montréal is published three times a year. Your space embracer, 2004 phenomenon that was Expo. The exhibition finds ends in wistful loveliness with Beauty, in which a ISSN 1916-8675 (print) Glass mirror ring, wire, motor, ISSN 1927-8195 (online) its most aerial and immaterial vision in a guided veil of water descending from the ceiling is a misty lamp, tripod, 3/3 Variable dimensions Head of Publications: Chantal Charbonneau drone video that restages, from plans and maps, screen for a shimmering rainbow achieved through Collection of the Musée d’art English translation and proofreading: Susan Le Pan Design: Réjean Myette the exact itinerary of the iconic elevated monorail, the simple phenomenon of refraction. contemporain de Montréal Printing: Croze Inc. tracing a stunning visual path through today’s The Musée d’art contemporain de Montréal is a changed site. provincially owned corporation funded by the Ministère de la Culture et des Communications The internationally acclaimed Berlin-based du Québec. The Musée receives additional Danish/Icelandic artist Olafur Eliasson could not funding from the Government of Canada and Cover the Canada Council for the Arts. be in more appropriate company. He too takes us David K. Ross Musée d’art contemporain de Montréal on a breathtaking perceptual journey, exploring As Sovereign as Love, 2017 Film still 185, rue Sainte-Catherine Ouest our body’s relation to space, light and movement Montréal (Québec) H2X 3X5 Courtesy the artist Tel.: 514 847-6226. www.macm.org through recurring themes of shadow play, water © David K. Ross 3 EXHIBITIONS JUNE 21 TO OCTOBER 9, 2017 Lesley Johnstone and Monika Kin Gagnon IN SEARCH OF EXPO 67 Co-curators Expo 67 was the heart and highlight of the Canadian Centennial celebra- tions, and its impact on the Montréal, Québec and Canadian psyche is immense. Yet, while Expo 67 looms large in our collective memory, much of what made it so exceptional—the creative freedom offered to artists, architects and designers to experiment with new forms and technologies, and the incredible diversity of cultural productions—is less known. 4 In Search of Expo 67 brings together works by challenged conventional notions of children’s play nineteen Québec and Canadian artists inspired in her unique Environment for Creative Play and by the most innovative, experimental and provoca- Learning. Omaskêko Cree artist Duane Linklater tive dimensions of the original event, and its artistic, and Krista Belle Stewart, a member of the Upper social and political context. Created in dialogue Nicola Band of the Okanagan Nation, both draw with the spirit of 1967, these works (sixteen of which on research into the Indians of Canada Pavilion, are newly commissioned) challenge some of the which has been cited as being of pivotal importance underlying presumptions of Expo 67 while also to the history of contemporary Indigenous art in highlighting its undeniable inventiveness. Canada. In her two-channel video installation, The exhibition has provided contemporary Althea Thauberger critically examines Canadian artists with the opportunity to delve into the archives national identity in relation to the Canada Pavilion’s and histories of the original event in order to create People Tree, a social documentary photography new works that offer a glimpse into the ways Expo project that was conceived by Lorraine Monk for 67 continues to resonate in the contemporary the Still Photography Division of the National Film imagination. Revealing both the scale and ambition Board. Taking as her point of departure Charles of some of the original projects, these works offer Gagnon’s 1967 film The Eighth Day, which was Cheryl Sim Un jour, One Day, 2017 fresh perspectives on the legacy of Expo 67 as presented in the Christian Pavilion, Emmanuelle Film still well as exploring the resonances between what Léonard proposes a video montage of images of Courtesy the artist Expo 67 was and what remains in 2017. war from 1967 to 2017 culled from the Internet, © Cheryl Sim Rendering archival research visually compel- while Simon Boudvin’s photographic project offers Philip Hoffman and Eva Kolcze ling is at the heart of many of the projects, offering an inventory of echoes of Expo 67 on the streets By the Time We Got to Expo, 2015 Film still visitors a glimpse into some of the lesser-known of contemporary Montréal, punctuated by quota- Courtesy the artists aspects of Expo 67. The installation by artist-col- tions gleaned from the General Report on the 1967 © Philip Hoffman and Eva Kolcze lective Leisure pays tribute to the pioneering land- World Exhibition Montreal. scape architect Cornelia Hahn-Oberlander, who 5 EXHIBITIONS JUNE 21 TO OCTOBER 9, 2017 IN SEARCH OF EXPO 67 A number of the works are inspired by specific whose film follows the original path of the minirail Also included are existing works by Jacqueline pavilions. In Jean-Pierre Aubé’s video installation, across the islands. Using data from Expo 67 site Hoàng Nguyễn, Mark Ruwedel, and Philip Hoffman for example, the time-lapse crystallization of chem- plans and drawings, a guided drone reanimates and Eva Kolcze, as well as a spectacular re-creation icals is digitally magnified and transformed to create the gentle sweeps, curves, rises, falls, starts and of Polar Life, the film directed by Graeme Ferguson unexpected psychedelic effects, echoing the stops of the forty-foot-high train as it makes its for the Man the Explorer Pavilion, originally pro- Kaleidoscope Pavilion, which was commissioned way across today’s landscape. Marie-Claire Blais jected in a circular eleven-screen theatre with a by six chemical companies and sought to place and Pascal Grandmaison’s video projection rotating audience. Other original large-format and visitors within an abstract experience of pure colour. involves a meandering walk on the Expo islands, multi-screen films will also be presented throughout Katimavik, the Inuktitut word for “meeting place” revealing the visible and invisible traces of their the exhibition, demonstrating the inventive ways and the name of the inverted pyramid structure transformation and rearrangement over fifty years, in which cinema was screened and experienced that was part of the Canada Pavilion, inspired Inuit and exploring phenomena of presence and erasure at Expo 67. artist Geronimo Inutiq’s multimedia, multi-sensory that have shaped the site. installation, which draws on archival film and sound The sounds of Expo 67 permeate the exhi- Listen to conversations with some of the artists on the footage from Expo 67 using analogue devices. bition—from the installation by Chris Salter that In Search of Expo 67 podcasts at Concordia.ca/tol Charles Stankievech focuses on the United States references Iannis Xenakis’s radical 1960s–1970s Pavilion, engaging with an entanglement of con- Polytopes, which premiered at Expo 67 in the tradictory ideologies including the architectural Pavilion of France; to Kathleen and David Ritter’s evolution of Buckminster Fuller’s work, from military audio piece, which examines the auditory spaces design in the Canadian Arctic to his counter-cultural of Expo 67, especially instances of sampling and turn of the late 1960s to today’s legacy. Stéphane repetition, viewing them as foundational moments Gilot, for his part, explores the architectural vocabu- that presaged the rise of DJ culture, hip hop and lary of Expo 67 through the world-building video the remix; to Cheryl Sim’s cover version of the game Minecraft, offering visitors the opportunity theme song “Un jour, un jour”; to Caroline Martel’s to participate in the construction of virtual worlds.
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