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Dana Schutz Patrick Bernatchez Camille Henrot Michel De Broin

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Dana Schutz Patrick Bernatchez Camille Henrot Michel De Broin Dana Schutz Patrick Bernatchez Camille Henrot Michel de Broin Museomix Ragnar Kjartansson Musée’s New Exhibitions on Tour Musée Ball Magazine of the contemporain Musée d’art de Montréal Volume 26, Number 2 — Fall 2015 Number 26, 2 — Fall 2015 Volume editorial | 1 The Musée d’art contemporain de Montréal is a triumph of provocative multi-disciplinarity, with our three fall exhibitions by three extraordinary artists—Dana Schutz, Patrick Bernatchez and Camille Henrot—variously featuring painting, drawing, sculpture, sound and video. What may at first glance appear to be three unrelated propositions are shown, on closer inspection, to share a deep concern for mutation, metamorphosis and transformational cycles of destruction and regeneration. In her first Canadian survey exhibition, American painting sensation Dana Schutz forces us to imagine unthinkable situations and unspeakable acts, as the artist expertly conjures all manner of absurdly improbable scenarios in and through paint, running the gamut from com- edy and discomfort to pathology and disfiguration. The work of this internationally renowned Photo: John Londoño painter is informed by rereadings of early twentieth-century avant-gardes, principally cubism and expressionism, and almost every other movement and revival up to this day. It can be understood as a productive conversation with the history of painting and as a compelling tes- tament to painting’s complex and supposedly unending death throes. Every mark and gesture, every acid hue in Schutz’s sometimes disturbing work is willed from somewhere at once pri- mal and intelligent, surfacing as something inevitable and charged. Following the museum’s recent successful exhibitions of two great Montréal artists, David Altmejd and Jon Rafman, we’re delighted to turn our gaze now to another stunning Montrealer, Patrick Bernatchez, whose sensibility, poetics and fearless imagination dazzle in a wide-ranging body of work that explores notions of space, time and duration. A co-production between the Musée d’art contemporain de Montréal and Casino Luxembourg, where it was presented in fall 2014, the exhibition travelled to Brussels this past summer before moving on—continually evolving and mutating—to Montréal, with yet another iteration being con- ceived for Toronto after our presentation. Bernatchez builds conceptually with oppositions of light and dark, life and death, noise and silence, evolution and decomposition. Constantly transforming cycles plunge us into a beautiful and mythical abyss. Mutation is omnipresent and a key factor in this major show by a leading Québec artist, which incorporates exquisitely executed drawings, reconfigured music and sound, sculptural installation and evocative, time-bending film. < With the award-winning video installation Grosse Fatigue, New York-based French artist Dana Schutz Camille Henrot set herself a huge challenge: telling the story of the creation of the universe. Face Eater, 2004 A spoken-word poem mixes scientific history with Creation myths belonging to religious Oil on canvas 58.4 x 45.7 cm (Hindu, Buddhist, Jewish, Christian, Islamic) and oral traditions. This dizzying fusion of sci- Private collection, New York ence, anthropology, myth and speculation structures a visual unfolding or cataloguing with a Courtesy the artist and Petzel Gallery, series of opening and closing computer windows that reveal the sometimes recontextual- New York ized treasures of the Smithsonian Institution in Washington, D.C., where the video itself was Cover the result of a production residency. Rather than trying to tell a truthful story, Grosse Fatigue Dana Schutz attempts to describe the crushing impossibility of organizing the world’s vast knowledge in Swimming, Smoking, Crying, 2009 Oil on canvas thirteen minutes. It will enchant and infuriate, and ultimately produce its own knowledge as 114.3 x 121.9 cm a wildly inventive and intuitively dextrous work of art. Collection of the Nerman Museum of And, finally, the Musée is delighted to host Museomix in early November for their very Contemporary Art, Johnson County Community College, Overland Park, first collaboration with a contemporary art museum. This innovative venture will open up the Kansas museum and its collection to a broad array of professionals and enthusiasts, who will come Gift of Marti and Tony Oppenheimer and together to develop and imaginatively conceive educational enhancements and prototypes for the Oppenheimer Brothers Foundation Courtesy the artist and Petzel Gallery, reinterpreting works of art with the latest digital technologies, ultimately trying to reimagine New York the museum experience. John Zeppetelli, Director and Chief Curator Magazine of the Musée d’art contemporain de Montréal is published three times a year. ISSN 1916-8675 (print) ISSN 1927-8195 (online) Editor: Chantal Charbonneau. English translation and proofreading: Susan Le Pan. Design: Fugazi. Printing: Croze Inc. The Musée d’art contemporain de Montréal is a provincially owned corporation funded by the Ministère de la Culture et des Communications du Québec. The Musée receives additional funding from the Department of Canadian Heritage and the Canada Council for the Arts. Musée d’art contemporain de Montréal. 185, rue Sainte-Catherine Ouest, Montréal (Québec) H2X 3X5. Tel.: 514 847-6226. www.macm.org Shaving, 2010 Oil on canvas 182.9 x 213.4 cm Private collection, London Courtesy the artist and Petzel Gallery, New York Dana Schutz A zinging chromatic and figurative universe is unleashed in this exciting, career-spanning exhibition by leading American painter Dana Schutz. A powerful meld of figuration and abstraction, her art features all manner of improbable scenar- ios, unthinkable situations and unspeakable acts, and in so doing endlessly expands painting’s capacities for meaning, pleasure and significance. Informed by early twentieth- century avant-gardes, principally cubism and expressionism, Schutz’s work is an extraordinary and joyful mash-up where a multitude of references and allusions collide. exhibitions 2 | 3 Schutz is always willing to depict that which resists representation. She has taken to addressing the body’s mutations and vulnerabilities in time and space—in How We Would Give Birth, 2007, and Twin Parts, 2004, for example—while the self-cannibalization paintings Face- Eater, 2004, and Self-Eater 3, 2003, both attest to a brilliant dialectic of destruction and regener- ation. In the comically poignant Swimming, Smoking, Crying, 2009, a woman is drowning in misery, submerged in water with arm raised in mid-stroke, yet also crying and smoking a ciga- rette. It is deeply affecting. Shaking, Cooking, Peeing, 2009, sports a long-haired figure shaking uncontrollably, holding a knife in one hand and a cup in the other, with liquids caught in a mid-air freeze-frame, while jets of pee splash and pool between her feet. Horror, leavened by a sense of bemused, resigned futility. Dana Schutz was born in Livonia, a suburb of Detroit, in 1976. She received her BFA at the Cleveland Institute of Art and her MFA at Columbia University, New York, in 2002. She first came to attention with her inaugural exhibition Frank from Observation, 2002, based on the conceit of Schutz as the last painter on earth, representing the last subject. Our catalogue pre- sents her brilliant career in detail. Dana Schutz’s works can be seen in numerous public collec- tions. Her work over the past decade has had a marked influence on contemporary painting. The exhibition at the Musée d’art contemporain de Montréal will be the artist’s first solo pres- entation at a Canadian institution. It will offer an overview of Schutz’s work, with particular emphasis on highlights of her recent output. John Zeppetelli October 17, 2015 to January 10, 2016 Dana Schutz Piano in the Rain, 2012 Oil on canvas 223.5 x 213.4 cm Private collection, New York Courtesy the artist and Petzel Gallery, New York October 17, 2015 to January 10, 2016 Patrick Les Temps inachevés Bernatchez Patrick Bernatchez: Les Temps inachevés brings together, for the first time, major works from two cycles that span years of conceptualization, creation, production and presentation: Chrysalides, 2006–2013, and Lost in Time, 2009–2015. It thus provides an opportunity to examine the scope of an interdisciplinary, polymorphous practice that embraces film, sound, sculpture and photography, in addition to painting and drawing. Triggered by the chance finding of a notebook in which mould patterns had grown, Chrysalides revolves around questions of life and death, the passing of the seasons, growth and decomposition, metamorphosis, mutation and transformation, decay and contamination. The Fashion Plaza, an industrial building in Montréal where the artist had his studio for many years, is the locus of the cycle—at once production site and exhibition venue, subject and shooting location, metaphor and allegorical device. The cycle, which began in 2006 with a series of graphite and ink drawings, was completed in 2013 with the sound installation Fashion Plaza Nights. It also includes a trilogy of films I Feel Cold Today, Chrysalide and 13, which together provide a portrait of the building’s inner workings, architecture and inhabitants. exhibitions 46 | 5 Time in all its dimensions is the overriding leitmotif of Lost in Time: past, present and future, lived time, cosmic time, performative time, time travel, the space-time continuum. Thus far the cycle comprises over twenty works, including films and videos, audio recordings, sound-based installations, photographic and etched-mirror works, and sculptural objects. At its centre is BW, a watch that measures millennia, its single hand taking a thousand years to make a full rotation. In Lost in Time, a feature-length film completed for the exhibition, two parallel narratives intertwine: the first follows a helmet-clad, faceless horse and rider adrift in an indeterminate landscape of ice and snow, quite literally lost in time and space, while the second seems to allude to a strange scientific experiment. Lost in Time, 2014 Circles, spirals, rotations, revolutions and repetitions are omnipresent in Bernatchez’s Colour film transferred to digital work.
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