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Christine Nobel Claude Tousignant Jessica Houston Julia Lia Walter Archéologie Du Futur CHRISTINE NOBEL CLAUDE TOUSIGNANT JESSICA HOUSTON JULIA LIA WALTER ARCHÉOLOGIE DU FUTUR mai- juin 2019 vol. 14 no 5 MOT DES DIRECTEURS | A WORD FROM THE DIRECTORS TABLE DES MATIÈRES | TABLE OF CONTENTS Nous savons qu’à ce moment-ci de l’année, votre souhait le plus We know that, at this time of year, your dearest wish is that the Du 4 mai au 22 juin 2019 / May 4 – June 22, 2019 cher est que la grisaille printanière laisse place à la couleur. C’est spring grayness gives way to colour. We are therefore pleased Vernissage : Le samedi 4 mai 2019 de 15 h à 17 h / Opening reception: Saturday, May 4, 2019 from 3-5 p.m. donc avec plaisir que nous vous proposons quatre expositions to offer you four colourful individual exhibitions. And who better individuelles hautes en couleur. Et qui de mieux que le maître to take the lead than the undisputed master of colour, Claude Christine Nobel : Between the notes incontesté de la couleur, Claude Tousignant, pour mener le bal. Tousignant. We owe him a great deal of respect and it is an Texte de Geneviève Marcil p. 04 Vraiment, nous lui devons un grand respect et c’est pour nous un honour for us to present his most recent production. As part of Text by Sara Nicole England p. 06 honneur de présenter sa plus récente production. Dans le cadre our spring program, Claude is accompanied by three female artists de notre programmation du printemps, Claude est accompagné who, each in their own way, express themselves through a range Claude Tousignant : Variation 59 : suite de cinq tableaux à structure identique, symétrique et réversible, trouvée par hasard de trois femmes artistes qui, chacune à leur manière, s’expriment of shades and chromatic nuances. Texte de Maude Lefebvre p. 08 au travers d’un éventail de teintes et de nuances chromatiques. Text by Nathalie Agostini de Francisco p. 10 We also invited Pascal Portelance, a philanthropist and art Nous avons également invité Pascal Portelance, un philanthrope enthusiast, to curate an exhibition based on our inventory of Jessica Houston : The Call of Things et passionné d’art, pour qu’il conçoive une exposition à partir works. The entire third floor was therefore offered to him so that Texte de Farah Benosman p. 12 de notre inventaire d’œuvres. Tout le troisième étage lui est he could carry out his project entitled Archaeology of the Future. Text by Marsha Taichman p. 14 donc offert afin qu’il réalise son projet intitulé Archéologie When we designed the third floor, we called it the “Collectors’ du futur. Lorsque nous avons conçu le troisième étage, nous Lounge”, but in this exhibition, it becomes more like a collector’s Julia Lia Walter : Glossy Side Up l’avions surnommé le « salon des collectionneurs », mais dans playroom. We must acknowledge that Pascal has taken his role as Text de Verity Seward. Traduit par Rosalie Tellier p. 16 le cadre de cette exposition, il devient plutôt la salle de jeu d’un guest curator very seriously and his selection is well targeted. Text by Verity Seward p. 18 collectionneur. Nous devons reconnaître que Pascal a pris son rôle de commissaire invité très au sérieux et sa sélection est On the other side of the Atlantic, Adam Gunn presents his recent Archéologie du futur / Archaeology of the future : Melvin Charney, Robbie Cornelissen, Jannick Deslauriers, Guillaume Lachapelle, ciblée avec justesse. work in our Berlin space. This new production was inspired by Laurent Lamarche, Cal Lane, Zeke Moores, Bevan Ramsay, Barbara Todd, Brandon Vickerd the “Isle of the Dead”, a landmark painting in Germany. In his Texte du commissaire : Pascal Portelance. Traduit par Rosalie Tellier p.20 De l’autre côté de l’Atlantique, Adam Gunn présente, dans notre novel Despair, Vladimir Nabokov mentions that a reproduction Text from the curator: Pascal Portelance p.22 espace berlinois, ses travaux récents. Ces derniers furent amorcés of this painting was found in almost every house in Berlin. So, we par ce qui pourrait être la septième version (ou plus) de « Isle have gathered everything you need to start the season! We hope of the Dead », une œuvre phare en Allemagne. Dans son roman you will enjoy it, Despair, Vladimir Nabokov mentionne qu’une reproduction de ce tableau se retrouvait dans presque toutes les maisons de Berlin Sincerely, L M M J V S D Ainsi, nous avons réunie tout ce dont vous avez besoin pour 10 10 12 12 12 entamer la saison! En espérant que vous en profiterez, Rhéal Olivier Lanthier F F François St-Jacques 18 18 20 20 17 Bien à vous, Rhéal Olivier Lanthier Les artistes et la galerie tiennent à remercier / The artists and the gallery would like to thank : François St-Jacques Couverture / Cover : Claude Tousignant, Variation 59 : série de cinq tableaux a structure identique, symétrique et réversible, trouvé par hazard #1 (détail), 2019 acrylique sur panneau de bois / acrylic on wood panel, 122 x 242 x 5 cm / 48 x 96 x 2 in o Design graphique / Graphic design : Michael Patten | mai - juin, 2019 vol. 14 n 5 | Les Éditions Art Mûr ISSN 1715-8729 Invitation. Black Impression / Printing : Deschamps Art Mûr. 5826, rue St-Hubert, Montréal (QC) Canada, H2S 2L7, 514 933-0711, www.artmur.com CMYK Pantone CHRISTINE NOBEL: BETWEEN THE NOTES CHRISTINE NOBEL: BETWEEN THE NOTES 2 Texte de Geneviève Marcil s’inspirent de l’enchevêtrement des trames tissées tout autant que de la toile virtuelle de l’Internet. Aussi improbable que cela puisse paraître, c’est par l’invention d’un métier à tisser nouveau genre au début du 19e siècle que Joseph Or, tandis que l’ordinateur prototypique de Jacquard rend superflu Marie Jacquard ouvre la voie à l’univers numérique dans lequel l’apport de nombre d’ouvriers par l’automatisation du tissage nous évoluons désormais. À l’aide de cartes perforées, le métier et permet une rapidité de production accrue, Nobel s’impose Jacquard peut être programmé pour réaliser différents motifs, un en gardienne d’une patiente tradition artisanale. Chacun de ses procédé à la base de toute programmation informatique et de tout tableaux débute par une première couche rappelant un paysage, ordinateur contemporain. L’association historique entre l’industrie qui est progressivement voilée par l’addition méticuleuse de textile et le traitement de données resurgit de façon inattendue peinture empâtée sous forme de grille (Trace III, 2018). Par ce dans l’œuvre picturale de Christine Nobel. Dans le cadre de travail de longue haleine, l’artiste remet en cause l’immédiateté l’exposition Between the Notes, l’artiste propose une sélection privilégiée dans notre environnement numérique. d’huiles sur panneau bois dont les compositions orthogonales En plus des références aux phénomènes topographiques, Nobel conjugue également un intérêt envers la musique. Cette inspiration 1 nouvelle amène les couches de peinture multipliées à s’affranchir de la rigueur perpendiculaire de la trame et insuffle à l’ensemble un rythme inédit où les espaces interstitiels de la composition abstraite sont mis en parallèle avec une succession de notes (Confluence ,I 2019). L’intrusion occasionnelle de traits francs horizontaux ou verticaux, non sans rappeler les zips de Barnett Newman, ancre quant à elle la composition à la manière d’une ligne d’horizon (Night vision, 2019). Dans tous les cas, Nobel exploite la charge polysémique de la grille en tant que représentation d’un espace insondable, immersif et méditatif, appuyé par le format des panneaux et la palette de couleur feutrée. Elle rejoint en cela l’analyse fondatrice de la critique et théoricienne Rosalind Krauss, qui affirme : « Logiquement, la grille est susceptible de s’étendre dans toutes les directions à l’infini. […] Grâce à la grille, l’œuvre d’art se présente comme un simple fragment, comme une petite pièce arbitrairement taillée dans un tissu infiniment plus vaste. »1 Au-delà de chacune des mailles qu’elle tisse, Nobel enjoint le regardeur à lire entre les lignes et à observer les confins du visible. 1. Rosalind Krauss. « Grilles ». Dans L’originalité de l’avant-garde et autres mythes modernistes. Traduction de Jean-Pierre Criqui. Macula : Paris, 1993/1979, p. 102. 4 CHRISTINE NOBEL: BETWEEN THE NOTES CHRISTINE NOBEL: CURRICULUM VITÆ Née 1973, Montréal (QC) / b. 1973, Montreal, QC 3 enclosure. The spaces in-between or rather between the notes, Education provide a structure for extended, slow viewing in which we are invited to closely explore the line between the seen and unseen. 2017 Master of Fine Arts , York University, Toronto (ON) 2010 The Presence of the Void, The Japanese Paper 2008 Bachelor of Fine Art, Concordia University Place Gallery, Toronto (ON) Between the Notes balances softness and rigidity, repetition and Montréal (QC) 2006 masked, Niagara Gallery, Toronto (ON) difference, to form a compelling viewing experience that stretches 2006 Tribute II, Old Hall Gallery, Waterford (ON) the imagination. For some, Between the Notes might offer a Expositions individuelles (sélection) / 2006 toPaint, Niagara Gallery, Toronto (ON) meditative experience because of the works’ relationship to Selected Solo Exhibitions 2006 Tribute I, Old Hall Gallery, Waterford (ON) slowness and reference to continuity and expansion through their intricate patterns. The effect of such patterns is not unlike the 2019 Between the notes, Art Mûr, Montréal (QC) Awards, Juries and Publications: structure of woven textiles, referenced in Between the Notes both 2018 Trace, Galerie Michel Guimont, Quebec City (QC) visually and through each work’s materialization of time’s passing. 2017 Places, Art Mûr, Montréal (QC) 2014 Arts Grant Jury Member, rtraction, London (ON) In the way that weaving is a time-based and embodied labour, 2017 Connectivity, Gales Gallery, York University, 2014 Ontario Arts Council, Emerging Visual Artist Grant Nobel’s paintings systematically document her own accrued Toronto (ON) 2016 Curtlands Foundation Prize for Emerging Artist gestures rather than eschew reference to the artist’s hand.
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