Présences du littéraire dans l’espace public canadien - Association

«voice…over»

Marie-Claude Langevin — Wed, 22 Oct 2008 15:26:59 +0000

Artwork identification

Artwork creator(s):

Wonnacott, Justin

Artwork creator(s):

Wonnacott, Justin

Text author(s):

Wonnacott, Justin

Text author(s):

Wonnacott, Justin

Artwork description

Source: Justin Wonnacott (2008). Voice Over. (http://www.aregeebee.net/pages/justinp.htm)

Description:

Computer-assembled photomontages, which blend layers of images and text together using the extended idea of community as the theme.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

1. Photomontage 1:

ice storm of 1998.

2. Texte:

charity

3. Photomontage 2:

old age, elderly people (underrepresented age group). Text: i will collect – small circles in air

4. Photomontage 3:

language. Text: mother tongue

5. Photomontage 4:

Community history, community identity over time. Text: history is what you want – words – deeds

6. Photomontage 5:

Text: becoming –was – I -- am

Dimensions

Other information

Note(s):

Voice over also (film?)

Order of photos uncertain (ignore numbers)

Commissioned by the Community Centre as part of a collaboration with the Dovercourt

Community Center and the city of Ottawa called «Artlink». Coincided with 10th anniversary of the opening of the new facility

Photos taken by staff and users of the centre. Text corresponds to comments and input from these people.

Artist's biography:

Justin Wonnacott

Thanksgiving

Marie-Claude Langevin — Wed, 22 Oct 2008 04:02:39 +0000

Artwork identification

Artwork creator(s):

Koh, Germaine

Artwork creator(s):

Koh, Germaine

Text author(s):

Koh, Germaine

Text author(s):

Koh, Germaine

Installation year:

1999

Artwork description

Source: Photo provided by Germaine Koh

Description:

Detachable coupon in the newspaper

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

The image is a detail of the article which contains the artwork

Text of the artwork:

thanks --- many thanks

Text theme:

Thanks, recognition

Artwork theme:

Recognition and encouragement of acts of good grace, exchange and sharing.

History

History:

Published in The Globe and Mail, November 6, 1999 "projects. various currency projects. Thanksgiving".

Dimensions

Other information

Note(s):

Two coupons, indicating "thanks" and "many thanks," were put into circulation in a national newspaper, to be clipped out and used in social situations.

Artist's biography:

Germaine Koh

Source:

Germaine Koh peut être jointe en communiquant avec la galerie qui la représente - Catriona Jeffries Gallery 274 East 1st Ave., Vancouver V5T1A6 Canada Tél : 604-736-1554 cat_jeffries_gallery@telus.net

Tender

Marie-Claude Langevin — Wed, 22 Oct 2008 03:56:05 +0000

Artwork identification

Artwork creator(s):

Koh, Germaine

Artwork creator(s):

Koh, Germaine

Text author(s):

Koh, Germaine

Text author(s):

Koh, Germaine

Installation year:

2001

Artwork description

Description:

Set of coupons published in MIX magazine

History

History:

Tender was a set of coupons published in MIX magazine (Toronto) in Autumn 2001. "projects. various currency projects. Tender".

Dimensions

Other information

Artist's biography:

Germaine Koh

Loose Lips Series

Marie-Claude Langevin — Sat, 11 Oct 2008 15:57:36 +0000

Artwork identification

Artwork creator(s):

Göllner, Adrian

Artwork creator(s):

Göllner, Adrian

Text author(s):

Göllner, Adrian

Text author(s):

Göllner, Adrian

Installation year:

2000

Remarks on location:

Rooms (402 A), (161 A), Engine Room / Machine room, medical clinic

Artwork description

Source: Photo provided by Adrian Göllner

Source: Photo provided by Adrian Göllnerr

Description:

Backlit posters with messages of warning and safety instructions.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[Poster 1: Bunkroom, Level 4]

SPOT THE RED
Close ranks on communist infiltrators.

[Poster 2: medical clinic / medical center, level 4]

They walk among us.
The communist threat is real.

[Poster 3: Machine Hall machine room, Level 1]

Them in Europe. Us in Europe.
Tactical nuclear weapons keep Europe free.

Artwork theme:

Cold war

History

History:

AxeNeo7, an artist-run centre in Hull, Québec, presents the work of thirteen artists in the bunker as a way of exploring the perceptions of the Cold War and the Diefenbunker itself. Singular:Fissions ran from July 15 until October 31, 2000. Located twenty minutes East of Ottawa in the town of Carp is the Diefenbunker. Built in the late fifties and early sixties admidst Cold War tensions, this four-storey bunker would have housed senior government and military officials in the case of nuclear war. Now decomissioned, the bunker is the home of Canada's Cold War Museum and a popular tourist destination.

Event date(s):

2000

Dimensions

Height:

0.86m

Width:

0.68m

Other information

Note(s):

I created three different series for the exhibition: the Loose Lips Series, the Hygiene Series and the Civil Defence Series.

The Loose Lips Series is the first of three series I created for Singular:Fissions, an exhibition in a decommissioned Cold War bunker outside of Ottawa, Ontario, Canada, on the theme of fear and the Cold War. The series employs 1960's style hard-edge graphics in the creation of faux anti-communist propaganda. Placed at crucial junctures in the bunker, the back-lit posters cautioned bunker personnel that enemy spies are lurking. Most visitors took them to be original to the facility.

My artworks address particular contexts. Given a billboard on which to work, I designed mock advertisements; allowed to work in a military bunker, I made some propaganda. When faced with a conventional gallery space, I am inclined to play off the stylings of contemporary art. Within the above however, there are constants. I have an abiding interest in abstraction and the history of the last century. Of specific interest are those points where design and art cross, i.e.: the Bauhaus, the Soviet Avant-garde, and American industrial design of the 1930s. Stylistic references to these movements are referred to, coyly, to enhance my investigations into the Cold War, architecture and our consumer society. My intent is to satirize, but I hope I do so with a degree of subtlety. By closely emulating graphic styles and employing commercial production techniques, I am able to hide my own hand and create images that defy easy interpretation as art. The results are mildly subversive.

Adrian Göllner (2008). Adrian Göllner: Loose Lips Series.

http://www.adriangollner.ca/looselip.html

Artist's biography:

Adrian Gollner

Source:

1.Musée Diefenbunker3911 Carp RoadCarp, OntarioK0A 1L0613-839-0007 ou sans frais 1-800-409-1965info@diefenbunker.ca

Document(s):

Adrian Göllner : War & Peace : the Ottawa Artist Remembers the Cold War

Singular Fission/ Fissions singulières

Art et guerre froide

Art Goes Underground

Escape Fantasies. Survival in the Diefenbunker

The Show That Came in From the Cold

Passage

Marie-Claude Langevin — Tue, 30 Sep 2008 02:56:49 +0000

Artwork identification

Artwork creator(s):

Jurakic, Ivan

Artwork creator(s):

Jurakic, Ivan

Text author(s):

Baudrillard, Jean

Text author(s):

Baudrillard, Jean

Installation year:

2004

Remarks on location:

Occupied a long, narrow corridor in an abandoned downtown bank

Artwork description

Source: Photo provided by Ivan Jurakic

Description:

Hand-cut directly in sheetrock and drawn into with graphite, the single line of text occupied a long, narrow corridor in an abandoned downtown bank.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

no longer in the age of grandiose collapses and resurrections of games of death and eternity but of little fractal events smooth annihilations and gradual slides with no tomorrow from here on

Text theme:

Jean Baudrillard, “Ecstasy and Inertia”

Artwork theme:

Contact and location; the city as a place of passage; terminal nature of commerce; post-industrial space

Dimensions

Height:

1.16m

Depth:

0.1 m

Other information

Note(s):

Passage featured an excerpt from the essay Ecstasy and Inertia by philosopher Jean Baudrillard. Beginning with a negation (no), the text created a metaphoric circuit by ending with a preposition suggesting contact and location (on). Functioning as a memorial to the post-industrial space where the phrase was contained – a gutted commercial site transformed into a temporary art gallery – the inscription also alluded to the terminal nature of commerce. The installation proposed a kind of formalist vandalism, akin to carving ones name into a public bench. Set behind a glass façade, Passage was visible 24 hours a day, taking its place alongside the flood of other signage and graffiti that marks the city as a place of passage.

Source:

Ivan Jurakic 23 Murray Street West Hamilton, ON L8L 1B1 905.523.8865 ivanjurakic@sympatico.ca

Document(s):

Art Gallery of Hamilton Special "Future Cities"