Présences du littéraire dans l’espace public canadien - Light

Domicile (Neighbourhood Series)

Marie-Claude Langevin — Wed, 01 Apr 2009 14:17:44 +0000

Artwork identification

Artwork creator(s):

Campbell, Kati

Artwork creator(s):

Campbell, Kati

Text author(s):

Campbell, Kati

Text author(s):

Campbell, Kati

Installation year:

1988

Remarks on location:

Downtown. Signs placed in windows.

Artwork description

Source: Sherrin, Bob (1988). Urban Subjects, Vancouver : The Vancouver Association for Non Commercial Culture

Description:

Illuminated posters installed on billboards

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Image 1: details. One of the four panels of the artwork. Image 2: detail. Three of the four panels of the artwork. Picture 3: detailed. The work in context (overview from the street)

Text of the artwork:

[panel 1]

Common morning   activities   accom-
plished within a few seconds : turn off the
tap,   open   the   curtains, take   off   the
kettle, pour the water, open the fridge,
pour the milk, replace the carton, close
the   fridge,   close    the    bathroom   door.
Once    inner   adhesions    give    way,
Common    motions    break    down,    are
Significant   tasks   in   themselves.

The man chased the woman out onto
the deck. He flailed at her with a long
plank of wood; she held her own with a
metal coat rack.
The deck doors are constantly left
open. Often he has his son or daughter
down on the living room floor while he
pummels and kicks them, screaming
hoarsely. Or else the woman is chasing
them with a cooking pot. Squalls of
words swirl about them.

[panel 2]

Although small and plain, the backyard
is used to its fullest capacity. Many
nights in summer, the whole family sleeps
outside, the man, the woman, the three
teenaged sons, the young daughter. Each
has their own cot, blankets and sheets.
An electric alarm on an extension cord
wakes them up for work.

Two motions deliberated carefully and
then she must sit down, exhausted, beside
the window. She can just see the heads
of two people in another house carrying
on a conversation. Nodding civilly back
and forth. Normality.

[panel 3]

The law required them to build a two
car garage and put in a driveway. This
left little space for a garden. The week
before they moved in, the grandmother,
old and tiny, almost doubled over, built
up a garden in the driveway. They parked
their car on the street.

Several times each year, the young girl
can be heard screaming, over and over,
“Why don’t you just kill me you bastard,
oh I want to die, I want to die”. When
the police come, the mother and daughter
are helped out of the house and they
drive away.
Recently the young girl came home
from the hospital with a baby. The
stepfather has since bought a new car
and dresses more respectably.

[panel 4]

Last year they tried to get rid of the son,
dangerously full grown now and as sour
as the father, by paying his way back to
the homeland. He came back after a few
months; no change.

This was in mid-November and she had
a miraculous garden of giant bok choy
and cabbage under plastic. She tended
it every day; with slow, precise move-
ments, she would lift the plastic, the
wind blowing, then prune and weed and
water. Meanwhile the other houses’
legitimate garden spaces lay fallow, open
to the winter weather.

Text theme:

(Dysfunctional) domestic suburban life

Artwork theme:

Lack of direct interchange amongst city dwellers; exposes fraud of neighbourhood; dislocation, alienation from our neighbours; home as a hideaway from the urban, public sphere

History

History:

Home (Neighborhood Series). Screenprint on plexiglass, fir, fluorescent fixtures, paint. Collection of the Museum of Fine Arts Vancouver

Exhibition Urban Subjects, September 26-October, 15, 1988.

Event date(s):

1988

Dimensions

Height:

109m

Width:

38m

Other information

Artist's biography:

Campbell, Kati

Source:

Vancouver Association for Non Commercial Culture, centre d’artistes (1984-1998) (Fonds Vancouver Association for Non Commercial Culture fonds) en la possession de la Morris and Helen Belkin Art Gallery University of British Columbia Contact: Krisztina Laszlo , Archivist Address: University of British Columbia, 1825 Main Mall, Vancouver, B.C. V6T 1Z2 Phone: (604) 822-0001 Fax: (604) 822-6689 EMail: klaszlok@interchange.ubc.ca

Document(s):

Urban Subjects

Privé/public: art et discours social = Private/Public : Art and Social Discourse

Tri, Making the Impossible Possible

Marie-Claude Langevin — Wed, 12 Nov 2008 19:32:22 +0000

Artwork identification

Artwork creator(s):

Tam, John; Hora, Rob

Artwork creator(s):

Tam, John

Hora, Rob

Text author(s):

Tam, John; Hora, Rob

Text author(s):

Tam, John

Hora, Rob

Installation year:

2003

Artwork description

Source: The Places (2008). Walking Tour. (http://www.theworks.ab.ca/placesfolder/tour/pages/26.html)

Description:

The artwork is a colourful optical illusion of a giant steel ball suspended in the centre of a triangle.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

EARN
LEER
IMPARARE
NAULEA
Nauka
LERNER SIE

Dimensions

Other information

Note(s):

Students enrolled in the University of Alberta Art & Design Program

Owner(s):

City of Edmonton

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

Wish you were here

Marie-Claude Langevin — Fri, 03 Oct 2008 04:08:34 +0000

Artwork identification

Artwork creator(s):

Woodcock, Laurel

Artwork creator(s):

Woodcock, Laurel

Text author(s):

Woodcock, Laurel

Text author(s):

Woodcock, Laurel

Installation year:

2007

Remarks on location:

B8 on the business card of the event (Area B, exhibition 8). Level Grange Road. Located at the North end of the park.

Artwork description

Source: CCCA (2008). Scotiabank Nuit Blanche. (http://www.ccca.ca/nuitblanche/nuitblanche2007/artists/b8.html)

Description:

Light projected on the ground

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

wish you were here

Text theme:

Inspire desire for the unattainable

History

History:

Wish You Were Here ³ YYZ Gallery, September 8-October 23, 2004, Toronto

Wish You Were Here: project for the "At The Corner of Time and Place" theme, Scotiabank Nuit Blanche 2007, Toronto. New version of the work (gobo projector, balloons filled with helium)

Event date(s):

2007

Dimensions

Other information

Note(s):

The phrase is familiar as it has been abused by generations on souvenir postcards. Once meant as a wholehearted invocation to the friend or family member who could not travel along to an exotic location, it has become hollow and empty, often used with sardonic intent.

Source: Kathie Bethune-Leamen, "Once more, with feeling," in: Play/pause/repeat, p.24-25

Artist's biography:

Laurel Woodcock

Source:

«Scotiabank Nuit Blanche Toronto Canada 2007». Sur le site Centre de l’art contemporain canadien. La base de données sur l’art canadien. http://www.ccca.ca/nuitblanche2007/artists/images/woodcock/index.html (Consulté le 1 juin 2008). 1. Laurel Woodcock, artiste Tél : 519-824-4120 poste 53659 laurelw@sympatico.ca (autre courriel : lawoodco@uoguelph.ca) 2. Giannina Warren Media relations Scotiabank Nuit Blanche 416-395-7318 gwarren@toronto.ca informations générales : scotiabanknuitblanche@toronto.ca Giannina Warren Media relations, Scotiabank Nuit Blanche 416-395-7318 gwarren@toronto.ca informations générales : scotiabanknuitblanche@toronto.ca

Document(s):

Laurel Woodcock : play / pause / repeat

Recherche

Marie-Claude Langevin — Tue, 17 Jun 2008 03:30:52 +0000

Artwork identification

Artwork creator(s):

Goulet, Rose-Marie E.

Artwork creator(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Collaborator(s):

Boucher, Jean-Guy, Compagnie Preico Ltd (cooking glass)

Installation year:

1993

Artwork description

Source: Goulet, Rose-Marie E. (2005). Projets, archives et documents. Montréal: Centre de diffusion 3D

Description:

The artwork consists of three parts: a stained-glass window, a sculptural element and projectors. Natural light is filtered through three spaced-out blocks of primary colours (cyan, magenta and yellow). Their superimposition produces secondary colours. Letters of the alphabet and various symbols are scattered about, like particles in the galaxy. In the center of the room, a spiral steel tube, shaped like a human figure, carries a text written in liquid crystals. Depending on the intensity of the heat, the colour varies from blue to brown. Three primary colour projectors are installed in a niche, producing shadow play images.

Mention(s) légale(s) des illustrations:

Photo credits:

Artwork theme:

The universe

Dimensions

Other information

Artist's biography:

Rose-Marie E. Goulet

Document(s):

Projets, archives et documents

Rose-Marie Goulet: Deux oeuvres d’art public / Rose-Marie Goulet: Two Public Art Works

Autour et de très près

Marie-Claude Langevin — Wed, 11 Jun 2008 01:18:39 +0000

Artwork identification

Artwork creator(s):

Dutkewych, Andrew

Artwork creator(s):

Dutkewych, Andrew

Text author(s):

Dutkewych, Andrew

Text author(s):

Dutkewych, Andrew

Installation year:

1992

Remarks on location:

The sculpture is located at Pavillon Thérèse Casgrain

Artwork description

Source: Galerie UQAM (2008). Art public de la Galerie UQAM. (http://www.galerie.uqam.ca/Collection/art-public.htm)

Description:

Sculpture and fountain incorporating a circular basing and four elements carved in granite, all of which are topped with a slab. The base of each element is an upside down face, carved in bas-relief. According to the artist, this refers to what is "intelligible and sensitive." A light system is integrated to the basin. The water flows continuously from the top slab. Four other blocks of granite, arranged around the basin, bear an inscription.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Vertu Mémoire Union Harmonie

Text theme:

In Roman mythology, the terms were the protectors of bounds. Four blocks of stone around the fountain and each carries a inscription that reflect the scope of this monument: Memory, harmony, unity, virtue.

Artwork theme:

Emotion

Dimensions

Height:

2.15m

Width:

1.8m

Diameter:

1.8m

Other information

Note(s):

Engraved on the basin :

AUTOUR ET DE TRÈS PRÈS 1992
ANDREW DUTKEWYCH

Artist's biography:

Andrew Dutkewych

Owner(s):

UQAM

Interface

Marie-Claude Langevin — Tue, 10 Jun 2008 23:58:18 +0000

Artwork identification

Artwork creator(s):

Dallegret, François

Artwork creator(s):

Dallegret, François

Text author(s):

Dallegret, François

Text author(s):

Dallegret, François

Installation year:

1989

Remarks on location:

The installation is located at the foot of the stairs to the main entrance, 5m from the building. People can pass under the installation.

Artwork description

Source: François Dallegret (2008). Arteria. (http://www.arteria.ca/ui.html)

Description:

Sculptural sign consisting of two white steel beams that are linked at the top by eight corrugated fiberglass panels. It evokes a signboard shaped as an arch, such as ones used in institutions and public buildings. This semi-transparent construction diffuses daylight. At night, a lighting system that has been integrated to the outer panels generates artificial light. Inside one of the two beams, three vertical metal strips have been integrated, one of which features an inscription.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

At the base of a beam:

INTERFACE 1989/ PORTE/ parole/ PORTIQUE/ manifeste/ OUVRAGE/ d’art/ APPAREIL/ différence/ RIDEAU/ théâtre/ LUMINAIRE/ vérité/ FRONTON/ anonyme/ ENSEIGNE/ loi/ SIGNE/ temps/ MODÉNATURE/ modernité/ LINCEUIL/ apparition/ STATUAIRE/ saint/ SANCTUAIRE/ urbain/ MONTRÉAL/ dallegret

Text theme:

Signal, urban object

Dimensions

Height:

11m

Width:

Other information

Note(s):

Plaque in the lobby:

Interface, the arch/signal located outside the building, is the work of artist Francis Dallegret. Produced to mark the new vocation of this place (old School of Fine Arts), it was designed and produced under the program to integrate art into the architecture put together by the Government of the province of Quebec. La Maison du Conseil des Arts was inaugurated on May 31, 1989.

Artist's biography:

Arteria

Owner(s):

Maison du Conseil des Arts de la communauté urbaine de Montréal

Architect(s):

Cormier, Ernest; J.Omer marchand, architects (1922)

L’histoire de la musique à Montréal

Marie-Claude Langevin — Tue, 10 Jun 2008 15:01:32 +0000

Artwork identification

Alternate title:

Les Arts lyriques

Artwork creator(s):

Back, Frédéric

Artwork creator(s):

Back, Frédéric

Text author(s):

Back, Frédéric

Text author(s):

Back, Frédéric

Installation year:

1967

Remarks on location:

West mezzanine

Artwork description

Source: Métro de Montréal (2008). Frédéric Back- Histoire de la musique. (http://www.metrodemontreal.com/art/back/metro-f.html)

Description:

The huge artwork consists of thousands of superimposed glass slats, lit by 105 tubes and supported by one tonne of steel.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Hochelaga, 20 Octobre M.D.XXXV. Ledict Cappitaine Iacques
Cartier comanda sonner les trompettes & aultres inſtrumens de
musisque, deſquelz ledict peuple ſut fort reſiouy. Pluſieurs hommes
& femmes nous vinrent cõduyre ſur la montaigne qui eſt par nous
nommée Mont Royal.

Text of the plate :

Histoire de l'art musical à Montréal depuis le premier concert, le 20 octobre 1535, jusqu'aux recherches les plus audacieuses de ses musiciens contemporains.

Artwork theme:

It tells the history of music in Montreal, starting with the first concert on the island, in 1535, at the request of Jacques Cartier, and including famous figures as Guillaume Couture, Dame Emma Albani and Calixa Lavallée, until today.

History

History:

This artwork was the first to be sponsored and installed in the metro. It is one of the historical works commissioned under artistic director Robert La Palme. It was offered by former supermarket chain Steinberg. Its inauguration took place on December 20, 1967.

Dimensions

Height:

2.7m

Width:

13.7m

Other information

Artist's biography:

Frédéric Back

Owner(s):

Société de Transport de Montréal

Artères

Marie-Claude Langevin — Sun, 08 Jun 2008 21:30:48 +0000

Artwork identification

Artwork creator(s):

Vincent, Bill (William)

Artwork creator(s):

Vincent, Bill (William)

Text author(s):

Vincent, Bill (William)

Text author(s):

Vincent, Bill (William)

Installation year:

2003

Artwork description

Source: Bill Vincent (2009) Images. (http://www.pagede.com/artistes/vincent_bill/artpublic_BillVincent.htm)

Description:

Fine blue roots are painted onto a surface composed of twelve wooden boxes that have been dyed white. The central element, located in the foreground, is divided into three parts. On the bottom, handwritten texts, dating from 1903 and found in pharmaceutical archives, are engraved onto each other on a steel surface that has been finished with a patina. The central part is backlit and displays a digital print of roots. The top part represents a tree trunk.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Pharmaceutical archives

Text theme:

Health

Artwork theme:

Provides a comparison between the health and social services network and the hidden roots of a big tree.

Illustrates the contribution of regional boards to the welfare of the individual in this society.

Dimensions

Height:

4.16m

Width:

3.3m

Other information

Artist's biography:

Bill Vincent

Owner(s):

Centre administratif régional de la Régie de la santé et des services sociaux de Québec

Architect(s):

The architects Hudon and Julien

JES

Marie-Claude Langevin — Fri, 06 Jun 2008 14:05:43 +0000

Artwork identification

Artwork creator(s):

Gerdes, Ludger

Artwork creator(s):

Gerdes, Ludger

Text author(s):

Gerdes, Ludger

Text author(s):

Gerdes, Ludger

Installation year:

1996

Artwork description

Source: CIAC (2005) Promenade, l'art dans la ville. (http://www.ciac.ca/en/promenade-lart-dans-la-ville)

Description:

The work consists of three large illuminated letters. JES is a play on language: the letter "s" has been added to the pronoun "je" ("I").

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

ICHS

Artwork theme:

Expresses the subjectivity of the plural form, encountering persons from the view point of their individuality.

History

History:

Ludger Gerdes' work, JES, is the French adaptation of ICHS, a project presented in 1989 at the Haus Esters Museum in Krefeld. First seen as part of the One Hundred Days of Contemporary Art in Montreal in 1991, JES is finally shown for the first time in the context for which it was originally intended, i.e. an outdoor public space.

Event: Promenades – L’art dans la ville

Event date(s):

1996

Dimensions

Other information

Note(s):

For the artist, it is important that art be seen outside of museums, in urban and natural settings, to really disturb perception habits and reach people in their familiar environment.

Document(s):

JES

«Cent Jours» retrouvent leurs atouts. Et Claude Gosselin joue la carte de l'Art dans l'espace public...

Murmures

Marie-Claude Langevin — Tue, 27 May 2008 20:03:24 +0000

Artwork identification

Artwork creator(s):

Mathieu, Marie-Christiane

Artwork creator(s):

Mathieu, Marie-Christiane

Text author(s):

Divers

Text author(s):

Divers / Miscellaneous

Installation year:

1999

Artwork description

Source: MCCCQ (1999). Bilan 1998-1999. Intégration des arts à l’architecture et à l’environnement. Québec: MCCCQ

Description:

The work is divided into four wall sections featuring text - articles from the Charter of the Universal Declaration of Human Rights. The text is displayed in such a way as to form the contours of human body parts - ear, head, hand, eye. The letters are painted white on a white wall. Three life-size human silhouettes appear in distinct colours on the surface of the hologram. The shape of the silhouettes is outlined with letters.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Charter of the Universal Declaration of Human Rights

Text theme:

Human rights

Artwork theme:

Human rights

Dimensions

Other information

Note(s):

The artist was inspired by a 17th century Italian text, The City of Sun Tommaso Campanella. This text mentions an imaginary city where the walls are covered with works illustrating various aspects of knowledge.

Artist's biography:

Marie-Christiane Mathieu

Architect(s):

Turcot, Luc (Viau, Bergeron, architects)

Document(s):

Intégration des arts à l’architecture et à l’environnement. Bilan 1998-1999

Mémoire

Marie-Claude Langevin — Tue, 27 May 2008 19:55:46 +0000

Artwork identification

Artwork creator(s):

Mathieu, Marie-Christiane

Artwork creator(s):

Mathieu, Marie-Christiane

Text author(s):

Mathieu, Marie-Christiane

Text author(s):

Mathieu, Marie-Christiane

Installation year:

1994

Artwork description

Source: MCCCQ (1994). L’intégration des Arts à l’architecture et à l’environnement. Bilan 1993-1994. Québec: MCCCQ

Description:

A hologram is installed in a pit in the floor. The holographic image shows three types of signs representative of the languages used by humans throughout history: the hieroglyphics of ancient Egypt, an excerpt from a play and text in binary language. Each appears in a different colour and at a different projection height.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Excerpt from a play

Text theme:

Language

Artwork theme:

Language, History

Dimensions

Other information

Artist's biography:

Marie-Christiane Mathieu

Owner(s):

Polyvalente Deux-Montagnes; Commission scolaire de Saint-Eustache

Document(s):

L’intégration des Arts à l’architecture et à l’environnement. Bilan 1993-1994