Présences du littéraire dans l’espace public canadien - Paper

One potato, two potato...it's your life...

Marie-Claude Langevin — Wed, 20 May 2009 00:20:10 +0000

Artwork identification

Artwork creator(s):

Fernandes, Michael

Artwork creator(s):

Fernandes, Michael

Text author(s):

Fernandes, Michael

Text author(s):

Fernandes, Michael

Installation year:

2007

Remarks on location:

Occupied the space of Galerie du MAI, its windows and its neighbouring streets.

Artwork description

Source: MAI (2007). Michael Fernandes. One potato, two potato...it's you life.... Montréal: MAI

Description:

The artist offered an itinerary in the gallery and outside.

The MAI's eight windows were blocked up to present text fragments in fluorescent lettering.

Posters announcing lost cats were distributed on walls and lampposts throughout the surrounding streets. The poster was touched up by the artist, though he took care of preserving all the information.

On the other side of the large windows, the MAI's exhibition hall was plunged in darkness. Four stations were indicated on the ground. A soundtrack and projection were associated with each one.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Photos 1 and 2: Installation in the windows (text). Photos 3 and 4: Installation of a series of posters

Text of the artwork:

While working for different people in the past

Je ne travaillais pas pour le gouvernement

I'm working for my country

Peu importe qui vient

I have not been working for government

Peu importe qui s'en va

whoever comes

whoever goes

ce n'est pas mon problème

if the people are being busy somewhere

Ils ne vont nulle part ailleurs partciper à quelque activité guerrière

si les gens sont occupés quelque part

they are not going anywhere else to some war-like activities

Text theme:

Relationship to work and country

Artwork theme:

Interpenetration of art and life, trade, exchanges, multiple voices, fragmented message

History

History:

Galerie du MAI gave carte blanche to Michael Fernandes, a Canadian artist known for his artwork and his ecclectic body of work. During an artist residency in Montreal, he shot short video, almost too simple little stories. One potato, two potato... is a game, a random game, but it is also a change of roles, a turn of events. This artwork traces a quest for identity in tongue-in-cheek style.

One potato, two potato ... it's your life ...
February 8 to March 31

Event date(s):

2007

Dimensions

Other information

Artist's biography:

Michael Fernandes

Document(s):

Michael Fernandes. One potato, two potato...it's you life...

Michael Fernandes

Homage to Parenthood

Marie-Claude Langevin — Sun, 03 Oct 2010 20:14:09 +0000

Artwork identification

Artwork creator(s):

Latour, Toni

Artwork creator(s):

Latour, Toni

Text author(s):

Latour, Toni

Text author(s):

Latour, Toni

Collaborator(s):

Her father

Installation year:

2010

Remarks on location:

Brighouse Station

Artwork description

Source: Toni Latour (2010). Toni Latour News. (http://www.tonilatour.com/upcoming.html)

Description:

Homage to Parenthood is a six-panel public art installation on display at the Canada Line Brighouse Station. On the panels are 100 clichés, idioms and sayings written in colours that mirror those of the rainbow.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Life is a bowl of cherries.
Nobody's perfect.
If it ain't broke, don't fix it.
Better late than never.
An ounce of prevention is worth a pound of cure.
What doesn't kill you makes you stronger.
Don't shoot the messenger.
Always look on the bright side of life.
Patience is a virtue.
The more things change, the more they stay the same.
Don't cry over spilled milk.
This too shall pass.
If at first you don't succeed, try, try again.
Every dog has his day.
It's not the end of the world.
Good things come to those who wait.
Stop and smell the roses.
Do it with a smile on your face and song in your heart.
Turn over a new leaf.
Seize the day.

Rise and shine.
What you see is what you get.
Don't put all your eggs in one basket.
Only time will tell.
If you want it done right, do it yourself.
Measure twice, cut one.
The grass is always greener on the other side.
One bad apple spoils the bunch.
You can lead a horse to water, but you can't make him drink.
That's the way the cookie crumbles.
If the shoe fits, wear it.
You're one to talk.
It's my way or the highway.
No pain, no gain.
When life gives you lemons, make lemonade.
Get your feet wet.
Break a leg.
Don't make a mountain out of a molehill.
Stand your ground.
Live and learn.

Think good thoughts.
Home is where the heart is.
No man is an island.
One day at a time.
Get off your high horse.
Beggars can't be choosers.
What goes around comes around.
You reap what you sow.
Necessity is the mother of invention.
Ask and you shall receive.
It's a dog eat dog world.
Better safe than sorry.
Don't count your chickens before they're hatched.
Wait for the dust to settle.
No news is good news.
The apple doesn't fall far from the tree.
Put your best foot forward.
Take the bull by the horns.
Keep your head above water.
Life goes on.

You can do it.
Get with the program.
Don't be a chicken.
Nip it the bud.
Wha'ts good for the goose is good for the gander.
Laughter is the best medicine.
You can't have your cake and eat it too.
Roll with the punches.
Every rose has its thorn.
Don't put your foot in your mouth.
Hold out an olive branch.
Take it on the chin.
It could be worse.
Put your money where your mouth is.
Silence is golden.
Waste not, want not.
The third time's a charm.
When in Rome, do as the Romans do.
Count your blessings.
Don't rock the boat.

Every cloud has a silver lining.
There are plenty of fish in the sea.
Absence makes the heart grow fonder.
Tomorrow's a new day.
Many hands make light work.
Keep your chin up.
Get on the ball.
You can't teach an old dog new tricks.
His bark is worse than his bite.
There's a light at the end of the tunnel.
Money doesn't grow on trees.
Cross that bridge when you come to it.
Don't hold your breath.
When it rains, it pours.
Time flies when you're having fun.
All that glitters is not gold.
The best things in life are free.
You can't judge a book by its cover.
That's the bottom line.

Text theme:

Clichés, idioms

Artwork theme:

This work explores ideas of language, family upbringing, and the cultural specificity of clichés and idioms. It also exists as an homage to her recently deceased father.

History

History:

Part of the 2010 Vancouver Biennale

Event date(s):

2010

Dimensions

Other information

Note(s):

"I began the project by writing down all the sayings that my dad would use, and then did research on commonly used idioms and clichés from North America, which are incredibly culturally specific. From there, I had tons to choose from and the process really moved into the editing phase. It was a lot like writing a 100-line poem. The phonetic flow of each line was really important, along with the interconnected meaning. There are blocks of text that thematically relate to one another." Toni Latour

Matthew Hoekstra (2010). Dad may be gone, but not his words. Richmond Review
(http://www.bclocalnews.com/richmond_southdelta/richmondreview/entertainment/95465209.html)

Artist's biography:

Toni Latour

Document(s):

Homage to Parenthood

Dad may be gone, but not his words

VB Learn

Toni Latour - Text Projects

Ribbons and Rings

Marie-Claude Langevin — Thu, 06 Aug 2009 16:04:28 +0000

Artwork identification

Artwork creator(s):

Delos Reyes, Jen

Artwork creator(s):

Delos Reyes, Jen

Text author(s):

Delos Reyes, Jen

Text author(s):

Delos Reyes, Jen

Installation year:

2003

Artwork description

Source: Photo provided by Jen Delos Reyes

Description:

In 2003, Ribbons and Rings was a letter-writing campaign for love. Two hundred letters were distributed around Winnipeg, MB, with a P.O. box c/o "Love", urging people to feel connected and respond to the project by returning the message by mail.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

THE WORLD

CAN NEVER

HAVE ENOUGH LOVE

Text theme:

Love

Artwork theme:

Love, Relationships

Dimensions

Other information

Artist's biography:

Jen Delos Reyes

Source:

Jen Delos Reyes 1927 SE Woodward St Portland, OR 97202 USA T: (971) 255-1426 jendelosreyes@gmail.com

Document(s):

Projects. Ribbons and Rings

Derrière chez nous se dresse un champ au coeur duquel...

Marie-Claude Langevin — Wed, 29 Apr 2009 14:20:37 +0000

Artwork identification

Artwork creator(s):

Pelletier, Annie

Artwork creator(s):

Pelletier, Annie

Text author(s):

Pelletier, Annie

Text author(s):

Pelletier, Annie

Installation year:

2006

Artwork description

Source: Photo provided by Annie Pelletier

Description:

Twelve columns are arranged randomly. Text and sculptures of miniature chairs are integrated into them.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Excerpts from library books

Text theme:

Text becomes an element that transports the viewer into the world of reading

Artwork theme:

The natural environment of the Mauricie region

Dimensions

Other information

Note(s):

Simulating the action of entering into what the artist calls "a path bordered by the world of possibilities", the twelve columns are arranged randomly and gradually reveal their hidden sides as well as a variety of materials, textures and colours.
This installation suggests that this is a space where people, users of the site, are transported to the heart of a world of possibilities. At once shrine and imaginary forest, the artwork unfolds in space, inviting visitors to wander through the various worlds being expressed.

Conversation with the artist in 2009

Artist's biography:

Annie Pelletier Sculpteur

Architect(s):

Jean-Louis Déry (Architects)

Source:

Annie Pelletier, 110, rue Parc des Anglais, Québec, QC G8T 4M5 Téléphone et télécopieur : 819 370-1676 Courriel : anniepelletier69@hotmail.com

Document(s):

Intégration des arts à l'architecture et à l'environnement. Bilan 2004-2007

We Are the World

Marie-Claude Langevin — Sun, 05 Apr 2009 21:26:45 +0000

Artwork identification

Artwork creator(s):

Lewis, Mark

Artwork creator(s):

Lewis, Mark

Text author(s):

Lewis, Mark

Text author(s):

Lewis, Mark

Installation year:

1988

Remarks on location:

Bus shelter Southwest corner of Burrard at Robson Street

Artwork description

Source: Culley, Peter (1988), Adverse Practises, Vancouver : The Vancouver Association for Noncommercial Culture

Description:

Photographic image in a bus shelter

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

We Are The World
You Are The Third World

Text theme:

Industrialized countries, Third World

Artwork theme:

Industrialized countries, Third World, injustice and economic imbalance, poverty and capitalism, overconsumption.

History

History:

Exhibition We Are the World / White Noise, YYZ Gallery, Toronto, ON, 1988 (Wednesday, April 27-Saturday, May 21). This version of the work was in three languages: Korean, English and Afghan Farsi

Exhibition Adverse Practices, Vancouver, BC, 1988.
Following negotiations with the city of Vancouver, the exhition was booked on the front and back of the advertising box in the bus shelter located at the Southwest corner of the intersection of Burrard and Robson Streets, from February 29 to June 13, 1988. The participating artists created specific new works for the project. Five three-week exhibitions followed.

We Are the World by Mark Lewis and Perhaps She Was So Wicked... by Jil P. Weaving simultaneously occupy the front and back of the advertising box in the bus shelter.

Event: Adverse Practices, February 29-March 21, 1988

Event date(s):

1988

Dimensions

Other information

Artist's biography:

Mark Lewis

Source:

Mark Lewis info@marklewisstudio.com 2. 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):

Adverse Practises (Practises Zealously Pursued Pass Into Habits)

Letters From Home

Marie-Claude Langevin — Wed, 01 Apr 2009 14:34:47 +0000

Artwork identification

Artwork creator(s):

Jones, Amy; Naylor, Margaret; Weaving, Jill P.

Artwork creator(s):

Jones, Amy

Naylor, Margaret

Weaving, Jill P.

Text author(s):

Jones, Amy; Naylor, Margaret; Weaving, Jill P.; Leach,Penelope

Text author(s):

Jones, Amy

Naylor, Margaret

Weaving, Jill P.

Leach,Penelope

Installation year:

1992

Remarks on location:

Flyers placed in the leaflet display on British Columbia Ferries, at the tourist information center in the City of Vancouver, postal outlets, community centers and various other locations.

Artwork description

Source: Leigh Butler, Margot (1992), Letters from Home, Vancouver : The Vancouver Association for Non Commercial Culture

Description:

Flyers placed in various displays

Mention(s) légale(s) des illustrations:

Text of the artwork:

[card for the letter "A"]

A a

AWORK

āhĭsto ̸ rĭc (al) adjs. Not historic(al);
Unrelated to history.

Apple

āmŏ ̸ ral a. Unconcerned with or outside
of morals; non-moral.

snAke

āsĕ ̸ xŭal a. Having no distinct sex; also,
produced without sexual agency.

Fig leAf

ā ̸ work (werk) n. Unconcerned with
gender of worker and unrelated to
designation of locale as workplace;
also produced without necessity of
monetary agency.

[ [card for the letter «B»]

B b

Birth

Bread

Not I, not I, not I
and she did.
Not I, not I, not I
and she did.
Not I, not I, not I
and she did.

Young adult men
are the most
resistant to periods
of famine…

[card for the letter «C»]

C c
Claire
A Tale of Right And Wrong.

Claire was a steam engine. She worked hard
every day pulling coaches up and down the
mountain. Her friends were all steam en-
gines too. They met every Friday for din-
ner at the station. Claire loved this time
with her friends.
When Claire was younger she taught
Andy, her little steam engine, to pull
coaches. When he was old enough he went
to work on the prairie, on the other side of
the mountain. After Andy left Claire, she
missed him very much.
One day when Andy was working, he
tooted his horn loud enough that even Claire
could hear it, so far away. Claire sent him a
smoke signal, warning him to save his en-
ergy for pulling the heavy coaches. It seemed
to her, at the time, that she was right to
warn him. After she talked about it with
her friends, however, she wasn’t so sure.
Claire decided to ask Andy if he thought
she was right or if he thought she was
wrong. He said he used to think he knew
the answer, but was sure he didn’t know
the answer now.

[ card for the letter «D»]

Dd

A puppy’s mother
Is called a dog bitch

[card for the letter «E»]

Ee

Experience
(Work Related)

Eight little children having fun,
Their parents have experience with each one.

Experience cooking for Elsa
who will not eat most things.
Experience nursing Egan
who fell down off the swings.
Experience teaching Emma
who’s just learning to walk.
Experience entertaining Elijah
who’s the only kid on his block.
Experience negotiating with Edgar
who will not wear his glasses.
Experience scheduling Elizabeth’s
French and English classes.
Experience counselling Ellen
who wets her bed at five.
Experience researching car seats
to keep Etienne safe and alive.

Eight little children having fun,
their parents have experience with each one.

[card for the letter «F»]

Ff

Foot
of the household

[card for the letter «G»]

Gg

Glove

Goods
Draw a line from each word to the picture
With the same beginning sound.
exchange
trade
barter
sell
value
worth
owner
debtor
borrow
claim

[card for the letter «H»]

Hh

ours

Cut along dotted lines
Punch holes
Attach to circle at dot

[card for the letter «I»]

Ii

you are here

[ card for the letter «J»]

Jj

Job

Dear Roberta,
My friend has
no time for me.
She’s not working
yet she is always
busy. She h
no time off
she’s on […]as
hours […]as
I’ve […]call 24
sp […]a day
[…]uld like to
[…]nd more time
with her but i
don’t understand
this situation.
Can you help?

[card for the letter «K»]

Kk

Kitchen

konstant klutter
kareworn klown
kneads kouch

[ card for the letter «L»]

Ll

Life

[ card for the letter «M»]

Mm

MOTHERHOOD
The township of Hamelin was besieged by rats
who chewed everything from the food in the vats
to the babies in their cradles and men’s Sunday hats.
Mothers pulled off their hoods and raised fists at the vermin
while Mayor and Corporation dressed in ermine
though they scratched their heads no solution could determine.

Then came the Pied Piper who bargained with Mayor and Corporation
to the massive job of Hamelin’s rat extermination.
When he started to play there gathered behind him in formation
all the rats who soon would perish of their watery destination.
But when he returned his rewards to reap
those sneaky official realized with a leap
dead rats can’t back…said his price was too steep!

So the piper raised his pipe and again began to play
but this time it was the children who followed him away.
The townsfolk raged at politicians whose faces had turned grey
The mothers raised their fists then turned and left to fray.

The mothers donned their hoods and so by mortal man unspied
followed children and piper to the mountain-side
where appeared a wondrous portal opened wide.
In marched piper, children and mothers
then a mighty crash shut out all the others.
And ne’er again did Hamelin’s folk see their children or their lovers.

The missing children never did return to that we can attest.
But as for the mothers no-one knows the rest
for as many stories, jokes and stereotypes do suggest
motherhoods long on are almost impossible to divest.

GLOSSARY
Motherhood-Mantle assumed by women most usually after birthing a child. Worn
draped loosely over the head, it seems to render the wearer invisible and inaudible
to other adults. Traditionally available in blue only.

[card for the letter «N»]

Nn

nope, slang. equivalent
to a negative sentence.
1. The answer to your
question is negative, your
request or command will
not be complied with.

Nobel Prize, one
of the annual prizes
(for physics, chemis-
try, physiology or
medicine, literature,
economic sciences,
and the promotion of
peace) awarded from
the bequest of Alfred
Nobel (d.1896),
Swedish inventor of
dynamite.

[card for the letter «O»]

Oo

One

Connect the dots.

[card for the letter «P»]

Pp

Picnic

Table

[card for the letter «Q»]

Qq

Quiet

[card for the letter «R»]

Rr

Rashes

“Children quite frequently
Produce dramatic skin rashes, with no
Other symptoms. They go away as sud-
Denly as they came. Some of these are
Probably allergic reactions; some
May be caused by viruses.”

Penelope Leach
Your Baby And Child
From Birth To Age Five

[ card for the letter «S»]

Ss

Stress

Taking care of children is demanding
work! Taking care of children is de-
manding work! Taking care of children
is demanding work! Taking care of
children is demanding work! Taking care
of children is demanding work! Tak-
ing care of children is demanding
work! Taking care of children is de-
manding work! taking care of chil-
dren is demanding work! Taking care
of children is demanding work! Taking
care of children is demanding work!
Taking care of children is demand-
ing work! Taking care of children is
demanding work! Taking care of
children is demanding work! Tak-
ing care of children is demanding
work! taking care of children is de
manding work! taking care of children
is demanding work! Taking care
of children is demanding work!
Taking care of children is demand
ing work! Taking care of children is
demanding work! Taking care of children
is demanding work! Taking care of children is
demanding work! taking care of children is
[unintelligible]
[unintelligible]
[unintelligible]
[unintelligible]

[ card for the letter «T»]

Tt

TWENTY
There are twenty teeth in
the first set, ten in the
upper jaw and ten in the
lower, comprising eight
incisors, four canines
and eight molars. They
usually come through in
a particular order and
the lower teeth tend to
break through before the
corresponding upper
teeth. The first tooth to
appear is usually a lower
central incisor, at be-
tween five and seven
months, though in some
children it erupts at three
months and in others
not until a year. Next
come the upper central
incisors (6-8 months),
the lower lateral incisors
(7-10 months), the upper lateral incisors
(8-11 months), the
canines (16-20 months),
the first molars (18-24
months) and the second
molars (20-30 months).
At the end of her first
year, the average child
has six to eight teeth.

There are thirty-two teeth
in the second set and these
lie in the jaws beneath the
gums waiting to erupt. The
first through the gums are
the six-year-old or first
molars, and these appear
between six and seven
years. They grow next to
the second molars of the
first set so no first teeth
are distributed. These are
closely followed by the
lower central incisors
which push the central
incisors of the first set out
of the jaw as they ap-
proach the gum. A child
usually loses first teeth in
the order they will be
replaced by the permanent
set. The upper central
incisors and lower lateral
incisors (7-8 years) are
followed by the upper
lateral incisors (8-9 years),
the first premolars (10-12
years), the second
premolars (10-13 years),
the upper canines (11-12
years), the second molars
(11-13 years), the lower
canines (12-13 years) and
the third molars, or
wisdom teeth, in the late
teens or twenties.

[card for the letter «U»]

Uu

UNSNA

The United Nations System of National
Accounts is a system
of economic records
advocated by the
UN for its member
countries.

Traditionally referred
to as “dancemasters”
because of their
distinctive shape,
these inside/outside
calipers-much like
the UNSNA-permit
direct transfer of an
interior measure-
ment to an exter-
ior space.

If people contributing to
the well-being of their
countries by doing
household and child-
rearing work were all
recorded in the UNSNA,
then they would also
be visible in the
distribution of benefit.

[ card for the letter «V»]

Vv

Vote

Ballot

Universal Health Care

Pensions for Homemakers

National Day-care Strategy

Foreign Domestics Program consistent with
Canada’s cultural multicultural policies

Enforcement of Employment
Standards Act for all workers

[card for the letter «W»]

Ww

WORK

Three of these Words belong together.
Which of these Words is not the same?

WORK WORK WAGE WORK
WORK WORK WORK WORE
WORE WARE WORE WORE
WAGE WARE WARE WARE
WAGE WAGE WAGE WORK

[card for the letters «X» and «Y»]

XxYy

XX₁ + XY₁ + xy₁ +xx₁ = family [1]
XX₂ + XY₂ + xy₂ + xx₂= family [2]

Problem:
XX, does the household work and
child-rearing of little xx₁, and xx₂ and
xy₁ and xy₂ from 9 a.m. to 9 p.m.

from Monday to Friday

For this work XX₁ is
paid $15,000 + expenses by XX₂
and $15,000 + expenses by XY₁
for a total income of $30,000 + expenses.

Why

can XY₂ deduct
$8000 from
XY₂’s taxable
income?

can’t XY₁ or XX₂
deduct $8,000
from their taxable
incomes?

is XX₁’s taxable
income before
deductions only
$15,000?

→ and why if XY₁ ceases to reside
with XX₁ and xx₁ and xy₁ does XY₁ no longer pay XX₁ $15,000
even though XX₁
continues to do the same work.

Why does XY₁ only
contribute towards
expenses for xx₁ and
xy₁? And why can XY₁
now deduct the total
paid for expenses from
XY₁’s taxable income.
And why must XX₁ add
an amount = (equal)

to XY₁’s deduction to
XX₁’s taxable income?

[ card for the letter «Z»]

Zz
Zeitgeist

Zeit/geist (tsīt), n. [G., from zeit, time and gesit, spirit.]
The spirit of the time; the moral and intellectual
trend of any age or period.

Of course it’s fun for you, being
Lion hunted. Of course you want to
Stay in the middle of it.

But it could be fun for you too
darling. Making new friends, meeting
Interesting people…

Darling, interesting people
don’t want to make friends
with housewives.

I wish you wouldn’t call yourself
a housewife, you’re so much
more than that!
So is every other
housewife.

Excerpt from the feature film “Please Don’t Eat The Daisies”
Screened at movie theatres when first released, now shown
on network television and available on home video.

©1960 Loew’s Inc. and Euterpe Inc.
©1987 Turner Entertainment Co. and Euterpe Inc.
© 1990 MGM/UA Home Video, Inc.

Text theme:

Realities and stereotypes of domestic and maternal labour; trivialized women’s labour; emotional realities of child rearing; questionning myths on motherhood

Artwork theme:

Realities and stereotypes of domestic and maternal labour; trivialized women’s labour; emotional realities of child rearing; questionning myths on motherhood

History

History:

Event: Exhibition Out of Place, organized by the Association for Noncommercial Culture July 1, 1992-June 30, 1993

Event date(s):

1993

Dimensions

Height:

0.21m

Width:

0.88m

Other information

Source:

8. 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):

Out of Place

Letters from Home

Dyke House

Marie-Claude Langevin — Wed, 01 Apr 2009 04:18:00 +0000

Artwork identification

Artwork creator(s):

Holman, Shaira; Jones, Lizard; Sui, River

Artwork creator(s):

Holman, Shaira

Jones, Lizard

Sui, River

Text author(s):

The Public

Text author(s):

Public

Installation year:

1992

Remarks on location:

4 locations: 1204 Georgia, East of Vancouver; 303 8th Avenue, West front, Mount Pleasant, Vancouver; 4000 Manchester Drive, New Westminster Street; 1100 Burnaby Street, West Vancouver

Artwork description

Source: Larson, Jacqueline; Monika Kin Gagnon (1993), Out of Place, Vancouver: Association for Noncommercial Culture

Description:

This installation was placed in the back of a truck and moved to 4 different locations during the summer of 1992

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Image 1. Detail. lesbian household; Image 2. Detail. Figures ("resident") in bonded wood

Text of the artwork:

[At the beginning:]

This looks like a nice neighbourhood
Yeah, I feel safe here.

[Added, 3 days:]

I don’t think people mind that we’re together.
well, we should still be careful about kissing
in the street.

[Added, 5 days:]

I met a lesbian who lives down the block
Great! This is becoming a dike neighbourhood.

Text theme:

Homophobia, homosexuality (lesbian)

Artwork theme:

Homophobia, homosexuality (lesbian), visibility, identity and safety of homosexuals in an urban residential district.

History

History:

Exhibition Out of Place, organized by the Association for Noncommercial Culture
Exhibition from July 1, 1992 to June 30, 1993. Work described as follows:

August 4 to 11, 1992: 1204 Georgia, East Vancouver

August 12 to 19, 1992, 303, 8th Avenue, Western Front, Mount Pleasant, Vancouver

August 20 to 26, 1992: 4000 Manchester Drive, New Westminster

August 27 to September 4, 1992: 1100 Burnaby Street, West End Vancouver

Event date(s):

1994

Dimensions

Other information

Artist's biography:

Jones, Lizard

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 2. Shaira Holman 604-408-0118 shaira@vcn.bc.ca

Document(s):

Out of Place

Close Your Eyes...

Marie-Claude Langevin — Wed, 01 Apr 2009 04:10:41 +0000

Artwork identification

Artwork creator(s):

Edelstein, Susan

Artwork creator(s):

Edelstein, Susan

Text author(s):

Edelstein, Susan

Text author(s):

Edelstein, Susan

Installation year:

1992

Remarks on location:

Installed in brochure racks on the British Columbia Ferries, at the Vancouver Tourist Information Centre and at various other locations

Artwork description

Source: Larson, Jacqueline; Monika Kin Gagnon (1993). Out of Place, Vancouver: Association for Noncommercial Culture

Description:

Flyers placed in various displays

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Detail. Second and third segments of a series of six images accompanied by texts.

Text of the artwork:

Close your eyes and count to 100...

One, two, three, four, five, six, seven, eight,

nine, ten...

---

Ready or not here I come.

She represented a map of meanings to

both sides of her family.

Always careful to conceal or reveal the

tiny silver pendant when she would visit

them.

Making the wrong move could result in broken codes.

---

Step on a crack and break

your mother’s back.

She had been told both families

were fractured by this union.

Marrying outside of the chosen faith

was forbidden.

It broke their mothers’ hearts.

---

Step on a line and break your

mother’s spine.

She remembered walking a fine line

between their beliefs.

One slip would break the connection.

---

Step on a stone and break your

mother’s bones.

She became an expert on navigating

between the obstacles in her path.

She always remembered to wear a

smile.

---

Cross my head and hope to die.

They never spoke about the presence

of difference.

The weight of the chains

made it difficult to breathe.

Text theme:

Mixed mariage, religion, sense of community, racism

Artwork theme:

Mixed mariage, religion, sense of community, racism

History

History:

Exhibition Out of Place, organized by the Association for Noncommercial Culture

Event date(s):

1992

Dimensions

Height:

0.22m

Width:

0.71m

Other information

Artist's biography:

Edelstein, Susan

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 <table border="0" cellpadding="0" class="MsoNormalTable"> <tbody> <tr> <td valign="top" style="padding: 0.75pt"> Contact: </td> <td style="padding: 0.75pt"> Krisztina Laszlo , Archivist </td> </tr> <tr> <td valign="top" style="padding: 0.75pt"> Address: </td> <td style="padding: 0.75pt"> University of British Columbia, 1825 Main Mall, Vancouver, B.C. V6T 1Z2 </td> </tr> <tr> <td valign="top" style="padding: 0.75pt"> Phone: </td> <td style="padding: 0.75pt"> (604) 822-0001 </td> </tr> <tr> <td valign="top" style="padding: 0.75pt"> Fax: </td> <td style="padding: 0.75pt"> (604) 822-6689 </td> </tr> <tr> <td valign="top" style="padding: 0.75pt"> EMail: </td> <td style="padding: 0.75pt"> klaszlok@interchange.ubc.ca </td> </tr> </tbody></table>

Document(s):

Out of Place

Canboulay

Marie-Claude Langevin — Wed, 01 Apr 2009 04:06:10 +0000

Artwork identification

Artwork creator(s):

Mollineaux, Melinda

Artwork creator(s):

Mollineaux, Melinda

Text author(s):

Mollineaux, Melinda

Text author(s):

Mollineaux, Melinda

Installation year:

1992

Remarks on location:

Installed in brochure racks on the British Columbia Ferries, at the Vancouver Tourist Information Centre and at various other locations

Artwork description

Source: Larson, Jacqueline; Monika Kin Gagnon (1993). Out of Place, Vancouver: Association for Noncommercial Culture

Description:

Flyers placed in various displays

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[recto]

can·bou·lay

(kan-boo’lă) n. [Patois<Fr.cannes brulées.]

1. Orig. a celebration of freedom from slavery.

2. A traditional nighttime procession with

Costumes, drumming&music to announce the

Beginning of Carribbean Carnival Masquerade.

Var. Mardi Gras, Caribana, Caripeg, Carifest,

Cariwest.

---

At the time carnival flourished the

elite of society was masked or

disguised. The favorite costume of

the ladies was the graceful and costly

'mulatress' of the period, while

gentlemen adopted that of the garden

Negro, in Creole, negue jardin, or

black field slave. At carnival time

our mothers and grandmothers have

even danced the belair to the African

drum whose sound did not offend

their dainty ears, and our fathers and

grandfathers danced the bamboula,

the ghouba and the calinda…Sometimes

also the negue jardin united in bands would

proceed on evenings to the cannes brulees.

Their splendid march with torches through

the town streets imitated what actually took

place on the estates when a plantation was

on fire. In such cases labourers on the

neighbouring estates were conducted there

alternately, day and night, to assist in

grinding the burned canes before they went

sour, thus the cannes brulees.

---

Paris · Orleans · Santo Domingo · Port-Au-Prince

· Pointe-à-Pitre · Soufrière · Roseau · Fort-de-France

Castries · Kingstown · Bridgetown · Scarborough

Port-of-Spain · Kingston · Havana · Rio de Janiero

New Orleans · London · New York · Toronto

Winnipeg · Calgary · Edmonton · Vancouver

[verso]

Canboulay : We dance to the drum whose sound does not offend our dainty ears. Melinda Mollineaux, 1992.

OUT OF

PLACE

A project with the Vancouver Association for Non Commercial Culture.

Thanks to Harry and to Bill Boutin at Key Colour Photo Lab Ltd.

Text theme:

Etymological definition of Canboulay; encyclopaedic or anthropological account of Canboulay; tourist destinations here and abroad

Artwork theme:

Blurring of categories between exotic and domestic and between home and other; ethnocentricism, passivity and commodification of tourism, recreation and leisure.

History

History:

Exhibition Out of Place, organized by the Association for Noncommercial Culture

Event date(s):

1992

Dimensions

Height:

0.22m

Width:

0.1m

Other information

Note(s):

In the text, special characters, which are present in the work in postcard form, are omitted, namely phonetic information on the first letter "a" and on the two "o"s in "(kan-boo 'la)" (second story of the text).

Artist's biography:

Mollineaux, Melinda

Source:

1. Melinda Mollineaux est représentée par la Galerie la petite mort Gallery 306 Cumberland, Ottawa, ON, K1N 7H9 (613)860-1555 Email : guy@lapetitemortgallery.com

Document(s):

Out of Place

Le lieu de la présence

Marie-Claude Langevin — Tue, 17 Feb 2009 21:21:57 +0000

Artwork identification

Artwork creator(s):

Blain, Dominique

Artwork creator(s):

Blain, Dominique

Text author(s):

Blain, Dominique

Text author(s):

Blain, Dominique

Remarks on location:

Overlooks the Place Paul-Émile Borduas

Artwork description

Source: MCCCQ (2008). Intégration des arts à l'architecture et à l'environnement. Bilan 2004-2007. Québec: MCCCQ

Description:

The artist created an installation incorporating three elements. The words "You are here,", which figure prominently on tourist maps, are engraved in the center of the window pane. On the hall's lateral wall, a mirror reflects this inscription. Silhouettes of walking people from all over the world form a pattern that repeats itself throughout the glass wall. On the top of the tables made available to users, various historical maps of Montreal indicate the exact location of the building within environments that have evolved over time.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Vous êtes ici

Text theme:

Underlines the contingency of being in a place marked by its architecture, in a street designed by the surrounding buildings or, on a larger scale, in a province whose inhabitants speak the language used the artist.

Artwork theme:

Self-consciousness within a specific space

Dimensions

Other information

Note(s):

The artist has added a mirror on the wall that shows the reverse side of the words which, from inside, appear to be written in reverse. "A simple sentence, universally used, which is found on all city maps and which operates as a logo, is the central segment of the glass wall."

MCCCQ. (2008). Intégration des arts à l'architecture et à l'environnement. Bilan 2004-2007. Québec: Gouvernement du Québec.

Artist's biography:

Dominique Blain

Owner(s):

BAnQ

Document(s):

Œuvres de passage

Intégration des arts à l'architecture et à l'environnement. Bilan 2004-2007

AIDS

Marie-Claude Langevin — Wed, 14 Jan 2009 20:49:46 +0000

Artwork identification

Alternate title:

AIDS Project; AIDS Poster Project

Artwork creator(s):

General Idea (Felix Partz, Jorge Zontal and AA Bronson)

Artwork creator(s):

General Idea

Text author(s):

General Idea (Felix Partz, Jorge Zontal and AA Bronson)

Text author(s):

General Idea

Installation year:

1988

Remarks on location:

Posters pasted at various locations in downtown Toronto: arts district (Queen Street West), the gay district (Church Street), in a showcase box at the Art Gallery of Ontario and the Power Plant Gallery, posters covering a wall, overlooking the street, YYZ Gallery, a frieze of posters along a balcony in the lobby of the Macdonald Block (main government building) and on the façade of a building opposite.

Artwork description

Source: A A Bronson (2008). Works. The AIDS era. (http://www.aabronson.com/art/gi.org/works/89imagevirus1.htm)

Description:

The original image posted on the AA Bronson Web site was part of the Imagevirus series, a project that was published in various art publications. A photograph representing the international poster campaign about AIDS is clearly featured in this image of the series.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

AIDS

Artwork theme:

AIDS

History

History:

1. Posters in the streets of New York City, San Francisco, Hartford and Atlanta (USA), Toronto (Canada), Tourcoing (France) and Berlin (Germany).

2. Project (posters installed in public places), launched in New York City in 1987. Hundreds of posters were installed in the streets of New York City, in November 1987, and San Francisco, in January 1988. Poster published by the Koury Wingate Gallery, New York, 1987. Printed signature (with copyright date of 1987). Silkscreen on paper: 684 x 685mm. 1,000 unnumbered copies, some signed.
Event: AIDS (poster project), New York, USA
Date: 1987

3. Background: AIDS. Poster published by the Koury Wingate Gallery, New York, 1987. Printed signature (with copyright date of 1987). Silkscreen on paper: 762 x 762mm. 80 numbered and signed copies (produced in 1987, sgned in 1988).

Event: AIDS (silkscreen prints), Koury Wingate Gallery), New York, USA
Date: 1987

4. Posters in two formats published by YYZ Artists' Outlet, Toronto. (A method of offset printing on paper, in two formats: 870 x 628mm and 593 x 596mm. Unknown number of copies, unnumbered, some signed). In 593 x 596mm format: printed signature (with copyright date of 1987). Thousands of posters installed in the streets of Toronto, May-June 1988 and subsequently in Berlin the same year.
Event: AIDS, YYZ Artists' Outlet, Toronto
Date: May 25 - June 18, 1988

5. Carton, 560 x 533cm. A Public Art Fund Inc. project. 4,900 copies, including 200 signed and numbered. Published by the Public Art Fund Inc., New York. Posters installed in cars of the New York subway, 1989. Event: AIDS, Project for the New York Subway System, New York
Date: 1989

6. The poster, created to raise money, was the first in a series of posters, pamphlets, lottery tickets and stickers. Published by Arbeitsgemeinschaft Deutsche AIDS-STIFTUNGEN (German foundation against AIDS), Germany. Offset printing process: 592 x 420mm. Unnumbered copies, some signed.
Event: Fundraising from the Gewinnen und helfen lottery, Germany.
Date: 1989

7. Background: A method of offset printing on adhesive paper: 160 x 160 mm. Unknown number of copies, some signed and dated (1990), unnumbered. Published by Arbeitsgemeinschaft Deutsche AIDS-STIFTUNGEN (German foundation against AIDS), Germany. General Idea designed the logo (red, black and yellow) of the foundation. This logo was used in the production of posters, leaflets, draft lottery tickets and stickers.

Date: 1989

8. Event: General Idea, Hillman Holland Fine Arts, Atlanta, USA
Date: 1989

9. Event: AIDS Project for Spectacolor Board, Times Square, New York, USA
Date: 1989

10. Event: AIDS (project for Stampa Gallery), Frankfurt Art Fair, Frankfurt, Germany
Date: 1989

11. Poster designed for the German Foundation for AIDS. Published by Arbeitsgemeinschaft Deutsche AIDS-STIFTUNGEN (German foundation against AIDS), Germany (offset printing procedure: 840 x 590mm. Number of copies unknown, unsigned and unnumbered.
Date: 1990

12. History: Poster with text, designed to raise money. Published by Arbeitsgemeinschaft Deutsche AIDS-STIFTUNGEN (German foundation against AIDS), Germany (offset printing procedure: 840 x 590mm. Number of copies unknown, unsigned and unnumbered.
Event: Fundraising Art Against AIDS (art against AIDS), national action involving more than 100 galleries, Cologne, Germany.
Date: November 1 - December 1, 1990

13. Project for the Amsterdam tramway, sponsored by the Fodor Museum, Amsterdam. Published by Fodor Museum, Amsterdam (silkscreen on vinyl adhesive: 621 x 629mm. 60 signed and numbered copies). For tramways: unknown number of copies, unsigned, unnumbered.
Event: AIDS (Project for Trams Amsterdam) 1990
Date: 1990

14. Background: Order from the Seattle Arts Commission. Produced for the streetcar in Seattle as part of a public art project. Published by the Seattle Arts Commission, Seattle (silkscreen on vinyl adhesive: 610 x 2,235mm). About 100 copies, unsigned and unnumbered.
Event: In Public: Seattle, public art project, Seattle, USA
Date: 1991

Dimensions

Other information

Note(s):

As part of the AIDS project, General Idea produced a myriad of events in a dozen North-American and European cities, both in galleries and museums as well as in public places. This project took on very diversified forms, including posters (silkscreen prints and offset prints) installed in public places and elsewhere, but also various paper media (stickers, stamps, flyers, cardboards, wallpaper, lottery tickets and even the cover of The Journal of the American Medical Association, vol. 268, no. 4, 22-29, July 1992), jewelry (rings), clothes (scarves and t-shirts), paintings and sculptures. Prints were produced from many of these objects.

Pseudonyms and names of General Idea artists: o Pseudonym: AA Bronson. Name: Michael Tims, born in Vancouver, British-Columbia, Canada (1946-). o Pseudonym: Felix Partz. Name: Ronald Gabe, born in Winnipeg, Manitoba, Canada, (1945-1994). o Pseudonym: Jorge Zontal. Name: Slobodan Saia-Levy, born in Parma, Italy, (1944-1994).

Artist's biography:

General Idea

Source:

1. AA Bronson aa@aabronson.com 2. YYZ Artist’s Outlet 140 - 401 Richmond Street W Toronto, ON M5V 3A8 T: 416.598.4546 F: 416.598.2282 E: yyz@yyzartistsoutlet.org

Document(s):

General Idea : Multiples. Catalogue Raisonné. Multiples and Prints 1967-1993

General Idea. The AIDS Project

General Idea editions 1967-1995

GI’s Art Against AIDS

General Idea. Works. The AIDS era. The Imagevirus Series, 1989-91

Essays

Marie-Claude Langevin — Tue, 13 Jan 2009 19:07:36 +0000

Artwork identification

Alternate title:

Inflammatory Essays

Artwork creator(s):

Holzer, Jenny

Artwork creator(s):

Holzer, Jenny

Text author(s):

Holzer, Jenny

Text author(s):

Holzer, Jenny

Installation year:

1982

Artwork description

Source: Jenny Holzer (1988): Signs, Londres: Institute of Contemporary Arts in Association with Art Data

Source: Town, Elke (1983). Jenny Holzer, Parachute, no. 31, (June-July-August)

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(1982-3)

RUIN YOUR FUCKING SELF BEFORE

THEY DO. OTHERWISE THEY’LL

SCREW YOU BECAUSE YOU’RE A

NOBODY. THEY’LL KEEP YOU

ALIVE BUT YOU’LL HAVE TO

CRAWL AND SAY “THANK YOU”

FOR EVERY BONE THEY THROW.

YOU MIGHT AS WELL STAY DRUNK

OR SHOOT JUNK AND BE A CRAZY

FUCKER. IF THE RICH GUYS WANT

TO PLAY WITH YOU, MAKE THEM

GET THEIR HANDS DIRTY. SEND

THEM AWAY GAGGING OR

SOBBING IF THEY’RE

SOFTHEARTED. YOU’LL BE LEFT

ALONE IF YOU’RE FRIGHTENING,

AND DEAD YOU’RE FREE. YOU

CAN CHANGE THE RADIANT CHILD

IN YOU TO A REFLECTION OF THE

SHIT YOU WERE MEANT TO SERVE.

---

(1979-81, TORONTO 1982)

BECAUSE THERE IS NO GOD SOMEONE

MUST TAKE RESPONSIBILITY FOR MEN.

A CHARISMATIC LEADER IS IMPERATIVE.

HE CAN SUBORDINATE THE SMALL

WILLS TO THE GREAT ONE. HIS

STRENGTH AND HIS VISION REDEEM

MEN. HIS PERFECTION MAKES THEM

GRATEFUL. LIFE ITSELF IS NOT SACRED,

THERE IS NO DIGNITY IN THE FLESH.

UNDIRECTED MEN ARE CONTENT WITH

RANDOM, SQUALID, POINTLESS LIVES.

THE LEADER GIVES DIRECTION AND

PURPOSE. THE LEADER FORCES GREAT

ACCOMPLISHMENTS, MANDATES PEACE

AND REPELS OUTSIDE AGGRESSORS. HE

IS THE ARCHITECT OF DESTINY. HE

DEMANDS ABSOLUTE LOYALTY. HE

MERITS UNQUESTIONING DEVOTION.

HE ASKS THE SUPREME SACRIFICE. HE IS

THE ONLY HOPE.

---

[Segment de texte incomplet]

IT’S MO[…]AKES

YOU LOOK AT FINE[…]AND

[…]RE THE MO[…]G POWER OF THE

LET TAPERS TO AN EXQUISITE

STEM OF BONE. SADLY, THE […]OOT

[…]NEXT, ANCHORING[…]ERFUL

CREATURES TO THE DIRT[…]

WADING BIRDS AND THE[…]

PEOPLE HAVE FINE ANKL[…]

IT’S GOOD TO CRACK THE[…]

SUPPORTS SO THEY’LL[…]

DOWN IS AS LOVELY C[…]EN

YOU’LL CARE FOR THE[…]HEY

WILL BE FREE FROM[…]

AND STRUGGLE. YOU[…]

THE SHATTERED A[…]

AND MEANWHILE[…]

LIVE IN A STATE[…]

AND SUSPENDE[…]

---

THE MOST EXQUISITE PLEASURE IS

DOMINATION. NOTHING CAN

COMPARE WITH THE FEELING. THE

MENTAL SENSATIONS ARE EVEN

BETTER THAN THE PHYSICAL ONES.

KNOWING YOU HAVE POWER HAS

TO BE THE BIGGEST HIGH, THE

GREATEST COMFORT. IT IS

COMPLETE SECURITY, PROTECTION

FROM HURT. WHEN YOU DOMINATE

SOMEBODY YOU’RE DOING HIM A

FAVOR. HE PRAYS SOMEONE WILL

CONTROL HIM. YOU’RE HELPING

HIM WHILE HELPING YOURSELF.

EVEN WHEN YOU GET MEAN HE

LIKES IT. SOMETIMES HE’S ANGRY

AND FIGHTS BACK BUT YOU CAN

HANDLE IT. HE ALWAYS REMEMBERS

WHAT HE NEEDS. YOU ALWAYS GET

WHAT YOU WANT.

---

[Segment incomplete text]

[…]

W[…]TIME F[…]ALL

TH[…]S IS A PAR[…]

U[…]FORM OF V[…]

TH[…]ED AND ALIEN[…]

ON D[…]ER; THEY RECEI[…]

QUOTA OF STMULATION THIS[…]AY.

THEY AREN’T SYMPATHETIC, JUST BORED.

THEY ANALYZ[…]THE LATEST MASS MURDER,

THEY’RE MAUDLIN OVER STARVING BABIES,

THEY FIND IMAGES OF TERROR AND

REVOLUTION COMPELLING, THEY ADORE

PATHOS, THEY CONGRADULATE

THEMSELVES ON THEIR AWARENESS AND

THEIR STRONG STOMACHS, A LITTLE

REALITY THERAPY WOULD OUT THESE

DILETTANTES TO FLIGHT. ALL THE

“PITIFUL” AND “ENGAGING” PHENOMENA

ARE NOT SUPPOSED TO COME HOME.

---

REJOICE! OUR TIMES ARE INTOLERABLE.

TAKE COURAGE, FOR THE WORST IS A

HARBINGER OF THE BEST. ONLY DIRE

CIRCUMSTANCE CAN PRECIPITATE

THE OVERTHROW OF OPPRESSORS.

THE OLD AND CORRUPT MUST BE LAID

TO REST BEFORE THE JUST CAN

TRIUMPH. OPPOSITION IDENTIFIES AND

ISOLATES THE ENEMY. CONFLICT OF

INTEREST MUST BE SEEN FOR WHAT IT

IS. DO NOT SUPPORT PALLIATIVE

GESTURES; THEY CONFUSE THE PEOPLE

AND DELAY THE INEVITABLE

CONFRONTATION. DELAY IS NOT

TOLERATED FOR IT JEOPORDIZES THE

WELL-BEING OF THE MAJORITY.

CONTRADICTION WILL BE HEIGHTENED,

THE RECKONING WILL BE HASTENED BY

THE STAGING OF SEED DISTURBANCES.

THE APOCALYPSE WILL BLOSSOM.

---

SENTIMENTALITY DELAYS THE REMOVAL

THE POLITICALLY BACKWARD AND THE

ORGANICALLY UNSOUND. RIGOROUS

SELECTION IS MANDATORY IN SOCIAL AND

GENETIC ENGINEERING. INCORRECT

MERCIFUL IMPULSES POSTPONE THE

CLEANSING THAT PRECEDES REFORM. SHORT-

TERM NICETIES MUST YIELD TO LONG-RANGE

NECESSITY. MOALS WILL BE REVISED TO

MEET THE REQUIREMENTS OF TODAY.

MEANINGLESS PLATITUDES WILL BE PULLED

FROM TONGUES AND MINDS. WORDS LIKE

PURGE AND EUTHANASIA DESERVE NEW

CONNOTATIONS. THEY SHOULD BE

RECOGNIZED AS THE RATIONAL PUBLIC

POLICIES THEY ARE. THE GREATEST DANGER

IS NOT EXCESSIVE ZEAL BUT UNDUE

HESITATION. WE WILL LEARN TO IMITATE

NATURE. HER KILLS NOURISH STRONG LIFE.

SQUEAMISHNESS IS THE CRIME.

---

(1982)

DESTROY SUPERABUNDANCE. STARVE THE

FLESH, SHAVE THE HAIR, EXPOSE THE BONE,

CLARIFY THE MIND, DEFINE THE WILL,

RESTRAIN THE SENSES, LEAVE THE FAMILY,

FLEE THE CHURCH, KILL THE VERMIN,

VOMIT THE HEART, FORGET THE DEAD,

LIMIT TIME, FORGO AMUSEMENT, DENY

NATURE, REJECT ACQUAINTANCES,

DISCARD OBJECTS, FORGET TRUTHS,

DISSECT MYTH, STOP MOTION, BLOCK

IMPULSE, CHOCKE SOBS, SWALLOW CHATTER.

SCORN JOY, SCORN TOUCH, SCORN

TRAGEDY, SCORN LIBERTY, SCORN

CONSTANCY, SCORN HOPE, SCORN

EXALTATION, SCORN REPRODUCTION,

SCORN VARIETY, SCORN EMBELLISHMENT,

SCORN RELEASE, SCORN REST, SCORN

SWEETNESS, SCORN THE LIGHT. IT IS A

QUESTION OF FORM AND FUNCTION. IT IS

A MATTER OF REVULSION.

History

History:

• Inflammatory essay, street installation, Toronto, 1979-81

• Truisms and Inflammatory Essays, Poster project, A Space, Toronto, (mid-November 1982 and early July 1983)

Dimensions

Other information

Artist's biography:

Holzer, Jenny

Document(s):

Jenny Holzer: Signs

The Venice Installation

Jenny Holzer

Jenny Holzer: Writing=Schriften

The Boreal Poetry Garden

Marie-Claude Langevin — Mon, 22 Dec 2008 00:53:43 +0000

Artwork identification

Artwork creator(s):

Creates, Marlene

Artwork creator(s):

Creates, Marlene

Text author(s):

Creates, Marlene

Text author(s):

Creates, Marlene

Installation year:

2005

Artwork description

Source: Marlene Creates (2008). The Boreal Poetry Garden. (http://www.marlenecreates.ca/works/2005boreal.html)

Description:

Site-specific poems hand-written on card and installed temporarily for photographing. The Boreal Poetry Garden is also presented as live-art events with walks and on-site readings, including longer poems.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Incomplete text)

Clumps of snow rolling
Down from boughs and snowshoe
Have-crossing point last night

Glowing ruby line
On the thermometer is
Short-ice candles

Off the Atlantic,
Snow by reeves coating east
Side of trees; pitching in drifts
On the west

What made those big prints
In the snow last night?
Oh yes, clumpers from branches

Artwork theme:

The Boreal Poetry Garden commemorates fleeting moments of the artist's interaction with the land where she lives.

Dimensions

Height:

0.76m

Width:

0.51m

Other information

Note(s):

"The brief texts reflect some of the site’s particular geophysical and climatic characteristics, its plant life, wildlife and social history, and my experiences here. For me, the location of the words in the specific spot to which they refer is fundamental to the radiating energy of their meaning and, of course, their beauty. The place I inhabit is both wondrous and constantly changing, which, I know, entails loss. My cosmology, I suspect, is basically elegiac."

Marlene Creates, 2005

Marlene Creates's Web site (2008). Marlene Creates

http://www.marlenecreates.ca/works/2005boreal.html

Artist's biography:

Marlene Creates

Document(s):

The Distance Between Two Points is Measured in Memories, Labrador 1988

Language and Land Use, Newfoundland 1994

Night Walk: Boreal Poetry Garden

Since all envelopes were addressed to the artist at either home or work, a complex network of relationships is revealed that fuse personal, professional, economic and social layers of interaction. The graphic format, however, questions how knowledge, information and lived experience can be conflated into a simple map format.

Artist's biography:

Peter Dykhuis

Presence and Resistance, 2006

Marie-Claude Langevin — Wed, 03 Dec 2008 16:27:33 +0000

Artwork identification

Artwork creator(s):

Heap of Birds, Edgar

Artwork creator(s):

Heap of Birds, Edgar

Text author(s):

Heap of Birds, Edgar

Text author(s):

Heap of Birds, Edgar

Installation year:

2006

Remarks on location:

Three locations along Queen Street West: 1) street level Fenning, 2) between Lisgar Street and Dovercourt (Queen's Car Wash, which eventually became Royal Car Wash, 1106 Queen Street West, Toronto, ON M6J 1H9), 3) between Gladstone and Beaconsfield, between Northcote Avenue and Beaconsfield Avenue, according to the map of the event (possibly Mr Sub, today between Gladstone and Northcote, 1181 Queen Street West, Toronto, ON M6J 1J4). Officially, these three sites are located at intersections of Queen Street West and Dovercourt; of Queen Street West and Gladstone.

Artwork description

Source: CCCA (2006). Scotiabank Nuit Blanche. (http://www.ccca.ca/nuitblanche/nuitblanche2006/artists/c2.html)

Description:

Public art installation/billboards and public signage texts

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[Panels double-sided, at Fenning Street]

IMPERIAL CANADA RESISTANCE DEFIANCE OKA INSURGENT MESSAGES FOR CANADA HOCK E AYE VI EDGAR HEAP OF BIRDS 2006 scotiabank nuit blanche

[Panels double-sided, at Fenning Street]

IMPERIAL CANADA WHERE IS YOUR STATUS CARD? INSURGENT MESSAGES FOR CANADA HOCK E AYE VI EDGAR HEAP OF BIRDS 2006 scotiabank nuit blanche

[Panels double-sided, near Queen's Car Wash]

IMPERIAL CANADA STOP BLACK ROBES ABUSE INSURGENT MESSAGES FOR CANADA HOCK E AYE VI EDGAR HEAP OF BIRDS 2006 scotiabank nuit blanche

[Panels double-sided, near Queen's Car Wash]

IMPERIAL CANADA SHARE STOLEN LANDS INSURGENT MESSAGES FOR CANADA HOCK E AYE VI EDGAR HEAP OF BIRDS 2006 scotiabank nuit blanche

[Panels double-sided trade above Mr. Sub]

IMPERIAL CANADA WHO’S YOUR DADDY? LOUIS RIEL INSURGENT MESSAGES FOR CANADA HOCK E AYE VI EDGAR HEAP OF BIRDS 2006

[Panels double-sided trade above Mr. Sub]

IMPERIAL CANADA MÉTIS YOUR REALITY INSURGENT MESSAGES FOR CANADA HOCK E AYE VI EDGAR HEAP OF BIRDS 2006 scotiabank nuit blanche

Artwork theme:

Injustices committed against Native people by the Canadian government

History

History:

Scotiabank Nuit Blanche (Commissioner of Zone C: Clara Hargittay).

Event date(s):

2006

Dimensions

Other information

Artist's biography:

Hachivi Edgar Heap of Birds

Source:

1. HOCK E AYE VI Hachivi Edgar Heap of Birds eheapofbirds@yahoo.com site web: http://www.heapofbirds.com

Document(s):

Supporting creativity: but only for 12 hours?

Archive. Scotiabank Nuit Blanche 2006.

Scotiabank Nuit Blanche. Toronto Canada 2006. Zone C. Presence and Resistance

One Garden One Night One Wish

Marie-Claude Langevin — Wed, 03 Dec 2008 16:05:04 +0000

Artwork identification

Artwork creator(s):

Zealley Andrew; Stathacos, Chrysanne

Artwork creator(s):

Zealley Andrew

Stathacos, Chrysanne

Text author(s):

Stathacos, Chrysanne

Text author(s):

Stathacos, Chrysanne

Installation year:

2006

Remarks on location:

Located along the "Philosopher's Walk" (footpath), St.George campus, between Hoskin Avenue and Bloor Street West, Southwest of the Royal Ontario Museum (ROM, 100 Queens Park, Toronto, ON)

Artwork description

Source: CCCA (2008). ScotiaBank Nuit Blanche 2006. (http://www.ccca.ca/nuitblanche/)

Description:

Sound installation with printed paper elements attached to a tree.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

1,000 greetings from the Wish Machine Project, by Chrysanne Stathacos, 1997 - today (project still in progress).

Artwork theme:

Greetings, common desires (money, love, carnal desire, hope, joy, health, etc.), shared experience

History

History:

1. The texts of One Garden One Night One Wish reuse important excerpts from the Wish Machine Project (1997-present) by Chrysanne Stathacos. This interactive public art project was commissioned by Grand Central Station for the exhibition Creative Time in 1997-1998. The artwork was presented in several countries since, including the Power Plant Gallery in Toronto, in 1999, and in Frankfurt, Germany, in 2001

2. Scotiabank Nuit Blanche, Toronto, ON Saturday, September 30 to the morning of October 1, 2006.

Dimensions

Other information

Note(s):

"1000+ Wishes is a book of anonymous wishes that have been collected from around the world via wishmachine.com, fax, mail, written and spoken"; "To date, over 20,000 people have participated in The Wish Machine Project. The Wish Machine is trademarked. 1000+ Wishes and wishmachine.com."

- Source: Chrysanne Stathacos. (2008). Artworks. The Wish Machine.

http://chrysannestathacos.com/one-garden-one-night-one-wish/

The tree emitted a sound score by Andrew Zealley, while Chrysanne Stathacos wrapped its trunk with silver strings and silver papers. Visitors were invited to attach printed 'wishes', available at the site, to its branches.

Source : Centre d’art contemporain canadien (CCCA) (2008). Scotiabank Nuit Blanche 2006. Zone A. Yorkville. One Garden, One Night, One Wish
http://www.ccca.ca/nuitblanche/nuitblanche2006/artists/a7.html

Artist's biography:

Zealley, Andrew

Author's biography:

Stathacos, Chrysanne

Source:

1. Fern Bayer, commissaire de l’événement fernbayer@sympatico.ca 2. Peggy Gale, commissaire de l’événement galesnow@sympatico.ca 3. Chrysanne Stathacos, artiste et commissaire de la Zone A Courriel: chrysanne@verizon.net, ca@chrysannestathacos.com 4. Andrew Zealley, artiste info@andrewzealley.com, andrewzealley@sympatico.ca

Document(s):

1000+Wishes, The Wish Machine

Audiowork. One Garden, One Night, One Wish

Artworks. One Garden, One Night, One Wish

Scotiabank Nuit Blanche 2006. Zone A. Yorkville. One Garden, One Night, One Wish

Archive. Scotiabank Nuit Blanche 2006. Zone A. Yorkville. Curated Exhibition. One Garden, One Night, One Wish, 2006

Kiosk, 2004-2005

Marie-Claude Langevin — Wed, 03 Dec 2008 04:32:37 +0000

Artwork identification

Artwork creator(s):

Sullivan, Derek

Artwork creator(s):

Sullivan, Derek

Text author(s):

Sullivan, Derek

Text author(s):

Sullivan, Derek

Collaborator(s):

Artists: Clint Burnham, Maura Doyle & Annie Dunning, Andrew Reyes, Zin Taylor, and Althea Thauberger; Architecte: Eric Klaver

Installation year:

2005

Artwork description

Source: Toronto Sculpture Garden (2006). Derek Sullivan. Kiosk. (http://www.torontosculpturegarden.com/DerekSullivan.htm )

Source: Toronto, SculptureGarden (2006). Derek Sullivan. Kiosk. (http://www.torontosculpturegarden.com/DerekSullivan.htm )

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[incomplete text]

FOREST FANTASY

Artwork theme:

Eugene Atget, Paris, nineteenth century, urban landscape, urban activity, kiosk

History

History:

Exhibition: Derek Sullivan: KIOSK, Toronto Sculpture Garden, Toronto, ON

Event date(s):

2006

Dimensions

Height:

3.65m

Width:

1.64m

Depth:

1.64 m

Other information

Note(s):

"Kiosk 2005 is a site-specific project designed for the Toronto Sculpture Garden. I was struck by the divide between the Garden’s romanticized take on the European streetscape (the iron gates, the off-the-sidewalk sidewalk café) and its remove from the actual city streets of Toronto. My installation is based upon a structure found in a series of Eugene Atget’s images of turn-of-the-century Paris: a typical street-corner poster kiosk. Working with architect Eric Klaver, an extracted version of the kiosk found in Atget’s images is designed to be executed in the manner of city park structures, using typical materials. This structure is intended to complete the 'tableaux' of European street-life established by the Garden’s design, while also setting up a device that might activate street-level activity within the park. Kiosk will be sited near one of the gates for maximum visibility from the street. Five artist poster projects have been commissioned for Kiosk. These works by Clint Burnham, Maura Doyle & Annie Dunning, Andrew Reyes, Zin Taylor, and Althea Thauberger, will be pasted to Kiosk during its 6-month run. I’m interested in seeing multiple uses come together, with artists’ projects occupying the same space as local events promotion, local businesses, etc. I want to activate street-level activity within this supposed public space, an action that will alter how the garden is used. (This alteration has already begun with Luis Jacob’s recent project). This alteration will also manifest itself in the Kiosk object itself. The shape of Kiosk will alter and distort during its run, deviating from its original pristine form as layers of print material accumulate on its surface."

Source: Toronto Sculpture Garden (2006). Derek Sullivan. Kiosk

http://www.torontosculpturegarden.com/DerekSullivan.htm

Artist's biography:

Derek Sullivan

Source:

1. Derek Sullivan, artiste info@dereksullivan.ca 2. Rina Greer, directrice Toronto Sculpture Garden 115 King Street East Toronto, ON M5C 1G6 Tél : 416.515.9658 info@torontosculpturegarden.com 3. Jessica Bradley Art + Projects (galerie d’art représentant Derek Sullivan) 1450 Dundas Street West (near Gladstone), Toronto, ON M6J 1Y6, Canada Tel: (416) 537-3125 Email: info@jessicabradleyartprojects.com

Document(s):

NOW SHOWING

Derek Sullivan at the Toronto Sculpture Garden

Derek Sullivan. Kiosk

Kiosk

Derek Sullivan.

A poster child for street life: Gary Michael Dault explains why artist Derek Sullivan recreated a Parisian kiosk in Toronto

Clouds on buses

Marie-Claude Langevin — Thu, 27 Nov 2008 23:26:08 +0000

Artwork identification

Artwork creator(s):

Cauthery, Ian

Artwork creator(s):

Cauthery, Ian

Text author(s):

Cauthery, Ian; Shakespeare, William

Text author(s):

Cauthery, Ian

Shakespeare, William

Installation year:

1995

Remarks on location:

Interior advertising spaces on 9 local buses

Artwork description

Source: Gray, Kate (1995). Niche : installations publiques, interventions et performances. Espace. no. 33 (Automne)p.21-24

Description:

On city buses, in lieu of advertising for commercial products, are Ian Cauthery's drawings of clouds and various bits of poetic text.

Text of the artwork:

Ride the curled clouds Fluctuating, drifting, listless and then the elements be free

Text theme:

Ariel in Shakespeare, William, La Tempête, Paris : Mercure de France, 1963, 127 p.

Artwork theme:

Cauthery aims to take the bus rider away from the pedestrian and into the realm of the imaginary.

History

History:

Exhibition: Niche, Guelph, ON

Event date(s):

1995

Dimensions

Other information

Artist's biography:

Artistes au Canada. Cauthery, Ian

Document(s):

Niche : installations publiques, interventions et performances/Public Installations, Interventions and Performances

Niche: installations, interventions, performances. April 22-May 20, 1995

Lest we Forget

Marie-Claude Langevin — Wed, 12 Nov 2008 17:58:53 +0000

Artwork identification

Artwork creator(s):

Posyniak, Teresa

Artwork creator(s):

Posyniak, Teresa

Text author(s):

Posyniak, Teresa

Text author(s):

Posyniak, Teresa

Installation year:

1994

Artwork description

Source: Teresa Posyniak (2008). Domestic Violence. (http://www.teresaposyniak.com/image.php?nodeID=137&ID=10)

Description:

The names of 135 Canadian women murdered since 1989 are written, interspersed with the phrase "lest we forget" throughout the list.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Names of 135 Canadian women

Lest we forget

Artwork theme:

Death, domestic violence

Dimensions

Height:

2.13m

Width:

Other information

Note(s):

In 1994, Lest We Forget found a permanent home on the University of Calgary campus, through the efforts of Dean of Law Sheilah Martin and some law faculty alumnae. The piece by Calgary artist Teresa Posyniak remembers and protests violence against women through language, motifs of nature and ominous images of deterioration and disappearance. The sculpture, which is close to a storey high but with a broken-off top that suggests its reach could be much higher, sits in the airy main foyer of the Law Building. The location was deliberately chosen to encourage members of the legal profession to be mindful of feminist social justice and legislative inadequacies in the protection of women.

Source: Teresa Posyniak (2008). Domestic Violence.

http://www.teresaposyniak.com/image.php?nodeID=137&ID=10

Artist's biography:

Teresa Posyniak

Book Tower

Marie-Claude Langevin — Wed, 12 Nov 2008 05:18:57 +0000

Artwork identification

Artwork creator(s):

Johnston, Byron

Artwork creator(s):

Johnston, Byron

Text author(s):

Johnston, Byron

Text author(s):

Johnston, Byron

Installation year:

2003

Artwork description

Source: University of Lethbridge (2008). Art Gallery. (http://www.uleth.ca/artgallery/)

Description:

Column made of books

Mention(s) légale(s) des illustrations:

Photo credits:

Artwork theme:

The changing values of books, fate of books over time.

Dimensions

Height:

Other information

Note(s):

Book Tower comments on the changing values of books and what happens to these important objects over time. “As students who buy expensive texts and faculty who dedicate years to writing them, we are all aware that books can go from high financial value to occupying a recycling bin with incredible speed,” says Dr. Josephine Mills, Director/Curator, U of L Art Gallery.

Source: University of Lethbridge (2004). U of L Art Gallery. Alumi magazine, vol. 8, no.1 (spring)

http://www.uleth.ca/alumni/files/alumni_journal/Spring04_AlumniJournal.pdf

Artist's biography:

Byron Johnston

Document(s):

New Sculpture "Tower" Over Campus

Présences du littéraire dans l’espace public canadien - Paper

One potato, two potato...it's your life...

Homage to Parenthood

Ribbons and Rings

Derrière chez nous se dresse un champ au coeur duquel...

Excerpts from library books

We Are the World

Letters From Home

[card for the letter "A"]

[ [card for the letter «B»]

[card for the letter «C»]

[ card for the letter «D»]

[card for the letter «E»]

[card for the letter «F»]

[card for the letter «G»]

[card for the letter «H»]

[card for the letter «I»]

[ card for the letter «J»]

[card for the letter «K»]

[ card for the letter «L»]

[ card for the letter «M»]

[card for the letter «N»]

[card for the letter «O»]

[card for the letter «P»]

[card for the letter «Q»]

[card for the letter «R»]

[ card for the letter «S»]

[ card for the letter «T»]

[card for the letter «U»]

[ card for the letter «V»]

[card for the letter «W»]

[card for the letters «X» and «Y»]

[ card for the letter «Z»]

Dyke House

[At the beginning:]

[Added, 3 days:]

[Added, 5 days:]

Close Your Eyes...

Canboulay

[recto]

[verso]

Le lieu de la présence

AIDS

Essays

[Segment de texte incomplet]

[Segment incomplete text]

The Boreal Poetry Garden

(Incomplete text)

You Are Here

Presence and Resistance, 2006

[Panels double-sided, at Fenning Street]

[Panels double-sided, at Fenning Street]

[Panels double-sided, near Queen's Car Wash]

[Panels double-sided, near Queen's Car Wash]

[Panels double-sided trade above Mr. Sub]

[Panels double-sided trade above Mr. Sub]

One Garden One Night One Wish

1,000 greetings from the Wish Machine Project, by Chrysanne Stathacos, 1997 - today (project still in progress).

Kiosk, 2004-2005

[incomplete text]

Clouds on buses

Lest we Forget

Names of 135 Canadian women

Book Tower