Présences du littéraire dans l’espace public canadien - Papier

Homage to Parenthood

Marie-Claude Langevin — Sun, 03 Oct 2010 19:56:45 +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):

Son père

Installation year:

2010

Remarks on location:

Brighouse Station

Artwork description

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

Description:

Installation de 6 panneaux de 100 phrases dans les couleurs de l'arc-en-ciel.

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:

Cliché culturel, Proverbe, Dicton

Artwork theme:

Ce travail explore les idées de la langue, l'éducation familiale, et la spécificité culturelle des clichés et des idiomes. Aussi un hommage à son père récemment décédé.

History

History:

L'oeuvre fait partie de la Vancouver Biennale 2010.

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 cliches from North America, which are incredibly culturally specific. From there, I had tons to choose from andthe 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):

Dad may be gone, but not his words

Homage to Parenthood

VB Learn

Toni Latour - Text Projects

Ribbons and Rings

Marie-Claude Langevin — Thu, 06 Aug 2009 15:59:15 +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 transmise par Jen Delos Reyes

Description:

En 2003, Ribbons and Rings est une campagne de lettres d'amour. Deux cents lettres ont été distribuées autour de Winnipeg, MB avec une boîte postale C / O Love exhortant les gens à se sentir connecté et répondre au projet par le message de retour par courriel.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

THE WORLD

CAN NEVER

HAVE ENOUGH LOVE

Text theme:

Amour

Artwork theme:

Amour, relations

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

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

Marie-Claude Langevin — Tue, 28 Apr 2009 14:53:06 +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:

Inscrite dans l'espace de la galerie du MAI, sur ses fenêtres et à l'intérieur du réseau des rues.

Artwork description

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

Description:

L'artiste propose un circuit dans la galerie et à l'extérieur.

Les huit fenêtres du MAI sont bouchées et donnent à voir des fragments de texte en lettrage fluorescent.

Des affiches de chat disparu en action ont été disséminées sur les murs et les poteaux de Montréal. L'affiche a été retouchée par l'artiste qui a cependant pris soin de préserver l'ensemble des informations.

De l'autre côté des grandes fenêtres, la salle d'exposition du MAI est plongée dans l'obscurité. Quatre stations sont indiquées au sol. Pour chacune, une bande-son et une projection.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarques sur l'image:

Photo1 et 2: Installation textuelle dans les fenêtres; Photo 3 et 4: Installation d'une série d'affiches

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:

Rapport au travail et au pays

Artwork theme:

Interpénétration de l'art et la vie, les échanges. Voix multiples Message fragmenté

History

History:

Le MAI a donné carte blanche à Michael Fernandes, artiste canadien reconnu pour son parcours et son travail hétéroclite. Lors d’une résidence récente à Montréal, il réalise alors des petits récits vidéographiques, des tableaux presque trop simples. One potato, two potato… c’est un jeu, c’est le hasard certes, mais c’est aussi un changement des rôles, un revirement de situation. Cette œuvre sillonne le mouvement de la construction identitaire avec un style pince-sans-rire.

One potato, two potato… it’s your life…
Du 8 février au 31 mars

Dimensions

Other information

Artist's biography:

Michael Fernandes

Document(s):

Michael Fernandes

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

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

Marie-Claude Langevin — Sun, 19 Apr 2009 21:18:39 +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 transmise par Annie Pelletier

Description:

Douze colonnes disposées de façon aléatoire. Dans ceux-ci, on y voit du texte et des sculptures de chaises miniatures

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Extraits de livres de bibliothèque

Text theme:

Le texte devient des éléments qui transportent le spectateur dans l'univers de la lecture, dans le raconté.

Artwork theme:

L'environnement naturel de la Mauricie

Dimensions

Other information

Note(s):

Simulons l'action d'entrer dans ce que l'artiste nomme "un sentier bordé par des mondes de possibilités" et déambulons: les douze colonnes disposées de façon aléatoire dévoilent peu à peu leurs faces cachées, tout en livrant une diversité de matériaux, de textures, de couleurs.
Cette oeuvre installative suggère un espace où le citoyen, usager des lieux, se transporte au coeur même d'un monde de possibilités. Tantôt lieu de recueillement, tantôt forêt imaginée, l'oeuvre se déploie spatialement, invitant le citoyen spectateur à déambuler au sein d'univers exprimés.

Conversation avec l'artiste en 2009

Artist's biography:

Annie Pelletier Sculpteur

Architectes(s):

Jean-Louis Déry Architectes

Source:

Annie Pelletier 110, Rue Parc des Anglais(Québec), 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 — Mon, 30 Mar 2009 04:12:07 +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:

Côté extérieur d’un abribus au coin sud-ouest de la rue Burrard, niveau de la rue Robson

Artwork description

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

Description:

Image photographique dans un abribus

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

We Are The World
You Are The Third World

Text theme:

Pays industrialisés, tiers monde

Artwork theme:

Pays industrialisés, tiers monde, injustice et déséquilibre économique, capitalisme et pauvreté, surconsommation.

History

History:

Exposition «We Are the World/White Noise», YYZ Gallery, Toronto, ON, 1988 (mer le 27 avril-sam 21 mai). Cette version de l’œuvre était en trios langues: coréen, anglais et afghan.

Exposition « Adverse Practises », Vancouver, CB, 1988.
Suite à des négociations auprès de la Ville de Vancouver, les responsables ont réservé le recto et le verso de la boîte publicitaire d’un abribus, du 28 février au 13 juin 1988. Les artistes participants ont créé de nouvelles œuvres spécifiques au projet. Cinq expositions d’une durée de trois semaines chacune s’enchaînent.

We Are the World de Mark Lewis et Perhaps She Was So Wicked… de Jil P. Weaving sont exposées simultanément sur le recto et le verso de la boîte publicitaire de l’abribus.

Événement : Adverse Practises
28 février-21 mars 1988

Event date(s):

1988

Dimensions

Other information

Artist's biography:

Mark Lewis

Document(s):

Adverse Practises (Practises Zealously Pursued Pass Into Habits)

Letters From Home

Marie-Claude Langevin — Tue, 24 Mar 2009 20:23:54 +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:

Dépliants placés dans le présentoir de dépliants sur le British Columbia Ferries, au centre d’information touristique de la Ville de Vancouver, comptoirs postaux, centres communautaires et dans d’autres divers endroits.

Artwork description

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

Description:

Dépliants placés dans divers présentoirs

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[carte pour la lettre «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.

[carte pour la lettre «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…

[carte pour la lettre «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.

[carte pour la lettre «D»]

Dd

A puppy’s mother
Is called a dog bitch

[carte pour la lettre «E»]

Ee

Experience
(Work Rleated)

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.

[carte pour la lettre «F»]

Ff

Foot
of the household

[carte pour la lettre «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

[carte pour la lettre «H»]

Hh

ours

Cut along dotted lines
Punch holes
Attach to circle at dot

[carte pour la lettre «I»]

Ii

you are here

[carte pour la lettre «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?

[carte pour la lettre «K»]

Kk

Kitchen

konstant klutter
kareworn klown
kneads kouch

[carte pour la lettre «L»]

Ll

Life

[carte pour la lettre «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.

[carte pour la lettre «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.

[carte pour la lettre «O»]

Oo

One

Connect the dots.

[carte pour la lettre «P»]

Pp

Picnic

Table

[carte pour la lettre «Q»]

Qq

Quiet

[carte pour la lettre «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

[carte pour la lettre «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]

[carte pour la lettre «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.

[carte pour la lettre «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.

[carte pour la lettre «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

[carte pour la lettre «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

[carte pour la lettre «X» ET «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 9a.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?

[carte pour la lettre «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:

réalité et stéréotypes et banalisation du labeur maternel et domestique; émotions associées à la tâche d’élever des enfants; questionnement des mythes autour de la maternité

Artwork theme:

Réalité et stéréotypes et banalisation du labeur maternel et domestique; émotions associées à la tâche d’élever des enfants; questionnement des mythes autour de la maternité

History

History:

Exposition «Out of Place», organisée par l’Association for Noncommercial Culture

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 — Tue, 24 Mar 2009 20:01:48 +0000

Artwork identification

Artwork creator(s):

Holman, Shaira; Jones, Lizard; Sui, River

Artwork creator(s):

Holman, Shaira

Jones, Lizard

Sui, River

Text author(s):

Le Public

Installation year:

1992

Remarks on location:

4 emplacements : 1204 Georgia, Est de Vancouver, 303, 8th Avenue, front ouest, Mount Pleasant, Vancouver; 4000 Manchester Drive, New Westminster; 1100 rue Burnaby Street, Ouest de Vancouver

Artwork description

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

Description:

Il s’agit d’une installation posée dans la boîte arrière d’un camion. L’installation a été déplacée à 4 endroits différents au cours de l’été 1992.

Mention(s) légale(s) des illustrations:

Remarques sur l'image:

Image 1. Détail. «domicile lesbienne; Image 2. Détail. Figures («résidentes») en bois aggloméré

Text of the artwork:

[Au début:]

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

[Ajouté, jour 3:]

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

[Ajouté, jour 5:]

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

Text theme:

Homophobie, homosexualité (lesbienne)

Artwork theme:

Homophobie, homosexualité (lesbienne) : visibilité, identité et sécurité des homosexuelles dans un contexte urbain et résidentiel.

History

History:

Exposition «Out of Place», organisée par l’Association for Noncommercial Culture
Exposition du 1 juillet 1992 au 30 juin 1993. Œuvre exposée comme suit:

4 au 11 août 1992: 1204 Georgia, East Vancouver;
12 au 19 août 1992, 303, 8th Avenue, Western Front, Mount Pleasant, Vancouver;
20 au 26 août 1992: 4000 Manchester Drive, New Westminster;
27 août au 4 septembre 1992: 1100 Burnaby Street, West End Vancouver.

Event date(s):

1992

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 — Tue, 17 Mar 2009 20:03:53 +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:

L’œuvre a été installée dans le présentoir de dépliants touristiques sur les traversiers de la Colombie-Britannique, au centre d’information touristique de Vancouver et d'autres endroits

Artwork description

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

Description:

Dépliants placés dans divers présentoirs

Mention(s) légale(s) des illustrations:

Photo credits:

Remarques sur l'image:

Détail. Deuxième et troisième segments d’une série de six images accompagnées de textes dans le dépliant.

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.

Artwork theme:

Mariage mixtes, religion, sentiment d’appartenance, racisme

History

History:

Exposition Out of Place, organisée par l’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 — Tue, 10 Mar 2009 03:03:58 +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:

L’œuvre est installée dans le présentoir de dépliants touristiques sur les traversiers de la Colombie-Britannique, au centre d’information touristique de Vancouver et d'autres endroits.

Artwork description

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

Description:

Dépliants placés dans divers présentoirs

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:

Définition étymologique de Canboulay, rendu encyclopédique ou anthropologique de Canboulay; destinations touristiques d’ici et d’ailleurs

Artwork theme:

Hybridité entre l’exotique et le domestique et entre le familier et l’autre; ethnocentrisme, passivité et commercialisation du tourisme et du loisir

History

History:

Exposition Out of Place, organisée par l’Association for Noncommercial Culture

Event date(s):

1992

Dimensions

Height:

0.22m

Width:

0.1m

Other information

Note(s):

Dans le texte, certains caractères spéciaux, présents dans l’œuvre en la forme de carte postale, sont omis, en l’occurrence des précisions phonétiques sur la première lettre «a» et sur les deux «o» dans «(kan-boo’lă)» (second récit du texte).

Artist's biography:

Mollineaux, Melinda

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

Installation year:

2005

Remarks on location:

Donne sur la Place Paule-Émile Borduas

Artwork description

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

Description:

L'artiste a imaginé une installation intégrant trois éléments. Au centre de la fenestration, elle reprend et grave la mention « Vous êtes ici » figurant sur les plans touristiques des villes. Sur le mur latéral du hall, un miroir reflète cette inscription. Des silhouettes de personnages en marche venant d'un peu partout dans le monde forment un motif qui se répète sur l'ensemble de la paroi de verre. Sur les dessus des tables mises à la disposition des usagers, diverses cartes historiques de Montréal indiquent l'emplacement exact de l'édifice dans des environnements qui ont évolué au fil du temps.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Vous êtes ici

Text theme:

Vient signaler à la fois la contingence du fait d’être présent dans un lieu marqué par son architecture, dans une rue dessinée par les édifices environnants ou encore, à plus grande échelle, dans la province, qui parle la langue dont s’est servie l’artiste.

Artwork theme:

Conscience de soi dans l’espace

Dimensions

Other information

Note(s):

L’artiste a fait rajouter un miroir sur le mur qui permet de renverser latéralement les mots qui, de l’intérieur, semblent écrits à l’envers. « Une phrase simple, universellement utilisée qui se retrouve sur tous les plans des villes et qui opère comme un logo, occupe le segment central de la paroi de verre ».

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

Artist's biography:

Dominique Blain

Propriétaire(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 et AA Bronson)

Artwork creator(s):

General Idea

Text author(s):

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

Text author(s):

General Idea

Installation year:

1988

Remarks on location:

Affiches montées à divers endroits au centre-ville de Toronto : quartier des arts (Queen Street West), le quartier gai (Church Street) ; dans une vitrine à l’Art Gallery of Ontario et au Power Plant Gallery; affiches recouvrant un mur tout entier, donnant sur la rue, à la galerie YYZ; une frise d’affiches le long d’un balcon dans l’entrée du Macdonald Block (édifice gouvernemental principal) et sur la façade d’un édifice en face.

Artwork description

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

Description:

L’image originale affichée sur le site web d’AA Bronson illustre la série Imagevirus, un projet qui a apparut dans les publications artistiques. Une photo représentant la campagne internationale d’installation d’affiches, sur le thème du SIDA, figure visiblement au sein de cette image de la série.

Mention(s) légale(s) des illustrations:

Text of the artwork:

AIDS

Text theme:

Sida

Artwork theme:

Le SIDA

History

History:

1. Installations d’affiches dans les rues de New York, San Francisco, Hartford et Atlanta (États-Unis), Toronto (Canada), Tourcoing (France), et Berlin (Allemagne).

2. Projet (d’installation d’affiches dans les lieux publics) lancé à New York en 1987. Des centaines d’affiches installées dans les rues de New York, novembre 1987 et à San Fransisco en janvier 1988. Affiche publiée par le Koury Wingate Gallery, New York, 1987. Signature imprimée (avec droit d’auteur en date de 1987). Sérigraphie sur papier: 684 x 685 mm. Tirage non numéroté à 1000 exemplaires, certains exemplaires signés.
Événement : AIDS (projet d’installation d’affiches/poster project), New York, É-U.
Date: 1987

3. AIDS. Affiche publiée par le Koury Wingate Gallery, New York, 1987. Signature imprimée (avec droit d’auteur en date de 1987). Sérigraphie sur papier: 762 x 762 mm. Tirage (exécuté en 1987) numéroté et signé (en 1988) à 80 exemplaires.
Événement : AIDS (tirage de sérigraphies), Koury Wingate Gallery), New York, É-U.
Date: 1987

4. Affiches en deux formats publiées par YYZ Artists' Outlet, Toronto. (Procédé d’imprimerie offset sur papier, en deux formats: un tirage en 870 x 628 mm et un tirage en 593 x 596 mm. Tirages au nombre d’exemplaires inconnu, non numéroté, certains exemplaires signés. En 593 x 596 mm : signature imprimée (avec droit d’auteur en date de 1987). Des milliers d’affiches installées dans les rues de Toronto, mai-juin 1988 et successivement à Berlin la même année.
Événement : AIDS, YYZ Artists' Outlet, Toronto
Date: 25 mai – 18 juin 1988

5. Carton, 560x533 cm. Un projet de la Public Art Fund Inc. Tirage de 4900 exemplaires, dont 200 signés et numérotés. Publié par le Public Art Fund Inc., New York. Affiches installées dans tous les deux wagons du métro de New York, 1989.
Événement : AIDS, Project for the New York Subway System, New York
Date: 1989

6. Historique : Cette affiche, crée pour une levée de fonds, était la première d’une série d’affiches, de dépliants, de billets de lotterie, et d’autocollants publicitaires. Publiée par Arbeitsgemeinschaft deutscher AIDS-STIFTUNGEN (fondation allemande contre le SIDA), Allemagne. Procédé d’imprimerie offset: 592 x 420 mm. Tirage non numéroté, certains exemplaires signés.
Événement : levée de fonds de la lotterie Gewinnen und helfen, Allemagne.
Date: 1989

7. Procédé d’imprimerie offset sur papier adhésif : 160x160 mm. Tirage au nombre d’exemplaires inconnu, certains signés et datés (1990), non numérotés. Publié par Arbeitsgemeinschaft deutscher AIDS-STIFTUNGEN (fondation allemande contre le SIDA), Allemagne. General Idea a fait la conception du logo tricolore (rouge, noir et jaune) pour la fondation. Ce logo a été utilisé dans la production d’affiches, de dépliants, d’un projet de billets de loterie et d’autocollants.
Date 1989

8. Événement : General Idea, Hillman Holland Fine Arts, Atlanta, É-U
Date : 1989

9. Événement : AIDS, Project for Spectacolor Board, Times Square, New York, É-U
Date: 1989

10. Événement : AIDS (project for Stampa Galerie), Frankfurt Art Fair, Frankfurt, Allemagne
Date: 1989

11. Affiche conçue pour la fondation allemande pour le SIDA. Publiée par Arbeitsgemeinschaft deutscher AIDS-STIFTUNGEN (fondation allemande contre le SIDA), Allemagne (procedure d’imprimerie offset: 840 x 590 mm. Tirage au nombre d’exemplaires inconnu, non signé, non numéroté.
Date: 1990

12. Affiche avec texte publicitaire, conçue pour une levée de fonds. Publiée par Arbeitsgemeinschaft deutscher AIDS-STIFTUNGEN (fondation allemande contre le SIDA), Allemagne (procedure d’imprimerie offset: 840 x 590 mm. Tirage au nombre d’exemplaires inconnu, non signé, non numéroté.
Événement : levée de fonds Art Against AIDS (l’art contre le SIDA), action nationale impliquant plus de 100 galeries, Cologne, Allemagne.
Date: 1 novembre-1décembre 1990

13. Projet réalisé pour le tramway d’Amsterdam, subventionné par le Musée Fodor, Amsterdam. Publié par le Musée Fodor, Amsterdam (sérigraphie sur vinyle adhésive: 621 x 629 mm. Tirage de 60 exemplaires, signés et numérotés. Pour les trams : tirage au nombre d’exemplaires inconnu, non signé, non numéroté.
Événement : AIDS (Project for Amsterdam Trams) 1990
Date: 1990

14. Commande de la Seattle Arts Commission. Réalisé pour le tramway de Seattle dans le cadre d’un projet d’art public. Publié par la Seattle Arts Commission, Seattle (sérigraphie sur vinyle adhésive : 610x2235 mm. Tirage d’environ 100 exemplaires, non signés et non numérotés.)
Événement : In Public: Seattle, projet d’art public, Seattle, É-U.
Date: 1991

Dimensions

Other information

Note(s):

Dans l’ampleur du projet AIDS, General Idea a réalisé a une myriade de manifestations dans une dizaine de villes nord-américaines et européennes, à la fois dans les galeries et les musées, ainsi que dans les lieux publics. Ce projet a prit de formes très diversifiés, dont figure les affiches (sérigraphies et offsets) installées en lieux publics et ailleurs, mais aussi de nombreux supports sur papier (autocollants, timbres, dépliants, cartons, papier peint, billets de loterie, couverture de la revue The Journal of the American Medical Association, vol. 268, no. 4, 22-29, juillet 1992), bijoux (anneaux), vêtements (écharpes et t-shirts), peintures et sculptures. Des tirages ont été réalisés de bon nombre de ces objets.

Pseudonymes et noms des artistes de General Idea: o Pseudonyme: AA Bronson. Nom: Michael Tims, né à Vancouver, Colombie-Britannique, Canada (1946-). o Pseudonyme: Felix Partz. Nom: Ronald Gabe, né à Winnipeg, Manitoba, Canada, (1945-94). o Pseudonyme: Jorge Zontal. Nom: Slobodan Saia-Levy, né à Parme, Italie, (1944-94).

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 de texte incomplet]

[…]

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:

1. Inflammatory Essays: Inflammatory essay, installation dans la rue, Toronto, 1979-81

2. Truisms:Truisms and Inflammatory Essays, Projet d'affiche, A Space, Toronto, (mi-nov 1982-début juillet 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:

Installation de poèmes écrits à la main sur des cartes et installée temporairement. The Boreal Poetry Garden est également présenté comme événements en direct où l'on se promène et on lit des poèmes installés sur un site.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Texte incomplet)

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:

Commémore l'éphémère des rapports entre l’artiste et l'environnement naturel où elle vit.

Dimensions

Height:

0.76m

Width:

0.51m

Other information

Note(s):

Certains textes reflètent la vie du site géophysique et notamment des caractéristiques climatiques, la flore, la faune et l'histoire sociale, de même que l’expérience de l’artiste dans ce lieu. Pour l’artiste, l'emplacement des mots est fondamental pour traduire l'énergie rayonnante de leur sens et, bien sûr, leur beauté. L’artiste a aussi photographié son œuvre et en a fait un film.

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

Presence and Resistance

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:

Trois emplacements le long de la rue Queen Ouest: 1) niveau de la rue Fennings; 2) niveau entre la rue Lisgar et Dovercourt (Queen’s Car Wash, éventuellement devenu aujourd’hui Royal Car Wash, 1106 rue Queen Ouest, Toronto, ON M6J 1H9); 3) niveau entre Gladstone et Beaconfield : entre l’avenue Northcote et l’avenue Beaconfield, d’après la carte de l’événement (éventuellement au Mr Sub, aujourd’hui entre Gladstone et Northcote, 1181 rue Queen Ouest, Toronto, ON M6J 1J4); Officiellement, ces trois emplacements se situent aux intersections de la rue Queen Ouest et la rue Dovercourt; de la rue Queen Ouest et l’avenue Gladstone.

Artwork description

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

Description:

Installation d'art public / panneaux d'affichage et l'affichage public des textes

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[Panneau publicitaire recto-verso, niveau de la rue Fennings]

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

[Panneau publicitaire recto-verso, niveau de la rue Fennings]

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

[Panneau publicitaire recto-verso, à proximité de 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

[Panneau publicitaire recto-verso, à proximité de 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

[Panneau publicitaire recto-verso, au dessus du commerce Mr. Sub]

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

[Panneau publicitaire recto-verso, au dessus du commerce Mr. Sub]

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

Artwork theme:

Injustices commises envers les peuples amérindiens par le gouvernement canadien

History

History:

Scotiabank Nuit Blanche (commissaire de la 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:

Situé le long du «Philosopher's Walk» (chemin piétonnier), campus St.George, entre l’avenue Hoskin et la rue Bloor Ouest; au sud-ouest du Royal Ontario Museum (ROM, 100 Queens Park, Toronto, ON M5S)

Artwork description

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

Description:

Installation sonore avec des éléments de papier imprimés attachés à un arbre.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

1000 vœux tirés du projet «Wish Machine Project», par Chrysanne Stathacos, 1997- aujourd’hui (projet toujours en cours en 2009).

Artwork theme:

Vœux, désirs communs (argent, amour, désir charnel, espoir, joie, santé…) expérience partagée

History

History:

1. Le texte de «One Garden One Night One Wish» réutilise un extrait important de texte en provenance du projet «Wish Machine» (1997-) de Chrysanne Stathacos. Ce projet d’art public interactif a été commandé par la Grand Central Station pour l’exposition «Creative Time» en 1997-1998. L’œuvre a été présentée dans plusieurs pays depuis : à la galerie Power Plant à Toronto en 1999; à Frankfurt, Allemagne en 2001

2. Festival Scotiabank Nuit Blanche, Toronto, ON, le samedi 30 septembre au matin du 1 octobre 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/

L’arbre émanait une piste sonore créée par Andrew Zealley. Chrysanne Stathacos a décoré l’arbre de vœux et d’ornementations argentées. On invitait les visiteurs à accrocher les «vœux» aux branches de l’arbre.

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):

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

Installation year:

2005

Artwork description

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:

[texte incomplet]

FOREST FANTASY

Artwork theme:

Eugene Atget, Paris, XIXe siècle, paysage urbain, activité urbaine, kiosque

History

History:

Événement : Exposition «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.

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:

Au centre-ville; Sur 9 bus locaux.

Artwork description

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

Description:

Dans les autobus, au lieu des placards publicitaires habituels, on présentait des dessins de nuages de lan Cauthery et de courts extraits de poèmes.

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:

Une stratégie qui amenait les usagers à sortir de leur quotidienneté et à s'ouvrir au monde de l'imaginaire.

History

History:

Exposition «Niche», Guelph.

Event date(s):

1995

Dimensions

Other information

Artist's biography:

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:

Installation est un livre est une liste de noms de 135 femmes canadiennes tuées depuis 1989. Entre la liste des noms, on retrouve la phrase "lest we forget".

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Nom de 135 femmes)

Lest we forget

Artwork theme:

La mort, la violence domestique

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:

Tour de livre

Mention(s) légale(s) des illustrations:

Photo credits:

Artwork theme:

Évolution des valeurs des livres et de ce qu'il advient de ces objets importants à long terme.

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 - Papier

Homage to Parenthood

Ribbons and Rings

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

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

Extraits de livres de bibliothèque

We Are the World

Letters From Home

[carte pour la lettre «A»]

[carte pour la lettre «B»]

[carte pour la lettre «C»]

[carte pour la lettre «D»]

[carte pour la lettre «E»]

[carte pour la lettre «F»]

[carte pour la lettre «G»]

[carte pour la lettre «H»]

[carte pour la lettre «I»]

[carte pour la lettre «J»]

[carte pour la lettre «K»]

[carte pour la lettre «L»]

[carte pour la lettre «M»]

[carte pour la lettre «N»]

[carte pour la lettre «O»]

[carte pour la lettre «P»]

[carte pour la lettre «Q»]

[carte pour la lettre «R»]

[carte pour la lettre «S»]

[carte pour la lettre «T»]

[carte pour la lettre «U»]

[carte pour la lettre «V»]

[carte pour la lettre «W»]

[carte pour la lettre «X» ET «Y»]

[carte pour la lettre «Z»]

Dyke House

[Au début:]

[Ajouté, jour 3:]

[Ajouté, jour 5:]

Close Your Eyes...

Canboulay

[recto]

[verso]

Le lieu de la présence

AIDS

Essays

[Segment de texte incomplet]

The Boreal Poetry Garden

(Texte incomplet)

You Are Here

Presence and Resistance

[Panneau publicitaire recto-verso, niveau de la rue Fennings]

[Panneau publicitaire recto-verso, niveau de la rue Fennings]

[Panneau publicitaire recto-verso, à proximité de Queen’s Car Wash]

[Panneau publicitaire recto-verso, à proximité de Queen’s Car Wash]

[Panneau publicitaire recto-verso, au dessus du commerce Mr. Sub]

[Panneau publicitaire recto-verso, au dessus du commerce Mr. Sub]

One Garden One Night One Wish

1000 vœux tirés du projet «Wish Machine Project», par Chrysanne Stathacos, 1997- aujourd’hui (projet toujours en cours en 2009).

Kiosk, 2004-2005

[texte incomplet]

Clouds on buses

Lest we Forget

(Nom de 135 femmes)

Book Tower