Forget The Box is kicking off Autumn with a new weekly calendar of arts shows in Montreal! Check out these events and feel free to contact us with suggestions for others as well.
Alder & Ash
Alder & Ash is a counterpoint of two extremes. The music lies in stillness, introversion, and penitence. It lies in violence, cacophony, and angst. Alder & Ash plays solo cello with loop pedal to create improvised minimal classical music, with influence of doom metal, ambient, post-rock and noise. Alder & Ash will be performing live at Le Réactueur as part of an ambient music showcase – don’t miss it!
Alder & Ash Live at Le Réacteur, 2401 Rue Sainte-Catherine E, Friday, October 14th. Pay-What-You-Can
Fela Kuti Tribute
The Tupi Collective crew, ASMA, KYOU, and DJ Kobal are putting together an exciting evening filled with sonic tributes to Afrobeat pioneer Fela Kuti at Groove Nation. The event is in celebration of what would have been Fela’s 78th birthday, October 15th (but don’t get it twisted, the show is October 14th).
Fela Kuti Tribute at Groove Nation, 410 Rachel Est, Friday, October 14, 10pm-3am. $5 before midnight, $10 after
Pompette’s Monthly Comedy Extravaganza
Pompette’s Monthly Comedy Extravaganza offers Montreal’s finest in a casual context with one of the best new resto/bars in the city. At your service Riccardo Spensieri & his crew will be dishing out the eats and libations as Franco Taddeo & friends light up the night with laughter.
Taddeo is joined by emcee Peter J. Radomski of Just for Laughs fame as well as Paul Baluyot, ParkEx’s One Name Wonder Pantelis, TV’s Geoffery Appelbaum, Erica “The Funny & No Relation” Taddeo plus a Special apperance by Ernie the 80 year Old Comedian & his stool (chair to sit on to be clear!!).
Pompette’s Monthly Comedy Extravaganza at Pompette, 4128 Boulevard St-Laurent, Wednesday, October 19th, 8:30pm – 10:30pm. $9 with comedy night special on drinks
Is there an event that should be featured in Shows This Week? Maybe something FTB should cover, too? Let us know at firstname.lastname@example.org. We can’t be everywhere and can’t write about everything, but we do our best!
Question: Is the recent guerrilla art installation Emperor Has No Balls (nude Trump statues in various parks) just an example of body shaming or does it get a pass because the subject, Trump, is obsessed with sexist body norms for women?
As an American citizen I am embarrassed and abhorred that someone like this has gotten so far in our obviously flawed political system. He is the actual Republican nominee for President of the United States.
He is a racist, sexist, bigoted meanie face. All of his beliefs and moral stances are foolish and full of shit, he is not a politician, he is an ego maniac celebrity, a money grubbing monster, and downright evil doer. BUT, he is a human being.
While I do think he is an idiot and I want to see his campaign crash and burn, I do not believe in body shaming or making fun of any of his physical attributes. You are only as beautiful on the outside as you are on the inside, so obviously he doesn’t have much to work with. Judge him on his idioic ideas and not his lack of genitalia.
I don’t want to be shamed for my imperfect body so I will never do the same to another human. The piece features fat shaming and transphobia.
There is no pass when it comes to body shaming. I am a firm believer in two wrongs don’t make a right. If I judge him for being a jerk I can’t go right back and be a jerk in response, we must Love Trumps Hate to move on.
This publicity stunt got his name in the news again, the dumb people are still seeing his name. In good or bad context doesn’t matter, it’s in their impressionable minds. The stunt made headlines.
Although, on one hand I do believe that people should have a sense of humor. Public art is made to stand out, make people think. Trump’s naked body has nothing to do with his political agenda. I do agree that he would be a terrible president, and would probably erect similar statues of himself anyways.
I have dressed up like Trump in the past, mocking him and being satirical. I was a parody, a personification of his idiocracy and “perfect hair.”
Trump wins every time someone says or types his name, I am feeding the machine by even writing this article. He is an “even bad press is good press” believer.
He pulls this stuff out of his ass just to rile people up. He excites the hate mongers and ignites the protesters into a fury. Justice has not been served by erecting the larger than life nudes, he honestly probably really loves them, and will have the whole collection in one of his mansions.
Activist art crew Indecline was in charge of this public art frenzy, naked Trump statues appearing in many major cities: Seattle, New York, San Francisco, Cleveland, and Los Angeles- to protest the Republican presidential nominee. At 11 am in each city (8 on West coast) two people dressed like construction workers carried out this 6’5″, 80 pound sculpture under a blue tarp and then literally glued it to the ground and disappeared into the crowd.
Each statue was beautifully hand painted by an artist known as Ginger, a Las Vegas based horror artist (that admits he was once a Trump supporter, then wisened up as the campaign got more out of control). Ginger is known for his monsters, and Trump is a monster.
Once the tarp was removed mayhem insued. So many selfless were taken, one was “jerked off” by a homeless man, another was dragged into a nearby art gallery, but most were taken down by the police. The new goal is to make them for high end galleries and restaurants, willing participants.
Tiny penis and no testicles were the main attraction. Although art is subjective and takes liberties, it is not confirmed whether he actually has testicles in real life or not. He definitely suffers from foot in mouth disease and is a raging sociopath, but that is beside the point.
The Emperor Has No Balls is part of Indecline’s 15 years of art as activism, usually sticking to murals and graffiti. They are responsible for the Rape Trump graffiti on a fence at the US Mexico border. They knew that larger action needed to be taken as the Trump campagn was a real thing, he is the nominee, wow, this is happening!
Everytime I turn on a TV or look at the news I get sick, I worry that this impending doom is the final apocalypse. What will he do as our commander in chief? Not saying I love Hilary Clinton or anything, but COME ON! He is the worst, it’s a joke that has gone too far, and at OUR EXPENSE!
They started to think about how dictators were memorialized in giant statues throughout history. Illama Gore’s infamous drawing of naked Trump got so much attention (even the artist being assaulted due to her work) that it was a clear inspiration for this project.
Trump’s campaign did not comment on the statues. Of course not…
* Featured image: Naked Trump statue in Union Square, NYC
Got a question for Cat? Ask it: Cat@ForgetTheBox.net
On January 19th Montreal photographer Ana Jovmir debuted her ambitious new series What’s the Problem at Theatre St-Catherine. The series is comprised of photographs from a diverse group of individuals who each tell their own distinct story; I’m passionate. I’m angry. I’m ready for change.
With this series, Jovmir stepped away from her usual fashion and commercial photography work to create something much more intimate. Using friends and acquaintances as models, all the shoots were improvised. “As they stepped in front of the lens, I asked them to tell me about the things that piss them off. Things they’d want to change in themselves or their environment. And we just went from there,” Jovmir said.
So what inspired Jovmir to create a photo series based on the idea that anger and disillusionment can lead to creativity and positive change? “Often our freedom of creation is restricted by the society that surrounds us,” Jovmir explained. ”This project is about making people think what’s important to them. I’m hoping it inspires people to act on the things that they care about in a positive way.”
The theme behind What’s the Problem is a noble but quite broad one. Therefore certain photos in the series work better than others. It’s not that any of the photos in the What’s the Problem series are bad. Rather two photos in particular stand out for both perfectly embodying the theme of the show, and their immediate emotional impact.
Erica doesn’t just stand out because of the model’s beauty. Rather it’s her charisma and self-confidence that gives the photo a sense of energy. “I know what I want and am NOT afraid to go out and get it,” the photo seems to say.
Rosemary meanwhile is the only two person photo in the series. Immediately upon viewing the photograph one can see it speaks the most to What’s the Problem is trying to express. With only their eyes visible, both models represent that youthful determination that caring for a cause can elicit real change. It’s easy to imagine these two models just returning from a student strike protest.
In reviewing the photos for this series, it’s clear to see that Ana is a talented photographer with a long career ahead of her. Let’s hope she continues to take on interesting personal projects as well for a long time to come.
What’s the Problem will be on display until March 13th at Théâtre Sainte-Catherine, 264 Rue Sainte-Catherine E.
The VICE Annual Photo Show kicked off yesterday evening at the Phi Centre, located in the Old Port of Montreal. “The New Photojournalism” features four talented photojournalists, whose photographs document various aspects of nature, daily life, and struggle around different parts of the world. The collection was co-curated by Larry Towell, a renowned Canadian photographer who has had his photos published in multiple popular magazines, such as the Rolling Stone, LIFE, and the New York Times Magazine.
According the VICE, “VICE and Towell share a passion for bringing an immersive, global perspective to the world.” The photojournalists that were selected for the show each give a unique perspective on a part of the world through their photographs, evoking emotion, wonder, and curiosity for the subjects and places that star in their work.
.The four collections that are featured at the VICE Annual Photo Show 2015 are Aaron Vincent Elkam’s Sleeping with the Devil, a photo series documenting the transitory state of Fort McKay in Northern Alberta; Mauricio Palos’ La Ley Del Monte, a collection that offers a glimpse into the tumulus state of the Mexican Drug Cartel; Dominic Nahr’s Seeking Refuge in Iraq, a documentation of the displaced citizens in Iraq in the midst of terrorism and political strife; and Brett Gundlock’s Flowers for Zapata, an emotional collection showcasing the fight against organized crime in a small Mexican town named Cherán.
Photo #21 from the series La Ley Del Monte, by Mauricio Palos. Photo by Sisi Ye.
The opening night of the photo show was largely successful, with the venue reaching full capacity within a matter of minutes after it opened. There was a line wrapped around the corner of the building, filled with excited guests who wanted to get a peek at what the show had to offer. However, if you didn’t get a chance to check out the exhibit last night, don’t fret – the photo show goes on until July 31st, with free admission for all guests. The only thing you’re missing out on now are the free drinks that were served on the opening night!
* Featured image: Flowers for Zapata, by Brett Gundlock. photo by Sisi Ye
The exhibit will be presented at the Phi Centre from July 23 to 31st, 2015. Admission is free. Visit the VICE website and the Facebook event for more information.
Today marks the first day of Soñando Por Holbox, a public art festival taking place on the tiny island of Holbox, Mexico off the coast of the Yucatan Peninsula. Started in 2009 by local hotel owner Daniel Trigo, the festival has grown to include over fifty artists flying in from all over the world.
Festival co-organizer and Art Director Rubén Carrasco of Montreal-based street artist collective 5 Wolves No Pigs spoke with Forget the Box over the phone in advance of the festival’s opening:
FTB: Google translate tells me “Soñando por Holbox” means “Dreaming for Holbox.” How does this public art festival capture the spirit of its name?
Carrasco: Two years ago I went [to Holbox] for vacation and I met Daniel. […] He was inviting the artists on vacation to paint something related to the local people about their island; because the island is changing really fast like any place that attracts tourists. The island here is very very tiny, so the impact is huge. I suggested we plan a festival so the message isn’t just through the walls.
The name [refers to] the dream of Daniel. [5 Wolves No Pigs] took over that project and we [made] it big. As a collective, we’re supporting it and planning on doing it every year.
The [tourists] who go [to Holbox] are international. It’s an international destination. It’s very private because of the nature of the geographic location of the island. There’re just 400 rooms in the whole island. It’s also great because it’s so small. If you go there, it’s because you really want to relax. So when you walk into the island and the village, you start to see these walls all around. And then you start to question why they are there. You’re going to ask the people working in the hotels why they are there. And people take a lot of pictures.
The village is about five blocks or seven blocks by three or four and that’s it.
FTB: Are any of the artists in the festival from the island? What steps do the foreign artists take to understand the island’s heritage and represent it fairly?
Carrasco: The island has about 1,300 local people living there. When we arrive, we spend 2-3 days talking with people around. Some families invite us over. Of course, we already have something in mind, but having a conversation with the people can change your first idea. It’s a great experience.
The village is small, so at night, we’re all sharing dinner together, taking breakfast together, all the artists. The experience is very intense because it’s not a festival in a big city, where you see an artist painting one wall and then you never see that artist again. Here you see that artist for 6 days, you have a chance to talk to them, a chance to sit.
We also have multimedia, which is very cool because we [bring] this kind of art to the people of the island. There is feedback on both sides about inspiration and to show to the kids and local people we have the potential to see how art is developing.
FTB: Do you see public art taking a more active role in environmental justice in the future?
Carrasco: Mexico, especially the south of Mexico, in general, hasn’t developed a good way to control waste and pollution, especially when you’re talking about spray-cans. Anything you bring to the island affects the island. So what we do is we use water-based colours, the ones you regularly use to paint walls, and we avoid and don’t use spray-cans because of the waste. To paint a wall you’re talking about minimum 50 cans, so when you go to 50 to 200, and you’re talking about 30 houses… We’re trying to promote no spray-cans. We understand it’s a trend. It can be contradictory because many artists and street artists think there can be messages related to politics, related to pollution, to many things. It confronts the system but I find that we get involved if we use spray-cans. You see the spraycans everywhere. Especially for the island, we try to avoid that.
FTB: What makes Holbox different from other public art festivals?
Carrasco: It’s more about the experience for the artists. In some well-established festivals, like Wynwood Miami, that are internationally recognized, [artists] go [for the recognition]. But for here, they’re paying their own tickets to come work with us. It’s more about the culture.
We’re not doing something different in terms of intention – I just think something we’re trying to rescue is […] these people and the culture. Wynwood in Miami was an area that was very dangerous before. It was a sketchy area. Now you go to Wynwood and it’s full of galleries.
When you bring these kinds of festivals, you try to organize people. You try to incorporate them, local parties, with artists that are already recognized, professional names. They come to paint with a gang. We’re looking to open opportunity for other artists. For example, there are artists from Mexico City, [who] don’t have a chance to go out of Mexico but in this festival, they will be sharing walls with people from Spain, from other places in Latin America, from Canada, from France.
FTB: How has the festival affected local artists?
Carrasco: I go every year to the art festivals in Miami and the perception we have about art is different than someone that is just developing his own art to the island. So you don’t think about the market in Switzerland, you don’t know about Art Basel in Shanghai – you just don’t care. So it’s funny because if you see that you will find it naïve, but that’s cool, so we invite them to be part of the festival.
We have about 3 local artists. One of them is a teacher and she knows a lot of material to [create] installations for culture. We invite local artists to approach installations through waste, using waste materials, to develop their piece. So we try to send a message through that so the kids can see that. So its also a part of the preservation.
FTB: What are some of the most challenging aspects of the festival?
Carrasco: You don’t have all the supplies you usually have in a big cities. For example, last year, I was desperate to find something to mix my paint, so I found a coconut and used that to mix my paint. You really have to survive, you don’t have any lifts, we don’t have that there. It’s really expensive to get one of those there. We use what we have.
All the artists feel that. They’re living a different experience. It really becomes a small family for a week. And it’s just a complete adventure.
Featured image is Ruben Carrasco’s mural for last year’s festival.
Holbox (black hole in Mayan) is a fishermen’s island located on the north coast of the Yucatan Peninsula in the state of Quintana Roo with a population of approximately 1200 people. It is well known for being one of the few locations in the world where one can swim in the open sea with whale sharks. It is also the home of a vast collection of flora and fauna and no vehicles are aloud on the island to preserve its eco-friendly lifestyle.
In 2014, 5 Wolves No Pigs and Soñando por Holbox created the festival. They invited a few Montreal artists to head to paradise and paint some murals. Jason Botkin, Labrona, Omen, Cedric Taillon and Decover Magazine represented the 514 in epic ways (check out their work in the gallery)! They were joined by Mexican artists Curiot and Superdemon and others.
For the second edition, IPAF 2015, Arca Mexico is joining the team. They will be taking part in the Holbox leg of the festival and providing a second collective exposition in Mexico City. Featured invited artists include Jason Botkin, Cerrucha, Eric Paré in collaboration with Kim Henry and many others.
They are currently holding an international open call for submissions with a deadline of February 14. There is a $20 application fee and the first place will win free transportation to the festival and all selected artists will be provided with accommodation and materials for the murals. This is a great opportunity for artists looking to expose their work internationally.
IPAF is an independent festival created by artists for artists. It prides itself for implementing a zero waste philosophy inspired by the ecological lifestyle of the island. Those who plan to attend IPAF will also be able to enjoy of Bio-luminescence and live music among other activities.
We will be covering further developments of the festival and talking to some of their artists, in the meantime hasta luego!
Montreal’s underground music and arts scenes are multiple and varied. So many pockets of underground (counter)culture exist in this city, it’s impossible to be aware and keep up with all of it. Thankfully, a great culture of collaboration exists here among underground musicians and artists and it’s common to see people blending different sounds and media while working with other artists.
Witching Hour is trying to take that concept and really turn it on its head with full moon or new moon parties that combine music, visual arts, performance and much, much more. Their next event takes place tonight, October 8, and is being promoted as the first Halloween party of 2014, so yes, costumes are welcome.
At its core, Witching Hour aims to bring people together for a fun night out in a way that breaks down barriers and banishes inhibitions. But it’s not just fun for the sake of fun (although it can be if that’s what you’re looking for). Rather, Witching Hour hope that attendees will actively participate in the night’s planned activities — which in the past have included yoga, meditation, drawing, body painting and martial arts — and learn something about themselves or the world through discussions of social and geopolitical issues. However, they are very careful to not taint the vibe of their events with personal opinions or schools of thought.
It’s important for Noom to make sure that “it’s the one time people can come together where they’re untouched by educational, corporate and social institutions. Almost everything we do in life is imposed upon us. The concept of magic and wonder is not just for the movies and TV.”
If that sounds ambitious, it’s because it is. Noom and others created the group with the idea of bringing the counterculture to the mainstream and welcoming as many opinions and ideas as possible as long as they are presented with compassion and an open mind. They make it a point to team up with others in the artistic community in an effort to draw more and more people into to these events.
I spoke with Ling and Vincent Ferrari (aka Così e Così) of No Exist about their involvement in Witching Hour. They were both invited by Noom to participate as performers in previous editions and have decided to join forces in putting on this event, thus Collision of Dimensions is an appropriate title for this edition.
Originally from St. John’s, Chang E Ling moved here and started painting. Previously, he was more into illustration but discovered he loved using watercolours. He told me about his evolution and growth as an artist, about having to get over failures and accept that making bad work is part of being a good artist. Most importantly, he’s very much about encouraging people to re-think what the role of an artist is or what their place is in the cultural fabric of society.
“Definitely I can see an alignment of my values and those of No Exist or Witching Hour or QuebékisŤanz,” Ling said. “All those people are definitely who ‘get’, per se, what I do and they understand the value of trying to do things differently just for the change. I want to be where that is being done. I don’t want to be doing something that’s just some money-making motion, I want to do something that’s about tearing all of that down and trying to get people to reconsider what a show is, what a painter is, everything. Because those are things that I found really helpful to think about when I started painting. It feels good to be a part of something like that.”
Ferrari also hails from elsewhere, having lived in Toronto just before moving here in May. He met Max Posthoorn (aka Nothinge) and they decided to start making intense electronic music together in unconventional or alternative spaces. He was drawn to working with Michael Noom and Witching Hour primarily because of the trust and freedom he is afforded. But he also found that some of his ideas align with the things Noom has put forward.
“I don’t know how much I agree with every single thing he says,” Ferrari said, “but I do know that down at the basis of this, he’s trying to deconstruct the system as it is already and that’s exactly where No Exist is coming from. It’s trying to dismantle these concrete ideas and preconceived notions of how music should be or how we should live. So Max and I are trying to explore this new-found black void, this empty canvas and find new ways of doing things and I believe that’s what Witching Hour is trying to achieve as well. That basic idea is similar so now we’re joining forces and we’ll see what we come up with.”
The biggest challenge is really convincing people to take a lot of what they know and what they’re comfortable with and throwing it out the window. It’s not enough to create a space where people can feel free of judgment from others; people need to free themselves from their own self-criticisms and fears.
“If you want to be able to create new things or change the pattern of, or the process of art, the first thing you need to do is accept awkwardness and uncomfortable-ness,” Ferrari said. “To develop, to grow you need to accept these things. That’s what we want to do on the 8th, we hope that everyone gives in to that reality.”
The 19th edition of the international graffiti convention Under Pressure is upon us! It is the largest and longest running festival of its kind in North America.
Started by Montreal graffiti artists to show the positive side of street art, it is an event for the community and by the community. Everyone involved in making it happen volunteers and most of them have been involved since the early years.
This year, as always, the Under Pressure team has put together an amazing program. Here is a preview of what is coming up through the week:
The festival opens Wednesday August 6th with the 22nd edition of Beaux Dégâts at Foufounes Électriques. $5 entry will allow you to see six teams paint live for two hours with music from High on Beats. Plus you will get to vote for your favorite team with your empty can of beer.
On Thursday August 7th, the Fresh Paint Gallery (221 Ste-Catherine E.) will host their seventh Off The Record Conference. This time, guests will speak of Hip Hop and Education. It sarts at 6pm and entry is $2.
Friday night, the Fresh Paint Gallery will host the 5th edition of Art Attack where artists Otek, Lapin, Mad Dog, Sime and Asur will be painting one of the walls to the sounds of live music from the High on Beats team.
Then, over the weekend, you can witness local and international artists fill up the walls along Ste-Catherine between St-Dominique and St-Elisabeth. The street will be shut and a stage installed in the parking lot next to De Bullion. There will be live music both days from noon onwards. Also on the agenda are a skateboarding competition with $1000 cash prize and Bboy and Bgirl competiton.
At night, you can keep the party going with the Heavy Pressure evening at Cabaret Underworld on Saturday night for $5 and, to close up the festival on Sunday, DJ Afrika Bambaataa will perform live at Foufounes Électriques for free.
Concert poster design has become a great art unto itself and the proof is in the pudding with the fourth edition of Music on Paper, the annual exhibit co-presented by Osheaga. The event is held at Yves Laroche Gallery and entry is free. There you’ll find iconic poster art by some of the best in the business, silkscreens of which are for sale and cost between $30 and $150.
Here’s a short rundown of some of the artists featured at this year’s exhibit:
The founder of Pfahlert Creative Labs in North Carolina was inspired by design at a young age watching his father work in graphic design back when it was still done by hand. He’s done posters for The Black Keys, Wilco and Band of Horses, to name a very few.
The Toronto-based artist is obsessed with Wilco. He has designed posters for them several times and his favourite book is Learning How To Die, which is about Wilco. But he designs rad posters for plenty of other bands too.
There’s plenty more where that came from so get your fill at Yves Laroche Gallery (6355 boul. Saint-Laurent), open Tuesday to Friday from 11 a.m. until 7 p.m. and Saturday from 11 a.m. until 5 p.m. The exhibit runs until Saturday, July 19 and will be subsequently available for viewing at the Osheaga Arts Village during the festival August 1 to 3.
Our fair city is just a little bit more colourful than it was since the second edition of Mural Festival took place last month. Local and international artists painted 20 new murals along the Main. The festival started under the rain but thankfully the sun came out just in time, allowing the artists to work on their walls. Some artists kept painting despite the rain such as RONE, from Australia, who finished up his mural on St-Dominique just as the rain stopped.
A few of the walls from last year’s Mural were repainted but most of them were done on brand new walls adding even more art to the city. Kevin Ledo’s breathtaking wall of a woman from the Hupa Tribe, inspired from a photo by Edward Curtis, is of a significant contribution to this year’s festival.
This year Mural introduced Le Market, a pop up shop in the Parc du Portugal, where festival goers could shop local to live music all weekend. Also new this year, in collaboration with ExCentris Cinema, screenings of street art or graffiti related movies. Patrick O’Connor’s Making A Name and Freights were two of the nine documentaries screened the first one focusing on Montreal’s graffiti scene and the second on graffiti traveling on freight trains. A wonderful initiative to educate on this underground culture.
Every day, the Block Party entertained the masses with live music in the parking lot behind Station 16. Kashink’s impressive, massive and colorful mural in the same parking lot is just a preview of her exhibition at Station 16 which runs until July 3. Walking around felt like being on a treasure hunt because Mural’s not just about paintings along building walls. In the spirit of street arts, Peter Schmittson decorated our streets with sculptures, Mathieu Connery painted our sidewalks, Labrona gave more colors to doors along The Main, Garbage Beauty beautified with calligraphy discarded items found on the curb. Finally, be on the lookout for hundreds of diamonds installed on walls all over the city by Le Diamantaire.
It’s now time for a walk around with the camera or your phone to spot all these treasures. Don’t forget some murals are on Clark, on St-Dominique and one at the corner of St-Urbain and Guilbault.
If you weren’t willing to brave the treacherous sidewalks on Nuit Blanche, you were likely viewing art below the streets. Navigating the underground city was trying, given its immensity, but well worth it to avoid the cold and the drunken ruckus up above. Art Souterrain had on hand cultural guides, and the sometimes even the artists themselves on hand to have a chat. Foundations is the theme for Art Souterrain 2014, calling for reflection on how we build connections, identities and places, whether they be in the digital or physical realm.
Tucked away in the Eaton Centre, Touchbooth, provides an antidote to our selfie-saturated world with an interactive photoboothcreated by Hannah Palmer and Aude Guivarc’h. One artist who embraced the selfie in video format was Owen Eric Wood. Many of us have snapped a photo ourselves while traveling, in lieu of asking someone to do it for us. Owen Eric Wood had the idea to create a video self-portrait in selfie-style, titled Return. While traveling, he used the camera to film himself he expresses continual self-evaluation and transformation in unfamiliar lands.
“I had this idea- does traveling make you feel either alienated or disembodied or disconnected…because you have nostalgia from the place that you are from and when you come back you have nostalgia for where you were?” he told me in the Place Victoria food court.
“It’s not just about these places, but this character in these places…it is about self-reflection… now that I’m displaced and I don’t feel like I belong there, who am I?” he added. He juxtaposes images from Mexico to Italy with narration in several languages, as he swirls in and out of the frame. Wood, who obtained a B.F.A. from Concordia University and an M.F.A. from the University of Windsor, explores identity in the context of specific themes in his work, and is certainly a video artist to watch.
Next door at Place de la Cité, photographer Meagan Moore was present at her piece Maison. The piece used photography and video to recreate the experience of her Grandmother’s home. “It was kind of like a sanctuary when I was young and I wanted to preserve the calm feeling of the house,” explained Moore.
That house is presently up for sale, and a connection to this place ever more important. Moore used both photography and video in a patchwork fashion to reconstruct the house, while leaving a living and open feel. “I didn’t want it to become a memento mori,” she added. The soft sound of a ticking clock loops to accompany the images, and you can easily begin to feel at home.
Later on, I caught a performance of Taktiligne by Geneviève Le Guerrier-Aubry in Place Bonaventure. Using an infrared camera and programming code, Geneviève drew as her body moved with the goal of saturating the screen with geometric shapes.“My performance consists of creating a design, and my body is integrated into the design. I’m using a wireless mouse with which I’m drawing,” explained Geneviève, “I find there is an interesting effect with the costume. There is a visual effect and this is what I research. How do we integrate the image into the body and make it fluid?”
The design disappears after the performance, making it truly a live drawing. If you missed the Nuit Blanche performance, you may get another chance to see her perform. “I really want to continue to do more in the future,” added Geneviève.She is currently completing a Masters in Communication and Media at UQAM.
I ended my underground adventure at Plato’s Techtonics by Margo Majewska in Place de la Cité. Seeing the shadows of passersby float onto the folded paper structures, I was reminded that things aren’t always as they seem and certainly that was the message of Plato’s Allegory of the Cave. The exhibits I saw questioned identity, time, place and how we perceive them. Until March 16th, you can come make your own conclusions and explore these exhibits, along with the many more present throughout the underground.
Our lives are immersed in ephemeral digital media and we are no stranger to constructing and archiving narratives on social media. When it comes to personal and collective histories, however, few have gone through the process undertaken by Tris Vonna-Michell. Using spoken word, photographs and objects, Vonna-Michell, a British artist who started a residency in January at Darling Foundry, creates spaces where the personal and the historical collide.
The VOX centre de l’image contemporaine is presently showing four pieces by Vonna-Michell, Prelude: Capitol Complex,Postscript (Berlin) III, Prelude: Capitol Complex, Capitol Complex / Le Capitole de Chandigarh and Finding Chopin: Dans l’Essex until April 12th. Opening up his process of memory to our eyes and ears, we experience what Tris Vonna-Michell has chosen to preserve, repeat, and modify often over periods of several years.
The installations offer both visual art and spoken word carefully arranged using analog and digital media. Kodak Ektagraph AMT III slide projectors are synchronized with digital sound recordings, while carefully selected objects are included along with a video in Finding Chopin. You can also find a Telex projector at the beginning of the exhibit. One can find a vast array of influences, in addition to media, from Le Corbusier’s modernist architecture to the emergence of sound poetry. These influences often arise from time spent traveling.
The exhibits give a look into how disparate connections and interests can form both a visual and oral narrative. Finding Chopin was inspired by Vonna-Michell’s father’s remark that their old neighbor, an avant-garde French artist and sound poet Henri Chopin, had influenced their move to Essex, England.
The arrangement of objects and photographs in Finding Chopin has remained largely the same for almost ten years, with small purposeful changes- much like creating and recreating memories. There is no fear of the vernacular, or everyday objects that spark a particular memory, but it is the words of Vonna-Michell that give you the experience of what they recall. “After we heard him perform, we found that it becomes personal for you in a way,” noted VOX coordinator Geneviève Bédard, “it is integral to the work.”
Objects and photographs can often fail to give the whole story, but when combined with spoken word it is possible to gain a richer experience and contextualization. Each exhibit is adapted to the exhibition location, and each iteration is unique. The non-linear and stream-of-conscious nature of the work eludes finality.
“History or art history is a construction, and you need to see the parts that have been left out and revisit the practices,” added Bédard. Supporting critical and experimental practices in the visual arts is a strong mandate at VOX, along with supporting emerging talent.
The VOX centre de l’image contemporaine (2 rue Sainte-Catherine Est) will be offering a unique opportunity to experience a live performance of the spoken word component of Finding Chopin on Saturday, March 1st at 11:00 pm sharp.
* Top image by Michel Brunelle. “Tris Vonna-Michell”, VOX, from February 7 to April 12, 2014.
Well it’s already that time of the year, time for Nuit Blanche as part of Montréal en Lumière Festival. The 11th edition is as packed as ever and spread out across the city.
From Quartier des Spectacles to downtown and Old Montreal to the Plateau/Mile End area, east to the Olympic Park and to the newest Nuit Blanche location: the Blue Line, this night promises to be amazing!
What to see, where to go, what to do? Here is a little preview of some events happening in the Arts.
At the Musée des Beaux Arts, join the illustrators, Cyril Doisneau and Siris, and participate in creating a colourful collective mural. While you’re there, check out the Peter Doig: No Foreign Lands exhibition (admission $10).
If you have ever wanted to explore a museum with a flashlight, then the Redpath Museum should definitely be on your list (admission $10 at the door).
MAC will have four exhibitions open including the 24 hour projection of The Clockby Christian Marclay. In conjunction with the exhibit, DJ Monique Giroux will help you seize the moment with tunes from Pink Floyd to Charles Aznavour to Nina Simone.
The Fresh Paint Gallery ‘s second Art Attack exhibition with artists HOARKOR and MissMe painting live to the music of HighonBeats (admission $5 at the door). In Old Montreal, the Phi Centre will host Hybrid Bodies which explores the complexity of organ transplants with a Dubstep DJ set by VILIFY and The Salvation Army.
The Belgo building is offering, as always, so many activities in different galleries. There’s a fun fair at les territoires and an interactive photo booth at studio 303 to name a few.
Meanwhile Maxime Geraldes invites you to Theatre Ste-Catherine to help him create a piece and then destroy it at 3AM.
At the Darling Foundry you can taste some mulled wine while discovering two new exhibitions.
The Plateau and Mile End area will also be bustling with activities. The MAI will have an immersive installation by an Icelandic artist which sounds quite trippy. You can also get your cut and paste on at gallery Monastiraki‘s Collage Party or create etchings on vinyl records at Espace 503.
If you plan on hanging out around the blue line then you can learn to make a mosaic at Mosaïkashop or experience a night of performance and sonic art with a hot beverage at Espace Projet .
Obviously we can’t mention all the Nuit Blanche events here, so pick up a copy of the program for more info or check out the Nuit Blanche’s website. Now let’s all hope for warmish weather even though the weather won’t change how awesome the night will be.
Poutine Week is a festival where we get to celebrate poutine in Montreal! Between 20-30 restaurants prepare a special poutine just for the occasion for $10 or less. Fans get to vote for their favourite ones by using the unique code provided by each restaurant. By the end of the week, winners are declared. Log on to http://lapoutineweek.com/ for the list of participating restaurants and to cast your vote. Poutine week ends on Friday February 7.
The performance series “Deep Screens” showcases live music/film/video acts that extend the screen into physical/virtual space through performance and formal interventions. This inaugural version of the series focuses on acts that use optical illusions, 3D animation, props, synthesizers and wicked tricks to expand screen planes and alter planes of consciousness.
Featuring: Le Révélateur/ Sabrina Ratté / Alaska B/ Katherine Kline / Leyla Majeri. The event takes place Friday, February 7 at Studio XX.
With only a few weeks to go, Concordia Theatre students are busy preparing for their production of Tonight We Play “A Soggetto.” The show is a metatheatrical experience that challenges conventions and actively leaps from comedy to drama while exploring the permeable boundary that separates life from fiction and actor from character.
This third part of Nobel Prize Laureate in Literature Luigi Pirandello’s “Theatre within Theatre” trilogy takes an incredible and extreme situation as the starting point to question the meaning of theatre: a director/scientist asks a group of actors to improvise an entire show in front of the public.
Concordia’s version of Tonight We Play “A Soggetto” is a never ending rollercoaster ride. A true challenge for young actors, it is a pyrotechnic game and a leap into the world of theatre that draws on theatrical forms such as Commedia dell’arte, German expressionist theatre, puppetry, musical theatre and the Italian lyric opera.
Wednesday, February 12 to Sunday, February 16 at F.C. Smith Auditorium (Concordia’s Loyola Campus).
The Walnut Tree tells the story of the intense journey of Sussel, a young, privileged Jewish woman who grows up in Czernowitz, studies in Prague and Paris, endures the horrors of World War II in Eastern Europe and ultimately escapes to the peace and promise of a new life in Saskatoon. The character of the older Sussel looks back at her life, accompanied by her alter ego, a Musician, who performs on a piano. This powerful, transcendent drama sets the devastating power of historical events against the personal forces of reconciliation. TheWalnut Tree deals with vital social, political, and ethical issues, and finally (most importantly) with enduring love.
February 20 to March 1 @ Centre Culturel Calixa-Lavallée.
You have an awesome event coming up? Send us all the info at email@example.com.
Drawing, as a fundamental medium in both the arts and sciences, is a rich topic for exploration. Very few of us have gone our entire adult lives without being asked to draw out our ideas, stick figures and all. A Priori, an exhibition held at the VAV Gallery, is showcasing the works of 12 artists that have investigated the important relationship between drawing and communicating knowledge. The aim of the exhibition is to showcase work created during the Concordia University course “Drawing and Knowledge” taught by professor Patrick Traer.
The exhibition will also provide the public with a chance to meditate on what drawing means to them. Tremé Manning-Cere, one of the participating artists in the exhibition, explained their goals: “We hope that after visiting the exhibition the viewer has gained new knowledge, either on a topic they were unfamiliar with, or on how drawing as a medium, can hugely vary and has the power to portray great information, ideas, narratives and histories.”
Each artist has chosen a particular subject to communicate through the medium, ranging from gun laws to anatomy. “Much like the diverse experiences and ideas that each artist is trying to document and express, their representations are fluid and each uniquely individualistic”, added Tremé. The exhibition gives equal space to both traditional forms of drawing and broader conceptualizations, such as using makeup to create marks on a face.
The place of the artist themselves in drawing is questioned in some of the pieces that have used mechanized objects, such as a mousetrap, to create marks. One of these mark-making machines will be running during the exhibition, giving the viewer a chance to experience the performance of drawing and mark making.
What place does drawing have in today’s image-saturated world? Make your own interpretations by visiting the exhibition February 3 – February 14. A Vernissage will be held February 4 from 6- 9pm, as well as a Finissage on the 14th from 6- 9pm, each with a different set of artists present to talk about their works. For more information, visit their Facebook event page.
Many things happened in the Montreal arts scene in 2013 and Forget The Box was there! Let’s take a look at some of the highlights:
Early February, Cabaret 87 at Sala Rossa celebrated the 25th anniversary of AIDS Community Care Montreal. It was a very successful evening hosted by Antonio Bavaro and Ryan Ghinds with performances by artist Danny Gaudreault and friends.
March brought us the 20th edition of the Edgy Women Festival, a celebration of feminist art. This year featured events at a gym, on an ice rink and finished up with Edgy Lucha, a sexy boxing evening covered by Keltie.
Summer came around and so did full coverage of the 10th edition of the Montreal Infringement Festival featuring a multitude of awesome events including a haunted mountain walking tour that Bianca reported on and plenty of music goodness and stage performances which Jason (also a performer this year) covered.
It also brought the Fringe Festival. Jerry, Chris and Stephanie checked out quite a few events this year including the Hopegrown Productions debut at the festival, Jon Bennett’s Fire in the Meth Lab was also a must and Jerry checked out Peter ‘n Chris exploring their bodies in an improv comedy which almost gave him a spleen injury due to so much laughter. Also Forget The Box teamed up with Yelp for their annual party Yelp Helps during the fest.
Then it was time for Zoofest! Jason and Chris went down to Café Cléopâtre to check out an unforgettable Burlesque show with the Bad Ladies and Detective while Jon Bennett’s show Pretending things are a Cock gave Bianca a new understanding of dick jokes.
The summer also gave us Fantasia and Just For Laughs and many more music-specific events that Bianca will cover in our Year-In-Review music.
In early fall, Stephanie reported on Ain’t Misbehavin’, a great production at the Sadie. Later, in November, Jordan checked out Pure, an incredible dance performance by Charles Koroneho from New Zealand at MAI.
Meanwhile, Halloween was definitely sexy this year thanks to Tales from the Crotch, a burlesque play produced in 24 hours, another awesome project by Glam Cam production with the participation of our awesome Jessica!
A different type of event happened at Café Zosha early this year. Music for 12 Domestic Lamps was an interesting installation and performance using lamps and sounds reviewed by the lovely Naakita! She also went to discover the new exhibit at the DHC Art Foundation where artist Thomas Demand filled up the gallery with an installation of animations and photographs.
Taymaz shared his thoughts with us on photography as well as the art of love for Valentine’s day. He also reviewed The See by Jessica McCormack, a beautiful book with great artwork and covered Chinese art and it’s importance in today’s art world.
March brought us Nuit Blanche which is always packed with interesting things to do. Naakita took a look at what was happening in the streets while Stephanie reported on her night at the museums.
Summer came around and brought us a new festival, Mural, a celebration of street art. Local and foreign artists covered a few walls along the Main and its neighboring streets during the St-Laurent Street Festival.
Meanwhile, the original graffiti festival Under Pressure had it’s 18th edition in August. This self-funded event run by an amazing team of volunteers is still going strong. The Fresh Paint Gallery, run by the same team, moved to its new location and still showcases great work by many different artists.
A new festival started this year, the Pitch Fest, a celebration of the soccer culture, it happeneed just a few weeks ago. Luminotherapy, the light festival is on until next year so make sure to check out the awesome installations all over the Quartier des Spectacle area.
Looking forward to what 2014 has to bring us, be ready for some more awesome coverage of everything that matters on Forget The Box.