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- Molior 15 years | Online Publication on Daniel Langlois Foundation's website
- MIRAGE FESTIVAL
- Colloquium : Contemporary Digital Art: Conservation, Dissemination and Market Access
- Molior 15 years | Fund raising
- Rhythms of the Imagination, Technological Tools and Works
- TransLife International Triennial of New Media Art 2011
- Fanfare (Ottawa)
- Captatio oculi
- Silly Circuits
- Contrainte/Restraint : New Media Art Practices from Brazil and Peru (Montréal)
- eARTS BEYOND : Shanghai International Gallery Exhibition of Media Art
- Fanfare (Montreal)
- FILE 2005
- VAE 9 – Festival Internacional de Video/Arte/Electrónico
- Rotoscopic Machines
- Totem sonique (Montreal)
- Silverfish Stream
Machine For Taking Time 2007 - 2016David Rokeby
Machine For Taking Time 2007 - 2016David Rokeby
Mother - Ingrid BachmannAydin Matlabi
Family - Ingrid BachmannAydin Matlabi
Syntonie 2001 - Jean Dubois
Syntonie 2001 - Jean Dubois
Stressato : Les serpents samouraïsJean-Pierre Gauthier
Sublimations : Homme-Femme, 2014Luc Courchesne
Sublimations : Homme-Femme, 2014Luc Courchesne
Rhythms of the Imagination, Technological Tools and Works
1515 Ste-Catherine St. W.
Montréal H3G 2W1
November 10 to 19, From 12 pm to 7 pm
November 9, Opening from 5:30 pm.
Rhythms of the Imagination, Technological Tools and Works
An Exhibition presented as part of Molior’s 15th anniversary
As part of the events surrounding Molior’s 15th anniversary, the exhibition focuses on the works of artists who develop and appropriate technology, such as it as been brought to view by the organization’s activities over the last fifteen years.
The first intuition for the exhibition was triggered by a major research project led by Greg Lynn at the Canadian Centre for Architecture about the impact of the digital on architecture, both on the production and the final works and on the conservation of works presenting a challenge for museum institutions. The dynamism of Quebec’s digital art scene over the years is also worthy of a systematic study by way of an examination of the whys and wherefores of its emergence, its development and its incorporation in the contemporary art field. However, the anniversary of a dissemination organization like Molior does not seem to be the appropriate occasion to do so, though we nevertheless hope to soon have the opportunity to take up this task. Meanwhile, a look back at its activities highlights the work components that it has given priority to and defended over the years, and an examination of the works’ exhibition history, including their acquisition by private collectors or museum institutions, makes it possible to understand the specificities of disseminating contemporary digital art and to identify current and future challenges.
Molior’s activities were initially based on the presentation of works by one or two artists, often working outside the established networks, but they rapidly developed into curatorial propositions, in collaboration with dissemination partners, both locally and internationally, thus opening its events to other networks beyond those specifically dedicated to digital art, a niche sector that these works are no longer necessarily confined to.
In this context the works selected by Andrée Duchaine, the founder of Molior, and Sylvie Parent, a guest curator and subsequently the organization’s artistic director from 2009 to 2014, and by other occasional collaborators, opened ways of thinking that went beyond the at times spectacular effect of technology. There propositions were more rooted in a reflection on the role of digital tools in our lives, as well as their structuring and dynamic action in a reciprocal relationship, in other words their agency. In this regard, the body, interactivity, spatial perception and duration emerged as favoured aspects of the production; the works gathered here respect this stance.
As part of the presentation of À l’intérieur/Inside at the Third Beijing International New Media Arts Exhibition and Symposium in China in 2006, Sylvie Parent selected the work Tact (2001) by Jean Dubois. As in the work Syntonie, exhibited here, this interactive video unfolds on a touch-screen interface that facilitates an encounter between a viewer and a character. In Tact, in reaction to the viewer’s tentative steps, the face of a woman becomes more defined and freezes as it squashes against the inner surface of a touch-screen embedded in a round mirror, thus exposing her to our exploratory gestures. In Syntonie, also from 2001, the gestures trigger a more narrative interaction that is not limited to an encounter brought about by the touch-screen interface, since it prompts the protagonist to make inviting gestures and expose some parts of his body in a game of erotic allusions. Moreover, the display apparatus underlines the general set up of the technical relays, notably the cables and the computer tower, which support this exchange but are in contradiction with its intimate nature.
Likewise taking an interest in the body, Ingrid Bachman showed Symphony for 54 Shoes (Distant Echoes) as part of B/R/T Le corps habité curated by Andrée Duchaine in Montréal in 2007, the same year that the work was created. By way of a mechanism, the artist here animates a set of 27 pairs of used shoes to a random rhythm controlled by a computer. The everyday movements that wore out these shoes are echoed by an absurd mechanical activity that results in an unusual sound choreography. In Family (Anxious State) shown here, the shoes’ movements intervene in reaction to the viewer’s movements, thus creating an equally strange sound ambiance, but they more directly evoke the role of the individual in a group and the at times ambiguous ties linking members of the same family.
The work Stressato: Samouraï Serpents (2010) by Jean-Pierre Gauthier, presented by Sylvie Parent at the FILE festival in São Paul in 2012, is part of a similar viewer-activated sound register. As the curator states, the recourse to movement introduces new behaviours into the material world and endows matter and ordinarily immobile things with a dynamism, thereby associating them with living things, notably in regards to elements that escape our control. In this sense, the work has a disquieting character. Despite the playful aspects, the use of technology awakens, or rather reveals our anxieties before a world that appears to be in the hands of a sorcerer’s apprentice. It thereby embodies both the promises and threats that are often attributed to digital technology and tools.
On an entirely different note, as in Chevalier de la résignation infinie (2009) presented by Molior in 2011, Mandala Naya of the series Le déclin bleu (2002) by Diane Landry creates a play of shadows and lights that induces a state of meditative contemplation. The circular movement of a mechanism here moves a light source to the centre of a laundry basket lined by empty plastic bottles. The shadows and light interferences created by these objects alternately unfold and retreat to a meditative rhythm in keeping with the overall composition which imitates a mandala. The motor’s perpetual movement refers to a different perception of time, one that points to a spiritual dimension. In this context, technology, the laundry basket and the empty bottles stimulate reflection on our everyday life, the place that the machine plays in it and our routines, as well as on the reduction of personal satisfaction to consumerism.
Furthermore, Molior’s various projects have also addressed the issue of our surroundings’ computerization. Luc Courchesne’s Sublimations: Homme-Femme (2014), also selected here, refers to this media environment. Between an LCD screen suspended from the ceiling and another one placed on the floor, plastic disks reflect coloured swarms of changing images of men and women. Sublimation here both refers to the transformation of the men’s and women’s respective bodies into evanescent ethereal displays and to the diversion of the sex drive, recalling the workings of advertisement. Contrary to the interactive portraits of his early career, Luc Courchesne here focuses on the opacity of the communication media. In addition, the display recreates the immersive effect of the artist’s other media environments and associates mass communication with the panoramas that these works unfold, thus inviting us to also reflect on this reality.
Much like Diane Landry’s, Machine for Taking Time by David Rokeby also has an evident meditative character that is buttressed by the fade-in-fade-out of images, randomly selected in databases built up with the input of two cameras respectively scanning Montreal towards the east and the west. The city panorama is expanded through references to various moments of the day over the course of the seasons, which modulates the colour and texture of the image. This reference to natural cycles evokes a different timeframe, one that is inscribed in the constancy of duration and is the opposite of mass communication’s media effervescence that the ambition to grasp everything from the originary device represents. The allusion to this profusion and to our image-obsessed society is also at work in Taken (2002) shown by Molior in 2007 and 2008.
Furthermore, as an introduction to the colloquium, organized as part of Molior’s 15th anniversary celebrations, exploring the specificities of disseminating contemporary digital art, the exhibition and acquisition history of the works constitutes a concrete of example of their singular path, one that is distinct from the traditional artistic path. However, preparatory research revealed that over the years large institutions have increasing made acquisitions of works with a technological component and that private collectors are also taking an interest in this art form. The works Mandala Naya by Diane Landry and Machine for Taking Time belong to museum institutions, the first to the Musée national des beaux arts du Québec since 2008, and the second was recently acquired by the National Gallery of Canada. For its part, Luc Courchesne’s work is part of the collection of Debbie Zakaïb and Alexandre Taillefer. Digital art is thus no longer confined to specialized events, on the basis of their technical components or specificity. In fact, works that involve technology form an important part of contemporary art and are now incorporated, even recognized, on equal footing with other practices by institutional exhibitions.
In regard to the development of tools, software or technology, or prototypes, which are an integral part of digital artwork production, the history and conservation of these works remains singular, particularly due to the eminently variable character of their display. This is the case for Syntonie by Jean Dubois, which adapts itself in a very particular way to its presentation context. Likewise, the work Family Anxious State by Ingrid Bachmann is also displayed in separate parts or as a prototype. The series Le Déclin Bleu by Diane Landry comprises a monotype of Mandala Labrador and an edition of three of Mandala Naya and Mandala Perrier. For its part, Machine for Taking Time by David Rokeby is embodied in another iteration, which has a different database, in such a way that the artist’s signature applies both to the apparatus under development as to the final work. The interactive installations, such as Taken by Rokeby also required monitoring software development and video processing, which are put up for sale on his website.
All these examples speak to the necessity to hold the colloquium that will follow this exhibition and set off another cycle of independent activity for Molior.
- Marie Perrault
More informations on the Facebook event
1 The results of Lynn’s work were presented as part of a three part exhibition at the Canadian Centre for Architecture, which ended in October 2016, as well in the form of textual and audio documents which are still accessible on YouTube via the institution’s website (cca.qc.ca/ et youtube.com/user/CCAchannel). This approach has also served as a testing ground in order to develop methods and procedures to guide the incorporation of this type of work in a museum collection.
2 Regarding the documentation aimed at the conservation of the works, the Research alliance of the DOCAM initiated a reflection, developed research avenues and trained personnel, some of who are now working in museum institutions.
3 Festival Internacional de Linguagen Electrônica, São Paulo, Brazill.
4 On the occasion of TransLife International Triennial of New Media Art in China.
Collection of the artist
(Collections of the National Gallery of Canada and the Fondation Daniel Langlois for other editions)
Commissioned by the Fondation Daniel Langlois, on the occasion of its 10th anniversary, the work consists of a database made up of a 1024 images per day, captured by each of the cameras that respectively scan the east and west of Montreal from the rooftop of the Foundation on rue Saint-Laurent. Altogether the project comprises over 750,000 images, randomly projected and mixing moments of the day and the seasons, which thus confront us with the passage of time. The use of a database recalls the work Taken shown by Molior, in Transitions/Transiciones in Lima, Peru in 2007 and SYNTHETIC TIMES - Media art China in 2008. In 2016, the National Gallery of Canada acquired an edition of Machine for Taking Time, which was reworked for the occasion.
Art and Drinks, Toronto, Canada
The Lining of Forgetting, Austin Museum of Art, Austin, Texas
Plotting Against Time, Art Gallery of Windsor, Windsor, Canada
Plots Against Time, Pari Nadimi Gallery, Toronto, Canada
The Lining of Forgetting, Weatherspoon Art Museum, Greensboro, U.S.A
Fondation Daniel Langlois, Ex-Centris, Montréal
A first version of this work, commissioned by Oakville Galleries in 2001, was also presented several times.
Plastic bottles and laundry basket, tripod, motor, aluminum, wood and halogen lighting.
100 x 100 x 50 cm (device set-up); variable dimensions (projection)
Collection of the Musée national des beaux-arts du Québec.
Purchase through the support of the Canada Council for the Arts as part of its acquisition assistance program.
Diane Landry is here pursuing a reflection on the relativity of time, fleetingness and a desire for eternity. This poetic work has a meditative quality as it unfolds in space thanks to somewhat banal mechanisms, all the while triggering impressions of fragility. The notion of recycling in its literal and figurative senses is central here. The work was carried out at Cypres in Marseille as part of an exchange with La Chambre Blanche from Quebec City. In its overall composition, Mandala Naya. Série le déclin bleu evokes individual elements brought together in Chevalier de la résignation infinie, presented by Molior in 2011.
Diane Landry: by every wind that blows, Contemporary Arts Center, Lois & Richard Rosenthal Center for Contemporary Art, Cincinnati, Ohio
The Cadence of All Things, Cameron Art Museum, Wilmington, North Carolina
Festival: Lab30 - 11. Augsburger Kunstlabor, Kultuhaus Abraxas, Augsburg, Germany
Light, Matter, Memory, Wood Street Galleries, Pittsburgh, Pennsylvania
Electrohype 2010 – The Sixth Biennial for Electronic Art, Ystads Art Museum,Ystad, Sweden
Festival City Sonic, Salle Saint-Georges, Mons, Belgium
Look Again, Southeastern Center for Contemporary Art (SECCA), Winston-Salem, North Carolina
Light in Motion, ISE Cultural Foundation, New York
C'est arrivé près de chez vous. L'art actuel à Québec, Musée national des beaux-arts du Québec, Québec
eArts Festival 2008, eLandscapes, Shanghai Science & Technology Museum, Shanghai, China
Manif d'Art, the Québec City biennial and the Liverpool Biennial, Novas Contemporary Urban Centre, Liverpool, UK
Les défibrillateurs, Musée d’art de Joliette, on a Canadian tour (2009-2011)
Haunted Screens, UB Art Gallery, Center for the Arts, Buffalo, New York
Flying School et Mandala Naya, Rice Gallery, Houston
Southern Exposure, San Francisco
Le déclin bleu, YYZ Artists' Outlet, Toronto
Used shoes, wood, steel, detectors, micro-processors, solenoid, electronic circuit boards
Programming and circuit design: Martin Peach, with the collaboration of Dana Dal Bo, Sarah Comfort, AF Wauthy
This interactive installation comprises three elements, identified as the mother, father and child who react to the presence of the viewer. These three pairs of shoes independently beat time, so as to create a rhythm indicating an individual’s activity, but which can gradually grow cacophonic, even anguishing. Using the rhythm proper to each one, the work ultimately evokes the alienation expressed by automated gestures. It thus revisits the topic of Symphony for 54 Shoes, presented by Molior as part of the B/R/T Le corps habité event in 2007
Fashionality, McMichael Canadian Art Collection, Kleinburg (Canada)
Contact, FOFA Gallery - Galerie FOFA, Montréal
Parallel Practices, Galerie d'art Stewart Hall - Stewart Hall Gallery, Pointe-Claire, (Canada)
Otherworld, Archive Gallery, Toronto
Variable dimension and duration
Syntonie is an interactive video installation that establishes a relationship between the viewer and a character by way of a touch screen. A tactile interface on the scale of a small porthole here serves as a site for an encounter and self-exposure. The viewer gradually incites his/her virtual counterpart in a convivial ritual that is not guided by prior instructions. For his/her part the protagonist tries to respond to and interpret the gestures made by its speaking partner through a tacit complicity or a dialogue of the deaf. Syntonie is based on a sensibility that was already present in the work (2000-2001) that Molior showed in China in 2009.
E-Merge, New City Gas, Montréal
6th International Art Meeting Katowice 2007, Contemporary Art Museum of Katowice, Poland
Can We Fall in Love With a Machine, Wood Street Galleries, Pittsburgh
Corps+machine : croisement d'art, de technologie et de pédagogie, Galerie de l'UQAM, Montréal
Confidences: Parce que c'était lui, parce que c'était moi, Casino Luxembourg. Forum d’art contemporain, Luxembourg
Stepper motors, metal cables, plywood, silicone, infrared and ultrasound sensors, micro-controllers
36 x 182 x 119 cm
Programming C++ : Jason Cook
On a large raised board covered in “action painting” recalling some black and white painting by Paul-Émile Borduas, metallic cables move all over the place as the viewer approaches. They twist and twine surprisingly as they exhibit unpredictable movements – resulting from the tension imparted on them by the motors – that have a disquieting quality. This discomforting experience is made even more so through the addition of the, sometimes, sudden banging of the cables on the display box and the noises made by the motor components, which trigger a singular sound experience of their own. In 2012, Molior showed the work at FILE - Festival Internacional de Linguagen Electrônica in São Paulo.
Ceci n'est pas une machine, Expression. Centre d'exposition de Saint-Hyacinthe, Canada
FILE - Festival Internacional de Linguagen Eletrônica, Sao Paulo, Brésil
Jack Shainman Gallery, New York
Expansion, Galerie de l'UQÀM, Montréal
LCD screens (2), reflective metallic rods and plastic discs.
Variable height x 178 x 77 cm
Collection Debbie Zakaib et Alexandre Taillefer
This video installation comprises a suspended flat screen, facing another placed on the floor. The image shown by these screens is reflected on a multitude of discs, fixed on metallic rods suspended in the space separating them. The work recreates an immersive experience transposed so as to refer to a media environment, marked by the omnipresence of the screen both as a device and a type of mass communication. The installation recalls the immersive set-up of T'es où ? shown by Molior in 2008. It was acquired as of its first gallery showing at Pierre François Ouellette Art contemporain.
Pierre-François Ouellette Art contemporain, Montréal