The Digital Cliff.

11.12.2016-12.17.2016
Opening: Saturday, November 12, from 3h00 pm to 6h00 pm
@ PROJET PANGÉE
372 Sainte-Catherine Ouest, #412
Montréal, QC H3B 1A2

The following is a theoretical proposition:

Two persons are conversing in the middle of an unrealistically large room, narrow too, let’s say 1 km by 1 m. Crazy narrow. Now, imagine that as they are speaking, they begin to back away from each other. They are making their dissimilar beliefs/values physically manifest through the space they are perpetuating between each other – person A encumbered by the incalculable, invisible weight of emotional labour, and B not only unencumbered by this, but disbelieving of its existence, as it is, as mentioned, not tangible, and if person B cannot see it, person B refuses to believe it (‘Show me the money!’ person B yells, gesticulating their arms wildly with a slap-happy smile plastered on their face). They continue talking, the volume of their voices fading proportionately to the distance between them, until –

Person A is cut off, completely, person A has dipped off the cliff, and to person B they’re mute and silly-looking, eyes full of feeling and mouth moving madly, emitting no sound, just useless, just aggravating the jawbone, just plain sad. Person A must still succumb to the insidiously violent words of B, so person A begins inching the walls, in an attempt to get away from the noise. A magnet holds A and B equally apart, and neither can gain more distance from the other. The backing away is slow, like the torturous drip of the
bathroom tap.

And, suddenly, A and B are yoyo’ed back together. The process begins again.

Therefore, there is no follow-up question for the proposition, nor, of course, any answer. Merely dissatisfaction.

And so they dance, forever.
Nuances develop, but the situation remains the same. Tuned in, tuned out.

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Nadia Belerique (b. 1982, Toronto) lives and works in Toronto, ON. She received her MFA from the University of Guelph in 2012. Belerique recently had solo exhibitions at Daniel Faria Gallery, Toronto, ON and Gallery TPW, Toronto, ON. She was featured in group exhibitions at the 2016 Montreal Biennale; Gwangju Biennale, Gwangju, KR; and Showroom, UTAC, Toronto, ON.

Marie-Michelle Deschamps (b. 1980, Montreal) lives and works in Montreal, QC. She graduated from a MFA at the Glasgow School of Art in 2012. Deschamps has presented her work notably at Fonderie Darling, Montreal, QC; Battat Contemporary, Montreal, QC; Triangle France, Paris, FR; and Collective, Edinburgh, UK. Upcoming exhibitions include YYZ, Toronto, ON; Austellungraum Klingenthal, Basel, CH; and Occidental Temporary, Paris, FR.

Stephanie Hier (b. 1992, Toronto) lives and works in Queens, NY. She graduated with a BFA from OCADU in 2014. Hier has shown internationally with solo and two person exhibitions at NEOCHROME, Turin, IT; Threefourthreefour, Brooklyn, NY; NADA with Ed. Varie, New York, NY, and Johannes Vogt, New York, NY. Hier’s recent and forthcoming group exhibitions include The Power Plant, Toronto, ON; AC Repairs Co, Toronto, ON; Et. Al., San Francisco, CA; Pony Club, Antwerp, BE; Bb, Baltimore, MA; Sensei Gallery, New York, NY; CK2, Montreal, QC; Art Gallery of Ontario, Toronto, ON; CARRIER Arts, Toronto, ON. Hier has been a national finalist in the RBC Painting Competition in 2016 and was awarded the OCADU Evans award as well as the B.I.G. Grant in 2014.

Erin Baillie-Rutter (b. 1991, Montreal) lives and works in Montreal, QC. She has presented her work in group exhibitions at Pool House in Toronto, ON; La Centrale, Montreal, QC; and Glass Door Gallery, Montreal, QC; and with The Coven collective in San Francisco, CA and Oakland, CA. Her writing has been published online in Madame Wang and Automaton V.

A COURTYARD

08.11.2016 – 08.25.2016
Opening: August 11th, 6-9 PM
227 Sterling Road Unit 109A

Toronto, Canada

“It’s like those flowers take steroids or something,” Tommy said.
They were looking at an enclosure of water hyacinths, one of those silly-looking polystyrene frames, kind of like a window in the water.
To Paul, the flower-pen was more symbolic than utilitarian, like those courtyards in Kerala, demarcated by nothing more than a difference in floor material; nothing in particular was dividing the two seemingly distinct areas; a figurative line drawn in the literal sand.

Despite this, Paul knew this was not the case; these seemingly arbitrary barriers efficiently prevented one environment from spreading into the other. He thought about invisible systems of control, he thought about Deleuze, he thought about his big nose and his eyes always full of tears. In the hyacinths’ case, the barricade served to deter their rampant and relentless growth. They could not be stopped (because of this, they were soon to be banned); they would keep growing until they gobbled up an entire body of water.

Like a florid disease’s consumption of the mind.

Paul thought about how Tommy was just like a water hyacinth, sucking the air out of any room he walked in, his body swelling and growing with all its stolen strength (instant synthetic growth, his glowing limbs dusted in some kind of psychic whey powder). Paul’s stupid little Gilles-eyes would well up as his heart jumped to his throat. Whenever he saw Tommy.

A hideous-beautiful love-weed.

“Whatever,” Paul said, “the stupid things are illegal now. They’ll all be gone soon.”

 

Baker’s Dozen

05/07/16, 7-10 pm
185 East Broadway, New York, NY

1. Crack three eggs, throw them out the window; pray for rain.
2. Sprinkle one pinch of baking powder on the bridge of your elder’s nose; wipe away excess with left thumb, and laugh together bitterly about the ineffable effects of your generational gap.
3. Knead three fistfuls of store-bought dough (frozen) until your knuckles bleed a bit. Wrap in cellophane, and forget about it, in the fridge next to a wedge of cheese on the pronunciation of whose name your partner always corrects you, needlessly; reflect on how bland the relationship has become.
4. Live off air and fallen leaves, as you want to avoid the disaster recipes always invite.


 

Discipline & Plug-In

09/16/15 – 10/15/15

Exhibition presented in conjunction with Art POP Festival 2015:

Clairwill dreams of a perpetual system of” “air conditioning, BRAND NEW (not refurbished or reconditioned) and of [a] renowned brand.” “She declares, ‘What I would like to find is the perfect” “ductless mini-split air conditioner […], available ‘in stock’ [and for] immediate delivery,” “the effects of which would be perpetual, even when I myself do not act, so that there would not be a single moment of my life, even when I was asleep, when it would not” “control airflow and humidity levels to prevent excess heat and cooling, as well as useless running, therefore increasing comfort and eliminating energy waste” “to such proportions that it would provoke” “the perfect temperature, anytime,” “and that even after my death its effects would still be felt.’”



Dan Vogt (b.1989, Kitchener, Canada) graduated with a BFA from Concordia University in 2014. Recent and forthcoming exhibitions include Casino Gallery (Hamilton, ONT), FOFA Gallery (Montreal) and 0dx (Berlin, Germany). Vogt currently lives and works in Kitchener, Ontario and will be attending the Academy of Fine Arts Vienna class of Julian Goethe in Fall 2015.

Thea Govorchin’s (b. 1986, Vancouver, Canada) current works reveal an interest in eroticism. She believes in the obscene as a primal notion of human consciousness, and has particular concern for pleasure, online perversions and the animated woman as stereotyped sex-object. She works in media including painting, objects and video. She has recently shown at Ellis King (Dublin), la Fondation d’Entreprise Ricard (Paris) and Galerie Division (Montreal). She studied Studio Arts at Concordia University and is currently pursuing a Masters in Arts visuels at the École cantonale d’art de Lausanne (Switzerland, 2016).

Connor Olthuis (b. 1990, Toronto, Canada) is an interdisciplinary artist currently based in Toronto. He was awarded the program medal for his thesis work in the department of Integrated Media at OCAD University. His practice explores themes of branding, networks and infrastructural processes. Olthuis works with kenetic and static sculpture, print, video and photography. He has exhibited in Toronto, Hamilton and Montreal.

Documentation by Kevin Leung-Lo:


 

 

 

 

 

 

‘Instant Life’ at Galerie Éphémère

09.04.2015 – 09.06.2015

Bear witness to a modern miracle; insentience awakened.
Behold movement where there was none, light where there was but smouldering darkness.
Blessed are the forces that have made undulate surfaces inert;
Beautiful be the auras radiating from this once-lifeless entity;
Behind the veil lies the unknown…

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Cat Lamoureux is a Montreal-based multidisciplinary artist and writer whose practice is concerned with the politics of contemporary image-making and feminist discourse. She holds a BFA from Concordia University and has recently exhibited at Wanusay Montreal.

Milo Reinhardt is a multidisciplinary artist currently studying Digital Technologies in Design Art Practice at Concordia University. His painting practice and installations critically address contemporary issues relating to identity, technological advancement and mortality in the digital sphere. Reinhardt has performed and exhibited work at Perte de Signal, the FOFA Gallery and the Musée d’art Contemporain de Montréal.

 

Brad Tinmouth: “The Cultivated Landscape”

05.21.2015 – 06.26.2015

CK2 is pleased to present “The Cultivated Landscape,” a solo show by Toronto-based artist Brad Tinmouth.
The exhibition also features paintings by Brian Rideout, Nick Bierk and Stephanie Hier.

“I believe that there are very simple systems that can be implemented into one’s life that will vastly improve overall happiness. One of these simple solutions is “greening” your environment. This can be as simple as growing a small potted plant on your windowsill or as complex as running a hydroponic food farm in your basement.

The Cultivated Landscape offers refuge, a place to escape, recharge and experience this concept of overall happiness. This exhibition is centred around several large communal tables, which have been designed with this simple idea in mind. The fragrance of cedar, fresh soil and greenery fills the room as viewers bask under LED grow lights hanging above air purifying plants. These long narrow tables, peppered with small functional sculptures, invite the audience to sit, drink and take in a selection of incredible paintings.

To adorn the walls I have brought together artists who I believe encapsulate the medium to the fullest. These three painters possess impeccable technical prowess and maintain a strong conceptual practice—two traits that are rare on their own and nearly impossible to find in combination. I appreciate quality craftsmanship, objects that are made to last, that consider history as well as the future. This is what The Cultivated Landscape strives to present.”

– Brad Tinmouth

Note: The full experience of the exhibition (with working bar) will be available to the public every Saturday after the vernissage during gallery hours (12-5 PM) for the duration of the show.

Tinmouth is an artist living and working in Toronto, Canada. His work deals with sustainable and efficient systems. He aims to make everyone as happy as he is. His work has been shown at The Art Gallery of Ontario, Cooper Cole and Nuit Blanche in Toronto, Pierre François Ouellette Art Contemporain 221 in Montreal, Esam Caen in France, Preteen Gallery in Mexico, Dokfest in Germany and OhMyDays Gallery in Singapore. His work has been reviewed on Artinfo Online, Art 21 Online and Canadian Art Online. He has received awards from The Canada Council for the Arts, The Ontario Arts Council and The Toronto Arts Council.http://bradtinmouth.com/

Documentation by Kevin Leung-Lo:

 

 

MAW: Nobody Will Believe You Didn’t Want What I Have Done

03.19.2015 – 04.09.2015

FADE IN.
EXT. SUBURBAN NEIGHBOURHOOD – DAYTIME
A HOUSE is pictured with front lawn and driveway, sidewalk in foreground. The sky overhead is blue and cloudless, and birds are heard chirping in the distance. The mood is pleasant, serene.

DISSOLVE TO:
THE HOUSE’S LAWN, quite different from those of the adjacent properties, is more brown than green, and is slowly being flooded by a tipped-over fountain. The latter spits instead of spouting through its cornucopia of decorative cement sparrows onto the dried grass, as it has been blocked up by a garden gnome (in an apparent attempt to drown the figurine).

CUT TO:
THE HOUSE is in an advanced state of dilapidation. Its construct consists of a single panel with cheap siding. In fact, it isn’t really a house at all.

CRASH-ZOOM SHOT:
A BUMPER STICKER on the back of the rusting emerald-green minivan proclaims: “NOBODY LOSES ALL THE TIME.”

FADE OUT.