send + receive: a sound festival

October 26th

Chrisof Migone, Kaffe Matthews, Lori Freedman organized by Steve Bates of send + receive
co-sponsered by Into The Music

Next to nothing

L’Invention des animaux: Jocelyn Robert
October 19 – November 9, 2002

a response to the exhibition by mariianne mays

An aeroplane in the sky, a white silhouette in the wide open blue, moving, distorted, relaxed again, pulled out of shape again. Accompanied by high, piping noises, not disagreeable, more like some cute little animal, coming and going. The invention of animals? What kind of a title is this, much too heavy with content for such a light-spirited work.

- from transmediale go public! exhibition, on-line catalogue

It’s human habit that leans us to metaphor, and comfort; and Jocelyn Robert teases this practice with L’Invention des animaux. Robert’s ingenuous installation — the whimsical, erratic image of a plane projected onto a large video screen, the “cute” blips and bleets, chirps and ambient noise traffic of the accompanying audio piece — calls to mind childhood summer afternoons. Lying on your back, staring up at the clouds in the wide, blue sky, who hasn’t brought other shapes and creatures to life by a dreamy slip of the eye, a quick and simple imaginary equation? There is more than one way to make up animals, to bring imaginary beings to life. Rather than invoke metaphor, L’Invention des animaux proposes another model: daydreaming.
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Unexpected Encounters

September 14 – October 12

Micheline DuRocher, Christine Horeau, Marie-Christine Simard, Sindra MacDowell, Helene Dyck curator: Gail Bourgeois

Critical Distance by Susan Turner

RADAR FOR LOVERS

Unexpected Encounters: Micheline Durocher, Christine Horeau, Marie-Christine Simard, Cydra MacDowall, Gail Bourgeois
September 14 – October 12, 2002

a response to the exhibition by Susan Turner

Gail Bourgeois began her ongoing curatorial research in 1999 while living and teaching in Montreal. The following year she produced found image with my history, a charcoal drawn diptych of an isolated house with no windows or doors, and paired it with a bulb and its root tendrils meandering below the surface. For her this drawing was profoundly disturbing and seemed emblematic both of an understanding she’d reached about her family relationships as well as about the gap between the binaries we ascribe to our understanding of our relation to the world. It was the catalyst to question what other artists might do with the same themes that interested her: “ruptures and the ordered flow of existence caused by a breakdown in expectations;” “the difficulty of human communication;” and the “urge to make a home or to nest.” After several studio visits, she selected the work of Montreal artists Micheline Durocher, Christina Horeau, and Marie-Christine Simard, and Cyndra MacDowell from Toronto. The exhibition was first seen at Women’s Art Resource Centre in Toronto. For the Winnipeg showing, the work of Helene Dyck was added. The exhibition will also travel to AKA in Saskatoon and will there add Monika Napier, from Saskatoon, and then to the Richmond Art Gallery, and will pick up a Vancouver artist as yet to be selected.
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Next to nothing

Grocery Store: Live in the Exchange!: The Co-Op Collective (dempsey / millan / zab / moore)
August 9 – August 31, 2002

a response to the exhibition by Christopher Olson

When I was a child, I would accompany my father selling his prints and paintings in Old Market Square. Our table was set up next to folks selling everything from produce to used books, and to pass the time I made crayon and water-colour pictures that I would sell for a dollar. I guess you could say my art career began early.

As did my love affair with the Exchange. During my teen years I spent Saturdays Zen-navigating the streets, digging for treasure in used bookstores, taking pictures of graffiti in the alleys (“Wpg HELL” was a favourite) and spending my evenings at Emma G’s when I wasn’t going to punk shows at the Cauldron and the Albert.
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