x3 exhibition and sale of multiples @
December 5 – December 9, 2000
a response to the event by Philip Hugo Koch
We’re not used to seeing the inner workings of the exchange of art objects. Artworks are usually held with a special regard, their presentation restricted to well-prepared settings and occasions where proper relations to their audience may be effected. A certain purity is expected of the experience of art, and awareness of the transactions necessary to achieve its presentation would seem to interfere with that purity.
sidewalk project: by Doug Lewis
October 27 – November 25, 2000
a response to the exhibition by mariianne mays
Community … has come to connote very much the “exclusive community” … and perhaps it may always have denoted that exclusivity … What I have sought to work with is directed entirely against that vision of community, and against any interiority of community … The impossible as jouissance (and not jouissance as impossible!) … Every community must share the impossible, lest it fall beneath the hallucinatory reign of an interiority, an identity, etc.
-Jean Luc Nancy
Ah yes. The politics of the city sidewalk. Do you make eye contact? Do you say hello? Move aside? Hold your ground? Hold your breath?
If you’re a self-described “flâneur,” like artist Doug Lewis, you may frequently find yourself negotiating these very questions. Sidewalk Project embodies such pedestrian concerns with care, humour and generous poetic insight.
I walk in, or we are gathered here …
Prescribing Behaviour (fear & JOY): Fiona Kinsella
September 15 – October 14, 2000
a response to the exhibition by Diane Lemieux
The word “prescribe” implies a directive – to fix authoritatively for the sake of order or clear understanding. Its medical reference also suggests something in need of attention, something broken or not quite anatomically or physiologically correct. In Fiona Kinsella’s exhibition Prescribing Behaviour (fear & JOY), she investigates the realm of human physical vulnerability. The artist manipulates found and collected items, those of lost significance, and imbues them with a new sense of meaning and purpose. The reworking and reordering of these objects, along with the assimilation of medical text and imagery and the repetitive nature of the work itself convey an ambiguous message.
the perfect past: Sara Angelucci
September 15 – October 14, 2000
a response to the exhibition by Lisa Gabrielle Mark
Where memory enacts light, a presence of impossible convergence…
– Erin Mouré ¹
Sara Angelucci makes bad photographs. The large-scale, single and multi-exposure images of outdoor scenes that constitute her most recent body of work, collectively titled The Perfect Past, read as textbook examples of what not to do. She uses a mass-produced toy camera held together with duct tape, and at times it is nearly impossible to make out what has been photographed for all the blurring, light leaks and bleeding that occur. Some of the images even have numbers in them, the result of light seeping in through the back of the camera. (Oops!) Furthermore, as if to flaunt her shoddy technique, she often shoots from the window of a moving vehicle as she travels around. One might well ask: “Does she know what she’s doing?!”
THEATRE OF PAINT: Derek Brueckner
June 20 – July 15, 2000
a response to the exhibition by Grant Guy
A few years ago, for the Manitoba Association of Playwrights, I presented a two part talk on the new theatre and performance art. The historical overview journeyed from Leonardo da Vinci to Robert Wilson and Ping Chong. At the end of the talk I solicited responses from the playwrights in attendance. One playwright quickly dismissed the six hour talk with the conclusive comment , “It’s not theatre. There is no drama.” His feeling seemed to be shared by many of the other playwrights. But for me, drama can be theatre, but theatre is not necessarily drama.
River: Michael Fernandes
June 16 – July 15, 2000
a response to the exhibitiion by Kevin Matthews
We spend a lot of time pretending we’re not immersed, the way a fish isn’t wet, the way we seem to exist discretely, independent of environment. All the while, we recieve signals and corruptions from the fields and corridors through which we move. Each space gives us its incidental messages, even the most innocuous environment is suggesting, offering ideas and opinions. Perhaps the less attention we call to their influence, the more pervasive it is – we are made and undone by environment. Continue reading
Hubbub: Daniel Barrow, Ken Gregory, Chris Marten
June 15 and 16, 2000
a response to the exhibition by Randal McIlroy
“What kind of world would be sympathetic to the music we feel must be made?” That question was posed by Eddie Prevost, a percussionist, composer, theorist and for more than three decade an anchor figure in AMM, and English ensemble devoted to the exploration of music in the moment. While Prevost’s provocative question relates more specifically to a different ethic, it resonated during a recent two evenings of sound performance at aceartinc.
Lesbian Biology 101(circa 1950): case studies: Szu Burgess
March 31 – April 29, 2000
a response to the exhitibition by Robert Shaw
WHAT I READ
Remember when first you read Sarah Schulman’s novel, People in Trouble? The one set in the East Village? About a love triangle between a straight artist couple and the woman’s lesbian lover? Where the woman in the middle is a performance artist whose performance defeats a greedy landlord, and there’s an interracial gay male couple, one of whom dies of AIDS, and there’s a scene where the lesbian meets the straight guy and they form a strained relationship, and the lesbian couple becomes involved in organizations defending people with AIDS and an AIDS activist hatches a scheme to steal credit cards to feed the poor? Doesn’t ring a bell?
bottom / top: by MY NAME IS SCOT
March 31 – April 29, 2000
a response to the exhibition by Darrel Ronald
“It reminds me of Auschwitz.” He said. I heard him, and agreed. I wasn’t going to ask him any more than that. He was Jewish, and had been there before. I wasn’t Jewish but had also been to the camp. Whereas I can talk about it, he can’t. It means too much. “There’s a terror underlying all the structures, it even scares me,” I carry on, thinking backwards. I was in Poland only eleven months ago. The entire day floats close to the surface of memory.
What the world needs now is a sense of humour and love sweet love: Debra Mosher
February 18 – March 18, 2000
a response to the exhibition by Cliff Eyland
Debra Mosher makes two kinds of art: photographs, many of which are portraits; and expressionistic paintings, such as those in this exhibition. Continue reading