March 8 – April 11, 2017
For more information click here.
March 8 – April 11, 2017
For more information click here.
Opening Saturday January 28, 2017 from 3:00 pm – 6:00 pm
Artist in attendance
Pierre-François Ouellette art contemporain in Toronto is pleased to present Kent Monkman: A Story of Canada. This exhibition focuses on residential schools and the removal of children from their families and communities on reservations in Canada. From early colonial days to the 1960s and beyond, missionaries and mounties facilitated the aggressive and traumatic separation of indigenous children from their rightful heritage and nationality. Five new paintings and a new photographic series titled Fate is a Cruel Mistress will be featured.
Click here for installation views and works on display.
This exhibition follows the opening of Shame and Prejudice: A Story of Resilience at the Art Museum of the University of Toronto.
Click here for more information about Shame and Prejudice: A Story of Resilience at the Art Museum of the University of Toronto.
Kent Monkman is a Canadian artist of Cree ancestry who works with a variety of mediums, including painting, film/video, performance, and installation. He has had solo exhibitions in numerous Canadian museums have including the Montreal Museum of Fine Art, the Museum of Contemporary Canadian Art in Toronto, the Winnipeg Art Gallery, and the Art Gallery of Hamilton. He has participated in various international group exhibitions including: The American West, at Compton Verney, in Warwickshire, England, Remember Humanity at Witte de With, Rotterdam, the 2010 Sydney Biennale, and Oh Canada!, MASS MOCA. The Musée d’art contemporain de Rochechouart in France presented his first solo exhibition in Europe in 2014. Kent has work for the last two years on Shame and Prejudice: A Story of Resilience a major touring exhibition which started at the Art Museum of the University of Toronto. Currently also on view at the Kitchener-Waterloo Art Gallery are the works of his Four Continents shown together for the first time. His work is represented in numerous public and private collections including the National Gallery of Canada, the Denver Art Museum, Musée d’art contemporain de Rochechouart, the Montreal Museum of Fine Arts, la Fondation de la Maison Rouge (Paris), the Musée d’art contemporain de Montreal, Rideau Hall, Leonard and Bina Ellen Art Gallery at Concordia University, the Glenbow Museum, the Art Gallery of Ontario, the Smithsonian’s National Museum of the American Indian, the Vancouver Art Gallery, Claridge, BMO Financial Group and the RBC Art Collection.
Opening Saturday December 3rd from 2:00 pm – 5:30 pm
Artist in attendance
Pierre-François Ouellette art contemporain is pleased to present Aquariums of Toronto an exhibition of new works by Ripley Whiteside on display at Centre-Space from December 3 – 24, 2016.
At first glance, Whiteside’s suite of large and medium-sized drawings appear as menageries of colourful and exotic aquatic species. In Spadina (2016), for instance, a lithe and green-coloured American eel descends diagonally through the water towards its unsuspecting prey – one of several Siamese fighting fish that occupy the same glass enclosure.
Like all of the works in this exhibition however, Whiteside’s juxtaposition of rare, beautiful and foreign underwater species now found in the Greater Toronto Area is informed by a deeper investigation of the ecological consequences of both aquacultural development and our need for spectacle.
As a rapidly expanding global city, Toronto has experienced growth that has been costly to biodiversity. Loss of habitat, pollution, overfishing and other environmental problems that accompany development have significantly impacted ecosystems of Lake Ontario and other local waterways. Globalization also presents us with strange and accidental migrations of great consequence: the integration of the Great Lakes into global trade networks via the St. Lawrence Seaway inadvertently resulted in the introduction of invasive species—like the round goby and zebra mussel—into Toronto’s local underwater environment.
A stroll through downtown Toronto reveals a condensed form of the dislocation of aquatic life: the aquarium. This ubiquitous form of display appears in various guises – decorations for dentists’ offices or hotel lobbies, commodity presentations at pet stores of fishmongers, or entertainment and education at Ripley’s Aquarium of Canada. In the logic of the aquarium, the plants’ and animals’ state of displacement is overcome in their aestheticization. In this way, the aquarium’s fantastical and alluring arrangements efface the realities of ecological crisis. This disquieting effacement of globalization and climate change, and particularly of Lake Ontario, is an essential concern for Aquariums of Toronto. — Ripley Whiteside
Originally from North Carolina, Ripley Whiteside is a Montreal-based visual artist. He graduated with a BFA from the University of North Carolina-Chapel Hill in 2008, and earned a MFA from the State University of New York-Buffalo in 2012. He has participated in solo and group exhibitions in the U.S. and Canada, and is the recipient of various grants and residencies.
The gallery thanks SODEC for its support
To see all available works click here
Spadina, 2016, Aqua-dispersion pigment, watercolour, and ink
124 x 96.5 cm (49″ x 38″)
Bloor, Aqua-dispersion pigment, watercolour, and ink
124 x 96.5 cm (49″ x 38″)
Pierre-Francois Ouellette art contemporain is pleased to present the exhibition It is a Complicated Business featuring recent paintings and collages by Dil Hildebrand. In his most recent work, Hildebrand further explores the parallels between architecture and painted images.
This exhibition takes its title from a passage in The Nature of the Physical World by physicist Sir Arthur Eddington. In it, Eddington describes how the seemingly simple act of entering a room becomes a series of complex reflections as he considers the role that gravity, the rotation of the earth around the sun, and the fourth dimension all play in the movement of his body through a passageway, writing:
“I am standing on the threshold about to enter a room. It is a complicated business. In the first place I must shove against an atmosphere pressing with a force of fourteen pounds on every square inch of my body. I must make sure of landing on a plank travelling at twenty miles a second round the sun – a fraction of a second too early or too late, the plank would be miles away. I must do this whilst hanging from a round planet, head outward into space, and with a wind of aether blowing at no one knows how many miles a second through every interstice of my body. The plank has no solidity of substance. To step on it is like stepping on a swarm of flies. Shall I not slip through? No, if I make the venture one of the flies hits me and gives a boost up again; I fall again and am knocked upward by another fly; and so on. I may hope that the net result will be that I remain about steady; but if unfortunately I should slip through the floor or be boosted too violently up to the ceiling, the occurrence would not be a violation of the laws of Nature, but a rare coincidence. These are some of the minor difficulties. I ought really to look at the problem four-dimensionally as concerning the intersection of my world-line with that of the plank. Then again it is necessary to determine in which direction the entropy of the world is increasing in order to make sure that my passage over the threshold is an entrance, not an exit. Verily, it is easier for a camel to pass through the eye of a needle than for a scientist to pass through a door. And whether the door be barn door or church door it might be wiser that he should consent to be an ordinary man and walk in rather than wait till all the difficulties involved in a really scientific ingress are resolved.”
Hildebrand proposes that such paralyzing ambivalence can serve to describe “the act of making and perhaps even encountering paintings – a physical revulsion to the prospect of being transformed by the experience.” The sense of the body’s instability in motion described so eloquently by Eddington finds its parallel in the dizzying experience of entering the pictorial space of Hildebrand’s paintings and collages, where the illusion of varying planes of space is contradicted by punctuations of flat line and textured surfaces.
The Gallery thanks SODEC for its support.
Dil Hildebrand is an artist living and working in Montreal. Hildebrand’s work has been shown internationally in such venues as the National Art Museum of China, Beijing (2010); the National Gallery of Canada, Ottawa (2012); Herron Galleries at University of Indiana, Indianapolis (2013); Choi&Lager Gallery, Cologne (2013); Union Gallery, London UK (2012&13); University of Manitoba School of Art Gallery, Winnipeg (2013); YYZ, Toronto (2011); Galerie de l’UQAM, Montreal (2013); Musée d’art contemporain de Montréal, Montreal (2014); AUT University Gallery, Auckland NZ (2007); and Museum of Contemporary Canadian Art in Toronto (2006). Hildebrand is an MFA graduate of Concordia University, Montreal and has been awarded a number of distinguished grants and awards including the International Residency at Acme Studios, London UK (2013); the Banff Centre Thematic Residency (2009) and was winner of the RBC National Painting Competition (2006). His work has been collected by major public institutions throughout Canada, including the Montreal Museum of Fine Arts, Musée d’art contemporain de Montréal, the National Gallery of Canada and the Art Bank of the Canada Council.
Pierre-Francois Ouellette art contemporain is excited to present Karilee Fuglem‘s first solo exhibition at the Toronto gallery, What I see each moment I’ve never seen before.
Karilee Fuglem‘s work takes the form of installations, drawings, photographs and artist books, through which she explores visual subtlety as a key to embodied perception. Raised in Kamloops, British Columbia, she has lived in Montreal since 1989, and frequently travels back and forth between her two “homelands.” She has presented solo exhibitions across Canada, notably at the Darling Foundry (Montreal), the Koffler Gallery (Toronto), Oakville Galleries (Oakville, Ontario), Rodman Hall (St-Catharines, Ontario) and numerous group exhibitions, including the Biennale de Montréal in 1998 and 2011. Fuglem has also exhibited in group exhibitions at the Musée d’art contemporain, the Musée national des beaux arts du Québec and the National Gallery of Canada, who hold her work in their collections.
The artist states about the exhibition:
“A few months ago I made a sign for my studio, which still makes me burst out laughing. “NO IDEAS”* may seem like a declaration of defeat, but for me it’s a deadpan directive back to the here and now, clearing my head of projects, theories, explanations, metaphoric parallels. They’re all distractions from things like this little spot of light projected from who knows what, slowly coursing across my wall.
The work I’ll present at Centre Space is, like everything I see, made of reflective surfaces. They move when we move, giving back scraps of whatever is around them. The displaced air that sets them adrift is the same air that touches our skin. We feel what we see. Tellingly, some of this work began with photographs. One was of a place too personal to get across without betraying its intimacy, though I tried – shredding and reassembling it, blowing it up very large, slashing it into strips dangled with reflective materials, until, at last, the photographic image was unnecessary. Everything unsayable about that image is whispered by these simple wafting strips, alive in a way the photo couldn’t be. It reminds me how the past continues in us, never held still.
Maybe any meaning outside your/my experience of this work is irrelevant. There is this: material responding to the slightest shifts in light and air, returning me again and again to here, where I live.”
*My studio sign took root with poet Fernando Pessoa, his voice a tonic as Alberto Caeiro, in The Keeper of Sheep, which I read in translations (and my favourite, a transélation** by poet Erin Mouré as Eirin Moure). I paraphrased my title from the Edwin Honig/Susan M. Brown version.
**Eirin Moure, Sheep’s Vigil by a Fervent Person, Toronto: Anansi Press, 2001 and Fernando Pessoa, The Keeper of Sheep (O Guardador de Rebanhos), Edwin Honig and Susan M. Brown, translators. Riverdale-on-Hudson, NewYork: The Sheep Meadow Press, 1971.
The Gallery thanks SODEC for its support.
Please visit the gallery website for more information, detailed images of the works presented and installation views.
Universal Cobra – Book Release and Signing
Shary Boyle will be at Feheley Fine Arts to celebrate and sign a new book on February 6th, 2016. Universal Cobra is a limited edition, full-colour companion book to the collaborative exhibition between Shary Boyle and Shuvinai Ashoona. The exhibition, organized jointly by Feheley Fine Arts and Pierre-Francois Ouellette art contemporain previewed in Toronto in October and was exhibited in Montreal in late 2015. A selection of the drawings by both artists will be on view during the month of February.
Opening: Saturday August 8th from 3 pm to 6 pm
Artist in attendance
Allegory Algorithm addresses different modes of data visualization used by the artist as allegories for current socio-politcal events. In turn, these works are complemented by more classical allegorical drawings that speak to the movement and fluctuation of data-driven environments.
This exhibition is comprised of three elements: The BATS stock exchange visualization, the Pianola Project, and the Forms drawing series. The BATS stock exchange visualization is a set of drawings accompanying a six minute hand-drawn video mapping the drop in value of a stock affected by high-frequency trading algorithms. Each second of the video shows three milliseconds of the original stock data. The Pianola Project is based on a player piano scroll of Pete Wendling’s song “Hesitation Blues”. This was used as a template to transfer the placement of notes onto a 4 x 18 ft roll of paper, embellishing the original in a fractal-inspired way influenced by Benoit Mandelbrot’s theory of noise and disturbance. The Forms series uses many of the stylistic similarities in Cook’s data processing and visualization to depict ambiguous human forms in bizarre yet classical poses, as if cast from a mould of manipulated data.
Naomi Cook is a multi-disciplinary artist based in Montreal. Cook’s technique stems from interests in engravings, sound and visual representations of sound. In 2005, she founded Red Bird Gallery and Studios in Montreal, working as director and curator until 2010. She subsequently relocated to Berlin, collaborating on projects and proposals including an immersive architectural work. Her work was featured in several group exhibitions in Montreal and abroad, online as a frequent contributor to GIF LORDS, and in the 2014 edition of POP Montreal. Most recently her works were selected by Canadian Art Magazine as favourites of the 2015 edition of PAPIER Art Fair.
PFOAC would like to thank SODEC for its support
Luminous Fields presents images of light imprints from plants and metal circles captured by Marie-Jeanne Musiol with electromagnetic photography. The series is part of a more extensive energy herbarium assembled by the artist at the intersection of two imaginary visions embodied by Goethe, poet and scientist, and David Bohm, quantum physicist.
In the gallery, 30 small backlit positives mounted on wood modules create a space reminiscent of a study cabinet. Although not visible, the backlighting material, a phosphorus sheet activated by electricity, is not unlike other bioluminescent phenomena at work in the natural world. A short video translates in real time the activity of highly mobile fields around plants, with a soundtrack of live sap ascending a tree providing an added expression of plant states. While considering historical presentation of botanical specimens and philosophical debate on the status of plants, erroneously thought to have no nervous system, Musiol also uncovers the presence of cosmic configurations enfolded in minute details of photographed leaves. From nature to cosmos, she speculates on the transfer of information occurring between dimensions in a holographic universe.
Pierre-François Ouellette art contemporain is pleased to present its first collaboration with Mark Clintberg: Vitrine, a solo exhibition of new works including sculptures, monoprints and video. Vitrine features a suite of works that address expressions of affection and protection in close, intimate relationships by drawing on the western museological tradition of glass display cases.
Mark Clintberg was born in Edmonton. He lives and works in Montreal. As an artist, critic, art historian and curator, he often reveals the fluidity between private and public, intellect and emotion, interior and exterior. He earned his Ph.D. in Art History at Concordia University in 2013, where he is an Assistant Professor, LTA. His work has recently been shown at the Dunlop Art Gallery (Regina), the Art Gallery of Nova Scotia (Halifax), the Art Gallery of Alberta (Edmonton), the Illingworth Kerr Gallery (Calgary), AXE NÉO-7 (Gatineau), and Trapdoor Artist Run Centre (Lethbridge). Other exhibitions featuring his work have taken place at Locust Projects (Miami), the National Gallery of Canada (Ottawa), the Banff Centre, Centre des arts actuels Skol (Montreal) and Eastern Edge (St. John’s). He was shortlisted for the 2013 Sobey Art Award for the region Prairies and the North. Public and private collections across Canada and in the United States including the National Gallery of Canada and the Alberta Foundation for the Arts have acquired his work.
Please visit the gallery website for more information.
Marck Clintberg, Pudenda 1-2, 2014, monoprint on Somerset paper, 61 x 46 cm (24″ x 18″) ea.
January 31 – February 28, 2015
Opening: Saturday January 31st from 3 pm to 5:30 pm
Pierre-François Ouellette art contemporain is proud to present new paintings by Kent Monkman. In keeping with earlier works that explore the mythologies of Western culture illuminating truths about European colonization of North America, Monkman casts his alter ego in the roles of four powerful and mythological females: Danae, Leda, Minerva and Helen of Troy. Against the lush backgrounds of romantic landscapes, Monkman employs the allegorical and sensual language of classical painting to condemn the violation of the land and First Peoples of North America. Borrowing ancient parables from Western cultures as lessons against deception and disguise, Monkman’s paintings reference the lies, failed promises and broken treaties perpetrated by the Canadian and US Governments against indigenous people.