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Pendant que je peignais au quai, un monsieur m’a approché en demandant « c’est toi la fille avec qui l’on peut négocier ? » Il avait fait le tour du Symposium et par hasard, il était venu à la plage et il m’avait vue de loin sur le quai.

GAGNON, Clarence. In the Laurentians, Winter, 1910 traded for a lived experience.

09 July 2006, Atwater Market, Montreal
GAGNON, Clarence. In the Laurentians, Winter, 1910, oil on canvas. 60.0 x 81.3 cm. National Gallery of Canada, Ottawa. Accession no. 357. (Reproduced from Canadian Art : Catalogue of the National Gallery of Canada Ottawa. Vol. 2 / G-K. Ed. Pierre B. Landry. Ottawa : National Gallery of Canada, 1994. p. 15.) Traded for an experience lived in his place.

On a passé un peu de temps ensemble. Il était en vacances avec très peu des possessions personnelles et c’était difficile pour lui de trouver quelque chose à échanger. Je lui ai proposé de prendre quelque temps pour réfléchir et qu’il pouvait me rejoindre à Montréal pour faire le troc. Il m’a répondu qu’après aujourd’hui il n’existe plus. Continue Reading »

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Cover-ebook

Click here for the Perfect-bound paper-back book

And here for the PDF download

This book includes a critical essay on Elizabeth Simcoe by Denis Longchamps, and has been added to the list of required readings for Cynthia Hammond’s, City as Palimpsest graduate seminar at Concordia University.

I wanted to try out print on demand online publishing, as a recent iteration of democratic distribution of information, so here is the result from Lulu.com : a little pocket book that resumes my encounters in the Quarties des Spectacles in 2008. I think it looks pretty nice and the response so far has been positive. As far as the POD experience goes, overall I was pleased with how easy the Lulu interface handled my files, and it was a fairly painless process. Shipping prices to Canada are exaggerated, and although the user forums promise that this will be resolved soon, I wanted to make sure that a download was available as another shipping-free option (although I recommend the paper experience). I kept the costs as low as possible but you can still contact me if you want to make a trade for it.

Description : Elizabeth Posthuma Simcoe (1762-1850) was an early tourist passing though Montréal she traveled with her husband on his way to found the city of Toronto. Felicity Tayler and Denis Longchamps study the relationship between Simcoe’s picturesque watercolours and the present-day touristic development in the heart of downtown Montréal. For more history on the project, search Simcoe or Quartier des Spectacles on the blog.

The environment as a processor of information is propaganda. Propaganda ends where dialogue begins.” — Marshall McLuhan, Quentin Fiore. The Medium is the Massage. (Toronto : Bantam Books, 1967), 142

The Artist Researcher

Owens Art Gallery - Research on the Collection

Owens Art Gallery - Research on the Collection

Erratum

This week in Sackville I am painting images of the town and of the surrounding countryside that were painted in the late 19th century by the artists John Hammond and Ethel Ogden. Ethel was quite an accomplished and innovative painter for her short life but the only recognition she received in her time was a short mention in the local paper of her china painting.

There is an unconfirmed story of a relationship between the two of them that has surfaced occasionally this week. There is some evidence that Ethel may have been instrumental in bringing Hammond to Sackville in 1893 with the Owens Art Collection. She studied under him in Saint John and then continued as a colleague in Sackville. The extent of the relationship is not clear, but he was her teacher and mentor and they would have gone out together to do plein air landscape painting. Many of their compositions are uncannily similar. Ethel died at a young age of tuberculosis but before this Hammond had married someone else.

Serf City

Opened up a dialogue with Saint John this evening on a community radio program called Serf City at CFMH 107.3 FM (free, public access to the airwaves for anyone who may be interested in being on the air). Thanks to the host Mark Leger and producer Mike Parker for asking me to share the airwaves with them and the community of Saint John.

http://serfcitysj.mypodcast.com/
and on Facebook

The Myths that Brought Us Here
This fall, Pictorial Propaganda will retrace the history of the New Brunswick Museum and the Owens Art Gallery from Saint John to Sackville. As they both can claim to be the “oldest”  – the oldest continuing museum in the case of the former, and the oldest university art gallery for the latter, I am interested in these histories  and its impact on artists and artistic taste in the region. In Saint John, I will set up a portable easel and reproduce landscape paintings from the New Brunswick Museum’s collection in the recently built tourist attraction of Market Square. In Sackville, I will reproduce landscape paintings from the Owens Art Gallery’s collection in various locations that reflect the daily movements of the town’s inhabitants. This will open a space for dialogue between myself and the local residents, they’ll even have a chance to trade something with me for one of the paintings that result from the performance. It is an opportunity to slow down time, create intimacy with strangers and to subvert the systems of global capitalism that are at work around us.

Third Space / Tiers epace …. Struts Gallery …. Owens Art Gallery

Les mythes qui nous ont transporté ici

Cet automne Propagande Picturale retracera l’histoire du Musée du Nouveau-Brunswick et du Owens Art Gallery de Saint-John à Sackville. Tous les deux s’annonce comme le « plus ancien » – le plus ancien musée toujours actif dans le cas du premier et la plus ancienne galerie d’art universitaire dans le cas du deuxième. Je m’intéresse à ces histoires et leur impact sur les artistes et le goût artistique de la région. À Saint-John, je m’installerai avec mon chevalet portable afin de reproduire des paysages de la collection du Musée du Nouveau Brunswick dans le « Market Square, » récemment aménagé pour les
touristes. À Sackville, je reproduirai des paysages de la collection du Owens Art Gallery dans plusieurs lieux représentant l’itinéraire des résidants de la ville. Cela me permettra d’entreprendre un dialogue avec les résidents, qui auront également la chance d’échanger quelque chose contre une de les peintures résultant de la performance. C’est l’opportunité de ralentir le temps, de crée une intimité avec les inconnus et de subvertir les forces économiques de la mondialisation autour de nous.

Material façades

The idea of merging culture with the economy isn’t new, but the recent discourse surrounding it is… Increase innovation and creativity, the argument goes and the profits will follow… Culture, as collapsed into the creative industries means ‘not the traditional fine arts, nor the modernist cultural industries like cinema and radio, but instead the newly minted and digitized professions that shape the lightweight, complex, ephemeral, ever-changing aesthetic experiences of the hyper-mediated city.’ Nevertheless, the traditional arts continue to play a significant role, for along with the vast flows of immaterial goods – software, IP, experience, entertainment – come the material façades.” — Kirsty Robertson, “Crude Culture” Fuse Magazine, (31.2): 2008, 14. Quoting Brian Holmes. “One World One Dream” Continental Drift : The Other Side of Neoliberal Globalization. Accessed 19 August 2008. http://brianholmes.wordpress.com/2008/01/08/one-world-one-dream/