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Archive for the ‘Bibliographie / Bibliography’ Category

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

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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/

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13 mai 2008, Espace mobile, Vox, Montréal
Elizabeth SIMCOE, View near Montreal. ca. 1792. Watercolour. Archives of Ontario, Simcoe Family Fonds, F47. Reference code F47-11-1-0-60. (http://www.archives.gov.on.ca Accessed 10 May 2008 ) Traded for a critical analysis.

Denis Longchamps is doing his PhD in Art History on the sketchbook imagery of Elizabeth Simcoe (1762-1850). He is arguing that the sketches she made all along her journey through Upper and Lower Canada in the 18th century were done in order to further the colonialist project of her husband, Lieutenant Governor John Simcoe. Denis’ research has been an integral part of the development of this phase of Pictorial Propaganda in the Quartier des spectacles. My research has been based on his astonishing indexing of all of her sketches among disparate collections on Canada and Europe, as well as his scholarly view of her work as colonialist propaganda.

Denis has offered to make a critical analysis of Pictorial Propaganda (as it reproduces the original watercolours of Elizabeth Simcoe) within the context of his own PhD research.

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Ce lieu-là surpasse encore tous les autres en beauté : car les isles qui se rencontrent dans l’emboucheure de ces deux fleuves (le St-Laurent et la Rivière des Prairie), sont autant de grandes et de belles prairies, les unes en long, les autres en rond, ou autant de jardins faits à plaisir, tant pour les fruits qui s’y rencontrent, que pour la forme et l’artifice dont la nature les a préparées, avec tous les agremens que les Peintres peuvent representer dans leur païsage.” — Jérôme Lalement, Relations des Jésuites, 3, année 1663, p 28 cité dans Jean-Claude Marsan, Montréal en évolution, (Montréal : Éditions Fides, 1974), 31

…par conséquent ce fera un jour un pays tres-propre pour eitre la situation d’une grande et grosse ville. Jérôme Lalement, Relations des Jésuites, 3, année 1663, in The Jesuit relations and allied documents travels and explorations of the Jesuit missionaries in New France, 1610-1791 : the original French, Latin, and Italian texts, with English translations and notes, vol 48, p 168 (Early Canadiana Online)

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Art production and acts of generosity are fundamentally generative, but nonlinear, expenditures of time and resources. In this way they contradict the accepted functions of production and utility that are associated with meeting societies basic needs, or the process of its expansion. Each could therefore be seen as potential processes of liberation from the inevitable progress of production…Arguably, it is around this kind of expenditure or value system that culture is defined, arising out of the surplus or excess generated by a society. — Kate Fowle and Lars Bang Larsen “Lunch Hour : Art Community, Administrated Space, and Unproductive Activity” in What We Want is Free : Generosity and Exchange in Recent Art. Ed. Ted Purves (Albany, NY : State University of New York Press, 2005), 17

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Under capitalism, all is spectacle. Branding is the antithesis of neighbourhood. How can the symbolic language inherent to branding adjust to a process that includes the local community: the residents who study and work in a neighbourhood, plus the daily flux of permanent and temporary occupants.” — dAb Collective, “Urbanism versus Branding for Montréal’s Quartier des spectacles” Fuse Magazine 29, no 3 (2006), 24.

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Why did discussions around landscape in Canada before the 1960s tend to champion national difference and distinctiveness, often under the banner of exceptionalism, while more recent debates have focused on issues of colonial power and dispossession, transnational crossovers, and regional idiosyncrasy? What relevance do traditional landscape tropes have in a world of vastly altered political, technological, demographic, and environmental circumstances? And if traditional tropes continue to persist, what does it say about the relationship between contemporary realities and the the authority, power, and influence of conventional understandings of nationhood?” — Beyond Wilderness : The Group of Seven, Canadian Identity, and Contemporary Art. John O’Brian and Peter White Eds. (Montreal : McGill-Queens University Press, 2007), 6.

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Baie-Saint-Paul

Non sans humeur, en toute modestie, la Montréalaise a voulu tester notre soif pour la possession, jouant sur les apparences, se payant même la tête de l’histoire officielle. Sur son chevalet, devant ce paysage de Charlevoix peint et repeint depuis deux siècles, Tayler reproduit des tableaux tirés d’une encyclopédie canadienne de Musée des beaux-arts du Canada, abandonnée à la lettre K. Les gens aiment ses toiles? Tayler les donne, non pas en échange d’argent, mais contre un objet ou une histoire personnelle.” — Jérôme Delgado. “L’art pour l’art : Le Symposium de Baie-Saint-Paul fête ses 25 ans” Le Devoir. 1er et 2 septembre, (2007), E5.

Samedi le 29, et le dimanche 30 septembre, je serai à Dare-Dare dans le cadre de l’évènement Peinture fraîche / Fresh Paint. Venez me rencontrer ou me faire du troc!

Saturday the 29th and Sunday the 30th of September, I will be at Dare-Dare as part of the event Peinture fraîche / Fresh Paint. Come to see me or to make a trade!

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Si on choisit d’échanger des biens matériels, objets ou services, plûtot que des valeurs mésurées monétairement, c’est bien que l’on compte sur les objets pour subvertir ou contourner une économie officielle et les normes du marché. Posons-nous la question de ce que l’on attend des objets, de ce qu’on leur attribu comme pouvoir, de ce qu’on y investit comme croyance. L’objet libéré de sa valeur d’échange, purifié de tout contact avec l’argent, va-t-il révéler sa vraie valeur, valeur d’usage, valeur sentimentale, subjective, valeur sacré, valeur vécu?… L’intérêt de la pratique du troc est de nous confronter directement aux objets, donc en fait à la différence entre les espoires que l’on y investis et leur efficacité réelle.” — Jean-Ernest Joos. “L’objet : entre l’humain et l’inhumain” Esse arts + opinions 49 (2003), 38.

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But this is not why she bought the pictures, way back then. She bought them because she wanted them. She wanted something that was in them, although she could not have said at the time what it was. It was not peace : she does not find them peaceful in the least. Looking at them fills her with a wordless unease. Despite the fact that there are no people in them or even animals, it’s as if there is something, or someone, looking back out.” – Margaret Atwood, “Death by Landscape” in Wilderness Tips (Toronto : Emblem Editions, 1999), 92.

A significant difficulty of this project is the vulnerable position I put myself into. This vulnerability is voluntary and part of the boundaries of what I would like to test. How do others choose to treat me when I put myself at their disposition? Where are the limits of respect in our engagement? Will others abuse or take advantage of me?

(more…)

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Canada’s Most Wanted and Most Unwanted Colours
Les couleurs les plus et les moins désirées par les Canadiens

Komar & Melamid Blue / Bleu 30%
Green / Vert 18%
Beige 8%
Maroon / Bordeaux 6%
Yellow / Jaune 5%
Purple / Violet 5%
Teal /Sarcelle 5%
Peach / Pêche 4%
Pink / Rose 4%
Red / Rouge 3%
Black / Noir 2%
Brown / Brun 1%
Orange 1%
Fuchsia 1%
Grey / Gris 1%
Mauve 1%
Other / Autre 1%
Don’t know / Sans préférence 3%

Anthony Kiendl, Bruce Grenville. Komar & Melamid: Canada’s Most Wanted and Most Unwanted (Regina : Dunlop Art Gallery, 1999), 8

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L’histoire des paysages en Occident illustre bien la dynamique opérant entre lieux et non-lieux. Cette histoire pourrait en effet être abordée comme une conquête sensible des non-lieux, conquête d’espaces réputés « affreux » ou inhabitables, qui seront progressivement approivisés, investis de valorisations culturelles, transformés en lieux et en paysages. L’art a joué et joue toujours un rôle important dans ce processus… Qu’en est-il aujourd’hui de ces étendues urbanisées, de ce monde qui apparaît de plus en plus limité à mesure que s’accélère le quadrillage extensif opéré par la technique et les réseaux de communication? La paysagéité constitu-t-elle toujours un véhicule conceptuel pertinent pour appréhender et valoriser cette nouvelle condition territoriale?” — Luc Lévesque, “Entre lieux et non-lieux : Vers une approche interstitielle du paysage” in Lieux et non-lieux de l’art actuelle = Places and non-places of contemporary art (Montreal : Les éditions Esse, 2005), 38.

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…il est important de réconsidérer la place des oeuvres dans le système global de l’économie, symbolique ou matérielle, qui régit la société contemporaine : pour nous, au-delà de son charactère marchand ou de sa valeur sémantique, l’oeuvre d’art représent un interstice social. Ce terme d’interstice fut utilisé par Karl Marx pour qualifier des communautés d’échanges échappant au cadre de l’économie capitaliste, car soustraites à la loi du profit : troc, ventes à perte, production autarciques, etc. L’interstice est un espace de relations humaines qui, tour en s’insérent plus ou moins harmonieusement et ouvertement dans le système global, suggère d’autres possibilités d’échanges que celles qui sont en vigeur dans ce système.” — Nicolas Bourriaud, Esthétique relationnelle, (Dijon : Les Presses du réel, 2001), 16.

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The Western idea of the autonomous ‘figure in the landscape’ is no longer accepted in critical discourse, yet it remains a pervasive myth in general culture, one that answers to a deeply felt desire for trancendance.” — Petra Halkes, Aspiring to the Landscape : On painting and the Subject of Nature (Toronto : University of Toronto Press, 2006), 145.

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Is “public” a qualifying description of place, ownership or access? Is it a subject, or a characteristic of the particular audience? Does it explain the intentions of the artist or the interests of the audience? The inclusion of the public connects theories of art to the broader population: what exists in the space between the words public and art is an unknown relationship between artist and audience, a relationship that may itself become the artwork.” — Suzanne Lacy, Mapping the Terrain : New Genre Public Art (Seattle : Bay Press, 1995), 20.

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The artist with his easel set up in the countryside, painting the scene before his eys, is one of our stock cultural stereotypes. Most people would be surprised to learn how recently this conception has developed – the major movement to outdoor painting having come only with the impressionists at the end of the nineteenth century. Behind this stereotype of the painter sitting behind his or her easel en plein air is a more general assumption that the artists’ role is to respond in some direct visual manner to the perceived external environment… By contrast the idea of a visual artist rejecting the percieved external world as the basis for his art… using his or her own body as the art piece… is still resisted by many people who feel otherwise feel attracted to a world in which art plays an important role.” — Terrence Heath, “A Sense of Place,” in Visions : Contemporary Art in Canada. (Toronto : Douglas & McIntyre, 1983), 45.

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What might appear as contradictory, that is, the fact that economic globalization seems to be accompanied by an increase of cultural divisions, is only so on the surface. It is a fact that, in a world where exchanges of goods and ideas are more and more frequent on an international level, people are increasingly aware of the unique characteristics of their own local cultures. Similarly, and it is particularly obvious in the European Union, the disappearance of the old national borders when it comes to goods and persons, has made the artificiality of these borders very clear: the creation of national identities — a recent phenomenon after all — and the political desire to brand and localize them within artificial boundaries has far too often very little to do with any sense of local belonging. It is not possible to differentiate clearly the elements of local cultures from those of national cultures: if the local culture is made up, for instance, of elements like the language we use with family and close friends, as well as the type of food or clothing one is used to wearing, the national culture is made up, for example, of historical events and stories often associated to the ‘nation-building’ movements of the past.” — Frank Vigneron, “On the occasion of the 10th anniversary of the handover …” Asia Art Archive News Letter 7 June (2007). (Accessed June 20th 2007)

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Economic laws appear “to be like natural laws, that they are not made by man to regulate free acts of exchange but are functions of the productive conditions of society as a whole where all activities are leveled down to the human body’s metabolism with nature and where no exchange exists but only consumption” — Hannah Arendt, The Human Condition. (Chicago : University of Chicago Press, 1958), 209 quoted in Kieran Bonner, ” Understanding Placemaking : Economics, Politics and Everyday Life in the Culture of Cities,” Canadian Journal of Urban Research 11, no 1 (2002), 2.

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The topographical views of military officers were in fact simply one manifestation of the romantic inclination of English gentlemen of the later eighteenth century to delight in the splendours of natural scenery or anything they found in their travels that was charmingly primitive, rough, quaint, or exotic — in a word picturesque. — Dennis Reid. A Concise History of Canadian Painting. 2nd ed. (Toronto : Oxford University Press, 1988), 19.

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A vrai dire la beauté des paysages de Charlevoix n’est perçu que par les premiers visiteurs anglophones vers le milieu du XIXe siècle… Quand, à partir de 1844, un service de vapeurs permet d’amener tous les jeudis les voyageurs de la ville de Québec… Charlevoix change de vocation. Le comté devient un haut lieu touristique, au climat salubre, où l’on peut prendre des bains de mer … «Peu d’endroits au Canada soutiennent la comparaison pour la beauté du paysage», proclament les guides touristiques… La beauté du compté du Charlevoix était donc née, fille improbable du choléra de 1832 et de l’industrie touristique naissante!” — François-Marc Gagnon. Charlevoix : Une histoire d’art 1900-1940. Baie-Saint-Paul : Centre d’exposition de Baie-Saint-Paul, 1994, p 7-8.

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When I was a child, I knew no more about nature than a squirrel. If someone had asked me what nature was, I would probably have said that it was my family’s farm, the woods especially and the creek that flooded every spring. Nature was space and the wild things in it, like the geese that flew overhead.” — George Gessert, “Gathered from Coincidence : Reflections on Art in a Time of Global Warming” Leonardo 40, no. 3 (2007) p.231

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Landscape does not exist in nature without the eye which grasps an expanse of land as a landscape. Climate’s existence is similar… Climate is thus a multidimentional phenomenon in which are combined the contributions of nature, culture, history and geography, but also the imaginary and the symbolic.” — Julien Knebusch. “The Perception of Climate Change” Leonardo 40, no.2 (2007) p.113

I’ll be back at the Marché Atwater / Atwater Market in June and July, and at the 25e SYMPOSIUM international d’art contemporain de BAIE-SAINT-PAUL in August.

Venez me rencontrer…

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