THIS SPRING AT YYZ: SARA A.TREMBLAY AND THE IMAGES FESTIVAL
Mallory Wilkinson
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EXHIBITION OPENING RECEPTION PERFORMANCE EXHIBITION OPENING RECEPTION ARTIST TALK GALLERY HOURS FOR INTERVIEWS
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Byproduct: On the excess of Embedded Art Pracitces Art and Cold Cash decentre Performance, [Performance] and Performers Pro Forma - Full Series afterthoughts | SARA A.TREMBLAY | UNE CHOSE À LA PLACE D’UNE AUTRE
Sara A.Tremblay: Portraits (stones), 2012, clay. Photo: Mathieu Savoie. OPENING RECEPTION PERFORMANCE Une chose à la place d’une autre is a synthesis of Sara A. Tremblay's visual and conceptual research of recent years; with it, she wants to show that all her work comes from the same ideas and that all its elements are interchangeable. The different techniques used and the various forms that each piece can take end up functioning as a single corpus. The parts orbit around one another, cohabiting autonomously and interdependently. A photograph of a drawing, a sphere as a portrait, and documentation of a performance all become performative. Each piece takes a different form, but exists because of its relation to the other works. The work titled Portraits, one of the exhibition's main projects, is comprised of seven images, each showing a sphere of clay. They represent family members and friends with whom she has shared relationships of love, friendship, hatred, or conflict. Made in winter 2012 from a single large piece of clay, these seven spheres are made with a mass of clay proportional to what the people they are modelled after mean to the artist. Ever since they were formed two years ago, the artefacts have changed; have taken on personalities. In Tremblay’s home they sat on a bookshelf, on the kitchen table, in the living room, and have served as bookends, paperweights, etc. Their stains, marks and scratches show that they have lived. The seven spheres will be present in the flesh, alongside drawings and photographs. The artist would like to thank Simon M.Benedict, Maryse Arsenault, Martin Schop, Éric Simon, Roger Proulx, Laurence Poirier, Craig Rodmore, and Anne-Marie Proulx. SARA A.TREMBLAY holds an MFA in Photography from Concordia University (Montreal). Her work has been featured in several group and solo exhibitions in galleries and artist-run centres in Quebec, Ontario, and in Gothenburg, Stockholm and Visby (Sweden), where she studied in the fall 2011 and returned for The Brucebo and W.B. Bruce Fine Art Scholarships in the summer of 2013. In 2014, the artist was awarded the first Yvonne L. Bombardier Arts Scholarship. Originally from Charlevoix, a small region in the northeast of Quebec City, amidst mountains and the Saint Lawrence River, Tremblay now lives in Montreal, where she works in a studio with a nice view on Mount Royal. MATHIEU KLEYEBE ABONNENC | CINÉMA CHEZ LES BALANTES
Randi Nygård: A System Is More than the Sum of Its Parts 4 El Gran Deshielo/Corea del Norte/Minerals en Conflicto, 2013, Magazine, 46 * 43 * 14 cm. Photo by Randi Nygård OPENING RECEPTION ARTIST TALK Des Fusils pour Banta (Guns for Banta) was to be the first feature film by Sarah Maldoror, a French filmmaker of Guadeloupean descent who was a pioneering voice in the production of anti-colonialist films in Lusophone Africa in the 1960s and 70s. Des Fusils pour Banta was commissioned by the Algerian government, which hoped to use it as a propaganda tool for the independence struggle against Portuguese colonial rule. Before its completion, the film was confiscated by the Algerian government because of Maldoror’s insistence on retaining full control over its final edit. As a result, the film never saw the light of day. Mathieu Kleyebe Abonnenc’s archival, research-based project uses this lost film to explore the production of images in the context of a revolutionary moment, and the subsequent recirculation and function of those images in the present. At the centre of this exhibition is Foreward to Guns for Banta, a 35mm slide projection which uses photographs from the film’s production with an audio montage composed from conversations between Abonnenc and Maldoror. The exhibition also includes a series of other print-based elements extending this archival research: a collaboration with the artist Clément Rodzielski consisting of two found and altered Romanian posters for Maldoror’s best-known film, Sambizanga; and a pamphlet which collects the writings of Suzan Lipinska, the photographer who accompanied Maldoror during the shooting of her film. The Images Festival and YYZ gratefully acknowledge the support of the Consulate General of France for this exhibition. MATHIEU KLEYEBE ABONNENC was born in 1977 in Paris (French Guyana), he lives and works in Metz. His recent solo exhibition includes Songs for a Mad King at Kunsthalle-Basel, Switzerland and Kannibalen, at Kunstverein-Bielefeld, Germany. In 2012, two institutions, the Serralves Foundation (Porto, Portugal) and the Pavilion (Leeds, England) mounted solo exhibitions for the artist. Abonnenc recently took part in the Paris Triennial in the Palais de Tokyo and in group exhibitions (all in 2012) in the Fondation d‘entreprise Ricard (Paris), as well as at the ICA – Institute of Contemporary Art (Philadelphia, USA).
YYZ ARTISTS' OUTLET T: 416.598.4546 |
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Mallory Wilkinson
Image courtesy of the artist and the Images Festival. OPENING RECEPTION |
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ARTIST TALK Des Fusils pour Banta (Guns for Banta) was to be the first feature film by Sarah Maldoror, a French filmmaker of Guadeloupean descent who was a pioneering voice in the production of anti-colonialist films in Lusophone Africa in the 1960s and 70s. Des Fusils pour Banta was commissioned by the Algerian government, which hoped to use it as a propaganda tool for the independence struggle against Portuguese colonial rule. Before its completion, the film was confiscated by the Algerian government because of Maldoror’s insistence on retaining full control over its final edit. As a result, the film never saw the light of day. Mathieu Kleyebe Abonnenc’s archival, research-based project uses this lost film to explore the production of images in the context of a revolutionary moment, and the subsequent recirculation and function of those images in the present. At the centre of this exhibition is Foreward to Guns for Banta, a 35mm slide projection which uses photographs from the film’s production with an audio montage composed from conversations between Abonnenc and Maldoror. The exhibition also includes a series of other print-based elements extending this archival research: a collaboration with the artist Clément Rodzielski consisting of two found and altered Romanian posters for Maldoror’s best-known film, Sambizanga; and a pamphlet which collects the writings of Suzan Lipinska, the photographer who accompanied Maldoror during the shooting of her film. The Images Festival and YYZ gratefully acknowledge the support of the Consulate General of France for this exhibition. MATHIEU KLEYEBE ABONNENC was born in 1977 in Paris (French Guyana), he lives and works in Metz. His recent solo exhibition includes Songs for a Mad King at Kunsthalle-Basel, Switzerland and Kannibalen, at Kunstverein-Bielefeld, Germany. In 2012, two institutions, the Serralves Foundation (Porto, Portugal) and the Pavilion (Leeds, England) mounted solo exhibitions for the artist. Abonnenc recently took part in the Paris Triennial in the Palais de Tokyo and in group exhibitions (all in 2012) in the Fondation d‘entreprise Ricard (Paris), as well as at the ICA – Institute of Contemporary Art (Philadelphia, USA).
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YYZ ARTISTS' OUTLET T: 416.598.4546 |
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