[Spring-Summer 2015] Appropriating visual artworks, as one interprets the works in a repertoire. Judging that, among all the works that exist, these ones still resonate sufficiently in the eyes and ears of contemporary spectators to justify the reignition of their interrogatory or denunciatory spark. What do these works say? ÉDITORIAL PORTFOLIOS FOCUS EXPOSITIONS LECTURES PAROLES […]
Ciel variable 100 - REPLAY | Editorial
Authors: Jacques Doyon
Publishing a contemporary art magazine specializing in photography in 2015 is more relevant than ever. Simply think of all the magazines, galleries, exhibition centres, and events (Mois de la photo and photographic encounters of all kinds) that exist and are being created all over the world around the photographic image. Of course, the time has […]
Ciel variable 100 - REPLAY | Portfolios
Authors: Jacques Doyon | Artists: Adad Hannah, Althea Thauberger, Chuck Samuels, Denys Arcand
Appropriating visual artworks, as one interprets the works in a repertoire: here, a sculpture by Rodin, self-portraits of famous photographers, and a play whose writing is attributed, as part of the fiction, to an author of another era. Judging that, among all the works that exist, these ones still resonate sufficiently in the eyes and […]
Ciel variable 100 - REPLAY | Portfolios
Authors: Sébastien Hudon | Artists: Adad Hannah, Denys Arcand
May 28, 2019 [originally published in CV100 in Spring 2015] — As far back as 2002, multidisciplinary artist Adad Hannah was citing a work by French sculptor Auguste Rodin in his own work. It has been thirteen years since he produced Stills, composed of video captures of Rodin’s first bronze, The Age of Bronze (1877). At the time, no one would have guessed that this was the first manifestation of Hannah’s unique and constant fascination with the Parisian master…
Ciel variable 100 - REPLAY | Portfolios
Authors: Chuck Samuels | Artists: Chuck Samuels
May 22, 2019 [originally published in CV100 in Spring 2015] — Chuck Samuels: In Before the Camera, you presented yourself in drag to look at the female nude in the history of photography; in Psychoanalysis, you appeared as both the Norman Bates and the Marion Crane characters; in Before Photography, you assumed the roles of photographers in film stills from a specific era…
Ciel variable 100 - REPLAY | Portfolios
Authors: Geneviève Chevalier | Artists: Althea Thauberger
May 21, 2019 [originally published in CV100 in Spring 2015] — From the opening credits, the title of The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton under the Direction of the Marquis de Sade as Performed by the Prague-based Experimental Theatre Company Akanda for the Patients and Staff of the Bohnice Psychiatric Hospital announces the work’s device….
Ciel variable 100 - REPLAY | Essays
Authors: Louis Cummins | Artists: Abbas Akhavan, Emmanuelle Léonard, Étienne Tremblay-Tardif, Hito Steyerl, Jillian Mayer, Krzysztof Wodiczko, Lawrence Weiner, Thomas Hirschhorn, Ursula Biemann
May 15, 2019 [originally published in CV100 in Spring 2015] — By including artists such as Lawrence Weiner and Krzysztof Wodiczko, two pioneers of conceptual art who, in the late 1960s, combined art and social activism, the curators of the Biennale de Montréal 2014 clearly staked out their position…
Ciel variable 100 - REPLAY | Essays
Authors: Pierre Dessureault | Artists: Bryan Adams, Geneviève Cadieux, Lida Moser
May 13, 2019 [originally published in CV100 in Spring 2015] — “The nineteenth-century dispute over the relative artistic merits of painting and photography seems misguided and confused today”. Does Walter Benjamin’s statement, dating from the 1930s, put a final stop to the debate over whether photography naturally belongs in museums?
Ciel variable 100 - REPLAY | Essays
Authors: Robert Fones | Artists: Michael Snow
May 8, 2019 [originally published in CV100 in Spring 2015] — As a child, I learned from a book on cartooning that my mother bought me that a cartoon character’s body could be distorted or exaggerated to express astonishment or alarm. I vividly recall an illustration in the book of a character with eyes popped out, jaw dropped to the navel, and the whole body stretched vertically…
Ciel variable 100 - REPLAY | Exhibition reviews
Authors: Zoë Tousignant | Artists: Richard Mosse
May 6, 2019 [originally published in CV100 in Spring 2015] — One would have to be a seasoned cynic to be indifferent to Richard Mosse’s film installation The Enclave (2012–13). Visually, it is an impressionistic, six-screened montage of beautifully lurid hues of hot pink; politically, it reveals a heretofore unseen side of the conflict that has ravaged the Democratic Republic of Congo since 1998; and theoretically, it raises fundamental questions regarding the meaning and function of images of war…
Ciel variable 100 - REPLAY | Exhibition reviews
Authors: Caroline Gagné | Artists: Pierre Bourgault
May 1, 2019 [originally published in CV100 in Spring 2015] — You can read it by switching over to the French version of this page.
Ciel variable 100 - REPLAY | Exhibition reviews
Authors: Guillaume Lafleur | Artists: James Benning
April 29, 2019 [originally published in CV100 in Spring 2015] — You can read it by switching over to the French version of this page.
Ciel variable 100 - REPLAY | Exhibition reviews
Authors: James D. Campbell | Artists: Kathleen Ritter
April 24, 2019 [originally published in CV100 in Spring 2015] — This captivating exhibition of work by Kathleen Ritter is aptly and enticingly titled Camoufleurs. A camoufleur was a person – usually an artist, usually a woman – who designed and installed military camouflage in one of the world wars of the last century. The term relates to all First and Second World War specialists in the art of camouflage…
Ciel variable 100 - REPLAY | Exhibition reviews
Authors: Ada Ackerman | Artists: Roman Vishniac
April 23, 2019 [originally published in CV100 in Spring 2015] — You can read it by switching over to the French version of this page.
Ciel variable 100 - REPLAY | Exhibition reviews
Authors: Serge Allaire | Artists: Rozenn Quéré, Yasmine Eid-Sabbagh
April 18, 2019 [originally published in CV100 in Spring 2015] — You can read it by switching over to the French version of this page.
Ciel variable 100 - REPLAY | Exhibition reviews
Authors: Sam Cotter | Artists: Suzy Lake
April 16, 2019 [originally published in CV100 in Spring 2015] — For over forty years, Suzy Lake has been engaging with the world of representation surrounding her, creating new images to open dialogues and complicate underlying ideologies. Introducing Suzy Lake, the first major museum retrospective of her work, organized by the Art Gallery of Ontario, looks to Lake’s performative engagement with the camera from the late 1960s to the present…
Ciel variable 100 - REPLAY | Exhibition reviews
Authors: Mirna Boyadjian | Artists: Akram Zaatari
April 10, 2019 [originally published in CV100 in Spring 2015] — You can read it by switching over to the French version of this page.
Ciel variable 100 - REPLAY | Book Reviews
Authors: Anne Bénichou
April 8, 2019 [originally published in CV100 in Spring 2015] — You can read it by switching over to the French version of this page.
Ciel variable 100 - REPLAY | Book Reviews
Authors: Alexis Desgagnés
April 3, 2019 [originally published in CV100 in Spring 2015] — You can read it by switching over to the French version of this page.
Ciel variable 100 - REPLAY | Book Reviews
Authors: Alexis Desgagnés
[Spring-Summer 2015] You can read the bilingual article by switching over to the French version of this page : CV100 – Ouvrages à souligner. Antonio Dominguez Leiva, YouTube théorie. Un vertige néobaroque, Montréal, Les Éditions de ta mère, 2014, 112 p., fr. Ola Lanko, Brigiet van den Berg, Nikki Brörmann et al., Ed It: The […]
Ciel variable 100 - REPLAY | Interviews
Authors: Clément Chéroux, Rémi Coignet | Artists: Ugo Mulas
April 1, 2019 [originally published in CV100 in Spring 2015] — In the fall of 2014, the Pompidou Centre inaugurated a new exhibition space devoted to photography. Beyond the strictly local consequences involved, such a decision by a world-class museum may be understood as unequivocal recognition of the legitimacy now granted to this medium within the contemporary art system and canonical institutions…