The cover of the current issue

Current Issue: SUMMER 2017





Tombées dans les interstices: A Current Perspective on the Contributions of Women Artists to Contemporary Acadie

Tombées dans les interstices: A Current Perspective on the Contributions of Women Artists to Contemporary Acadie

Tombées dans les interstices showcases some of the women artists that have participated in the forging of a contemporary Acadian identity, while also addressing feminist art theories that have fallen off the radar in Acadie and which remain mostly absent from Acadian art practices today.

The exhibition and accompanying publication contextualize Acadian art history within the broader scope of feminist art history, highlighting links to the effervescence of 1970s feminism – also notable as a period of awakening for the contemporary Acadian identity – so as to understand how and why these women artists have been forgotten.

The Acadian sociopolitical context of the time, with its fight for linguistic equality, were such that sparks of feminist debate coming from the visual art milieu were stifled leaving little room for women artists to succeed. Discussions emanating from this project will look at the causes and effects that are still prevalent today, while reviving feminist discourse in the visual arts.

Yolande Desjardins, sans titre, streched and starched textile, 1983. photo credit: Galerie d’art Louise-et-Reuben-Cohen archives


CERA ALBA: L’alliage de l’éphémère à l’éternel

CERA ALBA: L’alliage de l’éphémère à l’éternel

CERA ALBA examines Acadian artist Romeo Savoie’s use of found objects and everyday naturally occurring materials, and how these might be reconfigured in his works to create new and unexpected meaning. The resulting body of work instigates innovative ways of relating organic and inorganic elements unto what can best be described as an “all-over” painterly surface.

Curated by Paul Édouard Bourque, this exhibition focuses on a pared-down selection of works produced during a time when Savoie was seriously questioning the role of the found object in a work of art, and how this issue relates to the overall scheme of his oeuvre. Modular elements figure prominently in the building-up of the pieces, with various references to grid-work and multiples; these are combined with superimposed diptychs and sectional pieces designed to dominate larger areas once installed.

Savoie’s exuberant uses of beeswax, twigs, branches, glass and faded flower petals are brazenly combined with his trademark painterly application of saturated pigments onto a textured, heavily worked-up surface of either canvas or wood panel. These works address the artist’s perennial questioning of the value judgements inherent in the representation of reality, and how mere worldly materiality might somehow lay claim to notions of the eternal.

Recent work by Romeo Savoie. Photographed at his studio in Barachois, 23 September 2014.

Roméo Savoie, Glass, Mixed media on wood, 2013. photo credit: Mathieu Léger


Putting Life to Work

Putting Life to Work

Ibghy & Lemmens’ art practice investigates the ways in which the economic sciences and the theories of management represent the world. It focuses on the influence of productivist logic on human activity.

This first in-depth exhibition of their work in Canada looks at the internalization of productivity by individuals. The installations, sculptures, videos, and performative projects examine the ways in which the injunction to perform affects the body—actions, thought, attitudes, language—from the point of view of work and life, two spheres that tend to be conflated within a model that many researchers refer to as “cognitive capitalism”.

Produced by the Leonard & Bina Ellen Art Gallery/Concordia University. Also presented at Owens Art Gallery, Mount Alison University, January 20 to March 12 2017

Richard Ibghy & Marilou Lemmens title of work: Each Number Equals One Inhalation and One Exhalation (Detail), installation and mixed media, 2016. photo credit: Paul Litherland

Richard Ibghy & Marilou Lemmens title of work: Is there anything left to be done at all? Multi-channel video installation, sound and mixed media, 2014. photo credit: Paul Litherland