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
Machinari is an invitation to escape.
A sequence of tableau shots becomes a window, a breach into another reality.
The artist thwarts the viewer’s gaze and manipulates the image in order to give dimension to photography: a form of resistance to the immateriality of the digital process.
The result is a layering of space and time; a slow oscillation between disappearance and revelation.
Léna Mill-Reuillard works with images, whether photographic, videographic or cinematic. She holds a bachelor’s degree in cinema and a master’s degree in visual and media arts from the Université du Québec à Montréal. Her work has been shown at the Galerie de l’UQAM, the gallery Les Territoires and at Centre VU. Several films on which she has worked as director of photography have travelled to numerous festivals.
Site web : lenamillreuillard.com
Digital video, 11:55, looped
Alternately one or two images projected side by side, this video installation shows a woman transporting a cumbersome scaffolding through various spacious landscapes and an autumnal forest. Entering the field of one projection and going out of the other, this woman makes a Sisyphean movement, repeating from a place to another in a continuous mobility.
Ephemeral structures composing our urban landscape, the scaffolding characterize the spectacle of the everyday life and is a common figure of our collective imaginary. By pulling this structure with the strength of her arms, this woman, whom no detail distinguishes, mediates the relationship that every individual maintains with a coercive environment. Her solitude, in the context of this uncultivated space from the field and the forest, sends back to the difficulty collectively felt by all to project in the future, by definition indefinite.
Jessica Arseneau, born in 1988 in Bathurst, New Brunswick, is a multidisciplinary artist currently living in Leipzig, Germany. She received her B.A. from the Université de Moncton (2011) and was a member of the cooperative artist studio Atelier King Kong from 2013 to 2015 (Montreal). Public presentations of her work occurred at art spaces such as Darling Foundry in Montreal, BronxArtSpace in New York, Galerie Sans Nom in Moncton, and Janaklees for Visual Arts in Alexandria. Recently, her work has been shown at Traverse Vidéo in Toulouse, HGB Gallery and Gallery Bipolar both in Leipzig.
Her work embodies reflections on various aspects of mobility, precariousness and the collective imaginary. Within performance, installation and digital media, her work takes the form of poetic gesture.