Photo: Guy L’heureux
View of the exhibition “Pattern” with, from left to right : Adelaide Fériot, “hesitation”, 2010 ; Kapwani Kiwanga, “Forms of Absence”, 2014 ; Ines Doujak, “A Mask Is Always Active”, 2014
Far from being innocent, the shapes and patterns that surround us have a scope that goes beyond their appearance alone. This idea is known, the commissioner Chloé Grondeau brings freshness in the group exhibition Pattern, it creates pleasant surprises by presenting the works of diverse artists little seen in Quebec.
Nine in number, these works offer a view of the frames auscultées, plaid patterns horniest, cubes, miniatures, spots repeated, shards of broken glass, and even the icon dedicated to a great abstract painter. Their designs are, however, much more than their forms. In his word of introduction, the commissioner Chloé Grondeau said to have justly preferred the English word “pattern” for his title rather than his corollary to the French “motif “” for his ability to translate as much of the form of issues psychological, sociological, or even political, to which it returns “.
It is curious to note that, despite the implicit reference to the title, the exhibition makes no allusion to the movement of the american “Pattern and Decoration” and that, therefore, it obliterates the roots of the feminist of these artistic strategies. In the 1970s, artists such as Joyce Kozloff or Miriam Schapiro incorporated in contemporary art, the methods of the crafts and applied arts, upsetting the hierarchy that these arts are minors, such as women, who traditionally practised. It did demonstrate that, however, there was not much that separated these arts known pejoratively as decorative, and the great geometrical abstractions created by their male peers in painting.
Practices using these strategies to their issues revendicateurset policies were not limited to this movement. More recently, the work of Joyce Wieland and Sorel Cohen would cite in this niche, which has since been widely pursued and updated. It certainly belongs to the commissioner not to have wanted to include works arising out of the vein even though the examples abound. Should this continue, as in the text of the presentation, to make the ” Man ” the subject which thinks of the world ? The language still has persistent symptoms of a patriarchal view.
Photo: Guy L’heureux
Ken Nicol, “32 cubes, 32 ways”, 2014
Apart from these reservations, the exhibition is defending well. Open, the course is used advantageously in the vicinity of the works, including several videos, such as the introduction of the collective mexican Galeria Perdída. In a tight framing, a magnifying glass, a search of the images found in their microdétails, revealing the grain of their fabric that, even to force to be considered, remains silent. Looking becomes a business in vain, if not to suggest that at a microscopic level, everything is in order.
In the disturbing video of Mathieu Arbez Hermoso, fixed images of an abstract pattern from an everyday object appear to be a pretext for the soundtrack. It exposes, in the crossing, the story of the Nigerian Bolaji Badejo, who played the first Alien film by Ridley Scott, and facts about the colonisation of Africa. These two evocations of the figure of the Other and interlock the stories personal and collective.
The mass culture also made a foray into the fun video of the Colombian Iván Argote. It is a measure of the black Cross of the Russian suprematist Kasimir Malevich, one of the pioneers of abstraction, by dancing in front of the painting to the museum on the music of The Cure. The gesture of the artist defies the utopia as the canonical position of the work, which wanted to make its language the objective of a tool for a revolution. The choreography, which engages the canadian artist Kapwani Kiwanga is made of gestures studied inspired by the work of the archivist. His hands manipulate the empty, echoing to the objects lost during the revolt of the Maji Maji in German east Africa, today’s Tanzania, to which his family is originally from.
For some oppressed people, the carnival is an opportunity to disrupt the hierarchical order established. This tradition is alluded to in the video very music of the Austrian Ines Doujak, which shows the role played by costumes and masks during this holiday destabilising. The video captures the attention with its exuberance and its strategic location in the center of the room, which allows the zieuter from several places.
More discreet, the works of Ken Nicol, from Adelaide Fériot, Tim Messeiller and Vincent Malassis also draw their pin of the game. There are variations of cubic steel of Nicol and the kaleidoscope shattered Fériot that seems to oppose order and chaos, both related to a process, in the form of new configurations to come, or a tableau vivant that took place. In Messeiller, screen printing on canvas gives the simplicity of a pattern expression to a combination of repetition and difference.
He will not have to miss to play the turntable in order to listen to the Score to Vincent Malassis, which is the result of the transposition of a paper painted signed Bruno Peinado. Its visual pattern is not presented, but the sound version he is captivated alone rewarding, from the crackling of the wear and tear of the vinyl.
For the little ones, the Maison des arts de Laval inaugurates with this exhibition, the phrase ” parent-as-mediator “, which provides volunteers with an educational kit and fun to make the discovery of the works.
At the Maison des arts de Laval, 1395 boulevard de la Concorde Ouest, Laval, until 4 February.