Wednesday, August 22 from 7PM to 11PM
► Music by DJ Glory Hull
Free admission / Free parking / Cash bar
” Reliqueery is an exhibition on my research of methods of queer codification to investigate representations of masculinities. In my artistic practice, I achieve this visual communication through the repetition of labors and gestures, coded materials, and symbolic images informed by emotional affect and queer theory. I have tied my artistic practice to my queer identity through design strategies, object manipulations, and studio mediums constructed on semiotics.
I am curious about the transformative representational potential of my chosen materials and their semiotic capabilities. I allocate space to ponder their abilities while arranging, pairing, grouping, pruning, and organizing my collected and produced works to forge representations of the relationships between my identity & desires. It is in this quiet space where my labours become rhythmically repetitive and ritual-like. Through research, organization, composition, and re-composition of objects I sift for resolution. The implications of my bodily trace and autobiographical referencing in the artwork provide avenues of agency for me to express my experiences surrounding spirituality, trauma, grief, and queer sexuality. My work is a series of gestural systems to consider opportunities in process and materials for their subversive potentials. Through these explorations, I have come to understand my practice as being deeply connected to my identity, negotiations of space, and a method to queer disciplinary boundaries.
In the summer of 2017 I was introduced to the relics of Saint Sebastian, patron saint of athleticism, brotherly love, and victims of plague. I recalled his symbolically appropriated importance to the LGBTQA+ community during the HIV/AIDS Crisis, and his iconographic arrow-penetrated figure featured in queer culture. The tale of his martyrdom resonated with me as an allegory of queer intimacy, specifically, his sensually bound, arrow-penetrated torso. In my investigation of Saint Sebastian, I was intrigued by his juxtaposed roles of intimacy as heavenly saint and sensual icon supported by visceral arrow imagery and rope binding.
Reliqueery features two installation spaces connected only by a knot or two. The lighting is soft and intimate; gently and evenly stained pastel. Along the floor run bed sheets and linens transformed into taut twists and spliced ropes slithering into decorative knots and holds. In a patterned fashion, stenciled representations of the long linen ropes repeat the sensual knot designs on the gallery walls. The body is directly implicated into these labour processes through the repetitive acts of washing, twisting, knotting, and splicing the long expanses of linen and bed cloth. The linens and bedclothes materials have symbolic meaning on their own, however, their transformed forms question their previous intimacies and belonging. The presence of lavender essence, chimes, and meandering lines of the long, soft trails of linens create an immersive experience. The varying scales present between the installations invite a bodily experience connected to the senses “. — Sam Loewen
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Les Rouages Écraniques
In Les Rouages Écraniques exhibition, Zoltan Veevaete proposes his own reflections on the manipulation of the image; the resulting impacts in contemporary society with reference to historical methods. From Plato to Descartes, through Baudrillard, the works open on rhizomatic and meditative readings by artistic and digital techniques allowing an immersive illusion in the pictorial space.
The representation and simulacrum of reality have been, in the history of humanity, means of communicating and immersing the viewer in a story. In this sense, the space of the gallery is transformed into a storeroom of scenic elements, recalling the scenes of a film set. The goal is to simulate the workings of a movie set where the viewer is transposed into a story and its final product.
The fake billboard in The Matrix is a clue to the storyline. This film presented for a whole generation a reflection on the nature of reality. The luminous orchestration creates a parallel between the apparent structure of the physical image (the body state) and the computer-generated image projection (the veiled state). Electronically generated sounds help, by their frequencies, to stimulate the cerebral hypnotic state.
This polymediatic project is presented in a context highlighting the mediation techniques of contemporary visual culture. The surfaces are used to contrast different immersive contacts. Finally, by this method the artist addresses problems resulting from the phenomena of appearance, illusion and vision.
Artist painter for 20 years, Zoltan Veevaete navigates, at the end of the 1990s, between graffiti, mural-making and oil painting. After a two-year trip to Spain, he graduated in 2012 with a Bachelor’s degree with honours from Concordia University. He is soon after represented by the Robert Poulin Gallery, where he develops a postmodernist approach and defines his visual identity. The pictorial universe of this period is characterized by the mixture of genres and eras. Later, in his pictorial vocabulary, he integrates symbols and contemporary references related to post-internet aesthetics. In 2016, he began a Master’s degree in Visual Arts at the University of Ottawa. In this new twist, he challenges the art object and the evolution of pictorial techniques leading to the visual immersion of the viewer. He manages to develop a polymediatic art that creates a bridge between digital art and painting. In his approach, Veevaete is also interested in the hybridization of digital art and that of the mural.
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August 17 — 31, 2018
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Rose Lemoine was born in 2005 in Quebec City. She is a student at Cardinal-Roy secondary school in the arts studies option, and studies drawing, painting, sculpture and scenography at Maison Jaune. Her passion for weaving came from a loom that her mother received as a gift, but she soon apprehended, leaving her mother to find all sorts of materials to satisfy her need for creation. Her works take little to no inspiration from the TV series she watches while practicing her art, and never weaves while tap dancing. Although she still needs help talking about herself in the third person, Rose is already an accomplished artist. She will embark on her first professional residency at AXENÉO7 in August 2018. She lives and plays in Quebec City.