#Bina Ellen Art Gallery

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Kyle Alden Martens-Spun Through the Heel / Galerie Patel Brown (CA)

1/ Kyle Alden Martens 2 / Kyle Alden Martens, Stripped Headboard, silver silk, blue silk, thread, wood, blanket, hardware, 57 x 20 x 2 in. 25 avril au 1 juin 2024 Dans le cadre de sa première exposition solo à Patel Brown, Kyle Alden Martens présente un boudoir de formes et de textures séduisantes qui se frottent les unes aux autres, s’adonnant ainsi à une douce orgie. Selon un sens de…

[mentaltimetraveller]

Moyra Davey The Faithful Leonard & Bina Ellen Art Gallery, Montreal February 16 – April 9, 2022

[kendallkendallkendallkendall]

Moyra DaveyThe FaithfulLeonard & Bina Ellen Art Gallery, MontrealFebruary 16 – April 9, 2022Curated by Andrea Kunard and organized by the National Gallery of Canada

https://www.contemporaryartdaily.com/project/moyra-davey-at-leonard-bina-ellen-art-gallery-montreal-22564

[mfaconcordia]

Black Studies in Translation : Opening + Readings

𝐎𝐩𝐞𝐧𝐢𝐧𝐠 𝐞𝐯𝐞𝐧𝐭 𝐚𝐧𝐝 𝐫𝐞𝐚𝐝𝐢𝐧𝐠𝐬 𝐰𝐢𝐭𝐡 𝐒𝐚𝐧𝐝𝐲 𝐇𝐮𝐝𝐬𝐨𝐧, 𝐒𝐲𝐫𝐮𝐬 𝐌𝐚𝐫𝐜𝐮𝐬 𝐖𝐚𝐫𝐞, 𝐚𝐧𝐝 𝐊𝐚𝐢𝐞 𝐊𝐞𝐥𝐥𝐨𝐮𝐠𝐡 Free admission, at the Gallery Join us for the opening of the Black Studies in Translation Conference with the Montreal launch of Until We Are Free: Reflections on Black Lives Matter in Canada (University of Regina Press, 2020) presented in collaboration with the Leonard & Bina Ellen Art Gallery. Hosted at the Gallery, co-editors Sandy Hudson and Syrus Marcus Ware will read from their book, writer Kaie Kellough joins with selections from his recently published collection Dominoes at the Crossroads (Véhicule Press, 2020), followed by a conversation moderated by activist and orator Annick MF. More information → http://bit.ly/black-opening

Facebook event

[collectionbrunogrenier]

Raymonde April

Les petites tomates Épreuve argentique 30 x 44 cm Née au Nouveau-Brunswick en 1953, Raymonde April est l’une des plus importantes photographes de l’histoire du Québec. Depuis sa première exposition individuelle en 1977, à la galerie Powerhouse de Montréal, les expositions se multiplient, tant au Québec qu’en Europe. La liste des expositions impressionne, tant par le prestige des lieux que par leur diversité géographique. On la retrouve en 1986 au Musée d’art contemporain de Montréal et à la Coburg Gallery de Vancouver, à la Galerie Colbert de la Bibliothèque nationale de Paris (1989), à la Fundaciô La Caixa de Tarragone de Barcelone (1992), au Musée Arthur Rimbaud de Charleville-Mézières en France, également en 1992, au Musée d’art de Joliette (1997), à la Morris and Helen Belkin Art Gallery de Vancouver (1998), à la Galerie d’art Leonard et Bina Ellen de l’Université Concordia à Montréal (2001) et à la Manif d’art de Québec (2005).  Ses œuvres sont aujourd’hui présentes dans plusieurs collections publiques importantes, telles que le Musée des beaux-arts de Montréal, le Musée d’art contemporain de Montréal, la Banque d’œuvres d’art du Conseil des arts du Canada, le Musée canadien de la photographie contemporaine à Ottawa, la Bibliothèque nationale de Paris et le Musée national des beaux-arts du Québec. April est lauréate du prix Paul-Émile Borduas (2003), la plus prestigieuse distinction en arts visuels au Québec, du Paul de Hueck and Norman Walford Career Achievement Award for Art Photography (2005) et de l’Ordre du Canada (2010). 

Prix : 875 $ 

[apintal-dart339]

WEEK 6: Poetic Disorder

As a class, we went to visit the Leonard & Bina Ellen Art Gallery’s newest exhibition, Poetic Disorder.

As seen through the activistic lens of artist Santiago Muñoz, the works, produced between 2014 and 2019, explore life in the tropics from a variety of perspectives. A rich, wide perspective of Caribbean life is revealed with Poetic Disorder, from specific incidents in daily life, such as naps in hammocks, to imaginative narratives crossed with fiction and documentary. It challenges the audience to look beyond colonization and western thought to better understand the world and these communities.

The first installation I saw was Binaural. I was greeted by analogue projectors displaying on four separate panels as the videos looped silently . There was a person sleeping in a hammock, a flickering light in a tunnel, and a view into the jungle in these videos. The next room on my right had two more projectors, and I realized that Binaural was continued. My attention was drawn to the last video as I watched it due to the artist's intention to change the perspective and viewpoint of the camera, noting how this affected me as a spectator as well as an individual from the Caribbean.

Each video lasted only three minutes. In addition, there was little context provided. The six-channel 16mm film installation says a lot, however, in its collective narration. As a result, I began reflecting on Indigenous practices around sustainability, collaboration, land protection, resistance, and care and indigenous use of analogue processes to decolonize the foreign gaze.

It later turned out that Santiago Muñoz shot these videos in Puerto Rico and the Solomon Islands, where she extracted chemicals from local plants to develop the films. This astonished me and thought about our responsibility to preserve nature in the face of nature's power.

Marché Salomon was on the other side of the wall. During this 16-minute HD video, we witness a conversation between two young workers in Port-au-Prince. Throughout the video, chopping sounds, hip hop, and modern technology are being used to accompany a philosophical and mystical dialogue. Sometimes, a voice is heard interrupting the video with instructions.

Last but not least, I watched Gosila in the last room. The 16mm film is converted to video, then projected through lighthouse Fresnel lenses. The effect is to make the image look like a curved rectangle, and it hints at the devastation that hurricanes Maria and Irma left behind.

Politically, economically, and ecologically, the following year was extremely challenging for Puerto Rico. Through his documentation of the citizens' minor acts of care, reconstruction efforts, and reclamation of their autonomy, the artist asks us to reflect on the monsters we face personally and collectively, and how to find light in hard times.

This exhibition was wonderful as it made you feel you were experiencing these scenes in real life.

[dart339-visual-journal]

Poetic Disorder is an exhibition that was show between September 1st and October 16th at the Leonard & Bina Ellen Art Gallery on campus at 1400 boul. de Maisonneuve Ouest. 

Beatriz Santiago Muñoz is a Puerto Rican artist and activist who lives in San Juan, Puerto Rico. 

After walking through the exhibition, we had a discussion with one of the curators about the possible intent of the artist for this work.

The phrase “Poetic Disorder” holds to conflicting ideas. On one side, the nature/body is in constant movement and so is the camera in the videos shown (it is shaky). On the other side, climate and political crisis disrupt life/nature.

Another interpretation could view the videos as capsules showing a more poetic version of the postcolonial Caribbean context.

One video from the exhibition shows two children having a conversation in a Haitian market. They talked about ghost stories and tales of the supernatural. Haïti is a very spiritual place and Muñoz did a beautiful job at conveying the perspective of these two young people in video format. It gives the audience a glimpse into their lives without being miserabilistic -which contemporary media tends to be towards Haïti.

I took a picture of an installation from the exhibition. Here, we see a video being projected to the wall, but it is shown through the prism of a quartz crystal from the area filmed. The crystal acts as physical disruption to the video and our perception of the place displayed. This disruption can be considered poetic since the distortion adds blur and chromatic aberrations which have a dreamy quality to them. It is almost as if we are watching the events unfolding in a second state.

http://ellengallery.concordia.ca/exposition/momenta-x-leonard-bina-ellen-art-gallery-beatriz-santiago-munozpoetic-disorder/?lang=en

[lunasvisualjournal]

On October 14th, we went to the Leonard & Bina Ellen Art Gallery where we visited an exhibition called Poetic Disorder by Beatriz Santiago Muñoz.

It was a show about the aftermath of the triple hurricane that had passed over Puerto Rico in 2017. It lasted 3 weeks. The show consisted of six 16mm projections of the scene in Puerto Rico. As you see all the clips, you sense that time is passing slowly and according to Beatrize, it is intentional. It is meant to show that it took a while for the population to recover and that it wasn’t easy. Robin Simpson, the kind man that gave a us the tour, he explained that the films on which these shots were filmed, they were processed using materials that were derived from local plants of Puerto Rico. I thought that was so genius! Also, towards the right of the exhibition, there is a short documentary style movie that is being projected in a big room. The projection is angled at a shard of glass that was brought from the debris from Puerto Rico. It gave a really nice round effect on the projection on the wall. I thought it was such a brilliant idea to do so because bringing materiality into this video-only exhibition, is a great way to make people feel how real this all is. Because in today’s world I find it hard to connect with the video elements because there is no physicality to it so it makes us less connected with what is going on in the videos. Hence, bringing a physical element grounds us and connects us to the feelings that are being projected in the films.

[2020port-fo-lio]

[huali]

Very extremely proud of my friend @francis.francois and his work Audiovisual Jungle: Latino Bodies & Exportation Fruit, the first media art work I have seen in months that not only didn't piss me off but actually wowed me! Go to the Galerie Leonard & Bina Ellen and see this piece YOU WILL NOT REGRET IT (at Galerie Leonard & Bina Ellen Art Gallery)

[abtec]

Filling in the Blank Spaces through the eyes of Exhibition Coordinator Sara England

Sara Nicole England is an MA candidate in Art History at Concordia University and Research Assistant at Obx Labs/AbTeC/IIF. Her thesis research examines public displays of labour in turn-of-the-twentieth-century industrial tourism in the United States. Sara is part of KAPSULA Magazine, a digital publication and online platform for critical and experimental writing. She has a BFA in Criticism and Cu­­­ratorial Practice from OCAD University in Toronto, Ontario.

***

I joined AbTeC last June to assist with the coordination of Filling in the Blank Spaces, the first-ever retrospective of the research and creative work of AbTeC held at the Leonard and Bina Ellen Gallery from November 4th to December 2nd, 2017. I came to this project with an interest in AbTeC’s collaborative approaches and the ways technologies and media were being remixed, modified and, sometimes, created from the ground up to strengthen and complement Indigenous cultures and communities. Taking part in Indigenous-led projects is an important part of situating my research and myself as an academic and settler on unceded Indigenous lands; I’m grateful for the opportunity to be part of the amazing work of AbTeC.

(Credit: Paul Litherland/Studio Lux © Bina Ellen Art Gallery, Concordia University, 2017)  

Mounting an exhibition of over twenty years of media production was no small feat! I started the project with what any art historian would do: I referred to Concordia’s library and online databases to research examples and methods of curating new media and digital art. Texts by Sarah Cook, Christiane Paul, Beryl Graham, and Sara Diamond, and projects like CRUMB (Curating Resource for Upstart Media Bliss) laid out the landscape of cyber culture and digital art curating in the 1990s and early 2000s, and offered a theoretical framework for thinking through modes of participation in media art exhibitions.

I quickly learned that the history of new media production moves fast—really fast—and I wasn’t going to find an exhibition model or guidebook that provided all the answers or accounted for the breadth of AbTeC’s experimentation with media; even within the short span of a decade, curatorial models for digital art were often outdated by the time they were published. Relatedly, the term “new media” has stayed the same but the practices that it defines are continuously expanding and evolving; indeed, what we group under the umbrella of new media, and the curatorial strategies for its display, is ever expanding too. Continuous experimentation may be the connecting thread.

(Credit: Paul Litherland/Studio Lux © Bina Ellen Art Gallery, Concordia University, 2017)

The research and creative work featured in Filling in the Blank Spaces maps out a history of new media in and of itself, with Indigenous artists, academics, technologists and others, at the forefront.  For example, the pioneering project CyberPowWow (1997-2004) was one of the first ever online art galleries, combined with a chat room, and incorporating live events that later would be termed “mixed-reality” events. Jason Edward Lewis and Skawennati’s Thanksgiving Address: Greetings to the Technological World (2002) was made with Flash, a nearly defunct application. Listening to it today, the artists remarked on how bad sound compression was at the turn of the millenium.  “I sound like I have a lisp!” said Skawennati. The exhibition presents AbTeC’s present-day work, too: Activating AbTeC Island (an open invitation to visit AbTeC’s virtual land in Second Life) (2008-2017) expands some of the ideas first explored in CyberPowWow while computer games produced in the Skins Workshops use new media techniques like modding to bring Indigenous storytelling and representation to game culture; Virtual Reality works by Scott Benesiinaabandan and Postcommodity created in AbTeC’s artist residencies and Illustrating the Future Imaginary (a series of postcards with artwork by Indigenous artists) imagine our world seven generations into the future. AbTeC’s dedication to thinking about the future means that AbTeC is not only part of a history of media history, but also defining and creating its future.

So, we made up the rules as we developed the show. To be sure, there are guiding questions that emerge with any exhibition, especially an interactive and largely virtual one: how will visitors move through the space? How do we get visitors to interact and engage critically and with curiosity? And more specific to the nature of this exhibition: how do we get visitors to recognize the layers of intervention, production, and collaboration when their interactions are mostly at the level of the interface? How do we invite—and empower—visitors to become “users,” “players,” and, in certain instances, “decision makers?”

One of the aspects of Filling in the Blank Spaces that I found interesting is how it acknowledged a material history of technology. In New Media in the White Cube and Beyond, Jon Ippolito writes, “… new media art can survive only by multiplying and mutating.” In some instances, mutation and multiplication were built into the works. Poetry for Excitable [Mobile] Media (P.o.E.M.M.) (2007-2014), a series of interactive and digital poems by Lewis, was an experiment in how digital texts perform across multiple screens and how these interactions between text and device dictate different modes of readership and bodily engagement. In other cases, the artwork had outlived its media and thus required new hosts. CyberPowWow ran as a “canned version,” meaning it operates offline, and was displayed on a virtualized Windows XP program, which ran off a globular iMac G4. The layers of intervention, here, mark a history of technological changes and reveal relations between new and old media in order to contextualize the technological milieu in which CyberPowWow was created.

(Credit: Paul Litherland/Studio Lux © Bina Ellen Art Gallery, Concordia University, 2017)  

Imagining Indians in the 25th Century (2001), a website that imagines a character who visits significant moments in Indigenous history—created by Skawennati before the age of tablets and touchscreens—was displayed on an iPad in the exhibition. Most of the works in the exhibition behaved independently from their media or means of display. I think this is a valuable curatorial strategy—working without consistency across old and new media—as a way to get people to think beyond the interface and develop a media awareness that attends to both the material and immaterial components of media art. As a form of media literacy, the strategy is not apart from the aims of AbTeC.

For much of the exhibition I also acted as a docent in the gallery, introducing visitors to the work, assisting them with questions, and, most importantly, encouraging them to interact with the various components. This experience was gratifying because I was able to witness and take part in people’s experiences with and responses to the retrospective. I learned that many visitors often needed an invitation to touch the works and to participate fully in the experience. Despite the relative ubiquity of the technology used in the show, this further demonstrated the uniqueness of the exhibition.

The exhibition asked visitors to think about their expectations of a gallery and how artwork should perform. It required active engagement rather than passive viewership (though I’m inclined to think all artwork asks for active participation) and people had to do the work.

(Credit: Paul Litherland/Studio Lux © Bina Ellen Art Gallery, Concordia University, 2017)

Many did! It was amazing to see visitors, who had never played a computer game before, defeat the evil archaeologist in Ienién:te and the Peacemaker’s Wampum or express wonder when they discovered that their avatar could fly in Activating AbTeC Island, the gallery installation of AbTeC’s virtual land in Second Life. Creating the circumstances for discovery and surprise, for me, is the main goal of exhibition production, and I think we pulled it off!

Jason and Skawennati engaged with me as a collaborator, encouraging creative input and providing ample time and significant resources for me to ask questions, learn about their practices, and flesh out ideas. During this time I was also able to learn how to use the computer-modeling program SketchUp to plot exhibition layouts. Some of the images you can see here.

(Credit: Paul Litherland/Studio Lux © Bina Ellen Art Gallery, Concordia University, 2017)

Like all of AbTeC’s projects, many people contributed to the making of the exhibition: among many other contributors, Mikhel Proulx added an archival and historical component to the exhibition by organizing an archive section and writing an exhibition essay; Sabine Rosenberg made the technical magic possible; Valerie Bourdon designed the beautiful exhibition title and vinyl game instructions; Roxanne Sirios and Nancy Townsend designed a visitor-friendly environment within the virtual land AbTeC Island and even created AbTeC avatars for visitors to inhabit; and a team of research assistants activated the exhibition as gallery docents and led the workshop series. Filling in the Blank Spaces is the result of years of dedicated artistic production, research, and collaboration. The making of the exhibition reflects that process, and was made possible by the contributions of an enthusiastic and imaginative team at AbTeC. I can’t wait for what’s next!

Notes

1.     Jon Ippolito, “Death by Wall Label,” ed. by Stephanie Fay and Christiane Paul in New Media in the White Cube and Beyond, ed. by Christiane Paul (Berkeley, Los Angeles, London: University of California Press, 2008), 106.

[eunice-bee]

Vincent Meessen, Blues Klair (at Galerie Leonard & Bina Ellen Art Gallery) https://www.instagram.com/p/Bq0nQYGnXbOYJrXTxu1tE1L2mKKXGE7h0zkVDk0/?utm_source=ig_tumblr_share&igshid=1u2xkf0fmv5gb

[photogalleryfelicia-blog]

Inside the J.W McConnell building at Concordia University, the Qui Parle? /Who Speaks? is an art exhibition happening only until April 21, at the Leonard and Bina Ellen Art Gallery (LB-165). 

[conversationsincontemporaryart]

SUZY LAKE

Friday, February 16, 2018, 6pm Le vendredi 16 février à 18h00

PLEASE NOTE THE VENUE CHANGE! THE LECTURE WILL NOW BE HELD IN H-110, Hall Building, 1455 Blvd. de Maisonneuve Ouest.

Concordia University Fine Arts
 Université Concordia,  1455 Boulevard de Maisonneuve O, Montréal, QC H3G 1M8

www.finearts.concordia.ca

Admission for all Conversations in Contemporary Art events is FREE and open to the general public. Seating is first come, first serve. Doors open at 5:30 p.m. The lectures will be held in English.

Tous les événements du programme Conversation in Contemporary Art sont gratuits et ouverts au public. Les sièges sont assignés selon le principe du premier arrivé, premier servi. Les portes ouvrent à 17h30. Les conférences se dérouleront en anglais.

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CONVERSATIONS IN CONTEMPORARY ART is pleased to partner with the Leonard & Bina Ellen Art Gallery to present Suzy Lake.

"Resistance... Who Pulls the Strings?"

If it takes a village to raise a child, is it through that cultural filter that we view the world until we enter adulthood? Then, as we engage in the world, do we see or ignore its cracks? If we become aware of a power dynamic, is it a comfortable order? – or does it provoke a resistance?

Bio

Suzy Lake was born and raised in Detroit. She emigrated to Canada in 1968. She was a founding member of Vehicule Art Inc. (Montreal) and later, the Toronto Photographers Workshop Gallery (Toronto). Her early work was included in several historical conceptual and feminist exhibitions, such as: Wack! Art and the Feminist Revolution (LA MoCA, Los Angeles, California), Identity Theft: Eleanor Antin, Lynne Hershman and Suzy Lake (SMMoA, Santa Monica California), and Traffic: Conceptual Art in Canada 1965-1980. Lake retired from teaching in 2008 to focus on her studio practice full time. Since “retirement”, she has had a full career retrospective Introducing Suzy Lake at the Art Gallery of Ontario (2014), received the Governor General’s Award in Art and Media (2016, and won the 2016 Scotiabank Photography Award (2016).

www.suzylake.ca

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Resistance... Who Pulls the Strings? (« résistance… qui tire les ficelles? »)

S’il faut tout un village pour élever un enfant, est-ce à travers ce filtre culturel que nous voyons le monde avant de devenir adultes? Une fois dans le monde, voyons-nous ou ignorons-nous ses failles? Si nous prenons conscience d’une dynamique de pouvoir, nous en accommodons-nous? Ou provoque-t-elle une résistance?

Biographie

Née et élevée à Détroit, Suzy Lake a immigré au Canada en 1968. Elle a cofondé le centre d’artistes Véhicule Art Inc. (Montréal) et, plus tard, la Toronto Photographers Workshop Gallery (Toronto). Ses premières œuvres ont été présentées dans plusieurs expositions conceptuelles et féministes historiques, telles que Wack! Art and the Feminist Revolution (LA MoCA, Los Angeles, Californie), Identity Theft: Eleanor Antin, Lynne Hershman and Suzy Lake (SMMoA, Santa Monica, Californie) et Trafic: l’art conceptuel au Canada 1965-1980. En 2008, Suzy Lake a pris sa retraite en tant que professeure pour se concentrer à temps plein sur sa pratique. En 2014, sa carrière a fait l’objet d’une importante rétrospective, Introducing Suzy Lake, présentée au Musée des beaux-arts de l’Ontario. En 2016, elle a obtenu le Prix du Gouverneur général en arts visuels et en arts médiatiques ainsi que le Prix de photographie Banque Scotia.

www.suzylake.ca

[2017jungle]

Paul Litherland / Studio Lux © Galerie Leonard & Bina Ellen Art Gallery, Concordia University

[thepassengertimes]

Portraits – selected works

click to enlarge

full projects

”

Award-winning photographer. Filmmaker. Writer. Raised in New Orleans. Based in NYC. Available for commissions and exhibitions internationally.

I mix art and fashion with technology. Kanye West loved my fashion story about black skinheads. I’m the guy behind those Hysterical Literature videos. I get zef with Die Antwoord. My Long Portraits inspired a Superbowl commercial. I got dirty during Hurricane Katrina. I think subculture is culture. I think deeply about how the present creates the future.

My dad was a Canadian national running pot over the border from Mexico. My mom was a Cajun hippie runaway, go-go dancing on Bourbon Street. They met, married, and went on a lifelong road trip, conceiving me in the back of a VW van on the way.

Editorial clients include: Vogue, Rolling Stone, Vanity Fair, Vibe, The FADER, Glamour, Elle, GQ, Surface, SPIN, Village Voice, Planet, URB, OUT Magazine, The Source, Vice, Nerve, Metropop, Oyster, Smithsonian, Icon, Dezeen, Zink, XXL, New York Magazine, WIRED, Mass Appeal, The Guardian, ELLE Magazine, and The Times Magazine.

Advertising clients include: Dolby, Converse, Nike, Microsoft, Charles & Colvard, HarperCollins, Eli Lilly, Ad Council, David Yurman, Interscope Records, Mulholland Books, HBO. Agencies include: Saatchi & Saatchi, BBDO, Grey Worldwide, VSA, Brand New School, Mother New York.

Gallery and museum exhibitions include: MASS MoCA, Prospect Biennial, SixSpace Gallery, Envoy Gallery, Larissa Goldston Gallery, Lyons Wier Gallery, Grimmuseum Berlin, Krause Gallery, Darkroom Gallery, Leonard & Bina Ellen Art Gallery. My work has been written about in publications including: Vanity Fair, Tokion, Dazed & Confused, Vice, Picture Magazine, Rolling Stone, The Wall Street Journal, Nowness, Live FAST Magazine, Eyemazing, Juxtapoz, Interview Magazine, Whitehot, The Daily Beast, The Huffington Post, Creativity Now, The Great Discontent, Salon.com, Paper Magazine, Lui Magazine.

My art and music videos have been viewed over 60 million times, and feature artists like Die Antwoord, Margaret Cho, Big Freedia, Xiu Xiu, Cocorosie, Stoya, and Nicky Da B.”

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Clayton Cubitt photography Portraits - selected works click to enlarge full projects " Award-winning photographer. Filmmaker. Writer. Raised in New Orleans.