Photo: Pedro Ruiz The Duty
The respective exposures of Jeanie Riddle (photo) and Maryse Goudreau will be among the first to launch the winter season.
They were busy, at the beginning of this January cold, to put the final hand to editing them. The one with his works in the gallery, the other in front of the computer for her video essay. The respective exposures of Jeanie Riddle and Maryse Goudreau will be among the first to launch the winter season. During our visit, all indicated that they would do so with a note of hope.
For Jeanie Riddle, the echoes of the women’s March, held on 21 January 2017, still resonate. “My inspiration comes from the posters you could see […]. There was one on the Internet held by a little girl with a drawing to the Cy Twombly [american artist] and I thought : this is where it starts, with the item If it has a message, we can show it on a canvas. “
The messages are allusifs in his paintings with broad plans organic, abstract compositions, revealed by bright colors. Radically joyful, the colour palette injects energy alone is indicative of the positive words that had preceded it. “I really started to write the words, and then I find shapes in the painting,” explains the artist happy to discuss the work in the workshop, his playground.
If the words do carry a message not in the acrylic paint, the shapes deduced, they, suggest. For proof, canvas which gives its title to the exhibition : an Open Letter to the Women. “There I see the silhouette of a person, manifesting in the 1960s, the show of hands,” says the artist. And with it, a tribute discreet to the artist Corita Kent (1918-1986), catholic religious défroquée, which gave messages of peace in silkscreen invigorating.
This salute to the feminism of the second wave expands to Jeanie Riddle, then, that Trump is the voice of racism and misogyny. “I want to amplify the idea that I’m not just talking about feminism, but also of all the movements in the world right now. This is not just a white man who can lead, there are many other voices […] That is, the color, also, is to see that it is on a spectrum, it is not just black and white. “
His work cultivates the ambiguities. His painterly gestures pour in sculpture and installation, in favor of pieces of furniture diverted as a support for paintings folded, the accumulation of latex and of the polymer clay shaped by it. Scraps of material and debris collateral are also integrated “because it wastes a lot and it is necessary to think at all,” said the one who makes it a point of honor not to throw anything away.
Photo: Pedro Ruiz The Duty
These are the remnants of the past that listens Maryse Goudreau, the one whose stories are off or missing images. Hence its propensity to establish archives, what it does, since 2012, around the beluga whale, a species in decline. “[…] I pulls out and creates images, she writes, that will not be, therefore, of a scientific nature, documentary or political. […] For each project in my archive, there is a box for doubt, to remember, to tame and adopt a position that can no longer feign neutrality. “
The test video in the world, the opus freshly delivered of this set, is taken up in Russia, “without permission to shoot,” she said with enthusiasm, pointing out the feat. The guiding thread of this adventure is the transportation of the beluga whale, which the recent rescue of the babies was able to give stunning images, but which finds its roots in pour la suite du monde (1963) by Pierre Perrault, Michel Brault and Marcel Carrière, two sources referred to by the artist.
According to the inhabitants of Isle-aux-Coudres, which, to the memory of their children, had reconstructed the fishing of beluga whales in front of the camera, Maryse Goudreau has simulated the transport of a mammal with a backbone made of white marble. That was before she fell, in Russia, on the trail of a market actual export of beluga in this country which is the world leader, although unable to make the reproduction, reveals his film. In him, ” says one of the protagonists russians met, there was not a single case recorded birth in captivity.
Alarmed by this disaster, the artist unearths events, personal and collective, which it joined in a constellation invented. “The project started with the term “nursery beluga”, that environmentalists have made known to you in fighting for the preservation of their natural habitat in the St. Lawrence river, off Cacouna. On a beach of Anticosti, I also saw a carcass of a baby beluga whale. It was like a sign came to me, ” that which was made, in December, the first prize winner Lynne Cohen (MNBAQ).
Precarious status and disappearance are in the about as in the form of the work. “I want to bring the subject sensitively, not with a closed fist, but with the desire to repair, take apart, and I could quote the title of a new collection of reflections ecofeminists saying the same part of the world [les Éditions du Remue-ménage, 2017] “.
At the time of writing these words, Maryse Goudreau was febrile and had its first expo in a montreal artist-run centre, at Dazibao, partner with the PRIM of the residence who supported the production. The development in the world of the artist is meant to be a call, a reflection on the following things, on the ” legacy for the next generations “. She will compose another chapter of his archive on the social history of the beluga whale this summer to Churchill, Manitoba, where, in July, ” is the largest gathering of beluga whales on the planet “.
Jeanie Riddle holds its third exhibition in the gallery private, Antoine Ertaskiran, with which it will be in a fair in Los Angeles later this winter. “I am privileged as a visual artist in Montreal. […] I would like to be a model for other women… for my daughter ! “
The anchor in the past, even paying tribute to the figures of inspiration, this is the point shared by these artists who, resolutely, as we say in 2018 to look ahead. “The future is female “, said and still says the slogan.
Jeanie Riddle was born in Montreal in 1969. After having lived in San Francisco in the 1990s, she studied visual arts at Concordia, where she was a graduate of a bachelor’s degree (2002) and a master’s degree (2005). She lives and works in Montreal.
Maryse Goudreau was born in 1980 in Pointe-à-la-Croix. A graduate of Concordia in the visual arts with bachelor degree (2011) and master’s (2016), she lives and works in Escuminac (Gaspésie) and Montreal.
Expos to monitor
Ten years after the death of Betty Goodwin, her career will be over in February by the gallery owner Roger Bellemare and his partner Christian Lambert, who gave him his first expo it was more than 45 years.
In addition to the photo, Eve K. Tremblay has dared to ceramics, drawing and painting. The results will make their expo in January for Instance, exploring the links the symbiotic of the living.
Karilee Fuglem do the installation in front of an audience of his delicate work. The invitation of the curator Pierre-François Ouellette will be recorded in the margin of Art souterrain, of which the edition on the theme of “Labor Improbus” will take place in march.
Kapwani Kiwanga (born in Hamilton, Ontario) is a rising star based in Paris and popular everywhere in the Centre Clark offers the first solo in Quebec. Currently, the expo showcases fictions of geography.
The gallery Division will do things differently by giving carte blanche to the guest curator Aseman Sabet. It will bring together in march by the gallery’s artists with other by elective Affinity, linking the arts, sciences and extrasensibilité human.
The director of the Darling Foundry, Caroline Andrieux, y also goes for his title as a loan literary. With the Drinkers of quintessences, it present works be measuring to infinity, including the Hungarian Janos Sugar, a camp fire kept active. As early as the 22nd of February.
Put forward by the expo group, the figure of the commissioner will be the subject of a residence based participatory Sepake Angiama, in a formula that’s off the beaten path to the gallery SBC this Saturday.
The retrospective at Vox by the curator Véronique Leblanc of the collective Russian Chto Delat (pictured) promises to illuminate the political resistance exercised against the regime of Vladimir Putin. From 14 February to 31 march.
Open letter to women
Of Jeanie Riddle at galerie Antoine Ertaskiran, 1892 rue Payette, until 10 February.
Set in the world
Maryse Goudreau at Dazibao, 5455, avenue de Gaspé, espace 109, until 17 February.