Archive for the art reviews Category

“It is winter on the dial and there is so much snow…”

Posted in art reviews on September 17, 2007 by laurenjane

Even before I went to the SAT’s espaceSONO::AUDIO.LAB[*], I had a conversation with a friend about how pretentious the exhibit sounded. He was right. Unfortunately unspectacular, neither the sound clips nor the setting left a great impression on me.

That’s not to say that there weren’t any noteworthy sound-installations. Many of the pieces hit me on an emotional level, some were simply entertaining, while other left me cold. In particular, I enjoyed a number of FISHEAD’s music remixes, as well as the beautiful pieces done by ERUPTION. Anna Friz made an interesting statement about the state of radio at the moment, but didn’t profoundly alter my perception of sound, while Katarina Zdjelar[†] hit me in the pit of my stomach so far as emotions go, but didn’t do anything with her medium that she couldn’t have done in a text-based work. I won’t mention the names of the artists who seemed to think that nine-minute clips of static or drilling would somehow be interesting, but then again, maybe I’m just not into sound.

The one piece that I did find myself entirely absorbed in, which was surprising as it was a fifteen-minute piece, was Francisco Lopez’s Addy En El Pais De Las Frutas Y Los Chunches[‡]. A journey through a natural soundscape, this work simply transported me, and invoked emotional responses to the movement through sounds. Thundering storms, crescendos of cicadas, teeming sewers, deluges of water, scraping gravel, all blended together to create a vivid mental motion picture, more interesting and powerful than anything conjured by the other works I listened to. Perhaps it was aided by complete darkness (I was inside the black box), but then again, I think the same effect could be achieved by switching off the lights.

This is what was most strikingly pretentious about the exhibit. Their presentation was lacking. The black box was perhaps interesting, but didn’t really make me feel like I was anywhere except inside a black box. The tent didn’t recreate some sort of camping environment and the air mattresses were frankly inconvenient when someone beside you got up and disrumpled your equilibrium. I do understand that there needs to be a place for these artists to exhibit their works, but I do wonder that if perhaps these were made available to me online, I wouldn’t get more from the clips in the comfort of my own home?

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[*] “La Société des arts technologiques [SAT] Society for Arts and Technology.” 17 Sep. 2007 <http://www.sat.qc.ca/event.php?id_event=954〈=en>

[†] “G A L E R I E S.N L.” 17 Sep. 2007 <http://www.artnet.nu/mnexpo.asp?exponr=29836>

[‡] Content & design by Daniele Volpin. “francisco lópez [ official website ].” 17 Sep. 2007 <http://www.franciscolopez.net/>

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Looking past and through reflections

Posted in art reviews on September 17, 2007 by laurenjane

Digital technology has moved us into an age where seeing can no longer be synonymous with believing. While the great power of visual media stems from our innate reaction to pictures and the tendency to believe our eyes above our other senses, many photographers have begun to render visible the manipulation of the photographic to the viewer.

Nowadays, it is common to feel foolish or tricked when alerted to the fact that something that was taken for ‘real’ is actually a fiction. With the advances in technology that have enabled us to create photorealistic images, we really can’t afford to believe our eyes any more. As a media savvy person, it is absolutely vital to look deeper and be mistrustful of anything presented as ‘truth.’

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The work of Danish photographers Trine Søndergaard and Nicolai Howalt exhibited at Montreal’s Mois de la Photo (Parisian Laundry, 3550 St-Antoine W.)exemplify the current photographic trend to create works that at first glance appear to be pure documentary, but with deeper contemplation reveal their underlying construction. The exhibit contains a selection of photographs of hunting scenes taken in different seasons in Denmark. At first glance, the photographs seem rather subdued. They reveal huge monochromatic vistas. Grassy or snow-covered fields dotted with dark figures often obscured by fog. But on closer inspection they become transparently manipulated. Most of the photographs have been colourised in the old-fashioned pre-Technicolor style. In this one the hunters’ hats are too orange; in another the grass is a little too green. And then a wave of realisation strikes: Why are the hunters all looking toward the horizon when there is a deer in their midst? And what are the dogs doing not chasing that bird?

These are images that need time to experience and contemplate, and the larger scale of the mural entitled Foxhill South, aids in the analysis and enjoyment of these artists’ works. The effectiveness of the exhibit is unfortunately diminished by the highly reflective glass over the photographs coupled with the opening hours which mean that there will always be too much sunlight and extreme reflections. But if one looks past (and through) this little inconvenience, this collection of photographs are full of interest, and make an important statement about reality and manipulation in photography and other visual media.

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