Ethecae is pleased to present Now Here No Where by March Hutchinson and Dita Kubin. May 6th to May 21

This exhibition brings together an independent body of work by each artist – the photography of Dita Kubin and drawings and paintings by March Hutchinson – as well as a collaborative project entitled Now Here No Where.

Dita Kubin’s black and white photographic series, Recollections: memory streams and the reconstructed portrait, are comprised of traditional wet-lab and digital processes subtly fused together. Kubin’s photographic montages attempt to explore the human figure in relation to the movement of time and space. Her reconstructed multi-dimensional portraits resemble memory streams, which are paradoxically abstract and detailed at the same time.
http://www.phudge.ca/

March Hutchinson’s series, On The Verge, tells a story of impossibility and makes it utterly unremarkable. It is a fantastical fiction describing a tiny moment in the vastness of the sky trapped by the necessity of balance. Each figure is precariously on its own precipice, and confined by space. These images are at once full of breath, lightness and movement, and yet also absolutely still. http://www.marchhutchinson.com/

Together, these two artists share a strong curiosity of time and space, and both work with images that express sensitivity to a particular moment. It is with great enthusiasm that they embarked upon a collaborative project, entitled Now Here No Where. This project developed as a call-and-response narrative where fragmented phrases and poetic imagery turned into a formal poem, which ultimately led them into a visual multi-media back-and-forth dialogue.

The show remembers what it was like to grow up in a small community—where cultural codes are invented at random. It examines the idea of complicity through compassion, family, and social ties. It illuminates the secret societies created after dark and the submissive acceptance of these societies by the normal townsfolk during their waking daylight hours.

Tucked up in the mountains is an exploration of contradiction/disconnect and the concept of captivity in the midst of sublime expanses. How else to explain a Bengal tiger caged by plastic deer fencing, surrounded by pine trees, and mocked by drunken visitors in the interior of BC? Or one woman’s desire, “to kiss it goodnight every night before bed”?

But for all this, Tucked up in the mountains is also a celebration. One of childhood, the strength of friendships, of sharing and of rituals. It encompasses the beauty in suffering and community. Ultimately, it celebrates self-discovery: whether as a child exploring nature with your dog, or as an adolescent tearing up this nature with the wheels of a pimple-covered boy’s 4×4.

Through the installation of a sacred grove, complete with a cast of characters, theme song and musical performances, visitors to Tucked up in the mountains will be invited to witness and participate in these myths. The spectators will be invited to try on the lives of our small town’s heroes and villains, literally through character sketches, masks, and costumes. The stories have been distilled from gossip, observation, and the artist’s own field-research. It is an evening of dance, music, poetry, and masks—worth discovering in the flesh.

Tucked up in the mountains is the work of multidisciplinary artist Frances McKenzie. Frances is the art director/ production designer for Teen Sleuth & the Freed Cyborg Choir, an award winning music-based multidisciplinary production. Teen Sleuth had successful runs in the 2009 Fringe Festival and Pop Montréal. Frances’ puppets, costumes, and video/animated projections brought the songs’ lyrical imagery to life.

Tucked up in the mountains will be exhibited at Gallery Ethecae (2131 St Catherine E.) The vernissage will consist of two evenings (April 29 & 30), where there will be a performance piece featuring music, masks, dance, and installation. The vernissage begins at 7h30 and performances commence at 8h30 sharp.

The theme music to Tucked up in the mountains was written by Ellen Smallwood (Creative Director/ Writer/ Co-musical Director/ Composer for Teen Sleuth) and will be performed by herself, Aleks Schürmer (Creative Director for Party like it’s 1699, Co-musical Director/ Composer & Keyboardist for Teen Sleuth), and additional Teen Sleuth members. The spectacle will also feature music by Schürmer aka Elliot Gold; composition and performance by violist Marcin Swoboda; and banjo player Max Kelly. Choreography will be by Allison Burns (Dancing in My Unbirthday Suit, Inertia Productions, Teen Sleuth), Heather Keiller (Choreographer, Stage Director of Teen Sleuth), Lydia Jenvey (teen sleuth, finnisant Ladmmi ecole de dance contemporaine) and dancer Maya Acker.

Following these spectacles, each evening will feature a unique line-up of bands. April 29 will be Reversing Falls, David Simard w/ Mona, and an acoustic set by Teen Sleuth. April 30 will be Kara Keith, Lovers are People, and Mourning Coup.

We cordially invite you to immerse yourself in our sacred grove; to tuck yourself up in the mountains and to come back again, asking: “what was that that just happened?”

Tucked up in the mountains: a small town mythology
by Frances McKenzie
Presented by queen sleuth design

Gallery Ethecae- 2131 St Catherine E.
2 min from Papineau metro
$7 at the door

Apr. 29: 7h30pm: vernissage

8h30pm: gallery performance by members of Teen Sleuth, Elliot Gold, Marcin Swoboda, Max Kelly, w/ choreography by Allison Burns. Sets by Reversing Falls, David Simard w/ Mona, and an acoustic set by Teen Sleuth

Apr. 30: 7h30pm: vernissage

8h30pm: gallery performance by members of Teen Sleuth, Elliot Gold, Marcin Swoboda, Max Kelly, w/ choreography by Allison Burns. Sets by Kara Keith, Lovers are people, and Mourning Coup.

www.queensleuthdesign.com/events/tuckedupinthemountains

Exploring the intersection of mark‐making and various bodies of knowledge, our corpus is driven by broad areas of research, and our definition of “drawing” is not necessarily traditional – it is understood as the paradigm where our artwork plays itself out. Through it, we engage in political, social, and personal investigations.

The works range from classic marks-on-paper drawing styles, to accumulations which transgress into the world of sculpture. Mirrored surfaces, mental landscapes, the beautiful and the bizarre cross-pollinate as a result of our collective interventions into knowing. We invite you to immerse yourself in our findings.

These 27 artists are upper year students of Concordia University and practice across many different media.  Several have shown their work in local, national and international venues.

The artists in RESEARCH AND DESTROY are:
Kandis Friesen, Kesha Frank, Zoe Hussey, Marija Mikulic, Marko Savard, Paige McLachlan, Heather Utah, Joseph Chadi, Jorge Florian L., Diane Lambin, Jennifer Wicks, Maya Hajdu, Cora Woellenstein, Andrea Davidge, Humboldt Magnussen, Marlee Parsons,Cam Matamoros, Manuela Della-Posta, Tallulah Iziz-Wilde, Stephanie-Tara Chartrand, Emily Cloutier, Melissa Harendorf, Munire Deniz Turegun, Olivier Forgues

Seventeen horizons

Different forms, different backgrounds, different playgrounds attraction, gravity pulls us to images-in movement human activity-the everyday walking the construction-of form the creation of sound letters-text for one week we are gathering.

Dix-sept horizons

Différentes formes, différentes expériences, différents terrains de jeu attraction, gravité nous attire vers images et mouvement activité humaine et quotidien marcher formes construites la création du son lettres et texte pour une semaine nous nous rassemblons.

du 22 au 31 mars

BIOGRAPHY

When we came together in the fall of 2009 in an advanced studio class at Concordia we were not able to envision unity between the diverse works each of us were creating. Eventually a discussion began on how the gallery might both constrain and expand artwork. We became excited by the potential of experiencing our work collectively and we asked questions: What happens if we engage in making work in order to activate the gallery as a social space? What happens when the objects we have made are the point of departure for our art rather than the completion? What happens when the dialogue between objects and actions become an essential element for the curatorial team? What does an exhibition look like when the experience of the art is emphasized?

And so we seventeen artists are asking questions and we are excited to offer an invitation to the public to join us as we Play Between; Entre-Deux.

Aidan Connolly. Bernadette Lefebvre. Brian Houtman. Clarence Quirion Nolin. Corrie Peters. Dana Dal Bo. Daniel Luna. Irene Lepiesza. Isabelle Scarfo. Jeremy Costa. Jessica Watchorn. Julia Colley. Marc-Antoine Pepin. Marie-Pier Malo. Philippe Cool. Rebecca Patrick. Teresa Maglietta.

Lors de notre rencontre dans un cours d’atelier avancé à l’Université Concordia à l’automne 2009, nous ne pouvions envisager de point commun entre nos productions diverses. Puis une discussion pris forme sur la façon dont la galerie peut autant restreindre qu’étendre la portée de l’œuvre d’art. Nous sommes devenus intrigués par la possibilité d’observer nos œuvres interagir entre elles. Que se passe-t-il si on produit dans le but d’activer la galerie en tant qu’espace social ? Qu’arrive-t-il lorsque les objets qu’on crée sont le point de départ de notre production plutôt que son but ? Qu’arrive-t-il lorsque le dialogue entre les objets et les actions devient un élément essentiel pour les commissaires ? De quoi a l’air une exposition lorsque l’accent est mis sur l’expérimentation de l’art ?

Nous, dix-sept artistes, posons ces questions et invitons le public à nous joindre pour Play Between ; Entre-Deux.

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Depuis quelques années mon travail pose un regard critique et humoristique sur le rapport de contrôle que l’homme entretient avec son environnement. Voguant entre visions et cauchemars, les scènes présentées dans ces tableaux se révèlent comme de courtes histoires improbables qui oscillent constamment entre comédie et tragédie. Jouant sur l‘incompréhension des phénomènes naturels et les mécanismes de défenses qui en découlent, ces œuvres caricaturent les nombreuses répercussions du dé balancement global vis-à-vis de notre perception de la nature. Jouant sur des concepts de vengeance et de malheur, la réalité naturelle se voit ici remaniée en fiction proprement humaine. Les événements et les images constituant notre imaginaire de l’horreur se coordonnent ainsi pour dresser le portrait d’un quotidien caractérisé par une forme de paranoïa, s’écartant de toute forme de logique.

Ces œuvres sont tous construites selon une technique de fragmentation : une accumulation de miettes de papier peintes individuellement et marouflées sur toile. Le résultat crée une impression de désordre, voir une sorte de mosaïque à la limite du tremblement.

Ces éléments du réel détournés, s’entrechoquant les uns aux autres, créent une suite d’événements se positionnant dans le temps. Que ce soit dans les images où l’on distingue clairement un objet ou dans celles où l’on ne fait que le deviner, cette allusion à la réalité implique une certaine forme de récit. L’interaction successive entre les éléments dissemblables de l’image produit une suite d’événements qui n’est pas élucidée, qui ne mène pas à une fin. C’est cette absence de fin qui donne une impression d’incomplétude, une ouverture qui crée du sens.

Stéphanie Matte vit et travaille à Montréal. À la suite d’un séjour à l’École supérieure des beaux-arts de Marseille, elle complétait en 2007 un Baccalauréat en arts plastiques à l’Université Laval. Son travail a été présenté au Québec, en France, en Belgique et au Brésil.

Pour l’artiste, le crâne est un double du miroir: que l’on regarde un crâne ou un miroir, on a toujours l’impression de voir à la fois son propre reflet et celui d’un autre. Néanmoins, le crâne ne laisse jamais place au doute: on sait qu’il ne s’agit pas de nous.

Pourquoi peindre ce crâne? Parce que le crâne est un motif surconnoté, saturé de sens et qu’à notre époque on le retrouve partout. En démultipliant ce crâne dans ces oeuvres, l’artiste essaie de lui faire perdre son sens. Le crâne devient alors un prétexte pour peindre.

Guillaume Clermont a fait ses études à l’Université Laval ainsi qu’à l’École supérieure des beaux-arts de Marseille. Depuis 2005, il a présenté son travail au Québec, en Pologne, en France et en Allemagne. En 2009, il a réalisé l’exposition Baglady (ou la grosse poche pleine de fleurs) au Centre d’exposition Circa. Il vit et travaille à Montréal.

www.guillaumeclermont.org

Le rituel Soyez visibles sera l’occasion d’une découverte de ses rythmes et de ses rayonnements, ceux-là même qui émanent des personnes animées de grands projets pour l’humanité. Les traces des improvisations ayant pris place durant événement seront exposées dans l’espace de la galerie pendant une semaine suivant le rituel.

Soyez visibles (Become Visible) is the third ritual organised by Organ Mood (Christophe Lamarche et Mathieu Jacques). This happening of musical and visual improvisation in time is an immersion through a series of hypnotic rythms, melodies, motifs and projections. The ritual Soyez visibles (Become Visible) will explore the inner rythms and radiances, precisely the one emitted by the people driven by large scale projects for humanity. Traces of the improvisation will be kept as an installation for a week following the ritual.