Season 2015 – 2016
Peter Krausz Photographies | Photographs 1969-2015
Exhibition: September 4 to 26, 2015
Vernissage: Thursday September 3 at 6 pm
Artist’s Talk: Thursday September 17 at 7 pm
The McClure Gallery is honoured to present the exhibition — Peter Krausz Photographies | Photographs 1969 – 2015. While celebrated as a well-known painter, in this exhibition Peter Krausz reveals another aspect of his démarche: a large body of images which span the time from 1969, just before he left Romania, until 2015, when he returned there for a visit. While the artist has used photography both in his installations and as sources for his large paintings, he has never shown this body of work publicly. This exhibition represents for the artist a long personal journey with images from Romania, Czechoslovakia and Italy from 69-70, Mount Athos and Mexico 77-78, Montreal in the 70’s, Turkey and India, etc.
Sandra Paikowsky writes: “Photographs by Peter Krausz are both a reflection of a career and a meditation on a life. Autobiography is at the core of visual art and these photographs document, by accident or intent, the journeys of a determined voyager, the peregrinations of a relentless traveller.” The starting point of this exhibition was a documentary film about the artist titled (No) Man’s Land produced by cinematographer Doina Harap between 2007 and 2010. Krausz began a years-long process of re-examining and selecting from photographs taken over several decades of his life, revealing images of places and events that are vaguely identifiable but leave us with a sense of disquiet, uncertainty. Solitary figures often appear against starkly empty urban spaces such that both figure and ground evoke a strong sense of the layeredness of history and memory, both personal and collective.
A catalogue of 70 reproductions, including a foreword by art historian Sandra Paikowsky and a conversation between the artist and gallery director Victoria LeBlanc, accompanies the exhibition.
Born in Romania and trained at the Bucharest Institute of Fine Arts, Peter Krausz has lived in Montreal since 1970. Formerly the curator of the Saidye Bronfman Centre Art Gallery and a teacher at Concordia University, he is currently a tenured professor at Université de Montréal. Since 1970, he has participated in numerous solo and group exhibitions in Montreal and across Quebec, Canada, the United States as well as in Europe. His works can be found in many prominent private and public collections such as The Montreal Museum of Fine Arts, The National Museum of Fine Arts in Quebec, The Montreal Contemporary Art Museum, The Jewish Museum in New York, etc.
Photographies | Photographs 1969-2015
– Peter Krausz
76 pages (50 reproductions)
french / english
ISBN : 978-1-926492-06-3
McClure Gallery, 2015
available: McClure Gallery
$ 24.95 + tx
Matthieu Bouchard, Ludovic Cléroux, Allison Katz and Bea Parsons
Light Falls on Things: the Metaphysics of Painting
Light Falls on Things: the Metaphysics of Painting
Exhibition: October 2 to 24, 2015
Vernissage: Thursday, October 1st at 6 pm
Curator’s Talk: Thursday, October 8th at 7 pm
Light Falls on Things: the Metaphysics of Painting is curated by well-known artist David Elliott. It presents a rousing exhibition of the work of four artists – Matthieu Bouchard, Ludovic Cléroux, Allison Katz and Bea Parsons – all of whom remind us that, in Elliott’s view, “metaphysical painting is alive and well in the 21st century.”
David Elliott’s curatorial direction is informed by a longstanding fascination with the metaphysical in art. Far from limiting the term to the work of De Chirico, he sees it cutting a swath through the entire history of western art, from the late Gothic painters to Philip Guston. “Maybe the best way to describe the metaphysical in painting is as a place where certainty and mystery are locked in an intense and sublime embrace. It is exactly in this place that these four artists practice their art, re-affirming painting as the great speculative medium.” While working in very different styles, they are linked by their rejection of the “big in-your-face statement,” opting instead for a more delicate balance between the ordinary and the extraordinary, able to delve into the “most minor thing, a trifle” to open it up in revealing ways.
Elliott writes evocatively and with passion about each of the artists selected for the exhibition. Matthieu Bouchard’s work carries an air of “forensics” with the use of skulls, corpses and crime scenes as he moves between his own version of magic realism and process-based abstraction. “All his paintings are imbued with light, at times beautiful, at times unsettling, but always affecting. . . There is always the sense of something lurking just underneath the surface or just beyond reach.” Ludovic Cléroux’s images of solitary rooms capture a sense of ever shifting light and the passage of time. “An overhead projector abandoned in favor of the rigor of direct observation, sits personified on a stool like one of De Chirico’s mannequin philosophers or all-knowing eyes. . . creating spaces of great profundity, reservoirs for intense perception, thought and measure.” Of Allison Katz, Elliot notes, “Chameleon-like, her paintings and exhibitions can take on a variety of casts, from the concise integrity of a bouquet of store-bought flowers on a wooden shelf to the pandemonium of nudes and monkeys swimming on a gessoed ground. . . Allison has the remarkable ability to get inside one’s head, as though she has tapped into our dreams, our fantasies, the peculiarities and peccadilloes that drive us and make us human. “Elliott describes Bea Parson’s paintings as oracles, “mesmerizing with their inner glow. . . The swirling brushwork possesses the qualities of the natural forces of wind and water, eroding one form to create another. There is a lively dialogue between abstraction and representation, as the recognition of imagery comes and goes, a flower, a vase, the face of the moon, most startlingly a chicken’s foot.”
For anyone interested in painting’s sustaining power, this is an exhibition that underlines just that, presenting four young artists whose work continues to provoke and exult.
Preview: October 31 to November 5, 2015
Gala evening and sale: Thursday, November 5 at 6 pm
Exhibition continues to November 11
Following the tremendous success of our last Square Affair exhibition, we are once again inviting you to join us in the McClure Gallery for this fundraising event. Featuring over 300 artworks “by the square foot” from small to medium format, we invite participation by all those involved in our dynamic arts community – artists, students, teachers and talented staff. Don’t miss this rare opportunity to view and purchase affordable art in a wide variety of styles and media. Tickets to the Gala Event and Opening Sale entitle ticket holders to first dibs on great art plus wine and hors d’oeuvres.
Lucassie Echalook, Mattiusi Iyaituk
Between Tradition and Innovation
Between Tradition and Innovation
Exhibition: November 20 to December 16, 2015
Vernissage: Thursday November 19 at 6 pm
Curator’s Talk: Friday November 20 at 7 pm
The McClure Gallery of the Visual Arts Centre is honoured to feature the sculptural works of Mattiusi Iyaituk and Lucassie Echalook in the exhibition, Ullumimut − Between tradition and innovation. The exhibition is undertaken in collaboration with the Avataq Cultural Institute and curated by its Director of Museology, Louis Gagnon, and multidisciplinary artist Beatrice Deer. A 68 page catalogue accompanies the exhibition.
Mattiusi Iyaituk and Lucassie Echalook are two of the most renowned contemporary Inuit sculptors, admired for their art but no less for their contribution to the preservation of the Inuit culture of Nunavik. Through the use of both traditional and innovative materials, they shape the gestures of human, animal and shaman, evoking the quotidian stories, myths and dreams of their way of life. Yet while so deeply enmeshed in their immediate environment − a vast and distant geography that remains to most of us an unknown place − their works transcend the particular to speak of more universal truths. In Echalook’s intertwining figures, carved so judiciously out of one block of soapstone or steatite, we recognize the human need for the bonds and succor of community. In Iyaituk’s lone shamans, whose arms, antlers and trance-like stares seem to petition the surrounding vastness for spiritual guidance, we acknowledge our desire for connection to a world beyond the self. The sculptures mine these themes with formal rigour, humour and haunting beauty.
Approximately 30 works of Iyaituk and Echalook are featured in the exhibition, graciously loaned by the Fédération des Coopératives du Nouveau-Québec. Also included is a selection of works by five Inuit artists from Montreal: Tanya Innaarulik, Nicoletta Mesher, Maggie Kiatainaq, Nancy Saunders and Gabriel N. Koperkaluk. Despite the urban influence, the use of innovative media and types of expression −which at first glance suggest a risky divergence from tradition − the works unerringly reflect their Inuit heritage. Their inclusion highlights the inexorable power of culture and identity and its capacity to invent itself anew.
Ullumimut | Between tradition and innovation – Lucassie Echalook and Mattiusi Iyaituk
68 pages (36 colour reproductions)
inuktitut / french / english
ISBN: 978 –1-926492 -08 -7
McClure Gallery and Avataq Cultural Institute, 2015
available: McClure Gallery
$ 24.95 + tx
Vernissage: Thursday, January 7 at 6 pm
Exhibition: January 8 to 30
Artist’s Talk: Thursday, January 14 at 7 pm
The McClure Gallery is pleased to present the exhibition Navigations featuring the recent work of Maclean. Approximately seventeen oil paintings are included in the exhibition. Here, as in the past, Maclean explores the symbolic potential of painting through the visual language of road signs, astronomical charts and the geometry of constellations. His work represents a continuing meditation on our relationship to modernity, the land and modern industrial civilization.
While the most familiar aspect of Maclean`s work is the road sign imagery – in particular his
A R Tstop signs (2000-2001) – in this exhibition the artist moves back and forth from the obviously iconic to more recombinant metaphors, resulting in a resonant navigation or negotiation of themes. Maclean notes, “I am as inspired by mundane everyday urban fabric and other material detritus as I am by historical works of masters and dabblers in art history.” He subsequently quotes, borrows and steals from his various sources, in the hope of stumbling upon “unexpected results that will confound as much as they may please.” Maclean`s paintings are often as reductive visually as they are poetically enigmatic. Indeed, it is through such formal simplicity and equilibrium that he is able to visually articulate the confounding reflection he seeks. In What on Earth is Going On, the road and its signage have been deconstructed such that any collective interpretive language or strategy through which we might negotiate the world is effectively collapsed. In works such as The Way (after Vincent), the conflating of art historical references with the starkness of urban signage suggests the way forward is far from clear; the transformed iconic tree provokes a profound reflection on our contemporary world. Maclean`s on-going exploration of these themes is undertaken in a singular painterly language that is both visually honed and arresting.
Maclean has been working in Montreal since 1996, shortly after completing his undergraduate degree in fine arts at the University of Manitoba earlier that year. He has exhibited his work with Galerie Roger Bellemare (now Galerie Roger Bellemare and Christian Lambert) since 2004. He lives in the Mile End with his wife and son.
Dil Hildebrand Whilst Hanging From a Round Planet
Vernissage: Thursday, February 4, 2016 at 6 pm
Exhibition: February 5 to 27
Artist’s Talk: Thursday, February 11 at 7 pm
The McClure Gallery is pleased to present the exhibition Whilst Hanging From a Round Planet featuring recent paintings and collages by Dil Hildebrand. Hildebrand’s paintings and drawings centre on the architectural and constructed image. The paintings that comprise the main part of his work mimic the scale and structure of architecture, framing the body in life-sized patterns. Inspired originally by ancient Roman trompe-l’oeil frescoes and informed by a diversity of other influences and interests including Henri Matisse and modern architectural movements, Hildebrand explores the shared lineage of architectural formation, in particular, the window / door motif, with painted images.
This exhibition takes its title from a passage in The Nature of the Physical World by physicist Sir Arthur Eddington. He describes how the seemingly simple act of entering a room becomes a series of complex reflections for the physicist, as he considers the role that gravity, the rotation of the earth around the sun, and the fourth dimension all play in the movement of his body into a constructed space, writing:
“I must make sure of landing on a plank travelling at twenty miles a second round the sun – a fraction of a second too early or too late, the plank would be miles away. I must do this whilst hanging from a round planet, head outward into space, and with a wind of aether blowing at no one knows how many miles a second through every interstice of my body.”
The artist notes that such paralyzing ambivalence can in a sense serve to describe “the act of making and perhaps even encountering paintings – a physical revulsion to the prospect of being transformed by the experience.” The sense of the body’s instability in motion described so eloquently by Eddington finds its parallel in the dizzying experience of entering the pictorial space of Hildebrand’s paintings and collages, where the illusion of varying planes of space is contradicted by punctuations of flat line, and textural elements are just as likely to be realized by the collaging of materials as by the skillful painting of a convincing illusion. Such corporeal instability in viewing the work is both enriched and countered by the artist’s carefully nuanced palette which adds an element of resonant poetry to the mix.
Dil Hildebrand is an artist living and working in Montreal, Canada. Hildebrand’s work has been shown internationally and has been collected by major public institutions throughout Canada. Hildebrand is an MFA graduate of Concordia University, Montreal, and has been awarded a number of distinguished grants and awards including the International Residency at Acme Studios, London UK (2013); the Canada Council for the Arts (2010); the Banff Centre Thematic Residency (2009); Conseil des arts et des lettres du Québec (2009) and was winner of the RBC National Painting Competition (2006).
The artist would like to thank Pierre-Francois Ouellette art contemporain and Canada Council for the Arts.
Sonia Haberstich Accepter le désordre
Vernissage: Thursday, March 3, 2016 at 6 pm
Exhibition: March 4 to 26
The McClure gallery is pleased to present the recent work of Sonia Haberstich, in which some three-hundred richly coloured sculptural and painted elements come together as a dynamic installation. The artist creates an environment where visual and tactile interactions between different forms are at the centre of the viewer’s experience. The installation suggests possible visual parallels such as with certain pathologies, cells in mutation, or photographs taken under a microscope.
The visceral and visual impact of these hybrid installations is multi-layered, provocative. The artist notes that, often, the paths we follow to access buried things are tortuous. Visible worlds are governed by invisible forces. The depths of the oceans and the bowels of the earth, the infinitesimally small, and the infinitely far are manifested around us by unpredictable actions. The inner body shelters secrets which appear at the surface in completely unexpected ways. An incessant war is waged in service of the maintenance of a constantly oscillating equilibrium, an equilibrium that keeps us alive.
“My paintings surprise me. I paint in order to see them emerge. They seem to originate from a generally foreign place. I think of my mother. Of illness. Of bacteria. Of viruses. Of the past. Of secrets. Of past thoughts. Of silence. Of confidential meetings. Of decisions made in secret. And of all the things that get away to break out at the surface.
I pour streams of paint. I make objects with plaster and cover them with colour. All of these forms co-habit the exhibition space. I know nothing more than this. Words slide off of these surfaces. It is not necessary to know anything more.”
Sonia Haberstich obtained a BFA in 2004 and a MFA in Painting from Concordia University in 2008. She has had many solo exhibitions and her work has been featured in numerous group exhibitions in Quebec and abroad. Sonia Haberstich has received many grants and her work has been the subject of publications. She lives and works in Hudson, Quebec.
Annual Student Exhibition
Vernissage: Thursday, April 7, 2016 at 6 pm
Exhibition: April 8 to 23
Students registered in the Visual Arts Centre’s School of Art are invited to exhibit their work. The exhibition includes a variety of media and gives students the opportunity to exhibit in the context of a professional gallery. It’s also a chance to appreciate the great diversity of creative activity that takes place at the Centre.
Philippe Caron Lefebvre Instinct
Vernissage : Thursday, May 5th, at 6 pm
Exhibition : May 6 – 28, 2016
The McClure Gallery is pleased to present the recent work of Montreal artist Philippe Caron Lefebvre. This installation-based exhibition includes several large-scale sculptures together with collage and graphic wall pieces. Made of diverse materials including wood, ceramic, and polyurethane, Caron Lefebvre’s work walks the line between figurative and abstract, natural and artificial, primeval past and fantastical future.
A central theme is the concept of mimesis as an evolutionary process in nature, wherein plants and animals survive through biological adaptation, learning to grow and change in relation to their environments. This mimesis goes beyond simple imitation, involving the position of the body in space, the acquisition of language, mental processes, and synchronicity.
The artist is also inspired by science fiction literature and its themes of alternative futures, dystopian societies, new technology, and alien life-forms. With the strange, hybrid forms of his artwork, the artist transforms the exhibition space into a futurist ecological system, where wood is transformed into rhizomatic structures and polyurethane moulds itself into artificial coral reefs.
Philippe Caron Lefebvre holds an MFA from Concordia University and a BFA from UQAM. His works have been exhibited in various solo and group exhibitions in Québec, Mexico and Japan. He recently undertook residencies in Japan and in Mexico. He lives and works in Montreal.
Jaswant Guzder Navigating East West Hybridities
Vernissage: Thursday, June 2, 2016 at 6 pm
Exhibition: June 3-23
Artist’s Talk: Thursday, June 16 at 7 pm
The McClure Gallery is pleased to present the work of Jaswant Guzder, artist, writer, internationally renowned psychiatrist and psychoanalyst. This exhibition showcases a large number of works on paper created over several years.
Guzder’s art is intuitive and expressive. She employs the simplest of means: ink, watercolour, brushes and paper. To these she may add collage. Intermittently, she works on large canvas. Regardless of surface, the fluid mediums of ink and watercolour are perfectly suited to the articulation of a world beyond the ordinary, a watery psychic realm where boundaries are loosened as the self shifts in constant metamorphosis.
Much of Guzder’s artwork flows out of, and responds to her clinical work with refugees who have suffered displacement, loss and trauma. Their plight and stories of migration, however, are also hers. A child of South Asian parents, she understands first hand the diasporic struggle to belong, the quest for identity and the urgent need to define home.
The artist creates in series; the work may take a month, a week, a day. Such intense immersion encourages free association, plummeting the artist into a place where intuition, memory and felt experience converse and reveal. She continually navigates “east/west hybridities,” working with themes of exile, displacement and vulnerability and mining a wealth of cultural cosmologies, ideas and memories towards a visual mythos that poetically explores the struggles of transcultural identity.
Dr. Jaswant Guzder is Head of Child Psychiatry and Director of Childhood Disorders Day Hospital at the Centre for Child Development and Mental Health, Senior Consultant and former founding Co-Director of Cultural Consultation Service, Director for Family Therapy Residency Fellowship in Family Therapy at the Jewish General Hospital Department of Psychiatry. She is Professor, McGill Faculty of Medicine, Department of Psychiatry, Associate of McGill School of Social Work and psychoanalyst involved in clinical work, teaching, research and global mental health projects (mainly in Jamaica and India currently). Despite her many professional activities, she has sustained an active art practice that reflects her work with multicultural communities and refugee populations. Guzder has exhibited her work widely over the years in Canada and abroad in both group and solo exhibitions as well as contributing illustrations and cover designs for books and publications. Jaswant Guzder received the Queen Elizabeth II Diamond Jubilee Medal in 2013 in recognition of her outstanding contributions to McGill and to the community at large.
68 pages (53 colour reproductions)
french / english
ISBN: 978 –1-926492 -09-4
McClure Gallery, 2016
available: amazon .ca
$ 24.95 + tx