Mathieu Beauséjour—Clément de Gaulejac—Aude Moreau—David K. Ross—Karen Elaine Spencer
Revus
Mathieu Beauséjour develops his work in a perspective of resistance, diversion or, as he likes to call it, semiotic terrorism. He has exhibited installations regularly since the mid-1990s. His works have been presented in Canada, Europe and the Americas, in artist centres, public and private galleries, events, biennials and museums. www.mathieubeausejour.com
For the past ten years, Clément de Gaulejac has been living in Montréal. A post-conceptual artist and cartoonist, he is currently pursuing a doctorate in arts studies and practices at UQAM. His work has been shown at Feng Zikai Museum (Shanghai, 2012), L'oeil de Poisson (2011), Occurrence (2010), Dare-Dare (2007), Galerie B-312 (2006) as well as in several group exhibitions (Atelier Punkt, 2009, Charles S. Scott Gallery, Vancouver, 2006, SAW Gallery, Ottawa, 2006). In 2011, he published Le livre noir de l'art conceptuel, Le Quartanier publications , as well asValoir le clou : Une histoire lacunaire de l'accrochage, in the Altérité magazine.
Since the 2000s, Aude Moreau has developed a body of works in which the everyday productions directing our living spaces are transferred to the aesthetic sphere. She has presented her work in Québec, France, Italy, the United States, Luxembourg and the Czech Republic. Her creations are also Prêt d’oeuvres d’art du Musée national des beaux-arts du Québec (2008) and the Art Bank of Canada (2010). www.audemoreau.net
Since 1992, David K. Ross's artistic practice has shifted from an interest in drawing and installation-type work to projects that include a cinematic approach. His training as an architect feeds both the content and the methodological approach he chooses to realize his projects. Her work was presented at the first Triennale québécoise, at the musée d’art contemporain de Montréal (2008) and at the musée d’art de joliette (2007). www.graphicstandards.org
Karen Elaine Spencer is currently pursuing the Transient Traces Project (2008-2012) where she appropriates the words of others to send them to politicians and other public figures. Her practice oscillates between so-called « furtive » acts, in the street, gallery exhibitions and interventions on the web. She was curator of Gosser le furtif / Teasing the Furtive at the Skol Center (2010-2011) and her text on the Performance Collective Trafic was published in the Lost and found catalog / Le bureau des objets trouvés(2011) .
-Oening Friday MARCH 23, 2012. 5:00 PM
Galerie B-312 celebrates twenty years of ambitious projects with Revus, an exhibition drawing its origin from the gallery's guest books. Five artists - Mathieu Beauséjour, Clement de Gaulejac, Aude Moreau, David K. Ross and Karen Elaine Spencer - were invited to work from these twelve guest books. Two decades of signatures, comments, sketches, graffiti. A compendium in twelve volumes, vast repertoire of manuscripts, sometimes signed, often anonymous. Collection of good words, trivial, sometimes laudatory, sometimes coarse. A true witness of everyday life, touching by their power of ingenuity and simplicity. The accumulation of these filled out books does not lead to the deeper knowledge of a subject, a thing or an object, they are repeated, quite simply, to create a veritable fresco of almost nothing. For many, it is a question of signifying their passage to the gallery. For others, it's a word of encouragement, a reflection on the work, addressed to the artist. For some, these books become real outlets for their relationship to the work of art, anonymity serving as an elixir, such phenomena can currently be observed on the Internet and in social media. -What does this nearly obsolete objet represent today? Does it carry a collective memory? What is the special role in exhibition venues? How and what does it reveal? What to do with it? -From these parameters, each artist has designed a unique and unusual work. To discover how artists have reclaimed these unique works, a visit to Galerie B-312 is essential.
Mathieu Beauséjour develops his work in a perspective of resistance, diversion or, as he likes to call it, semiotic terrorism. He has exhibited installations regularly since the mid-1990s. His works have been presented in Canada, Europe and the Americas, in artist centres, public and private galleries, events, biennials and museums. www.mathieubeausejour.com
For the past ten years, Clément de Gaulejac has been living in Montréal. A post-conceptual artist and cartoonist, he is currently pursuing a doctorate in arts studies and practices at UQAM. His work has been shown at Feng Zikai Museum (Shanghai, 2012), L'oeil de Poisson (2011), Occurrence (2010), Dare-Dare (2007), Galerie B-312 (2006) as well as in several group exhibitions (Atelier Punkt, 2009, Charles S. Scott Gallery, Vancouver, 2006, SAW Gallery, Ottawa, 2006). In 2011, he published Le livre noir de l'art conceptuel, Le Quartanier publications , as well asValoir le clou : Une histoire lacunaire de l'accrochage, in the Altérité magazine.
Since the 2000s, Aude Moreau has developed a body of works in which the everyday productions directing our living spaces are transferred to the aesthetic sphere. She has presented her work in Québec, France, Italy, the United States, Luxembourg and the Czech Republic. Her creations are also Prêt d’oeuvres d’art du Musée national des beaux-arts du Québec (2008) and the Art Bank of Canada (2010). www.audemoreau.net
Since 1992, David K. Ross's artistic practice has shifted from an interest in drawing and installation-type work to projects that include a cinematic approach. His training as an architect feeds both the content and the methodological approach he chooses to realize his projects. Her work was presented at the first Triennale québécoise, at the musée d’art contemporain de Montréal (2008) and at the musée d’art de joliette (2007). www.graphicstandards.org
Karen Elaine Spencer is currently pursuing the Transient Traces Project (2008-2012) where she appropriates the words of others to send them to politicians and other public figures. Her practice oscillates between so-called « furtive » acts, in the street, gallery exhibitions and interventions on the web. She was curator of Gosser le furtif / Teasing the Furtive at the Skol Center (2010-2011) and her text on the Performance Collective Trafic was published in the Lost and found catalog / Le bureau des objets trouvés(2011) .