Dans l'intervalle

OLIVIA BOUDREAU

Dans l'intervalle

  • Exhibition
© Olivia Boudreau, Dans l'intervalle, 2010, Galerie B-312—Photo: Paul Litherland

Olivia Boudreau is a video artist. Her work has been shown in several recent exhibitions, namely: Dazibao, the Leonard & Bina Ellen Gallery, SBC Gallery of Contemporary Art and the UQAM Gallery. This year, in addition to being a laureate of résidence de recherche jeune création Montréal-Valence she will be at Toronto's Nuit Blanche. Holder of a Master's degree in Visual and Media Arts from UQÀM, she lives and works in Montreal where she is a resident artist at the Darling Foundry.

9 September 2010 to 9 October 2010

—Opening Thursday September 09, 2010 at 5 PM

Galerie B-312 is pleased to open the 2010-2011 season with an exhibition by Olivia Boudreau. Two videos will be presented Le Bain (2010) and (2007). Olivia Boudreau’s work is remarkable for having combined the respective temporalities of performance and videography, the moment and the duration. With Box (2009) and La Levée (2008), shown at Dazibao, and now with Mouchoirs and Le Bain, Olivia Boudreau demonstrates her determination to explore the possibilities of this binding of time.-Olivia Boudreau starts from the sequence-shot, the isochrony between the filmed time, the point of view, the time that the video is watched later and finally the details that come about. Thus, in Le Bain, a man and a woman are filmed while they take a bath together, but yet they are light years apart. The distance between this man and woman widens as the film goes on. The actual duration of the film thus participates in the reading of an incommensurable distance between two beings; a reading that opens on all the fictions that would tell why it is impossible for these two beings to be for a moment in the same temporality Mouchoirs is also the result of a transformation, that of a purely formal image into another. Throughout the first seconds, the image is a pure frozen form. But the shape starts to move, gradually and for a brief moment, somebody’s fingers appear, removing a tissue. The pure form was a closeup, tightly framed, a pile of tissues resting on a table. The film lasts until the removal of the last handkerchief. With Le Bain and Mouchoirs Olivia Boudreau does not give us access to the time of a story or to the transformation of a purely formal image into another. It invites us to experience time when it makes us sensitive to change, fluctuation, the passage into sameness, to variation, to mobility, to movement, to contrary states when they coexist. This time is not one that tells, but a time that shows. And Olivia Boudreau allows us to unequivocally distinguish these two forms of time.

—Translation of a text by JEAN-ÉMILE VERDIER