Video short by TFO 24. 7
Video short by TFO 24. 7
Colette Laliberté’s exhibition NBIISH-EAU-WATER is at the GNO from October 13th to November 15th 2017.
The GNO invites all artists to show their work and put it up for sale at the 2017 Nouveau Louvre. Whether you work with charcoal, oil paints, clay or stained glass, it doesn’t matter! We’ll be very happy to accept your artwork, show it in our gallery space and make it available for purchase to the many holiday shoppers who make it a point to take in this yearly art sale that has become a real holiday tradition in Sudbury.
The Nouveau Louvre is the GNO’s most important fundraising activity. All works of art at the Nouveau Louvre will be for sale at the single price of 200$, of which 125$ will be paid to the artist, and 75$ to the GNO.
We are accepting, as of today, up to two (2) works of art from each artist. These will be shown at the GNO from Saturday November 25th to Saturday December 23rd.
We encourage participating artists to bring in their work as soon as possible, so that we might document the artwork and make it available on the Nouveau Louvre website.
Artists have until Thursday, November 23rd to bring their artworks to the GNO at 174 Elgin St. The GNO’s hours are from 12 PM to 6 PM, Tuesday to Saturday.
For more information, please contact us.
The Z’otz* Collective’s EVICTED FROM THE ANTHILL exhibition is at the GNO until Saturday September 23, 2017.
An accompanying text by Nico Glaude, on the Z’otz* Collective’s exhibition EVICTED FROM THE ANTHILL
No artist can ever be without ego. It’s one of the motivating factors that make everyday people want to become artists. Aside from the creative process and expression, there are many elements that go hand in hand with both ego and art. Validation, recognition, selling a piece of art, getting a standing ovation, winning a grant or receiving an award, all feed into and fuel the creative ego and the desire to strive for more. At times, an artist might not have much more than their ego to sustain that primordial drive; tackling bigger projects can mean greater success, more press and more opportunities when artists let their ego guide them.
Speaking with the Z’otz* Collective, it’s surprising how little consideration is given to each member’s individual ego. In fact, complete disregard of ego is an ever-present factor in their art-making process. Their murals are rarely sketched out beforehand; each individual of this 3-piece collective comes to the wall with their own separate ideas; there’s little to no verbal communication between them as they work, although they do leave little hints behind for the other members as to what direction they think the piece should take and what it should look like. Interestingly enough, these hints are often misconstrued and can become something entirely different than what was initially intended, and so the piece becomes something new, something unexpected. It can seem like an obvious notion, especially when working within a collective, but that dynamic can play itself out multiple times throughout the creation of one mural. In a way, it’s that give and take between each individual member’s ego that allows the Z’otz* Collective to create these ephemeral murals that seem to have been created by the same hand.
Their murals are silent narratives, incorporating familiar objects, elements of nature and animals that all blend into one linear piece. While many of these individual elements might seem familiar, that familiarity gives way to the ambiguity of the final, interconnected piece. Merging these elements creates a sense of uneasiness, but the ambiguity of it all invites us to look past the unknown and embrace a certain sense of ambivalence, which finally leads to a place of understanding. We realize that the Z’otz* Collective’s murals aren’t about the singular, standalone elements, but rather are about the process of becoming aware of the whole—that there are no separate elements and that everything is interconnected.
Part of this portrayal of interconnectedness is achieved through the depiction of animals and our personal relationships with them. There are a lot of conflicting emotions and actions at play between humans and animals. The Z’otz* murals remind us that life demands respect. After all, we’re all interconnected and we need to be partners with life—to embrace it, to nourish it and to understand our impact.
The Z’otz* Collective’s murals engage and connect with viewers by bringing them back to themselves. Even if the imaginative settings are unfamiliar, the ambiguity really doesn’t come across as alienating. Rather, the odd juxtapositions arouse curiosity in the overall narrative and can ultimately lead to an understanding of the work that’s rooted in a deep sense of belonging.
Nico Glaude is a Sudbury based installation artist, curator and raconteur. Everyone has an emotional investment in Sudbury and he values that by creating and curating work that is as fried, sweaty, cheap, fun and awful as any other experience you can have here. Mind of nickel, heart of gold.
Thanks to Le Voyageur newspaper for their article on Darlene Naponse, Deanna Nebenionquit, and Tanya Lukin Linklater’s BESHAABIIGANAN.
Thanks also to the Le matin du Nord show at Radio-Canada for welcoming us and talking about the exhibition !
Le matin du Nord
Reflections: “le homecoming” by jenna dawn maclellan
an accompanying text by Guylaine Tousignant
“[i]f the writer cuts himself off from his childhood, his roots, his oneiric ancestral memory, he deprives himself of all his artistic means.”
“I really wanted to go back to being playful, just having fun with the materials and not worrying about perfection.”
jenna dawn maclellan
The enchanted world was not invented by Walt Disney. It is a world as old as the world, a place of magic, where reality is lost in dream, and dream in reality. It is the land of childhood. It is a land that always lies within us, whether we want it to or not.
When we leave it, it calls us back. When we try to forget it, it calls us out. It wields a force over us that can attract or repel us, like a black bear in a garbage dump.
There is magic in this place where we first played, where we threw our first stones, where we imagined what life might be, where we built it for ourselves with the tools and materials at hand: a chainsaw, some wood, a shovel, some snow, scissors, some fabric, pencils, and a little cardboard.
This place is the cabin and the bonfire.
To remember it is to travel freely in a world of the imagination. During winter, we remember ourselves picnicking in our favourite summer dress, gathering snowballs; during summer, we take snowmobiles through trails coloured with crushed berries.
In the image, the cord of wood is always perfectly there.
Shooting stars fall from the sky in all seasons. Wishes will come true.
Life, as seen through memory, whether it’s our own or someone else’s, is like a dream that’s real. We know that life is not like that, but we don’t know that we know it, and it’s good that way.
This enchanted world is where we must go when we forget how we ever came to grow up, when we forget how to be children.
In that moment, it’s always good to go back home.
Guylaine Tousignant is a writer and freelancer. She lives in Windsor, Ontario.
Thanks to Le Voyageur newspaper for their article on jenna dawn maclellan’s exhibition, LE HOMECOMING.
Le matin du Nord
LE HOMECOMING is at the GNO until Friday May 5, 2017.
An accompanying text by Maty Ralph
How political is your lamp? And when it comes to philosophy, how profound is your desk? Does your kettle whistle, or scream about revolution? Is your chair a degenerate?
Hold on. Perhaps this line of questioning is premature. Maybe I started in the wrong place…
In the beginning there was conception. An idea was born. A design conceived. Materials were considered, chosen, manipulated. Eventually, a physical form manifested. The idea could now be used. But in order to be used it must be sold. Value was determined. Replicas were made. And if all went according to plan, profit was gained.
And so, a timeline is established. The idea, which began in the mind, was executed in the studio, produced in the factory, and sold in the store, finally becomes part of a functioning home, each day inching its way closer to the last stage of life: junk.
All junk began as an idea. But do all ideas turn to junk?
The Bauhaus was an idea -several ideas, in fact- that would illuminate the world of design forever. The school championed respect for materials, space, aesthetic and functionality. It was a place where art informed craft and where practicality was fused with beauty. This was the birthplace of the International Style.
But soon the shadow of Nazi Germany fell over Europe. To the Nationalists, the Bauhaus was a school of degenerates. The ideas they championed were a threat. And so, like many others, they were silenced.
Luckily, the principles and philosophies that thrived during the Bauhaus’ fifteen years emerged from the ashes of WWII, relatively unharmed. The ideas survived, and were utilized, exploited, edited, abridged, and manipulated over the years. What we are left with are designs standing on the shoulders of thoughts standing on the shoulders of the past.
And with all these changes, what of that past remains? Do our designs still challenge tyranny? Would the Nazis view IKEA as degenerate art? Would they consider your desk lamp a threat?
It’s obvious that the aesthetics of modern design echo the Bauhaus to this day, but Juan Ortiz-Apuey has shown us that when you peel away the facade, there is an emptiness at the core.
Design has gone the way of blockbuster movies and pop music. Formula without thought. Replicate the success of the past, but make it cheaper. And quicker. Trim the fat. Edit out the prophet in favour of the profit.
As an exploration of this inherent vapidity in consumer culture, Out of This Light, Into This Shadow could easily wag its finger at capitalism gone awry, but it doesn’t. If a villain is to be cast in this narrative, corporate greed is as worthy of candidacy as consumer complacency.
It’s not enough for us to conclude that we are being sold a hollow, flimsy version of the past. We already knew that much.
We must also wonder why we don’t expect more; Why we don’t demand a return to form. We grew to accept that the furnishings that surround us need not be innovative or profound or even ethical, as long as the aesthetics are enjoyable.
In our uncritical embrace of transient design we have lost sight of the fact that all junk started out as an idea. We now operate under the reverse pretext that all ideas are destined to become junk. And with that, we lost reverence for innovation and began to throw our ideas out with the rest of the trash.
Maty Ralph loves talking to you about art and is always on the lookout for new adventures that challenge the heights of imagination.