En Masse @ Art POP

One of the co-presentations of Art POP this year is a collaboration with En Masse, a pretty amazing troupe of over 40 artists that get together from time to time to do inspiring and fairly mind-blowing murals, collaboratively. For the entire month of October, they are going to be at the Red Bird Studio gallery for their latest project which combines 6 of their artists with a whole whackload of awesome artistic teenagers from various schools in the English Montreal School Board network. Together, they will create a mural the likes of which you’ve never seen, guaranteed.

The vernissage is this coming Sunday (the 4th) at 5pm, going until 9pm or even later, pretty crazy for a Sunday me thinks!! The gallery is at 135 rue Van Horne, and it’s going to be awesome. If you don’t get a chance to make it out, then swing by the studio every day from 12-6pm on weekdays to see what the gaggle of creative folks are doing there and watch their project develop.

One of the masterminds of the whole scenario and one of the Frozen Mammoth’s favourite people-of-this-fine-city, Jason Botkin, recently let us in on some of the deep dark secrets of his group. We can’t wait to see how this whole thing develops, and we’ll let you in on it all as it goes along….

1. Where did En Masse emerge? What was the impetus? If you could give a bit of background info on its initial coming together, that would be great.

En Masse was conceived one glorious evening in December of 2008, the ‘love-child’ of Tim Barnard and myself.

At the time, I was exhibiting a solo show at Galerie Pangee. As luck would have it, the gallery had an opening in their post-Christmas schedule, a little window that Tim and I eagerly imposed upon. Originally, our design was to ‘curate’ an enormous group show, packed mad salon style with everyone we knew and wanted to know. Seconds later, the idea was dashed upon the rocks, as we landed upon the En Masse concept, or specifically, the idea of gathering together those same cats to do a gigantic collaborative drawing of some sort. For both Tim and I, collaborative drawing/art making parties have been an important part of our practice, so the idea stuck!

En Masse was thus born in February of this year (2009), at the Galerie Pangee, with 28 artists engaged in 28 days of ecstatic mark making. We timed the ‘finissage’ to coincide with Montreal’s all-night Nuit Blanche festivities, thus inviting all to join us in celebration of one of the very biggest, most incredible drawing experiments most of us had ever seen in our tender young lives!

(Jason and Mural at Oshega Festival, Photo courtesy of Fred Caron’s awesome hands)

2. Has it changed much since you guys first began doing it? If so, how?

Tim, hot n’ heavy off on other projects, has been replaced by Rupert Bottenberg. Rupert brings an amazing skill set to the table, having established the Montreal Comix Jams, while juggling duties as the music editor at the Montreal Mirror newsweekly.

While the approach to the drawing itself is always the same at core—black and white, big, and involving as many artists as logistically possible (the more the merrier), our biggest step forward has been the creation of an ‘educational’ element to our project, through the introduction of a mentorship project involving local high school kids.

3. What is the creative process like in terms of choosing people to be involved? I know there are 28 members now, so are you guys officially a “team” or is the roster more fluid than that?

At this point, we’ve worked with nearly 40 artists on various projects, so in that sense, “Team EM” is better looked upon as a flexible and ever-changing ‘collective’ of emerging artists, whose work has been categorically defined as ‘underground’ and/or ‘lowbrow” art.

Refreshing and expanding the ranks is a key factor in breathing new and constant life into the project. Choosing the artists…that’s a tough question…SO MUCH amazing talent out there, so little time!

4. Many of the artists in En Masse work in somewhat alternative mediums (street art, grafitti). Was this a conscious decision, or organic? What does this type of background bring to the project?

This was a very conscious decision on our part. We wanted to include a wide range of artistic practices/pedigrees, especially exploring these cats whose voice has been largely excluded from the mainstream galleries and museums, institutions that seem to be somewhat unsure of the relationship between the fine and lowbrow arts.

We want a real grab-bag of styles, all flowing into one enormous web of ideas, thoughts, jokes, and general fun, one in which we can all freely participate in the chance to expand our potential as creators, while developing collective social and professional networks with each other.

5. How has doing this kind of massive collaborative work affected your own personal practice, if at all?

Collaborating with these incredible artists leaves me very inspired, and challenged to free up my own approach towards art making. Ego melts away during these events. So, my time in the studio, or at the sketchbook (when it comes), is now much more spontaneous, improvisational, playful. I like this.

6. Can you tell me a bit about why you guys have decided to do an educational thing? Is there a decisive angle to creating En Masse in a plethora of arenas, or does it happen more naturally than that?

The educational thing came as the natural ‘next’ step. I would have killed for a project like this as a kid, so now, with two wee ones of my own, and in working with Rupert who has produced many educationally directed events in the past, the mentoring program for kids came about very organically through personal interest.

This is a way for us to contribute socially, in a direction we feel good about. Artistic kids rarely get the chance to explore and express themselves within the school systems, as they exist, so if we can lend this hand to the schools, their teachers, and the teens, everybody gets happy. And perhaps the doors to heaven open a little wider.

7. What are some of the thrills and challenges with working with such a big group?

Cover your ears kids; this could get a little gory! I’ll spare the details, but suffice to say, it’s a bit of an administrative roller coaster at times…

With practice, the organizational drama gets a little more predictable, and easier to manage when it rears its ugly head. A steady diet of emails, ear often glued to phone, and a whole lotta labour of love keeps me going. Fortunately, I get more sleep in the weeks leading up to an event these days.

8. What most excites you about the project En Masse will be doing with ESBM, Redbird & art POP?

So many things excite me about this project! This particular avenue of the En Masse project has huge potential! I can’t wait to see what kind of work comes out of this thing, as we get this chance to collaborate directly with artists who are young in years and practice, but demonstrating real passion and huge talent in the crafting of their voice. What a mutual privilege and pleasure for us all!

For the kids, this is a great chance to gain practical tips about how to work in the mediums they are interested in, improve upon their own sense of self-worth as artists, and potentially form long-lasting creative partnerships they wouldn’t be exposed to otherwise.

9. What can you see in store for En Masse? If this goes really well, would you guys be into doing more educational/mentoring stuff?

Without question! We’re very excited with the educational stuff, and have received enormously positive response from everyone who has come into contact with the project. This event could be considered to be the pilot for many great things to come, especially as we gear into provincial, national, and international En Masse expansion in the coming year!

Art Pop Poppin’ up.

So Art POP is happening soon soon soon, with the first vernissage on the 30th of September at 5pm at 6600 Hutchison….

There’s a ton of stuff going on, so make sure to check out all that’s going down here.

One of the coolest parts about this year is that there are 2 central locations so it’s easy to go see a whole whackload of stuff without feeling overwhelmed. Also, as everything is going on all week, you get aladda chances to swing by and check stuff out, so no pressure. Of the peer kind or otherwise.

The artists that are showcasing this year include Bridget Moser & Jessica Campbell, Adrian Norvid, Lalie Douglas, Dominique Sirois, Kim Kielhofner, Michelle Lacombe & Sheena Hosko, Daniel Iglesia, Brendan Reed, Paul Warne, Christian Pelletier & David Beaulieu, Jean-Philippe Harvey & Adam Bergeron, Richmond Lam & Mathieu Blanchette.

It’s going to be a pretty amazing week. I am going to attempt to interview as many of these fine folks as possible to get a sense of what they’re working on, etc. so stay tuned!!

If you have ever been interested in curating. At all.

Michelle Kasprzak is a pretty incredible artist and curator, and knows a crazy amount about her field on a global scale, and not just in terms of where the jobs are at,  but where the philisophical lines split hairs, morph, and move about as well.

She’s definitely an interesting and highly informative resource and her blog about curating is a really fun and excellent way of not only staying informed but also of challenging ideas you might already have about cultural organizing practices.

Take a look and go back for more.

From across the sea…

Kim Kielhofner, video artist, drawer (ugh, what a horrifying word) and sketchbook virtuoso is an American living in Canada going to school at Central St Martins in London. She’s been there just a few weeks and is already grappling with what it’s like to have several shows happening at the same time in other places: the first, her ongoing show, In the Hall of Wonders, runs until October 16th at Centre Communautaire Elgar on Nun’s Island. It’s a show of drawings well worth the bike ride or ferry ride (apparently!) out there. As well, as part of the Art POP 2009 line-up, Kielhofner will be presenting a video installation at the Notman House registration venue.

I recently had the good fortune of discussing with her questions mainly concerning In the Hall of Wonders (although the drawings here are not the ones in that fantastic show) as well as other bits and ticks behind her practice.

1. What’s up with the title, In the Hall of Wonders? How do you create the links between your visual world and your written language of expression for it?

The titles are not so important to me in this case because for me the imagery in these pieces is very strong. Sometimes I use text in my work, but it’s much more integrated into the process of the work. Sometimes I will think about a certain phrase from literature or film and work with those ideas. In the case of this show, when I was creating these pieces I wasn’t using any text as a reference. The titles came after, almost as an afterthought.

2. You’re an artist that works primarily in 2 mediums. Could you give a bit of background about each medium and also how your relationships to them are similar, different, etc?

My work manifests itself most often in drawing and video. It all comes from the same process of collecting and working with a visual language. You know how I keep books of things I find, flyers, photos, sketches, even junk from the street. I think I arrange things visually so there is the hint of a narrative, but it’s not completely obvious what it is or I leave enough space for people to bring there own experience to the table. I draw figures but I don’t use any perspective so they all lie flat on a plane, kind of like a dreamscape. One action is not more obviously before another. The dreamscape along with my style of drawing gives a nice reference to a memory from the past.

Similarly with video I have begun to narrate my work but I don’t use a written text so I’m working from memory which creates these nice gaps in the speaking where one gets the sense that there’s something not being said. In my application proposal to Central Saint Martins I discussed these ideas and wanting to work in video installation, in actual space to create an experience.

There’s always an issue of presentation and I think video and drawing are the forms which are easiest to present my work. You know it’s like the question, “Where does the work lie? Is it in the process? Is it in the experience of it?” I’m interested in pushing these kind of questions.

3. Where did this work for In the Hall of Wonders come from?

These drawings are from the same project. It was over the last few years that I did these. They are all on mylar and all contain the same type of imagery which becomes kind of a mythology. These drawings are much more focused than other drawings which were simple, like a single figure. These drawings bring a lot together. When I was making them I was looking at Hieronymus Bosch’s Garden of Earthly Delights and a lot of pictures of old churchs, but also diverse things like Ian Curtis, Dolly Parton, and Kim Novak. And I also made a video using footage of Kim Novak from the TV show “What’s My Line?” I guess that’s a straight forward example of how my video and drawings fit together! But yes, this was a focused project that took a few years. I’ve done drawing series before but this is the most dedicated.

5. What are you hoping to focus on at Central St Martins?

I’m interested in interior space and memory. I’m thinking of a video following simple actions in house like drinking a coffee, or turning on a TV. Kind of creating a map of the house, but there’s obviously something missing, or something is lost… something you can’t quite put your finger on…I want to create something intimate, something vulnerable about the house. I want to bring this to the gallery into it’s own kind of “house”, to create and experience in the gallery where this space become palpable. Where you can feel it.

Aurel Schmidt for Saturday.

Too young to be able to do stuff like this. All I have to say.

No links, either, as you should google her and enter into a host of various different worlds concerning her art. There was a great article in Border Crossings last time around about her work.

Hoo-eee. Something about this that I really, really like.

Now for some camping! Happy trails everyone. And if you’re in Montreal for 5:00pm-ish, go see BBB at Viva! Well worth it. Go, go go. With and without commas.

Viva Viva!

So last night I THINK I maybe saw the best piece of art I will potentially see all year. Or at least, the best performance. But maybe art. But maybe performance….oh dear me. You see, the person responsible for the piece actually blew up my mind, so thinking has been a wee difficult since.

Picture it - Viva! Art Action’s second installation (installation being second time the festival’s been crafted together) and we’re all at Bain Saint Michel (5300 St Dominique) where the majority of the festival is going on. People are waiting for the first performance, from Belgium’s Gwendoline Robin, and I am thinking again about how much I dislike performance art in general.

Which is funny, because almost all of the papers I have ever written have been about performance, just by chance, and I find myself here at a performance festival, just by chance, and maybe I was on one of the selection committees, just by chance. But performance art is soooo annoying, and boring, and self-indulgent.

It also really isn’t. It also has this uber-potential, of the sort that Katamari has when it has gathered many objects, to reconfigure my sense of self or at least self-in-relation (which is likely what self is to a large degree) and make me stop breathing and change the ways in which or add to those that I spend time thinking of this and and and.

That said, a medium with such gobs of powerful responsibility and consideration is often one that suffers from too many people engaging with it, and engaging with it in shallow or less-than-thoughtful ways. I gotta say it, I think it’s true. And I think that, as an audience member, my role is one of active participant in a way that truly goes beyond what that mundane majority do when encountering art, which more-than-often includes myself. This requires a certain attentiveness that is at the best of times pretty draining and hard to find within oneself. Especially in my look-there-no-here-bam-bam-change-the-flickr-time-to-go-elsewhere culture.

But the stuff of the likes that Robin creates, executes, exhudes, helps surpass all of my issues of presence and of pretention or thinking-while-I-watch. She cuts through that dissonance like a knife, like the shards she broke off her rod of glass that she started her piece with. And let me say here and now that while I will describe her actions, that’s nothing in comparison to her actions themselves. Not one bit, not a whit, barely similar, almost opposite.

Imagine trying to describe a performance by your favourite musician. They played a bunch and they didn’t play a bunch. If you only use actions, you’re really not getting to the heart of the matter. Which you can’t really do, not just in words. Or else Gwendoline (I suppose) would have just written a little essay about her work and stayed in.

Basically, long and short, she came, she lit paper on fire, in her hands, and then a helmet, BOOM, on her head, after putting on coats and taping her neck (balaclava eyes staring out) and the coil on the helmet looking like a stove, spiralling round and round who would have thought that upon impact, the fuse wouldn’t just slowy weave its way to the centre of her skull no it didn’t there was nothing slow about it, she offered us no time to watch or ponder or panic she just

blew off her head.

And in doing so, she blew everyone’s head off as well. Trust me on this. I can attest, I have a mirror, what more can I say.

Gwendoline Robin knows about phrasing, and pace. The rhythm in her performance was of the kind that allows for momentum, breath, and a dissolving of outside concerns. One thing that makes much durational work seem overly this-or-that I think might be a lack of attention to phrasing. In this way, the body in performance, like the body in so much (music, physical comedy, dance) responds to space as much as it responds to mass.

There were 2 other performances that night, and you can read about some of it on the Viva! Blog, but to be honest, I needed to go home straight away after she had blown our collective minds. I would explain, but I doubt I need to. What else could you do? So much power, adrenaline and intention would have been enough in and of itself, but then I had to tend to my physical meltdown as well. Anything else would have been rash and impudent.

Of special note, Viva! has a 6:30 pm supper call every day during the fest, and last night it was beef stew (vegetarian options) and it looked seriously really good. Only $5, and a great way to hang out with folks/support the festival. Go go go! I will eat the stuff off your plate you don’t want.

Sucker for perverted wallpaper.

I have to admit, this work by Jérôme Ruby, represented by Donald Browne, is pretty awesome. Handmade wallpaper with very…busy…humans doing the things we do.

Oh my. I wish even more now that I had made it to the Baie-Saint-Paul International Symposium on Art this year, as he was one of the featured artitst. Drat and drat. Oh well. I am immortal, so I can go next time. It’s generally boring, but it has its perks.

Who doesn’t want to make a button, friends?

Montrealers! Pindemonuim 05 is on its way! Get out your markers and make that button I am going to want to trade with you. Do it.

As distracting as this…

Alison Moffett, an artist working out of the UK, caught my eye in a similar way to how Mozart’s requiem just caught my ear. Her website is well worth a 10-minute or 20-minute or forever-minute walk through woods other than those you’re currently in. Unless by chance you were already looking at her work, in which case, carry on, carry on.

My new favourite.

Marayanna Hardy, who I think is one of the YPF folks, has a portrait (or several) up at Headquarters Galerie and Boutique that caught my eye. And caught it and held it online, as I have yet to get down to check out Jason Botkin’s curated show of a gazillion artists doing a gazillion interpretations on portraiture.

But there is something about her stuff that I am interested in enough that I thought I would post her blog here as well as the image from the Headquarters show. Go check it out if you’re in the mood. I am curious to see more, and I haven’t heard of her work before, so I am feeling slightly excitable. Not that I don’t feel excitable almost always, but even so…