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Insertion, Contamination and Dispersion at Fine Arts Museum

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--February 9, 2012.

larger_david_k__ross_plan_salle_de_ventilation_drafting_stills_0.jpgBeginning February 18, the Musée des beaux-arts de Sherbrooke presents Insertion. Contamination. Dispersion, works by 8 young artists from Montreal. The exhibition, organized by the Musée, with guest curator Dominique Sirois-Rouleau, will be on view until Sunday June 3.

The exhibition: Insertion. Contamination. Dispersion. presents a critical, playful and analytic look at museology. The exhibition shows works which touch different aspects of the artistic institution, proposing a reflection on the role of the museum, and exploring the principal aspects of its activity in the field of art and of the community in which it exists. As the title Insertion. Contamination. Dispersion. indicates, the exhibition gathers together works which examine their accommodation to the institution without masking their essential collaboration with the museum. The spectator is thus invited not only to discover contemporary artistic practice, but also to appreciate the role of the museum and to question the effect of its intervention.

With this goal in mind, guest curator Dominique Sirois-Rouleau has asked eight young artists – Arnaud Baysset, Mathieu Beauséjour, Patrick Bérubé, Simon Bilodeau, Adad Hannah, Marc-Antoine K. Phaneuf, David K. Ross and Dominique Sirois – to take a light-hearted look at their relationship with the museum. Working with the usual museological tasks of exposition, collection and conservation, these artists treat them with both perspicacity and mockery. As well, some of them have produced a work especially for this exhibition. These pieces in situ incorporate even the architecture of the museum.

Biography and artistic focus

Dominique Sirois-Rouleau, guest curator : Dominique Sirois is a doctoral student and lecturer in the department of Art History at the Université du Québec à Montréal. Her research interest is in the ontology of contemporary art and the notion of the object in current artistic practice. Sirois also participates in a variety of conferences and publications dealing with discourse and emerging art forms.

Arnaud Baysset: A recent graduate of the École des arts visuels et médiatiques, Baysset confronts the harsh reality of the developing artist and of hard-won recognition. His presence in the exhibition has a double role. First, there is his work, Candidature #64, a crumpled canvas on the ground, against the wall, which refers to the anonymity and coldness of the process of recognition. Then, there is the presence of this artist “without reputation” among others who are more established, which leads to a realization of the risks involved in gaining recognition.

Mathieu Beauséjour: For about 15 years, Beauséjour has presented installations and photographs which he sees as examples of diversion from and resistance to the milieu they reflect and occupy. In fact, the artist is essentially interested in calling into question the symbols, placement and distribution of power taken in its largest sense. Mathieu Beauséjour has shown his installations, interventions and images since the middle of the 1990s. His works have been shown in Canada, in Europe and in the Americas, in artists’ centers, public and private galleries, at events, biennials and in museums. He lives in Montréal; he is represented by the Galerie Éponyme (Bordeaux, France).

Patrick Bérubé: Working principally with installations, Bérubé presents situations designed to de-stabilize the viewer. His incongruous stratagems disturb the spaces and behaviors of daily life so as to push the limits of custom and environment.

Simon Bilodeau: Bilodeau is concerned with painting that is singularly post-modern – as with the meaning and value of the work in relation to the reputation of the artist and the artistic system. Without looking too critically, he invites the viewer to question the symbols and stereotypes of the artistic endeavor.

Adad Hannah: Interested by the boundary between reality and representation, Hannah uses photography and video to present art, the spectator and the museum, and to redefine their relationships. Technology and the person are thus used as much to reflect the mechanism of representation as to rethink our cultural behavior.

Marc-Antoine K. Phaneuf: Poet and visual artist Phaneuf is inspired by the world of consumption and kitsch to examine the world of art. With an insolent and mocking view the artist invokes a realization in the viewer which obliges him to rethink the game of transforming the ordinary into art and the buffoon into an artist.

David K. Ross: Midway between photography and installation, Ross’s work is marked by an attraction to museology and the corridors of art. The artist uses images to reactivate the utilitarian and under-used spaces of the museum, revealing the hidden aspects of an enterprise paradoxically devoted to exhibition.

Dominique Sirois: Sirois is a multidisciplinary artist who has recently become interested in the consequences of museology in the practice and marketing of art. Beginning with a reflection on the temporal value of a work as opposed to that of the object portrayed, the artist questions the protocols of exhibition and supervision of art which she celebrates with amusing moving installations.