 In 1967, Jack Chambers of London, Ontario, received a letter from the National Gallery of Canada informing him that its staff was beginning to assemble a bank of two thousand slides on Canadian art and asking for his permission to reproduce the image of one of his works.  George Legrady’s recent Cell Tango project consists of a dynamically growing archive of cell-phone images, associated with indexical terms. When exhibited as a wall projection, the artwork unfolds a galaxy of images and the textual structure of their interaction.  Since he began his photographic practice, George Legrady has been interested in the fate of images and their detachment from the “real,” first through strictly photographic methods, then, starting in the mid-1980s, through digital techniques.  Produced in 2005–06, Waiting For High Water is the latest instalment of Jana Sterbak’s video projects with Stanley as camera-dog. Through a canine view of Venice, this work suggests a completely new perspective on this pre-eminent tourist destination.  The videograms reproduced here are excerpted from Waiting for High Water. Let’s start with a clear, succinct description of the piece by Catherine Bédard, curator of the exhibition:  An awareness of geography has never been totally absent from the Web. At first, however, it tended to be obscured behind utopian discourses on planetary connectivity. As the early enthusiasm about the Internet developed, regional places and specificities tended to become blurred.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéLes œuvres les plus récentes de Joan Fontcuberta constituent un corpus intitulé Datascapes qui comprend deux séries distinctes : les Orogenèses et les Googlegrammes. Ces séries proposent une analyse approfondie des systèmes de production et de circulation des images numériques.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéLa pratique de Bill Vazan est généralement associée au land art et aux montages photographiques. Vers la fin des années 1960, il a aussi réalisé des œuvres conceptuelles sous la forme d'itinéraires à pied et en voiture, de tours en autobus ou de circuits en métro. Cette entreprise de nature performative prend la forme de séquences photographiques, de cartes retraçant le parcours accompli et de notations.  The title was as brief and streamlined as the piece itself, called simply Worldline. With this unearthly 1971 project, based on the ultimate invisibility of pure line and on its infinite conceptual reach, Montreal artist Bill Vazan truly launched his career.  This article was originally published only in French. No translation is available. -Read the summary
En août 1969, William « Bill » Vazan construit un croissant de pierres sur une plage de l’île du Prince-Édouard pendant qu’un co-conspirateur, Ian Wallace, fait de même sur une plage de la Colombie-Britannique1.  This article was originally published only in French. No translation is available. Voir aussi le portfolio de l'artisteMontagnes arides ou aux sommets couverts de glace et de neige. Promontoires rocheux à peine perceptibles dans leur halo gazeux et leurs brumes montantes. Hauteurs au sein desquelles des glaciers ou rivières ou chutes éphémères forcent leur chemin. Paysages crevassés ou à la végétation rampante et timide.  This article was originally published only in French. No translation is available. –Read the Abstract Vous possédez un ordinateur, qui est branché sur un serveur. Vous tapez n’importe quel nom de lieu dans un quelconque moteur de recherche, vous cliquez sur « images » et voilà que le choix d’une multitude de photographies s’offre à vous ;  This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteDans un ouvrage de 1913 qui portait sur le photodynamisme, Anton Giulio Bragaglia, artiste futuriste italien, affirmait pouvoir contribuer aux études sur le mouvement qui florissaient à cette époque.
 Jason Salavon employs computers and code to transform material appropriated from popular culture. His work ranges from digital video installations to Web-based interactive works and works on computers to create paintings that blur the line between manmade and machine aesthetic.  Chicago-based contemporary artist Jason Salavon (b. 1970) employs computers and code to transform material appropriated from popular culture and imbues those sources with nostalgia.  Roy Arden’s piece presents a kaleidoscopic flux of some 10,000 images extracted from the web, depicting different manifestations of the concrete world. Structured around arbitrary entries, it deploys so many numerous variations that we are left in a state of amazement and confusion.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéResguárdeme ne veut pas dire « regarde-moi », comme un lecteur francophone pourrait être porté à le croire, mais bien « protège-moi ». La magie de cette pièce, diffusée simultanément sur cinq écrans, tient dans le lent balayage de la foule pour repérer les gardiens de sécurité et s’en approcher jusqu’à une prise de vue en très gros plan.  In The World as Will and Representation, his first-ever online/Internet art project, acclaimed Vancouver artist Roy Arden returns to the archival tropes, modes, and motifs that helped give decisive shape to his landmark works from the mid-1980s, the best known of which are the Rupture, Abjection, and Mission “series” or “suites.”  By Roy Arden I have collected images since I was a child; the first were usually cut with scissors from Life magazine. I also then began collecting images in my mind. I remember the journalistic images of the civil-rights marches, of Vietnam, the Beatles, and so on, that began to accumulate in my mental archive. |
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