Du 14 avril au 9 mai
Exposition annuelle des étudiants de 1er cycle
Tenue à la Faculté des beaux-arts depuis plus de 25 ans, cette exposition donne aux étudiants inscrits à un programme d’arts visuels l’occasion de présenter leurs œuvres dans une galerie professionnelle. De plus, elle présente au public les travaux des artistes contemporains en émergence formés à Concordia, réalisés dans divers médias : photographie, sculpture, dessin, vidéo et installation. Les œuvres sélectionnées illustrent un vaste éventail de préoccupations techniques et esthétiques et révèlent les tendances de l’art contemporain. L’Exposition des étudiants de 1er cycle est organisée par la Galerie VAV. Les œuvres sont sélectionnées par un comité d’étudiants de 1er cycle, également chargé de la conception et de l’impression des invitations ainsi que de la préparation des notices biographiques de l’exposition.
Catherine Tremblay
L’un ou l’autre, d'un série de 50, 2007
Digital Prints / Impressions digitales
16" X 20"
From a photographic series conflating landscape and portraiture, The Children by David Morris depicts nomadic people living in the forest of a fantastical world.
A study in complex and detailed patterning, Catherine Wakim & ChanJoo Park’s sculpture-book Paper Cut presents movement, speed and the lifecycle of paper.
In a controlled environment, But Lau Lai finds the decisive moment that permits the faithful reproduction of the unpredictable red-eye effect.
The photographs of Julia Inniss plays with placement and pairing to provide hints to an unknown story. Close Your Eyes and I’ll Kiss You offers a reflective and gentle juxtaposition for the viewer’s consideration.
Ed Janzen contemplates the elusive nature of life’s potentiality with Ova Nova, a series of screen-printed images of eggs on unusual fabric supports.
Marco Royal Nicodemo’s painting assembles geometric shapes into abstract structures that threaten instability with their otherworldly physics.
Frozen in time, Matthew Gagnon’s re-contextualized mop warns not only of wet floors but also of bacterial take-over.
In her series of line drawings, Iris Godbout creates ambiguous relationships between sexual, religious and fetishistic imagery.
Kyla Chevrier’s large-scale photo transfer raises concerns regarding the propagation and archiving of imagery in our hyper-mediated world.
Erik Osberg’s 11:43 presents two images in parallel to underscore the viewer’s tendency to think in binaries when confronted with two potentially equal or opposite representations.
A distorted mimicry of Joseph Kosuth’s One and Three Chairs, Jason Gowans’ ironic representation of Hip Hop Culture, One and Three Hip Hop, illustrates how cultures are appropriated, reinterpreted and repackaged.
Human beings are depicted as passive observers of the spectacle in Bronwen Moen’s Broken Fence.
Nick Prescott’s painting The Ferry Hopes for Crofton B.C. captures the changes in a landscape transformed by industry.
Nick Prescott
The Ferry Hopes for Crofton B.C., 2007
Oil on canvas / Huile sur toile
24" x 16"
Jean-Sébastien Gauthier’s bronze self-portrait as Minnie Mouse echoes the work of Franz Xavier Messerschmidt whose 18th century Character Heads depicted extreme facial expressions.
In The Workhorse Series, La Famille collective members, Katie Jung and Elif Saydam work in partnership and collaboration to rearticulate feminized modes of production while eroding the division between art and craft.
Mathieu Lavoie’s photographic series Faire le beau celebrates the pursuit of an ideal beauty through ironic, vernacular trophy images.
Joshua Noiseux presents a fertile re-visioning of the banality of urban existence in his photographic series of Montreal’s Sainte Marie neighborhood.
Janine-Annette Littmann complicates the photographic instance with the slow, laborious process of embroidery to emphasize the effort required in materializing our dreams.
In the multimedia installation Like My Father Before Me, Bridget A. Moser relies on constructed narratives and storytelling to enable the re-enactment and representation of her father’s life circa 1982.
Sarah Pupo’s painting Reveal suggests the dangers of nostalgia and the beauty and burden of collective histories.
With Precious Grenade in CMYK is Anthony Vrakotas reinterprets an icon of war using the conventions of commercial print media, creating a new relationship between the icon and the method of representation.
Laurie Kang’s The Recluse is part of a series of staged photographs that reflect the human tendency to revert to childhood to escape the banalities of everyday, adult reality.
Zoë Yuristy’s video breaks down the fundamental properties of the photographic image – light, lens and surface – to demonstrate how these form boundaries and patterns of the real. Circumscribed Constellations is a progressive flash of all the constellations in both hemispheres.
Alluding to environmental issues in his choice of materials, Ari Bayuaji’s sculptural work Forbidden Packages exploits the allure of mystery to stimulate the imagination.
Jean-Francois LaLumiere pushes the physical properties of duct tape to explore a new territory of “fantasmagoric/fantastic/fantasmic/fantasy” space.
Ma maison: c'est partout, c'est nulle part is Magalie Han Hung Pew’s response to a personal interaction with a homeless person sensitizing the artist to the issues surrounding homelessness.
Through Plexiglas and mirror, Jenni Aberman presents a world of illusions within the cube.
Kirsten McCrea portraits of North Korea’s infamous dictators reflect on the mutation of images as they enter the Western popular culture through communication media.
Martha Chudzik’s Knit/Stitch Nudes emphasize the beauty of the female form through skillfully crafted, small-scale knitted and embroidered torsos.
Catherine Tremblay's L’un ou l’autre, d'un série de 50, investigates the movement of life in a static landscape.
Jason Gowans
One and Three Hip Hop, 2008
Inkjet Prints, Video / Impressions par jet d’encre, video
Dimensions Variable
