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Marc Audette, Castlegar BC, 2012



Marc Audette and Adad Hannah

Featured exhibition of Scotiabank CONTACT photography festival

May 3 - May 31

Centre Space, 65 George Street, Toronto, M5A 4L8



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VIEWS OF THE SHOW   /  ABOUT THE SHOW   /  WORKS  /  LINKS  /   BIOS



VIEWS OF THE SHOW

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ABOUT THE SHOW

Pierre-François Ouellette art contemporain is proud to present as part as Scotiabank CONTACT Photography Festival this exhibition which features new works by Toronto-based photographer Marc Audette and Montreal- and Vancouver-based artist Adad Hannah. Unifying these two bodies of work are the artists' expressive interaction between photographic history, nature, and current technology.

Audette exploits and explores the conventions and technological features of photography, establishing both the limits and the possibilities of the image while creating wonder and incongruity. Through videos, photo projections, back lit and still photos with video overlays, he re-stages core processes for viewing, imagining, and communicating. The Line is a series of photographs in which Audette plays with a custom-made, portable lighting system in forests of the Americas. The bright line of light that runs through the photographs operates like a drawing tool, exploring and embracing the landscape while suggesting narrative possibilities.

Hannah is known for his signature video, photography, and installation works that often reference or re-enact famous artworks. Hannah’s Blackwater Ophelia painstakingly restages the 1852 painting Ophelia by John Everett Millais, drawing attention to the artifice of photographic images. The exhibition also includes works from The Russians, a series set in the Russian countryside, which are based on the early colour-photography techniques of Sergei Prokudin-Gorskii.

On Audette's series: La ligne

"The bright line of light that runs through my photos like stroke of pencils engrave a drawing, stems from my desire to simplify my work in nature. I created my one portable lighting system that I can easily put on my shoulders to walk and explore the landscape. This way of doing things is also, for me, a nice way to approach and adopt a contemplative attitude toward my photography. Also, it is a good ploy for letting the light extend her presence and embrace the subject, the place, the scene, the natural landscape, and finally me the photographer placed in front or behind the camera." - Marc Audette

"Foundational technologies in representing the world have undergone rapid de­velopment and restructuring in the digital age. Since the mid- 1980s Audette has been concerned with the ways in which the available and corporate digital innova­tions construct our views. These conventions, enabled in our software go largely un­noticed. They reconstruct our gaze, our imaginations and our understanding of real­ity and its effects. Audette exploits and explores the conventions and technological features, establishing both the limits and the possibilities of the image. Through videos, photo projections, back lit and still photos with video overlays, Audette re-stages core processes for viewing, imagining and communicating, creating wonder and incongruity. Dominique Ingres, Salvador Dali, and Gustave Courbet, haunt these works in their respective elegance, displacements, and steadfast allegiance to the artist’s role as visionary and harbinger. Their engagements with binary code, so much a fabric of the current media and image landscape are harder to discern. The body is both central and yet, somehow marginal. The dynamic and sumptuous play of colour, drama and light set up a myriad of narrative possibilities, which engage our senses and our faculties of knowing and seeing." - Amy Karlinsky

On Hannah's Blackwater Ophelia

Blackwater Ophelia is inspired by the 1852 painting Ophelia by John Everett Millais, and by a visit Hannah made to the Aamjiwnaang First Nation community in Lambton County, in 2010. "I have liked this painting for a long time; it is so lush and melancholic. It also depicts nature, but nature as seen in the middle of the nineteenth century, a nature laying itself out for the photographic—which is really a nature constructed by and for photography. To restage this scene for photography, in a painstaking manner using silk flowers and a built set draws attention to the artifice of photographic images, while still seducing with the same techniques Millais used 150 years ago. This double reading/double presence is interesting for me, and hopefully for viewers as well." The work was produced with the assistance of the Judith & Norman Alix Art Gallery. For more information, please consult adadhannah.com/projects/show/blackwater_ophelia

On the Russian Flowers videos, please consult adadhannah.com/projects/show/russian_flowers

The Gallery thanks SODEC for its support.


WORKS

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MarcAudette   MarcAudette   MarcAudette   MarcAudette
Marc Audette
Rio Claro Colombia
2013
chromogenic print
60 x 60 cm (23.5' x 23.5')
edition of 3
 
Castlegar, BC.
2012
Giclee print
60 x 60 cm (23.5' x 23.5')
edition of 3
  Marc Audette
Huntsville, ON.
2013
chromogenic print
60 x 60 cm (23.5' x 23.5')
edition of 3
  Marc Audette
Gatineau Qc.
2013
Giclee print
60 x 60 cm (23.5' x 23.5')
edition of 3


MarcAudette   MarcAudette   MarcAudette   MarcAudette
Marc Audette
Opasatika, ON.
Section A
2011
chromogenic print
101 X 152 cm. (40' x 60")
edition of 3
  Marc Audette

Section B
2011
Giclee print
101 X 60 cm. (40" x 23.5")
edition of 3
  Marc Audette
Opasatika, ON.
2011
chromogenic print
147 x 101 cm. (58" x 40")
edition of 3
  Marc Audette
Castlegar, BC
2012
chromogenic print
101 x 147 cm. (40" x 58")
edition of 3


MarcAudette   MarcAudette    
Marc Audette
Castlegar, BC
2012
chromogenic print
101 x 147 cm. (40" x 58")
edition of 3
  Marc Audette
Guérin Qc.
2013
chromogenic print
124 x 154 cm. (49' x 60.5")
edition of 3
 

 


AdadHannah      
Adad Hannah
Blackwater Ophelia
2013
c-print
99 x 162.5 cm (39" x 64")
edition of 7
     

 

LINKS

- Adad Hannah's website
- Adad Hannah's page on the PFOAC website
- Marc Audette's page on the PFOAC website
- Scotiabank CONTACT Photography Festval
- Marika Kemeny "Glendon’s Marc Audette Receives Prestigious Chalmers Award" Glendon, January 9, 2009
- François Bergeron "Promenade en forêt avec Marc Audette" L'express Toronto, May 6 to May 12, 2014
- Fran Schechter and David Jager "Contact Photography Festival: 25 can’t-miss shows" NOW Magazine, May 1 to May 8, 2014
- Simon Lewsen "Contact Photography Festival: 10 indelible images from the 2014 shows" Toronto Life, May 1, 2014
- Artoronto.ca "CONTACT 2014 / Artoronto.ca Picks" Artoronto.ca, April 2014
- Yfile "Glendon Gallery curator’s photos part of CONTACT Photography Festival" Yfile, April 30, 2014
- Matthew Ryan Smith «All in the Family» Magenta Magazine, April 30, 2014


BIOS

Marc Audette studied fine art at the University of Québec in Hull and earned a Masters in Visual Arts from York University. His work has been shown in solo and group exhibitions nationally and internationally including Le Mois de la Photo à Montréal, le Musée national des beaux-arts du Québec, Gallery 44, Toronto, MacLaren Art Centre, Barrie and Digital & Video Art Fair (DiVA), New York. He is a founding member of L’Association des groupes en arts visuels francophones (AGAVF), a national arts service organization that represents visual arts groups active in Francophone communities outside the Province of Quebec. In addition to having taught in the Faculty of Fine Arts at York University’s Keele campus, Audette teaches in the Multidisciplinary Studies Department at the Glendon campus, and has been curator of the Glendon Gallery since 2001. In 2009, Audette was awarded the Chalmers Award for Creativity and Excellence in the Arts by the Ontario Arts Council. His

Born in 1971, Adad Hannah lives and works in Montreal and Vancouver. Hannah received his BFA from Vancouver’s Emily Carr Institute of Art and Design in 1998 and his MFA from Montreal’s Concordia University in 2004. Hannah has completed projects in diverse locales, with casts that often challenge and update the meanings of the works he’s referencing. In 2009’s The Raft of the Medusa (100 Mile House), he recreated a famous Géricault painting using BC high-school students and treeplanters; in 2008, Hannah made a series of videos in Madrid’s Museo Nacional del Prado that show visitors interacting with works in unusual ways. Other pieces, such as 2010′s The Russians, are more documentary in nature, providing extended “slice of life” scenes that still play on the tension between moving and still images. Hannah has exhibited widely, including at the Prague and Liverpool biennials. He has been longlisted for the Sobey Art Award three times, and his work is in the collections of the National Gallery of Canada and the Musée des beaux-arts de Montréal, among others. On view also in Toronto until June 28 is Adad Hannah solo exhibition "Three Generations (Kodiak Art Club, 1953) at Koffler Centre of the Arts - not to be missed!

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