FOIRE SUPERMARKET DE STOCKHOLM – 2015

Exposition Événements

Où?	STOCKHOLM
Quand?	16 avril au 19 avril
Artiste(s)	Marc Dulude - Amélie Laurence Fortin - Karina Pawlikowski - Yanik Potvin et Karine Payette

16 – 19 April 2015 SUPERMARKET STOCKHOLM INDEPENDENT ART FAIR Bang Art Now Centre is an important actor within the network regrouping the 170 artist-run centres in Canada, whose mission resides in offering residency opportunities along with support for the promotion and diffusion of contemporary art. Bang takes part in international events in order to fulfill two main objectives : promoting Canadian artists and finding partnerships to develop so that artists are presented with wider opportunities, such as international exchange programmes, for instance. Bang is a community provindy resources to professional artists and the community at large via two venues housing nearly 1,900 square metres (20,000 square feet). • Six exhibit rooms • Two work shops • Six artists residencies • Specialized library • Document centre • Exhibition and production equipment MARC DULUDE AMÉLIE LAURENCE FORTIN KARINA PAWLIKOWSKI KARINE PAYETTE YANIK POTVIN SUPERMARKET STOCKHOLM INDEPENDENT ART FAIR.

MARC DULUDE

Marc Dulude’s practice essentially consists of sculptures, installations, in situ pieces and photographs. His work borrows from the notion of phenomenon by focusing on what is perceived by the senses and what strikes consciousness. Just as a scientist would, he harvests, reveals and sometimes transforms « phenomenological situations »; then the artist comes to play by pulling away from the limits of reality and by creating spaces devoted to portraying a state, a reaction or a transformation of nature. By « nature », a polysemic word, it is important to point out that Dulude doesn’t refer to the actual scenery or landscape. He rather invites one to rethink on the way we perceive it, we understand it, we inhabit it. He also seeks to unveil what man cannot grasp at first glance. The way he masters and « plays » with material selected for its intrinsic symbolic and formal properties allows the artist to bend an object’s essence into an intuitive yet ludic relation to a sensible world. As diverse as his interventions are, they share as leitmotiv the ideas of revelation, fascination, astonishment and poetry, all inherent to natural and human phenomena. This process translates into pieces sometimes abstract, sometimes figurative, and into a visual work that often conceals an organic and technological nature, influenced by the world of science in the broadest sense. Marc Dulude considers and integrates time in itself as his creative raw material: it stands as a geometricallyshifting measuring tool, reliant on the viewer’s perspective and on space, to which it is closely tied. Such a display, in all its subtlety, must not be described, it must be experienced. Email : marcdulude@hotmail.com. 1. Souvenir, 2012, trailer, expandable foam, stuffed bird, plexiglass, 320 x 150 x 200 cm 2. Overview of the exhibition Causalité, 2015 3. Continuum, 2014, chromium on aluminum, 200 x 250 x 200 cm 4. 2011, 2011, wood, bicycles, aluminum, 300 x 400 x 200 cm 1. 2 . 3 . 4 .

marcdulude.com

AMÉLIE LAURENCE FORTIN

Amélie Laurence Fortin’s artwork unfolds along two main paths : a multidisciplinary practice revolving around the Le roc étin – celant project, which combines a corpus of pieces touching on what is concealed in man’s experience with his environment, and a practice focused around gaining from experience in locations and contexts where opposing forces operate. Being that the artist is fascinated by undis – closed worlds that have fallen into oblivion, these become the cornerstone of Amélie Laurence Fortin’s work. Her research sug – gests a reflection on the strength that the form, the human and the idea convey, to which she refers as the constant confron – tation between immobility and movement. She likes to believe that the pieces emer – ging from this research allow for an im – mersion in a state of trance, of vertigo. Since 2003, Amélie Laurence Fortin has explored locations where she can create pieces exposed to that tension. Only in 2009 did she start focusing on an immer – sive practice in order to direct her research towards actually converging these forces and integrating these tensions in her work. For instance, projects such as Exploit (VU PHOTO, Québec, 2012), Optimus I and II and La Chambre des idoles (La Chambre Blanche, Québec 2011 and Art Souterrain, Montréal, 2013), were carried out after survival expeditions which took place over several months while sea kayaking in Alas – ka and Newfoundland. The La Société du Spectacle project (CNE, Jonquière, 2014) resulted from a biking expedition on the American West Coast and an encounter with the equine world. The Dessins Polo – nais series (WRAK galerie, Québec, 2014) was created during a residency in Warsaw at the Czulosc gallery, where the artist was also able to study the pagan rituals of Central Europe. One of her most recent exhibits, Le paysage miraculeux (Spo – robole, Sherbrooke, 2014 and Museum de Arte, Brazil, 2014), acts as the first synthe – sis of this research. Email : amelielaurencefortin@hotmail.com. 1. Optimus, 2011, wood, 345 x 156 x 143 cm 2. Famous Women Artists – Ewa Partum, 2014, photography 3. – 4. Le paysage miraculeux, 2014, painted wood, herbarium of toxic plants, framed 1. 2 . 3 . 4 .

amelielaurencefortin.com

KARINA PAWLIKOWSKI

Karina Pawlikowski’s most recent research touches on the presence of animals and nature in contemporary art. The artist studies the concepts of domestication, breeding, entertainment and ritual that arise when man takes over nature. Karina Pawlikowski questions the use of animals in contemporary art as means of creation, mainly for their symbolic, aesthetic and visual qualities. Having come up with various strategies so that animals, the real and the animated, are displayed at the forefront, she also takes into account the human angle, considering the important part it plays in the emergence of a commodification reality. In her work, man serves a ludicrous purpose, filling in as a mirror on human stupidity. Here he gazes in awe before the beast, assessing his superiority, there he enjoys simple recreational fishing. As in a collage, the pictorial spaces she depicts bear different forms, from a genre scene to a still life. By using reality and make-belief, Karina Pawlikowski succeeds in creating a refined environment that evokes tragedy; poetic accidents conveying the ambivalence of the moving and the fixed. Karina Pawlikowski’s installations are scattered with waste material, from carrion to wood ashes, from black soil to flour. That organicity involves constant transformation of the piece, an inescapable decay that evolves throughout the exhibit and puts forth the living essence of the material from which it is born. Email : pawlikowski.karina@gmail.com. 1. How to Hold, 2014, transfer paper, carbon paper, 22 X 15 cm 2. Par les cornes, 2014, transfer paper, carbon paper, 22 X 30 cm 3. Se pâmer devant la bête, 2014, transfer paper, carbon paper, 22 X 30 cm 4. Ho Hisse, Ho Hisse! 2014, transfer paper, carbon paper, 22 X 30 cm 1. 2 . 3 . 4 .

karinapawlikowski.com

YANIK POTVIN

Yanik Potvin explores the various possible drifts between the codes of language and those of creative plastic artwork. His artistic practice revolves around the idea of reflecting on the premise of a specific project by drawing from anecdotes and theories derived from the fields of social studies, philosophy or art history. Through various mediums, but mainly that of ceramic sculpture, Yanik Potvin enjoys exposing the redundancies of contemporary ceramics in art. His work mainly takes the form of sculptural installations where the pieces produced are merged with the discourse from which they arise. Concealed in the visual proposal are concepts which rely on simple yet often contradictory bases such as humour, pretense, incoherence, irony or mockery. Yanik Potvin highly values the presence of external theoretical sources in the making of an art piece. According to him, the intention behind the work must not be directly disclosed. The majority of his research is alluded to going back and forth between creative writing (researching data) and creative plastic artwork (illustrating that data). Email : potpypire@yahoo.com 1. For the Love of Gode, 2015, ceramic, crystal, 20 x 6 x 8 cm 2. RIVAL, 2-slice Toaster 16041 (green), 2015, ceramic, object, hydrographic transfert, 35 x 30 x 20 cm 3. RIVAL, 2-slice Toaster 16041 (pink), 2015, ceramic, object, hydrographic transfert, 35 x 30 x 20 cm 4. Untitled, 2015, ceramic, glaze, 45 x 30 x 30 cm 1. 2 . 3 . 4 .

KARINE PAYETTE

Karine Payette working primarily in the medium of ins – tallation, but also that of photography and video, Karine Payette creates fictio – nal environments that function as freeze frames in which narratives are sus – pended. In her work, she uses everyday objects to construct extensive dream-like scenes in a hyperrealist manner. These mises-en-scènes serve to hint at a potential narrative which evokes the precariousness of our surrounding world. Through the playful use of everyday objects that are transposed into extraordinary situations, she craftily toys with our vision of things, so as to stimulate reflection about the instability of the materials and forms which are part of our living environ – ments. She questions notions of comfort and displeasure in a perpetually trans – forming world. Karine Payette lives and works in Mon – treal. Her works have been displayed in solo exhibitions, notably at the Galerie de l’UQAM (Confort instable, 2012) and at Le lieu, Centre en art actuel in Que – bec City (L’autre dimanche matin, 2012). She has also participated in group exhi – bitions, including the inaugural exhibition of the Centre Bang in Chicoutimi with her installation À distance perdue as well as at the Musée d’art contemporain de Montréal as part of the Les Ateliers pro – ject. In 2016, her work will be presented in various galleries and artists’ centres in Québec as well as in Haute-Goulaine (France). Email : payette.karine@gmail.com 1. Moment d’incertitude I, 2012, digital prints, 67 x 90 cm 2. Confort instable, 2012, recycled materials, en – gineered materials, photographs, stuffed coyote, 3. À distance perdue, 2013, wood, engineered materials , silicone, plaster, recycled materials, 610 x 518 x 365 cm 4. Intervalle, 2015, Thermoforming, polystyrene, acrylic resin, 150 x 52 x 34 cm 1 . 2 . 3 . 4