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Journée Paroles et Manœuvres : Sur le démoniaque
Saturday April 5, 2:30pm
Project Description
In the spirit of exchange and reflection, Skol invites the public to participate in Journées Paroles et Manœuvres. A cross-disciplinary meeting of interventions, conferences, performances, and discussions, this event aims to inverse roles, to encourage collaboration between different types of expertise, and to support hybrid forms of communication. Les Journées Paroles et Manœuvres is an opportunity to take time, together, through and across various forms and ideas.
Sur le démoniaque
The demonic refuses that which it foresees as being able to provide it with too much good, something that would thus compel it to extend its own limits, to be a broader living being, a being more full of life, and thus more exposed. We have been educated to always quickly turn back to structures already-explored and already known (though of an unbeknownst knowledge). But the return to structures is the return to that which is already individuated, to the “purely” individuated, and, as Simondon puts it, the only “pure” individual is a dead one. – Bernard Aspe
2:30 Video Sur le principe de négation by Noémi McComber
In her drawings, videos, photos, urban interventions and performances, Noémi McComber examines how the individual reacts when faced with physical and social constraints. While considering the implicit rules that regulate all sites of the social, she aims to reformulate the space that a person, a group or an entity can occupy.
At Skol, she will be presenting the video Sur le principe de négation (single-channel video, 2012, duration: 4:33).
3:00 Conference, Sortir des alternatives infernales, Edith Brunette and Clément de Gaulejac
The art milieu, which is currently undergoing a rapid and drastic reorganization of its modes of funding and functioning, has remained remarkably quiet in the face of this programmed erosion of its own autonomy of action, creation and organization. In order to break out of this silence, we believe it necessary to first bypass the hellish options that the ideology of consensus presents to us. Is it possible to conceive of a public space outside the notion of “the general public”? How do we get past the false debate between art’s autonomy and its social engagement that the both the left and the right are trying to corner us with? It is important to remember that “political” art is not art that serves the state, and that there exists a “third way” between the rejection of institutions and the excessive respect for their demands. Our presentation is an invitation to reflect, together, on the possibilities of this third way.
4:00 Performance by Julie Andrée T.
Situating space and the body at the heart of her research, Julie Andrée T. produces installations and performances. Between the poetic and the everyday, her work proposes shared abstract zones that nevertheless remain recognizable, setting apart and investigating interrogations that are both cultural and existential.
The artist will be presenting a new performance at Skol.
4:45 Conference, Autour du démoniaque, François Lemieux et Érik Bordeleau
The anxiety experienced when faced with the good is thus nothing but the anxiety felt before freedom… the demonic aims to intensify non-freedom, as a guarantee that from now on there is no way out, not even the hope of a way out. If freedom is that which broadens, the demonic is that which, within us, desires to return to narrowness, and the straightjacket it entails. This narrowness should not be confused with withdrawal into individuality – it can also be experienced (as is often the case) within a group, as long as transindividual relationships are not permitted, or are at least kept to a minimum. – Bernard Aspe
Lemieux and Bordeleau’s conference will survey the terrain opened up by Bernard Aspe, with the goal of detecting the varieties of cunning gratification elicited by the demonic within a group, and to consider actions and ethical games to fight against them.
5:30 Book launch, Les Cordons de la bourse, by Clément de Gaulejac
Publisher: La mauvaise tête
“The raw material for Les Cordons de la bourse (The Purse-Strings of the Stock Market) is made up of media reports on financial and stock exchange activity, the permanent double bind of managerial commandeering that extols the virtues of excellence, austerity, aggressive lucidity and voluntary blindness all at once. My goal was to bring to the fore the absurdity of this language so impoverished that it loses its power of meaning. I did not however set out to make a pedagogically-oriented book, nor to explain this ideological and linguistic drift. Not only would I have been incapable of doing so, but I had the feeling that nowadays understanding this drift is less important than fighting against it. We should perhaps analyze and try to understand these discourses, but in this book my goal is to rather make visible what they do to us; how they enter into and wear us down.” – de Gaulejac
Noémi McComber completed a Masters degree in visual and media arts at Chelsea College of Art (University of the Arts London, UK) in 2002. She has since been actively involved in artistic and curatorial projects, focusing on multidisciplinary (drawing, video, photography, performance and urban interventions) and collaborative works. Her artwork has been shown at the ICA in London (UK) and at Kunstverein Kohlenhof in Nuremberg (Germany) in 2003, at Moscow Centre for the Arts (Russia) and at Castlefield Gallery in Manchester (UK) in 2006, at L’Oeil de poisson Gallery in Québec city and at the Sherbrooke Museum of Fine Arts in 2007, as well as at La Centrale Gallery Powerhouse and B-312 in Montreal in 2009. In 2011, she presented the solo project New flags for Old Monuments at Dare-Dare, Acercate mas at Casa Tres Patios in Medellin, Colombia and La peau du bronze, a solo exhibition at la Maison des arts de Laval. She also presented two performances that year, at Viva Art Action! in Montreal and at the MAVF in Winnipeg, where she was invited to perform by AGAVF. In 2013, she had a solo show of new video works at Optica gallery in Montreal and was part of the Corrections Marginales exhibition at Studio XX. Her work was also shown in Finland, Wales (UK) and Colombia that year. She is a founding and active member of L’Araignée, a feminist collective for the dissemination of contemporary art. She lives and works in Montréal.
noemimccomber.comSince 1996, Julie Andrée T. has shown her works and presented her performances in Canada, the United States, Europe, Asia and South America. In 2003, she joined the performance collective Black Market International and in recent years has collaborated with theatrical artists like Jacob Wren and choreographers Xavier LeRoy, Benoît Lachambre, Martin Bélanger and Dominique Porte. In 2006, she was artistic director for a multidisciplinary project created by the Brussels-based collective PONI. Her work has been presented in many artist-run centres and festivals such as Théâtre des Amériques 2003 (Montréal), at the 8th Havana Biennial (Cuba), and the Liverpool Biennial (2010), among others. In 2009, she presented Not Waterproof et/ou l’érosion d’un corps erroné and Rouge in collaboration with Jean Jauvin and Laurent Maslé at the Festival TransAmériques and the Festival d’Avignon 2010, at the Push Festival 2010 (Vancouver), and at Théâtre de la Bastille (Paris 2011). In 2012 she presented Nature Morte, a theatre-performance at Festival TransAmériques de Montréal. Julie Andrée T. has been visiting professor at the School of the Museum of Fine Arts (Boston, 2008 to 2011) and is member of the programming committee at le Lieu (Québec City). She has curated exchanges between Boston and Québec City and organized Open ART 2009, an international performance festival in Beijing, China. Julie Andrée T. will participate in the next edition of the Manif D’art in Québec City and will present a solo show next June at Centre BANG (Chicoutimi).
François Lemieux is an artist. Born in 1979 in Québec City, he lives in Montréal.
Érik Bordeleau. is a postdoctoral fellow at the Université libre de Bruxelles and part-time professor at UQÀM. He is the author of Foucault anonymat (Le Quartanier, 2012), winner of the 2013 Eva-Le-Grand book award, attributed by Spirale magazine. He holds a PhD in comparative literature from the Université de Montréal on Chinese contemporary art and cinema. Bordeleau is interested in the speculative turn in contemporary thought as well as the modes of presence of gods, specters, and other spirits in East-Asian cinema. He is a member of the research and creation collective Sense Lab (Concordia University), as well as the cinema action group Épopée, who realized the film Insurgence on the 2012 Québec student movement.
Artist, illustrator and author Clément de Gaulejac has lived in Montréal for over a decade. He has published two books, Grande École (2012), and Le Livre noir de l’art conceptuel (2011) with Le Quartanier. He has also written texts for the magazines Altérités (Valoir le clou) and Substance (Téléphone arabe), and has published portfolios in Spirale, Marge et esse, and regularly publishes drawings in the magazines Liberté and Le Bathyscaphe. He recently exhibited posters produced in support of the Québec student movement at Centre des arts actuels Skol (Motifs raisonnables, 2013). In recent years, his artwork has been shown in solo exhibitions at the Feng Zikai Museum (Shanghai, 2012), at Œil de Poisson (Québec City, 2011), at Espace Occurrence (Montréal, 2010), as well as in group show at the Charles S. Scott Gallery (Vancouver), Saw Gallery, (Ottawa) and Recyclart (Brussels). He is currently working on a PhD in art practice and theory at UQÀM, where he is writing a thesis entitled L’anecdote, tactique et théorie.
calculmental.orgEdith Brunette has a hard time writing her own biography(ies); because, while she wants to appear professional, that means leaving a lot of things out. For example, she wrote her biography from the receptionist’s desk where she works so that she can buy herself time to read and think and create work. She is caught in the common tragedy of expecting too much from art, when in fact it doesn’t really deliver much at all. She has had shows (Le Lieu, Galerie de l’UQAM, Skol), and residencies (Praxis, La Chambre Blanche), and has published articles (ETC, Inter, Cassandre/Horschamp), but mostly she’s made a lot of things that live in drawers or in her head: her projects aren’t always wanted. And now, like everyone else, she’s doing a Master’s degree and thinks that being involved at Skol is pretty great, since everyone always needs volunteers…
edithbrunette.net
La politique de la meute : se donner corps
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