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Fonderie Darling
475 Ottawa
Montréal, QC, H3C 1R8
T:514.392.1554
info@fonderiedarling.org


SPRING 2017: THREE NEW EXHIBITIONS MARCH 9 – MAY 21

Opening: Thursday March 9, 5PM – 10PM
The artists will be present. Free and open to all.

Open Studios during the opening, 6PM – 8PM
Guided tour of the exhibitions by the artists and curators, 5PM


On Thursday, March 9, at 5pm, the Darling Foundry Visual Arts Centre inaugurates its 2017 Spring Season program, which will be in place until May 21. This first cycle of exhibitions at the Darling Foundry for 2017 immerses visitors in two extremely different worlds: the organic and mystical universe of South African artist Dineo Seshee Bopape, and the universe of David Arseneau, who creates a compulsive character that explores both science fiction and computer science. With and-in. the light of this._____, her first solo exhibition in Canada, curated by Dominique Fontaine, Dineo Seshee Bopape consolidates the connections that she developed with the Darling Foundry following a six-month studio residency at the Darling Foundry in 2012. In the Small Gallery, David Arseneau’s SUPER F13 PART 1 TO 12 REDESIGN STUDIO DooM presents two projects that are independent but linked via video gaming. Finally, the Reading Platform, the Darling Foundry’s newest exhibition space, hosts Comme tout le monde, les choses mortes, in which Céline Huyghebaert reveals her documentary practice developed around the book Le drap blanc, presented for the first time for this exhibition.


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Dineo Seshee Bopape, indeed it may very well be the ________ itself, 2016. Courtesy the artist and Fundação Bienal de São Paulo. 2016. Image courtesy of the artist and Art in General, New York.

Dineo Seshee Bopape | AND- IN. THE LIGHT OF THIS.______
Main Gallery

and- in. the light of this .______ is part of Dineo Seshee Bopape’s ongoing inquiry into the concept of sovereignty – land, body, and self-sovereignty – and the metaphysics of nothingness through exploration of ideas and forms of containment and displacement, occupation, and hosting, and the socio-historical politics of landlessness. Like two previous works, sa ____ ke lerole, (sa lerole ke ___) (2016) (exhibited at Art in General in New York) and :indeed it may very well be the___________itself (2016) (commissioned by the São Paulo Biennale), this new site-specific installation for the Darling Foundry continues Bopape’s thematic interests in the topic of the Anthropocene and the idea of sovereignty.


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David Arseneau, Super F13 Part 1 to Part 12 Redesign: The Final Chapter, 2016
credits: David Arseneau

David Arseneau | SUPER F13 PART 1 TO PART 12 REDESIGN STUDIO DOOM
Small Gallery

David Arseneau’s current work reflects the world of a bygone adolescence at once through his subjects, his media, and the compulsiveness with which he treats them. Recently, his interest in the horror film Friday the 13th gave rise to a play on his obsessive compilation of the characters and the context in which they live: composite sketches of criminals, victims, and witnesses; treasure hunts; a video game organized like Dungeons and Dragons; and building models are all variations that lead us to believe that he is trying to extract fear by turning it to ridicule. Through different media, in an inept style conveying the urgency of production, this central theme – which is of little interest to the artist – serves as a pretext for him to explore new forms of expression and push the limits of his own reflection.


Céline Huyghebaert | COMME TOUT LE MONDE, LES CHOSES MORTES
Reading Platform

The Darling Foundry is inaugurating a new public space. Designed by artist Alexandre David, the Reading Platform offers information on exhibitions, current and past; highlights the research of the artists in residence; or is offered to young artists whose practices intersect with books, printing, or literature.

This first project displays the documentary practice that Céline Huyghebaert has developed around the book Le drap blanc, which will be presented for the first time during this exhibition. For this book, the artist conducted a very personal five-year inquiry around the death of her father. Through the superimposition of documentary and fictional materials, in Comme tout le monde, les choses mortes Huyghebaert reconstructs a biography of absence: she forms a portrait not of a life, but of the blanks that defined that life, and the manner in which these blanks continue to mold the present.