Auteur : Admin_GT

• èdres de Chantal Neveu (2005)

  èdres livre
  èdres | dehors disque compact
  de Chantal Neveu

  Première publication de la maison d’édition É = É
  Lancement le jeudi 20 octobre 2005, 17 h à 19 h
  Librairie Gallimard   3700 boul. St-Laurent Montréal, 514 499.2012

  èdres

  Infra-dit de pensées, d’humeurs, d’agirs, visions, passions et sensations – apparition d’un polyèdre relationnel.
  Une série de six èdres en six feuillets de six strophes composées de six hexamètres. Télescopage d’échelles non-illustrative,
  non-naturaliste, à la faveur d’une considération du non-visible, une perception du réel par-delà les critères de probable et
  d’improbable – à la faveur d’un entendement inouï.

  èdres  |  dehors (DC)

  Les six èdres enregistrés en six sites extérieurs à Montréal captés à la manière du cinéma-direct – six plans-séquences audio – six duos composés de quatre voix d’homme et d’une voix de femme – alternés avec six arêtes sonores.

  Interprètes : Christian Calon, Pascal Dufaux, Mario Gauthier, Christian Giriat et Chantal Neveu.
  Conception sonore, prise de son, composition et mastering: Stéphane Claude.
  Direction artistique: Chantal Neveu.

  É=É et l’auteur remercient le Conseil des Arts du Canada, le Conseil des arts et des lettres du Québec, Louise Marois et Benoît Gravel.

  É=É ( rébus, lire  « ET TEL EST » )
  À l’automne 2004, Sophie Bellissent et Gisèle Trudel formalisent une collaboration de sept ans en créant le collectif É=É.

  

  2005.10.20

• in/fluencing (2005)

  Permutational media installation
  with 4 sensors : 
light, temperature, frequency of movement, proximity

  “Even matter called inorganic, believed to be dead, responds to irritants and gives unmistakable evidence of a living principle within. Everything that exists, organic or inorganic, animated or inert, is susceptible to stimulus from the outside.” – Nikola Tesla

  Originating in visual research* from the project DATA, this installation investigates the translation of magnetic phenomena of image visualisation at nano and micro levels.
The intuitive understanding that Tesla had of the potential of zero point energy, the idea of taping into the ambiant medium as a source of energy which is self-regulated and self-sustained, is initially evoked through a cantilever tip (as used by the AFM — Atomic Force Microscope), a point of contact unto a micro flowing surface, a never-ending exchange of magnetic/voltage coordinates.
The invisible becomes readable as the « needle » meets the random deviations of matter.

  With the collaboration of
  Carey Dodge _MAX/MSP programming
  Mathieu St-Arnaud _MAX/Jitter programming
  Andrew Watson _MAX/sensor programming
  Roméo Gongora _production assistance
  Christian Miron _sensor display design

  *Micro/nano imagery produced in a previous project/residency at the Nanolab, Chemistry Departement, McGill University, with Dr. Vicki Meli and Dr. Bruce Lennox, with financial assistance from the Daniel Langlois Foundation for art, science and technology.

  Produced specifically for
  Resonance. The Electromagnetic Bodies Project.
  Curated by Nina Czegledy and Louise Provencher
  European tour: July 2005_September 2006

  OBORO (Canada)
  ZKM (Germany)
  Conde Duque Medialab (Spain)
  TENT _V2 (Holland)
  Ludwig Museum (Hungary)
  Maison européenne de la photographie (France)

  Produced with the financial assistance of PAFARC-UQAM (Programme d’aide financière à la recherche et à la création de l’Université du Québec à Montréal)

  

  

  

  2005.07.21

• tongues of living flame (2003)

  Audio program with live voice
  Musée d’art contemporain, Montréal
  nov 19 2003
  Commissioned in the context of Projet Bulbes par Artificiel.
  MIDI-synchronized matrix of 8×8 oversized light bulbs

  We would like to thank: Sophie Bellissent for her insight, Pascal Dufaux for La machination sonore, M/S sound recording by Ælab during his exhibition Des mesures dévastées, presented at La Maison de la culture du plateau Mont-Royal, Nikola Tesla for his words (adapted from My inventions,The Electrical Experimenter magazine, 1919), Louise Ismert for her warmth and support, and Artificiel for their superb impulsion apparatus.

  2003.11.19

• data (2003-2009)

  Photo cover : Paul Litherland

  media installations
  
  DATA is research on the “forces” of the image at different scales of perception, produced through an artist residency with  Dr. Vicki Meli at the Nanolab of McGill University’s Chemistry Department (Dr. Bruce Lennox, Chair and Director).

  A relationship blossomed over the 8-month period (July 2003-Feb 2004) with both scientists, which led us to discuss issues around imaging, education, ethics, ecology, and the relationship between art and science.

  We were able to work with various digital micro and nano imaging technologies, the SEM (Scanning Electron Microscope), the AFM (Atomic Force Microscope) and the STM (Scanning Tunneling Microscope), view physical samples and subsequently record them as 2D files, 3D mappings of surfaces and live video output.

  Funding from The Daniel Langlois Foundation for art, science and technology.

  Presentation venues
  National Gallery of Sofia, Bulgaria Sept-Oct 2003, group exhibition Radical:Vaguely, Rossitza Daskalova, curator.
  Solo exhibition, Saidye Bronfman Centre for the Arts, curated by Sylvie Gilbert, Dec 2004-Jan 2005.
  DATA, video, Gala evening, ACFAS, Salle Pierre-Mercure, Montréal, 10 May 2004
  DATA: Transfers, oeuvre Web, Horizon Zéro, numéro 14 RÊVER, Banff new media institute, Banff 24 April 2004
  InterAccess, group exhibition SCALE, curated by Camille Turner, June 2006.
 Presented by Subtle Technologies 2006
  Millenium Museum, group exhibition INSIDE, curated by Sylvie Parent, Beijing, China, July 2006.
 Presented by Groupe Molior
  Maison des artistes, Winnipeg, Manitoba. Groupe exhibition REGARDS curated by Kevin Kelly, March-May 2007
  Paço das Artes, group exhibition INSIDE, curated by Sylvie Parent, Sao Paulo, Brazil, May-July 2008.
 Presented by Groupe Molior
  Exposition collective, Le 25e printemps d’OBORO, 18 avril – 2 mai 2009

  Solo exhibition, Saidye Bronfman Centre for the Arts, curated by Sylvie Gilbert, Dec 2004-Jan 2005. Photos : Paul Litherland.

  

  

  

  

  

  

  

  National Gallery of Sofia, Bulgaria Sept-Oct 2003, group exhibition Radical:Vaguely, Rossitza Daskalova, curator

  

  

  

  

  

  

  

  2003.09.01

• cycles (2002)

  Interactive works by Ken Gregory and Brad Todd
  Curated and catalogue essay by Ælab

  Cycles is an exhibition that considers the shifting relationship between assembled structures, the cross-purposing of objects and the experience of the viewer/participant where interactivity is never an autonomous terrain.

  

  Gregory’s 12 Motor Bells is a computer-controlled electromechanical audio installation where microprocessor technology, machines, intimacy and the human body collide.

  

  Screen, a telerobotic Net artwork by Todd, consists of robotic armatures that control a series of events inside a boxed grid-like construction. The work sporadically comes alive for interaction via a web page interface and is also enhanced
  through a performative presence for limited time screenings.

  Presentation venue

  Dalhousie Art Gallery, New Media Gallery
  Halifax, Nova Scotia
  Nov 2-24 2002

  in collaboration with the Centre for Art Tapes

  

  2002.11.02

• hex + èdre (2002)

  Collaboration image / texte
  Ælab et Chantal Neveu

  Une série de 6 images nanométriques du carbone d’AElab.

  ÈDRE, texte de Chantal Neveu.
  Des voix, un infra-dit de pensées, d’humeurs, d’agirs, visions, passions et sensations, apparition d’un polyèdre relationnel.

  ÈDRE est le premier d’une série de six ÈDRES, six feuillets de six strophes composées de six hexamètres, segments de phrases en six fois deux syllabes. Cette métrique d’ÈDRES résonne à HEX, oeuvre visuelle et sonore d’Æ, librement inspirée par la structure formelle nanométrique du carbone à six branches.

  Chantal Neveu choisit la poesia comme forme privilégiée d’exploration et de connaissance, seule ou en dialogue avec d’autres objets et d’autres créateurs.
  Écriture et fiction comme affirmation d’une subjectivité interrogative de ce qui est entendu, vu, lu et perçu.
  Questionnement du verbe dans l’espace et teneur polysémique des mots, du vivant, du technologique.

  hex _ 2 images de la série de 6.

  

  

  Présentation

  Revue ÉC/artS nº3 / Textualités et nouvelles technologies, Paris, 2002.

  

  2002.10.01

• environ/mental (2002)

  Ælab, curators for video programme
  Commissioned by Katastrophe programme : Florian Wüst, Head Curator

  Oberhausen Short Film Festival, Germany
  May 2-8 2002

  – Basic Bucky: Dymaxion House/Car, Robert Snyder, USA, 1966/90
  – WTO in Seattle, Adbusters, Kanada, 2001
  – San Francisco: Aftermath of Earthquake, Edison, USA, 1906
  – Björk – Jóga, Michel Gondry, Frankreich, 1997
  – Basic Bucky: Geodesic Domes, Robert Snyder, USA, 1966/90
  – Dirt Site, Alexander Hahn, USA/CH, 1991
  – Water, Water, Everywhere…, Gilles Blais, Kanada, 1971
  – Untitled: 002, MK12, USA, 2001
  – Basic Bucky: Roofs over cities, Robert Snyder, USA, 1966/90
  – Uranium Hex, Sandra Lahire, UK, 1987
  – GDP, Adbusters, Kanada, 2001
  – My heart the meteorologist, Deborah VanSlet, Kanada, 2001
  – Karao_k.mov, A. Frédérick Belzile, Kanada, 2000
  – Apple Grown in Wind tunnel, Steve Matheson, USA, 2000
  – Basic Bucky: Fly’s eye dome, Robert Snyder, USA, 1966/78/90

  2002.05.02

• la chambre d’essais (2002)

  A project by Atelier insitu architects

  in collaboration with
  Ælab, sound design
  Axel Morgenthaler, light design

  Presentation venue
  Canadian Centre for Architecture, April/Sept 2002

  Photo: Michel Legendre

  2002.04.17

• green (2001)

  3D study by Gisèle Trudel

  Web project

  The project consists of visualizing the city of Montréal in a sci-fi eco-architecture scenario for today.

  A hommage to Frederick Law Olmsted, the American founder of landscape architecture, who designed both Central Park (NYC) and Mount-Royal Park (Montréal), in 1858 and 1876 respectively.

  Presentation venue

  This Web project developped especially for the group exhibition Emplacement/Déplacement, by curators Sylvie Parent and Valérie Lamontagne, presented at the New Museum of Contemporary Art, New York, September 2001.

  We wish to thank Groupe Intervention Video for having webhosted this project.

  

  2001.09.30

• selfsimilarity (2001)

  Web project

  In July 2001, we were invited by Boréal Art/Nature to research and do the pre-production for a new web project, based on graphic work of Ernst Haeckel, a 19th-century artist and biologist (1834-1919).

  Original objects and natural phenomena discovered and observed on site at La Minerve, Québec are digitized with a video camera and scanner onto a portable computer. The juxtaposition of these elements are grouped into a series of 2D computer studies for the web, including animations, video and text, inspired by the progression of associative and formal lithographic works which make up the KunstFormen der Natur series elaborated by Haeckel from 1899 to 1904.

  Our fascination for this portfolio of strange and beautiful imagery is because it is usually invisible to the naked eye.

  

  2001.07.01