‘Vie D’ange’ inaugural group show

Vie D’ange is pleased to present it’s inaugural exhibitionVie D’ange, a group show including Alan Belcher, Simon Belleau, Julian Garcia, Kelly Jazvac, Puppies Puppies, UV Production House and Andrew Norman Wilson. The self titled exhibition navigates a clashing opposition between the vital and the material, converging towards an environment in flux—a state of animal, material and human conditions, where the sentient and the animate melt, dissolve, adapt and harden into one another.

An anthropomorphized turtle in the form of a robot vacuum, a sculpture, terrorizes yet relegates the exhibition through labouring and cleaning its gravity bound surface. The turtle turned robot, an object that can think but cannot feel, territorializes space, pushing around and recomposing other works in its path. The passive physicality of Kelly Jazvac’s work enunciates the perennial nature of plasticity. The idea of material life cycles is an anthropomorphized approach to managing supply chains—the divine notion of cyclical processes of rebecoming, yet never disappearing.

The potential of transcending gravity, whether through elevating to the skies or floating to the top comes into tension with the real limitations of floor based media. This sense of gravity is framed by an instructional wall drawing that was purchased from UV Production House off of their Etsy store. The drawing indicates sea level rise predictions over the next 100 years based upon the gallery’s GPS coordinates. Online shopping venues were instrumental in the production of the artworks in this exhibition. Both Simon Belleau’s Turtle shell and Roomba Vacuum were purchased off Ebay as were Julian Garcia’s souvenir bottles of recuperated oil from the 1989 Exxon Valdez oil spill. Garcia then re-spilled the bottles across stretched canvas and framed with a spill containing oilboom. The archery arrow in Puppies Puppies’ sculpture 💘was purchased from Amazon, a distant jungle where encounters with objects of alienation occur in a new nature; surfacing via Fedex next day as if through thin air.

The works both reflect upon and enact experimentation. Deep sea oil drilling and organ transplants between pigs and baboons come into direct dialog with lab mice. The animal subjects are instrumentalized as the canvases for which human health sciences experiment and innovate upon. These are experiments which are conducted in the name of progress. Sometimes experiments become accidents, accidents sometimes take to the scale of catastrophes.

In Andrew Norman Wilson’s Ode to Seekers 2012 (2016), a mosquito guides through an abandoned paediatric psych ward before revealing itself as an animated form which alternates between pumping blood from flesh and oil from earth. The intensity of the video’s soundtrack bleeds onto the solitary context of each work. In the midst of the video’s visceral score a metronome reminiscent of a heart beat establishes itself in a tense moment.

A still heart sits on the oil stained concrete floor. The turtle pushes the heart, then redirects itself toward a shoebox containing Alan Belcher’s Untitled (Self Portrait) an effigy made from the artist’s own bedsheets, stuffed with his used socks, adorned with his blood, finger nails, hair, and identified with his own passport photo. The representation of subjecthood is formed through material encounters; the relic is forever caught in a choreography of objects.

The dance continues in jovial perpetuity towards an ever changing position that animates the still. Yet it’s sequence of gestures become a recognizable pattern that emerges through a process of cross-encounter, collision and recalibration.

Notes:

[1] Vie D’ange translates into ‘The life of an Angel’, whereas predominately in Québec, ‘vidange’ 1 is a colloquialism for common street trash and domestic detritus.
[2] Outside of Québec in the larger Francophone world, ‘vidange’ means a process of emptying, or draining a container of liquids (an oil change in France is a vidange huile.)
[3] As the gallery is located in a former garage which has been drained of fluids, and thus it’s economic fluidity, it’s void space becomes a dry container. A space to encounter art works which have congealed and harden as material aftermaths, or as outputs responding to petrol-culture and its discontents.

1_installation-view_outside-aInstallation View

2_installation-view_1Installation View. Wall Drawing: UV Production House “Sea Level Diagram in Five Year Increments”. Water Based Acrylic Marker, Site Specific GPS Coordinates. Dimensions Variable. 2016. From Left to Right: Alan Belcher, Simon Belleau, Julian Garcia, Alan Belcher, Julian Garcia, Kelly Jazvac, Puppies Puppies, Alan Belcher.

3_installation-view_2Installation View. Wall Drawing: UV Production House “Sea Level Diagram in Five Year Increments”. Water Based Acrylic Marker, Site Specific GPS Coordinates. Dimensions Variable. 2016. From Left to Right:  Julian Garcia, Alan Belcher, Kelly Jazvac, Alan Belcher, Puppies Puppies, Alan Belcher, Alan Belcher, Simon Belleau, Julian Garcia.

4_puppies-puppiesPuppies Puppies, 💘 .Anodized Archery Arrow, Pig’s Heart.
Dimensions Variable, 2016

5_alan-belcher_oils_intsallation-viewInstallation View. Left: Alan Belcher, “Oil”. Black & white photograph laminated to canvas, stapled to plywood, mouse. 24” x 24” x 2 inches (61cm x 61cm x 5cm), #5 from series of 10. 1989. Right: Alan Belcher, “Oil”. Black & white photograph laminated to canvas, stapled to plywood, mouse. 24” x 24” x 2 inches (61cm x 61cm x 5cm),#10 from series of 10. 1989.

6_alan-belcher_oils_1(Detail) Alan Belcher, “Oil”. Black & white photograph laminated to canvas, stapled to plywood,
mouse. 24” x 24” x 2 inches (61cm x 61cm x 5cm), #5 from series of 10. 1989.

7_alan-belcher_oils_2(Detail) Alan Belcher, “Oil”. Black & white photograph laminated to canvas, stapled to plywood,
mouse. 24” x 24” x 2 inches (61cm x 61cm x 5cm), #10 from series of 10. 1989.

8_installation-viewInstallation View

9_julian-garcia_fomo-detailJulian Garcia, FOMO (Stuffed Chair).
Found wooden pallet, multiple news screengrabs, found graphics, UV print on wood.
40”x 48”x 6”[inches]. 2016.

10_alan-belcher_self-portrait-detailAlan Belcher, “Untitled (Self Portrait)”.
Hand-made from the artist’s bedsheets, stuffed with his used socks,
his hair, his fingernails, his blood, his passport photo, match book,
razor-blade, pins, thread, (included with artist’s shoebox for installation).
10.5” x 5” x 1.5 inches (26.6cm x 12.7cm x 3.8cm). 1993.

11_kelly-jazvac-hazy-detailKelly Jazvac, Haze.
Salvaged adhesive vinyl, cardboard, adhesive
31” x 18” x 7”. 2010.

12_julian-garcia_new-spillJulian Garcia. New Spill No.5. Petroleum from the 1989 Exxon Valdez oil spill on canvas, acrylic
medium, PIG-brand oil engulfing boom, water sealing pouch. 24”x 36” [inches]. 2014.

13_julian-garcia_new-spill-detail(Detail) Julian Garcia. New Spill No.5. Petroleum from the 1989 Exxon Valdez oil spill on
canvas, acrylic medium, PIG-brand oil engulfing boom, water sealing pouch. 24”x 36” [inches]. 2014.

14_kelly-jazvac_delfationary-club-detail(Detail) Kelly Jazvac. Deflationary Club.
Salvaged adhesive vinyl, T square.
22.5 x 40 x 8 5/8 Inches, 2008.

15_kelly-jazvac_delfationary-club(Detail) Kelly Jazvac. Deflationary Club.
Salvaged adhesive vinyl, T square.
22.5 x 40 x 8 5/8 Inches, 2008.

16_installation-view-aInstallation View

17_alan-belcherAlan Belcher. “Gum”. Laminated color photograph, plywood, bubble gum
24” x 24” x .75 inches (61cm x 61cm x 2cm), #11 of a series of 15, 1989.

18_installation-view-cInstallation View

19_alan-belcher-pearls-2-detailAlan Belcher, “Untitled (Pearl)”.
Oil on linen, broken glass
8” x 8 inches (20.3cm x 20.3cm)
#4 from a series of 15. 2016.

20_alan-belcher_pearls-1detailAlan Belcher, Untitled (Pearl)”.
Oil on linen, broken glass
8” x 8 inches (20.3cm x 20.3cm),
#13 from a series of 15, 2016.

21_julian-garcia_fomo1Julian Garcia, “FOMO (Fighting at the Dam)”.
Found wooden pallet, CNN screengrabs, UV print on wood.
40”x 48”x 6”[inches]. 2014.

22_andrew-norman-wilson_2Andrew Norman Wilson, Ode to Seekers 2012.
HD video, color, sound, 8 minutes 30 seconds. 2016

23_andrew-norman-wilson_1Andrew Norman Wilson, Ode to Seekers 2012.
HD video, color, sound, 8 minutes 30 seconds. 2016

24_simon-belleauSimon Belleau, “Untitled”. Turtle Shell, Robot Vacuum, Artists Socks and Sleeping Pills.
12.5 x 15 x 6 inches. 2016.

25_installation-view_-outside-bInstallation view

💘

Vie D’ange.
at Vie D’ange
October 7th 2016 – November 7th 2016.

w works by Alan Belcher, Simon Belleau, Julian Garcia, Kelly Jazvac, Puppies Puppies, UV Production House and Andrew Norman Wilson. 

Vie Dange is an exhibition space in Montréal Canada, directed by Daphné Boxer & Eli Kerr. The space was founded by Boxer and Kerr in the winter of 2016, and opened it’s inaugural exhibition Vie D’ange in fall of 2016. The gallery is focused on working with artists directly to encourage dialog and responsive production towards advancing exhibition practices within an independent framework.

www.viedange.club