projects

February 28, 2019

 

Screen Shot 2018-07-10 at 4.27.34 PM  images, on instagram

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spencer CC03 copy  public art/art public

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movin_the_charter_2017  movin’ the charter, with l’araignée collective, 2017/2018/2019.

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2012mai8or72  sittin’ with cabot square at centre clark, 2017.

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_mg_9665_photo-guy-lheureux-2  headlines at ellephant, 2017.

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2016_kes_portrait_72dpi the sitter, the interdisciplinary writers’ unit, and the darling.

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on_and_on_2014 letters home/lettres à ma mère, galerie b-312, 2015.
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screen-shot-2015-08-26-at-10-40-40-am pourrait être fait, 2015, baie-saint-paul, québec.

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img_9411 blogeurs en captivité, 2014, montréal, québec.
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movin’ the charter
karen elaine spencer

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Sending a sign to the Régie du logement:

“Dans movin‘ the charter, karen elaine spencer propose de disséminer dans l’espace public des extraits de la Charte des droits et libertés du Québec, qu’elle a retranscrits sur de grands panneaux de bois. En invitant des groupes de participant.e.s choisis à sélectionner des passages de la Charte qui résonnent particulièrement pour eux/elles, l’artiste s’approprie ensuite ces extraits afin de réaliser des écriteaux aux formats imposants, dont elle fera ensuite don à l’équipe de participant.e.s. Il y aura dans cette transaction un transfert de propriété, ainsi que des responsabilités qui y sont assignées.”
- excerpt from introductory text by collectif L’Araignée

As the fourth gesture of Movin’ the Charter, Sarah Chouinard-Poirier, Sheena Hoszko, Michelle Lacombe, and jake moore will be delivering a panel bearing item number 7, from CHAPTER I of the Quebec Charter; FUNDAMENTAL FREEDOMS AND RIGHTS, to the Régie du logement. It has been translated into Kanienʼkéha preceding the two colonial languages of French and English.

7. Sanònhskon nón:we senònhste.
7. La demeure est inviolable.
7. A person’s home is inviolable.

The order of the languages is indicative of time of arrival on this land, and each is preceded by the number that indicates its priority within the Charter. While we are completing our gesture by depositing the panel at the Régie on what is known to be ‘national moving day’ in Québec, we have been actively engaging the text and the physical object for several months in a practice of movement, labour, and dialogue. These actions take place between ourselves, partners and those that share our homes, neighbours, and multiple publics as we negotiate this weight between one another and throughout the city space. The panel and its text are cumbersome, they interfere with swift movements, cause delays and demand attention. This slowness and the difficulty of these collective efforts actualize the responsibility of care for rights and freedoms currently under direct attack by our government.

Upon delivery of the panel from karen elaine spencer, we have moved the object between each of our own homes. Going in one door and out the other, we were affectively stitching the homes together as we labour our way across the city. We are deeply aware of the complexity of the idea of home and our own implication in both the occupation of built structures understood as home in increasingly gentrified neighbourhoods, but also of our own implication in violation as settlers on this land, specifically as white cisgendered women. We have been reversing the cartography of the European occupation of Montreal/Tiohtià:ke/ Moonyang, from Rosemont to Petite Italie, to Ville Marie to Hochelaga and then drawing/walking the final line, or stitch, to the office of the Régie du logement at the “Olympic Village”. The building was originally constructed as housing for athletes in the 1976 Olympic Games under Mayor Drapeau, and has since also served as temporary housing for refugee claimants crossing the border of the land now called Canada. Thus its architectures, meaning both built and social, suggest a through line of impulses as themselves fraught and cruel.  These architectures are symbolic of access to housing based on idealized bodies validated though ableism, class, gender, nationality, white supremacy, and racism.

The artists would like to acknowledge the kind participation of Hilda Nicholas for providing the translation of this fundamental freedom and right into Kanienʼkéha, Paul Litherland for his sensitive documentation to come, and exceptional skill, collectif L’Araignée for their productive generosity, dare-dare for their ongoing support and presentation of critical spatial practices and performative gestures, and of course, karen elaine spencer for putting the motion forward.

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n.b. all photos in this communique have been taken by the collective members: Sarah Chouinard-Poirier, Sheena Hoszko, Michelle Lacombe, and jake moore. Paul Litherland will document the final delivery at the Régie du logement with a 4×5 camera. The colour negative he produces will be gifted to karen elaine spencer.

 

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movin’ the charter

July 1, 2019

title: movin’ the charter
year: 2017, 2018, 2019 (work in progress)
location: montréal, québec
duration: variable
supported by : le collectif l’araignée, dare-dare, calq
performed by : sarah chouinard-poirier, sheena hoszko, michelle lacombe, and jake moore; ken mclaughlin, blossom thom and  j.j. lokshtanov;  jeremie tessier, callaghan marley-boshouwers, jaime rodriguez and nathan spencer-cross; patricia martin, nuria carton de grammont, linamar campos flores and chema.

2019-02-18-Spencer-001
acrylic on fir plywood, 4 x 8 ‘, 2019. photo: paul litherland
Section 7 of the charter has translated into Kanienʼkéha preceding the two colonial languages of French and English.
7. Sanònhskon nón:we senònhste.
7. La demeure est inviolable.
7. A person’s home is inviolable.

Screen Shot 2019-07-01 at 9.58.26 AM
photo courtesy the collective

As the fourth gesture of Movin’ the Charter, Sarah Chouinard-Poirier, Sheena Hoszko, Michelle Lacombe, and jake moore will be delivering a panel bearing item number 7, from CHAPTER I of the Quebec Charter; FUNDAMENTAL FREEDOMS AND RIGHTS, to the Régie du logement. It has been translated into Kanienʼkéha preceding the two colonial languages of French and English.
7. Sanònhskon nón:we senònhste.
7. La demeure est inviolable.
7. A person’s home is inviolable.
The order of the languages is indicative of time of arrival on this land, and each is preceded by the number that indicates its priority within the Charter. While we are completing our gesture by depositing the panel at the Régie on what is known to be ‘national moving day’ in Québec, we have been actively engaging the text and the physical object for several months in a practice of movement, labour, and dialogue. These actions take place between ourselves, partners and those that share our homes, neighbours, and multiple publics as we negotiate this weight between one another and throughout the city space. The panel and its text are cumbersome, they interfere with swift movements, cause delays and demand attention. This slowness and the difficulty of these collective efforts actualize the responsibility of care for rights and freedoms currently under direct attack by our government.
for full texts in french and english click on link : movin fr    movin en

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2019-04-15-Spencer-001 2acrylic on maple plywood, 4 x 8 ‘, 2019. photo: paul litherland
translation to english : EVERY PERSON IS THE POSSESSOR OF THE FUNDAMENTAL FREEDOMS INCLUDING FREEDOM OF CONSCIENCE FREEDOM OF RELIGION FREEDOM OF OPINION FREEDOM OF EXPRESSION FREEDOM OF PEACEFUL ASSEMBLY AND FREEDOM OF ASSOCIATION.

kes_2019_mtc_poetsIn front of Léché Desserts, Saint-Henri, Montréal, Québec, May 21, 2019. Ken McLaughlin, Blossom Thom and  J.J. Lokshtanov – THE CHARTER POETS.

11 AM, Tuesday, May 21,

The Charter Poets(Ken McLaughlin, Blossom Thom, and J.J. Lokshtanov) will carry artist karen elaine spencer’s section 3 of the Quebec Charter of Human Rights and Freedoms through the streets of Montreal. The event will start at the artist’s studio 1001 rue Lenoir at approximately 10:45 AM and move to Léché Desserts, a popular donut shop, 640 Courcelle St.

The panel comprises 10 different languages : Tagalog, Greek, Eastern James Bay Cree, English, French, Arabic, Spanish, Italian, Chinese, and Haitian Creole. En francais: le tagalog, le grec, le cri de l’est de la Baie James, l’anglais, le français, l’arabe, l’espagnol, l’italien, le chinois et le créole haïtien.

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acrylic on oak plywood, 4 x 8 ‘, 2019. photo: paul litherland
translation to english : THE RIGHTS AND FREEDOMS SET FORTH IN THIS CHARTER ARE GUARANTEED EQUALLY TO WOMEN AND MEN 2008 C 15 A2.

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Lachine Canal, Montreal Québec. April 23, 2019. Team of Jeremie Tessier, Callaghan Marley-Boshouwers, Jaime Rodriguez and Nathan Spencer-Cross. Photo: Will Mackenzie.

Dans movin‘ the charter, karen elaine spencer propose de disséminer dans l’espace public des extraits de la Charte des droits et libertés du Québec, qu’elle a retranscrits sur de grands panneaux de bois. En invitant des groupes de participant.e.s choisis à sélectionner des passages de la Charte qui résonnent particulièrement pour eux/elles, l’artiste s’approprie ensuite ces extraits afin de réaliser des écriteaux aux formats imposants, dont elle fera ensuite don à l’équipe de participant.e.s. Il y aura dans cette transaction un transfert de propriété, ainsi que des responsabilités qui y sont assignées.

Aujourd’hui, ce sont 4 jeunes hommes qui font circuler la charte. L’extrait qu’ils ont choisi concerne l’égalité entre les hommes et les femmes, un segment ajouté par madame la députée Christine Saint-Pierre en 2008. Jeremie Tessier, Callaghan Marley-Boshouwers, Jaime Rodriguez and Nathan Spencer-Cross, (Will Mackenzie – camera) font bouger la charte dès midi aujourd’hui en partant de Saint-Henri, au 1001 rue Lenoir. Ils chemineront spontanément pour se rendre au centre-ville de Montréal.

(text dare-dare)

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acrylic on pine plywood, 4 x 8 ‘, 2018.
translation to french : TOUTE PERSONNE QUI TRAVAILLE A DROIT CONFORMÉMENT À LA LOI À DES CONDITIONS DE TRAVAIL JUSTES ET RAISONNABLES ET QUI RESPECTENT SA SANTÉ SA SÉCURITÉ ET SON INTÉGRITÉ PHYSIQUE.
translation to english : EVERY PERSON WHO WORKS HAS A RIGHT IN ACCORDANCE WITH THE LAW TO FAIR AND REASONABLE CONDITIONS OF EMPLOYMENT WHICH HAVE PROPER REGARD FOR HIS HEALTH SAFETY AND PHYSICAL WELL-BEING.

20 copy 2.jpgJean-Talon Market, Montreal Québec. November 24, 2018. Team of Patricia Martin, Nuria Carton de Grammont and Linamar Campos Flores, as well as “Chema”, the absent and invisible agricultural worker. Photo: Helena Marco Franco.

Dans movin‘ the charter, karen elaine spencer propose de disséminer dans l’espace public des extraits de la Charte des droits et libertés du Québec, qu’elle a retranscrit sur de grands panneaux de bois.

En invitant des groupes de participant.e.s choisis à sélectionner des passages de la Charte qui résonnent particulièrement pour eux/elles, l’artiste s’approprie ensuite ces extraits afin de réaliser des écriteaux aux formats imposants, dont elle fera ensuite don à l’équipe de participant.e.s. Il y aura dans cette transaction un transfert de propriété, ainsi que des responsabilités qui y sont assignées.

En contrepartie les membres de l’équipe s’engagent à révéler au grand public le fragment de texte préparé par l’artiste lors d’une intervention urbaine concertée, puis elles pourront en disposer comme bon leur semblera, devant à la fois assumer le poids et la responsabilité de cet objet créé par l’artiste, au caractère fort porteur mais également encombrant par sa taille et sa matérialité.

À travers ces inscriptions qu’elle insère dans l’espace public, l’artiste fait non seulement la promotion de la Charte des droits et liberté en déplaçant des extraits du texte magnifié jusque dans la rue, ce qui lui donne une visibilité accrue, mais elle donne également la tribune à certains groupes moins bien représentés de la société, par le truchement de ses panneaux délicatement composés. Movin’ the charter devient un lieu de rencontres et d’échanges autour des articles de la Charte et de ce que celle-ci peut représenter pour différentes communautés.

Une série d’actions est prévue dans le cadre de ce projet, qui se déroulera entre les mois de novembre 2018 et d’avril 2019. La première action aura lieu au Marché Jean-Talon de Montréal le 24 novembre 2018, avec le groupe composé de Patricia Martin, Nuria Carton de Grammont et Linamar Campos Flores, ainsi que « Chema», le travailleur agricole absent et invisible.

(texte de l’araingée collective)

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L’ARAIGNÉE invite

Exploratory Laboratory on Performative Urban Interventions at DARE-DARE

2018 – “movin’ the charter” again works with l’araignée collective, this time with the support of Dare-Dare.

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movin_the_charter_2017karen elaine spencer in collaboration with l’araignée collective

june 22nd, 2017

noemi mccomber, helena martin franco, jack locke and i carried, from my studio in st. henri to the open door in westmount (the open door is a homeless shelter housed in st. stephen’s anglican church that is being forced to move due to the sale of the church,) a 5 x 4 foot plywood panel.

painted on the panel is a portion of chapter 1, fundamental freedoms and rights of the québec charter of rights and freedoms:

Toute personne a droit à la sauvegarde de sa dignité, de son honneur et de sa réputation.

noemi and helena lifted the panel (holding onto the handles that had been screwed into the backside of the plywood) and carried it out of the studio, down the stairs to lacasse street to then head east on st. antoine. jack was filming and i was taking photographs.

i wasn’t sure how people would respond (as in would anyone even try to decipher the text?) so i was happy to overhear a woman reading the sign out loud while walking down the sidewalk with two young children.

we stopped for lunch at fang chi restaurant and left the panel outside facing the sidewalk. before heading into the restaurant we conversed with four young men about the sign, the quebec charter, with one of the men saying he would have liked to help us carry the panel but he had to go back to work.

knowing the panel was heavy and awkward to carry, we had decided to all take turns, with each one of us engaging in the physical labour of holding up and moving the weight of the charter. in this way the charter was held up and moved by all of us.

we made our way along st. antoine to turn up atwater street till we reached the open door. here we placed the panel against the tree on the front lawn while i went inside to gain permission from the director to leave the sign on their premises. speaking with three men from the open door, each one taking a turn to comment on how yes, the words of the charter made perfect sense and it would seem like a good thing to remind people of, we decided to leave the panel propped up against the wall of the church.

later that night, while walking by the church, i noticed the panel was still in place.

this work of “movin’ the charter,” is part of an ongoing project of rendering our rights and freedoms, as inscribed in the charter, visible in the public domain.

karen elaine spencer

Documentation du 22 juin

to view images: http://laboratoire.laraignee.ca/karen-elaine-spencer/#more-111

PUBLIC ART/ART PUBLIC

July 1, 2019

“Remember this – Periboea’s advice to Penelope – as inspired by Margaret Atwood’s book, The Penelopiad“/Consulate General of Canada in New York

Dye sublimation process file transfer on Fisher Textiles GF 4607 – white, 9’ x 52’ 3 31/4”, 2019.

Site:
Consulate General of Canada in New York
466 Lexington Avenue, 20th floor, NY NY 10017

Architect:
Abdel Munem Amin

Thanks to:
Margaret Atwood
Karolina Sutton and Lucy Morris of Curtis Brown
Kerry Goodfellow, Olga Dobrokhotova, Douglass Harcourt, Melissa Rombout and Christal Becker of Global Affairs
Myriam and the team at Photosynthèse
Lalie Douglas
Guy L’Heureux

spencer CC01 copyinstallation shot: large room photos by: Chris Cooper/Global Affairs Canada

spencer CC03 copy
installation shot: small room photos by: Chris Cooper/Global Affairs Canada

Printcomposite image as seen from glass elevator

“I do not see Penelope as a dutiful wife waiting patiently for her husband to return; rather I see Penelope as a woman who is independent, who governs her own queendom, and who loves the creative act –a woman who trusts the process of doing and undoing to do again. In Atwood’s Penelopiad the mother Periboea speaks to her daughter Penelope as she is about to cross the threshold into marriage. Atwood’s Penelopiad and this mother to daughter advice are the inspiration for this work.” kes.

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JE NE QUITTAIS PAS/l’école Ahuntsic-Annexe

Intégration des arts à l’architecture

Mur-rideau en verre imprimée, 8738 x 244 cm., 2016.

Site:
Commission scolaire de Montréal
l’école Ahuntsic-Annexe, 9900 Avenue d’Auteuil, Montréal, QC H3L 2K1

Architect:
Genevieve Goudreau, NFOE Inc.

Thanks to:
Gabrielle Roy
Lalie Douglas
David Martineau Lachance
Guy L’Heureux
Keller Terrance
Sylvain Boucher at Vitrerie Nouvelle Vision

 

cofphoto: art_inthecity

cofphoto: art_inthecity

cofphoto: art_inthecity

“JE NE QUITTAIS PAS” est une image graphique mettant en évidence deux textes écrits par Gabrielle Roy et publiés dans “Ces enfants de ma vie”, une collection de nouvelles qui s’appuient sur l’expérience de Roy en tant que jeune enseignante au Manitoba de 1929 à 1937. En lisant les histoires j’ai été frappé par l’amour de Roy pour l’enseignement et son désir de nourrir la curiosité et la créativité de ses élèves.” kes

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AKI
/Toronto 2015 Pan Am/Parapan American Games

Sail design for one boat, designed to be visible front and back, 2015.

Site:
Toronto’s Waterfront, Lake Ontario

Producer:
Part of the Watercolour project produced by the Textile Museum of Canada in partnership with the Toronto 2015 Pan Am/Parapan American Games

Collaborator:
Nadia Myre

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frozen blue/Théâtre de la Bordée

20’ x 20’ banner, 2014.

Site: Théâtre La Bordée, 315 Rue Saint-Joseph Est, Québec, QC G1K 3B3

Producer :
Ce projet est présenté grâce au soutien précieux de Louis Garneau qui développe depuis une vingtaine d’années un partenariat fructueux avec l’École des arts visuels de l’Université Laval.

Collaborator:
Nadia Myre

myrespencerFrozenblue72.jpgink on paper source image

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MON PAYS/London Chancery, Canada House

Custom Hand-Tufted Area Carpet, 2014.

Site:
Canada House, Trafalgar Square, London SW1Y 5BJ, UK

Producer:
London Chancery Consolidation Project

Collaborator:
Nadia Myre

 

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QUÉBEC ROOM
Artists : Nadia Myre and Karen Elaine Spencer

Vision
The stated Vision for the Project which is Canada House is to become, “a window on contemporary Canada.” Taking this challenge to heart, Myre and Spencer chose to celebrate the contemporary by joining traditional art making techniques, such as ink on paper, to new communication technologies, such as Illustrator. These two approaches, the old and the new, reflect not only Quebec’s embracing of the contemporary, but also its respect for traditional culture. This marrying of two approaches to art production is also carried through into the content of the design where the bridging of the two official languages of Canada, french and english, is highlighted. Here, the artists are foregrounding not only the Canadian value of honouring two cultures, where Quebec is recognized as a nation within a united Canada, (a House of Commons symbolic recognition passed in 2006) they are also highlighting an important element of the diplomatic role — that of dialogue and bridging of difference.

Design Approach
Myre and Spencer take as the starting point for their design a line from the song, « Mon Pays » by the contemporary singer, songwriter and poet Gilles Vigneault. Vigneault, a poet who has marked the culture of his generation, speaks from the heart of Quebec. The phrase, « Mon pays ce n’est pas un pays, c’est l’hiver,» translated as, « My country isn’t a country, it’s winter, » reflects the profound importance the winter climate of Québec holds for it’s inhabitants. The poetic simplicity and beauty of this phrase, presented in the two official languages of Canada, french and english, is mirrored through the geometrical simplicity of the design. The phrase, first rendered through ink on paper where the negative space defines the positive functions as a text to be deciphered.

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any other advice?/Paved Arts

Billboard, 2010.

Site:
424 20th Street W, Saskatoon, SK S7M OX4

Thanks to:
Nikki Middlemiss
Benoit Pontbriand
David Larivière
Anne Bertrand
Laura Margita
Paved
Skol

2010ttpavedbb2010
photo by: Ian Campbell

The Saskatoon billboard from the transient traces was part of the group exhibition: une étendue apparemment infinie et tentaculaire organized by skol and facilitated by Nikki Middlemiss.

 

 

Art Workshop:Yoko Ono: LIBERTÉ CONQUÉRANTE/ GROWING FREEDOM

April 25 to September 15, 2019
451 & 465 Saint-Jean Street Montreal, QC

The World Is Full of Everything It Needs

Fondation Phi • Education and Public Engagement • Art Workshop

The World Is Full of Everything It Needs is a workshop designed by karen elaine spencer in collaboration with the Fondation Phi’s Department of Education and Public Engagement. It is offered in conjunction with the exhibition Yoko Ono: LIBERTÉ CONQUÉRANTE/ GROWING FREEDOM, which runs from April 25 to September 15, 2019.

During The World Is Full of Everything It Needs, each participant will be entrusted with a grapefruit, which will serve as a tool for collective writing exercises.

Can you imagine letting your words go out into the world so a stranger can take possession of them? Can you imagine what the world might become if all your scores could one day be realized? Can you imagine the world differently?

FdnPhi-Education-Atelier-Yoko_eng

KarenSpencerinstallation view of “enveloping self i smell memory” at galerie sans nom, moncton, new brunswick, 2018.

to read the text by paul bossé click on link below:
pour voir la texte de paul bossé cliquez sur le lien ci-dessous :

2018_gsn_texte_bosse_paul

Ce soir, lundi le 10 décembre, à 18!!
La 25e émission d’atelier à CIBL 101,5 👂Segment création: karen elaine spencer, “onion peeler”, 2018. 👉 Une performance proposée par Michelle Lacombe.

Crédits image: karen elaine spencer, sittin, 2010 à aujourd’hui. 🍊

#radioatelier #atelier #cibl #art #artactuel #contemporaryart #montreal #performance #radioart #michellelacombe @ CIBL 101,5

 

2016_kes_portrait_360dpi

20181112_131808 copyimage is acrylic on plywood, 4 x 8 feet. text is a spanish translation of a section of the quebec charter of human rights and freedoms.

Linamar, Patricia, Nuria and Chema (Chema representing the absent and invisible agricultural worker) await you at their kiosk near the Henri-Julien entrance. They will be ‘movin’ the charter.”

 

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paul edouard bourque, bread and thread, galerie sans nom, moncton nouveau-brunswick, 2018.

continuing the work using past-due-date white sliced bread (starting with larry leblanc, 18 november and marge leblanc, 22 novembre) paul and i explored the body, bread and memory.

from paul i learned the story of evangeline, the acadian girl who was separated from her lover gabriel during the forced removal of acadians from new brunswick. in paul’s contemporary retelling of the story evangeline becomes lost and confused during her long search for gabriel as she travels down to louisiana. along the way she picks up brightly coloured plastic debris thinking the debris are berries and fruits. like the whales and birds who inadvertently swallow plastic garbage, evangeline dies.

to see some images of paul’s work click on the link below:

https://www8.umoncton.ca/artotheque/oeuvres-works-eng.php?artiste=5

 

 

 

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marge has a crow friend of 7 years. the crow knocks on her door every morning. marge, who bakes her own bread, gives the crow her store-bought bread. these bread-balls and the bread we wrapped around marge’s hand will now be gifted to marge’s crow.

marge leblanc
22 novembre 2018
14h – 15h
galerie sans nom, moncton nouveau-brunswick

 

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at age 94 marge’s mother was hospitalized. one day when visiting her mother marge asked, as she did every time she saw her mother, “how was your day?” her mother replied, “not good.” one of the attendants had been rough. marge immediately wanted to know who the attendant was so she could make sure that person was fired. her mother told marge, “no. i am going to speak with the attendant myself.”
the next day when the attendant arrived marge’s mother told the person to sit down on the stool next to her bed. she then spoke to the attendant saying, “i could tell you were angry yesterday. i don’t now why. maybe you had a fight with your girlfriend, maybe your kids woke you at 3 am in the morning, maybe your neighbours dog got into your garbage, but it doesn’t matter. what matters is i am in the hospital and you are here to care for me.”
marge told me the attendant wept. and apologized. her mother told marge she was certain the attendant would not be rough again. with anyone.

marge leblanc
22 novembre 2018
14h – 15h
galerie sans nom, moncton nouveau-brunswick

 

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this is my hand inside larry leblanc’s bread hand-cast. the day after we met. the bread is hard and crumbly. i want to remember something larry told me so i am writing it here: when the bread his mother made came out of the oven it was so good that rather than putting butter on the bread, they would put molasses.

20181119_152422 copy

this is a photo of my hand holding 3 balls of squished-up bread the day after they were made. the bread balls are completely hard – a trace of an action with larry leblanc at galerie sans nom.

residence at gsn –

November 19, 2018

20181118_140003 copy

this bread was once wrapped around larry’s right hand. the bread slices did not cover his long fingers. his exposed fingers were cold to the touch. i placed my hands on-top and underneath the bread cast. i hoped the heat from my hands would flow through the bread to warm his hand.

larry told me of his mother baking bread, not just one loaf, but a whole batch, and how good the fresh bread would smell when he and his brothers returned home from school. the boy’s school lunch sandwiches would be made with big thick slices of bread because the bread was fresh and could not be cut into thin slices–unlike the store-bought machine-sliced bread the boy up the street had.

larry leblanc
18 novembre 2018
14h – 16h
galerie sans nom, moncton nouveau-brunswick

 

ENVELOPING SELF I SMELL MEMORY
KAREN ELAINE SPENCER

Ce sont des souliers de pain de karen. elle a marché de son studio au parc avec. c’était une marche inconfortable. le pain s’est rompu et est tombé sur le trottoir. au parc, elle a enlevé les souliers de pain et les a placés sous un arbre. elle pensait que les oiseaux les mangeraient. ils n’ont pas. elle a attendu et regardé longtemps, puis elle décida de ramasser ses souliers de pain et de les emmener au studio.

Une boucle vidéo regroupant trois œuvres : karen’s bread shoes, neck hold, et swim’s walk, explore la performance avec une caméra (par opposition à la performance pour la caméra) pour insister sur une valeur inhérente à la maladresse – performer et se filmer. Les trois œuvres, créées en 2002, refusent une valeur de production élevée, s’alignant plutôt avec une sorte de cinéma vérité.

Dans les représentations, le pain et le corps se confondent et l’artiste compare la croissance de la population âgée au Canada avec le traitement et la valeur des produits de consommation expirés.

Karen Elaine Spencer maintient une pratique en studio, en performance, en commissariat et en écriture. Oscillant entre un travail de rue, des expositions dans des galeries et des projets via le web, spencer interroge les hiérarchies et explore la manière dont nous, comme êtres passagers, occupons le monde dans lequel nous vivons. Depuis l’obtention de sa maîtrise en arts plastiques de l’Université du Québec à Montréal en 2001, elle a été invitée à plusieurs programmes de résidences internationales. Son travail a été présenté dans diverses galeries et centres d’artistes, dont le Centre Clark (2017), Little Berlin à Philadelphie (2015) et la Grande Bibliothèque de Montréal (2013), et ses œuvres font partie de collections publiques et privés. Elle a reçu le prix La Centrale Powerhouse (2012) et a été finaliste du prix en art actuel du Musée national des beaux-arts du Québec (2016).


 

click on:

http://esse.ca/en/karilee-fuglem-pierre-francois-ouellette-art-contemporain-montreal

to read what i wrote after seeing karilee fuglem’s exhibition, résidence at pierre-francois ouellette art contemporain

Screen Shot 2018-09-18 at 1.38.28 PM.png

published writing
karilee fuglem résidence, dans esse arts + opinions, dossier travail labour, automne – fall. 2018, n°94, p. 93.

_MG_3750_Photo G.L'HeureuxNYT January 25, 2013, Cities Urge Public, 2013

Encre sur papier
28,5 x 38 cm
Oeuvre unique
Mise de base – 1 700 $

NYT January 25, 2013, Cities Urge Public relie la manchette du New York Times à l’indice composé de la Bourse de New York. Cette œuvre textuelle met côte à côte une réponse à la tuerie de masse de 20 enfants et de six adultes à l’école élémentaire Sandy Hook, qui a eu lieu le 14 décembre 2012, et un repère nancier. Celle-ci fait partie du projet Hey! Mike Hey! publié dans la revue spécialisée CV Variable (2013), présentée dans l’exposition de groupe coming to terms (2015) commissariée par Maddie Hewitt à Philadelphie et comprise dans l’exposition de groupe New York Stories – Twenty years of ISCP (2014). L’acquéreur recevra une version papier du journal ainsi qu’une lettre de l’artiste le remerciant de jouer le rôle de « détenteur » de ce moment de l’histoire.

karen elaine spencer a obtenu en 2001 une maîtrise de l’Université du Québec à Montréal. Son travail fait partie de diverses collections, dont celles de la Banque d’art du Conseil des arts du Canada, de la Bibliothèque et archives nationales du Québec, du Musée d’art contemporain de Baie-Saint-Paul et du Musée national des beaux-arts du Québec. En 2016, spencer a été naliste pour le prix en art actuel du Musée national des beaux-arts du Québec. spencer a présenté une oeuvre sonore au Poste audio du Centre CLARK en 2017.

*Un contrat de revente et de reproduction est associé à l’oeuvre.

Centre d’art et de diffusion CLARK
5455 avenue de Gaspé, local 114
Montréal (QC) Canada H2T 3B3
+1 514.288.4972 / info@clarkplaza.org

EXPOSITION /
19 AU 26 AVRIL 2018

5@7 DES COLLECTIONNEURS /
JEUDI 26 AVRIL, 17H

ENCAN 29 /
JEUDI 26 AVRIL, 19H

15$ PRÉVENTE / 20$ PORTE

ACHAT PRÉVENTE* /
www.eventbrite.ca/e/encan-29-tickets-43487051943

MISE EN ABSENCE /
Jusqu’à 17 h le jour de l’encan, vous pouvez nous contacter pour faire une mise en absence sur un ou plusieurs de nos lots.
/ par courriel : projets@clarkplaza.org
/ par téléphone : 514-288-4972
/ ou en remplissant un formulaire sur place
Un membre de l’équipe de CLARK misera en votre nom. Notre engagement demeure confidentiel jusqu’à la fin de l’encan

LES ARTISTES /
Frances Adair McKenzie
Raúl Aguilar Canela
David Arseneau
Daniel Barrow
Patrick Bérubé
Catherine Bolduc
Benoît Bourdeau
Marjolaine Bourdua
Guy Boutin
Michelle Bui
Jacynthe Carrier
Naomi Cook
Gennaro De Pasquale
Nicolas Fleming
Pierre-Yves Girard
Nicolas Grenier
Nicolas Lachance
Mathieu Latulippe
Jean-Michel Leclerc
Corine Lemieux
Caroline Monnet
Aude Moreau
Lauren Pelc-McArthur
Dominique Pétrin
John Player
Yann Pocreau
Sunita Prasad
Carolyne Scenna
karen elaine spencer
Patryk Stasieczek

– Mise en espace par Aseman Sabet et Yann Pocreau – 

 

 

_MG_3745_Photo G.L'Heureux
NYT February 12, 2013 Why Buy A Condo?, 2013
Encre sur papier bfk rives
28.5 x 38 cm
encadré – l’oeuvre comprend la «copie papier» du New York Times du 12 février 2013, ainsi qu’une lettre au collectionneur signée par l’artiste le-la remerciant d’adopter la position de «détenteur».

Chaque année, la Galerie B-312 vous convie à soutenir les activités du centre en faisant l’acquisition d’une œuvre d’art. Vous appuyez ainsi directement la diffusion, la reconnaissance et le rayonnement des pratiques artistiques actuelles.

Coordonnées
372 Ste-Catherine Ouest, espace 403, Montréal Qc H3B 1A2

Lisanne Nadeau 8 mai
Chère Karen, tu étais de passage chez nous en mars dernier. Nous
t’avions invitée à donner une conférence au cours de laquelle tu
nous as présenté certains jalons importants de ton travail. Cette
invitation s’inscrivait en fait dans le cadre d’une suite d’activités
portant sur l’art et l’écrit. D’entrée de jeu, j’aimerais revenir sur un
moment qui a attiré plus particulièrement mon attention. Alors
que tu nous présentais un projet inspiré de la pièce de Beckett
En attendant Godot, tu en as récité un extrait de manière très théâ-
trale, très percutante. Quelle place occupe l’aspect performatif
dans ton travail ?
karen elaine spencer 9 mai
Good Day Lisanne,
Yes! And thank you for such a wonderful invitation. I do remember
reciting those lines of Vladimir as he reaches out in a sudden and
violent gesture to grab the character referred to as “a boy.” This
is the moment in
Waiting for Godot
where Vladimir seemingly
questions either his own visibility or the “realness” of the boy and
by extension, Godot and us, the spectators.
For the conference, the re-performance of the lines and gesture
seemed to be the best way to transmit both the meaning of the
words and the transition from uncertainty to violence.
Performance, and what in English we call the performative, are cen-
tral to my research and my methods of dissemination. I am interested
in interrogating what moves us, what we “do” – from an internal
subjective perspective (why do I get up in the morning? how did
I arrive at this place?) and also, an external material perspective. Is
Vladimir performing or is the location and the context performing
him? How much agency does Vladimir have, what roles can he
actually occupy?
L. N. 11 mai
Si je ne m’abuse, dans cette œuvre vidéo intitulée

vérifiez que 1, on se situe bien avant l’utilisation de l’écriture dans ton travail, mais,
déjà, les références littéraires sont importantes.

pour lire et voir l’images : 2017_CahierGalerie-9
for the translation of the text (english only) cahier-9-en
for the translation of the text (français seulement) cahier-9-fr

_MG_3758_Photo G.L'Heureux

Year of Artwork: 2012
Medium: Winsor & Newton Callligraphy Inks -Permanence A on BFK Rives Tan Paper
Dimensions: 11 x 15 inches

Framed Dimensions: 45.72 x 55.88 cm

NYT December 7, 2012 A King Like links a headline from the New York Times to the New York Stock Exchange Composite Index. The text-based work situates Michael Bloomberg’s mayoral run alongside a financial marker.  The work is part of the project Hey! Mike Hey!  which was included in the group exhibition, New York Stories – Twenty Years of ISCP, at ISCP in 2014, and Coming to Terms, at Little Berlin in Philadelphia in 2015.

karen elaine spencer (born 1960) lives and works in Montreal, Canada. spencer obtained her MFA from the Université du Québec à Montréal. Her practice oscillates between work in the street, exhibitions in galleries, and disseminations via the web. spencer’s work is part of several permanent collections including the Canada Council Art Bank, the Musée d’art contemporain de Baie-Saint-Paul, and the Musée national des beaux-arts du Québec. She is the recipient of the 2012 Powerhouse Prize and was a finalist for the Musée National des beaux-arts du Québec’s Prix en Art Actuel in 2016. spencer was an artist-in-residence at ISCP in 2013.

Signature: Signed

 

to bid on the artwork click on the link : https://www.artsy.net/artwork/karen-elaine-spencer-nyt-december-7-2012-a-king-like

to see the new york times article the headline is based on click on the link : https://heymikehey.wordpress.com/2012/12/07/nyse-composite-8280-93/

 

 

La presse écrite revisitée par karen elaine spencer

La production artistique de karen elaine spencer se définit essentiellement par un engagement social et politique. Son travail, profondément orienté vers la démocratie, la justice et la solidarité sociale, remet en question les structures hiérarchiques de notre société et élabore une réflexion sur les relations de pouvoir, sur la marginalisation, sur l’exclusion et sur les inégalités sociales. Écrire son nom sans lettres majuscules est d’ailleurs une manière subtile pour l’artiste de contester les traditions hiérarchiques et de prioriser l’énoncé sur l’énonciateur.

pour lire tout : http://esse.ca/fr/laureate-2017-esse-91

its all good

_MG_4257 copyphoto : Manoushka Larouche

SURVIVRA, un événement d’art action visant à récolter des fonds essentiels pour la tenue du festival à venir.

it happened.

but you can still click on the link to make a donation:  http://vivamontreal.org/

title: sittin’ with cabot square

year: 2017

location: centre clark (audio poste and upstairs loft) montréal, québec

 

2017-06-03-ClarkSpencer_poste_audio_2
photo: paul litherland

…………………………………………………………………………….

…………………………………………………………………………….

the sitter sat. on a bench in the park called cabot square. spanned four months over the summer of 2012, three months over the summer of 2013.

the sitter sat with the park and took care to not “out” the people who lived their lives in public. rather, the sitter recorded the weather conditions, the temperature, the date, and chose a headline from the local newspaper to transcribe with ink on paper. pinning down time. the sitter also wrote one sentence each day inspired by the park. locating human ness.

fast forward to 2014. the park is “refurbished” or as one headline claimed, “had a facelift.” a facelift to the tune of 6.3 million.

grass? nah, lets rip it out. hedges? nope. people can hide shit in there. picnic tables? ha ha… you’re joking right? they gotta go. oh, and of course the benches gotta change. where are those “no sleeping” bars? oh, and the pathway through the park? lets make it concrete and build risers to keep people on the straight and narrow, and don’t forget the skate-stoppers to keep those property damaging skateboarders away. garbage containers? better not have those in the park, they attract canners.

the sitter’s anger at this blatant theft of place from those who had occupied the park led to words spoken. using the one-sentence-a-day from the park as a score, the sitter spoke the words, using the score like riffs. improvised.

…………………………………………………………………………….

l’assise était assise. sur un banc dans le parc nommé square cabot. sur une durée de quatre mois pendant l’été 2012, et de trois mois pendant celui de 2013.

assise avec le parc, soucieuse de ne pas compromettre les personnes y vivant leurs vies en public. l’assise prenait plutôt des notes sur les conditions météorologiques, la température, la date, et choisissait une manchette dans un journal local pour la transcrire à l’encre sur papier. fixant le temps. l’assise écrivait aussi une phrase par jour inspirée par le parc. localiser l’humain-ité.

en accéléré : 2014. le parc est “réaménagé” ou, comme le prétend une manchette, s’offre un lifting. pour la fine somme de 6.3 millions.

du gazon? pas question, on arrache ça. des haies? bin non. le monde peuvent cacher de quoi là-dedans. des tables de pique-nique?  haha … tu veux rigoler ? faut que ça parte. oh pis évidemment qu’y faut changer les bancs. ça nous prend des barreaux pour empêcher le monde de dormir dessus. le sentier qui traverse le parc? on le refait en béton avec des bordures de chaque côté pour faire circuler les passants en bon ordre. oh pis faut pas oublier les structures pour empêcher les skateboarders de venir endommager les lieux. des poubelles? on ferait mieux de s’en passer, ça fait juste attirer les ramasseux de canettes.

la colère de l’assise devant ce vol d’espace éhonté commis envers celles et ceux qui avaient occupé le parc la mena à des paroles. en utilisant comme partition l’ensemble d’une-phrase-par-jour rédigée dans le parc, l’assise énonça les mots, la partition devenant source de riffs, de refrains. improvisés.

 

2017-06-03-ClarkSpencer__upstairs
photo: paul litherland

 

artist talk as spoken word intervention, may 20th, 2017, centre clark, montreal quebec. gentrification, municipal bylaws, love.

 

Centre Clark

Screen Shot 2017-03-06 at 11.00.30 PM

le local de la conférence : salle de critique local 3153.

title: everybody knows -canada council grant application
year: 2016
material: words and a very tired worn-out dash of faith
dimensions: variable
image credit: the artist

15kes2016everybodyknows

Everybody Knows

…the deal is… Cohen has been to the dark side. he has experienced mental illness, been hospitalized. he knows where we have been. take it to the streets. cuz shit…

The project “Everybody Knows” marks with “full artistic freedom” Canada’s 150th Anniversary of Confederation. I am imagining a brand new chapter in her/his story.
A chapter which begins by juxtaposing people with drastically different public power while playing with established economic values to find the cracks. All this complemented with a fuddle-duddle to marketing strategies and assumptions.

“Everybody Knows” exploits four beautiful givens and mines their subversive potential:

1) “A Crack In Everything” is the title the Musée d’art contemporain de Montréal has given the Leonard Cohen exhibition to take place from October to December 2017.
2) “A Crack in Everything” is presented in collaboration with the Society for the Celebration of Montréal’s 375th Anniversary.
3) “Everybody Knows,” the Leonard Cohen song, is regarded as a social commentary on our times.
4) The Canada Council launches a new grant called New Chapter that employs language and sentiments taken from a marketing lexicon.

“Everybody Knows”, the project, complicates this already delicious dialogue through mashing up symbols of poverty (cardboard signs) and power (politicians, union leaders, chief of police, etc.) –i.e. the homeless produce the signs, the politicians hold the signs.

The sign makers: Members from the Saint James Drop-In Centre are commissioned to produce fourteen signs using found cardboard.

The sign holders: Fourteen political figures are invited to hold one of the signs while standing in a row in front of the Musée d’art contemporain de Montréal during the opening of “A Crack in Everything.”

The sign: The phrase, taken from Cohen’s song “Everybody Knows” displayed over the 14 cardboard signs is:

1)  everybody
2)  knows
3)  that
4)  the boat
5)  is leaking
6)  everybody
7)  knows
8)  that
9)  the captain
10)  lied
11)  that’s how
12)  it goes
13)  everybody
14)  knows

As a slow drum-roll lead-up to the fourteen political figures public performance at the opening of the “A crack in Everything” exhibit, the artist will hold one sign per day at the exact location where the public figures will stand in front of the Musée d’art Contemporain. “Everybody Knows” postcards will be handed out to the public with a link to the project blog (domain already secured as everybodyknows2017@wordpress.com.)

Our fourteen invited political figures are chosen for their relation to the “Everybody Knows” phrase via their public persona. The gesture of the invitation is part of the “Everybody Knows” project and is considered to be material for dissemination. The invited will include: Couillard (current Premier of Quebec), Pierre Karl Péladeau (Canadian businessman and former Leader of the Opposition in the Quebec National Assembly from his election as leader of the Parti Québécois), Manon Massé (MNA of Ville-Marie where the MACM is located), Coderre (Mayor of Montréal and of l’arrondissement), Hélène Laverdiére (MP for the riding – ousted Gilles Duceppe), Justice France Charbonneau (Presided over the Charbonneau Commission, officially the Commission of Inquiry on the Awarding and Management of Public Contracts in the Construction Industry), Gabriel Nadeau-Dubois (student activist best known for his role during the 2012 Quebec student protests as co-spokesperson of the Coalition large de l’Association pour une solidarité syndicale étudieante (Classe), to name a few (see images for full list.)

In addition to being invited to perform the fourteen political figures will also be offered “first refusal” regarding the acquisition of the art (the cardboard sign) for the same remuneration offered to the performers for performing. In short, the remuneration of $714. offered to the performers equals the sale price of the cardboard sign the performer will hold. All proceeds from the sales of the art (the cardboard signs) will go to the members of the Saint James Drop-In Centre.

Given that it would be unlikely for all fourteen invited to perform – an alternative list of performers will be contacted from a women’s shelter located in Montréal (currently to remain unnamed for privacy reasons, but with whom I have previously worked.)

The performances (the artist’s and the political figures) are captured via photography and video. The video is to be screened outdoors in the Quartier des Spectacles during the Leonard Cohen exhibition as facilitated by ELLEPHANT, a gallery presenting works at the confluence of media art, performance and current issues. The photographs and the video are also used as content for the “Everybody Knows” blog, postcard, poster and newsprint tabloid.

*From I’m Your Man (released 1988) “Everybody Knows” is a song written by Canadian singer-songwriter Leonard Cohen and collaborator Sharon Robinson. The full stanza is:

Everybody knows that the dice are loaded/Everybody rolls with their fingers crossed/Everybody knows that the war is over/Everybody knows the good guys lost/Everybody knows the fight was fixed/The poor stay poor, the rich get rich/That’s how it goes/Everybody knows/Everybody knows that the boat is leaking\Everybody knows that the captain lied/Everybody got this broken feeling/Like their father or their dog just died/Everybody talking to their pockets /Everybody wants a box of chocolates/And a long stem rose/Everybody knows

to read how the project underscored the use of language within the very form of the grant application itself click on the links below for the full application.

1_kes_project

2_kes_exceptional

3_kes_advance

4_kes_public_when_where

5_kes_project_plan

5_kes_timeline

6_kes_completion

7_kes_fee_determination

2016_cohen_budget

2017_cohen_performer_list_of_14

2017_kes_cohen_cac_list_of_partners

HEADLINES (LES MANCHETTES)

Une exposition solo de karen elaine spencer

14 janvier – 18 février, 2017

Vernissage samedi le 14 janvier, 14:00 – 18:00

lecture d’œuvres par karen elaine spencer à 15h et 17h

ELLEPHANT
1201 St-Dominique
Montreal (Québec) H2X 2W3
Quartier des spectacles
514-875-0777

21_le_devoir_8_janvier_2015_ils-etaient_acrylic_on_linen_30x30cm_2015

Image: le devoir, 8 janvier 2015, ils étaient charlie, acrylique sur toile de lin, 30cm x 30cm

«La pratique artistique de karen est singulière, exigeante, sensible; elle se caractérise par sa grande complexité et par un engagement socio-politique profond.… Touchant à l’art conceptuel, à l’art action, à l’écriture et au dessin, karen elaine spencer a développé un éventail de stratégies artistiques qui se renouvèlent continuellement.» – Catherine Bodmer, membre du jury Prix de la Centrale Powerhouse 2012

ELLEPHANT est fière de présenter Headlines, une série d’œuvres entremêlant la peinture et le texte, de l’artiste montréalaise karen elaine spencer.

La pratique de spencer est simultanément poétique et engagée d’un point de vue sociopolitique. Oscillant entre le travail dans la rue, les expositions en galerie et la diffusion via le web, ses œuvres se nourrissent des contextes ciblés dans lesquels elles existent.

Dans Headlines, spencer explore la rhétorique médiatique et la production quotidienne de nouvelles à travers un langage visuel transposé en grille, un résultat qui peut être à première vue perçu simplement comme de l’abstraction.

Alors que le rythme frénétique des nouvelles s’adapte à celui d’un monde en perpétuel mouvement, spencer capte cette cadence rapide en utilisant une technique qui requière du temps et de la patience. De même, pour être déchiffrées, ces peintures exigent une attention soutenue du regardeur.

Les grands titres choisis par l’artiste sont basés sur des journaux locaux et situent le Québec dans une perspective mondiale. À travers sa pratique, spencer questionne les hiérarchies et propose une réflexion sur la manière dont nous, en tant qu’êtres transitoires, occupons le monde dans lequel nous vivons. L’acte de documenter l’actualité reflète où nous avons été. Son art saisit ce moment présent et reflète le flux médiatique effréné, la prolifération des nouvelles mensongères et le caractère mouvant et complexe du paysage médiatique, comme en témoigne la victoire de Trump.

karen elaine spencer

Après avoir obtenu une maîtrise en arts visuels en 2001 (UQAM), karen elaine spencer a participé à de nombreuses résidences internationales, incluant celle du Symposium international d’art contemporain de Baie-Saint-Paul (2015), du International Studio and Curatorial programme (iscp) à Brooklyn (2012), celle à la Cité Internationale des arts de Paris (2005), et celle au John Snow House à Calgary (2011). En 2016, spencer fut finaliste pour le Prix en Art Actuel du Musée national des beaux-arts du Québec et en 2012, elle fut lauréate du Prix de La Centrale Powerhouse. Son travail fait partie de plusieurs collections privées et publiques, dont celle de la collection Prêt d’œuvres d’art du Musée national des beaux-arts du Québec.

Information: Christine Redfern, 514.778.7068, redfern@ellephant.org

HEADLINES (LES MANCHETTES)

solo exhibition by karen elaine spencer

January 14 – February 18, 2017

ELLEPHANT
1201 St-Dominique
Montreal (Québec) H2X 2W3

Opening Saturday January 14, 14:00 – 18:00

Two live readings of the artworks by the artist at 15:00 and 17:00

 

21_le_devoir_8_janvier_2015_ils-etaient_acrylic_on_linen_30x30cm_2015

Image: le devoir, 8 janvier 2015, ils étaient charlie, acrylic on linen, 30cm x 30cm

karen’s artistic practice is singular, exacting and sensitive; her work is known for its intricacy and its deep socio-political concern (…). Touching on conceptual art, performance, writing and drawing, karen elaine spencer incorporates a range of artistic strategies that are always refreshing. – Catherine Bodmer, jury member for La Centrale’s Powerhouse Prize 2012

ELLEPHANT is pleased to present the exhibition Headlines, featuring a series of text-based paintings by Montreal artist karen elaine spencer.

spencer’s practice is simultaneously poetic and socio-politically committed. Oscillating between work in the streets, exhibitions in galleries, and dissemination via the web, her works are often nourished by the targeted context in which they exist.

In Headlines, spencer explores the media rhetoric and the production of daily news through a visual language transcribed into a grid system, which at first can be read as abstraction. As the news’ frenetic rhythms adjust to the world’s perpetual movement, spencer captures these beats using a technique that requires time and patience. To be deciphered, these paintings reciprocally  require a commitment of sustained attention from the viewer.

The headlines chosen by the artist are based on local newspapers and situate Quebec within a world perspective. Through her practice, spencer questions hierarchies and how we, as transient beings, occupy the world we live in. Chronicling the news acts as a reflection of where we have been, her art captures specific moments right now, revealing a media in flux, as evident in the Trump win, the proliferation of fake news, and the changing and challenging media landscape.

karen elaine spencer

Since obtaining her MFA in 2001 (UQAM) karen elaine spencer has been awarded numerous international residency programs, including the Symposium international d’art contemporain in Baie-Saint-Paul (2015), the International Studio and Curatorial program in Brooklyn (2012), the Cité Internationale des arts de Paris (2005), and the John Snow House in Calgary (2011). In 2016 spencer was a finalist for the Prix en Art Actuel du Musée national des beaux-arts du Québec and in 2012 she was awarded La Centrale’s Powerhouse Prize. Her work is in both public and private collections including la collection Prêt d’œuvres d’art du Musée national des beaux-arts du Québec.

Information: Christine Redfern, 514.778.7068, redfern@ellephant.org

screen-shot-2016-11-22-at-10-58-14-amBanniere-site-web-FR.png


2016_caught_in_the_act_mars_householder
walk a mile in her shoes : the art of karen elaine spencer

by christine redfern

in:

More Caught in the Act: An Anthology of Performance Art by Canadian Women

Vol. 2, ed. by Johanna Householder and Tanya Mars  420 pp. , 264 b/w photos, 18 colour plates ISBN 978-0-920397-64-0 (softcover) Montreal and Toronto: Artexte Editions/YYZBOOKS, 2016.

to bid and for more information click on link : http://encan.esse.ca/fr/spencer-karen-elaine

Numéro de lot : 6
stars around the beautiful (extract of “If Not, Winter, Fragments of Sappho“, by Anne Carson)

Cette peinture transcrit la traduction par Anne Carson d’un fragment de poème écrit par Sappho – un fragment où il est question de la lune, des étoiles et, de manière peut-être plus évocatrice, de la position des étoiles qui acceptent de « dissimuler leur forme lumineuse ». La peinture, qui se présente comme un texte blanc sur fond noir et recourt à dessein à l’humilité du carton, rejoue la performance du fragment, la « dissimulation ». La peinture nous demande de prendre le temps de déchiffrer le texte, de lever nos yeux et de remarquer non seulement la brillance de la lune pleine, mais aussi la luminosité des étoiles.

This painting transcribes an Anne Carson translation of a fragment from a poem written by Sappho – a fragment which speaks of the moon and the stars, but perhaps most evocatively, the position the stars assume of “hiding back their luminous form” while in the presence of the full moon. Presented as white text on a black ground, deliberately employing the humble status of cardboard, the painting repeats the performance of the fragment, the “hiding back.” The painting asks us to take the time to decipher the text, to lift up our eyes and notice not only the brightness of the full moon, but also the quiet luminosity of the stars.

_MG_9655_Photo Guy LHeureux

Gesso et encre de chine sur carton
2015
33,5 x 36 cm
Valeur estimée : 2 100 $

bio
karen elaine spencer (b. 1960) maintains a studio practice, performs, curates and writes. Oscillating between work in the street, exhibitions in galleries, and projects via the web, spencer questions hierarchies and investigates how we, as transient beings, occupy the world we live in. Since obtaining her MFA from the Université du Québec à Montréal in 2001 spencer has been awarded numerous international residency programs, including the Symposium international d’art contemporain in Baie-Saint-Paul (2015), the International Studio and Curatorial program in Brooklyn (2012), the Cité Internationale des arts de Paris (2005), and the John Snow House artist in residence in Calgary (2011). 
Recent exhibitions include One Day at ELLEPHANT in Toronto (2016), letters home/lettres à ma mère, at Galerie B-312 and ELLEPHANT in Montréal and Toronto (2015), Coming to Terms at Little Berlin in Philadelphia (2015), New York Stories: Twenty Years of ISCP in Brooklyn (2014), and La moitié du monde est une femme at the Grande Bibliothèque in Montréal (2013). 
spencer’s work is held in the collections of Air Canada, the Richmond Art Gallery, the Canada Council Art Bank, the Bibliotheque nationale du Québec, the Musée d’art contemporain de Baie-Saint-Paul, la Collection Prêt d’œuvres d’art Musée national des beaux-arts du Québec, the Richmond Women’s Resource Centre Association, the Art Gallery of Mount Saint Vincent University, as well as corporate and private collections in Canada and the United States. In 2012 spencer was awarded the La Centrale Powerhouse Prize and in 2016 spencer was a finalist for the Musée national des beaux-arts du Québec’s prix en art actuel.

but i say it is what you love

November 11, 2016

passeport2016-9153

passeport2016-9149

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title: but i say
year: 2016
material: ink on paper
dimensions : 11 x 7.6 cm

photos : sarah hautcouer
stamp created for dare-dare‘s 2016 passeport

Some men say an army of horse and some men say an army on foot

and some men say an army of ships is the most beautiful thing
on the black earth. But I say it is what you love.
Anne Carson in If Not, Winter : Fragments of Sappho (2002)

“But I say it is what you love,” from a poem entitled, “Anactoria” composed by Sappho (born circa 630 B.C.) is Sappho’s rebuttal to Homer’s Iliad, an epic poem celebrating the war of Troy. Here, Sappho’s love is not an abstract ideal, but rather a tangible love directed towards one woman named Anactoria.

By placing the love of one person for another above the love of country Sappho undermines the rhetoric of war and consequently undermines the idea of borders and hence their policing. In today’s world, where ironically the island of Lesbos (where Sappho was born and lived, and the source for the word lesbian, which signifies a woman who loves other woman – like those from the reputed homosexual band associated with Sappho of Lesbos) is the location where the Syrian refugees are landing in Greece,  the poem “Anactoria” could be read as a call for a compassionate approach to borders, passports and territories.

to bid and for more information click on link : http://encan.esse.ca/fr/spencer-karen-elaine

Numéro de lot : 6
stars around the beautiful (extract of “If Not, Winter, Fragments of Sappho“, by Anne Carson)

Cette peinture transcrit la traduction par Anne Carson d’un fragment de poème écrit par Sappho – un fragment où il est question de la lune, des étoiles et, de manière peut-être plus évocatrice, de la position des étoiles qui acceptent de « dissimuler leur forme lumineuse ». La peinture, qui se présente comme un texte blanc sur fond noir et recourt à dessein à l’humilité du carton, rejoue la performance du fragment, la « dissimulation ». La peinture nous demande de prendre le temps de déchiffrer le texte, de lever nos yeux et de remarquer non seulement la brillance de la lune pleine, mais aussi la luminosité des étoiles.

This painting transcribes an Anne Carson translation of a fragment from a poem written by Sappho – a fragment which speaks of the moon and the stars, but perhaps most evocatively, the position the stars assume of “hiding back their luminous form” while in the presence of the full moon. Presented as white text on a black ground, deliberately employing the humble status of cardboard, the painting repeats the performance of the fragment, the “hiding back.” The painting asks us to take the time to decipher the text, to lift up our eyes and notice not only the brightness of the full moon, but also the quiet luminosity of the stars.

_MG_9655_Photo Guy LHeureux

Gesso et encre de chine sur carton
2015
33,5 x 36 cm
Valeur estimée : 2 100 $

bio
karen elaine spencer (b. 1960) maintains a studio practice, performs, curates and writes. Oscillating between work in the street, exhibitions in galleries, and projects via the web, spencer questions hierarchies and investigates how we, as transient beings, occupy the world we live in. Since obtaining her MFA from the Université du Québec à Montréal in 2001 spencer has been awarded numerous international residency programs, including the Symposium international d’art contemporain in Baie-Saint-Paul (2015), the International Studio and Curatorial program in Brooklyn (2012), the Cité Internationale des arts de Paris (2005), and the John Snow House artist in residence in Calgary (2011). 
Recent exhibitions include One Day at ELLEPHANT in Toronto (2016), letters home/lettres à ma mère, at Galerie B-312 and ELLEPHANT in Montréal and Toronto (2015), Coming to Terms at Little Berlin in Philadelphia (2015), New York Stories: Twenty Years of ISCP in Brooklyn (2014), and La moitié du monde est une femme at the Grande Bibliothèque in Montréal (2013). 
spencer’s work is held in the collections of Air Canada, the Richmond Art Gallery, the Canada Council Art Bank, the Bibliotheque nationale du Québec, the Musée d’art contemporain de Baie-Saint-Paul, la Collection Prêt d’œuvres d’art Musée national des beaux-arts du Québec, the Richmond Women’s Resource Centre Association, the Art Gallery of Mount Saint Vincent University, as well as corporate and private collections in Canada and the United States. In 2012 spencer was awarded the La Centrale Powerhouse Prize and in 2016 spencer was a finalist for the Musée national des beaux-arts du Québec’s prix en art actuel.

Art Toronto 28-31 oct

October 19, 2016

Who to watch?
See all the artworks on Artsy

karen elaine spencer: word word word, painting on paper, 33″ x 52″, 2014

One of five 2016 finalists for the Prix en Art Actuel awarded by the Musée National des Beaux-Arts du Québec. Like her celebrated performance actions that consider the social, economic and political undercurrents of our culture, spencer’s unique text-based visual language forces us to slow down and look closely to decipher the underlying meaning of what is right before our eyes.

as part of my residency at praxis in 2011 (has not yet arrived with the project blog hasnotyetarrived.wordpress.com)  i published roughly 31 petites annonces under the section of “services de transport” within the free daily the “metro” – which was the newspaper i picked up from the metro entrance on my way to the train which went to sainte-thérèse …and back.

here are a few  –

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journal metro 17 fevrier 2011 -petites annonces

2011_23_fev_cropedscan3_72dpi
journal metro 23 fevrier 2011 -petites annonces

2011_24_fev_scan272dpi
journal metro 24 fevrier 2011 -petites annonces

2011_15_fev_croppedscan2_72dpi
journal metro 28 fevrier 2011 -petites annonces

2011_25_mars_circledred_croppedscan72dpi
journal metro 25 mars 2011 -petites annonces

screen-shot-2016-09-22-at-12-05-45-am

 

Project
 Edited by Sheryl Oring
Distributed by Intellect Ltd
 222 pages | 170 color plates | 9 x 9 | © 2016

cp_constellation_outcp_passeport_verso_out

PASSEPORT DARE-DARE 2016 OCT 1

September 17, 2016

TI

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PASSEPORT DARE-DARE
un parcours déambulatoire où les participants sont invités à collectionner des œuvres/étampes dans différents lieux du quartier St-Henri. Offert gratuitement, le passeport vierge est rempli d’œuvres inédites tout au long de la journée. Le tout constitue un carnet unique et exclusif, une œuvre collective à collectionner avec les années !

QUAND :
Le samedi 1er octobre 2016, entre 12:00 et 17h00.

DÉPART :
Le départ aura lieu à l’abri mobile de DARE-DARE situé à l’angle des rues Atwater, Notre-Dame et de la rue Doré.

ARTISTES :

Kevin BEAULIEU
Laurence N. BÉLAND
Daniel CANTY
Louich
Charles-Antoine FRÉCHETTE
Karilee FUGLEM
Catherine LESCARBEAU
Véronique LÉPINE
Gabrielle PFALZGRAF
Ophélie QUEFFURUS
Douglas SCHOLES
karen elaine SPENCER
Denis WONG

LES ESCALES :
Totem thé et olives : http://totemteaandspice.com/
Librairie Crossover Comics : http://crossovercomics.ca/
Café St-Henri : http://www.sainthenri.ca/
La Gaillarde : http://www.lagaillarde.ca/
Le Marché aux puces de l’église St-Zotique
Crèmerie Dalla Rose : http://www.dallarose.ca/
Parc George-Étienne Cartier
Parc Madeleine Parent
Îlot Charlevoix
Marché Atwater : http://www.marchespublics-mtl.com/marches/atwater/

REMERCIEMENTS :
Ce projet est rendu possible grâce à la générosité de nos partenaires principaux soit :
L’arrondissement du Sud-Ouest de Montréal : https://www.facebook.com/lesudouest/?fref=ts
Le Montréal Art District : http://montrealartdistrict.com/fr/
L’atelier Circulaire : http://www.ateliercirculaire.org/

Le projet PASSEPORT est une idée originale de la San Francisco Arts Commission Gallery.

Un merci spécial à Cassandre Boucher pour son aide avec la sérigraphie du passeport. Merci à tous les bénévoles et les participants !

12kes2015lecharlevoisiensylvaintremblay copy

title : sylvain tremblay avance que
year: 2015
location: le charlevoisien, baie-saint-paul, québec
supported by: symposium international d’art contemporain de baie-saint-paul – murmures du quotidien
curator: marie perrault
project blog: https://pourraitetrefait.wordpress.com