Série concepts migratoires: Être présent à l’exposition d’art : un dialogue avec l’essai What if I Don’t See Anything?
April 11 2013
par Marie-Hélène Lemaire
Pohanna, dans ton essai What if I Don’t See Anything?, tu poses ces questions fondamentales :
“Will sharing a narrative about the back-stories that Demand’s work references frame the work’s meaning and thus limit the visitor’s conceptual inquiry? In particular, will the visitor be as encouraged to reflect on how their presence is implicated in making of the exhibition’s meaning? Or will offering a context actually deepen one’s appreciation of the work?”
Ces questions sont très pertinentes pour toute l’équipe d’éducateurs à DHC/ART, car elles touchent à la mise en pratique concrète de notre philosophie éducative lors de nos visites interactives.
“WHAT IF I DON’T SEE ANYTHING?”
March 28 2013
Visitors have commented that Thomas Demand’s exhibition at DHC/ART, titled Animations, seems to be in a state of perpetual suspense. Did something just occur or is it about to? Are we waiting for a person to arrive?
Pohanna Pyne Feinberg
November 28 2012
Only 5 days remaining to visit the Ryoji Ikeda exhibition, which ends this Sunday, November 18. Still a few days left to also participate in TRACE: Transmission — a chance to respond to Ikeda's work though the creation of your own coded message using data in a poetic and communicative way.
Quick reminder: You are welcome to take part in our upcoming event marking the 15th anniversary of Perte de Signal. An evening of experimentation and performance will take place this Thursday, November 15 at the PHI Centre (407 Saint-Pierre) Admission is free. 7:00PM.
We are very pleased to announce our next exhibition, entitled THOMAS DEMAND: ANIMATIONS, which runs from January 19 to May 12, 2013. Thomas Demand is an internationally renowned German artist working primarily in photography, sculpture, and architecture. This first solo exhibition in Canada is devoted mostly to his films. Using footage from the media or surveillance cameras, the artist manipulates these found images, rendering them both distant and strangely familiar.
Entrevue avec John Zeppetelli sur l’exposition Ryoji Ikeda
October 30 2012
Depuis combien de temps vous intéressez-vous au travail de Ryoji Ikeda?
Ce doit faire environ 10 ans que j’ai vu Ikeda pour la première fois à Montréal, à l’Usine C. C’était le spectacle « formula ». Il est revenu plusieurs fois dans la ville dans le cadre d’Elektra et je crois avoir tout vu. J’étais complètement ébloui. J’ai assisté à « test pattern » qu’on a aussi présenté en septembre dernier. Je trouvais qu’il y avait une grâce, une intelligence, une poésie dans ces bruits, ces sons qui sont tellement inhumains d’un certain côté. Il avait injecté beaucoup d’humanité dans tout ça, une délicatesse, une beauté et c’était très… quelque chose entre la danse, oui certainement un élément dansant. Comme de la musique « trance » électronique avec quelque chose de plus… troublant? Bref, j’ai trouvé ça éblouissant. Depuis ce temps-là, je me suis dit qu’il faudrait trouver une façon de montrer son travail à Montréal dans le contexte d’une exposition.
When you’re not scared anymore, it’s time to quit: Reflections on Courage and Fear
October 10 2012
In an inspiring audio clip produced by SFMOMA, we can hear Robert Rauschenberg, reflecting on his White Paintings, describe the courage built into their uniqueness and individuality, as well how this collection of work continued to scare him for some time after their creation.
Concept migratoire : Immersion
October 06 2012
***Merci aux étudiants en performance (Intermedia/Cyberarts) de l’Université Concordia et à leur professeur Monique Moumblow pour les idées et impressions inspirantes échangées lors de la visite, dont certaines sont retranscrites en italique ci-bas, de mémoire, en dialogue avec les miennes. Merci également à Éric Bergevin et à ses jeunes participants du camp photo Entre quatre yeux pour la superbe photo.
Nous sommes à l’intérieur de l’installation Data.tron [advanced version 2] et Data.matrix [no. 1-10] de Ryoji Ikeda :
A New Yorker, a Former DJ, an Artist, an Architect and a Caterer
October 04 2012
Put a New Yorker, a former DJ, an artist, an architect and a caterer together for a creative experience, and the results are sure to be fascinating! This is what happened on Saturday, September 29th for the Journées de la Culture Open House at DHC/ART.
Ici, je me sens comme un insecte attiré par la lumière : quelques paroles remémorées d’une visite avec le CAP: Centre d’Apprentissage Parallèle
September 27 2012
Récemment, j’ai eu la chance d’animer une visite dans l’exposition Ryoji Ikeda avec des participants du CAP: Centre d’Apprentissage Parallèle. Par la suite, je me suis remémoré avec plaisir certaines de leurs magnifiques paroles échangées lors de l’activité, paroles qui ont nourri mes propres réflexions, que j’ai entremêlées aux leurs. Je les retranscris ci-bas, le plus fidèlement possible:
Photo: Richard-Max Tremblay
September 11 2012
DHC/ART – Education is pleased to introduce a new Tumblr series:
… Concepts are centers of vibrations, each in itself and every one in relation to all the others; concepts resonate rather than cohere.
(Deleuze and Guattari, In Bal) (2001, 23, 52)
The new Travelling Concepts series that DHC/ART educators are introducing this fall is a dynamic complement to the educational tool Movements: Learning Through the Artwork at DHC/ART : Travelling Concepts is an on-line space on our Tumblr where we will periodically highlight key concepts in relation to our exhibitions, as they are explored and discussed during our interactive visits and workshops.
The Tangible and the Intangible
August 06 2012
keda has said that one of the primal roles of artists working today is to assure a “materialization” of the creation process; his perception of artistic creation is on par with the theories of many contemporary thinkers, like John Tresch, who argue that one of the roles of contemporary art is to make things publicly visible, to generate consciousness.
Richard-Max Tremblay, with the permission of DHC/ART
This calendar is constantly updated and allows you to verify which time slot are available. The time slot in red are already reserved and, if nothing appears, the "plage"is still available and you can now process with the reservation form. This form, when completed, will arrive directly to those responsible for each sector.
The opening hours of DHC-Education:
Tuesday, 9h30 AM to 7 PM
Wednesday to Friday, 9h30AM to 7PM
Note that we are closed on Mondays .
For questions / comments, please send message by email to
firstname.lastname@example.org or call 514-866-6767 ext. 4219.
DHC/ART — Education invites people of all ages to participate in its activities and public events. Through its programmes and innovative interpretive tools, our educational service puts an emphasis on exploration and the deepening of an understanding of contemporary art by providing context for the exhibitions presented by the Foundation.
DHC/ART – Education comprises a team of educators working in multiple disciplines who share a passion for contemporary culture and interactive learning:
Amanda H. Beattie (on maternity leave) teaches Art History at Dawson College, and works as a Consultant in art and museum education. She has had experience in the fields of art and education in numerous institutions in Montreal, including the Montreal Museum of Fine Arts, the Centre international d’art contemporain de Montréal, and the magazine Ciel Variable, as well as abroad, including The Museum of Modern Art (New York), the Peggy Guggenheim Collection (Venice, Italy) and La Biennale di Venezia (Venice, Italy). She has a Master’s degree in Art History from Concordia University.
Daniel Fiset has been working as an educator at DHC/ART since September 2011. He is currently a Ph.D. candidate in art history at the University of Montreal, studying the relationship between contemporary art photography and visual culture. If you’re looking for him, you’ll find him in the kitchen, in adoration in front of his TiVO or buried under a pile of readings.
Emily Keenlyside recently joined DHC/ART — Education, bringing with her 15 years of museum and community-based education experience. She holds an MA in Art Education from Concordia University where her research focused on social inclusion and art museums as sites for adult learning. Cultural studies, experiential learning, and popular education all inform her approach to teaching and program development. She has worked with a variety of Canadian art centres, including Art Gallery of Peterborough, Artspace, and the Montreal Museum of Fine Arts.
Marie-Hélène Lemaire has been part of DHC/ART — Education since 2011. She has had experience in the fields of art and education at the Musée d'art contemporain de Montréal and at the Leonard and Bina Ellen Art Gallery at Concordia University. As well as working at DHC/ART, she is a PhD candidate in Communication Studies at Concordia University. Her work and research interests lie in audience reception of contemporary artworks in museums and galleries. She is passionate about the collaborative, improvisational, oral and ephemeral processes of interpreting art exhibits.
Pohanna Pyne Feinberg is an art educator and audio/visual artist. She has coordinated and guided educational programs for Le Mois de la Photo à Montréal, Walter Phillips Gallery (The Banff Centre), The Wapikoni Mobile, Vezina High School, Leave Out Violence (LOVE), FOFA Gallery (Concordia University) and La Bibliothèque des Jeunes de Montréal. In 2009, Pohanna created Inspire Art, a website with the objective of increasing awareness about community-based art in the Montreal region. She has an MA in Art History from Concordia University and her sound designs have been presented in Montreal,
Toronto, New York and Banff. Pohanna joined DHC/ART — Education in January 2013 and is currently a sessional teacher in art history at Dawson College.
Associate Curator Cheryl Sim supervises and directs education initiatives as well as DHC/ART’s program of public events. She holds a Master’s degree in Media Studies at Concordia University and is a PhD candidate in the Programme d’études et pratiques des arts at UQÀM. She has been part of the DHC/ART team since the opening in 2007.
An encounter with contemporary art!
Interactive visits at DHC/ART are designed for all those interested in acquiring tools to help them question, explore, and appreciate contemporary art and the myriad of ways that it is exhibited. Our approach is one of conversation and collaboration; it fosters mutual learning. The educator's role is twofold: to share information with visitors about conceptual, thematic, and formal concerns and to invite participants to contribute their perspectives. Actively listening and responding to this multiplicity of ideas rejuvenates and enriches our collective interpretation of both the exhibition as a whole and the individual works.
*Visits with an educator are free of charge and last 1 or 1 1/2 hours, depending on the type of reservation. *Minimum 10 people, maximum 40 people.
DHC/ART — Education Hours
Tuesday through Friday - 9:30 AM to 5:00 PM
Reservations are required for all interactive visits. Consult our booking calendar to make your reservation with our reservation form. Please note that groups planning to visit without an educator are required to contact us in advance in order for us to advise security prior to the group's arrival.
514-866-6767 ext. 4219
Respond to art with art!
With each exhibition, a new hands-on art workshop is offered to interested groups and individuals. Facilitated in conjunction with our interactive tours, DHC/ART – Education workshops are conceptualized by a local artist (or groups of artists) whose practice is in keeping with the techniques and themes on exhibit, and developed in collaboration with DHC/ART – Education. These workshops allow visitors to experience different approaches in contemporary art practice and to enrich our understanding of the works in the exhibition. Workshops take place in the Education room, located at 465 St. Jean. This space is also used regularly for our Open House and Happenings.
To participate in a workshop, inquire when reserving a group visit or register for one of our open houses. Workshops last 1 hour and are always free of charge.
REFERENCE Room (451 St. Jean)
The public is welcome to consult the Foundation's archives (conferences, performances, events, etc.) from interactive workstations located in the REFERENCE room — a place for research, reading, and reflection on past and current exhibitions. It includes a reference library as well as Wi-Fi Internet access for research on personal computers.
For each exhibition, DHC/ART — Education compiles a list of vital readings about the artist and in relation to the questions and themes emerging from the works. Many books and publications featuring artists we have exhibited in the past are also available for public consultation in the REFERENCE room.
Thomas Demand: Reading List
Ryoji Ikeda: Reading List
Chronicles of a Disappearance: Reading List
The goal of this short document is to assist visitors in exploring key ideas presented in the exhibition in more depth. Movements can be used as inspiration for a pre or post-visit discussion, or even as an assignment based on the visit.
Thomas Demand: Movements
Ryoji Ikeda: Movements
Chronicles of a Disappearance: Movements
DHC/ART educators regularly contribute to our blog with reflections on various subjects related to the exhibition, the artists, particular visits or workshops, art education, contemporary art practice, etc. Please share information about this lively and thought-provoking tool with your groups!
Tools From Past Exhibitions
Berlinde De Bruyckere: Questionnaire
John Currin: Questionnaire
Berlinde De Bruyckere/John Currin: Pre-visit Questionnaire
Projects and Events
In addition to interactive visits and workshops, DHC/ART – Education works in-house and in collaboration with other organizations to initiate projects and events designed to further engage the wider public in reflection, expression, and exchange on contemporary art.
To mark the end of each exhibition, past workshop participants and the general public take part in an artistic happening hosted by DHC/ART – Education and the local artist(s) who have designed the current workshop.
Visitors are invited to the REFERENCE room to share their thoughts through an ongoing, collaborative project that runs for the duration of the exhibition. The creation becomes a ‘trace’ of visitors' passage. All Trace projects are archived in the REFERENCE room during the exhibition and then on our website.
Facilitated by DHCART – Education, Dissections is a round table discussion between the general public and professionals from a variety of disciplines who are currently exploring themes or techniques relevant to the exhibition.
Every year, DHC/ART – Education takes part in Montreal’s citywide Nuit Blanche festivities by providing activities linked to the current exhibition and workshop. Partnerships with other arts organizations are often featured.
Journées de la culture
DHC/ART is one of many local cultural organizations participating in the annual Journées de la Culture. Activities may take a myriad of forms and involve school groups, university groups, community organizations, and/or the general public.