| |
Born in 1946, Raymond Gervais has been producing concerts, installations, performances and objects since the mid-1970s that explore music and its culture in all its ramifications. Throughout, the
record and the record player have been objects of particular investigation. He has exhibited widely in Canada, Europe and the United States. He participated in Okanada in Berlin (1983) and Aurora
Borealis in Montréal (1985). In 1990 he was included in Broken Music, an important exhibition of artists’ records. He realised a major tripartite installation for the Power Plant in
Toronto in 1992. In 1999 the Musée d’art de Joliette organised a retrospective of his work entitled Le Regard musicien/The Musician’s Gaze. Gervais has also written extensively
on experimental music, jazz and art, and contributed to radio programs. He lives and works in Montréal.
Born in 1955 in San Rafael, California, Christian Marclay grew up in Geneva, Switzerland, where he studied at the École Supérieure d’Art Visuel. In 1977 he moved to Boston and
attended the Massachusetts College of Art. Marclay’s sculptures and installations have been exhibited in museums and galleries internationally. He had solo exhibitions at the Hirshhorn Museum
and Sculpture Garden in Washington, the Venice Biennial, the Musée d’art et d’histoire in Geneva, the Kunsthaus in Zurich and the Whitney Museum of American Art at Philip Morris
in New York. As an integral part of his work, he has been performing and recording music since 1979. Using phonograph records as his "musical instruments," he mixes altered records on
multiple turntables in a display of precise and abusive manipulation. He has performed throughout Europe, Japan, Canada, the United States and New York City where he lives.
Born in 1956, Rober Racine has been active as a performance and installation artist and is especially known
for his massive and relentless project of "deconstructing" the French dictionary Le Petit Robert that occupied him throughout the 1980s. Out of this activity has emerged the Pages-Miroirs,
Le Terrain du dictionnaire A/Z and the as yet partially realised Parc de la langue française. Racine has exhibited in Canada, Europe and Japan. He participated in Aurora Borealis (1985) and
was invited to the Aperto at the Venice Biennale (1990) and to Documenta IX (1992). In 1996 the Centre international d’art contemporain in Montréal organised Pages-Miroirs 1980-1995,
a solo exhibition which travelled to Tokyo, Japan. Racine is also a musician, an art critic and an essayist, and has published two novels. He lives and works in Montréal.
Born not too long ago, Michael Snow lives and works in Toronto. He is a musician who has performed in solo as well as with various ensembles in Canada, USA, Europe and Japan. He has done video,
film and sound installations, and designed books. His films have been presented in numerous festivals across the world, and are in the collections of several film archives. Retrospectives of his
painting, sculpture, photoworks and holography have been presented in Canada, USA, Europe and Asia. Works of all these media are represented in private and public collections world-wide, including
the National Gallery of Canada (Ottawa), the Art Gallery of Ontario (Toronto), the Museum of Modern Art (New York City), the Museum Ludwig (Cologne and Vienna), the Centre Georges Pompidou (Paris),
and both the Museum of Fine Arts and the Musée d’art contemporain in Montréal. He has received numerous awards, including a Guggenheim Fellowship and the Order of Canada.
Born in 1950, David Tomas is an artist whose multimedia and photographic works explore the cultures and transcultures of imaging systems. He has exhibited in Canada, the United States and Europe.
He has also written articles on the cultures of imaging systems, the history of cybernetics, cyborgs and contemporary art practices. Tomas is the author of Transcultural Space and Transcultural
Beings (1996) and an internet book entitled The Encoded Eye, the Archive, and its Engine House (1998-2000) that has recently been published on-line as a research e-book by the Center for Digital
Discourse and Culture, Virginia Tech (http://www.cddc.vt.edu/ encodedeye/). He is currently working on a series of drawings and a collection of essays that explore deviant approaches to the history
of new media. He lives and works in Montréal.
Born in 1952, Richard-Max Tremblay lives and works in Montréal. After graduating from Goldsmith’s College in London, he pursued his practice as a painter and photographer. His work is
frequently presented throughout Québec and France. His most important exhibitions include La nuit à perte de vue at the Canadian Cultural Centre in Paris (1992), Têtes, 1984-1994,
a two-part exhibition presented simultaneously at the Saidye Bronfman Centre and the Musée d’art de Joliette (1994) and more recently Hors Champ at Montréal Télégraphe
(1999). Video gradually became part of his practice following his involvement as scriptwriter and director of photography on two documentaries: Gugging, on Art Brut, and André Markowicz,
la voix d’un traducteur. His multidisciplinary approach initiated Montréal Télégraphe : le son iconographe (2000), a project where art and science were in constant dialogue
and which he co-curated with Louise Provencher. |