Programming

"BUREAU©" presents during the weekends of July a series of five flying tents and BUREAU installations near the Lachine Canal.

In Montreal, Sally Lee Sheeks sketched three fountains: the large fountain in the Lafontaine Park basin, Jocelyne Alloucherie's fountain-sculpture Tables de jours, and the fountain basin at Place des Arts.

The project consists of the construction of a small building and the development of a gallery space.

Au travail is the result of a singular residency: a series of in situ shootings carried out at DARE-DARE with the complicity of its team.

This collaborative project is based on the concept of the owner's manual. The gallery intervention consists of a variety of three-dimensional objects scattered throughout the space, images and texts displayed on the walls.

A small room is erected in the gallery. The viewer can enter this space to watch four video screens embedded in its walls.

Photographic works are presented in public restrooms of bars and restaurants on advertising supports.

Natacha Roussel hijacks interactive 3D. She uses it in conjunction with sculpture to create an immersive environment that addresses the organic world and through it the most archaic feelings.

Psychopompe's exhibition is a reflection on recurring questions in art: death, humor, the body.

Julie Andrée T. prepared a gallery project that combined a performative action with an investment of space, a research and creation project based on the experience of meeting points between body, object and space through principles such as fusion, passage, juxtaposition or superposition.

Catherine Préfontaine elaborates a parallel between the plastic and acoustic vocabularies. Her work is situated in the spatial representation of lost signals such as vibratory currents, electromagnetic signals and radio waves.

Robyn Moody set up a "mark removal" booth in the antibody gallery.

This project required the participation of Montreal artists who were asked to transform the DARE-DARE space into a "hostile environment for art".

The animals' view of the figure is a playful yet rigorous investigation of the possible reactions of different animals to art objects placed in their natural environment.

Kirsten Forkert uses the Goethe Institute's film room to explore human relationships. Her project focuses on the visitor's personal experience as an audience.

Christine Maigne proposes to make pilosities appear on the walls of the gallery which are usually devoid of them.