Sorry, this entry is only available in French. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

À propos de l’artiste…

Philippe Boisnard interroge depuis de nombreuses années la constitution de l’homme à travers la matérialité des codes et des représentations liées à la dimension aussi bien politique, que sociale ou économique. Il a écrit plusieurs livres et essais, et faits de nombreuses conférences en France et à l’étranger.

Depuis 2008, il crée des installations numériques telles After Fukushima, phAUTOmaton, Translations, Shape_of_ memory, Words City, présentées nationalement ou internationalement. Il a travaillé pour des créations numériques théâtrales (Festival d’Avignon, La Villette, Théâtre des Tanneurs à Bruxelles). Il est aussi commissaire d’exposition en art technologique (Access, Les Bains numériques, …) Il a obtenu en 2007 le prix multimédia de la Société des gens de Lettres de France (SGDL), et en 2013 le trophée art aux voeux de l’internet (Le Cube).

À propos de l’oeuvre…

Un paysage sans reste d’humanité se crée de manière continue. Il est un reflet poétique d’une terre dont nulle conscience n’est plus témoin. Il y a eu destruction. Cette terre, c’est Fukushima. Elle est désolée. Il ne reste qu’un paysage sombre, sans hommes, sans faune ou flore. Seuls quelques vestiges de constructions peuvent apparaître.

Ce paysage se modifie automatiquement par l’analyse des flux d’informations concernant Fukushima mis en ligne sur le Web. Ce paysage est post-historique. Il n’écrit plus l’histoire. Il est le reflet d’un monde où l’homme a disparu, mais dont il ne reste plus que les traces sous la forme d’archives. Une caméra automatique explore ce paysage : nous faisons face à sa solitude. Le terme de solitude est ancien, il renvoie au XVIIème siècle à une friche, à un no man’s land.

• Impression au jet d’encre, papier archive sans acide Fuji Premium Matte 230 g. Format: 16×20 po. / 40×50 cm. Non encadrée.
• Prix forfaitaire de 150 $ CAN. Disponible au bureau de TOPO sans autre frais. En cas d’expédition, des frais d’envoi et d’emballage s’appliqueront.

Sorry, this entry is only available in French. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

À propos de l’artiste…

Philippe Boisnard interroge depuis de nombreuses années la constitution de l’homme à travers la matérialité des codes et des représentations liées à la dimension aussi bien politique, que sociale ou économique. Il a écrit plusieurs livres et essais, et faits de nombreuses conférences en France et à l’étranger.

Depuis 2008, il crée des installations numériques telles After Fukushima, phAUTOmaton, Translations, Shape_of_ memory, Words City, présentées nationalement ou internationalement. Il a travaillé pour des créations numériques théâtrales (Festival d’Avignon, La Villette, Théâtre des Tanneurs à Bruxelles). Il est aussi commissaire d’exposition en art technologique (Access, Les Bains numériques, …) Il a obtenu en 2007 le prix multimédia de la Société des gens de Lettres de France (SGDL), et en 2013 le trophée art aux voeux de l’internet (Le Cube).

À propos de l’oeuvre…

Un paysage sans reste d’humanité se crée de manière continue. Il est un reflet poétique d’une terre dont nulle conscience n’est plus témoin. Il y a eu destruction. Cette terre, c’est Fukushima. Elle est désolée. Il ne reste qu’un paysage sombre, sans hommes, sans faune ou flore. Seuls quelques vestiges de constructions peuvent apparaître.

Ce paysage se modifie automatiquement par l’analyse des flux d’informations concernant Fukushima mis en ligne sur le Web. Ce paysage est post-historique. Il n’écrit plus l’histoire. Il est le reflet d’un monde où l’homme a disparu, mais dont il ne reste plus que les traces sous la forme d’archives. Une caméra automatique explore ce paysage : nous faisons face à sa solitude. Le terme de solitude est ancien, il renvoie au XVIIème siècle à une friche, à un no man’s land.

• Impression au jet d’encre, papier archive sans acide Fuji Premium Matte 230 g. Format: 16×20 po. / 40×50 cm. Non encadrée.
• Prix forfaitaire de 150 $ CAN. Disponible au bureau de TOPO sans autre frais. En cas d’expédition, des frais d’envoi et d’emballage s’appliqueront.

About the artist…

Born in Boisbriand, Isabelle Gagné is a pioneer of mobile art in Canada. It was in 2009 that she naturally turned to mobile devices as a medium of artistic expression. Strongly fueled by its digital environment, she is particularly interested in Quebec’s contemporary natural landscape, an enunciative marker of heritage. Her research is multiplatform, drawing its raw material in photos, screenshots, and even accidents (graphics) found on the Internet.

About the work…

Stratotype digital-ien is an autonomous computer robot (a bot) that randomly recomposes images of the Quebec landscape. He transforms the photos taken by the artist Isabelle Gagné and those collected from citizens. In original photographs, the bot adds extracts of images of similar geomorphological nature found on Google Image, creating a new generation of images. The modified images create unusual visual occurrences of Québec territory on the web and search engines.

• Inkjet print. Archive quality paper acid free – Fuji Premium Matte 230g.  Format: 20x15 po. / 50×38 cm.   Not framed.
• Flat rate of 150 $ CAN. Available at TOPO’s office without any other fee. If shipped, shipping and packaging costs will apply.

About the artists…

Simon Dumas. At the same time poet and artist, he has published five titles of poetry: Pastels fauves (Loup de gouttière Ed.2001), Petites îles de soif (Écrits des forges, 2003), La chute fut lente, interminable puis terminée (La Peuplade Ed., 2008) – finalist for the Alain-Grandbois prize – as well as Mélanie (2013) and Révélations (2016) at the Éditions de l’Hexagone. He has accomplished a writing residency in Mexico City in 2010 and another in Paris in the fall of 2014. He is co-founder and artistic director of Productions Rhizome whose mandate is to produce literary shows. He lives and works in Quebec City.

Mickaël Lafontaine. Multidisciplinary artist, his creative universe is at the crossroads of the real and the digital, of art and social. His artistic practice is based on video art, video-mapping, dance, poetry and philosophy. He uses video projection and interactivity to embody digital in the real world and make it live in the hands of the viewer. In parallel, he develops co-creation projects in educational and associative environments where art and new technologies become factors of social change. He lives and works between the cities of Nantes and Montreal.

About the work…

The work is taken from installation Choeur(s) pour castelet. The project is basically born of an installation whose heart is made of poetry. In the window, in the center of a small black tray, stands a number of characters. It is the inhabitants of a particular castle, men and women, who challenge the visitor. They are poets from Quebec and Belgium. Delayed poetic presences and reduced to the proportions of the castelet, which presents original texts and their authors, each associated with an audio artist. A video creation designed specifically for the device is added to each duo, as well as a dynamic typographic animation created by the artist Mickaël Lafontaine, who uses a tool-work he has developed: the Audiographe. The poet’s voice modulates the typographic animations created.

Choeurs (s) is an installation of variable configuration and a tablet application developed with the collaboration of the artist and developer Louis-Robert Bouchard. A Rhizome production presented by TOPO  with the support of the NT2 Laboratory and the Mobile Literature Research Group.

• Inkjet print. Archive quality paper acid free – Fuji Premium Matte 230g.  Format: 16×20 po. / 40×50 cm.   Not framed.
• Flat rate of 150 $ CAN. Available at TOPO’s office without any other fee. If shipped, shipping and packaging costs will apply..

About the artist…

Sarah Chouinard-Poirier. In her works, the multidisciplinary artist physically puts herself into play and develops performances in which presence, gesture, speech and object combine to create a radical experience and a feminist and resistant mythology. Acting between theater and action art, she is also involved in collective projects where she participates in the creation of interdisciplinary theatrical forms anchored in bodywork and performativity, based on contemporary writings or texts from directory. Since 2012, she coordinates the activities of Volte 21, a multidisciplinary art organization of which she is co-founder. She lives and works in Montreal.

About the work…

In February 2017, Sarah Chouinard-Poirier presented the indexE project in the TOPO showcase. indexE raises the question of the place of women in literature, using orality as a mean of sharing and transmission. The artist brought together an ad hoc community of 100 people identifying themselves as women, trans or queer person, by asking them to propose a book of particular importance in their life. This indexE of these 100 works to be kept unforgotten will be exhibited in the window display throughout the duration of the exhibition.

• Inkjet print. Archive quality paper acid free – Fuji Premium Matte 230g.  Format: 15×20 po. / 38×50 cm.   Not framed.
• Flat rate of 150 $ CAN. Available at TOPO’s office without any other fee. If shipped, shipping and packaging costs will apply.

About the artists…

Jean-René Leblanc and Carl Spencer. Calgary-based artists, their collaboration on the artwork Toro Embistiendo was commissioned by the French CBC to be presented as a documentary as part of the 100^th anniversary of the Calgary Stampede. It was also featured in the web documentary series Cowboy: a Canadian Dream in 2013. They are both actively involved in the arts community as Board Directors at Emmedia Gallery and Production Society and co-founders of the Sensorium Lab, a cross-disciplinary research group focusing on artistic research that develops systems of interaction that encourage kinesthetic perception and interpretation. Their practice explores the relationship between technology and culture through issues related to interactivity. Their artworks individually have been presented in Canada, the USA, Europe, Asia and Australia.

About the work…

This image was taken from one of the bulls who participated in the realization of the work Toro embistiendo, presented in the Vitrine of TOPO.

Toro embistiendo explores the image of the bull as emblematic figure of the culture of the rodeo and the cowboys in Canada. The title uses the Spanish language to refer to the bull that charges, an explicit reference to bullfighting so present in the Hispanic culture. This installation explores the game of the confrontation between the spectator and the video of a bull in his enclosure which begins to load when it is excited by passing in front of the showcase where the work is presented. Leblanc and Spencer propose a playful and metaphorical installation using interactivity to create a bridge between the real and the virtual.

• Inkjet print. Archive quality paper acid free – Fuji Premium Matte 230g.  Format: 9,5×20 po. / 24×50 cm.   Not framed.
• Flat rate of 150 $ CAN. Available at TOPO’s office without any other fee. If shipped, shipping and packaging costs will apply.