Archive:… move or be moved by some ‘thing’ rather than oneself.June 23 – August 5, 2018

Nadège Grebmeier Forget, Rendering on View (Betty Rowland meets Angela Aames). Performed on May 27th 2017 as part of the installation Walls of Wind: The mirroring and rendering. Created in the context of the group exhibition I've Only Known My Own curated by Nicole Burisch and presented from April 21st to June 10th 2017 at OPTICA, Montréal. Photo: Paul Litherland.

… move or be moved by some ‘thing’ rather than oneself.

June 23 – August 5, 2018

Featuring Guillaume Adjutor Provost, Adam Basanta, Adrienne Crossman, and Nadège Grebmeier Forget
Curated by Florence-Agathe Dubé-Moreau and Maude Johnson

Critical Distance is pleased to present … move or be moved by some thing rather than oneself., an exhibition that considers curating and choreography as materials and subjects. Bringing together the work of Guillaume Adjutor Provost, Adam Basanta, Adrienne Crossman, and Nadège Grebmeier Forget, the exhibition is curated by Florence-Agathe Dubé-Moreau and Maude Johnson. The title, taken from a quote by choreographer Yvonne Rainer, echoes the curators’ desire to question the potentialities of artworks as well as presentation contexts from the position of transdisciplinary instability.

… move or be moved by some thing rather than oneself. examines the intersections between methods of creation and reflection particular to curatorial and choreographic spheres. As part of the ongoing discussion on dance in the museum, this exhibition responds specifically by disengaging from the danced gesture. It gathers artists who, on the one hand, borrow from curatorial and choreographic methodologies; and who, on the other hand, transform the multiple spaces (physical, virtual, social, political, historical, etc.) and temporalities of the gallery.

This exhibition probes at the politics generated or renewed by these two approaches when (re)located together in the gallery space. What performative potentials will emerge from this juxtaposition of the curatorial and the choreographic? Choreography and curating are understood as two transmission systems able to reveal the agency of works as well as of the exhibition structure. Can the analytical tools provided by curating and choreography mutually enhance each other and be used as theoretical frameworks to address the relationships between artworks, exhibition, and publics in a new light?


Join us for the opening reception and exhibition walkthrough with the curators on

Saturday, June 23 from 2–4 pm
Refreshments will be served and all are welcome

Also on view beyond the gallery:

After Rendering on View (Betty Rowland meets Angela Aames), May 27, 2017.
Billboard on Shaw Street by Nadège Grebmeier Forget


Location and hours

Critical Distance Centre for Curators
180 Shaw Street, Suite 302 at Artscape Youngplace, M6J 2W5
Admission is always free; building and gallery fully accessible
Google Map

Exhibition is on view June 23–August 5, 2018

Gallery hours are Thursday–Sunday from 12–5 pm and by appointment through August 5th
We are open on holiday weekends unless otherwise noted on our visitor info page here


About the Curators

Florence-Agathe Dubé-Moreau is a Montréal-based writer and curator. MA candidate in Art History at UQAM, her research questions the effects of exhibition reenactment in contemporary art. She was the Assistant Curator for the Canadian Pavilion at the 56th Venice Biennale (2015), co-editor of the book Questionner l’avenir. Réflexions sur la réactualisation de la Biennale de Montréal (2015), and curator of the exhibition do it Montréal at Galerie de l’UQAM (2016).

Maude Johnson is a Montréal-based writer and curator. She holds a MA in Art History from Concordia University. She is interested in the relationship between bodies, times, and spaces. Her research explores performative and curatorial practices, while probing methodologies, mechanisms, and languages within interdisciplinary practices. Her recent projects have been presented in the SIGHTINGS space of the Leonard & Bina Ellen Art Gallery (Montréal, 2016) and at Artexte (Montréal, 2018).

About the Artists

Guillaume Adjutor Provost is a Montréal-based artist. His practice is situated at the borders of visual arts, curating, and literature through hybrid works. He holds a Ph.D. in Arts Studies and Practices from UQAM and is the 2016-18 recipient of the Claudine and Stephen Bronfman Fellowship in Contemporary Art. His solo exhibitions have been presented in various venues, such as Centre CLARK (Montréal, 2016), Diagonale (Montréal, 2017), and Bikini (Lyon, 2018).

Adam Basanta is a Montréal-based artist, composer, and performer of experimental music. His sculptures and installations reveal the conceptual and sensory dimensions of sound in the exhibition space by modifying the usual relationship of the visitors to it. His recent projects have been presented in Europe, United States, and Canada. He is long-listed for the 2018 Sobey Art Award.

Adrienne Crossman is based in Windsor. Their approach as an artist and curator involves the exploration of non-normative and non-binary representation while challenging the boundaries between physical and virtual exhibition environments. Crossman examines the queer potentialities present in digital media and popular culture with an interest in locating queer sensibilities in the everyday. Their recent projects have been shown in Toronto, Windsor, Carlisle (UK), and Montréal, as well as in The Wrong New Digital Art Biennale.

Nadège Grebmeier Forget is a Montréal-based artist. She employs choreographic and curatorial strategies to complicate access to her performing body in live, video, or installation works. Recent exhibitions and performances have been presented in various venues, such as VU PHOTO (Québec, 2016), She Works Flexible—Flex Space (Houston, 2016), and OPTICA (Montréal, 2017).


A catalogue featuring curatorial essays and full documentation of the exhibition is forthcoming. Subscribe to our newsletter or follow us on Facebook, Twitter, or Instagram for updates and more information.


image: Nadège Grebmeier Forget, Rendering on View (Betty Rowland meets Angela Aames), 2017. Performed on May 27, 2017, as part of the installation Walls of Wind: The mirroring and rendering which was created in the context of the group exhibition I’ve Only Known My Own curated by Nicole Burisch and presented from April 21 to June 10, 2017, at OPTICA, Montréal. Photo by Paul Litherland.

Links / Updates

News, press, publications and more information.

… move or be moved by some thing rather than oneself. | Gallery Supplement (PDF)

Images

Hover for info; click to enlarge image and view full captions.

Adrienne Crossman, Footnotes to a Queer Art Practice, 2018, mixed-media installation, in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid. Adrienne Crossman, Footnotes to a Queer Art Practice, 2018, mixed-media installation (detail), in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid. Adrienne Crossman, Footnotes to a Queer Art Practice, 2018, mixed-media installation (detail), in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid. Adrienne Crossman, Footnotes to a Queer Art Practice, 2018, mixed-media installation (detail), in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid.
Adrienne Crossman, Footnotes to a Queer Art Practice, 2018, mixed-media installation; Adam Basanta, Curtain (white), 2016, sound installation, 2x2x.20 meters in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid. Adam Basanta, Curtain (white), 2016, sound installation (detail), 2x2x.20 meters; Adrienne Crossman, Footnotes to a Queer Art Practice, 2018, mixed-media installation, in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid. Adam Basanta, Curtain (white), 2016, sound installation, 2x2x.20 meters; Adrienne Crossman, Queer Still Life part 1, 2016, single-channel video, 1.5 min loop, in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid. Adrienne Crossman, Queer Still Life part 1, 2016, single-channel video, 1.5 min loop, in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid.
Adrienne Crossman, Queer Still Life part 1, 2016, single-channel video, 1.5 min loop; Guillaume Adjutor Provost, Psyche wandering on a construction site, 2018, mixed-media sculpture and video, 9:07 loop, 44x71x44 cm, in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid. Guillaume Adjutor Provost, Psyche wandering on a construction site, 2018, mixed-media sculpture and video, 9:07 loop, 44x71x44 cm, in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid. Guillaume Adjutor Provost, Psyche wandering on a construction site, 2018, mixed-media sculpture and video, 9:07 loop, 44x71x44 cm, in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid. ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, installation view with work by Guillaume Adjutor Provost, Nadège Grebmeier Forget, and Adam Basanta, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid.
Nadège Grebmeier Forget, After Rendering on View (Betty Rowland meets Angela Aames), May 27, 2017, performance documentation and multi-platform intervention (installation, 8x8 ft); Adam Basanta, Sectioning III, 2016, sound and mixed-media installation, dimensions variable, in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid. Nadège Grebmeier Forget, After Rendering on View (Betty Rowland meets Angela Aames), May 27, 2017, performance documentation and multi-platform intervention (installation detail); Adam Basanta, Sectioning III, 2016, sound and mixed-media installation (detail), dimensions variable, in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid. Adam Basanta, Sectioning III, 2016, sound and mixed-media installation (detail), dimensions variable, in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid. Adam Basanta, Sectioning III, 2016, sound and mixed-media installation (detail), dimensions variable, in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid.
Nadège Grebmeier Forget, After Rendering on View (Betty Rowland meets Angela Aames), May 27, 2017, performance documentation and multi-platform intervention (installation, 8x8 ft), in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid. Nadège Grebmeier Forget, After Rendering on View (Betty Rowland meets Angela Aames), May 27, 2017, performance documentation and multi-platform intervention (Instagram takeover), in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. (screnshot). Nadège Grebmeier Forget, After Rendering on View (Betty Rowland meets Angela Aames), May 27, 2017, performance documentation and multi-platform intervention (Instagram takeover), in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. (screnshot). Nadège Grebmeier Forget, After Rendering on View (Betty Rowland meets Angela Aames), May 27, 2017, performance documentation and multi-platform intervention (billboard, 8x8 ft), in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid.