Miryam Charles, an artist of Haitian heritage based in Montreal, works primarily in experimental and fictional films as a director, producer, and cinematographer. Her poetic and political works address diasporic experience and personal and collective traumas, and explore themes of memory, grief, family, aimlessness, and the supernatural.

Shot on 16mm, her short films Vole, vole tristesse (2015), Vers les colonies (2016), and Une forteresse (2018) are composed of images and sounds she recorded in Québec and during trips to the Caribbean Sea, Haiti, and Germany. Each film features a story that unfolds in the aftermath of an initial shock or devastation—a nuclear detonation that leaves an entire population speaking in the same voice, a corpse’s narcolepsy as described in a doctor’s journal, the loss of a child under mysterious circumstances—and documents the disorientation, memory lapses, and narrative processes that follow the event. These micro-tragedies are recounted in a style that is both dreamlike and elliptical, leaving the viewer to complete what history refuses to articulate.

1. Vole, vole tristesse, 2015
16mm film transferred to HD video, colour, sound
5 min. 23 sec.

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2023 (023.01)

Image: Still from the video

2. Vers les colonies, 2016
16mm film transferred to HD video, colour, sound
5 min. 03 sec.

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2023 (023.02)

Image: Still from the video

3. Une forteresse, 2018
16mm film transferred to HD video, colour, sound
5 min. 32 sec.

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2023 (023.03)

Image: Still from the video

Since the 1990s, Theo Jean Cuthand, an artist of Cree, Irish, and Scottish descent, has developed a multidisciplinary practice that combines cinema, video, performance, writing, and video games. His short films and experimental videos are anchored in autobiography and use humour, lucidity, and sincerity to deal with themes such as sexual and non-gender conforming identities, desire, sexual fetishes, neurodiversity, mental health, and Indigeneity.

1. Just Dandy, 2013
HD video, colour, stereo sound
7 min. 37 sec.

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2023 (023.04)

Image: Still from the video

In Just Dandy (2013), Cuthand appears at an “Indigenous Revolutionary Meeting,” and describes his intimate encounter with the “Evil Colonizing Queen.” The video synthesizes the artist’s research into his Indigenous and European ancestry, the colonialist power dynamics, games of submission and dominance in sexual desire and BDSM, and forms of territorial invasion.

2. Reclamation, 2018
HD video, colour, stereo sound
13 min. 11 sec.

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2023 (023.05)

Image: Still from the video

Reclamation (2018) is part of a speculative futurism movement and takes place in an imaginary future where colonizers have left Earth and moved to Mars after years of devastation and war. Three people who have stayed on Earth describe their experience, their return to traditional practices, the emergence of a non-monetary exchange system, and the process of regenerating and healing the land. The video offers a future perspective on history in the present.

Scène II (Découpage), 2014-2017

HD video and computer-generated animation, colour, stereo sound
5 min. 8 sec

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University, Purchase, 2023 (023.06)

Image: Still from the vide

Since the early 2000s, Montreal artist Philippe Hamelin has developed a practice that combines video, installation, and computer-generated animation. Informed by cinema, his practice focuses on the relationship between the human body and technological mediums, namely the links between emotional states and animation techniques. Characterized by their slow, contemplative pace, his animations feature ambiguous objects and sensual moving bodies that are precisely rendered and set within a vague spatio-temporal framework.

Scène II (découpage) occupies a key place in Hamelin’s practice. The work is comprised of two separate alternating videos projected onto adjacent walls. The first is an animated adaptation of a legendary scene from Jean-Luc Godard’s film Le Mépris (1963), itself adapted from the novel of the same name (1954) by Alberto Moravia. The second projection shows images of a body of water filmed from a small boat en route to Capri, Italy, where Godard’s film was shot. This second video echoes the final image of the film and novel.

wawa, 2014
HD video, colour, stereo sound
6 min

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University, Purchase, 2023 (023.07)

Image: Still from the video

The experimental filmmaker, photographer and poet Sky Hopinka is recognized as a leader among contemporary artists developing an Indigenous experimental cinematographic language. Promoting a form of Indigenous visual sovereignty, Hopinka seeks to update the codes of representation of Indigeneity in film and to foster dialogue among Indigenous communities. Since 2013, he has experimented with different visual and technical approaches, using indirect subtitles, audio and visual archives, superimposition and division of images and texts, image distortions and colour filters.

The short film wawa (2014) relates Hopinka’s process of learning the chinuk wawa language spoken in the Pacific Northwest United States. The film interlaces the conversations of a group (including him) learning chinuk wawa in New York; an interview with Henry Zenk, an anthropologist and linguist specializing in the tribes of western Oregon; and a reconstruction of a conversation recorded in 1983 between Zenk and Wilson Bobb, a Chinook elder. Edited to overlap, these conversations create a complex, polyphonic world marked by repeated pronunciations of chinuk wawa words and flashing subtitles.

Combining photography, performance, and sculpture, Anique Jordan’s art practice is inspired by the local history of Toronto and its surrounding areas, and draws from archives that she has collected over many years. In her work, Jordan confronts the issue of violence against Black people while avoiding reproducing or normalizing violent images. Instead, she seeks to create what she calls “impossible images” focused on the future, vector of emancipation, healing, and freedom.

The photographs titled A place that is no good and Notes are part of the Ban’ yuh belly series, which is emblematic of Jordan’s photo investigation into the experience of grief after the violent death of a loved one. The photographs are portraits of the artist standing in profile against a black background onto which paper documents are pinned. Jordan uses different visual processes to divert attention away from the represented subject and direct it elsewhere, in this case texts documenting acts of violence inflicted on Black communities in the Toronto area.

1. A place that is no good, 2019
Archival pigment print on Hahnemühle Photo Rag Baryta paper
81,3 x 81,3 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University, Purchase, 2023 (023.08)

Photo: Anique Jordan, A place that is no good, 2019. Courtesy of the artist and Patel Brown Gallery.

2. Notes, 2019
Archival pigment print on Hahnemühle Photo Rag Baryta paper
81,3 x 81,3 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University, Purchase, 2023 (023.09)

Photo: Anique Jordan, Notes, 2019.Courtesy of the artist and Patel Brown Gallery.

Un soleil difficile, 2017
HD video, colour, stereo sound
48 min. 3 sec.

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University, Purchase, 2023 (023.10)

Image: Still from the video

François Lemieux’s discursive and collaborative art practice, encompassing research and publishing, results in the creation of objects, performances, exhibitions, installations, publications and events. His work encourages us to think about key issues – present and future – such as habitat, mobility, coexistence, austerity, gentrification, hospitality and energy.

In Un soleil difficile [A Difficult Sun], Lemieux sensitively and carefully explores the concept of transparency through the evolution of glass-wall architecture and its application in contemporary algorithmic processes. Mingling fiction and documentary, this feature-length video combines interviews, archives, online images, and sequences shot by Lemieux in the public space.

The work also integrates fictional narrative passages, read by an off-screen female voice, recounting the imaginary journey of a student at the Bauhaus Dessau. This narrative explores the creation of the secret correspondence circle known as the “chain of glass” (Die Gläserne Kette) initiated by the German architect Bruno Taut in 1919–20. The circle involved designers, architects, critics, and artists such as Wenzel August Hablik, Walter Gropius, Paul Goesch, Wassili Luckhardt and Hermann Finsterlin.

An amplification through many minds, 2019
video, colour, sound
36 min. 32 sec.

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University, Purchase, 2023 (023.11)

Image: Still from the video

The Alutiiq artist and choreographer Tanya Lukin Linklater is a leading figure in contemporary art, both in Canada and internationally. Through her practice, at the intersection of performance, poetry, installation, video and photography, she weaves deep and intergenerational ties with Indigenous individuals, communities, narratives, knowledge, and ways of thinking. Her works exploring movement and orality unfold with characteristic slowness, inviting audiences to watch and listen attentively. She regularly collaborates with dancers, poets, and composers to create gestural and spatial scores.

A specific aspect of Lukin Linklater’s work focuses on relations between museums and Indigenous peoples, including the conservation of Indigenous cultural objects in museum collections. Produced in 2019 for the San Francisco Museum of Modern Art, the video An amplification through many minds was produced following her close examination of the collection of Alutiiq/Sugpiaq and Unangan objects housed in the Phoebe A. Hearst Museum of Anthropology at the University of California, Berkeley. This encounter, documented on video, served as a starting point for a choreographic score that was then performed by three dancers in the exhibition and collection spaces of the museum. Their gestures and movements were also recorded on camera.

What happens to a dream deferred, 2020
HD video transferred to 16mm film and redigitized in 2K, colour, sound
25 min.
Collection of the Leonard & Bina Ellen Art Gallery, Concordia University, Purchase, 2023 (023.11)

Image: Still from the video

With works situated at the intersection of visual arts and film, Ésery Mondésir adopts an engaged, experimental documentary approach. His professional career as both teacher and union organizer, combined with his Haitian identity and his own experience as a refugee, informs his exploration of the themes of exile, uprootedness, Créolité, and identity.

The short film What happens to a dream deferred, shot in Tijuana, features a group of Haitian migrants who are preparing a soup joumou to celebrate the new year. This hearty pumpkin-based soup, once reserved for slave holders, has become a symbol of Haitian identity and independence. The camera closely follows each step of the soup preparation and captures their conversations in Haitian Créole about making the meal and about aspects of their personal lives. They all live together and share the dream of becoming professional rappers in the United States. Messages exchanged between Mondésir and the group, shown in on-screen supers, reveal the details of the long journey that took them from Haiti to Tijuana via different countries in South and Central America. There is a palpable sense of brotherhood and camaraderie among the men, and the ambience is warm and friendly.

Mount Rundle, 2014
Video, colour, sound – Hard drive, USB key
3 min. 42 s.
Edition 1/5

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2017 (017.04)

Image: Still from the video

Probing the art world, its inner workings and the complex rules that control them, Jo-Anne Balcaen’s work highlights often hidden aspects of the personal and professional life of artists, such as psychological vulnerability, social pressure from peers, financial stress and the demand to succeed. In the video work Mount Rundle, which she narrates, Balcaen links two events from her own artistic career taking as a starting point a small landscape she painted at age twelve of Mount Rundle, the mountain overlooking the mythical locus of artistic creation in Canada—The Banff Centre. In a neutral and impersonal tone, she recounts that the painting of her childhood was to be a premonition of her artistic destiny, as twenty years later, she would find herself at the exact same spot depicted in the painting, during a particularly fruitless residency at the Banff Centre. This anecdotal narrative brings to the fore several reflections on the unpredictability of the creative process and the difficulties that characterize it, the power relations and constraints of the system in which artists evolve, and the different states of mind they find themselves in.

Author’s Preface, 2015
Installation, 25 inkjet prints and wallpaper paste
345,5 x 917 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2017 (017.05)

Image: Installation view, Moucharabieh, Triangle France, Marseille, 2015. Photo: Aurélien Mole. Courtesy of Catriona Jeffries

Author’s Preface is an important work in the recent evolution of Raymond Boisjoly’s practice. It combines his interest for modes of image production and transmission with his research on language as a cultural, administrative and institutional practice. This imposing wall installation is based on the film Divine Horsemen: The Living Gods of Haiti (1985), experimental filmmaker Maya Deren’s black-and-white documentary about voodoo practices created from footage shot in Haiti between 1947 and 1954. The visual elements of the installation are distorted reproductions of Deren’s film, created using an iPod and scanner re-mediation technique that Boisjoly has perfected in recent years. The piece also includes short cryptic phrases written by the artist, liberally inspired by what Deren wrote about the production of the film in an eponymous book published in 1953. Author’s Preface explores different linguistic modes (descriptive, didactic, pragmatic, philosophical, poetic) that highlight the opacity, ambiguity and incompleteness of the signifying systems we use to represent our cultural realities. With its use of pastel colours, Author’s Preface also evokes the bureaucratic aesthetic, calling on us to reflect on the way that administrative praxis shapes artists’ discourse.

Fifty Minutes, 2006
Video, sound – Hard drive
50 min.
Edition 1/5

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2017 (017.06)

Image: Still from the video

Moyra Davey’s first video work, Fifty Minutes, is programmatic in nature as it introduces a deeply idiosyncratic narrative method that Davey will continue to use in later projects. As for most of her videos Davey uses one of her own texts as a starting point and realized this autobiographical work around the format of a standard therapy session of fifty minutes, during which she reflects on five years of psychotherapy she underwent in New York. The monotonous recitation of her recollections is mixed with varied reflections on autobiography, nostalgia, loss, collecting, home life, reading, knowledge and the invention of the self. Invoking many literary and theoretical references, from Sigmund Freud and Jean Baudrillard to W.G. Sebald, Davey’s open narration is accompanied by image sequences depicting different spaces, objects, gestures and people from her everyday life, filmed in an intentionally “non-artistic” manner. As exemplified in Fifty Minutes, Davey’s approach is based on a sustained observation of the world surrounding her, and rooted in a reflection on and narratization of intimate fragments of her everyday life and personal and family history.

In the winter of 2017, the Gallery acquired five works from two seminal series of Suzy Lake’s Montreal period (1968–1978) that attest to the trailblazing nature of her work: Transformations (1973–1975) and On Stage (1972–1974). These two sets of works are emblematic of Lake’s early photographic explorations, focused as they are on the representation and modification of images of her own body, particularly her face, which itself would become the centre of her work. Exploring ideas of identity, imitation and disguise in a feminist perspective, Transformations and On Stage also showcase Lake’s use of certain aesthetic strategies that will prove to be integral to her conceptual approach, such as the use of the grid and the repetition of image sequences.

01

Maquette: Suzy Lake as Françoise Sullivan, 1974/2012
Series: Transformations
Archival digital print
82 x 97 cm (framed)
Edition 1/3

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2017 (017.01)

Photo: Courtesy of Georgia Scherman Projects and the artist

In her Transformations, entitled Suzy Lake as… Illan Berci, Gilles Gheerbrant, Jay Lee Jaroslav, Mila Lamer, Gary William Smith, Andrea Stannard, Bill Vazan, Willy Wood and Françoise Sullivan, Lake aims to make visible the intersubjective and evolving nature of identity by transposing features of colleagues and friends that have influenced her way of being, thinking or acting onto her own photographed face. Never presented prior to 2012, Suzy Lake as Françoise Sullivan is the only modified self-portrait of the series that was not printed at the time of its creation in 1974. This work, acquired in its maquette format, highlights the intergenerational relationship between two major female figures of Canadian art that met in Montreal during the early years of Véhicule Art, an artist-run centre that Lake cofounded in 1972.

02
a)

On Stage #1 (Bank Pose), 1974/2013
Series: On Stage
C-print, 60,96 x 50,8 cm
Edition 2/10

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Gift of the artist, 2017 (017.02.01)

Photo: Courtesy of Georgia Scherman Projects and the artist

b)

On Stage #2 (Miss Montreal), 1974/2013
Series: On Stage
C-print, 60,96 x 50,8 cm
Edition 2/10

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Gift of the artist, 2017 (017.02.02)

Photo: Courtesy of Georgia Scherman Projects and the artist

c)

On Stage #3 (Grade 1), 1974/2013
Series: On Stage
C-print, 60,96 x 50,8 cm
Edition 2/10

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Gift of the artist, 2017 (017.02.03)

Photo: Courtesy of Georgia Scherman Projects and the artist

d)

On Stage #4 (Accordion Pose), 1974/2013
Series: On Stage
C-print, 60,96 x 50,8 cm
Edition 2/10

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Gift of the artist, 2017 (017.02.04)

Photo: Courtesy of Georgia Scherman Projects and the artist

To accompany the purchase of Maquette: Suzy Lake as Françoise Sullivan, the artist has also donated a set of four photographs taken from her series On Stage (1972–1974): Bank Pose, Miss Montreal, Grade 1 and Accordion Pose (printed in 2013 from the original negatives). Considered to be Suzy Lake’s first major work, On Stage is the first photo project in which the artist turns the camera on herself. In this series, Lake constructively misuses the languages of advertising and fashion photography with the goal of critiquing the representation of women in mass media, and to question the way that identity is constructed in relation to societal expectations. The four works donated to the Gallery combine photographs and texts (in French and English) excerpted from the original work that speak to the cultural, intellectual and linguistic context within which they were originally realized.

,000,, 2016
High definition video, colour, sound – SD card
58 min. 30 s.
Edition 1/2

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2017 (017.07)

Image: Still from the video

Isabelle Pauwels’ video works draw influence from experimental and documentary film, as well as from popular forms like reality TV, sitcoms, talk shows, family films and pornography. Through a subtle combination of documentary realism and fiction, and by way of elaborately edited image sequences interspersed with screens of text, Pauwels deconstructs narrative conventions in a way that disrupts the viewer’s frames of reference and expectations. In doing so, she aims to highlight and deconstruct certain thought patterns and clichés that structure social interactions, and reproblematize subjective experience beyond society’s designated roles.

The single-channel video ,000, (2016) is a two-dimensional adaptation of a multimedia performance originally commissioned by the Experimental Media and Performing Arts Center, in Troy, New York, and presented there in 2014. The video tells the story of two intertwined characters vying for recognition and legitimacy: the British Columbia city of New Westminster, a former industrial centre nostalgically hanging onto its past, and a disillusioned actress who, struggling with the humiliations of the film industry, makes ends meet by working part-time as a dominatrix. By contrasting the triumphant narrative of the city and the film industry with the “dirty” economy of daily survival, here embodied by a sex worker, ,000, explores the psychological effects of commerce on human agency and interpersonal relationships.

Seraphine, Seraphine, 2014
Video, sound – USB key
38 min. 57 s.
Edition 1/5

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2017 (017.08)

Image: Installation view, Mercer Union, Toronto, 2015. Photo: Toni Hafkenscheid

Seraphine, Seraphine is emblematic of Krista Belle Stewart’s artistic approach, one that is rooted in the reuse and reinterpretation of archival imagery, in this case imagery from film archives. In this video work, Stewart juxtaposes two contrasting portraits of her own mother, Seraphine Stewart (born Seraphine Ned), the first Indigenous woman to become a public health nurse in British Columbia. The left-hand side of the screen presents a black-and-white docufiction produced by CBC/Radio-Canada in 1967 that chronicles episodes in Seraphine’s life before, during and immediately following her nursing studies in Vancouver. The right-hand side of the screen shows colour sequences of Seraphine’s testimony at the Truth and Reconciliation Commission, recorded in Vancouver in 2013, where she recounts her experiences at the Indian Residential School in Kamloops, BC. The juxtaposition and dialogue between the two documents foreground an unreconcilable tension between personal memory, historic narrative and fiction, which invites us to question the authenticity of the images and the authority of the narratives through which Indigenous subjectivity is constructed within a colonial and postcolonial Canada.

Magazine Piece Schema, 1970
Ink on velum
62 x 102 cm
#25 of an unlimited edition

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2017 (017.03)

Photo: SITE Photography. Courtesy of Catriona Jeffries

Magazine Piece (1970-) is one of Ian Wallace’s “concept pieces”—in situ, exhibition-based installations realized from simple sets of instructions provided by the artist. Approaching the magazine as a mass-produced ready-made that can be appropriated to critique mass media systems, Wallace originally conceptualized Magazine Piece by removing the pages of a magazine and placing them in a line, and then in a grid formation on his studio wall. This work, which has been realized in numerous versions since 1970, continuously carries on a close dialogue with contemporary history, as its social relevance is constantly renewed according to the chosen base material.

In 2017, the Gallery acquired a copy of Magazine Piece Schema (1970), which serves as a visual and textual guide for the realization of an unlimited number of future iterations of the work by other people. With an adaptable grid template, as well as concise instructions (“The cover and facing pages of a mass-circulation magazine attached to the wall in a given arrangement until exhausted by the format”), the schema, printed on translucent vellum paper, functions like an architectural blueprint or a stencil for the mass production of objects. During the realization of each iteration of the piece, the idealized and systematic structure of the schema is brought into tension with the contingent materiality and specific content of the chosen magazine that, as a cultural screen, mediates and reflects certain social realities.

01
a)

Tout embrasser (Rideaux) 22/517, 2001
Inkjet print on paper – Edition 1/3
91,5 x 139,7 cm (each)

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Gift, 2013 (013.01.01)

b)

Tout embrasser (Régis) 36/517, 2001
Inkjet print on paper – Edition 1/3
91,5 x 139,7 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Gift, 2013 (013.01.02)

c)

Tout embrasser (Régis) 37/517, 2001
Inkjet print on paper – Edition 1/3
91,5 x 139,7 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Gift, 2013 (013.01.03)

d)

Tout embrasser (Oreillers) 38/517, 2001
Inkjet print on paper – Edition 1/3
91,5 x 139,7 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Gift, 2013 (013.01.04)

e)

Tout embrasser (Troll) 39/517, 2001
Inkjet print on paper – Edition 1/3
91,5 x 139,7 cm (each)

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Gift, 2013 (013.01.05)

Tout embrasser (Arbre) 40/517, 2001
Inkjet print on paper – Edition 1/3
91,5 x 139,7 cm (each)

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Gift, 2013 (013.01.06)

02                           

Tout embrasser, 2000
16 mm Film transferred on digital support, black and white, sound – Edition 2/2
57 min. 44 s

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.02)

01                                       

Ici et là, à travers, 2011
Watercolour on paper
30,4 x 22,9 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.07.01)

02

La fée du lit, 2011
Watercolour on paper
30,4 x 22,9 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.07.02)

03

Sous l’oreiller, 2011
Watercolour on paper
30,4 x 22,9 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.07.03)

04

Encore, les marcheuses, 2011-2012
Watercolour on paper
34,9 x 26 9 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.07.04)

05

L’époustouflée, 2012
Watercolour on paper
34,9 x 26 9 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.07.05)

06

L’insolente, 2012
Watercolour on paper
34,9 x 26 9 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.07.06)

07

L’éclaboussée, 2013
Watercolour on paper
Purchase, 2013
34,9 x 26, 9 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.007.07)

Salle C, 2007
Storage unit (wood, glass), 150 Mini DV cassettes, video of a performance recorded live transferred to a hardrive, colour, sound
Variable dimensions; storage unit: 366 x 10,2 x 10,2 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Gift, 2013 (013.08.01, 013.08.02, 013.08.03, 013.08.04)

Deipnosophistae, 1993
Ink on paper, glue, wood (2 pieces: table, portfolio)
87,5 x 229 x 71,2 cm (table) / 3,5 x 63,3 x 51,7 cm (portfolio)
Edition 1/1

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013

Foe, 2008
Video, sound – Hard drive, DVD
4 min. 39 sec.
Edition 3/5

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.09.01, 013.09.02)

Photo: Still from the video

01                             

Wolfe’s Haircut and Montcalm’s Haircut (dyptic), 2011
Etching and aquatint on paper
Edition 27/35
14,5 x 19,5 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.04.01, 013.04.02)

02

My Treaty is with the Crown, 2011
Etching and aquatint on paper
Edition 23/75
31,5 x 51 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.05)

03

The Academy, 2011
Etching and aquatint on paper
Edition 22/75
31,5 x 51 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.06)

Get Stuffed, 2009 (diptych)
Flashe vinyl paint on paper
244 x 254 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.10.01, 013.10.02)

01

Pages-Miroirs : antifongique – fors, 1989
Ink and graphite on paper, Mirror
22,3 x 14,1 cm / framed: 34,7 x 25,2 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.11.01)

02

Pages-Miroirs : chimérique – reflet, 1989
Ink and graphite on paper, Mirror
22,3 x 14,1 cm / framed: 34,7 x 25,2 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.11.02)

03

Pages-Miroirs : douceur – gaîté, 1989
Ink and graphite on paper, Mirror
22,3 x 14,1 cm / framed: 34,7 x 25,2 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.11.03)

04

Pages-Miroirs : manade – collutoire, 1989
Ink and graphite on paper, Mirror
22,3 x 14,1 cm / framed: 34,7 x 25,2 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.11.04)

05

Pages-Miroirs : rebelle – îlien, 1989
Ink and graphite on paper, Mirror
22,3 x 14,1 cm / framed: 34,7 x 25,2 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.11.05)

06

Pages-Miroirs : sain – cantique, 1989
Ink and graphite on paper, Mirror
22,3 x 14,1 cm / framed: 34,7 x 25,2 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2013 (013.11.06)

See you later/Au revoir : 17 minutes en temps réel, 2008
Video installation and sound, 1/3 – Betacam SP, DVD
18 min.

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.01)

Photo: Still from the video

Box, 2008
Video installation and sound, 1/2 – La Cie hardrive
22 hrs

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.02)

Photo: Video still

The Sirens, 2008
Video installation and sound, 1/3 – Betacam SP, DVD
16 min.

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.03)

Photo: Installation View, Vox. Centre de l’image contemporaine, 2009

Folie à deux, 2009
Video and sound, 1/1 – Hardrive, DVD
55 min.

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.04)

Photo: Still from the video

01

Art Now (L’Art en Flandre, Aujourd’hui / Art in Flanders, Now, 1992), 2006
Graphite on paper
56 x 76 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.05.01)

02

Art Now (The arts under socialism, being a lecture given to the Fabian Society, with a postscript on What the government should do for the arts here and now, 1947), 2006
Graphite on paper
56 x 76 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.05.02)

03

Art Now (L’art d’aujourd’hui et son public, 1967), 2007
Graphite on paper
56 x 76 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.05.03)

04

Art Now (Montreal painting now = Peinture montréalaise actuelle: Sir George Williams Art Galleries, April 7 – May 8, 1982), 2007
Graphite on paper
56 x 76 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.05.04)

05

Art Now (Spanish Art Now, 1966), 2007
Graphite on paper
56 x 76 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.05.05)

06

Art Now (To be continued: an exhibition of the museum collection, now and in prospect, 1960), 2007
Graphite on paper
56 x 76 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.05.06)

07

Art Now (Art Now, 2005), 2008
Graphite on paper
56 x 76 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.05.07)

08

Art Now (Art Futures: Student Art Now, 1983), 2009
Graphite on paper
56 x 76 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.05.08)

09

Art Now (Art now; an introduction to the theory of modern painting and sculpture, 1933), 2010
Graphite on paper
56 x 76 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.05.09)

10

Art Now (Avant-garde and after: rethinking art now, 1995), 2010
Graphite on paper
56 x 76 cm

Collection of the Leonard & Bina Ellen Art Gallery, Concordia University
Purchase, 2011 (011.05.09)