immerson 7

Immerson7_oboro_wp

Nicolas Bernier, John Duncan, Herman Kolgen, Mika Vainio

Curator : France Jobin

Thursday, June 4 and Friday, June 5, 2015 at 6 pm

Tickets on sale at OBORO ($10)
as of May 26, 2015. *Maximum of 2 tickets per person*
From Tuesday to Saturday, noon to 5 pm.
You can also call 514 844-3250 (credit card only).
Limited seats. No ticket reservation.

The Artists:

Nicolas Bernier creates sound performances, installations, musique concrète, live electronics, post-rock, noise improv and video art while also working with dance, theatre, moving images and within interdisciplinary contexts. In the midst of this eclecticism, his artistic concerns remain constant: the balance between the cerebral and the sensual, and between organic sound sources and digital processing. Awardee of the prestigious Golden Nica at Prix Ars Electronica 2013 (Austria), his work have been presented in major events and venues like SONAR (Spain), Mutek (Canada), DotMov Festival (Japan), ZKM (Germany), Transmediale (Germany) and LABoral (Spain) to name a few. His sound compositions are widely published on electronic music labels: Crónica (Portugal), LINE (US), leerraum (Switzerland), Entr’acte (UK) and empreintes DIGITALes (Québec). He holds a PhD in sonic arts from the University of Huddersfield (UK). He his a member of Perte de signal, a media arts research and development centre based in Montreal. He his teaching in the Digital Music program of the Université de Montréal.

www.nicolasbernier.com

John Duncan was born in the United States, currently lives and works in Bologna. Duncan portrays his work as a catalyst, inciting a transmission of energy through which he seeks to compel the audience to actively participate in the process of investigation and self-discovery. His lengthy career of electroacoustic intensity and confrontational performance art events is the result of rigorous investigations into a number of arcane, metaphysical, and at times transgressive themes. Duncan is a rare artist who is totally immersed in existential research.
– Jim Haynes, The Wire (UK). His audio releases THE CRACKLING (1996 with Max Springer), PALACE of MIND (2001 with Giuliana Stefani), FRESH (2002 with Zeitkratzer), THE KEENING TOWERS (2003), PHANTOM BROADCAST (2004), NINE SUGGESTIONS (2005 with Mika Vainio and Ilpo Väisänen), THE NAZCA TRANSMISSIONS (2009) to name a few, are all considered by critics and composers alike to be benchmarks in the field of experimental sound and contemporary music.

www.johnduncan.org

Recognized for his multimedia creations for over twenty years, Herman Kolgen is a multidisciplinary artist who lives and works in Montreal. A true audiocinetic sculptor, he draws his primary material from the intimate relationship between sound and image. Kolgen works to create objects that assume the form of installations, video and film works, performances and sound sculptures. Constantly exploring, he works at the junctures of different media, as well as elaborating a new technical language and singular aesthetic. Herman Kolgen creations have been presented at renowned festivals and events, such as: Berlin Transmediale, isea, Venice Biennale, Ars Electronica, Sonic Acts, Centre Georges Pompidou, Cimatics, Dissonanze, elektra, Mutek, Sonar, Tapei Digital Art, Shanghai eARTS. Herman Kolgen is the recipient of numerous prestigious prizes, including Qwartz, Ars Electronica, Best Experimental Film Award of the Independant Film Festival of New York and Los Angeles, and the Award of Conseil Général du Festival International du Court Métrage de Clermont-Ferrand.

www.kolgen.net

Mika Vainio, editions Mego, sähkö, blast first, raster-noton, touch / finland
Mika Vainio, currently based in Berlin, was one half of the minimal electronic duo Pan Sonic from Finland (the other was Ilpo Väisänen), whose brand of quirky, lo-fi minimalism transformed them into one of the most popular exports from the Northern European techno underground. Before starting Pan Sonic in beginning of the 90s, Mika Vainio played electronics and drums as part of the early Finnish industrial and noise scene. His solo works, under his own name and under aliases like Ø, tend more toward the ambient and experimental, blending sparse machine noises with shifting rhythms, stubbornly unmusical sonic textures, assorted channel separation weirdness and known for their analogue warmth and electronic harshness. Be it abstract drone works or minimal avant techno, Vainio is always creating unique, physical sounds. He has released on labels like editions Mego, Touch, Wavetrap and Sähkö.

www.mikavainio.com

About immerson:

immerson 7 is pleased to continue its exploration of new perceptions and experiences regarding the listening process, and this year will be an exceptional edition. For some time, I had been hoping to welcome the artists John Duncan and Mika Vainio for an evening of concerts and voilà! In addition, immerson 7 will also present Montreal artists Nicolas Bernier and Herman Kolgen. An evening charged with creativity in an intimate setting. [France Jobin]

immerson is a concert event and philosophy initiated by France Jobin that proposes creating an environment dedicated to an enhanced listening experience through the physical comfort of the audience by means of a specifically designed space.

Jobin initiated immerson in February 2011, in partnership with OBORO and in close collaboration with Stéphane Claude.

France Jobin is an audio / installation artist, composer and curator. Her audio art, qualified as “sound sculpture”, distinguishes itself in a minimalist approach of complex sound environments at the intersection of analog and digital. She participates in festivals, as well as presents installations and events internationally. Jobin has produced numerous solo albums with renowned labels such as ROOM40 (AU), LINE (US), popmuzik records and ATAK (JP).  France Jobin was a Sonic Arts Awards 2014 finalist in the category Sonic Research.

francejobin.com

This event is part of the Montreal Digital Spring 2015
In collaboration with BIAS – International Art Biennial by ELEKTRA

immerson_logoLOGO_ELEKTRA_02_2013_NOIR

France Jobin acknowledges the generous support of the Canada Council for the Arts and the Conseil des Arts et des Lettres du Québec.

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CALQ2c

Sublimation

©Tu M’, 2009

Sublimation: An Exercise in the Immersive

Exhibition
March 3 – April 7, 2012

Opening 
Saturday, March 3, at 5 pm

Audio Screening
Studio 04
Saturday, March 3, from Noon to 7:30 pm

Live Performances
Studio 01
Saturday, March 3, from 7:30 pm to 8:30 pm
(pass required, available at OBORO from Tuesday, February 28)

Curators: 
Helen Frosi, France Jobin and Yann Novak

Sublimation: An Exercise in the Immersive is an exhibition featuring a range of audio-visual works  that respond to the idea of the sublime. The exhibition presents eight international artists: Mark + Laura Cetilia (US), Ryan Connor (US), Robert Crouch (US), Gary James Joynes/Clinker (CA), Mimosa|Moize (TW, UK) and Tu M’ (IT).  These works saturate the sonic and visual landscape, drenching and enveloping the audience and must be experienced to be truly understood.

The six audio-visual works on view in Sublimation: An Exercise in the Immersive explore the sublime through their creation of expansive, saturated and meditative environments.  Each artist’s work accentuates an understanding and appreciation of multi-sensory experiences.

The artists in this exhibition explore a wide range of artistic styles and practices, from audio and video field recordings (Morning by Mimosa|Moize), the utilization of broken lenses for light and sound manipulation (Letterlens to Kid Eyes by Ryan Connor), and the incorporation of ceremony and ritual (Provody by Gary James Joynes/Clinker).

One of the more well know works in the exhibition comes from artist duo Tu M’ (Rossano Polidoro and Emiliano Romanelli) who contribute a work from their Monochrome series: Monochrome # 09+V06, a reductive landscape that has been distilled down to fragile atmospheric shades of blue. Robert Crouch pushes the idea of traditional landscape further with his work Dusk, which presents an impossible landscape where a single surface shifts from land formation to skyline and back again.  Landscape leads to location based work in Mark + Laura Cetilia’s Visiting Hours where the piece is formed from recordings within the Museums of Bat Yam, Israel where the piece was first exhibited.

The opening night of Sublimation: An Exercise in the Immersive is accompanied by two complementary programs; an audio screening including works by: Katherine Bennett (US), Celer (US, JP), Stéphane Claude (CA), Heribert Friedl (AT), Robin Parmar (UK, CA, IE), Tomas Phillips + Craig Hilton (US), Scant Intone (CA) & Tom White (UK); and a concert consisting of live performances by:  Robert Crouch (US), David Kristian (CA) and Mimosa|Moize (UK).  The audio screening serves to highlight a larger range of work that fits into the idea of the sublime.  The live performances is a chance for both artist and audience to be consumed by the same visceral experience, to be drawn into and among the same heights and depths of the sonic and emotional spectrum.

Artists:

Exhibition:
Mark + Laura Cetilia (US), Ryan Connor (US), Robert Crouch (US), Gary James Joynes/Clinker (CA), Mimosa|Moize (UK, TW), & Tu M’ (IT).

Sound Diffusion:
Katherine Bennett
(US), Celer (US, JP), Stéphane Claude (CA), Heribert Friedl (AT), Robin Parmar (UK, CA, IE), Tomas Phillips + Craig Hilton (US), Scant Intone (CA) & Tom White (UK).

Sound Performances: 
Robert Crouch
(US), David Kristian (CA) & Mimosa|Moize (UK).

 

Curators:

Helen Frosi is an artist and curator with an interest in sonic and olfactory arts, currently based in London (UK). Helen is co-founder and creative director at SoundFjord the UK’s first sound-devoted gallery and research unit. As a serial collaborator with nomadic tendencies, Helen has programmed internationally for organisations and festivals as well as creative and unconventional arts spaces. Recent projects include screenings, performance and installations for, among others, Apiary Studios (UK), Café Oto (UK), Dragonfly Festival (SE), Galerie8 (UK), Gorey Arts and Film Festival (IE), ICA (UK), Pigeon Wing (UK). Helen is currently a nominator at Supersonix (UK).

soundfjord.org.uk

France Jobin (1958) is a sound/installation artist and curator residing in Montreal. She has created solo recordings for ROOM40 (AUS), nvo (AT), ATAK (JP), murmur records (JP) and LINE (USA). Her sound installation Entre-Deux presented within the new media exhibit DATA/FIELDS, was met with critical acclaim in Washington DC. Curated by Richard Chartier, DATA/FIELDS included Ryoji Ikeda and Mark Fell among others. As a curator, she has presented several events, amongst those: emptiness at Monkeytown, New York (2006), Nocturne 3, Mutek in 2007 (co-curator) and her latest endeavour Immerson (2011) at OBORO, a concert event/philosophy which she initiated and is curating.

francejobin.com

Yann Novak is a sound, video and installation artist based in Los Angeles. He has presented his installation work through solo exhibitions at 323 Projects (CA), Armory Center for the Arts (CA), Las Cienegas Projects (CA), Lawrimore Project (WA), Soundfjord (London, UK) and in two person exhibitions at the Henry Art Gallery (WA) and  Pøst (CA). In 2005, Novak re-launched his father’s Dragon’s Eye Recordings imprint with a new focus on limited edition releases by emerging and mid-carrier sound artists, composers and producers. Since its re-launch, Dragon’s Eye has published over 60 releases and has received critical acclaim.

yannnovak.com

immersound

Stéphane Claude, France Jobin, Yann Novak

See photos below

Thursday, February 24 and Friday, February 25, 2011, at 6 pm, limited seating!

Two “consuming” evenings of minimal sound art with Yann Novak, Stéphane Claude and i8u in which both artists and audience are mutually drawn into the same heights and depths of the sonic/emotional spectrum.

This sound art will be felt as well as heard.

Tickets on sale at OBORO for $10 (cash only), from Tuesday to Saturday, noon to 5 pm.
You can also dial 514 844-3250 to hold tickets for 24 hours.

Oboro, 4001, rue Berri, local 301, Montréal (Québec) Canada H2L 4H2

The Artists :

Stéphane Claude is an electronic_acoustic composer and sound engineer.

His research is based on integrating a conceptual and physiological framework of audio recording and sound installation for different diffusion contexts in the electronic arts. His interests gravitate around the communication of a formal aesthetic, of a transductive experience of the electronic medium, an exploration of digital signal processing, the parameters of acoustic and sound in spaces.

His work has been published by ATAK(JP), LINE (US), ORAL (CA), among others.

He is the co-founder of the art research unit Ælab with artist and professor Gisèle Trudel. The work of Ælab has been shown internationally. Upcoming projects include a workshop and performance in New-Zealand at the SCANZ Eco Sapiens residency and an exhibition at Fonderie Darling in march 2011.

http://www.intercreate.org/
http://www.intercreate.org/category/scanz-2011/workshops-and-events/
 www.aelab.com

As an audio consultant, he participates in the conception, production and integration of presentation spaces, of specialized analog and digital creation and production studios for artist run centers, institutions and independant sites.

http://ca.linkedin.com/pub/st%C3%A9phane-claude/7/481/B83

France Jobin  is an audio / installation artist, composer and curator. Her audio art, qualified as “sound sculpture”, distinguishes itself in a minimalist approach of complex sound environments at the intersection of analog and digital. She participates in festivals, as well as presents installations and events internationally. Jobin has produced numerous solo albums with renowned labels such as ROOM40 (AU), LINE (US), popmuzik records and ATAK (JP).  France Jobin was a Sonic Arts Awards 2014 finalist in the category Sonic Research.

 

Yann Novak (b. 1979 Madison, WI) is a sound, video and installation artist living and working in Los Angeles. His work utilizes different forms of digital documentation as a point of departure. Through the digital manipulation of these sound and image files, his works serve as a translation from documents of personal experiences into an open ended autobiographical narrative. By choosing subject matter that is also relatable to the audience, Novak’s work creates a hybrid state, balancing between his own personal history and that of the audience.

His recorded works have been published by Dragon’s Eye Recordings (US), The Henry Art Gallery (US), Infrequency Editions (CA), Koyuki (IT), LINE (US), Mandorla (MX), smlEditions (US), White_Line Editions (UK) and others.

Novak’s installations and performances have been presented internationally at prestigious events and venues including American Academy in Rome (Rome, Italy), Blim (Vancouver, BC), Decibel Festival (WA), Ersta Konsthall (Stokholm, Sweden), Fiske Planetarium (CO), Henry Art Gallery (WA), Hit Art Space (Gothenburg, Sweden), Kasini House (VT), Las Cienegas Project (CA), Lawrimore Project (WA), Los Angeles Contemporary Exhibitions (CA), Mutek Festival (Montreal, QB), San Francisco Museum of Modern Art (CA), Seattle Lesbian and Gay Film Festival (WA), Soundfjord (London, UK), Soundwalk (CA), Suyama Space (WA), TBA Festival (OR), Torrance Art Museum (CA), Western Bridge (WA) and others.

As a result of these endeavors, Novak had been invited to numerous Residencies including the Environmental Aesthetics Residency (WA), the Espy Foundation Residency (WA), the Jental Artist Residency (WY) and the Kasini House Studio A Residency (VT).

In 2005, Novak re-launched his father’s Dragon’s Eye Recordings imprint with a new focus on limited edition releases by emerging and mid-carrier sound artists, composers and producers. Since its re-launch, Dragon’s Eye Recordings has published over 25 releases and has received critical acclaim. In 2009, Infrequency Editions, curated by Jamie Drouin, was integrated into Dragon’s Eye’s operations and distribution.

In recent years Novak has collaborated through select installation, performance and recorded work with Gretchen Bennett, the Crispin Spaeth Dance Group, Robert Crouch, Jamie Drouin, Will Long, Marc Manning, Alex Schweder and others.

Artist Statement

My work is an exploration of incident, process, and narrative. Central to my practice is the capture and manipulation of audio recordings and photographs. Through various types of digital media, I collect material from a range of sources, initially selected because of the subject matter’s emotional content. The content of these documents is used as a point of departure and a catalyst to recall the experiences; it is never used or excluded because of aesthetics. These documents then become highly charged fragments of an ongoing autobiographical text. Dramatic events like relocating from one city to another, or simple day-to-day incidents like being trapped inside during a strong rain, can be equally compelling. I am interested in reconfiguring documents of moments such as these into abstract, open-ended narratives. My intent is to create experiences that give the audience a window into my own personal experiences, but leave enough to the imagination that the viewer has room to relate their own experiences.

By subjecting these selected recordings to a series of erasures and treatments, a delicate palette of textures, drones, and subtle melodies emerges. When photographs are incorporated into my work, similar treatments and erasures are used to shape them into videos of slow moving or static color fields intended to tint the listening experience. Each piece is then composed from numerous variations from a single source, meticulously sculpted to highlight some aspect of the original document. Although significant details and artifacts are deliberately eliminated, the narrative and structural elements of the source material are left intact. The final form of my work may be realized as sound installation, sound performance, large-scale projection, video work or recorded work.

Each of my works is an investigation into presentation, composition and perception, not just to be heard, but to be felt. By creating situations the audience can relate to, a hybrid state is created, existing somewhere between my own personal history and that of the audience.

Recorded Work Description

My recorded work functions in a number of ways, all with the final goal of re-presenting my work in a format that is more easily accessible to a larger audience. One way I take advantage of the recorded format is to explore and further expand on themes and ideas present in installation or performance work. In these instances, fragments of, or source material from previous installations or performance works are reworked to further explore the idea expressed in the original.

I also use recorded works as a way to catalogue and document my installation or performance work. When I use recordings for this purpose, each work is treated differently depending on its origin. Generally, the goal is to preserve as much of the original experience as possible or to simplify the piece to not detract from the original experience.

The final way I use the recorded format is to free my process from the dependence on an exhibition or performance space in order to explore concepts or techniques not suitable for those venues. In this final form, recorded works serve as a platform to sketch, experiment or collaborate with other artists and affords me more freedom while getting exposure and feedback from an audience. Publishing recorded work allows me to breathe new life and longevity into pieces that would otherwise not allow it due to their ephemeral nature.

Sound Performance Description

My sound performances utilize the same techniques as my recorded or installation work: transforming a simple environmental recording into a richly layered, and emotionally tense composition. Since each of my works is constructed out of numerous variations on a single recording, my performances are composed from a library, unique to that piece, of altered sounds. Through this process my performances can take on aspects of my recorded or installation works, while maintaining the flexibility to adapt to unique venues, situations, environments and the audience.

My performances are also adaptable through their presentation. Generally I will perform in stereo, but when possible, my performances can be expanded to up to 6-channel surround. My performances utilize darkness as a visual cue to draw the audience into a deeper listening experience. However, in some cases, video will be utilized as a focal point if the piece was originally conceived with a video element. The video paired with my performances is similar to my installation works, slow moving or static color fields projected behind me on stage or in multiple around the audience. Both of these elements can be discussed with the organizer and are expansions on the basic elements of my performance.

Quotes

Novak does not waste his chance to make a first impression. In fact, with remarkable economy he transforms the three rooms he’s been given to work with into chambers where you can be transported into states of mind that feel both personal and familiar. Using digitally altered field recordings (in which the sounds are heightened but the time is real) and snapshots digitally stitched together and abstracted into gleaming videos, Novak both fills the work up with his subjective experience and empties it out to make room for you. There’s just enough specificity and just enough blankness.

I know, technically, how Novak made this work, but I don’t quite know how it works. The closest I can get to describing his approach is that it’s a combination of generosity and restraint. Each detail being so firmly in place means that the rest is open.
– Jen Graves , The Stranger (From “Yann Novak’s ‘Relocation’: All Kinds of Movings On” May 13, 2009)

The work is distinguished by its clean design, with its constituent parts meticulously woven into a seamless flow without a superfluous element in sight.
– Textura (CA)

Essentially, this is a drone workout, but in the hands of one of its most proficient exponents, becomes a glistening, precious sound work, unrivalled but by a handful of contemporaries. Novak has seemingly taken an obvious source sound, and with an exploratory and majestic treatment transmuted it into sonic gold. Masterful.
–BG Nichols
, WHITE_LINE (UK)

Novak creates a sense of distance by abstracting his source materials beyond recognition – whatever is going in is obscure, and far away. Hence the vague, rotorblading, respiratory effects of the first of these three tracks – the sound of systems ticking over, yet whose undulating motions are curiously involving.
–David Stubbs , The Wire (UK)

(1)

immersound is a concert event/philosophy initiated by France Jobin (i8u) which proposes to create a dedicated listening environment by focusing on the physical comfort of the audience through a specifically designed space. The premise for immersound is to seek out/explore new perceptions and experiences of the listening process by pushing the notion of “immersion” to its possible limits.

Montreal 09.15.2007 – Peau d’âne

val

Peau d’âne by Valérie Lamontagne

Audio track,  i8u
Fashion designs, Lynn van Gastel
Technical development and project programming, Patrice Coulombe and David Beaulieu

EXHIBITION:

September 15 to October 20, 2007 @ Oboro
Opening: Saturday, September 15, 2007, at 5:00 pm
the dresses will be presented from 6:00 to 7:00 pm
The gallery is open Tuesday to Saturday, from noon to 5:00 pm

EVENT:

Story Time: Peau d’âne
Saturday, September 29, 2007, at 3:00 pm
as part of the Journées de la culture

From the Charles Perrault fairy tale Peau d’âne, Valérie
Lamontagne draws on the motif of three fabulous dresses: one
made out of moonbeams, one as warm and bright as the sun
above and one cut out of the sky itself. Using innovative technologies
and working with experienced collaborators, the artist has
created three interactive dresses that react in real-time to atmospheric
variations transmitted by a weather station installed on
OBORO’s roof. The colours of the moon dress vary according to
the moon cycles; the illumination of the sun dress corresponds
to the intensity of the sun’s rays; and the sky dress swells and
moves depending on the patterns of the wind. By making use
of climate conditions in this manner, Peau d’âne addresses with
an apparently banal subject matter, but one that hides valuable
clues to our modes of cultural and social exchange. A multitude
of performance possibilities emerge from these wearables,
which bridge the worlds of fairy tales and technology.
At the opening, three dancers will wear the interactive dresses
and mingle with the gallery public. The dresses will also animate
the reading of Perrault’s fairy-tale Peau d’âne, presented by the
artist for the Journées de la culture.

Valérie Lamontagne is a Montréal-based performance/digital media
artist, freelance art critic and independent curator. Her media-based
artwork/performances (Advice Bunny, Snowflake Queen, Sense Nurse,
Mermaid of the Future, Sister Valerie of the Internet and Becoming
Balthus) have been showcased across Canada, the United States and
Europe. She received an MFA from Concordia University (Montréal)
where she presently teaches in the Design and Computation Arts
program and she is a co-founder, with Brad Todd, of the media arts
collective MobileGaze. She is presently a Ph.D. Candidate investigating
“Relational and Ubiquitous Performance Art”. <www.valerielamontagne.com>
– 30 –
Source : Caroline Loncol Daigneault, August 29th, 2007
OBORO remercie ses membres pour leur appui, ainsi que les organismes suivants pour leur généreux soutien financier : le service des arts médiatiques et le service des arts visuels du Conseil des Arts du Canada, le Conseil des arts et des lettres du Québec,
le Conseil des arts de Montréal, le ministère du Patrimoine canadien, le ministère de la Culture et des Communications du Québec, la Fondation Daniel Langlois, pour l’art, la science et la technologie, Emploi-Québec, le Service du développement culturel et
de la qualité du milieu de vie de la Ville de Montréal, la Caisse populaire Desjardins du Mont-Royal, le Cirque du Soleil, ainsi que les compagnies Discreet, Adobe, Computer Systems Odessa et Metric Halo.
Valérie Lamontagne – Peau d’âne
sun dress. image : Giannina Urmeneta Uttiker, 2006

Valérie Lamontagne would like to thank the Conseil des arts et des lettres
du Québec and Groupe Molior for their generous support as well as Lynn
van Gastel for the fashion designs, Patrice Coulombe and David Beaulieu
for their technical development and project programing and I8U for the
audio track.

EXHIBITION / EXPOSITION
un centre dédié à la production et à la présentation de l’art, des pratiques contemporaines et des nouveaux médias
a centre dedicated to the production and the presentation of art, contemporary practices and new media
www.oboro.net oboro@oboro.net
4001, rue Berri, local 301, Montréal (Québec) H2L 4H2 Tél. : (514) 844-3250

Montreal 12.15.2004 – TAC 4 @ Oboro

A rare collaboration with  David Kristian on December 15th, 2004. (see Below)

Transistors and Other Circuits


TAC 4 – Friday November 26th, 7:00 pm

Diane Labrosse
David Sanson + Mathias Delplanque
Daniel Olson
Szkieve

2111 bld. St-Laurent, Montréal – Museum Just for Laughs, 3rd floor, 10 $
note : TAC 4 will be followed at 10:00 PM by MUTEK Micro 10, with Julien Roy, Lena (fr), Mossa, Cabanne + Arc =Copacabannark (fr)

TAC 5 Studies of Multi-channel Diffusion by Electronic Composers (1)

Nancy Tobin
John Sellekaers
David Kristian + I8U
Mathias Delplanque

Wednesday December 15th, 9:00 pm @
Oboro, 4001 Berri – Laboratoire Nouveaux
Médias 2nd Floor, Tix: 10 $ Doors open
at 8:30pm, show starts at 9:00pm sharp.

TAC 6 – Friday December 17th, 9:00 pm

Ælab
Magali Babin
Joda Clement
Tim Hecker

Oboro, 4001 rue Berri – New Media Lab, 2nd floor
9 PM, doors open at 8:30 PM

Montreal – Toronto 04.15.2004 – Pause



Gate, is a Web art project being created for the exhibit <PAUSE> curated by MobileGaze.

SATURDAY, OCTOBER 25

<PAUSE>addresses the notion of time as experienced in art and through technology. The exhibition aims at intercepting this stream of information in order to provide a disruption within this endless expanse of data—by providing the viewer with a vantage point, a moment of reflection and a slowing down in his/her interactive viewing habits. <PAUSE> will feature commissioned Web art projects by Canadian and international artists accompanied by descriptive essays to be presented via MobileGaze’s website.

Montréal Launch : Thursday April 15, 2004
Artist Talk: 3 pm
Web Launch: 5 pm
Performances: 7 pm
Presented in collaboration with:
Oboro
4001, rue Berri, local 200
Montreal Quebec
514.844.3250
www.oboro.net

Toronto Launch : Wednesday April 21, 2004
Artist Talk and Web Launch : 7 pm
Presented in collaboration with:
Images Off Screen 2004 / NEW MEDIA
www.imagesfestival.com
and (+)
InterAccess Electronic Media Arts Centre
401 Richmond Street West, Suite 448
416.599.7206
interaccess.org

Artists:
Yan Breuleux (Canada) = “Purblue Net.vers.1.2” (2003-4)
Jonah Brucker-Cohen (USA) = “Audiobored” (2003-4)
Grégory Chatonsky (France) = “1=1” (2004)
David Clark (Canada) = “Likewise” (2004)
David Crawford (USA) = “Stop Motion Studies” (2003-4)
Paul Devens (Netherlands) = “Dial(key)” (2004)
Reynald Drouhin + Emilie Pitoiset (France) = “Data-raw” (2003-4)
Peter Horvath (Canada) = “Album” (2004)
I8U (Canada) = “Gate” (2004)
MTAA (USA) = “Five Small Videos About Interruption and Disappearing” (2003)

MobileGaze is an artist collective dedicated to promoting, presenting and discussing new media works. Founded in Montréal in 1999 by Brad Todd and Valérie Lamontagne, MobileGaze showcases net.art and digitally based works; interviews with media artists and cultural producers; critical writing on the impact of technology in the arts; and live Web cast events. MobileGaze serves as a platform for artists and critics interested in exchanging ideas around new media and produces thematically centred exhibitions challenging the uses of audio, video, networks and telematics by artists. MobileGaze’s previous projects include the online exhibition Matter + Memory and a series of online magazine-format dossiers and interviews