In the spring of 2017, the 1700 La Poste will host its second collective exhibition with the works of Ivan Binet, Jocelyne Alloucherie and Mathieu Cardin.
We find ourselves before three artists of different generations whose work presents analogies in the representation of the subject, and who complement one other. The exhibition is constructed around the notion of vertigo. Through diverse strategies, we are lead to question our assumptions about space and the very concept of the landscape.
Ivan Binet, a photographer originally from Québec City, has been developing his photography practice for more than twenty years, primarily exploring the concept of landscape. He stages sites that are familiar to him, engaging a dialogue in which photography plays the role of mediator. He employs vantage points that produce a destabilizing loss of spatial reference, blurring the line between representation and abstraction to induce a sense of vertigo in the viewer. His work is featured in numerous public collections, including those of the Musée national des beaux-arts du Québec, the Montréal Museum of Fine Arts, the Canadian Museum of Contemporary Photography in Ottawa and the Loto-Québec Collection. The recipient of numerous grants in the context of art and architecture integration projects, Binet has created more than twenty works of public art. In 2005, he was honoured with the Videre Prize from the Prix d’excellence des arts et de la culture de Québec. Ivan Binet lives and works in L’Ange-Gardien.
Here, the photography centers on a void perceived not as inscrutable nothingness, but as a presence – a void through which everything else is organized. Binet deprives us of reference points, destabilizing us.
– Isabelle de Mévius
Jocelyne Alloucherie was born in Québec City in 1947. Through complex configurations, her work explores, in conceptual and poetic ways, notions related to image, object and place. She has created numerous installations that combine elements informed by sculptural, architectural and photographic considerations. Her work has been presented in many major institutions in Canada and the U.S., as well as in Europe and Asia. She made noted contributions to the first Canadian Biennial (1989), the first Biennale de Montréal (1998), Paessaggii / Landscapes (2001), the Biennale de Liège (2002), Real Spaces / Fictitious Spaces (2006) and the Biennale de Sedan (2006), among other major projects and exhibitions worldwide. In 2008, Alloucherie was the subject of a solo exhibition at the Grand Palais de Paris.
The artist is the recipient of many awards, notably the Louis-Philippe-Hébert Prize from the Société Saint-Jean-Baptiste de Montréal (1999); the Governor General’s Award from the Canada Council for the Arts ( 2000); the Paul-Émile-Borduas Prize (2002); and the Jean-Paul-Riopelle Prize (2006). She was granted the Order of Canada in 2008. Jocelyne Alloucherie lives and works in Montréal.
Through the unique installation of her photographs, Alloucherie bypasses the traditional boundaries between painting, sculpture and architecture. She sets up the photograph as a structure to be discovered via architectural elements. In this topographic analysis of mazes, one world opens onto another.
– Isabelle de Mévius
Born in 1983, Mathieu Cardin is originally from the Outaouais region of Québec. He holds a BA in Visual Arts from the Université du Québec en Outaouais (2010), and an MFA in Studio Arts from Concordia University (2014). His practice takes form primarily through sculptures and installations in which accumulation is combined with deconstruction, leaving the viewer to distinguish between reality and fiction. Cardin’s work is often articulated around a narrative in which the exhibition visitor, as an accomplice to the artist, takes on the double role of actor and spectator. His installations have been presented in Québec, notably at the Parisian Laundry, the Fondation Guido Molinari, Galerie B-312, and the 33rd Symposium international d’art contemporain de Baie-Saint-Paul. His work has also been shown in France, Italy and Mexico. Since 2008, Mathieu Cardin has lived and worked in Montréal.
For Cardin, perspective is a way of perceiving nature. As such, it constitutes a philosophical quest in its own right. As we look at a landscape, we create it through our choice of vantage point. The artist, in taking up landscape as his subject, deconstructs it geographically, presenting its various strata as autonomous volumes that coexist in the exhibition space.
– Isabelle de Mévius
1700, rue Notre-Dame Ouest
Montréal (Qc) H3J 1M3
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