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{"id":168860,"date":"2014-05-15T18:30:00","date_gmt":"2014-05-15T23:30:00","guid":{"rendered":"https:\/\/esse.ca\/compte-rendu\/get-hold-of-this-space-la-carte-de-lart-conceptuel-au-canada-1re-partie\/"},"modified":"2022-06-23T15:15:08","modified_gmt":"2022-06-23T20:15:08","slug":"get-hold-of-this-space-la-carte-de-lart-conceptuel-au-canada-1re-partie","status":"publish","type":"compte-rendu","link":"https:\/\/staging.esse.ca\/en\/reviews\/get-hold-of-this-space-la-carte-de-lart-conceptuel-au-canada-1re-partie\/","title":{"rendered":"Get Hold of This Space\u2009: la carte de l\u2019art conceptuel au Canada, 1re partie"},"content":{"rendered":"\n

[In French]<\/p>\n\n\n\n

En d\u00e9pit de sa r\u00e9cup\u00e9ration suppos\u00e9e par le march\u00e9 et les institutions, l\u2019art conceptuel fait rarement l\u2019objet d\u2019une exposition \u00e0 part enti\u00e8re, comme celle que Barbara Fischer et Catherine B\u00e9dard proposent au CCC\u2009: une exposition sans concession sur l\u2019importance capitale du Canada dans le d\u00e9veloppement de l\u2019art conceptuel des ann\u00e9es 1960 \u00e0 1980. Si l\u2019ensemble n\u2019\u00e9chappe pas \u00e0 une certaine aridit\u00e9, li\u00e9e \u00e0 l\u2019obligation de pr\u00e9senter les archives et les documents qui ont fait cette histoire, la place d\u00e9volue aux exp\u00e9riences artistiques et p\u00e9dagogiques du Nova Scotia College of Art and Design (NSCAD) d\u2019Halifax met en lumi\u00e8re une dimension de l\u2019art conceptuel rarement pr\u00e9sent\u00e9e et qui m\u00e9rite le d\u00e9tour. Ainsi, la pr\u00e9sentation des Projects Class<\/em> du professeur et artiste conceptuel David Askevold, de la galerie Anna Leonowens, de la Mezzanine ou de l\u2019atelier lithographique montre combien le projet g\u00e9n\u00e9ral de l\u2019\u00e9cole a contribu\u00e9 au d\u00e9veloppement international de l\u2019art conceptuel. Adoptant notamment une approche p\u00e9dagogique r\u00e9volutionnaire, fond\u00e9e elle-m\u00eame sur les principes de l\u2019art conceptuel, le NSCAD a contribu\u00e9 \u00e0 une production artistique enti\u00e8rement ax\u00e9e sur la constitution d\u2019un solide r\u00e9seau d\u2019artistes li\u00e9s par les t\u00e9l\u00e9communications et la poste. Se c\u00f4toient ainsi les instructions de r\u00e9alisation de projets originaux formul\u00e9es par des artistes habitant souvent hors du Canada (Robert Barry, Sol LeWitt, Douglas Huebler, Lawrence Weiner…), envoy\u00e9es \u00e0 l\u2019\u00e9cole et transmises par David Askevold aux \u00e9tudiants, et le c\u00e9l\u00e8bre I Will Not Make Anymore Boring Art<\/em> de John Baldessari, r\u00e9alis\u00e9 par les \u00e9tudiants pour la Mezzanine alors que Baldessari n\u2019avait pu se d\u00e9placer.<\/p>\n\n\n\n

L\u2019\u00e9tage sup\u00e9rieur de l\u2019exposition pr\u00e9sente des \u0153uvres et des archives qui montrent en quoi les pratiques des artistes canadiens ont contribu\u00e9 au d\u00e9veloppement du r\u00e9seau international de l\u2019art conceptuel. On y d\u00e9couvre le collectif Image Bank, dont l\u2019objectif consiste en la constitution d\u2019un fonds d\u2019images, la \u00ab\u2009banque\u2009\u00bb, compos\u00e9e d\u2019id\u00e9es \u00e9chang\u00e9es par lettre\u2009; l\u2019International Exchange Directory\u2009; le centre d\u2019artistes Art Metropole, ouvert en 1974 \u00e0 Toronto par General Idea\u2009; des documents et des objets du Eye Scream Restaurant, ouvert par N.E. Thing Co. en 1977 \u00e0 Vancouver\u2009; ou encore plusieurs num\u00e9ros du FILE Magazine<\/em> de General Idea, une revue qui avait entre autres programmes celui de donner une tribune \u00e0 la sc\u00e8ne artistique canadienne. Des artistes moins connus en France sont aussi expos\u00e9s, comme Jean-Marie Delavalle et son Projecteur projet\u00e9<\/em> (1974), typique de la tautologie en vogue \u00e0 l\u2019\u00e9poque, mais aussi des \u0153uvres plus caract\u00e9ristiques de la critique institutionnelle, telles que Get Hold of This Space<\/em> de Gordon Lebredt (1974) ou les photographies de Carole Cond\u00e9 et de Karl Beveridge.<\/p>\n\n\n\n

\"\"
Charles Gagnon, Le son d\u2019un espace<\/em>, 1968.
photo\u2009: permission de la succession de Charles Gagnon<\/figcaption><\/figure>\n\n\n\n
\"\"
Carole Cond\u00e9 et Karl Beveridge, Cultural Signs: Protest of Bi-centennial Exhibition (Rockefeller Collection) at Whitney Museum, New York<\/em>, 1975.
photo\u2009: permission des artistes<\/figcaption><\/figure>\n
Carole Cond\u00e9, Gordon Lebredt, Karl Beveridge, Nathalie Desmet<\/div>","protected":false},"excerpt":{"rendered":"Centre culturel canadien, Paris,
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