Home » Exhibitions » Here you may see the best portrait that, later, I was able to make of him. Passages to Abstraction. Geneviève Cadieux
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Here you may see the best portrait that, later, I was able to make of him. Passages to Abstraction. Geneviève Cadieux
Geneviève Cadieux, Ravissement 1985 (detail)
black and white stereoscopic photograph
(© Geneviève Cadieux) 21 Mar 2015 – 17 May 2015
Organized and circulated by the Musée d’art de Joliette with
financial support from the Museum Assistance Program,
Department of Canadian Heritage
This exhibition encompasses 27 years of production by
Canadian artist Geneviève Cadieux, who works primarily with
photography and its associated techniques. The complete
exhibition is divided into two parts. The earliest works are
presented at MSVU Art Gallery in Part I: Ravissement (1985)
and La blessure d’une cicatrice ou Les Anges (1987). Part II,
with works dating from 1987 through 2012, may be viewed at
Dalhousie Art Gallery.
In much of her work, Cadieux explores the emotional implications
of seeing and being seen. She was one of the first
Canadian artists to explore the gaze, a psychoanalytic term
used to describe acts of looking caught up in the dynamics of
desire. Cadieux simultaneously invites and frustrates the gaze
by rendering visual signifiers as enigmatic or unstable in their
meaning. In Part I, Cadieux achieves this effect by obscuring
details of appropriated images and juxtaposing appropriated
and original photographs, all of the human figure. Curator
Vincent Bonin’s selection directs our attention to works in which
abstract passages interrupt representation to create a breach
in the real.
OPENING RECEPTION Join us Saturday, 2 May, for opening receptions and exhibition tours led by Geneviève Cadieux and Vincent Bonin, curator. The afternoon begins at MSVU Art Gallery, 12pm, continuing at Dalhousie Art Gallery, 2pm. Free transportation provided, leaving from MSVU to Dalhousie at 1:30pm.
Exhibition booklet with an essay by Vincent Bonin, in English and French. (6.8 Mb)
Preview by Lizzy Hill
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