École Normale Supérieure
With works by Jean-Pierre Gauthier, Michel de Broin, Dominique Sirois, Louis Bouvier, Grégory Chatonsky and Mathieu Latulippe. Curated by Aseman Sabet.
With works by Adriano Amaral, Gabriele Beveridge, Nicolas Boulard, Manuel Burgener, Adriano Costa, Michel de Broin, François Durel, Rubén Grilo, Andy Meerow, Oren Pinhassi et Gerda Scheepers. Curated by Domenico de Chirico
Musée régional de Rimouski
11.06.17 - 24.09.17
Monochrome rouge (excerpt) 
Red chairs take over an area by pushing out other chairs and gradually taking their positions. A final pink chair resists and tries to join in before it too is thrown out by the reds. The red chairs, once they are massed together, form an organized and monochrome group, whose final movements recall a military parade. The second video shows a pink chair performing in the midst of red chairs. While the pink chair had been excluded from the differential process of the monochrome, here its singularity becomes an attraction for the mass of undifferentiated red chairs, which passively contemplate its performance.
Group Exhibition curated by Ève de Garie-Lamanque
AXENÉO7 - La Fonderie
28.06.17 - 30.06.17
Make Soccer Great Again 
Invited to intervene on a soccer field for the exhibition Endless Landscape, Michel de Broin seized the opportunity to redefine the game’s rules, which were codified by the British in the late nineteenth century. The construction project MAKE SOCCER GREA T AGAIN assesses the bellicose nature of the battle for the ball and proposes to change the rules by fencing in the borders. In keeping with Bill 1, which regulates the division of the soccer field, a white picket fence not only rings the artificial turf to delineate the territory, but divides the field up into sections, isolating the players so that they can no longer exchange the ball. The arbitrary rules are an appeal to disobedience, giving rise to a desire to jump over the barriers and overcome the obstacles to invent a new game.
Collective, Edinburgh, Scotland, UK
03.12.16 - 29.01.17
W.W.W. (Whole World Working) is an exhibition that brings together artworks and writings considering the possibilities of a world without borders. American architect and designer R. Buckminster Fuller’s 1968 Operating Manual for Spaceship Earth outlines that our understanding of the world is impeded by its division into nation-states and that demarcation by borders causes economic and social disparity. He argues that the computer, which can operate beyond financial and political practicalities, offers a solution to this disparity. Buckminster Fuller’s ideas have inspired much utopian and emancipatory thought in the wake of the development of the World Wide Web. In the exhibition W.W.W. Buckminster Fuller’s utopianism is explored in relation to our geopolitical reality, particularly given the renewed energy of nationalist and isolationist politics since 2008. Works and texts by Michel de Broin, Alessandro Di Massimo, R. Buckminster Fuller and Ben Russell with design by Kaisa Lassinaro, Yorgos Stavridis with Dimitris Aatos Ellinas invite us to focus on the contradictions between geopolitical restraints and allegedly borderless information technologies. This project has been developed by Anastasia Philimonos as Associate Producer for Satellites Programme 2016.
Volt, Oslo, Norway
The Imaginary Reader is both an anthology of invited texts by a variety of writers, artists, critics, art historians and philosophers and an exhibition in the form of a book presenting several commissioned artworks. The book is meant as a stimulus to thinking about the imaginary and the relationship between fiction and reality. By way of artworks, experimental texts and reflections it offers a range of angles and ideas on different aspects of the imaginary. The list of contributions include: Øystein Aasan, aiPotu, Andreas Angelidakis, BADco., Erick Beltrán & Bernardo Ortiz, Milena Bonilla, Michel de Broin, Barbara Casavecchia, Daniela Cascella, Jan Christensen, Phil Coy, Bojana Cvejić & Ana Vujanović, Judith Dybendal, Mette Edvardsen, Espen Sommer Eide, Tom Engels, Jan Freuchen, Stian Gabrielsen, Dora García, Andrea Geyer, Pedro Gómez-Egaña, Avery F. Gordon, Ane Graff, Luis Guerra, Mai Hofstad Gunnes, Johannes Heldén, Vlatka Horvat, Richard Ibghy & Marilou Lemmens, Institutt for Farge, Dimitris Ioannou, Ivana Ivković, Marte Johnslien, Cecilia Jonsson, Valentinas Klimašauskas, Brandon LaBelle, John Lely, Per-Oskar Leu, Lewis & Taggart, Isabell Lorey, Young Lunde, Kristin Nordhøy, Linn Pedersen, plan b, Alexandra Pirici, Mikkel Bolt Rasmussen, Hans Rosenström, Andreas Schlaegel, Ingerid S. Straume, Jon Benjamin Tallerås, Hans E. Thorsen, Ève K. Tremblay, Synnøve Marie Vik, Jacob Wren, Icaro Zorbar
Editor: Marie Nerland
Book design: Erik Johan Worsøe Eriksen
Hardcover: 24 x 33 cm
Hearn Power Station
10.06.16 - 26.06.16
For the second time, Luminato Festival presents One Thousand Speculations, a 7.9 metre in diameter ball made up of 1,000 mirrors. It is an extraordinarily large mirror ball that reflects light to transform the space where it is installed. This time it will be suspended inside the Hearn Generating Station on an existing bridge crane above the over 300 meter long Turbine Hall. It will provide an unexpected experience of the historic power station, reflecting light in all possible directions. The slowly turning sculpture scans the entire space of the decommissioned power station, highlighting detail after detail of this majestic building, bringing it to life again. Each singular speck of light moving along the walls offers a new read of the building. Looking closely at the fascinating shapes of light travelling like clouds in sky, one might spot sea animals, bacteria, faces, the infinite and the infinitesimal. Visitors are invited to play this “Pareidolia” game of perceiving hidden patterns in these abstract shapes. The word speculation comes from the Latin speculum, which means mirror. Mirroring the world is an attempt to represent it, to make sense of what exceeds our understanding. The Thousand Speculations gives a multitude of reflections to look upon.
Domaine Pommery, Reims, France
14.09.16 - 31.05.17
With the artists: Brook Andrew, Daniel Buren, Lilian Bourgeat, Vincent Carlier, Julian Charrière, Gaëlle Chotard, Michel de Broin, Choi Jeong Hwa, Bertrand Gadenne, Séverine Hubard, Guy Limone, Chaim van Luit, Soundwalk Collective, Pablo Valbuena, Enrique Ramirez, Su-Mei Tse, Iván Navarro, Stéphane Thidet, Lee Mingwei
Curator : Fabrice Bousteau
Division Gallery Toronto
29.10.16 – 25.12.16
An emphatic turn towards objects, the non-human, things, and their meaningfulness has swept contemporary philosophical discourse. Despite our phenomenal relation to everything we see and everything we touch (and what touches back, felt or not), a noumenal relation colours our world—or at least the discourse surrounding it. And so, it seems we must learn to thread a newly demarcated, yet unknowable, realm filled with objects personified, openly at play.
For the past two decades Michel de Broin has set up his studio in this shadowy world where objects and their social dramas are chief actors. While our current moment asks us to imagine the inanimate personified, de Broin has been doling out objects that lay bare their machinations over the course of his prolific career. These sculptures do not go so far as to dance on their own, much like Marx described the fetishized commodity doing, but their plastic, metal, painted shells certainly cannot contain their forms. Performing beyond their expected function, albeit poorly at times, these unsuspecting cousins demand a longer consideration than those objects bound to their meaning. In tour de force a tire wrapped into a concentric knot cannot power any motor vehicle, while no less recalling the immense and unknowable force of a black hole.
This and That’s accretion and accumulation of images and objects belies the vertical thrust of possession. Everywhere we turn a non-systemic torrent of relations is at play, connecting objects in an indeterminate network, one that bridges de Broin’s career from past to present. This uncanny field where objects are in conversation, confronting one another through a shared language of dysfunctionality, is one carved by alternative paths to meaning and value. -Loreta Lamargese
DIVISION GALLERY TORONTO
45 Ernest Avenue, Toronto M6P 3M7
Tues-Sat 10am to 6pm
Blowback, 2013, Steel, 10m x 4m x 4m
Core, 2016, Forton, wood, paint, wax, aluminum
This and That, 2016, Cyanotype
Head, 2016, Aluminium plated forton, painted wood base
Moon Watcher, 2016, Forton, fiberglass, headlights, aluminum frame
Drunkated I, II & III, 2016, Bronze
Étant Donnés, 2013, Sink, plumbing pipe, water, propane gas
May Be, 2016, Aluminum, plaster, cushion
This and That, 2016, Metallic objects, thermoform on wood panel
Dog Fight, 2014, Cement, polymers, aggregates, nylon fibers and steel structure
Endangered Species, 2016, Forton, wood, wax, steel, gold leaf
Sandbank, 2016, Light box
Logged On, 2015, Wood log, electromagnet, neon bulb, steel beam
Four Six One Nine, Los Angeles
07.07.16 - 07.08.16
Michel de Broin
Bronze, enamel paint
Opening Wednesday, July 6, 6-9pm
4619 W Washington Blvd, Los Angeles, CA 90016
Opening Hours 11am – 7pm Tues – Sat and by appointment
Contact: Sarah Belden 647-539-8104, email@example.com
Division Gallery is pleased to present our first exhibition in Los Angeles, under the auspices of Four Six One Nine (LA). Don’t Look a Gift Horse in the Mouth features new work by Canadian artists Brad Phillips, Chloe Wise, Michel de Broin, An Te Liu, Sarah Anne Johnson, Paul Butler, Jillian Kay Ross and Simon Hughes as well as works by LA-based Bjorn Copeland (China Art Objects), New York-based Rose Marcus and LA-based Sojourner Truth Parsons (both represented by Night Gallery).
Musée National des Beaux-Arts du Québec
Bronze, aluminium, glass, natural gaz
Interlude places fire in the heart of a remodelled television set: an homage to the domestication of fire 400 000 years ago. Devoid of its broadcasting function, the device is converted into a fireplace. Meaning “distant”, the prefix “tele” evokes the disconnection generated by media between its content and the viewer. Using this Palaeolithic innovation, Interlude attempts to reestablish the immediacy of communication, a presence that stands in contrast to the information networks distancing us from actual events. It invites us to huddle around its unmediated blaze.
Interlude met le feu au centre d’un téléviseur remodelé : un hommage à la domestication du feu il y a 400 000 ans. Destiné à diffuser son et images, le téléviseur se trouve détourné de sa fonction médiatique et transformé en foyer. Le préfixe «télé», qui signifie « au loin», évoque la distance produite par l’appareil entre le contenu représenté et le spectateur. En faisant appel à une innovation datant du paléolithique, Interlude tente de rétablir la communication immédiate qu’aurait interrompue la machine à images. Contrairement aux instruments d’information qui nous éloignent de l’évènement, Interlude rapproche les gens autour du feu, rayonnant sans média interposé.
BMO Project Room
01.04.16 - 30.11.16
Castles Made of Sand is a site-specific installation conceived to be temporarily installed in a small office space near the top of a skyscraper in downtown Toronto. The installation can be described as a production line that casts sand castles, dispatches them for a journey on a convoyer belt, and eventually sends them to crumble. The sand is then recuperated and recycled and a new castle created. The construction and destruction of the castle follows the position of the moon in the sky, which influences the tides on earth. These astronomical phenomena trigger the cycle and the passerby can witness the rise and fall of castles – ephemeral architectures that drift past the windows and topple down in front of the city skyline. The machine operates at a very slow pace. By decelerating the mechanical process the piece produces a contemplative experience in which the frail fortresses expose their temporal existence and their vulnerability, but also enable a recurrent new beginning.
Castles Made of Sand
Photo by Toni Hafkenscheid
500 x 160 x 200 cm
Conveyors, pneumatics, stainless mold, tide clock, automationcontrols, sensors.
Galerie Thomas Henry Ross Art Contemporain
23.04.16 - 04.06.16
Fire Hydrant, hose.
Pour cette première édition de la Nouvelle Biennale, les artistes invités sont: Vikky Alexander, Itziar Barrio, Catherine Bodmer, Catherine Bolduc, Sebastien Cliche, Sylvie Cotton, Michel de Broin, Julien Discrit, Steve Giasson, Eleanor King, Chris Kline, Dejode & Lacombe, Manuela Lalic, Daniel Olson, James Paterson, Marc-Antoine K. Phaneuf, Felicity Tayler, Lucille Uhlrich, Jonathan Villeneuve, Kim Waldron et Pavitra Wickramasinghe. Le commissaire de l’évènement est : Jean-Michel Ross.