Musée d'art contemporain de Montréal
24.05.2013 - 02.09.2013
Curated by Mark Lanctôt
This exhibition, organized by the Musée d’art contemporain de Montréal, is the first museum survey of work to be held in Canada.
Blowback  105mm Howitzers replicas are united by a tubular element that creates a physical and symbolic link between the opposite forces. Blowback is a metaphor of a war won by the amorous sabotage of two canno
Pile  The photograph represents a lamppost cut into logs assembled in a wood cord.
Testudo  36 tables are assembled in a defensive stance, legs pointing out. Showing their undersides, the tabletops create an inner space. The defensive schema evokes the Roman military formation called testudo in Latin, meaning “tortoise”.
Bleed  A power drill is punctured by five holes through which it bleeds water, like a fountain. The drill has committed suicide as a functional object to start a new life as an artwork
The Abyss of Liberty  Inspired by the work of Auguste Bartholdi, the sculpture is toppled to take on a new posture. It maintains its balance against gravity. From above, one can see its inner vacuity.
Installation view showing (l-r) Pickaxe Heads, The Abyss of Liberty and Silent Screaming
Pickaxe Heads  Pickaxe Heads is a sculpture that recalls the mass production of work tools. It was inspired by a visit to a foundry in Eastern Europe. Stacked like bones in catacombs, the pickaxes are piled up like so many lives of labour.
Silent Screaming  This device is designed to silence an alarm system by creating a vacuum, an environment where sound cannot travel. The movement of the hammer striking the bell is visible but the alarm’s “scream” is inaudible.
Lost Object [2002-2013] When someone enters the space, this soft sculpture hides away in its hole to escape the visitor’s gaze. A repurposed refrigerator pump is used as a motor. Behind the wall, we notice the apparatus in which the sculpture takes refuge, waiting for the exhibition space to be vacated of any other presence.
Étant donnés  A mixture of water and fire flows from a sink lying on its side. The co-existence of opposing elements manifests itself in a familiar object rendered uncanny.
Anthropometry  Cyanotype prints on Stonehenge paper, 76 x 102cm. This series of drawings depicts a collection of holes in fences. Each opening is the trace of an informal passageway that stands in opposition to the partitioning of public space. The regular weave of the fences’ grid is distorted by successive cuttings that create both new motifs of openings and possibilities of circulation.
29.07.2013 - 31.08.2013
Vacuum Orgy  Cyanotype print on Rising Museum Cardboard, 144 x 223.5 cm
Parallel to his solo exhibition at the Musée d’art contemporain de Montreal, Division Gallery presents a selection of work including Tour de force, Vacuum Orgy, Beam Tea Light, and Fuite. Exhibited for the first time, Tour de force is a new sculpture drawn from used tires. The work is a virtual black hole, condensing superimposed concentric tires into a dense and massive object.
14.06.2013 - 23.05.2013
Produced by Luminato festival
Installation View from from within the work
The spectacular view of the starry sky has always been a source of delight and wonder. It isn’t hard to imagine that wisdom originated in contemplating the firmament, an experience now impossible in Cities because of the considerable obtrusive artificial light that prevents us from seeing the stars in the heavens.
Initially inspired by a photograph which appeared in the Los Angeles Times in 1942, “The Battle of Los Angeles”, showing anti-aircraft searchlights concentrating on Unidentified Flying Objects, the largest mirror ball ever made will be suspended from a construction crane lit by many beams of light. The one thousand mirrors will reflect the light to render and re-create the starry sky for Toronto’s citizens during Luminato festival.
Produced by Luminato festival, Photo David Leyes
Aluminium, stainless & color paint
City of Mississauga, Ontario (Duke of York Blvd. and Square One Drive)
Oversized roadside signs along suburban routes advertise motels, restaurants and gas stations; they may reach the height of several stories while advertising little more than a snack bar. Their relationship to these sites is often disproportionate, which subsequently makes their sculptural qualities so appealing. The size of these arrows is not defined by the actual size of the site or object they refer to, it is rather the size of the roads and highways and the speed of passing traffic that dictates their scale. In this way the arrow can be read as the most reduced symbol of a cartographic annotation beyond scale. In the face of readily available high-definition satellite photography and street view maps, the arrow bridges the real and the virtual and creates an enhanced reality. With this sculpture the arrows do not single out anything in particular, but their density creates a place, while simultaneously signaling beyond it.
As the sculpture transforms the traversed space of the roundabout into an illusory map, it also points at the endless possibilities. The arrow is a didactic instrument that communicates, directs, guides and gives sense. It explains and specifies. It validates. The arrow is a tool of persuasion. Like the pointing finger of a questioning child, this sculpture will create curiosity and it will propose to ask a multiplicity of questions in an attempt to reconsider assumed direction and premeditated assumptions.
As dynamic vectors, the arrows obviously correspond to the movement and flow of the roundabout traffic, but they point beyond the potential infinity of the automotive circumscription of the roundabout. In the sculptural density of the composition the purely abstracted signification of the arrow as a road sign is transgressed, the signs become one sign that signifies the density of the campus and its urban context. The roundabout itself creates spatial focus and enclosure; the sculpture recreates the occurrence of crossing directions and defines even more paths and possibilities. The arrows do not point out individual, disconnected paths, but rather the crossroads of each of these trajectories. The recurrently interlocking form stabilizes the sculpture structurally, but it also affirms connected plurality, and mutuality. In enhancing the metaphorical crossroads of the roundabout. (Text from Thilo Folkerts and Michel de Broin)
26.10.12 - 25.11.12
Changwon, South Korea
Interlace  Bricks and mortar, 700 x 620 x 330 cm
Interlace is a new work created specifically for the Changwon Sculpture Biennale, and installed permanently upon Dot Island.
Fleming Museum, The University of Vermont
12.02.13 - 19.05.13
Burlington, Vermont, USA
2010 - 2016
Marie-Elisabeth-Lüders-Haus, The German Bundestag, Berlin
Suspended in the courtyard of the Marie-Elisabeth-Lüders-Haus building in Berlin, which contains the Parliamentary Library and Archives for the nearby Reichstag, Mehr Licht is a new addition to the collection of the Bundestag.
While jewels and decadent ornament would customarily adorn a chandelier, Mehr Licht is composed of a collection of distinct streetlights, each speaking to a particular civic aesthetic. The flat horizon has been folded and the streetlights, typically vertical, are variously tilted; a cityscape is collapsed and reassembled to create a satellite, suspended in space.
Projecting outward from a composite core—a polyhydron made of the agglomeration of different streetlight-bases—the long arms of the sculpture extend into a stellation, Mehr Licht is a tug of war between an inward tension, drawing strength toward the centre, and an energetic burst of rays, radiating outward.
The asymmetrical assemblage expand light in all directions, gesturing past of the walls of the courtyard and building, to various points throughout the city; they are refractions of Goethe’s last words, Mehr Licht (more light).
26.05.12 - 01.04.13
North Adams, MA
Curated by Denise Markonish
Oh Canada is a group exhibition featuring works by many contemporary Canadian artists including Marcel Dzama, Shary Boyle, BGL, Dean Baldwin and Kelly Mark. As part of the exhibition, the museum also commissioned this new sculptural work by Michel de Broin.
Tortoise  12 picnic tables, 346 x 354 x 391 cm
Installation views of Tortoise on site at the MASS MoCA.
Photo by Sarah Wendt.
Tortoise Drawings  Pencil on paper, 48 x 60 cm
The sculpture Tortoise uses standard picnic tables—an immediately recognizable representation of North American leisure culture—as building blocks to transform them into an enclosing structure. The assemblage disrupts the way common things are addressed and revalidates the implicit codes by which they are approached, perceived, and understood. This semiotic reconfiguration of a very open and approachable cultural element into an almost hermetic formation, simultaneously addresses military and police history. The ancient Roman “tortoise formation” is a tactic, commonly used during military campaigns, obviously taking its principles from the animal of its namesake. Inspired by the plated carapace that protects the land turtle from predators, the military formation is a defensive architecture powered by humans. The soldiers compose their individual shields into an overall armor that protects the entire unit from projectiles. More recently, we have seen this strategy used by riot police. Showing their undersides and using their legs in an almost defensive manner against surrounding threats, the picnic tables of Tortoise form a fort, defining and guarding its inner space. Notwithstanding its fortified character, the wooden formation invites physical interaction especially for children who will like to crawl inside and playfully hide from adults. By re-appropriating picnic tables, Michel de Broin has literally turned this American symbol of leisure inside out to create a sculpture that of itself resists its essential banality, while offering a plethora of alternative uses.
18.01.13 - 17.02.13
Curated by Cato J. Dibelius
At the age of 10, Cato J. Dibelius’ first show will appear at the Grimmuseum in January 2013. Having grown up in San Francisco, Munich and Berlin, Cato has visited over four hundred exhibitions with his father, the artist Robert Barta.
Cato’s favourite works stimulate the senses: they smell, they move, they are loud, they are colourful, some you can even eat. He likes art works that are humorous, works, where the original function of the object makes way for a peculiar re-interpretation.
This exhibition is not a theoretical confrontation with art and artistic production, but rather one in which intuition determines the selection of works and their relationship to one another.
Braking Matter will be part of this group show.
13.01.13 - 03.02.13
New York, USA
Curated by La Fabrique d’expositions and Boshko Boskovic
Cut into the Dark  Video HD, Blu Ray, colour, sound, 4min 2 sec
Videozones is a compilation of videos by seven Quebec artists and six Brooklyn artists.
Jessica Bradley Annex
26.10.12 - 19.01.13
National Gallery of Canada
01.11.12 - 02.01.13
Curated by Jonathan Shaughnessy
Majestic  Street Light, steel, wire, light, 12 x 12 x 10 m
Gift from Donald R. and Beth Sobey, Collection of the National Gallery of Canada
Upon the invitation of The Third of May, Majestic was produced for a Satellite project of the New Orleans Biennale, and has now been permanently installed in the sculptor garden of the National Gallery of Canada. Majestic takes its name from a local New Orleans funeral home where the piece was originally conceived.
09.11.12 - 30.12.12
Stick to Resist (autonomous version)  Electrical magnet, battery, keyboard, electro-luminescent diodes, charger, carrying case
Collection of the National Gallery of Canada
The Mocca will present an exhibition of past winners’ of the Sobey Art Award, selected from the collection of the National Gallery of Ottawa.
Who’s Afraid of the Cylinder, Sphere and Cone? Geometry in the Landscape, an Alternative Vision of the Environment
Departmental Museum of Contemporary Art Rouchechouart
06.10.12 - 16.12.12
Curated by Teneze Annabelle
Black Whole Conference will be part of this group show. The exhibition illustrates how elementary figures have permeated visions of landscapes from the Land Art movement up to the present day, shifting the way we view our environment, whether by provoking astonishment, irony, amusement or even foreboding.
Galerie de l'UQAM
19.10.12 - 08.12.12
Curated by La Fabrique d’expositions and Boshko Boskovic
Cut into the Dark 2010
Video HD, Blu Ray, colour, sound, 4min 2 sec
Vidéozones is a compilation of videos by seven Quebec artists and six Brooklyn artists.