Eric Clement The Press
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Since taking office two years ago, the director of the New York gallery Arsenal, Anaïs Castro, wanted to hang works by Geneviève Cadieux at 214 Bowery, on the Lower East Side, opposite the New Museum.
“It’s kind of Arsenal’s mission to help New York audiences rediscover Canadian artists who have had a strong international presence,” says the curator. We had an exhibition of Suzy Lake, a very important Canadian artist, who influenced the work of major artists like Cindy Sherman. We wanted to do the same thing with Geneviève Cadieux, renowned abroad, with her participation in the Venice Biennale, in 1990, and in the collective exhibition 59th Minute : Video Art in Times Square, in 2002. ”
The expo project in Manhattan was sketched out last summer. Geneviève Cadieux had just inaugurated Barcelona , his monumental work in nine photographs installed on the south facade of the National Gallery of Canada, in Ottawa. The curator and the artist met and prepared the event by choosing a few works. “Someone told me that Surrender , it’s like a group exhibition, but of my work! “Slips Geneviève Cadieux.
Anaïs Castro wanted to present pearl spirit the huge photograph of a fleshy oyster suspended in the dark that Geneviève Cadieux exhibited at Blouin Division from December 2020 to February 2021, during the collective exhibition Forty .
PHOTO PROVIDED BY ARSENAL
pearl spirit 2020, inkjet print and palladium leaf, 84 in x 108 in
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“In New York, the oyster is a very important symbol because, in its history, it has been very present during the great waves of immigration,” she says. Many immigrants have survived by having access to this protein resource. In addition, there is, in New York, a huge project, the Billion Oyster Project [dont le but est de restaurer 1 milliard d’huîtres vivantes dans le port d’ici 2035, grâce à des initiatives éducatives]. Oysters filter the waters of the Hudson and East Rivers. Dolphins and whales have already returned. »
Photography My mother was also selected for the exhibition. A portrait of Lise Lapointe, the photographer’s mother, who died in 2020, which the artist had produced in 1991. “Until the end of her life, my mother had not lost her beauty,” says Geneviève Cadieux.
“We placed this photograph opposite that of the oyster as if they were looking at each other,” says Anaïs Castro. The picture of My mother was taken when Geneviève’s mother closes her eyes, which look both open and closed. The work, very spiritual, is like a portrait of his psyche. At the same time, his eye comes to take the shape of the oyster, at the same height, in the space of the gallery. This gives a formal link in the exhibition. »
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PHOTO GUY L’HEUREUX, PROVIDED BY ARSENAL
My mother 1991-2020, inkjet print on rag paper, 60″ x 64″
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PHOTO MARCO CAMPANOZZI, THE PRESS
Geneviève Cadieux, in front of the canvas My mother
1 /2
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A bond that we also find in the maternal gesture of the mollusc when it “broods” its pearl for months in the sides of its mantle. A link that has become the conceptual engine of the exhibition. How one thing impacts another. How existence depends on our relationships with others. Geneviève Cadieux also sees a link with femininity. “The desire to create, to procreate,” she says. We find this desire in Alone tree (at dawn) , which has been placed in the last room of the gallery. A link between heaven and earth. »
PHOTO PROVIDED BY ARSENAL
Alone tree (at dawn) 2018, inkjet print on rag paper and palladium leaf, 96 in x 120 in
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This relationship exercise led to the choice of Luna , photograph of the Moon near a body of water, which evokes its role on the tides. Then, that of Flow palladium (positif) , photo of another body of water created for the exhibition. Last image of the series Flow which expresses itself all the better because it has been placed near the outside light, at the entrance to the gallery.
PHOTO PROVIDED BY ARSENAL
Flow palladium (positif) 2021, inkjet print on paper and palladium leaf, 58 in x 122 in
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Arsenal also borrowed the series from the Musée d’art de Joliette Breath . Three Murano blown glass sculptures, which refer to the voice and the breath that precedes it. This moment of restraint, this momentary abstention before pressing the shutter button on the camera. The glass spheres also suggest the eye of the photographic lens. “It’s the breath that produces the form”, sums up Geneviève Cadieux.
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PHOTO PROVIDED BY ARSENAL
Breath 1996, Murano blown glass
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PHOTO GUY L’HEUREUX, PROVIDED BY ARSENAL
Luna 2016, inkjet print on rag paper with palladium leaf, 72 in x 60 in
1 /2
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We had seen in Geneviève Cadieux’s studio, last fall, a recent work carried out with metal sheets and a particular technique for testing the durability of metal to tarnish. She had found stronger palladium sheets. She used them for Roses recently completed and discreetly installed in the gallery, as it is a work, but also an essay.
PHOTO PROVIDED BY ARSENAL
Roses 2022, inkjet print on rag and palladium paper, 24 1/4 in x 32 1/4 in
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Poetry and delicacy animate this New York exhibition. The artist and the co-curator invite abandonment, relaxation, temporary relinquishment. To forget our worries of the moment. A quiet and serene abandonment, without abdication. “I’m very happy with the result,” said Geneviève Cadieux. Seeing your works next to each other, dating back several years, and seeing that there is a coherence, it gives meaning. Surrender , it’s very, very calm, ideal for the visitor to let himself go. Especially after the pandemic. »
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Related
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Eric Clement
The Press
–
Since taking office two years ago, the director of the New York gallery Arsenal, Anaïs Castro, wanted to hang works by Geneviève Cadieux at 214 Bowery, on the Lower East Side, opposite the New Museum.
“It’s kind of Arsenal’s mission to help New York audiences rediscover Canadian artists who have had a strong international presence,” says the curator. We had an exhibition of Suzy Lake, a very important Canadian artist, who influenced the work of major artists like Cindy Sherman. We wanted to do the same thing with Geneviève Cadieux, renowned abroad, with her participation in the Venice Biennale, in 1990, and in the collective exhibition 59th Minute : Video Artin Times Square, in 2002. ”
The expo project in Manhattan was sketched out last summer. Geneviève Cadieux had just inaugurated Barcelona, his monumental work in nine photographs installed on the south facade of the National Gallery of Canada, in Ottawa. The curator and the artist met and prepared the event by choosing a few works. “Someone told me that Surrender, it’s like a group exhibition, but of my work! “Slips Geneviève Cadieux.
Anaïs Castro wanted to present pearl spiritthe huge photograph of a fleshy oyster suspended in the dark that Geneviève Cadieux exhibited at Blouin Division from December 2020 to February 2021, during the collective exhibition Forty.
PHOTO PROVIDED BY ARSENAL
pearl spirit2020, inkjet print and palladium leaf, 84 in x 108 in
–
“In New York, the oyster is a very important symbol because, in its history, it has been very present during the great waves of immigration,” she says. Many immigrants have survived by having access to this protein resource. In addition, there is, in New York, a huge project, the Billion Oyster Project [dont le but est de restaurer 1 milliard d’huîtres vivantes dans le port d’ici 2035, grâce à des initiatives éducatives]. Oysters filter the waters of the Hudson and East Rivers. Dolphins and whales have already returned. »
Photography My mother was also selected for the exhibition. A portrait of Lise Lapointe, the photographer’s mother, who died in 2020, which the artist had produced in 1991. “Until the end of her life, my mother had not lost her beauty,” says Geneviève Cadieux.
“We placed this photograph opposite that of the oyster as if they were looking at each other,” says Anaïs Castro. The picture of My mother was taken when Geneviève’s mother closes her eyes, which look both open and closed. The work, very spiritual, is like a portrait of his psyche. At the same time, his eye comes to take the shape of the oyster, at the same height, in the space of the gallery. This gives a formal link in the exhibition. »
–
PHOTO GUY L’HEUREUX, PROVIDED BY ARSENAL
My mother1991-2020, inkjet print on rag paper, 60″ x 64″
–
PHOTO MARCO CAMPANOZZI, THE PRESS
Geneviève Cadieux, in front of the canvas My mother
1/2
–
–
A bond that we also find in the maternal gesture of the mollusc when it “broods” its pearl for months in the sides of its mantle. A link that has become the conceptual engine of the exhibition. How one thing impacts another. How existence depends on our relationships with others. Geneviève Cadieux also sees a link with femininity. “The desire to create, to procreate,” she says. We find this desire in Alone tree (at dawn), which has been placed in the last room of the gallery. A link between heaven and earth. »
PHOTO PROVIDED BY ARSENAL
Alone tree (at dawn)2018, inkjet print on rag paper and palladium leaf, 96 in x 120 in
–
This relationship exercise led to the choice of Luna, photograph of the Moon near a body of water, which evokes its role on the tides. Then, that of Flow palladium (positif), photo of another body of water created for the exhibition. Last image of the series Flowwhich expresses itself all the better because it has been placed near the outside light, at the entrance to the gallery.
PHOTO PROVIDED BY ARSENAL
Flow palladium (positif)2021, inkjet print on paper and palladium leaf, 58 in x 122 in
–
Arsenal also borrowed the series from the Musée d’art de Joliette Breath. Three Murano blown glass sculptures, which refer to the voice and the breath that precedes it. This moment of restraint, this momentary abstention before pressing the shutter button on the camera. The glass spheres also suggest the eye of the photographic lens. “It’s the breath that produces the form”, sums up Geneviève Cadieux.
–
PHOTO PROVIDED BY ARSENAL
Breath1996, Murano blown glass
–
PHOTO GUY L’HEUREUX, PROVIDED BY ARSENAL
Luna2016, inkjet print on rag paper with palladium leaf, 72 in x 60 in
1/2
–
–
We had seen in Geneviève Cadieux’s studio, last fall, a recent work carried out with metal sheets and a particular technique for testing the durability of metal to tarnish. She had found stronger palladium sheets. She used them for Rosesrecently completed and discreetly installed in the gallery, as it is a work, but also an essay.
PHOTO PROVIDED BY ARSENAL
Roses2022, inkjet print on rag and palladium paper, 24 1/4 in x 32 1/4 in
–
Poetry and delicacy animate this New York exhibition. The artist and the co-curator invite abandonment, relaxation, temporary relinquishment. To forget our worries of the moment. A quiet and serene abandonment, without abdication. “I’m very happy with the result,” said Geneviève Cadieux. Seeing your works next to each other, dating back several years, and seeing that there is a coherence, it gives meaning. Surrender, it’s very, very calm, ideal for the visitor to let himself go. Especially after the pandemic. »
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