Centre culturel de Paspébiac | 7 Boulevard Gérard-D.-Levesque Est | Paspébiac
July 22 to the end of September 2015. (Exhibit not accessible on the following dates: August 6, 11, 12, 13 and 14, and September 18.)
Schedule: Monday from 8:30 a.m. to noon and from 1:00 to 4:30 p.m.; Tuesday to Friday from 8:30 a.m. to 5:00 p.m.
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Alain Paiement, Montreal, Québec | alainpaiement.com
Professor at the School of Visual and Media Arts of the Université du Québec à Montréal since 2005, Alain Paiement lives and works in Montreal.
His work has been the subject of many individual and group exhibitions across Canada and the United States, as well as being presented in Europe, Latin America and Asia since the 1980s. His practice is also documented internationally in close to 100 exhibit catalogues, art monographs and articles in specialist periodicals. He has also realized several works of public art in Québec, including the monumental Tessellations sans fin (2013) in the lobby of the Centre hospitalier de l’Université de Montréal Research Centre.
Alain Paiement has received a number of contemporary-photography awards and was notably a finalist for the prestigious Scotiabank Photography Award in 2012. His works are part of major institutional and private collections in Belgium, Spain and the U.S., and in Canada, where he can be found in among other homes the Musée d’art contemporain de Montréal, the Montreal Museum of Fine Arts, the Musée national des beaux-arts du Québec, the Canadian Centre for Architecture in Montreal and the Canadian Museum of Contemporary Photography in Ottawa. Alain Paiement is represented by Galerie Hugues Charbonneau in Montreal.
PROJECTION AT RENCONTRES
The installation is made up of three video pieces – Sémaphore asynchrone (Asynchronous Semaphore, 2014), Dérive (Drift Ice, 2012), Lunes asynchrones (Asynchronous Moons, 2012) – and photography, Start-End-Here (2012).
“What do these images show? Some emblematic icons of the climate change that the planet is currently undergoing. The video-photography substantially modifies our understanding of the change.
“A lighthouse signals a risk of grounding. It is seen here split in two halves, whose unsynchronized rotational speeds have become unpredictable.
“Drift ice is among the most obvious manifestations of change. Here it’s become fossils that we fly over without clearly understanding whether it’s us or they that are drifting.
“The graceful movements of jellyfish enthrall us, and yet these primitive and voluptuous organisms are proliferating to the point of altering the food chain and the fragile equilibrium of the marine ecosystem. Their double projection constitutes an asynchronous mirror, intriguing our own temporality.
“The installation is touched by a quiet anxiety regarding irreversible phenomena, and the limits of our consciousness.”