Nut II - Celebrating the Female Artist Community

NUT II Book Launch

March 24th, 2018 4-6P

at A.I.R. Gallery (155 Plymouth St, Brooklyn, NY)

Please join us at 4pm on March 24th, at the historic A.I.R. Gallery for the launch of NUT II.

NUT is an all women’s publication devoted to celebrating and fostering the female artist community. The project takes its name from the Egyptian sky Goddess who, every night, swallows the sun and births it anew, performing the perpetual cycle of life and death. The impetus for NUT was a desire to harness personal traumas into positive outcomes as a process of healing and renewal.

Our goal is twofold: first to give form to a beautiful collection of great art made by women, and second, as a means of raising funds to support women globally. All proceeds generated by NUT are donated to the Global Fund for Women, an international organization whose mission is to “find, fund, and amplify the courageous work of women who are building social movements and challenging the status quo.” More info: www.globalfundforwomen.org

The book’s 5 x 7 in. format features a collection of 64 detachable high-quality prints of works on paper by women artists. A limited edition will be available for purchase at the launch and subsequently via www.nutpublication.com and anteism.

For more information please email nutlaunch{at}gmail{dot}com

Alessandra Acierno
Susan Bee
Amy Bessone
Simone Blain
Amanda Boulos
Cristine Brache
Sandra Brewster
Lex Brown
Vanessa Brown
Ginny Casey
Phoebe Collings-James
Holly Coulis
June Culp
Laura Dawe
Laura Findlay
Meg Franklin
Zipora Fried
Rebecca Gilbert
Elizabeth Glaessner
Claire Greenshaw
Vanessa Gully Santiago
Delphine Hennelly
Stephanie Hier
Brook Hsu
Kristen Jensen
Cindy Ji Hye Kim
Emma Kohlmann
Jyan Ku
Denise Kupferschmidt
Anne Libby
Aino Lintunen
Antonia Low
 

Kristy Luck
Shannon Lucy
Katie Lyle
Maya Martinez
Frances Adair Mckenzie
Maysha Mohamedi
Elisabeth Molin
Abby Mcguane
Sophy Naess
Gahee Park
Erika Ranee
Libby Rothfeld
Brie Ruais
Sarah Sands Phillips
Chloe Seibert
Mira Schor
Ellen Siebers
Lisa Signorini
Polly Shindler
Dana Slijboom
Jane Swavely
Alexandria Tarver
Camille Thomas
Winnie Truong
Jessica Vaughn
Megane Voghell
Joy Walker
Nell Waters
Kathleen White
Faye Wei Wei
Rachel Eulena Williams
Crys Yin

The Vancouver Art Book Fair - VA/BF

Anteism will be at the second annual Vancouver Art/Book Fair, a two-day festival that features nearly one hundred local, national and international publishers of art books, magazines, zines, printed ephemera and digital or other experimental forms of publication, as well as on-site programs, performances and installations. 

Free and open to the public, VA/BF is the only international art book fair in Canada and one of only two on the West Coast. 

Launching with a Reception at Project Space at 8pm on Friday, October 4, 2013, VA/BF will take place from 12pm to 5pm on October 5 and 6 at the Vancouver Art Gallery.

We are so happy to see this event happening in Vancouver. It filled a huge void on the West Coast. Come witness the early stages of an already blossoming world class art book fair. The first 250 people each day get a free tote bag! Come early. 

The Many Faces of Koyama Press

I was first introduced to Koyama Press through the comic book Lose #1 by Michael Deforge at the TCAF Festival in (2009? if memory serves...). It stood out from all the other professionally published comics I had seen, and opened up my eyes to a whole new world of indie comics - which I thought I knew . It was the art I loved, put into the format of a comic. Over the years I would find myself picking up art books and comics that drew my attention and noticed that they had been published by, or thanks to, Koyama Press. I felt similarities in Anteism's publishing platform to produce the work of emerging artists . After talking to many people who had worked with Annie Koyama and reading the thank-you's from the artists in the books I realized the work she was producing was much more than the sum of its parts. 

Lose #1 by Michael Deforge

Skip ahead a few years. Out of frustration for lack of venues to show art/books and simultaneously layed off of work and evicted from my home/studio, I decided to make the leap and follow through with an idea that I had for well over a decade. An idea introduced to me by a good friend Luke Ramsey who had submitted his zine to a mobile book library all those years ago.

It just so happened that I had six months of Employment Insurance and the good fortune of making an arrangement with a friend to donate a cube van. Over the course of this time the OuterSpace Mobile Gallery took shape, all the while ideas for shows and publications took form. 

One idea that felt important was to provide a venue (gallery format) to publishers. To exhibit a publishers books all together as a whole and to allow the viewers to experience the timeline and vision of a publishers endeavours. It allows the viewer to get an aesthetic understanding of the publishers tastes and would help to showcase links to artists often working in loose collectives. From zines to coffee table books, comics to photography this could be a focused art book fair, one publisher at a time.

It seemed fitting to send the initial exhibition invitation to Annie Koyama. It has been a great pleasure to put this show together, to witness the amazing work she has produced over the years for a new generation of emerging artists. As the rain and wind pummels Victoria I look forward to rolling open the truck door and sharing this work with the people out braving the elements over this weekend. 

The Many Faces of Koyama @ OuterSpace Gallery- September 2013

Seeker - An artist Book by Eddie Martinez

Peres Projects is pleased to present Seeker, a solo exhibition of new paintings by the American artist Eddie Martinez.

Brooklyn-based artist and curator Eddie Martinez brings eight of his figurative but highly abstracted works to Berlin. As a self-confessed “garbage disposal”, he takes influence from everything from graffiti to his mood. Through Dec 17 at Peres Projects

Seeker available in the Anteism Book Shop

Seeker is a body of work which consists of nine paintings. The paintings display Martinezʼs recognizable combination of virtuoso brushwork, which sings like his drawings, alongside heavily worked passages of dense color.

Itʼs easy to imagine Martinez standing with his nose nearly pressed into the wet canvas, craning his tall frame in order to examine an area where thick paint curls like breaking surf. We can imagine him deciding to act, and dragging a thick wet brush into more fresh paint with a decisive gesture. In that way his paintings evoke the memory of a host of heroic painters, and like those heroic modernists associated with the early to mid-twentieth century, Martinez uses his canvases to make paintings which flirt with abstraction, but keep one foot planted in the referential.

Martinezʼs work is both less serious and more serious than his forebears. The less seriousness mirrors the central turn in philosophy and art over the past sixty years, which has been the cementing of the unconscious into every facet of human activity. The paintings are more serious in the sense that, once the subject is decentered, the topic shifts from the individual towards relationships and communication. Youʼll notice that the figures in Martinezʼs paintings arenʼt isolated. They are either in relationship to one another, or looking pointedly out at you, or in the case of Sun Setter, deliberately looking away.

In a world that loves to talk about the death of painting, Martinez offers optimism to lovers of painting. Martinezʼs paintings have their own internal logic, and the startling clarity of his vision creates a testimony regarding the way he sees the world. In the same way that the works of Van Gogh or de Kooning evoke worlds and change the way we see, by meeting our world and leaving a trace left behind, Martinez also discloses a world. His work holds the potential for historical continuity with earlier traditions, while breaking from their fallacies and charting new territory.

Evan Gruzis Existential Crisis Book Launch

We're pleased to be launching a new artist book for Evan Gruzis at his upcoming exhibition at the Hole. The book "Existential Crisis" will juxtapoz Evan's childhood drawings with his contemporary paintings.

The book will be available later this month through the Hole & Anteism Shop.

The Hole is pleased to announce Exotic Beta, the second New York City solo exhibition by Evan Gruzis. The exhibition features ink paintings, sculpture, video and installation, including a collaborative installation with renowned designer Rafael de Cardenas. Exotic Beta is presented in collaboration with True Religion Jeans.

Exotic Beta fuses a sense of the exotic with the language of market research to explore the way meaning is made and the relativity of “taste”: Exotic like a tattoo of a Japanese character the bearer of which doesn’t know the meaning, Beta like a corporation’s second re-launching of a product after market research and focus groups have masticated all the language to the point of flavorlessness. Exotic Beta also refers to an alternative form of asset class in investment markets—like an art collector who starts buying baseball cards—adding extra relevance to the title.

Evan’s main goal is creating the potential for meaning amidst the post-apocalyptic landscape of empty signs. By using imagery that was once evocative and now is just a husk of a cultural signifier, Evan can foreground his real interest, which is the simple act of looking. His technique certainly suggests this as well. With methodical and painstaking execution, Gruzis uses a magician’s bag of tricks to keep the ink and paper looking like anything but; the gestalt is a now-you-see-it-now-you-don’t pictoral modification meant to present the images both as authentic representations of the object and as hand-painted images that float between photography, airbrush and digital technology.

The centerpiece of this exhibition is the large triptych in the back of the main gallery, titled Stratatos. Featuring the silhouetted form of a skull, a Fender Stratocaster guitar and a metronome, this contemporary Vanitas presents our forever-teenaged culture’s “rebelliousness” in contemplation of it’s own ticking clock.

The “castle gallery” features light-up works and video: Dancing into Forever is the central video work projected on the back wall of the gallery. A droning un-programmed digital clock flashes 88:88 and other messages while a silhouetted figure slowly gyrates in front of a water-drenched plane. This next-generation video work uses generative software to randomize intersecting clips of video so it is an ever-changing intersection of visual information, never presenting the exact same image twice, like a live video mix. A trio of other luminescent pieces, including the light-box work Connoisseurship, which juxtaposes the stereophile and the armchair pharmacologist, round out the dark side of the exhibition.

Back in the main gallery, Self-portrait as Self-portrait’s explosion of paint drips, balloons, cocktail paraphernalia, confetti and plastic fruit are arranged into an image of the artist. The result is a drawing-photo-painting hybrid, a mise en abyme that references Gruzis’s own body of work and creates a territory for image and object to meet. In Geishas of Key West, 2009, a folding fan, ribbons, flowers and an illustration from Kurt Vonnegut’s Breakfast of Champions float atop an illusionistic ink painting of tile to form a concept of beauty straight out of a 1980s hair salon. Aesthetically these canvases call into question issues of taste and process and are absurd pseudo-paintings attempting to divorce the image from a single medium.

Another featured installation in Exotic Beta offers Evan’s “acid sketches”; painstaking recreations of hastily scribbled sketches made during a psychedelic experience. They relate in concept and palette to the work High Design, which frames splatter as the opposite of controlled designed form: acid wash, acid sketch, acid trip.

The selection of paintings continues with 16:9, featuring cinematic display proportions and purposeless graphic design that would be obscured in a 4:3 format “to fit your TV”. Harakolada evokes the pineapple as the international symbol of hospitality and nods to Margaritaville with its pat tropical fantasy, while the tanto blade stabbed through it introduces lethality, beauty and craftsmanship; here is an inappropriate re-appropriation of samurai culture via violence and Zen. As Laurie Anderson asked: que es mas macho? Pineapple o knife?

Many works in this show feature superimposed text, both in painting and sculpture: the chromed, autobodied ANX, the pieces Green and Indigo are everything that color isn’t: text, black and white. Angst? XANax? Zen? The sculpture, ZEN? (Helvetica, IKB), painted in International Klein Blue, is a distilled koan of challenging legibility, through which we can contemplate the void, the emptiness of “no selection”.

Many of the themes of this exhibition are activated in the collaborative installation with Rafael de Cardenas. This sculpture, inspired by a sequence in the movie Flashdance called “Imagination” (after the Laura Branigan song it features), encapsulates a strange and uniquely 1980s Orientalism. The film’s dancer devolves from post-apocalyptic geisha to businesswoman to writhing freak-out by strobe, and Gruzis and De Cardenas have grown this moment into a massive frieze consisting of their own custom kimono, presented on a multi-tiered stage that has the presence of a futuristic art deco monument.

Concurrently with this exhibition, Evan will present a simultaneous solo show of new works at Nicole Klagsbrun Gallery in Chelsea. Entitled Shadow Work, this exhibition features multiple desaturated works on paper, a marble mannequin sculpture entitled Monument to Fashion, and focuses on semi-autobiographical works. Like the Jungian phrase for dealing with the dark parts of your psyche that you don’t even know exist, Shadow Work, circulates images from Evan’s shadow of repressed iconography. ‘Lude Wig for example is a splattered, spectral portrait of the composer Beethoven materializing in front of a palm tree in some sort of tropical astral plane or an afterlife vacation. Bouquet Shift No. 2 re-imagines a Dutch still-life that looks sliced through the middle, bisected and offset by the slash of a sword. In one of Gruzis’ hallmark still-lifes, Placement de Produit features an unmistakeable Coca-cola bottle with pieces of tape covering the label, referencing a resistance to uncontrollable brand recognition.

Gruzis will also be releasing a new limited-edition book, Existential Crisis, published by Anteism, as well as a limited edition C-print and a silver gelatin print (both derived from the triptych Stratatos), produced by Signed And Numbered, a company specializing in artist-edition collaborations.

Evan Gruzis is a young artist from Milwaukee, WI who has exhibited around the world since graduating from Hunter College in 2008. He has had solo exhibitions at Deitch Projects (2008), DUVE Berlin (2008, 2010), Andreas Melas Presents in Athens (2010) and SAKS Gallery, Geneva (2011). He has been in group shows at The Swiss Institute, NYC; Max Wigram, London; The Deste Foundation, Athens; The Garage Center for Contemporary Art, Moscow; MACRO Museum, Rome; and many other notable institutions. His work is in the collection of Dakis Joannou, the Whitney Museum of American Art, The Hort Family Collection, Artist Pension Trust, David Zwirner collection, and many other notable private collections.

Evan Gruzis - Exotic Beta

September 10th - October 22nd

Opening Saturday, September 10th

7pm-10pm

The Hole, NY

Parchemin - Exhibition of Works on Paper

Troy Lovegates curates exhibition @ Yves Laroche Par Chemin is an exhibition of works on paper to mark the occasion of artist OTHER aka Troy Lovegates release of his new artist book published by ANTEISM.

Over his years of traveling and making art, OTHER has crossed paths and collaborated with many artists from around the world. Below are some photos of the exhibition and book launch.

Par Chemin Art Exhibition & Other Book Launch

Yves Laroche Galerie d’art and Pop Montreal are proud to present

PAR CHEMIN and PUBLISHED/SELF-PUBLISHED

Sept. 30th to Oct. 3rd 2010 Vernissage : Thursday Sept. 30th 2010 ,6pm-9pm

In association with Art Pop, Yves Laroche Galerie d’art is proud to present a remarkable 2010 line up during Montreal’s renown POP Montreal. Inaugurating two newly established multi-media spaces, Yves Laroche Galerie d’art will be hosting two major events during this year’s edition of the music festival.

Espace 1 will feature Par Chemin, a group exhibition of works on paper. Curating the exhibition is multi-disciplinary artist Other, who will be launching his newest book   “Other – The artwork of Troy Lovegates” published by Anteism.

In Espace 2, Pica Magazine and Palimpsest Magazine will be presenting Published/Self-Published, a collection of contemporary fanzines and other publications.  Pica Magazine selected local and international artists, bloggers and designers who  will each be presenting their own series of original zines, in innovative mediums and subjects. Simultaneously, Palimpsest Magazine will showcase a multi-disciplinary book fair featuring imported publications, all available for purchase.  Furniture exclusively designed by Mikaël Baillairgé will set the mood for a contemporary platform of objectified information.

Additionally, TRUSSTclub and 1976.tv will open a multimedia installation inspired by  the Dark Night of the Soul project (Danger Mouse, David Lynch) curated by Jean-Luc Della Montagna.

Continuing to mark new ground for the local creative community, Yves Laroche Galerie d’art and Espace 1 & 2 welcome all to the opening of Par Chemin as well as Published/Self-Published on Thursday, September 30th 2010 from 6pm to 9 pm.

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www.yveslaroche.com www.popmontreal.com/art www.anteism.com www.flickr.com/photos/other/ www.picamag.com www.cargocollective.com/palimpsest/

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Yves Laroche Galerie d’art et Pop Montréal sont heureux de présenter PAR CHEMIN et PUBLIÉ/AUTOPUBLIÉ Du 30 Sept. au 3 Oct. 2010 Vernissage : Jeudi le 30 Septembre 2010 , 18h-21h

En collaboration avec Art Pop, Yves Laroche Galerie d’art est heureuse de présenter une programmation 2010 remarquable dans le cadre du traditionnel festival POP Montréal. Pour inaugurer deux nouveaux espaces multimédias, Yves Laroche Galerie d’art sera l’hôte de deux événements majeurs dans le cadre de l’édition annuelle du festival de musique.

Espace 1 présentera Par Chemin, une exposition collective d’œuvres sur papier. Le commissaire de l’exposition n’est nul autre que l’artiste multidisciplinaire Other, qui lancera son tout nouveau livre intitulé "Other – The artwork of Troy Lovegates", publié par Anteism.

Dans l’Espace 2, Pica magazine présentera Publié/Autopublié, une collection de publication en série par des designers graphiques et artistes innovant de façon indépendante en matière d'imprimé. Pour compléter, le magazine Palimpsest vous conviera à une foire de livres multidisciplinaires dans laquelle on y retrouvera diverses publications internationales qui seront également en vente. Un mobilier signé Mikaël Baillairgé supportera ces propositions contemporaines pour l'objectivation de l'information.

De plus, Trusst Club et 1976.tv présenteront une installation multimédia inspirée par le projet Dark Night of the Soul (Danger Mouse, David Lynch) signée Jean-Luc Della Montagna.

Toujours aussi dévoués à soutenir de nouvelles avenues au sein de la communauté artistique locale, Yves Laroche Galerie d’art et Espace 1 et 2 vous invitent au vernissage des expositions Par Chemin et Publié/Autopublié, le jeudi 30 septembre 2010, de 18h à 21h.

Hildebrand - Peepshow & Long Drop Book Launch

Dil Hildebrand : Peepshow & Long Drop Book Launch

9 septembre - 16 octobre 2010 /  9 September - 16 October 2010

Opening: Thursday, September 9th from 5:00 - 7:00 pm (the artist will be in attendance) Vernissage : le jeudi 9 septembre de 17h00 à 19h00 (en présence de l'artiste)

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Peepshow

"This is a process of seeing which invites the spectator to become an 'optical producer' as well as spectator - creating a theater for contemplation upon the act of seeing and the mechanics of representation.  This interactive drama plays out what is essential to all radical pictorial art, not the formulation of frozen iconic emblems that 'illustrate' ideas, but the active recognition...in the mind's eye during the contemplation of pictorial art of our own comparative experiences of the visual complexity of everyday life."

- Ian Wallace, from Corner of the Studio (1993) and El Taller (1993):  A Description and Reflection Upon Two Recent Works

Pierre-François Ouellette art contemporain is pleased to present Peepshow, the latest solo exhibition of paintings and drawings by Dil Hildebrand. For this, his third solo exhibition at the gallery, Hildebrand meditates on the theme of the artist's studio.  What results in Peepshow is a further negotiation of the opposing forces of space and surface within painting.  In characteristic fashion, a host of references converge in these new works; film, theatre, historical painting and documentary photography are all consciously evoked and explored here, revealing their influence throughout the exhibition.

Peepshow is, in one sense, a hall of funny mirrors, distorting the artist's studio and absurdly reflecting it as an alter ego of the gallery.  Deep and seductive, this new suite of paintings beckons all to come inside to the world inhabited by the now-absent artist, inviting them to consider their own relation to its artistic production.  Hildebrand gives us a veil of colour through which to peer into this private setting, and thereby renders us into dormant observers standing at the threshold.  While a theme of "transparent surface" is apparent in the paintings, this device seems rather to demonstrate how impervious the canvases truly are; from behind curtains of florid colour the paintings lure yet refuse to reflect.  In all, Peepshow may be regarded as a contemplation of the aesthetic, technical and hierarchical relations that exist between painting, drawing and photography.  By reversing the photographic image into the background, it is as though figure and ground have been inverted.  In this drama, the fore-grounded paint is no longer cast in its familiar role as ground but is thrown forward into a role playing itself, as a figure upon the stage.

In a new series of charcoal drawings, Hildebrand takes a different view of the studio.  Cast in dramatic lighting and framed in letterbox, these delicate drawings are quiet peeks into dark places within the workspace, as though gleaned from an imagined film noir. While appearing to be drawn from photographs, they are in fact drawn from life and lit from the artist's imagination.  One suspects just how filmic the imagination has become, considering the fidelity to photographic appearance that is evident in this work.

Dil Hildebrand was born in 1974 in Winnipeg, Canada. He obtained his MFA at Concordia University, Montreal in 2008. In 2006 he won the RBC Canadian Painting Competition and has since participated in many exhibitions throughout Canada, the United States and abroad.  In October 2010 he will exhibit new work at the 4th Beijing International Art Biennale 2010 in Beijing, China.  Upcoming exhibitions include a solo show at YYZ Artists' Outlet, Toronto, in Fall 2011.  He lives and works in Montreal.

The artist would like to thank the Canada Council for the Arts and Le Conseil des arts et des lettres du Québec.

All works being presented will be available for viewing on our web site during the vernissage (Thursday, September 9th at 5:00 pm)

BOOK LAUNCH

Saturday, September 25 at 2:30 pm (as part of Les journées de la culture)

Long Drop: The Paintings of Dil Hildebrand featuring essays by Louise Déry and Richard Rhodes, and an interview by Christine Redfern

Join us at the gallery for the Montreal launch of the new artist's monograph Long Drop: The Paintings of Dil Hildebrand published by Anteism Publishing and distibuted by the RCAAQ. Featuring a roundtable discussion with Hildebrand and Harley Smart (Anteism) on the challenges of publishing an artist's monograph.

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Peepshow

« Ceci est un processus du regard qui invite le regardeur à devenir ''producteur optique'' aussi bien que spectateur, créant de la sorte un théâtre de contemplation pour l'acte de regarder et la mécanique de la représentation. Ce drame interactif met en scène ce qui est essentiel à tout art pictural radical; non pas la formulation d'emblèmes iconiques statiques qui ''illustrent'' des idées, mais plutôt la reconnaissance active... au yeux de l'esprit, durant la contemplation de l'art pictural, de nos propres expériences comparatives de la complexité visuelle de la vie quotidienne. »

- Ian Wallace, Corner of the Studio (1993) and El Taller (1993):A Description and Reflection Upon Two Recent Works

Pierre-François Ouellette art contemporain (PFOAC) a le plaisir de présenter Peepshow, la plus récente exposition personnelle de peintures et de dessins de Dil Hildebrand. Pour sa troisième exposition personnelle à la galerie PFOAC, Hildebrand a choisi de méditer sur le thème de l'atelier d'artiste. Il en résulte un dialogue entre les forces opposées d'espace et de surface propres à la peinture. Typiques de l'approche de cet artiste, une variété de références convergent dans ces nouvelles œuvres : le cinéma, le théâtre, la peinture d'histoire et la photographie documentaire y sont tous sciemment évoqués et explorés, révélant leurs influences respectives dans l'ensemble de l'exposition.

Peepshow est une sorte de labyrinthe de miroirs, déformant l'atelier de l'artiste et le reflétant, de manière absurde, en tant qu'alter ego de la galerie. Séduisante et profonde, cette nouvelle suite de peintures nous invite à pénétrer dans l'univers d'un artiste désormais absent, nous invite à songer à notre propre relation à la production artistique qui y est présentée. Hildebrand nous offre un voile de couleur au travers duquel nous contemplons ce décor intime; nous devenons des observateurs passifs se tenant au seuil... d'un monde. Bien que les peintures révèlent aisément la « transparence » de leurs surfaces, ce thème, ou ce dispositif, semble plutôt démontrer la véritable imperméabilité des toiles; derrière leurs rideaux de couleurs flamboyantes, les peintures attisent, mais refusent de refléter. En somme, Peepshow peut être envisagée comme une contemplation des relations esthétiques, techniques et hiérarchiques existant entre la peinture, le dessin et la photographie. L'assignation de l'image photographique à l'arrière-plan crée une impression d'inversion de la figure et du fond. Dans ce drame pictural, la peinture d'avant-plan ne joue plus son rôle familier de fond, mais est propulsée en avant-scène, où elle incarne son propre rôle, en tant que figure scénique.

Dans une nouvelle série de dessins au fusain, Hildebrand adopte une approche différente pour sonder l'espace-atelier. Bénéficiant d'un éclairage dramatique et cadrés en mode LetterBox, ces dessins délicats sont des aperçus tranquilles de coins obscurs d'un espace de travail, un peu comme s'ils avaient été glanés d'un film noir imaginaire. Bien que donnant l'impression d'avoir été créés à partir de photographies, ils ont en fait été réalisés d'après nature et sont éclairés par l'imaginaire de l'artiste. L'on envisage d'ailleurs sans peine à quel point cet imaginaire est devenu filmique, vu la fidélité « photographique » des œuvres.

Dil Hildebrand est né en 1974 à Winnipeg, Canada. Il est titulaire, depuis 2008, d'une maîtrise en beaux-arts de l'Université Concordia, Montréal. En 2006, il a remporté le prix du Concours de peintures canadiennes RBC, et a depuis participé à plusieurs expositions au Canada, aux Etats-Unis et à l'étranger. En Octobre 2010, il présentera des œuvres inédites à la 4e Biennale internationale d'art de Pékin, en Chine. Son travail sera également présenté à l'occasion d'une exposition personnelle à YYZ Artists' Outlet, à Toronto, à l'automne 2011. Dil Hildebrand vit et travaille à Montréal.

L'artiste souhaite remercier le Conseil des Arts du Canada et le Conseil des arts et des lettres du Québec.

L'ensemble des oeuvres présentées seront disponibles sur notre site web lors du vernissage (le jeudi 9 septembre à 17h00).

LANCEMENT DE MONOGRAPHIE

le samedi 25 septembre à 14h30 (dans le cadre des Journées de la culture)

Long Drop : Les peintures de Dil Hildebrand avec des textes de Louise Déry et Richard Rhodes, et une entrevue de Christine Redfern

Joignez-nous à la galerie pour le lancement montréalais de la nouvelle monographie Long Drop : Les peintures de Dil Hildebrand publiée par Anteism Publishing distribuée par le RCAAQ. Il y aura un pannel de discussion avec Hildebrand et Harley Smart (Anteism) sur les défis de produire une monographie.