Notes: Cheryl Pagurek and the CBC


I remember listening to George Steiner hitting a rough patch in one of his flowing sentences on Writers & Company twenty odd years past. After some gentle prodding from the hostess, the crotchety novelist/critic explained how alarmed he was by the extent to which the Canadian cultural and intellectual world had degenerated since the 1980s. It had fallen to the point that it had become a hideous parody, less of itself, than of milquetoast Americans. Much the same could be said of the CBC, which continues to descend to levels of crapulence that should appall the public. Continuing our tour of discursive discards, here is a look at a typically lousy example from our state run media. This might be excused for being a very middle-brow entertainment bit, but this does not distance it from its – and the many articles it weaves in as links – quite overt propagandistic function.

Ottawan Cheryl Pagurek is a state subsidized artist with many connections to the Ideological State Apparatus. Not surprisingly, her new show at the Patrick Mikhail Gallery was selected as a ‘must see’ by Canadian Art.

The gallery advertises the work as follows: (more…)

The Montreal Biennale; or, why are Momus and Canadian Art retarded?


A throwaway

Please note: I don’t write about any of these articles because they are particularly interesting, but because they are symptomatic of the state of discourse on art in the country.

While biennials tend to be tombstones for recent art trends, Momus’ Saelan Twerdy suggests that this one might be different. He contextualizes it with his nausea about Brexit and the Trumpocalypse, cast here as the two beasts proclaiming the end of globalization and wonders if, since contemporary art has been defined in terms of this now (speculatively) moribund process, it has cachet any more. The Montreal Biennale is then interpreted as a symptom of the uncertainty about the continuity of the contemporary. Curator Philippe Pirotte (and his three advisors Corey McCorkle, Aseman Sabet, and Kitty Scott) position this instance of the Montreal biennial against the previous future obsessed variant and other contemporary (CON) or post-contemporary (PC) concerned models around the globe. Twerdy suggests that maintenance of the contemporary model has been a rear-guard action by the establishment since the financial crash of 2008 [this is rather vulgar Marxist historicism]. With the present ‘unbearable’ and the future unclear, “Pirotte seems to argue for abdicating such responsibilities, calling for a deeper look into the past as a remedy for present-ism and for an ethos of pleasure and hedonism in place of political moralizing.” This is manifested in a handful of post-contemporary works in the show. Embracing Jean Genet’s The Balcony as a model, a choice the author thinks is very out of step with CON/PC aesthetics, what results is “a dense and sensual exhibition that, though indeed often perverse, is far from nihilistic.” [He doesn’t explain or develop the conditions or consequences of the last part of this remark.] (more…)

some bagatelles on the misanthropy of art III: Tetsumi Kudo


While intimately bound to the techniques and styles of the avant-garde in Europe and Japan, Tetsumi Kudō (1935-1990) distanced himself from them by giving his work a satirical edge. This was not simply to mock his fellow artists, but to draw the logic of their work in directions that they would have found unsettling. In Kudō’s work, satire functions as both an analytical method and a means of organizing artistic production. His work was consistently cultivated by his milieu and polluted by the trends of the avant-garde. Pollution and cultivation could then be exaggerated into forming objects, the symbolic implications of which placed his work in a heretical position vis a vis the aesthetic and political prejudices of his peers. “While many artists dream of the sky (utopia), this artist turns toward hell, even crossing its threshold,” Kudō claimed for himself.[1] (more…)

Edmund Alleyn at MACM and Simon Blais

alleyn-L'invitation au Voyage

Edmund Alleyn has always been a bit of a conundrum. Investigating a variety of styles that spanned the non-representational to the sociological and realistic, his work retained an extraordinary continuity of mood and imagination. Like some members of Figuration Narrative (who he showed with), there is an interest in Pop Art but it seems to be a distant one. Alleyn left Canada early and spent several years in France before returning to Quebec. What he brought back with him was a degree of alienation – one that manages at turns to be detached and intimate – that provided him with a curious perspective. Much like his mentor and colleague Jean Paul Lemieux, he unites an eccentric integration of experimentation with a seemingly conservative and sentimental style and content. (more…)