Search Results:"Florence-Agathe Dubé-Moreau"

Seasons Greetings from Critical Distance and 1st Annual CDCC Edition!

What a tremendous year we had in 2018! Thanks to everyone who participated in, contributed to, and attended our exhibitions and events, including: guest curators for our annual program Toleen Touq, Nahed Mansour, Cass Gardiner, Florence-Agathe Dubé-Moreau, Maude Johnson, and Noa Bronstein; special/partner project curators Emma German, Adam Khalil, Zack Khalil, and Jackson Polys; presenting partners SAVAC, Aboriginal Curatorial Collective, Koffler Gallery, and Gallery 44; fair and festival partners Images Festival with ImagineNATIVE, Scotiabank CONTACT Photography Festival, Toronto Art Book Fair, and Edition Art Book Fair; project funders and supporters Toronto Arts Council, Ontario Arts Council, and Artscape Youngplace; and all of our wonderful board, advisory, and team members; contributing designers, writers, and editors; and last but not least, our engaged and growing audiences in Toronto and around the world. Continue reading

CDCC Edition/3 featured book covers

Critical Distance at the 2018 Edition Art Book Fair

October 26–28, 2018

Critical Distance is pleased to participate in the 2018 Edition Art Book Fair, running concurrently with Art Toronto at Metro Toronto Convention Centre. For our third year at Edition, CDCC presents publications and editions from STUDIO MUSEUM IN HARLEM (NY), CONTEMPORARY& (Berlin), INDEPENDENT CURATORS INTERNATIONAL (NY), DOMINICA (LA), and HALF LETTER PRESS (Chicago); artist’s editions by KAYFA TA/MAHA MAAMOUN and ALA YOUNIS (Cairo), QIANA MESTRICH (Brooklyn), ED PANAR (Pittsburgh), and KHALED HOURANI (Palestine); plus two new catalogues produced in conjunction with recent exhibitions at Critical Distance. Continue reading

Critical Distance to launch two new catalogues at Edition 2018

CDCC Edition/3 featured book covers

Critical Distance is pleased to participate in the 2018 Edition Art Book Fair, running concurrently with Art Toronto at Metro Toronto Convention Centre. For our third year at Edition, CDCC presents publications and editions from STUDIO MUSEUM IN HARLEM (NY), CONTEMPORARY& (Berlin), INDEPENDENT CURATORS INTERNATIONAL (NY), DOMINICA (LA), and HALF LETTER PRESS (Chicago); artist’s editions by KAYFA TA/MAHA MAAMOUN and ALA YOUNIS (Cairo), QIANA MESTRICH (Brooklyn), ED PANAR (Pittsburgh), and KHALED HOURANI (Palestine); plus two new catalogues produced in conjunction with recent exhibitions at Critical Distance. Continue reading

Adam Basanta, Curtain (white), 2016, sound installation (detail), 2x2x.20 meters; Adrienne Crossman, Footnotes to a Queer Art Practice, 2018, mixed-media installation, in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid.

Florence-Agathe Dubé-Moreau Curator

Florence-Agathe Dubé-Moreau is a Montréal-based writer and curator. MA candidate in Art History at UQAM, her research questions the effects of exhibition reenactment in contemporary art. She was the Assistant Curator for the Canadian Pavilion at the 56th Venice Biennale (2015), co-editor of the book Questionner l’avenir. Réflexions sur la réactualisation de la Biennale de Montréal (2015), and curator of the exhibition do it Montréal at Galerie de l’UQAM (2016). Continue reading

Last Update:September 13, 2018

Opening | June 23 | … move or be moved by some ‘thing’ rather than oneself.

Nadege Grebmeier Forget

Critical Distance is pleased to present … move or be moved by some thing rather than oneself., an exhibition that considers curating and choreography as materials and subjects. Bringing together the work of Guillaume Adjutor Provost, Adam Basanta, Adrienne Crossman, and Nadège Grebmeier Forget, the exhibition is curated by Florence-Agathe Dubé-Moreau and Maude Johnson. The title, taken from a quote by choreographer Yvonne Rainer, echoes the curators’ desire to question the potentialities of artworks as well as presentation contexts from the position of transdisciplinary instability. Continue reading

Nadège Grebmeier Forget, Rendering on View (Betty Rowland meets Angela Aames). Performed on May 27th 2017 as part of the installation Walls of Wind: The mirroring and rendering. Created in the context of the group exhibition I've Only Known My Own curated by Nicole Burisch and presented from April 21st to June 10th 2017 at OPTICA, Montréal. Photo: Paul Litherland.

… move or be moved by some ‘thing’ rather than oneself.

June 23 – August 5, 2018

Featuring Guillaume Adjutor Provost, Adam Basanta, Adrienne Crossman, and Nadège Grebmeier Forget
Curated by Florence-Agathe Dubé-Moreau and Maude Johnson

Critical Distance is pleased to present … move or be moved by some thing rather than oneself., an exhibition that considers curating and choreography as materials and subjects. Bringing together the work of Guillaume Adjutor Provost, Adam Basanta, Adrienne Crossman, and Nadège Grebmeier Forget, the exhibition is curated by Florence-Agathe Dubé-Moreau and Maude Johnson. The title, taken from a quote by choreographer Yvonne Rainer, echoes the curators’ desire to question the potentialities of artworks as well as presentation contexts from the position of transdisciplinary instability. Continue reading

Nadège Grebmeier Forget, After Rendering on View (Betty Rowland meets Angela Aames), May 27, 2017, performance documentation and multi-platform intervention (billboard, 8x8 ft), in ...move or be moved by some 'thing' rather than oneself, curated by Florence-Agathe Dubé-Moreau and Maude Johnson, Critical Distance Centre for Curators, 2018. Installation documentation by Toni Hafkenscheid.

Billboard on Shaw: Nadège Grebmeier Forget | After Rendering on View (Betty Rowland meets Angela Aames), May 27, 2017.

June 23 – August 5, 2018

Billboard on Shaw curated by Florence-Agathe Dubé-Moreau and Maude Johnson with the exhibition … move or be moved by some ‘thing’ rather than oneself, featuring After Rendering on View (Betty Rowland meets Angela Aames), May 27, 2017 by Nadège Grebmeier Forget.

… move or be moved by some thing rather than oneself. examines the intersections between methods of creation and reflection particular to curatorial and choreographic spheres. As part of the ongoing discussion on dance in the museum, this exhibition responds specifically by disengaging from the danced gesture. It gathers artists who, on the one hand, borrow from curatorial and choreographic methodologies; and who, on the other hand, transform the multiple spaces (physical, virtual, social, political, historical, etc.) and temporalities of the gallery. Continue reading