- Follow Us »
In this issue, we once again set out to rethink sculpture by proposing new ways to link sculpture, understood as a medium, with sculptural practices that involve other uses of space. From this perspective, it is hardly surprising that several contributing authors referred to Krauss’ famous 1979 essay in which the art historian mapped the new directions that emerged in the 1960s-1970s. In analyzing the postmodern sculptural practices of artists Carl Andre, Sol LeWitt, Robert Morris, Bruce Nauman, Richard Serra and several others, Krauss engaged in a reflection on the limits of classical sculpture’s aesthetic language. She envisaged new ways of understanding this medium by analyzing practices in which artists take the exhibition site into account. Consequently, it is not surprising that several of the artists Krauss mentions had participated in Harold Szeeman’s exhibition Live in Your Head: When Attitudes Become Form that was held ten years earlier.
With issue 107, Espace begins a new cycle. While staying true to its former character of a magazine connected to the presentation of contemporary sculpture, Espace also turns to the future as a magazine of contemporary art. Thus, as noted by Serge Fisette, the magazine’s editor from June 1987 to December 2013, its adventure or odyssey—to take up the title of the exhibition celebrating the magazine’s 25 years and the publication of its 100th issue —continues with many projects on the horizon.
Entitled Espace architecturé, (“Architectured” Space) this issue’s collection of essays brings together texts by André-Louis Paré, Nycole Paquin, Éric Valentin and Jessica Li. They discuss, notably, Collective Folie, Tadashi Kawamata’s gigantic tower at Parc de la Villette in Paris, Chihuly: Utterly Breathtaking at the Montreal Museum of Fine Arts, Yam Lau’s installation at the Darling Foundry and the work of Claes Oldenburg and Coosje van Bruggen, examined in terms of sculpture as a subversion of architecture.
What becomes of the Society of the Spectacle when the concept that Guy Debord forged is applied to the world of the visual arts? This is the theme of this special issue overseen by Laurent Vernet: “The shape that spectacle has taken on nowadays, he notes, is varied and its field of action is widening. The visual art milieu itself seems to be becoming its target: are the mushrooming of international art fairs, the establishment of a Quebecois visual arts gala, the valorization of a young generation of collectors and the new inflections of the art-business nexus, signs that the milieu is in the process of becoming a spectacle industry?” Various viewpoints regarding this question are also discussed by the contributors to this issue: Josianne Poirier, Julie Boivin and Catherine Lalonde.
Entitled Espace cartographie, the collection of essays in this issue is supervised by André-Louis Paré. He called on various collaborators who examine the work of numerous artists such as Réal Patry, Jean-Yves Vigneau, Mark Lombardi, Pierre-Alexandre Remy, Richard Long, Joao Machado, David Renaud, Wim Delvoye, Kim Dingle and so on.
Due to exceptional circumstances, we are obliged to publish a double issue for this edition of the magazine, combining numbers 103 and 104 (spring and summer 2013). For our subscribers, please note that your subscription to the magazine will include an additional issue.
ESPACE magazine presented a “collective sculpture” by four young artists that is focused on the idea of Labyrinthe, theme of the 2013 edition of the ART SOUTERRAIN event. Using issues of the magazine, they created a spectacular and novel work, and exhibited it on Level 4 of the Eaton Centre in Montreal.
Marie Dauverné (Wednesday March 13th)
Alexandre Nunes (Thursday March 14th)
Eduardo Della Foresta (Friday March 15th)
Marie-Pier Malouin (Saturday March 16th)
The 4 artists together (Sunday March 17th)
From march 13 to march 17, 2013.
Lounge Internet of the Montreal Eaton Center, Level 4.