20 Jul

Daniel Dugas and I are working on a documentation booklet for What We Take With Us. The video installation will be shown at The New Gallery in Calgary in January 5 – February 4th 2012!  Here is a screenshot.

24 Jun

My video WALKING ON WATER was curated into the SHE DEVIL 5 by Elena Giulia Rossi of the STUDIO STEFANIA MISCETTI.  This year’s SHE DEVIL screenings are presented through a collaboration with Rome’s MACRO.

 

MACRO

Via Nizza 138, corner of Via Cagliari V-Tunnel

25 June – 30 October 2011

Press Conference: June 24, 11 am Opening: June 24, at 19.00

Curated by Antonia Alampi, Susanna Bianchini, Benedetta Carpi de Resmini, Dobrila Denegri, Maria Garzia, Laura Giorgini, Maria Cristina Giusti, Caterina Iaquinta, Manuela Pacella, Cristiana Perrella, Lydia Pribisova, Elena Giulia Rossi, Chiara Vigliotti

In collaboration with STUDIO STEFANIA MISCETTI

 

MACRO – Museo d’Arte Contemporanea Roma presents “SHE DEVIL 5″, the latest in the series of video screenings on the theme of female identity, named after the famous 1989 film by Susan Seidelman, and which alludes to the diabolic and bizarre spirit of female experience and investigation of everyday things.

SHE DEVIL was devised in 2006 by Stefania Miscetti for Italian and international female artists and curators, from the youngest to the most successful. Different works and critical perspectives coexist in a multivocal discourse which reveals the many facets of the female world and vision. This broad spectrum of activities and aims can be seen in the exhibitions that have been organised over the past years, which have included 40 video works and involved 24 curators, as well as a special international edition held in Bucharest in 2009. As part of its summer 2011 exhibition cycle, MACRO is hosting a new edition of the project, now in its fifth year, an event that is perfectly in line with the galaxy of cultural and artistic proposals that have defined the identity of the Museum over the past few years. On the opening night the videos in this new edition will be presented in the conference room of the Museum’s new wing, the nerve centre of the New MACRO exhibition area. The wing, too, was designed by a woman, the architect Odile Decq, thus it is the perfect setting for the presentation of the video works.

On the opening evening of June 24, there will be a special screening in the V-Tunnel, the video area in the museum foyer, of a selection of videos from past editions, featuring works of international artists, like Mary Zigouri and Mathilde Ter Hejin, together with some major figures from the Italian scene, like Marinella Senatore and Luana Perilli.

For the rest of the summer, the V-Tunnel will be hosting the videos of the new edition, as part of MACRO’s broad and varied exhibition programme set within the enveloping spatiality of the museum.

The video works in the new edition feature:

Katharina D. Martin (Germany, 1971), Stick (2008), presented by Chiara Vigliotti
Katarzyna Kozyra (Poland, 1963), Cheerleader (2006), presented by Lydia Pribisova;
Jen DeNike (USA, 1971), Flag Girls (2007), presented by Benedetta Carpi de Resmini;
Pilvi Takala (Finland, 1981), Real Snow White (2009), presented by Dobrila Denegri;
Valerie LeBlanc (Canada), Walking on water (2009), presented by Elena Giulia Rossi;
Kate Street (Great Britain, 1979), Flowering (2010), presented by Susanna Bianchini;
Berni Searle (South Africa, 1964), Seeking Refuge (2008), presented by Antonia Alampi;
Bahar Behbahani (Iran, 1973), Suspended (2007), presented by Maria Garzia;
Janaina Tschäpe (Germany, 1973), Untitled/Scream (2004), presented by Laura Giorgini;
Laurel Nakadate
(USA, 1975), Oops! (2000), presented by Cristiana Perrella;
Janet Biggs (USA, 1959), Brightness All Around (2011), presented by Manuela Pacella;
Nina Lassila (Helsinki, 1974), Woman with Knife? (2009), presented by Maria Cristina Giusti;
Julika Rudelius (Germany, 1968), Dressage (2009), presented by Caterina Iaquinta.

“SHE DEVIL” is promoted by Roma Capitale, Assessorato alle Politiche Culturali e Centro Storico – Sovraintendenza ai Beni Culturali.

SHE DEVIL 5 PDF

 

19 Jun

WHERE & WHEN
Galerie d’art Louise-et-Reuben-Cohen: June 27 to July 2, 2011
1 pm until 5 pm

Struts Gallery: July 4 to July 8, 2011
1 pm until 5 pm

CAMEO, a research project by Valerie LeBlanc featuring interviews of creative persons.

A cameo role refers to a famous person playing her/himself in a brief appearance. Like a cameo brooch a director, actor or celebrity is instantly recognizable when she/he appears in a cameo role, and it adds a personal signature to a film. Alfred Hitchcock often inserted himself as a passive bystander. His cameos became so popular that he began placing them early in each film so audiences could then give their full attention to the story.

In the CAMEO project, special appearances of creative persons will offer some insight into their unique zest for the creative process. The main topics of discussion will stem from questions surrounding the idea of how a project gets started, where it can lead and how it is possible to see it through to the end.

CAMEO BROOCHES
A cameo is a special type of carved jewelry that was popular during the 19th and early 20th centuries. Typically, cameos were portraits in profile. Carvings done in relief, and featured two contrasting colors. A CAMEO pin of each creator will be made using stills from the interviews. When the project is complete, plans will be made to display the interviews and the CAMEOS.

Additional notes on cameos:
Cameos are also common in novels and other literary works. A literary cameo usually involves an established character from another work making a brief appearance. In this case, the cameo establishes a shared universe, makes a point, or offers homage. Balzac was an originator of this practice in his Comédie humaine. Sometimes a cameo features a historical person who drops in on fictional characters in a historical novel, as when Benjamin Franklin shares a beer with Phillipe Charboneau in The Bastard by John Jakes.

Films based on actual events occasionally include cameo roles of the people portrayed in them.

Excerpts sourced from:
http://en.wikipedia.org/wiki/Cameo_appearance
http://en.wikipedia.org/wiki/Cameo_(carving)
http://www.wisegeek.com/what-is-a-cameo-brooch.htm

OÙ et QUAND ?
Galerie d’art Louise-et-Reuben-Cohen: 27 juin au 2 juillet 2011
13 h à  17 h

Struts Gallery: 4 juillet au 8 juillet 2011
13 h à  17 h


CAMEO, un projet de recherche de Valérie LeBlanc sur le processus créatif.

Un rôle de caméo est une apparition éclair faite une personnalité célèbre. Comme une broche-camée, le réalisateur, la vedette ou la célébrité est instantanément reconnue quand il apparaît dans un film. Alfred Hitchcock s’est lui-même souvent inséré dans ses oeuvres comme un spectateur passif. Ses apparitions sont devenues si populaires qu’ils les plaçaient au début de chacun de ses films afin que le public puisse se concentrer sur l’histoire et non sur ses passages éclair.

Dans le projet CAMEO ce sont des créatrices et des créateurs qui apparaîtront et qui rendront compte de leur processus créatif. Les questions posées seront axées sur la découverte, l’intuition et l’incubation. Comment se développe et se réalise une œuvre, un projet artistique.

Broches camées

Le terme de camée, emprunté de l’italien cameo est de même origine que camaïeu. La camée est un type de bijoux sculptés, qui était populaire au 19e, et début du 20e siècle. Les camées sont taillés dans des pierres plus ou moins tendres et représentent habituellement le profil d’une personne.

Une broche camée de chaque créateur sera réalisée en utilisant des images tirées des entrevues. Ultérieurement, les camées et les entrevues seront exposés.

5 Jun

• MPB Was There Then, Sackville I’m yours, still: a members’ exhibition, Struts, Sackville, NB

This is Real
One’s own sense of presence, of being here, of being here now, is the exact momentous hinge. Fleeting, racing, flying in reverse, encapsulated pearls of events are dissolved into the universal space as soon as they breathe life. They become strung on the flowing chain of events ordered through the construct of time.

Surviving in the current climate is enhanced by virtual presence, and at the same time, the voyage through the day-to-day chain of time-based events can, at times, become tenuous.

That is when it is important to remember that regardless of any worldly physical architecture, the moment of thought will always be located here and now.

– Valerie LeBlanc, June 1, 2011.

written loosely in reference to:

Paul Virilio, The University of Disaster, Polity Press, Cambridge, UK, 2010, pp. 45-46 (original publication 2007)

Lying by deterrence of reality, which resurrects lying by omission, is actually an attempt to institutionalise ‘conscientious objection’ or, better still, the duty of reserve – by misusing the energy of the visible, of the audiovisible, in order to condition people’s thinking through the ‘reality effects’ of teleobjectivity.  Yet such a retreat claims to be immediate connection.  What they omit, here, is to specify something that nineteenth-century economists used to observe, with humour, regarding the ascendancy of the railway: ‘The problem with the railway is that it works both ways.’

Distancing brings us closer.  That’s explicitly obvious, on condition, however, that we don’t neglect what is implicitly obvious: the proximity of the far away greatly favours exteriority to the detriment of all conscious interiority.  In other words, the ‘real time’ of telecommunications disqualifies the real space of objective presence, promoting instead the virtual telepresence of being over there.  This has reached the point where the impact of the ascendancy of the railway of yore is now superseded by the impact strategy of the totalitarian enterprise of the multimedia over our mental outlooks.

Being here, here and now, is then subtlety discredited, rendered furtive, to the exclusive advantage of an absence imposed remotely by means of a teleobjectivity that no ones contests in its optical credulity, or more exactly its ‘electro-optical’ (optronic) credulity.

28 Apr


[Downtown: Pastimes]

Part of my practice involves using video in ways that are sometimes perceived to be proprietary to film. In my 2003 series Downtown, the images on billboards are literally positioned as ‘the thinking image’ [1] as defined by Gilles Deleuze in Cinema 2: The Time-Image. The images of people, laid out by marketers to sell condominium lifestyle, are juxtaposed with texts that speak thoughts for those future residents. The subjects contemplate existence and the videos end with the revelation that it is the voice of an image that speaks over time, in what is literally ‘ a 2-dimensional world.’ In reality, on closer inspection, it becomes obvious that some of the subjects have taken on character weaknesses closely resembling the problems sometimes associated with high-density living. For example, in Splitting Image, the young Asian male on the balcony actually appears to be more in the headspace of committing suicide than ‘Living the Dream.’ When viewing the image even closer, it becomes obvious that this character with the fully developed imagination of the protagonist is less than a full image. He had been constructed from a face and shirt pulled from a marketers’ catalogue, and yet, he has everything he needs to sell inner-city condos. Not many, if any of the GRP’s (Gross Rating Point) passing audience members will probably notice that he has no hands and no lower body. The ‘half-man’ is floating above the balcony wall. And yet, with a quick drive by, he appears complete, the man who ‘owns’ in a desired real estate market. [2]

In the same (Downtown) video series, Pastimes [3] , features a text that speaks for the thoughts of a woman seated in a coffee shop. At first it is not obvious whose thoughts are carried by the text. It could be any one of the characters we see depicted, but it is perhaps owing to the woman’s disillusioned expression, that we might come to think that the words reflect her thoughts. The contemplative words in the text question the meaning of (her) existence and a camera close-up links her expression to the bleakness of the text. As the camera zooms in, we see that she is built of dots (standard 4 colour process) mimicking the pointillism painting style of Georges Seurat. The camera pans over to a couple looking up to the balcony where the young male star of Splitting stands with his face split by a carelessly matched seam. Suddenly the camera veers left to shatter the reality of what we have been looking at. True to what we might have already suspected, we now see that the camera has framed our gaze on a marketing billboard in the middle of a construction site.

The portrayals of condo residents in the videos juxtapose the billboard messages into possible future states of mind that the 2-dimensional representational images might possess. They remain trapped in scenarios, suspended on construction site billboards. They become virtual beings locked into the framing of the marketing strategy of the billboard and the video camera’s wandering perception. They are the virtual in opposition to the actuality of the movement-image. [4]

[1] Deleuze, G. (1989). Cinema 2:  The Time-Image, translated by H. Tomlison and R. Galeta.  London, England: The Athlone Press. (First published as Cinema 2, L’Image-temps Copyright 1985 by les Editions de Minuit, Paris). (pp. 22-23).

[2] LeBlanc, V. (2003) Time Travel in This Moment: Splitting Image.  Retrieved April 22, 2011 from, http://www.timetravelinthismoment.com/bonus.html

[3] LeBlanc, V. (2003) Time Travel in This Moment: Pastimes.  Retrieved April 22, 2011 from, http://www.timetravelinthismoment.com/bonus.html

[4]  Deleuze, G. (1989). Cinema 2:  The Time-Image, translated by H. Tomlison and R. Galeta.  London, England: The Athlone Press. (First published as Cinema 2, L’Image-temps Copyright 1985 by les Editions de Minuit, Paris). 41

 

In Your Wildest Dreams

Pastimes

Splitting Image

Watching

Nature

About Valerie LeBlanc


Originally from Halifax, Nova Scotia, pluri-­disciplinary artist and writer Valerie LeBlanc has worked in Canada, the United States, Europe, and Australia. Her creations travel between poetry, performance, visual and written theory. Valerie LeBlanc has been creating video poetry since the mid 1980’s, and is the creator of the MediaPackBoard (MPB), portable screening / performance device.

L’artiste pluridisciplinaire Valerie LeBlanc est vidéaste, poète, performeuse et essayiste. Son travail oscille entre le remarquable et le quotidien. Elle a exposé ses œuvres en Europe, en Australie et au Brésil. Elle crée des vidéopoèmes depuis le milieu des années 1980 et a inventé le MediaPackBoard (MPB), un appareil de projection mobile pour la performance.

Date : April 2020
Genre : Vidéopoésie/Videopoetry
Français/English

Videopoetry / Vidéopoésie

Small Walker Press

Archives