Toronto - Foire art contemporain

Marc Harold
http://www.villadelarte.com/gallery18.htm

Emll Alzamora
http://www.villadelarte.com/gallery24.htm

Toronto - Exposition Tim Burton

TIFF - 12 décembre 2010
Selon le Globe and Mail

At the TIFF Bell Lightbox in Toronto, spooky figures are grinning in the gift shop. A multi-eyed balloon boy is bobbing in the lobby. And the limbs of a TIFF-commissioned monster (inspired by a rejected drawing for Disney’s animated flop The Black Cauldron) are being assembled for a King Street West window display.

These artifacts are positioned to lure passers-by into Tim Burton, a revamped version of the Museum of Modern Art’s blockbuster exhibition exploring the 52-year-old American filmmaker’s art and career – and a show with monster-sized expectations.

While the original New York exhibition – curated by Rajendra Roy, Ron Magliozzi and Jenny He of MoMA’s film department – drew mixed reviews from art critics when it opened a year ago, it brought in hundreds of thousands of visitors, becoming the museum’s third most popular exhibition, behind only its retrospectives on Matisse (1992) and Picasso (1980).

Now Lightbox artistic director Noah Cowan hopes Tim Burton, the film hub’s first paid exhibition, will ring in revenues to help sustain its expanded year-round programming and, more importantly, turn Burton fans into Lightbox regulars (among other perks, an annual membership gets you one free Tim Burton admission and discounts on merchandise).

“Film drives the imaginative life of our society, and Tim Burton more so than anyone these days with extremely popular films full of unique ideas about how to see the world,” says Cowan, sipping an espresso in the lobby as workers prepare to install Balloon Boy, an inflatable sculpture. “For people only familiar with [the Toronto International Film Festival], the exhibition translates the mainstream appeal of a prominent figure into a museum-like institution and will hopefully give them a better idea of what Lightbox offers.” Cowan learned of Tim Burton, the first film-related exhibition in MoMA’s principal galleries, in 2007. The curators, he says, devised it to have greater opportunities for touring than previous MoMA shows. (It has already played Melbourne, Australia.)

“Over the lifetime of this organization we’ve had a close relationship and, in particular, TIFF Cinematheque and MoMA are perceived as twin curatorial leaders in presenting historical cinema in North America,” he says. “They took a chance on a new building because they believed the synergy with TIFF was to MoMA’s benefit, which is a tribute to the city and the organization.”

The original exhibition included more than 800 items – drawings, paintings, costumes and maquettes from Burton’s personal vault, major studios and private collectors, as well as video installations, TV commercials and new sculptural commissions. Most made it into the Lightbox redesign, which has been described as both “radical” and “subtle.”

“It’s a different journey through the same concepts,” Cowan says, adding that Burton was “very hands-on in calibrating the design of our show to his standards.” Plans for the redesign, which includes new “didactics” (text cards), were put in front of MoMA and Burton’s studio last spring and the reception was generally positive.

The biggest challenge for the designers was the fact that the Lightbox galleries are 1,200 square feet smaller than the MoMA space. “MoMA’s show was thematic and ours is chronological, which required us to dismantle some of their curatorial,” explains Barr Gilmore, who oversaw the redesign with Michel Arcand. “Our thread is that these drawings of creatures and clowns he’s been making all his life may return at some later point to populate another project.”

The extensive companion screening program launches next Friday with Burton Blitz, a weekend-long marathon that starts with a double bill of Vincent and Frankenweenie (shorts made during the CalArts grad’s career kick-off at Disney) and ends with his most recent movie, Alice in Wonderland.

Burton himself arrives at the Lightbox this Sunday for a first look and will participate in a public book signing on Monday, as well as a special session with university and college film students.

“Our motivation for putting resources behind our gallery space and going after shows like Burton is the growth of exceptional film-related exhibitions in the past five years,” comments Cowan, citing successful touring shows on Pixar Animation and Alfred Hitchcock as examples. “Our encounters with MoMA and engagement with an artist of vision like Tim Burton have inspired us to launch our own exhibition, maybe on one of our great Canadian filmmakers, within the next two years and see that travel the world.”

TIFF - Conference sur 2001: A space Odyssey - 8 décembre 2010

par Douglas Trumbull
Effets spéciaux de 2001 (Kubrick), Blade Runner (Ridley Scott), Rencontre du 3e type (Spielberg)
Inspiré du film canadien Universe
[effet special du Mindbender = double pyramide]

Concert - Toronto

Hoseshoe Tavern - 3 décembre 2010
ZEUS http://www.myspace.com/themusicofzeus
Amos The Transparent
Skeletones Four

TSO - 1er décembre
Richard Wagner - Prelude to Parsifal
Tchaikovsky - Violin Concerto in D Major, Op. 35 (Christian Tetzlaff)
Rachmaninoff - Symphony No. 3 in A Minor, Op. 44

Horsehoe Tavern - novembre
Winter Gloves http://www.myspace.com/wintergloves
Whale Tooth http://www.myspace.com/whaletooth

Bovine Sex Club - 17 octobre 
Pretty Reckless
Queen Killing Kings
Commentaires Eye Weekly http://www.eyeweekly.com/music/liveeye/article/104314

Expo - Toronto

ROM
29 octobre 2010
The Warrior Emperor and China's Terracotta Army
In 1974, farmers in northern China accidentally unearthed fragments of a terracotta figure - the first evidence of what would turn out to be one of the greatest archaeological finds in history. The terracotta army pits of the Warrior Emperor Ying Zheng.
The Warrior Emperor and China's Terracotta Army premieres at the ROM and runs until January 2, 2011. The exhibition showcases artifacts from the tomb complex of China's First Emperor - the largest tomb complex in China, and possibly the world.
Buried 2,200 years ago in what is now China's northern Shaanxi province, the First Emperor surrounded himself with nearly 8,000 full sized terracotta warriors and horses in magnificent military formations, along with many other artifacts, in preparation for the afterlife. The warriors are often referenced as the eighth wonder of the world and in 1987 the site was added to the official list of World Heritage Sites by the United Nations Educational, Scientific and Cultural Organization (UNESCO). 
Created by the ROM with our partners in China, The Warrior Emperor and China's Terracotta Army features the largest collection of artifacts related to the warrior emperor ever displayed in North America, alongside 10 life-sized terracotta figures from the pits of the First Emperor's Terracotta Army. Tracing key moments in history before, during and after the lifetime of Ying Zheng, the ROM is showcasing over 250 artifacts from the first millennium BC, on loan from more than a dozen archaeological institutes and museums in Shaanxi Province. Nearly a third of the artifacts on display have never been shown outside of China, and some have never been publicly displayed anywhere, making the ROM's exhibition a landmark event.
Highlighting the life, times, and afterlife of the First Emperor of the Qin dynasty, as well as the terracotta soldiers produced during his lifetime, the exhibition explores the figures in a broad historical and social context. Visitors will learn about China’s rich history during these periods and about the political and social transitions, including the dramatic change from war to peace, that took place during various dynasties.

AGO
21 novembre 2010
Maharaja
This fall, the Art Gallery of Ontario unveils an extraordinary exhibition that explores in depth the opulent world of the maharajas, from the beginning of the eighteenth century to the mid-twentieth century. Maharaja: The Splendour of India’s Royal Courts brings to Canada for the first time more than 200 spectacular works of art created for India’s great kings — including paintings, furniture, decorative arts and jewellery. These magnificent objects chronicle the many aspects of royal life and celebrate a legacy of cultural patronage by generations of maharajas, both in India and in Europe
http://www.rom.on.ca/terracottaarmy/en/exhibition/

Henry Moore
The Art Gallery of Ontario is known internationally for its extraordinary and extensive collection of Henry Moore works. The Henry Moore Sculpture Centre at the AGO originally opened in 1974, to house Moore's original gift to the AGO, now totalling more than 900 sculptures and works on paper.
Visitors can now view Moore's plaster and bronze maquettes, and the stones and bones that inspired him. They can listen to Moore explaining why he became a sculptor and how bronzes are made from plaster, and hear exactly how Toronto's Mayor Givens lost an election over Moore's sculpture, The Archer. Also available is rare archival footage directing the installation of the centre in 1974, and of the arrival, crane and all, of Moore's eight-ton Large Two Forms, now a city landmark at our northeast corner. Organized into different self-contained stations, the centre engages the visitor in a variety of interactive activities.
Henry Moore has always been an important artist for the city of Toronto. In 1958, Finnish architect Viljo Revell won an international competition to design Toronto's City Hall. Revell admired the work of Moore and recommended that the city purchase one of his bronze sculptures for the new building. A controversy over cost erupted, and the sculpture, The Archer, became the most talked about work of art in the history of the city.
http://www.ago.net/henry-moore-sculpture-centre

Opéra - MET à Toronto (Cineplex)

Das Rheingold (Richard Wagner) mis en scène par Robert Lepage
Samedi 20 novembre 2010.

Danse - Toronto

Pro Arte Danza - Passion in Performance (Roberto Campanella)
Fleck Dance Theatre - Harbourfront Centre
9 octobre 2010

Severe Clear (Christopher House)
Fleck Dance Theatre - Harbourfront Centre
19 novembre 2010

Selon National Post : Severe Clear dance reincarnation: ‘lyrical, innocence’ of North

Ten years after the original Toronto Dance Theatre’s production of Christopher House’s Severe Clear, the artistic director still sounds in awe of the journey to the Yukon on which he based the acclaimed dance work. Now he’s brought a fresh eye and new ensemble to an incarnation of the piece at Harbourfront Centre in Toronto.
“It was amazing, the quality of space, the quality of light,” he says of the North. “We flew to Whitehorse, then took a small plane to Herschel Island where the sun was shining at 2 a.m. It was like a James Bond movie. We swam in the Beaufort Sea and went by helicopter to the Tombstone Mountains, where they dropped us two by two. We spent three days camping.”
House travelled with 11 other performing artists, none of whom he knew personally, as part of a millennium initiative of the Yukon Arts Centre which commissioned the piece. “It was like summer camp for me, the first real break I’d had from all the choreography,” he says of the trip.
The finished work, the Dora-nominated Severe Clear, was a travelogue of his experience, following a group of nomads through a haunting wilderness where dancers morph into animals to the sounds of fierce wind and breaking ice from the glaciers. He’s been back to the Yukon several times since then.
“What I see when I look at the piece is the sense of community that unfolded,” House says. “Very collaborative.” One of his fellow travellers, musician Cate Friesen, now with CBC Radio, recorded nature sounds during the trip for a documentary. Those sounds became part of composer Phil Strong’s soundtrack for the production, blended with techno, a cappella harmonies from the dancers and a spoken text by House.
Back in 2000, the Post reviewed it with enthusiasm: “The choreography has a spontaneous, loose-limbed, almost improvisational look and is varied in style and dynamics. Sometime it is fast, darting and avian. Other times it is tranquil, almost static.”
House is keen on the physicality of the remount. “I have this outside eye. I’m seeing people being themselves in this work that is saturated with traces of the original and traces of the trip,” he says.
“It’s chance to reinvent, it’s like a new incarnation, where the original cast left off and taking advantage of all the research that was done for the first production.”
His artistic approach, too, has changed, opened up and become more relaxed than it used to be, so less formal in its presentation. It’s also a reflection of how dance performance has changed over the past 10 years.
“The density of editing has changed, like a film from today if people watched it 20 years ago, it would give them a headache. There’s this same history with performance — it’s that much more complex.”
How would he describe Severe Clear in its new form? “It’s really lyrical and innocent, lyrical and playful. It’s about the purity of the experience in some way, the amount of space that there is and the flurry of activity reflected in nature.
“I wouldn’t make a piece like this today, it’s not my style, but lovely to look at,” he laughs. “Or maybe I’m lying. Maybe I would.”

Resto Toronto

Brunch
DT Bistro - 154 Harbord St
Cafe La Gafe - Baldwin St
Sassafraz - 100 Cumberland (spiderman ...)
Ticama - 3 Kensington Avenue
Art Square Gallery - 334 Dundas St
The Bellevue - 61A Bellevue Avenue (Kensington Market)

Souper
Indien - Maroli - 630 Bloor W. (metro Christie puis vers l'est sur bloor après KFC)
Coréen - Ka Chi - +/- 34 St Andrew St.
Microbrasserie - Mill St. Brew Pub (Distillery District)
Ethiopien - Ethiopian House - 4 Irwin Street (coin Bloor)
Mexicain - Rancho Relaxo - 300 College Street (coin Spadina)
Nord Africain - 93 Harbord Street (plus chic)
Chinois - Ajisen Ramen - 332 Spadina Avenue (décembre 2012)

Expo Toronto - Céramique (Octobre 2010)

Breaking Boundaries au Gardiner Museum

Quatre artises canadiens :
Shary Boyle
Marc Courtemanche (reproduction d'outil de menuisier et meubles)
Carmela Laganse
Brendan Tang (maquettes futuristes)

Danse - Québec (6 novembre 2010)

Jumeaux à la Rotonde

Co-chorégraphie de Yann Alexandre (France) et le Fils d'Adrien danse (Qc). La chorégraphie de Yann Alexandre est mieux. Notamment celles avec les masques et l'ambiance est malsaine avec la musique.

Compte-rendu inversé ...
"La salle Multi, de la coopérative artistique Méduse, était pleine à craquer lors de la dernière prestation présentée par "la rotonde".  J'avoue ma surprise devant cet engouement populaire et c'est tant mieux.  il est rassurant de voir une longue file, qui attendait l'ouverture des portes. Suite à cette constatation, j'avais hâte de voir cette osmose entre deux chorégraphes venant de 2 continents différents, qui avaient décidé d'unir leurs talents pour nous présenter une performance commune.

 

 Harold Rhéaume,  le chorégraphe québécois,   a pris le temps de venir présenter le pourquoi et le comment de cette démarche.  Pour nous permettre de mieux comprendre le monde de ces deux artistes de la danse contemporaine, notre interlocuteur nous convie a 3 numéros.  Dans un premier temps, nous allons assister à une prestation de l'équipe québécoise .  Par la suite, il nous sera possible de plonger dans l'univers de l'épique française.  Et pour finir, nous aurons la chance de voir une performance ou le talent des deux artistes seront unis.

Quelques minutes plus tard, j'ai été confronté à un trio qui a pris le contrôle de l'espace d'une manière fort originale.  L'équipe québécoise est composée de Marilou Castonguay, d'Alan Lake et de Arielle Wamke St-Pierre.  Dans une harmonie de mouvements, à la fois tendre et passionné, nous avons droit à performance digne de mention.  J'ai beaucoup aimé ce que j'ai vu.

 

Arrive la prestation de l'équipe française....  Au travers une gestuelle qui se voulait passionnée, on nous convie à une sorte d'union des corps et des esprits grâce aux talents de Kevin Brueel et de Guillaume Chevereau  L'éclairage feutré, donné par un projecteur rouge,  ne permettait pas de bien voir les deux danseurs. La musique d'accompagnement, par bout très agressive, rendait l'observation de ce spectacle fastidieux de temps à autre.  Même si les artistes sont performants dans la gestuelle qu'ils ont à nous livrer, je dois avouer que j'ai ressenti une certaine lassitude.  J'émets quelques réserves sans pour autant dénigrer  ce que j'ai vu. 

 

Après une courte pause, on nous invite à partager le travail commun de Harold Rhéaume et de Yann Alexandre, artiste français qui dirige une troupe ayant pignon sur rue à Cholet.  Cette municipalité de 56,000 habitants se trouve au coeur du pays de la Loire, à l'ouest de l'Hexagone. J'ai aimé, du début à la fin cette leçon artistique.  L'union de leurs talents et leurs passions donne une puissance positive à cette performance.  Alan Lake, Arielle Wamke St-Pierre, Antony Cazaux et Claire Pidoux étaient époustouflants comme danseurs. Ils méritaient amplement les applaudissements de l'auditoire qui était venu les admirer. 

 

Même si la deuxième partie ne m'a pas enthousiasmée, je crois qu'il vaut la peine d'aller voir ce spectacle que je considère positif dans son ensemble."

Source : http://www.fureteurquebecois.com/article-les-jumeaux-spectacle-de-danse-offert-par-la-rotonde-60357609.html

Bruxelles - Art dans la rue (Septembre 2010)

Javier Marin expose des sculptures monumentales de chevaux et cavaliers sur la place royale et près de l'Albertine.

Photos : http://www.photolive.be/javier-marin-a-bruxelles/

Toronto - Concert (13 novembre 2010)

Concert à la Horseshoe Tavern (Toronto). Deux groupes ce soir:
Belle découverte Wale Tooth : http://www.myspace.com/whaletooth
Trop de claviers pour rester mais bonne écoute dans le salon : http://www.myspace.com/wintergloves