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• W244764001 abstract "LE MOIS DE LA PHOTO A MONTREAL MONTREAL, CANADA SEPTEMBER 8-OCTOBER 10, 2005 For one month this past fall the grand city of Montreal was saturated with photography as it celebrated the ninth edition of Le Mois de la Photo a Montreal (MPM) under the theme of Image & Imagination. The event was initially conceptualized in 1987 by the Montreal photography center Vox to celebrate the one hundred-fiftieth anniversary of the invention of photography, with the first festival held in 1989. The only biennale devoted to contemporary photography in Canada, and an independent, nonprofit entity since 2002, the event now presents a thematic focus for each edition and engages a curator to serve as Artistic Director, overseeing all exhibitions, events, and publications. This year's Artistic Director was Martha Langford, an assistant professor of art history at Concordia University in Montreal and founding director and chief curator (1984-94) of the Canadian Museum of Contemporary Photography in Ottawa. Langford chose the theme of Image and Imagination for this year's event, in an effort to explore in depth the life of the photograph as it is interpreted by viewers' minds. Twenty-nine exhibitions running throughout the duration of the formal event (and several extending beyond) featured the work of sixty contemporary artists from seven countries (Australia, Canada, France, Haiti, Japan, the United States, and the United Kingdom). In accordance with the festival's intent to integrate elements of photographic education into its programming, special programs for school children and the public include guided tours of the exhibitions as well as panels, curator talks by Langford, and numerous gallery talks by visiting artists including Martin Parr and Shana and Robert ParkeHarrison. The highlight of the third week was a one-day conference. The exhibitions took place in major museums and university galleries, artists' spaces, and four state-run cultural centers (Maisons de la culture), as well as an art therapy center. While perhaps focusing on Canadian work as a reflection of its roots and geography, the exhibitions of MPM 2005 provided an overview of contemporary photographic practice across the globe, even if the categories in which certain artists or works were grouped at times seemed a bit forced. The first section of exhibitions, Sightlines into the Imagination, focused on the relationship between the senses and included six solo shows. Carolee Schneemann's solo exhibition of new and recent work, Disembodied, (2001-05) demonstrates the artist's continuing attention to individual and global social concerns, anchored in the inevitable physical nature of the world. In the multi-channel video installation Devour (2003), viewers are offered a range of imagery addressing the concept of greedy consumption ranging from a reverse image of a woman eating noodles to a couple having intercourse to a baby suckling to the body of a woman lying in the street of an urban war zone--her head apparently shot off. The exhibit also included the equally shocking Terminal Velocity (2001), a composite digital image of people jumping from the towers of the World Trade Center on September 11, 2001. The grainy images scanned from television and amateur photographs and video sources become increasingly anonymous as they are enlarged. However, viewers are drawn in by the human elements that materialize from each body: a flapping tie, the seemingly choreographed arc of a leg, a pair of arms held aloft like goalposts, the fetal position of a body as it is silhouetted against the stripes of the towers, which themselves begin to take on the shape of a vertically hanging American flag. [ILLUSTRATION OMITTED] In Lynne Marsh's installation Crater (2005) viewers entered into the middle of a 360-degree panoramic video projection (based on a three-dimensional simulation) of the crater of Mount St. …" @default.
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• W244764001 date "2006-01-01" @default.
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• W244764001 title "A Hunger for Images" @default.
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