Photo: Jérôme Nadeau
“Instagram is focused on the work. I publish and assumes that it is to be seen in a professional manner”, commented Jérôme Nadeau, from the master’s program in photography from Concordia University, cuvée 2016.
After two and a half months of activity on the “market” from a page in Facebook — and after 100 works are sold — the group The Auctions of the quarantine has reached a turning point. The news shakes him.
With the reopening of the galleries and museums, the public found the venues usual. It is a thing. The lifting world against the systemic racism, awakened by the death of George Floyd under the knee of a police officer, is another.
For Sara A. Tremblay, the instigator of the unusual auction, there is no question of putting an end to the exercise. However, it is time to rethink it, take it out of its niche of montreal. “We want to be more inclusive, it is necessary to transform our team, all white. The more one includes [people from diverse backgrounds], the more we will share the works of the diversity, ” she said.
Designed to support the artists so that the COVID-19 cut off all of their income, the project is a success. Based on the simple objective of link artists and collectors, The Auctions, the quarantine have been attacked by much more than the only painters and other sculptors represented by a gallery.
“The pandemic,” observes Sara A. Tremblay, herself an artist, has put a spotlight on a lot of weaknesses in society, such as issues of racial. It was found that all those who are not represented. They are non-existent, are not supported by anything, do not have a scholarship… It is a hole in the market that we have highlighted. “
Competition for visibility
Visibility of the one against invisibility of the other. It, it was yesterday. In the spring, a single space, the Web, remained open. And it got shoved to the door. Christelle Proulx, phd student in art history at the University of Montreal and keenly interested in digital culture, does not yet dare to draw any conclusions, except that ” the dynamic that existed was exacerbated “. “The whole middle [of art] is trying to find a visibility in the abundance of the online offer. “
In ” The visual arts and to Instagram “, text prepared for the fair Paper 2019, the researcher separated the two types of artists, according to their publications. There are those that ” participate to a certain romanticism in the work “, by the access they give to their workshop. And then, there are those who create based on the social networks. What are these works ” for Instagram “, mid-way between the documentation and the Web-based work, which have multiplied these last few months.
“There has been an increase, but also awareness of the dependence [to the networks]. He knows that he must learn to manage the platforms that already exist. There will be no change, but a certain transformation, ” says she, with a reservation.
Make a network
It is confined to that Myriam Simard Parent has completed his bachelor’s degree in visual and media arts at UQAM. The sculptor has a few exhibits (actual) to his credit and a constant presence for the past two years on Instagram. It publishes research, work in progress, works finished… everything, finally.
“Since the spring, I publish more. Before, it was twice a month, now once a week, ” said the one who touches the wood, metal and ceramics. His images have brought him a lot of sales. How much ? “Since the containment, one, two, three… eight, nine, ten… I do not know too much. A fortnight “, eventually she concluded.
The COVID-19 will have been for Myriam Simard Parent leads to greater awareness. Subscribers, it has almost two times more, ” full of people I do not know.” Pandemic or not, Instagram and the like represent for her the place where to create a network. “It is such that I meet the artists. “
“Instagram is focused on the work. I publish and assumes that it is to be seen in a professional way, ” said for his part, Jérôme Nadeau. From the master’s program in photography from Concordia University, cuvée 2016, the artist is satisfied with “communicate with a small number” of users.
Photo: Jérôme Nadeau
Jérôme Nadeau, “A Reasoning Abyss”, 2020, Exhibition/digital document
Of course, the co-founder of the alternative gallery soon.tw, and today represented by galerie Nicolas Robert, recognizes that social networks can get out of the margin. Jérôme Nadeau, however, remains critical in the face of the abundance of images, in the face of ” a competition that flattens even more of what is already flattened image.”
“To get out of the lot, it can be pejorative, but it can be a challenge too, he adds. There are those who think that things exist in a consistent manner. “
The path of the reproduction
“Exposure [real] puts in relation the works. It revolves around them. Instagram, it is the culture of speed, ” says Myriam Simard Parent. Like her, all interlocutors who were interviewed believe that the real experience in a museum or a gallery, will survive. But up to what point the sudden growth of the online broadcast will hurt does it ?
In the article ” The Work of Art in the Age of the Internet “, published in may in the magazine (online) Hyperallergic, the author and critic David Carrier considers that what we are experiencing is so radical that it changes our relationship to art More than ever, each one can reformulate The imaginary museum of Andre Malraux, this meeting works global based on the photograph.
Photo: Myriam Simard Parent
“Bouquet of tulips”, the work of Myriam Simard Parent
“As Malraux noted, Édouard Manet and his followers painted for the museum,” he wrote. The future generations will work more in terms of the Internet than the aura of the original work. “
According to the theorist to new york, one is more impressed by the reproductions which accumulate the number of views by the artifact. The latter, such as the manuscript of the writer, it is for experts. The beautiful and sublime Kant, he says, one could substitute “the immediate and liked” as a value judgment.
The Auctions of the quarantine, them, continues. Sara A. Tremblay ensures that the selection of works meets the appropriate criteria. It is the quality which prevails, and the willingness to find talent. It doesn’t replace a gallery, does not representation. The initiative has its relevance as it will open doors. And unknown artists, she believes, there are in all regions, throughout the country.