Photo: Paul Litherland
View of the exhibition “The works and times” of Monique Régimbald-Zeiber at the Musée d’art de Joliette
With The books and the hours, the Musée d’art de Joliette (MAJ) presents a first retrospective look at the work of the artist Monique Régimbald-Zeiber (MRZ). Carried out with the complicity of the curator Anne-Marie St-Jean-Aubrée, curator of contemporary art, the expo highlights the aspects of the feminist contribution to the practice of painting, from the 1980s to today.
In the vast room where they are grouped together, the selected works are available globally as abstractions with their schedules and their plans, colorful covered with subtle variations. The research around the form and colors, in which there is a rich tradition in the history of the painting, and can be tilted quickly in considerations other. In the MRZ, the checkerboard pattern becomes a simple checkered cloth and the canvas, a skin marked by time. Frames in frames, grids, and fabric, combined also very often the voices of women drawn from the literature.
In short, the abstractions of the MRZ, to move away from the tradition, which assumes the language of pure painting, to incorporate references to the body, to the kitchen and privacy, all of which have to do with experiences in the feminine. The great game of abstraction, the years 1940-1960, of Borduas to Molinari, the occultait in particular.
The layout of the works says otherwise. While preserving the appearance of the white cube, which creates an artificial separation between art and life, the course will outline the parts of a house, from the kitchen to the room, to discover the rich challenges of the job. Despite the feeling of a string too tightly of works and collections of texts in the booster would have been able to score more, the formula turns out to be clever.
Of the water table at the page
The” input “and the” kitchen ” offer from the outset, the firm action of the artist, who brew in the history of painting, nature morte, was anchoring his work in the figuration in the 1980’s in the panels to tiles, a company of the reduction that takes a twist more conceptual and critical. As in these paintings where the words ” sausage “, ” turkey “, and “steak” draw out nothing but the blunt of the insults made to women. Also reads, scathing, and not once, but twice, ” your mouth “.
Be reduced to silence and to designate pejoratively are evils sexist, prevailing in everyday life and in the history of art, should it be inferred. The artist inscribed on the canvas such injury on the physical body. The tiles of the tissues of domestic rub off on some of the paintings suggest rather of the skin marked by bruises, stretch marks, or moles, highlighting surfaces that take the concerns and delights, proof of the skilful artist, and exercised what is MRZ.
Is part of the series of the most successful Large-nudity (1997), here judiciously interspersed Carcass #2 (1985), which bring together the flayed and their bodies. This segment of the wall has also large canvases by reference to Agnes Martin, a leading figure of abstract minimalist, best known for its grills clean as MRZ revisits in writing up his writings on the art, because for it the canvas is also a page, a book.
With them, never alone
Of the rest, in the privacy of the ” room “, there are many works generously covered with text, handwriting or stencil, which are not always legible, but that the titles ascribe to their author, preceded by a “with” : Noami F., Jane A., Nicole B. are the voices of different generations with whom MRZ repeated traumatic experiences (femicide, rape, incest, abandonment…). The painter acknowledges a legacy by his acts of recovery, the extent of which is racing with the passion. In The bottom of the story : the immigrant (2001-2019), 752 plates come out this time of the anonymity of the Daughters of the king, according to a process of recording dizzying, albeit sober.
The dialogues, with the history of painting and with the literary works read, mark this retrospective, which up to in the catalogue are not building the artist only. The publication which will be released on August 9, moves with inventiveness in terms of the year by sharing the process of working between the commissioner and the artist, and then by integrating an amazing lineup of invited (Johanne Jarry, Sophie Jodoin, Anne-Marie Ninacs,…), the texts of which taken poetry and subjectivity. The contribution of these accomplices, as well as forms borrowed also bear witness to the bequest to the community of the MRZ as a teacher influential in visual arts at UQAM, where she had a career.
The curator Anne-Marie St-Jean-Aubrée has completed programming under the seal of the “dialogue” with works raising awareness of violence against women, about elected well before the news story is intensifying. Chloë Lum & Yannick Desranleau, yet until this Sunday, explore the body in battle and weakened. In the group exhibition of afterimages, running until 6 September, the body rises away from the figuration classic over experiments present which are incisors, as in the series Statement Pot (2018) Brie Ruais. On the porcelain transgressing the conventions of ideal beauty, of the letters chant : “I Decide What Goes Inside “, ” My Body My Choice “, ” Me Too “. Other referents body add with the works of Maude Bernier Chabot, and Elizabeth Zvonar have in common, to exacerbate the materiality, in the case of shake, not without humor, sometimes, the power of the gaze. Finger truncated, face holes, mop torn off and other seascapes disrupt the identification of women with nature (fertile and nurturing. These are the witches who have because of Venus.
The books and the hours
Monique Régimbald-Zeiber, at the Musée d’art de Joliette, 145, rue Père-Wilfrid-Corbeil Joliette, until 6 September.