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Emmanuelle LĂ©onard

January 13 to February 13, 2017
Time
Wednesday to Sunday, 12-5 pm
Place
550, côte d'Abraham, Québec
Vernissage
Friday January 13th, 6:00 pm

About the Artist

About the Exhibition

Medias

Born in 1971 in MontrĂ©al, where she lives and works, Emmanuelle LĂ©onard is a graduate of Concordia University and the UniversitĂ© du QuĂ©bec Ă  MontrĂ©al. Her work has been featured in numerous exhibitions: Kunsthaus Dresden, Neuer Berliner Kunstverein (Germany); MusĂ©e d'art contemporain de MontrĂ©al, Le Mois de la Photo Ă  MontrĂ©al, Optica, Vox (MontrĂ©al); Mercer Union, Art Gallery of Ontario (Toronto); L'Œil de Poisson (QuĂ©bec City); Expression in Saint-Hyacinthe. She also took part in the 2011 QuĂ©bec Triennial, in the 2014 Biennale de MontrĂ©al, and her work was included in the exhibition Ă€ MontrĂ©al, quand l'image rĂ´de, at Le Fresnoy (France) in 2013. She has been awarded residencies at Villa Arson France; the Christoph Merian Foundation, Switzerland; and the Finnish Artists' Studio Foundation, Finland. Recipient of the 2005 Prix Pierre-Ayot, LĂ©onard was nominated for the Grange Prize, Art Gallery of Ontario (2012) and finalist for the MusĂ©e national des beaux-arts du QuĂ©bec's first Contemporary Art Award (2013) and for the Prix Louis-Comtois (2014). She was selected for the Canadian Forces Artists Program for a residency in 2017.

Pinel - Nicolet - SQ

The high-security psychiatric institution, the police academy, the forensic medicine laboratory: different sites where power is exercised through detention, training, and inquiry. Penetrating into these sites, which are difficult to access, Emmanuelle LĂ©onard looks for signs that reveal the ambiguity of their function; in such places, the guard, the police officer, and the caregiver are no less subject to observation than the criminal and the patient. With an apparent objectivity that is reflected in the coldness of the spaces, her photographs present scenes that are constructed in the interest of simulation, study, and inquiry. Though devoid of action or presence, the spaces themselves make evident the meeting of the real and the fictive, through clues of a form of surveillance which appear among the props and imitations.

 

Emmanuelle Léonard wishes to thank Nicolet's École nationale de police du Québec, the Laboratoire de sciences judiciaires et de médecine légale du Québec and the Institut Philippe-Pinel de Montréal for their precious collaboration.

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