Episode 10: Celia Perrin Sidarous

Celia Perrin Sidarous photographs objects and spaces. Her work has been presented in solo exhibitions at Walter Phillips Gallery (Les Choses, 2013), WWTWO (Paha-Koli is Evil Mountain, 2012), VU (Le livre des choses, 2011) and Les Territoires (Trouées, 2009). Celia has attended residences at The Banff Centre, Vermont Studio Center, Artscape Lodge Artist Retreat at Gibraltar Point, The Art and Culture Center Kolin Ryynänen (Finland) and Centre Sagamie. She earned a BFA in 2008 and is currently completing a Master of Fine Arts at Concordia University.

In this episode Celia discusses practices of looking; the secret life of inanimate objects; self-referentiality and the experience of time; travelling with art; the frame of the camera as a space of exploration; the politics of being an artist; and the importance of defamiliarization.

This episode was hosted and produced by Yaniya Lee.

Tumblr design and podcast logo by Naomi Cook.

With a Snake With a Worm in its Mouth” by Subversive Intentions (2014)

Improvised performance by Tanya Tagaq

Find more of Celia Perrin Sidarous’ work at


Write to arttalksmtl@gmail.com and subscribe the podcast on iTunes or Podbean.

ATM Episode Nine: Nadia Moss

Nadia Moss is a visual artist and musician. She has presented solo exhibitions and attended residencies in galleries and art spaces across Canada and the United States. With ink, watercolor and whatever other material suits her fancy she makes fantastical, otherworldly bodies as works on paper, sculptures or installations. She published two books of drawings and paintings-“Bébé”(2009) and “Mr Non Pigeon” (2005) -with Montreal press L’Oie De Cravan. In 2013 she earned an MFA from York University and had her grad show,“Dirty Backwards Promises,” in the kitchen of her alma mater, the Inglenook Community High School.

In this episode Nadia talks about art school, bodies, the “Fucker In Training” exhibition at Weird Things, being interviewed by her teenage self, embedding pearls, insulation Styrofoam, her relationship to drawing, Lynda Barry, hanging out with teenagers, post MFA blues, and the indispensability of having a studio .

This episode was hosted and produced by Yaniya Lee.

Tumblr design and podcast logo by Naomi Cook.

“Behind the bushes” from The Knife’s Silent Shout (2003)

“Girl” from Maica Mia’s Sparcity Blues (2012)

Nadia Moss and Caroline Boileau’s work will be shown together at galerie Espace Robert Poulin August 23 to September 20th 2014.

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photo: Caroline Cloutier

ATM Episode Eight: Eloi Desjardins

Eloi Desjardins is an arts journalist, a critic and an independent curator. From 2004-2014 he hosted Un Show de Mot’arts, a radio show dedicated to new media and visual arts. He is a gentleman about town on the arts scene, ubiquitous and well informed. During this episode, Eloi shares what he’s learned throughout the years.

On the steps of the Musée d’art contemporain de Montréal in the Quartier des spectacles, Eloi and Yaniya talk about the Montreal artist’s trajectory to global visibility; the importance of radio as a platform for talking about visual arts; Raymonde Moulin’s deductions about art world capitals; entrepreneur cum patron of the arts Alexandre Taillefer; increasing attention to the commerce of art; Université de Montreal (UdeM) vs Université du Québec à Montréal (UQAM); and the influence of the private sector on Montreal’s major art institutions.

This episode was hosted and produced by Yaniya Lee.

Tumblr design and Podcast logo by Naomi Cook.

“Rode null” from Hauschka’s Ferndorf.

“Example #22” from Laurie Anderson’s Big Science.

Learn more about Eloi Desjardins’ work at http://www.unshowdemotarts.net and on twitter.

Find the Art Talks Mtl podcast on ITUNES and PODBEAN.

ATM Episode Seven: the MAW collective

Since 2010 Gabriel Baribeau, Jackson Darby, Max Evans, John Gunner, Craig Spence and Simon Zaborski have been making sculptures, installations and videos together as the MAW collective. They’ve had solo exhibitions at Galerie Lock, VAV Gallery, Galerie AB and CTRL Lab. This past May, MAW created Deflective Skepticism & Critical Plinking for Parisian Laundry’s bunker space.

Over beers, Yaniya Lee speaks with Max Evans and Craig Spence about MAW’s past exhibitions; how their practice has improved through skill-trading and knowledge sharing; the difficulty making personal work within a collective; the dissonance between their art writing and their actual work; and their struggle to address their privilege making art together as 6, straight white men.

This episode was hosted and produced by Yaniya Lee.

Tumblr design and podcast logo by Naomi Cook.

Opening song from a 2010 recording of a live performance by Tyr Jami of Syngja.

“Feathers” track from Man Man’s album Six Demon Bag (2006).

Learn more about MAW Collective on their website mawcollective.com

 Find the Art Talks Mtl podcast on iTunes and Podbean.

A conversation following Present - Absence, a performance by Maria Hupfield (January 17, 2014, SBC Gallery of Contemporary Art), photo by Corina Ilea. 

ATM 06  a conversation with CURATOR ANNE-MARIE ST-JEAN AUBRE

ATM Episode Six: Anne-Marie St-Jean Aubre

Anne-Marie St-Jean Aubre is a writer and independent curator. She has curated exhibitions at le Centre de diffusion Clark, le Musée régional de Rimouski, la Galerie de l’UQAM and la Cinémathèque québécoise. Her writing about art has been published in Ciel Variable, Inter, ETC and esse arts + opinions. She currently works as assistant director and assistant curator at the SBC gallery of contemporary art.

Some of the topics discussed during this episode: the concepts of tableau vivant, mis-en-abime, the spectator as recipient of the artwork’s gaze, and the relationship between performance and painting as they are explored in Anne-Marie’s curatorial projects Faire comme si (2012) and Re: Faire comme si (2014); curating group shows vs curating solo shows; sovereignty; colonialism, First Nations art and multiple histories; the politics of territorial acknowledgements; and the implications of the absence of a French equivalent to the English term ‘settler.’

Anne-Marie worked with visual artists Jacynthe Carrier, Julie Favreau and Vicky Sabourin to create the exhibition RE: Faire comme si, at the Maison des arts de Laval until July 13, 2014.

Produced, hosted and edited by Yaniya Lee

Tumblr design and podcast logo by Naomi Cook

Cylinder Two from Chris Zabriskie’s album 'Cylinders' (2014)

Cripple Creek originally performed by Buffy Sainte-Marie and Fred the Wonder Horse on Sesame Street (1977). 

Learn more about Anne-Marie’s work on her website: http://www.annemariestjeanaubre.com/

 Find the Art Talks Mtl podcast on ITUNES and PODBEAN.

ATM Episode Five: Seripop

     Chloe Lum and Yannick Desranleau are the prolific paper artists behind Seripop. Their creative collaboration started in Montreal over a decade ago. They toured North America and Europe as part of the avant-grade noise-rock formation AIDS Wolf for a while, and at the same time became pretty renown poster designers and printers. Gradually, Seripop has settled itself into the visual arts world with various kinds of outlandish paper installations, showing work across Canada and overseas, even making the cut for the 2011 Québec Triennial.

     Some of the stuff Chloe and Yannick talk about during this episode: their efforts to explore the plasticity of paper and make work that hits you in the gut (or your “lizard brain” as Chloe calls it); how they set up Rube Goldberg-like devices during their installs to give their paper sculptures maximum agency; why they left freelance printmaking to go back to art school; the Looming exhibition they showed last summer at Toronto’s YYZ.



Looming, Installation view at YYZ Artists’ Outlet, Toronto, Canada, 2013 (photo by Allan Kosmajac).


Produced, hosted and edited by Yaniya Lee.

Tumblr design and podcast logo by Naomi Cook. 

Falling suite from Delia Derbyshire’s ‘The Dreams’ (1964).

Ch-Ch-Chatter track from AIDS Wolf’s album ‘Cities of Glass’ (2008).

Learn more about Seripop’s work on their website, seripop.com.

Find the Art Talks Mtl podcast on iTunes and Podbean.

ATM Episode Four: the Artifact Institute

     At the curious intersection between art, research, electronics, archiving, sociology and sustainability, the Artifact Institute investigates different issues and perspectives relating to electronics and group formations. It does so by fostering spaces in which people can reflect on their relationship to their artifacts, and gain a better understanding our societies’ rapidly changing processes of valuation.

     The Artifact Institute has undertaken projects in major cities across Canada. In May, it hosted Investigation 2: Electronic equipment not accepted for curbside garbage collection by the Halifax Regional Municipality, a roundtable about electronic waste in Halifax. (It facilitated a similar event, the Public Forum on the Status of Electronic Equipment in Montreal a year earlier.)

     Information about the Institute’s activities is mildly elusive. Last February, for the fourth episode of the Art Talks Mtl podcast, we sought out co-founders Tim Dallett and Adam Kelly to get a better understanding of their work. We were delighted to have this meticulous, articulate pair describe their projects, explain their practice within an art context, and outline the broader goals of their research.


Find the Art Talks Mtl podcast on iTunes and Podbean.

ATM Episode Three: Robert Poulin

     Long time collector Robert Poulin regularly exhibits work he owns at Espace Robert Poulin, in suite # 411 of the Belgo building. In 1995 he founded La Peau de l’Ours a group of art collectors dedicated mainly to buying large scale paintings by lesser known artists. Based on a similar venture in Paris at the turn of the century, which focused on modernist works and was eventually resold, this collection is destined to become a private foundation. His passionate search for undiscovered, authentic work has led Robert towards art brut and the low bow. In this episode, he shares his views on the nature of collecting, and the hardships of any genuine artistic vocation.

Find out more:

Espace Robert Poulin

La Peau de L’ours 

Find the Art Talks Mtl podcast on iTunes and Podbean.

ATM Episode Two: Joanna Lai, Danielle St-Amour and Willie Brisco

An Art Talks Mtl interview with Joanna Lai at the Coatcheck Gallery, followed by a conversation with Danielle St-Amour and Willie Brisco at WWTWO Gallery.

     We were interested in finding out more about the financial and creative decisions that go into founding, and running independent galleries. As far as we can see, there exists today a direct, if opaque, relationship between Montreal’s independent gallery spaces and Quebec’s history of artist run centers. Starting in the late sixties, artists were banding together to create spaces for the creation, and showcase, of contemporary practices that were alternative to the commercial galleries and museums. These artist run centers (ARCs) met a need that wasn’t being fulfilled by the latter institutions. They were independently run, not for profit organizations whose primary aim was to foster artistic exploration, and share its results.

     The heyday of such spaces, both in activity and quantity, occurred during the eighties. In 1986, for instance, the RCAAQ (Regroupement des centres d’artistes autogérés du Québec) was formed to help ARCs communicate with government agencies, and petition for funding. The structural and institutional organization of ARCs progressed in such a way that by the nineties, the work they were doing, and their relationship to artists, was drastically different than what it had been at inception. The regimentation of boards of directors, fixed mandates, government funding and financial transparency made it so ARC’s were no longer effective in the same way.

      Another wave of independently run spaces then began. They once again became a platform for contemporary art practices and artists that uneasily fit into established institutions. They were often cross-disciplinary, incorporating many, sometimes incongruous, disciplines, and operated with vitality and curiosity. Unfortunately, their self organized and financially unstable natures often lead to ephemerality. In other words, these places are not sustainable, which is why so many are created and disappear again so quickly. We believe, however, that they are essential and unique locations of artistic thought and creation. We approached Coatcheck and WWTWO because, to us, they are a part of this legacy.

For more information about the two spaces, check out their websites: cargocollective.com/WWTWO and Coatcheckgallery.ca

Find the Art Talks Mtl podcast on iTunes and Podbean.