Michel Archambault folio 1989_2010

Michel Archambault

200m3online@gmail.com

folio 1989 - 2010

In the early 1980s, collaborating with électroacoustic composer Michel Tétreault, I focussed on developing very minimal, conceptual sound environments with the idea of sculpting sound exhibited in venues such as The Wired Society, Toronto (1984) and the Plan K, Brussels (1986). Then my sculpture dealt with the domestic, maximizing physical attributes in form of utilitarian objects (Sculptures et autres inventions, Louise Déry, Curator, Musée national des beaux-arts du Québec 1996). I have been exploring since then, in terms of volume and shape, different avenues proposed by the medium of sculpture.

In the last decade, my photographic work has underlined social behavior sourced from Architecture, Advertising and Fashion (Carte Blanche Magenta Foundation 2006). Parallel to my practice as sculptor, I organized exhibitions as curator and designer, and my collaborative projects have included the opening of the first centre dedicated to architecture in Montréal (1997): 200m3 architecture & satellites, exhibiting International/National projects from Architects such as Rem Koolhaas & Kate Orff and Arakawa & Gins. My work has been generously supported over the years, by The Canada Council for the Arts, Le Conseil des arts et des lettres du Québec, The Pollock-Krasner Foundation and The Adolph and Esther Gottlieb Foundation.

Contact: 200m3online@gmail.com Photographic Credits : Michel Archambult - Louise deLorme Design : dastudio All Contents of this publication © Michel Archambault 2010 All Rights Reserved

Michel Archambault

200m3online@gmail.com

folio 1989 - 2010

Michel Archambault

Transmission, Solo Exhibition Maison de la Culture_Montréal 2011 © Michel Archambault 2011

Century II © Michel Archambault 2011 Motorized Sculpture with Sound_LIght and Sound Components, Motors, Acetate, Wood and Steel

Detail Century II Š Michel Archambault 2011 Partial View of Exhibition

Michel Archambault

Sculptures et Images, Solo Exhibition Clark Center_Montréal 2010 © Michel Archambault 2010

Deep Roots Series Solo Exhibition Clark Center- Partial View_Montréal 2010 © Michel Archambault 2010

Deep Roots Series Š Michel Archambault 2010

Michel Archambault

Entrevoir_Group Exhibition at the University of Québec in Montréal, 2008_Louise Déry, Curator

Conversation about a painting © Michel Archambault 1996_Digitalized Prints_127 x 279cm Century I © Michel Archambault 2008_235 x 145 x 25 cm

Century I Š Michel Archambault 2008_235 x 145 x 25 cm

Michel Archambault

Artists’ Room__ Sound Installation_Sound Piece 11min, Textile, Vinyl, Lamp, Sound Components, Various Camera, Monitor, Short Wave Radio, and V

Artists’ Room © Michel Archambault 2007

Video devices.

Michel Archambault

Where is Julian ?_Solo Exhibition at Circa Center, December 2007, MontrĂŠal_ Sound Installation_Where is Julian ? Sound Piece 07 min, Textile, Vinyl

Where is Julian ? Š Michel Archambault 2007

l, Sound Components, Metal, Plexiglas, Neons._13 x 9.15 x 3m

Michel Archambault

Where is Julian ?_Solo Exhibition at Circa Center, December 2007, MontrĂŠal_ Sound Installation_Where is Julian ? Sound Piece 07 min, Textile, Vinyl

Where is Julian ? Š Michel Archambault 2007

l, Sound Components, Metal, Plexiglas, Neons._13 x 9.15 x 3m

Michel Archambault

Crossfader_Textile, Vinyl, Painted Mural, Plexiglas, Neon._215 x 205 x 55 cm

Crossfader Š Michel Archambault 2007

Michel Archambault

Archipel_Group Exhibition at Parisian Laundry Gallery, MontrĂŠal, 2006_Jean Pierre Morin, Curator.

In her sublime way, she knew without a doubt that she hated him Š Michel Archambault 2006_Textile, Metal and Rubber_4,26 x 4,26 x 10,3 m

Michel Archambault

Un élégant jeune homme_2005_ Textile and Metal.

Un élégant jeune homme © Michel Archambault 2005

Un élégant jeune homme © Michel Archambault 2005_ Textile and Metal_342 x 320 x 140cm RAMA © Michel Archambault 2005_Epoxy Paint, Steel and Wool._178 x 85 x 35 cm The Mammals © Michel Archambault 2005_Rubber, Steel and Textile._156 x 72 x 12 cm

Michel Archambault

Landmark III (Exterior Project)_Sculptor in Residence by Invitation for Season 2005-2006 at L’Usine C, Montréal, (Qc)_Partial view of exhibition.

Landmark III © Michel Archambault 2004_Epoxy Paint on Wood, Rubber and Steel._366 x 290 x 259 cm

Morphology Series Š Michel Archambault 2002-2003_Epoxy Paint on Wood, Rubber and Steel._Variable Dimensions

Michel Archambault

L’Oeuvre habitée_Public Art Proposal for Le Palais des Congrès de Montréal, Montréal, 2000_ Aluminium, Glass, Stainless Steel, Lighting, Landscapi

L’ŒUVRE HABITÉE PUBLIC ART National Competition for Montreal Convention Center_Le Palais des Congrès de Montréal_2000 Budget: 175,000.00$ This exterior project was conceived for the rooftop terrace of the Congress Center of Montreal. Created as a viewing system, L’Oeuvre Habitée’s design and concept enables people to ambulate walking on elevated corridors to take in the landscape of the city (day and night). Positionned at different strategic points on the corridors are large rectangular units, made of clear and frosted glass, containing sculptures composed of polished tubular aluminium.

At night, pathways light up and give out a futuristic atmosphere triggering large shadowgraphs effects created by the glass units filled with bright light. Underneath, pebbled paths crisscross a large section of landscape (vegetalized roof) primarly composed of wild flowers in tones of bright yellow.

L’oeuvre habitée © Michel Archambault 2000

ing (Vegetalized roof)._57 x 1.65 x 9.5 Meters

Michel Archambault

The Passing Presence_Solo Exhibition Centre Expression, Saint-Hyacinthe, Qc,1997.

Oasis Š Michel Archambault 1997_Aluminium, Rubber, Plastic, Neons, Water, MÊduse Video 5 min. for one monitor.

“OASIS,This lightweight, oversized vehicle, is an incorrigible conglomerate of bright new ready-made materials. Archambault’s has assembled them like a futurist sketch drawn in space. Installed at one end, a video monitor projects uncropped, unedited, slow motion images of a jellyfish expandind and contracting in space’.

—‘Titled Meduse, this video recorded during a visit at the Berlin Zoologischer Garten & Aquariumen is passive, intimate in scale and doesn’t seek to interpret its content. The video sequences suggests a sub-aqueous hidden universe that we might find in nature, but this is the micro context of the screen.”

Excerpts John K. Grande /Review

Michel Archambault

The Passing Presence_Solo Exhibition Centre Expression, Saint-Hyacinthe, Qc,1997.

HISTORY OF A LOGO The Passing Presence Solo Exhibition, Centre Expression, St-Hyacinthe Video for 2 monitors 17 min.

This video recorded in Berlin, affirms a sense of an ephemeral, almost fictional reality. The motorized Mercedes logo, visible from the appartment I rented in Savignyplatz, located on the roof top of the Mercedes Corporate Headquarters in Berlin had stopped functionning (turning), as it was lowered down for reparations, I decided to film the whole process. The creation of this video went through different stages; where the image was manipulated, re-captured again from a screen monitor, and by using different numeric effects, the images were also treated in order to give the video a painterly feel.

History of a Logo Š Michel Archambault 1997

Michel Archambault

Sculptures et autres inventions_Solo Exhibition at the Musée national des beaux-arts du Québec, Qc, 1996_ Didier Prioul, Curator in Chief in collabor

Surface © Michel Archambault 1991 (Collection of the Musée national des beaux-arts du Québec) Travel Arrangement I © Michel Archambault 1996 Travel Arrangement II © Michel Archambault 1996 Conversation about a painting © Michel Archambault 1996

ration with Louise Déry, Invited Curator.

Travel Arrangement II © Michel Archambault 1996_Powder Coat Aluminium “Archambault’s sculptures reveals a certain association with Richard Artschwager who, through the stereometry of minimal art, converts his objects into fictional furnishings. One can observe the European landscape, such as Joep Van Lieshout, Irene Fortuyn, Franz Erhard Walther, Imi Knoebel, and identify common conceptual and formal roots with the work of Archambault, more so than to the Canadian and Quebecois scene. But what is important is not the exact establishment of affiliations but rather the power of invention which marks the artist’s work.”

Louise Déry, Curator, Excerpts from catalogue: Michel Archambault, Sculptures et autres inventions.

Michel Archambault

Sculptures et autres inventions_Solo Exhibition at the Musée national des beaux-arts du Québec, Qc, 1996_ Didier Prioul, Curator in Chief in collabor

Travel Arrangement I © Michel Archambault 1996 Notre regard parcourt l’espace et... © Michel Archambault 1996 * title taken from Georges Perec, Espèces d’espaces. 1985 Ezra © Michel Archambault 1992 (Collection of the Musée national des beaux-arts du Québec)

ration with Louise DĂŠry, Invited Curator.

Conversation about a painting Š Michel Archambault 1996_Digitalized Prints._127 x 279 cm

Michel Archambault

Les éléments terrestres_Public art_Senior’s Housing, Coteau-du-Lac, Qc, 1995_ Aluminium, Stainless Steel, Concrete platform._117 x 488 x 366cm

Les éléments terrestres © Michel Archambault 1995 Catalogue © Michel Archambault 1995_Aquatint Series of 8, Edition of 10. 1995_30 x 38 cm Lecture I © Michel Archambault 1995_Proposal for Public Art Competition for Granby Regional Center for Learning, Qc_Stainless Steel _76,2 x 25,9 x 10,7 cm

Michel Archambault

Sculptures_Partial View of Solo Exhibition at the Occurrence Center, Montréal, Qc, 1995.

“Even the skin-like quality of the cloth upholstery of the works alludes at once to ornamentation, introversion and distancing, its tactile and sensual properties are nonetheless not excluded. The plush, the vinyl, and the cripe clothe and shelter the sculpture, convoking and provoking our senses, coating and comforting.” — “From the outset Archambault’s works inscribe themselves in the lineage of formalism and minimalism. Minimalism for the purity of forms and volumes, for their geometry and simplicity. Formalism, because of the powerful tensions between the masses, colours and materials.”

Mona Hakim, Excerpts from Sculptures_Documentation on solo exhibition held at Occurence Gallery in 1995.

Néo Terrestre Series © Michel Archambault 1995 (Collection of the Musée d’art de Joliette)

Michel Archambault

Sculptures_Solo Exhibition at the Saidye Bronfman Center, Montréal, Qc, 1994_Régine Basha, Curator.

Sculpture Debout © Michel Archambault 1991-1994_Textile and Vinyl._66 x 66 x 170 cm Ezra © Michel Archambault 1992_Textile._228 x 71 x 71 cm (Collection of the Musée national des beaux-arts du Québec) Yellow Shape © Michel Archambault 1991_Textile._178 x 108 x 102 cm (Collection of the ArtBank of Canada) Soft Circular Red © Michel Archambault 1989_Vinyl._244 x 117 x 31cm Soft Circular Green © Michel Archambault 1990_Vinyl._213 x 118 x 22 cm

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