Descent to hell with Vincent Larouche

Descente aux enfers avec Vincent Larouche

Photo: Simon Belleau
Vincent Larouche, “Mouths of ash” smart, 2019. Installation view.

The small gallery is fully up to an installation of Vincent Larouche, to the tune perky soon driven out. From a bank of images that proliferates the Internet, the artist depicts a gallery of characters to despair, despite the light character and bédéesque who dresses up. The drama in question remains allusive but pointing to the present time, who, delivered to neoliberalism, and indeed of any object of a wild market. Larouche reworks an imaging ready-to-use, and a priori meaningless, that it reloads from the legacy of the ancient painting and its mythologies.

At a time of mounting additional granted in a gallery, the young artist has undertaken to cover the whole of the exhibition space, extending the universe of his few paintings hanging on the wall. Solid colored and whiteness net present smooth surfaces on the bottom which is detached from the characters, to a commercial finish in which Larouche calls into question the superficiality. A disarray tragic tinge to all of the shares shown, the one who finds the pockets empty or, worse, those who think about death, by hanging or with a gun on the temple.

Violence deaf is that of the daily with the doings of its routines. In Bestiaries 2 (2018), one of the rare paintings, the personal hygiene of all the days surrounding a fateful vision which feeds on the associations left open with the other elements of the installation. Contractor, a character evolved for a walk (too) playful is part of the round shape in the space from one wall to the other, that our next continuing. In head, a bandit of the finance saves himself with the manna.


The environment created here by the artist is more sanitized, in a sense, as in his earlier installations, judging by the documentation of exhibitions he presented in alternative spaces such as, such as Calaboose and Bunker 2 (being in Toronto). Damage and debris were literally part of the deal. Nothing comes strew the ground in the current installation, for which the disaster within the scope of the representation is maintained. Taken as a whole, this mural holds a bit of ancient frescoes which depicted mythological scenes loaded, recounting the deeds of leaders, or fables and edifying.

A decorative plaque offers the face framed tight of a madonna, as an index of the references, which draws, among others, the artist. Its production, far away to stay with the graphic nature of the illustrations to the source, highlights the commitment the larger the painting, its history and its make. Larouche creates compositions that combine with strength, the different elements, which makes the installation if captivating him by granting him unexpected depth.

Rotary motion scurry here and there, in the chips white repeated in a table, and in the distribution of figures in space. With them, a vortex takes shape, dizzying. These grounds and their configuration could recall the scenes of agitated inhabitants of some of the paintings, the mannerists of the Sixteenth century, born in a climate of uncertainty. Other motifs are repeated and echo, like the double of the broken window, a form in the mirror, sordid, suggests a leak by defenestration. The gap of glass is combined with other plastic components, sometimes very subtle, creating tension between the illusory depth and the flatness of the surface ; the window did not stop, moreover, decline in the history of painting.

A Geppetto resigned, a woman in the sight of the lecherous gaze of a man and an insect threatening are also present in this gallery of characters who have nothing heroic, struggling with a sore as devious as unspeakable. It is a descent to the underworld, summarizes the diptych entitled Catabase, but that is not in the nature of a voyage of initiation, as a signage road “one way ” painted on the wall, shows us that it is forbidden to make reverse., and after

If you have not yet set foot in the gallery, it is more than time, since it will leave the space that we know him, at 305 rue de Bellechasse. After the exposure of Vincent Larouche, finishing the bachelor degree at Concordia, it is to Léopold L. Foulem and Edward Jasmine — ceramists experienced, active outside of the circuits in view of — the-art, as likes for his last range, evidence yet of the programming amazing who has made it his signature. The quartet behind, artists Simon Belleau, Nicolas Lachance, Jean-François Lauda and Jerome Nadeau, takes a break time to review how it conducts its activities. Flexibility and reinvention are the hallmarks of this entity dedicated to the dissemination of its peers. One thing is for certain, a publication about Pierre Dorion, in co-production with Instance, see the light of day, and the well-named Bruno’s Sports Bar Biennale will take place in April 2019.

Mouths of ash active

Vincent Larouche. To, 305, rue de Bellechasse, suite 101. Open Saturday (12 pm to 17 pm).