- Works by Diane Landry, Maotik and Robyn Moody at three major Central European events
- Molior 15 years | Online Publication on Daniel Langlois Foundation's website
- Colloquium : Contemporary Digital Art: Conservation, Dissemination and Market Access
- Molior 15 years | Fund raising
- Rhythms of the Imagination, Technological Tools and Works
- TransLife International Triennial of New Media Art 2011
- Fanfare (Ottawa)
- Captatio oculi
- Silly Circuits
- Contrainte/Restraint : New Media Art Practices from Brazil and Peru (Montréal)
- eARTS BEYOND : Shanghai International Gallery Exhibition of Media Art
- Fanfare (Montreal)
- FILE 2005
- VAE 9 – Festival Internacional de Video/Arte/Electrónico
- Rotoscopic Machines
- Totem sonique (Montreal)
- Silverfish Stream
The Blue Decline Series, Diane Landry, 2002Diane Landry
Aeryon, Maotik, 2017Maotik
Wave Interference, Robyn Moody, 2012-2013DK
Works by Diane Landry, Maotik and Robyn Moody at three major Central European events
Molior has set up two new coproductions with the Biela Noc organization in Slovakia and the Signal Festival in the Czech Republic for a total of three major events that will each present several wide-ranging light works in public space at the scale of their city. The works by Diane Landry, Maotik and Robyn Moody will be shown as part of the two Slovak nuits blanches. The events will be held on the following dates:
BIELA NOC (White Night) : 8th edition, Košice, September 30, 2017 and 3rd edition, Bratislava, October 7, 2017.
SIGNAL FESTIVAL : 5th edition, Prague, October 12 to 15, 2017.
Biela Noc is the biggest and most visited contemporary art festival in Slovakia. Founded in 2010 in Košice then established in 2015 in Bratislava, Biela Noc embodies the desire to (re)discover an urban environment which is given a new dimension through art.
Signal Festival of lights is the largest cultural event in the Czech Republic, whose unique integration of art, city space, and modern technology has drawn over 1.5 million attendees to Prague in the four years of its existence.
This project has received support from the following institutions: the Conseil des arts et des lettres du Québec, and the Canada Council for the Arts. Molior would like to thank the Conseil des arts de Montréal and Les offices jeunesse internationaux du Québec (LOJIQ) for their invaluable collaboration.
Created during a residency at Cypres, Marseille, in exchange with La Chambre Blanche, Quebec City.
“3 different Mandalas are part of Blue Decline installation. Deriving from the Sanskrit word for ‘circle,’ a mandala is an artistic representation of the cosmos, and is used in Eastern religious traditions as a focus for meditation. Using the now-ubiquitous plastic water bottle, Landry's mandalas conjure shadow versions of this spiritual symbol. Each of Landry's mandalas is created from only one kind of bottle, and bears the name of the brand of water it once held, i.e., Mandala Labrador. In Mandala Naya, a laundry basket ringed with water bottles is attached to the wall. A tripod, supporting a light attached to a mechanized arm, stands in front of the basket. As the arm moves forward, the light shines through the holes of the basket and through the water bottles, creating a startlingly beautiful shadow that stretches across the wall. This is the reward for watching Mandala Naya for its entire one-minute cycle; just as with traditional mandalas, the time required to experience the work makes it an object of contemplation.”
Flying School and Mandala Naya (excerpt), brochure, Rice Gallery, 2005.
A production of ENCAC.
Aeryon is an installation that recreates the beauty of an aerial landscape view through an advanced navigation visual system which analyses data sources. It is an artistic interpretation of a surveillance drone vision in which the story line evolves according to the drone’s departure location.
The piece’s story line evolves gradually to create an environment in which various degrees of immersion modify the perception of the physical space it unfolds in. The multimedia environment invites the audience to live a contemplative experience in which the visual composition changes according to the virtual drone location, thus providing an ever-changing experience.
The installation is an “open form” that is unique and inimitable. It behaves as a system with a random creation process, in a range of settings defined by the activity of the real-time data analysis. Surround sound translates the images into a sonic experience that will plunge the public into the heart of this electronic landscape. All patterns such a mountains, oceans, forests or cities have a specific visual features. Other information such as the size of the cities, the number of inhabitants, wind force or weather forecasts are some parameters that determine the visual composition.
Funding credits to: The Alberta Foundation for the Arts, The Canada Council for the Arts.
Construction credits to: Rachael Chaisson, Ann Thrale, Rita McKeough, Tristan
The kinetic installation Wave Interference unfolds in the shape of a light wave. 88 neon lights appear to float to the sounds of an old organ. The wave fluctuates slowly, in a fluid movement, and it captivates through optical illusion effects. It invites one to undergo an experience of amplified sensorial dimensions in a mysterious atmosphere. It takes us into a suspended time, towards a meditative and fascinating state.
It not only has the power to transform our relationship to the site where it is presented, it also reveals unsuspected states both in our perceptual experience and on the level of the phenomena in our midst. Wave Interference refers to electromagnetic waves and their ubiquity.
Moody explains that we are typically oblivious to these waves until we have some detector (such as our eyes) to alert us to their presence. That we have the ability, through the use of these organic detectors on our faces, to effortlessly filter a portion of this mess of frequencies into a coherent image is a fact worthy of awe. The waves from every radio station, mobile phone call, wifi signal (and countless others) are around us whether we are detecting them or not.