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Dayna McLeod is the winner of the 2014 Powerhouse Prize

Exhibition October 15th to October 24th, 2014
Cocktail and Prize Award Ceremony Wednesday, October 22nd, 6pm - 8pm

La Centrale is very pleased to announce that the 2014 Powerhouse Prize has been awarded to Montreal artist Dayna McLeod.

‘‘ The interdisciplinary practice of Dayna McLeod offers us the irreverent attitude - insolent and free, of the 21st century artist. One could qualify her performances and videos as courage in the face of normalisation in our culture. McLeod has chosen to put before us a radical honesty - the head, the breast, the sex - with a sense of humour of dazzling intelligence. ’’  - Mathieu Beauséjour, member of the 2014 jury.

 

The POWERHOUSE PRIZE is a $5,000 recognition award that celebrates women* artists who have reached the mid-stage in their career and contribute in a significant way to the cultural life of Montréal. The purpose of the prize is to recognize and honour an artist of unique vision who pursues their practice with determination and without compromise.

This year the jury found four artists equally deserving of this prize and we congratulate them. The 2014 finalists for the Powerhouse Prize are:

Manuela Lalic
Renée Lavaillante
Dayna McLeod
jake moore
 

We thank all those nominated artists and nominators for their support of this initiative that seeks to recognize the achievements of mid-career women artists in Montreal.

The members of our jury this year were : Raymonde April (artist and teacher, Concordia University), Mathieu Beauséjour (artist and curator), Geneviève Goyer-Ouimette (Director, CIRCA Art Actuel) et Krista Lynes (teacher, Concordia University). We would also like to thank them for their time and fantastic work. The winner of this year's prize has been chosen by vote by the sixty members of La Centrale.

Manuela Lalic
pays particular attention to the functionalist aspect of our system of social organization as a model of society. To create the effect of a tension between what is individual and collective. She uses objects, furniture, functional materials as indices of the logic of living. Her installations, performances and objects question mass movements (for example taking the metro) to identify our society that prefabricates and standardizes our desires and needs. Through this accumulation, is contrived a first material out of which she elaborates minimalist or exuberant mises en scène, that question our collective moments (for example : picnics, mariage, university meeting), all the while indicating concerns of a political and ecological nature.

Recently Lalic has made several performances and photographs that question her Franco-Serbian cultural baggage vs. her immigration to Canada. She tracks points of tension between different states of identity running through herself, with humour, to force them into a dialogue with an oblique kind of patriotism.

Her work has been presented in Canada, the USA, France, Germany, United Kingdom, Lebanon, Japan, China, Serbia and most recently, in India. Recipient of the Pratt and Whitney Canada Prize (2009), she was awarded the Canada Council International Studio and Curatorial Program residency in New York (2009) and also completed a residency at the Sandarbh Artist Residency in Rajasthan, India in 2013-14. www.lalicmanuela.ca

Renée Lavaillante lives and works in Montreal. Her practice is engaged in drawing : autonomous drawing, installation, in situ, artist books, and drawing videos. She has dedicated her career to the promotion of the autonomy of drawing, to its exploration and to pushing its limits.

She has presented, since 1988, thirty individual exhibitions in Quebec, France, South Korea, Italy and she has participated in group exhibitions in Quebec, Canada, Great Britain, France, Italy and Belgium. She recently participated in the exhibition Les matins infidèles – L’art du protocole at the Musée des beaux-arts de Québec. Lavaillante has been invited to residencies at the Centre Européen d’Actions Artistiques Contemporaines (Strasbourg, 2001), at the Chambre Avec Vue (Saignon en Luberon, France, 2004), at the Quebec Studio in Rome (2005), at the Musée d’Art Moderne de Collioure (France, 2006 et 2008) and the Cité Internationale des Arts (Paris, 2010). Her works are part of diverse public and private collections, for example the Musée national des beaux-arts du Québec, the Musée d’art contemporain de Montréal, the Musée des beaux-arts de Montréal, the Loto-Québec collection, the University of Korea Museum in Seoul, Korea.

Renée Lavaillante was an active member of La Centrale for a decade. She is currently a member of B-312 and is involved in the Ateliers Pied Carré project. www.reneelavaillante.net

Dayna McLeod is a writer, video and performance artist whose work is ripe with humour and socially charged situations. She has traveled extensively with her performance work, and her videos have played from London Ontario to London England- across Europe, North America, South America, and a few times on TV.  She has received funding for video projects from the Canada Council and the Conseil des arts et des lettres du Québec. Dayna is currently at The Centre for Interdisciplinary Studies in Society and Culture at Concordia University pursuing an interdisciplinary Ph.D. in Humanities. www.daynarama.com

jake moore is an artist, curator and cultural worker. She has a diploma in furniture design and construction from the School of Crafts and Design at Sheridan College, Oakville,Ontario, and holds both a BFA in Sculpture, and an MFA in Fibres and Material Practices, from Concordia University in Montréal. She has exhibited widely in Québec and Canada, including solo exhibitions at Parisian Laundry, FOFA Gallery and Optica in Montréal, AXENÉO7 in Gatineau, Walter Phillips Gallery in Banff, Alberta and various venues in Winnipeg, Manitoba. moore is currently the director of FOFA Gallery at Concordia University.

She considers the work she does as an educator, social organiser and arts administrator to be part of a hybrid creative practice that conflates labour and public engagement with the reflective and non verbal practices of making.

Her practice is deeply informed by the aesthetics and spatial politics of the Prairies, where she was born, and Montréal, where she lives and works. The effects of not being where you are from and not being from where you are create a hyper awareness of articulations of identity.

Animals have long held a major role in her practice as sentient others that evoke and propel emotion, and as a method of putting into play the space between the viewer and the artistic act.

Architectural spaces are articulated as volumes, containers and voids, while laboriously wrought surfaces, extensions and excesses call upon the body. The material and technique required to create her large scale works allow for a slow accumulation and express the sheer hard work it takes for the feminine to claim this much space.

moore believes beauty is deeply political,  for it identifies its perceiver and very specific moments in time. She considers these multiple concepts when addressing her primary medium: space. thingish.net

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Exposition des finalistes et remise du Prix Powerhouse
Exposition des finalistes et remise du Prix Powerhouse
Exposition des finalistes et remise du Prix Powerhouse
Exposition des finalistes et remise du Prix Powerhouse
Exposition des finalistes et remise du Prix Powerhouse
Exposition des finalistes et remise du Prix Powerhouse
Exposition des finalistes et remise du Prix Powerhouse
Exposition des finalistes et remise du Prix Powerhouse
Exposition des finalistes et remise du Prix Powerhouse
Exposition des finalistes et remise du Prix Powerhouse