Geneviève Cadieux

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Geneviève Cadieux (1955 – ) BA, Visual Arts, University of Ottawa.

1 Exhibitions
2 Teaching
3 Works
4 Readings
5 Links

[edit] Exhibitions

Montreal Museum of Contemporary Art, Canada; Musée départemental d'art contemporain, Rochechouart, France; Museum Van Hadendaagse Kunst, Antwerp, Belgium; Pittsburg Center for the Arts, Pittsburg, PA, United States; The Sao Paolo Biennial, Brazil, 1987; The Sydney Biennial, Australia, 1988 and 1990; The Venice Biennial, Italy, 1990; Tate Gallery, London, 1995; Miami Art Museum, Miami, Florida, 1998; The Montreal Biennial, Canada, 2000; Musée des beaux-arts de Montreal, Canada, 2000. In 1993, she was the subject of a major retrospective at the Montreal Museum of Fine Arts.

[edit] Teaching

Concordia University, 1991 – present; Guest professor, École nationale supérieure des beaux-arts in Paris, 1994; École nationale des beaux-arts in Grenoble, 1996; “Teaching is something temporary. It takes too much of my time. It is very demanding. My work slows down because of these courses,” (Translation from French by Karine Charbonneau, "Geneviève Cadieux ou comment vivre pour l'art"). Despite this, she is much appreciated by her students.

[edit] Works

Cadieux’s early career was mainly in film photography. Her 1989 Hear Me With Your Eyes was featured at the Morris and Helen Belkin Art Gallery and consisted of large-scale photographic prints of a woman displaying sexually evocative facial expressions.

Over time, Cadieux’s work has shifted to integrating video and audio content. She excels in installation and combining multimedia, as seen in her Broken Memory, installed at Galerie Rene Blouin, Montreal, in the fall of 2005. The piece employed glass sculpture representative of the human body and a recorded reading of a 17th Century poem by Sister Juana Inés de la Cruz:

Come out, come out, my anxieties; stay not trammeled within by respect: for to pay due tribute to affliction one must lose all fear of pain. Let sorrow emerge in full clamour, for true grandeur to make itself known, and to prove that insufferable anguish can never remain unrevealed. Let the mouth give vent to signals of what is inflaming the heart, for no one will believe in fire without there be signs of smoke. Do not allow discretion to prevent the emergent cry; for no great valiance has the captive who breaks not the bonds of his cell. He who respects his suffering must not conceal what he feels; he demeans the reason for his sorrow if he does not express it with pride. It is greater than I, my affliction; and this being so, it is meet that I should not try to subdue it, but allow it to conquer me.

A notable video work by Cadieux was included as the inaugural piece of the 2002 The 59th Minute: Video Art on the Times Square Astrovision, an undertaking by Creative Time and Panasonic wherein the 59th minute of each hour of the day saw an artistic image in place of regular programming. Cadieux’s Portrait celebrated the regeneration and renewal of spring, featuring footage of a solitary tree, a lonely survivor of the 1998 ice storm in Montreal.

[edit] Readings

Bélisle, Josée. "Acquisition récente" [Geneviève Cadieux]. Journal du MACM Vol. 11, no 1 (May-Jun-Jul-Aug-Sep 2000).

Cadieux, Geneviève. Geneviève Cadieux. Vancouver : Morris and Helen Belkin Art Gallery, 1999.

Campeau, Sylvain. "Là ou l'expérience du dessaisissement : Geneviève Cadieux". Chambres obscures. Photographie et installation. Laval : Éditions Trois, 1995.

"Geneviève Cadieux". Contemporary Canadian artists. Toronto: Gale Canada, 1997.

Janus, Elizabeth. "Geneviève Cadieux". Parachute. Vol. 64 (Oct-Nov-Dec 1991).

Pontbriand, Chantal. "Geneviève Cadieux". The Canadian encyclopedia [online]. Historica, 2000. [Cited April 30, 2002].