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Sophie présente: 𝟐𝟎𝟎𝟕, a group exhibition that observes a resurgence of Dada-like strategies, focusing particularly on how the economy influences aesthetics, whether through speculative abstractions and networked systems or via the mass circulation of cheap, ephemeral goods.
The works evoke a dense web of signs, symbols, and cultural references, echoing the ghostly trail of a fast-moving system. Domestic and commercial products are reused as ecological and economic means: wrapping paper, wool, cheap frames, plastic banners, pruned branches, jewelry, car parts, synthetic hair… The information they conceal and the previous relationship they had with the artists are carried in their work. Embodied in the materials is an opportunity for a true perception of the times we live in.
A time where political and economic discourse has grown absurd, spinning aimlessly through networks. Language devolves into noise, and our capacity to communicate ideas, emotions, or truths begins to erode. Numbers, by contrast, seem to offer clarity: equations model systems, statistics reveal patterns, and data act as a mirror. This is manifested in the frantic gestures of pointillist dots on a painting or in the network created by a quilted pattern on a textile piece. Numbers are not physical objects, but they are real in effect — it's the stock market, it generates crazy images, demonstrates patterns, participates in war strategies, shows us how many apples we have [...]
> Money doesn’t lie! said the group chat
> Ugh… said the depressed recession girl
> Zoooooing!! said the machine
In 1916, German poet and Dadaist Hugo Ball wrote: “The war is founded on a glaring mistake – men have been confused with machines.” This idea, that modernity transforms people into mechanical extensions, echoed through the works of John Heartfield and George Grosz, particularly in their cyborg-like mannequin Der wildgewordene Spiesser Heartfield (1920), or in Hannah Höch’s collages and puppets. Her rendered dolls, androgyne-girl-like figure, showing how dehumanized, stripped of agency, trapped within a patriarchal system women are. Did they know that we might want to become machines? That we were going to chat with a Simulated Neural Network, like it's not crazy at all to talk to a surface composed of matrix operations and optimized algorithms. Maybe we relate to machines because we are transhuman after all: made of small particles of plastic, fueled by psychoactive functional beverages, and built by personalized ephemeral goods.
> Oh oh, I’m spiraling.. [0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, …]
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Em Davenport reliquary for joan (2024) Oil on silk mounted on a found piece of wood with Joan charm 20.3 x 14 cm | 8 x 5.5 inches
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Carolyn Forrester Diagonal Marx (2025) Oil on linen 17 x 23 inches
The work is part of the group exhibition 𝟐𝟎𝟎𝟕, currently on view at 4653 St Laurent Blvd, Montreal
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Kelly Jazvac Spoiler (2015) Found car spoiler, metal, adhesive Aileron de voiture trouvé, métal, adhésif 23 x 7 x 17 inches
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Jacob Lepp Double Nine (2024) Wood felt, natural dye 85 x 74 x 3.5 inches
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Connor Bokovay seven for all mankind I, II & III (2025) Colored pencil on newsprint, plastic box framed 11 x 14 inches each
This series of works is part of the group exhibition 𝟐𝟎𝟎𝟕, currently on view at Galerie Nicolas Robert, 4653 St Laurent Blvd, Montreal.
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𝟐𝟎𝟎𝟕, a group exhibition that observes a resurgence of Dada-like strategies, focusing particularly on how the economy influences aesthetics, whether through speculative abstractions and networked systems or via the mass circulation of cheap, ephemeral goods. With works by ASMA, Connor Bokovay, Em Davenport, Carolyn Forrester, Kelly Jazvac & Jacob Lepp.
On view until August 30th, 2025 @galerienicolasrobert , 4653 St Laurent Blvd, Montreal, in gallery #3.
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𝟐𝟎𝟎𝟕 : ASMA, Connor Bokovay, Em Davenport, Carolyn Forrester, Kelly Jazvac & Jacob Lepp
✰ Opening Thursday July 10th, 6-8 pm ✰ Vernissage le jeudi 10 juillet, de 18 h à 20 h @ Galerie Nicolas Robert, 4653 St Laurent Blvd, Montreal Gallery #3
Sophie présente: 𝟐𝟎𝟎𝟕, a group exhibition that observes a resurgence of Dada-like strategies, focusing particularly on how the economy influences aesthetics, whether through speculative abstractions and networked systems or via the mass circulation of cheap, ephemeral goods. On view from July 10 to August 30, 2025.
——— 🔩 .ᐟ
Sophie présente: 𝟐𝟎𝟎𝟕, une exposition collective qui témoigne d’une résurgence des stratégies Dada, plus particulièrement sur les façons dont l’économie influence l’esthétique, que ce soit à travers des abstractions spéculatives, des systèmes en réseau ou via la circulation massive de biens éphémères bon marché. Présentée du 10 juillet au 30 août 2025.
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Sophie présente: 𝐌𝐞 𝐚𝐭 𝐭𝐡𝐞 𝐳𝐨𝐨, a program that portrays a gluttonous system through six art videos made between 1990 and 2010. The works, drawn from the vithequemtl collection, one of the largest in Canada, are made available on their platform for the duration of the program, from June 2 to September 2, 2025.
Featuring works by Rachel Echenberg, Nelson Henricks, Natalie Rich-Fernandez, Mario Côté, Johane Fréchette, and Katherine Liberovskaya.
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Sophie présente: « 𝑴𝒐𝒊 𝒂𝒖 𝒛𝒐𝒐 » un programme de six vidéos d’arts réalisées entre 1990 et 2010 qui tisse le récit d’un système glouton. Les œuvres tirées de la collection de la Vithèque, une des plus importantes collections au Canada, sont ainsi rendues disponibles gratuitement sur leur plateforme pour la durée du programme, du 2 juin au 2 septembre 2025.
Avec des œuvres de Rachel Echenberg, Nelson Henricks, Natalie Rich-Fernandez, Mario Côté, Johane Fréchette et Katherine Liberovskaya.
—— Stills taken from - Images tirées de: Blanket: Pigeons (2003) Rachel Echenberg
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Gabe Seamon, Seven second sculpture (2021), cardstock collage, 12 x 15 inches
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Gabe Seamon, language painting (steel), 2025, oil on cardboard, 12 x 15 inches
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Jesus Morales, LaFuria, 2021, digital chromogenic print mounted on aluminum, 22 x 16 inches
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Jesus Morales, Untitled (Catachresis), 2024, PLA Print of Catasphère - Jean-Luc Moulène, New Era Yankees 59Fifty Cap - Olive/White Size 7 3/8, 14 x 13 x 17 inches
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Gabe Seamon, language painting (yellow), 2025, oil on muslin, 18 x 14 inches
Gabe Seamon, language painting (orange), 2025, oil on muslin, 16 x 20 inches
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Jesus Morales, Agus (2024), digital chromogenic print mounted on aluminum
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