A fax sent from the writers included an important typo that was never questioned by the producers, one that had turned “Lies” into “Dies”. 

It would have made more sense the first way because Tomorrow, in the film, is a newspaper, one that could write stories that hadn’t happened, knowing that they would be carried out. The villain behind Tomorrow was both the composer and conductor of these events—he was also the first to cover them.

As happens when a lyric is mis-heard, but preferred, the producers of the film, aware that they’d had it wrong, wouldn’t have it any other way.

Tomorrow Never Dies is the result of recognition as apposed to invention. Congruency was abandoned in favour of the resonating potential of its elements.

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We would like to invite you to a private viewing of Tomorrow Never Dies, a collection of paintings by Ezra Gray, on May 31st, 2012 from 18h-21h.  Nous aimerions vous convier à une visite privée de Tomorrow Never Dies, une collection de peintures par Ezra Gray, le 31 mai 2012 à partir de 18h-21h.

GALERIE COATCHECK
31 mai au 15 juin, 2012
mardi - vendredi 12h-17h
5180 rue Notre-Dame O.
Saint-Henri, Montréal

Vernissage 5 mai, 2012 17h-21h

For this exhibition, Etienne St-Denis and Catherine Lisi-Daoust have worked as a common process to return to the earth, and to basic and primary intuitions. The work is a reflection on the nostalgia of juvenile playfulness with the outdoor world, exploring the duality of phantasm and return to the natural world.

OPENING 13 JANUARY 17h 

13 - 27 JANUARY | by appointment only.

OPENING 9 DECEMBER 20h 
10 - 16 DECEMBER | by appointment only.

Tag on wall, 2011

XL Everything is an exhibition of prints, projections, and graffiti works by XL Crew. As their first showcase in a gallery setting, XL Everything is an attempt by a group of young graffiti writers to find balance between the traditions and practices of legitimate art and so-called vandalism art. Their works serve often as social commentary, and of course, self-promotion.  

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XL Everything est une exposition d’impressions, de projections et d’oeuvres graffiti crées par XL Crew. Pour leur première exhibition en galerie, XL Everything est un attentat du groupe de jeunes graffiteurs à trouver un équilibre entre la tradition et les pratiques de l’art courant avec cet art-vandalisme. Leur travail sert de commentaire social ainsi que, bien entendu, d’un coup de publicité.

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12 - 28 NOVEMBER | by appointment only.

Ariele, 2011

Pïñatas come from the heritage of every day art objects, whose designs have been consistently contemporary and subject to the whims of fashion.  Crafted specifically for the desire of blind and brutish destruction as main attraction suspended in celebratory contexts, the pïñata’s versatility and accessibility has contributed to its perennial popularity throughout the centuries. 

Rodolfo Moraga invites the viewer to reconsider this familiar object from his childhood in a playfully constructed aquatic diegesis wherein human subjects become prop to pïñata.  The larger-than-life papier-maché accompaniments to his constructed narration of Pïñatas imposes a longing for a more careful interpretation of object removed from the familiar.  

As a collision between labor intensive technical construction and digital post-production technique, Rodolfo’s first solo exhibition in Canada composes a unique dialogue that reaffirms his strengths in fine art photography and showcases pïñata as vessel to much more than confectionery and curio.

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Les Pïñatas : objets d’art insolites dont l’apparence et la forme ne sont dictées que par les fantaisies contemporaines de ses sculpteurs. Façonnées comme pièce  centrale lors des évènements festifs, et dans le seul et unique but de satisfaire un désir brut et aveugle de destruction. La polyvalence, ainsi que l’accessibilité de la pïñata ont par ailleurs contribué à sa popularité au fil des siècles.

Rodolfo Moraga invite le spectateur à redécouvrir cet objet si présent dans son enfance dans une diégèse aquatique minutieusement façonnée dans laquelle sujets humains deviennent accessoires pour Pïñatas. Ces impressionnants cortège de papier-mâché construit une narration de Pïñatas qui imposent un désir pour une réinterprétation  de cet objet par rapport à son rôle familier.

Collision entre labeurs intensifs de techniques de constructions et de post-production numérique, cette première exposition en solo de Rodolfo Moraga au Canada compose un dialogue unique qui réaffirme ses compétences en photographie d’Art tout en mettant en vedette la pïñata comme vaisseau au delà de la confection et du curieux.

Gabe as Yaws, 2010