PRESSE / Press
ARCHIVES - selection of reviews :
Dans/in : ESSE art + opinion
ESSE 2013
https://www.erudit.org/en/journals/esse/2013-n77-esse0421/68373ac/
In/dans Flux News :
Entrevue avec Judith Kazmierczak, 2017
Entretien avec Lino Polegato, 2003
Entretien avec Lino Polegato, 2000
In the Globe and Mail:
Blake Gopnik, 3 sept. 1998:
Gary Michael Dault, The Globe and Mail, 1999:
From the amazing LOLA Magazine (Toronto):
Luis Jacob and Julie Voyce, in LOLA 4:
Catherine Osborne, Bull’s Eye, in LOLA 5:
Dans/In CANADIAN ART:
Bernard Lamache, Canadian Art, 2001:
Canadian Art, 2007: 
Canadian Art online, Bryne McLaughlin, April 7, 2011:
Dans/In PARACHUTE:
Kathleen Goggin, PARACHUTE 1999:
Marie-Ève Charron, PARACHUTE (para-para) 103, 2001:
Marie-Ève Beaupré, PARACHUTE (para-para) 124, 2006:
Dans/In L'art même (Bruxelles):
Pierre-Yves Desaive, L'art même 18, 2003:
Laurent Courtens, L’art même 35, 2007:
Dans/In dArt International, Earl Miller, 1999:
Dans/In Etc, Martin Desilet, 1998:
Dans/In Etc, Yvan Moreau, 1998:
Dans/In ICI, Lyne Crevier, 2006:
15 BYTES/EXHIBITION REVIEWS/VISUAL ARTS, Salt Lake City
New Conversations: The 2014 Performance Art Festival
Oct 23, 2014 by Marcela Torres
This last Friday and Saturday the Salt Lake City Public Library’s Main Library Branch in downtown Salt Lake City hosted its second annual Performance Art Festival, curated by Utah native Kristina Lenzi. Fifteen artists, split evenly between local presenters and out-of-state artists, participated in the event. Performances, representing a diverse range of performance art types, durations and concepts, took place throughout the Main Library building and grounds during the two days.
The library setting provided a unique incubator for viewing artwork and creating new interactions. The Main Library is always brimming with patrons from all ages and walks of life, so while some people were there specifically to see the performances, there were many more who were using the space as it is—a library—and were not seeking out artwork. The performances accosted the norms of the space, which allowed for new audiences to participate in the process of art-making. Brash, confused individuals would approach an artist with the simplest question—“What are you doing?” It created an ephemeral, unique point of interaction between a new audience member and the artist. At times it was embarrassing for both parties, the artist being outside of the insular art community where people are in-the-know, and an unknowing audience member trying to make sense of what was going on. These new viewers were seeing bizarre actions labeled “art,” which they know to mean the height of beauty and value, yet they were presented in a way that didn’t make immediate sense. When asked about a work’s meaning, several artists hesitated for a moment, thinking of where to begin, what to say, and ultimately they entertained and even invited and allowed a relationship to begin. However, those artists who were unable to speak to and invite dialogue with the audience regarding their pieces seemed to explicitly cut the line of understanding, which can be part of a direct artistic intention yet limits understanding of all involved. In this way there was a large variation of works presented during this event, different types of performances and ideas about the role of performance art and audience.
Stephane Gilot, an artist hailing from Montreal, presented his piece, “Station Library,” for the entirety of both days. Instead of the viewer watching the artist, Gilot invited the audience to become the performers while he directed and documented. Gilot created a voyeuristic experience by invoking the fascination of space travel. In this work he provided a handmade “space suit.” The audience would then put on the suit and begin a hunt to find a book from a list made by Gilot. The hunted books were on the subject of space, but ranged in how they dealt with the idea of the great unknown. In this action, participants became explorers in a place they thought they knew but were forced to explore—shelves in sections they might have never before realized were in the library.
With his project “Next,” Salt Lake City resident Eugene Tachinni invited the audience to participate in a step-by-step project with written instructions that were passed out by the artist. First, the participant was asked to think about a person who makes their life better and to write their name onto a long balloon. They would then tie their balloon to an increasing mass of colorful balloons, take a photo of it, and use social media to hashtag the image with the artist’s name. Lastly, they were asked to write or talk to the person named to express their feelings about them. Visually, without all of the added steps, the installation was a sight. People were drawn to the massive links of balloons and naturally wanted to tie the balloons, which alone were able to portray the sentimentality of personal connections without the other steps/elements. “Next” allowed for many users to perform at one time and through various mediums and social media, which allowed participation with the audience beyond the real time. This type of performance used audience participation as the physical act with the artist acting as a curator with an implied intent that the audience will hopefully reach through the motion of the art-making process.
On the other spectrum of performance art, there were also several performances that were more theatrical procedures (the artist performs and the audience watches). Lisa DeFrance, a local, performed both days for varying times within the library’s “Share” space, which is a closed glass room. During that time, DeFrance took piles of used white clothing of all types—baby clothes, women’s chemises, men’s polos—and folded and arranged them into piles and formations. The work was aptly named “Fold: Repetition and Difference.” As seen in photos on social media, the performance wasn’t particularly engaging, but in person, looked at through the glass, little details gave the work added texture—the clothing showed the signs of wear, some had sweat stains on the arm pits or dirty rings around the collar. “To whom did the clothing belong?” these details seemed to ask. DeFrance performed while never looking up at the audience, as if in her own trance of doing. It gave the audience the liberty to gaze without shame, to look at her hands, her outfit, her space without ever feeling her privacy was being invaded.
Kristina Lenzi, the organizer of the event, also performed on Saturday. Throughout the day she could be found wandering the library, her mouth and head wrapped in gauze, and wearing a large blue striped sweater. Instead of hands, coming out of her sweater’s long sleeves were white ropes with the ends attached to books that dragged on the floor as she walked. Her performance begged the recurring question, “What are you doing?” but offered no possibility for an answer since her mouth was wrapped. The performance was suggestive enough, however, to send one through a catalog of historical references, searching for meaning and thinking, “Well it could be about race? Or violence? Maybe she’s being tied down with a ball and chain?” Etc, etc. An audience craves understanding and connections, ways to decipher meaning, and “Trickster,” as the work was aptly titled, creates that connection by disconnection.
The Performance Art Festival featured many additional works. Jeffery Byrd (Waterloo, IA) filled the glass elevator with a post-it note collection of beautiful words. Caroline Boileau (Montreal) invited visitors to read and view a precious book inside of a plexiglass box, which she carried on her person. Tatiana Larsen (SLC) dipped her feet in honey and slowly paced along a circular platform until she picked up all the gold leaf flakes that had been placed there. Marilyn Arem (Boston, MA) gave participants the opportunity to use special dice to create new words, which were then added to a dictionary of words. Amongst all fifteen performances there seemed to be several that took inspiration from ideas of language, words and literature. This overt connection to the function of a library may not have been necessary, because of the space’s ability to forge new relationships and conversations as a public gathering place, but it did help to inform the pieces in a way to help them to seem organized and approachable instead of a public fluke of which the authorities should have been alerted.
The 2014 Performance Art Festival at Salt Lake City’s Main Library featured fifteen artists on October 17 and 18.
http://artistsofutah.org/15Bytes/index.php/new-conversations-the-2014-performance-art-festival/
Dans/In Espace, Louise Provencher, 1999 :
Dans/In Le Devoir, Bernard Lamarche, 1999:
2022
Chicoine-Marinier, Isadora, Les traces de notre passage, INTER 140, automne
Collectif blanc, Fabriquer un livre collectivement, est-ce une façon de rester en mouvement ?,
VIE DES ARTS 268, automne
2019
Boyadjian Mirna, Soulèvement : image-vie, ESPACE 121, hiver
2018
Arsenault Myriam, Mixité d’artistes de talent au Lobe, le Quotidien, Chicoutimi, jeudi 23 aout
2017
de Mèredieu Florence, Histoire matérielle et immatérielle de l'art moderne et contemporain, 4e édition revue et augmentée, LAROUSSE
Kazmierczak Judith, Requestionner l’espace temps de l’exposition, entretien avec Stéphane Gilot, Flux News (B), hiver Everett-Green Robert, Montreal museums hunt ghosts of Expo 67, The Globe and Mail, 11 Aout
Choquette Emmanuelle, Stéphane Gilot: Le catalogue des futurs, ESAPCE 113, hiver
Stéphane Gilot, Au détour d’un couloir, La Fabrique Culturelle, 3 mars (en ligne)
2016
Morin Maryse, Le catalogue des futurs, esse art + opinions, 21 avril (en ligne)
ARC Poetry Magazine 81, Automne
Stéphane Gilot, Le catalogue des futurs, La Fabrique Culturelle, 8 mars (en ligne)
Paul, Francine, Stéphane Gilot, Le Sabord, 104, été
Delgado Jérôme, Le Musée d’art de Joliette vu par Stéphane Gilot, LE DEVOIR, 12-13 mars
Feireisen Camille, Porte le regard sur la collection, LE DEVOIR, 5-6 mars
Homier-Roy René, Nouvelle exposition au Musée d’art de Joliette : entrevue avec Annie Gauthier, Radio de Radio Canada, 28 fév.
Charron Marie-Ève, Une saison sous le signe de l’anthropologie, LE DEVOIR, 16 janv.
2015
Lord Susan, Zarza Zaira Editors, PUBLIC 52, Art, Culture, Ideas : Havana, Winter 15
Matland Helge, Inspireres av Tromso, I Tromso, Norvège, 22 juillet
Ferrer Estella, Dentro de un mundo rosa, al estilo de Stéphane Gilot, Portal de las Artes Visuales en Cuba. (en ligne)
Sabet Aseman, Pièce pour cinq interprètes à La Havane: entretien avec Stéphane Gilot et Ariane De Blois, ESSE arts +opinions 90, automne.
Moeder Claire, Les mondes épars de Stéphane Gilot, ratsdeville, en ligne, 10 avril. (en ligne)
Choquette Emmanuelle, Le temps de l’attente, ETC MEDIA 104, février-juin.
Delgado Jérôme, Des espaces satellites qui prouvent toute leur pertinence, LE DEVOIR, 7, 8 fév.
McLaughlin Bryne, Top 3 of 2014 : Data-ism, CANADIAN ART en ligne, 16 déc.
Lafortune Natalie, Rendez-vous au coeur de l’ouvrage, ESPACE 109, hiver
David Alexandre, L’architecture est partout, ESPACE 109, hiver
Boulanger Chantal, Bois d’oeuvre, ESSE arts + opinions 83, hiver
Pièce pour cinq interprètes, lumière rose et silence in Cross Waves Series 1: Room Tone, New Adventures in Sound Art (en ligne)
2014 Torres Marcela, New Conversations: The 2014 Performance Art Festival, 15 Bytes, 23 oct. (en ligne)
Desloges Josianne, Biennale de sculpture de Saint-Jean-Port-Joli: duos des bois, Le Soleil, 19 juillet
Delgado Jérôme, Faire bois d’oeuvre, LE DEVOIR, 24 juillet
Delgado Jérôme, Projet HoMa : le bon voisinage, LE DEVOIR, 21 juin
Leïla Jolin-Dahel, Projet HoMa II : 16 artistes visuels explorent l’espace, QH, 8 juin
2013
De Blois Ariane, “Stéphane Gilot, MULTIVERSITÉ/Métacampus”, ESSE arts + opinions 77, hiver
2012
Dorais Ève, Le petit lexique illustré de Stéphane Gilot, SPIRALE 242, automne
Desloges, Josianne, Art actuel au MNBAQ: ondes de choc, Le Soleil, Québec, 10 nov.
Gagné Julie, Monde possible, VOIR Québec, 4 oct.
Desloges, Josianne, Espaces et extases, Le Soleil, Québec, 8 sept. 2012
Delgado Jérôme, « Un monstre aux multiples têtes », Le Devoir, Montréal, 1er et 2 sept. 2012, p. E6
Charron Marie-Ève, Galeries et centres d’artistes - Portés par l’engagement et les échanges, LE DEVOIR, 25 août
2011
McLaughlin Bryne, Stéphane GIlot : The Meaning of Life, CANADIAN ART (en ligne)
Desloges Josianne, La maison Beckett, Séjour bistre à l’oeil de poisson, LE SOLEIL, arts magazine, 9 avril.
Delgado Jérôme, Soif de dessin, LE DEVOIR, 30 avril
2010
Portefolio, Dossier miniature, ESSE arts + opinions 70, automne
Belu Françoise, Biennale de sculpture contemporaine de Trois-rivières, Vie des arts, automne
Delgado Jérôme, Cités de demain, cités d’aujourd’hui, LE DEVOIR, 22-23 mai.
Charron Marie- Ève, Stratégies diverses, LE DEVOIR, 24-25 avril
Mavrikakis nicolas, Le cadre de l’image, VOIR, 1 avril.
Boissonnault Mélanie, Le buvard du monde, Désautels, RADIO Canada, 22 mars
Charron Marie- Ève, OEuvres sur papier tous azimuts, LE DEVOIR, 13 janv.
2009
Provencher Louise, Stéphane Gilot. Ou Babel et son double, SPIRALE 225, mars-avril
Gendron Marc, cyberpresse.ca/la-voix-de-lest, 16 nov.
2008
Beaupré Marie-Ève, Devant la couleur, comment dire? ESPACE Sculpture 86, hivers 08-09
Delgado Jérôme, La triennale québécoise, LE DEVOIR, 07-08 juin
Fisette Serge, Perturber l’espace, ESPACE Sculpture 83, printemps-été
Milroy Sarah, The Quebec Triennial: A Coming-Out Party for Concordia & UQAM, CANADIAN ART (en ligne)
2007
Pocreau Yann, Stéphane Gilot. Temps-libre, ESPACE sculpture 82, hivers 07-08
Dubeau Janelle, Creating new world, CALGARY’S NEWS WEEKLY, Calgary, 12-18 juillet
McVeigh Jennifer, Howdy art lovers, Exhibitions at Stride, Truck and the A. G. C., C. N. WEEKLY, 12-18 Juillet
This Week, Salvaging Utopia, CANADIAN ART (en ligne)
Hachimi Tatiana, Entrée libre, Ex situ, ARTE NEWS, Bruxelles, juin
Laurent Claude, Des ailleurs, LA LIBRE BELGIQUE, Bruxelles, 13 juin
Courtens Laurent, Faites vos jeux, E. Delayen et S. Gilot, L’ART MEME, Bruxelles, numéro 35
Mavrikakis Nicolas, Stéphane Gilot, VOIR, 15 fév.
2006
Beaupré Marie-Ève, La Station, Stéphane Gilot, PARACHUTE (para-para) 124, automne
Delgado Jérôme, Nos choix, Stéphane Gilot, LA PRESSE, 4 mai
Viau René, Objectif lune, LE DEVOIR, 29-30 april
Lyne Crevier, Compartiment joueur, ICI, 27 april-3 may
Mavrikakis Nicolas, Tout est sous contrôle, VOIR, 20 April
Nedo Kito, Verstopfte Maschinen, JUNGE WELT, 6 fév.
STAMPA, UnDo.net – Pressrelease, 13 fév.
2005
Burnet Philippe, RADIO CANADA (TV), Avril
RM Vaughan, Saturday, National Post, Avril 16
Images, Fastforward CANADIAN ART, spring
2003
Mavrikakis Nicolas, Liberté Surveillée, VOIR, 18-25 déc.
Duffrechou Carole, Ciné Villes, La vraie vie est dans la contre-allée, LIBÉRATION (F), 22 juillet
Olivier Serge, RADIO CANADA (Radio), interview, Au Arts Etc., Toronto, avril
Desaive Pierre-Yves, Foire d’empoigne, L’ART MÊME (B), fév., mars, avril
Polegato Lino, Arguments, entretien avec Stéphane Gilot, FLUX NEWS (B), jan., fév., mars
2002
Mavrikakis Nicolas, Le futur dans un rétro-visseur, VOIR, 12-18 décembre
Charron Marie-Ève, Expérimenter le construit, Laboratoire, LE DEVOIR, 15 et 16 juin
Scott Michael, Art Show Plumbs Failure succesfully, Queue Magazine, THE VANCOUVER SUN, 21 fév.
Laurence Robin, Failure, At the Belkin Satellite Until March 3, THE GEORGIA STRAIGHT, 21 au 28 février
2001
DFDANSE archives, Libre arbitre de Stéphane Gilot, membres.lycos.fr/dfdanse
Broucke Nica , Doek valt “Hier en nu” voor Thurn en Taxis, DE MORGEN, (B) 23 octobre
Dosogne Christophe, Art actuel: réflexion et création dans la ruche Tour et Taxis, LE GÉNÉRALISTE,(B), 3 oct.
Charron Marie-Ève, Stéphane Gilot, Musée d’art contemporain de Montréal, PARACHUTE (para-para) 103
Lamarche Bernard, Stéphane Gilot, CANADIAN ART, été
Hawell Steven, Gilot invites you to walk over his work, PRESS-REPUBLICAN (US), 5 au 12 avril
Mcleod Dayna, Captured on Tape! Gilot’s fleeced fortress explores play and guarded civility with playback, HOUR, mars Delgado
Jérôme, Le Musée, aire de jeu , LA PRESSE, 28 février
Lamarche Bernard, Jouer au drapeau au Musée; Libre arbitre, LE DEVOIR, 24 et 25 février
Ninacs Anne-Marie, L’algèbre d’Ariane, PARACHUTE (para-para), janvier
2000
Mcleod Dayna, Water Logged, HOUR, 16 au 22 novembre
Lamarche Bernard, Terrain de jeu, L’algèbre d’Ariane (second volet), LE DEVOIR, 5 et 6 novembre
Polegato Lino, Entrevue avec Stéphane Gilot, FLUX NEWS (B), février-avril
Bezzan Cecilia, Aux Brasseurs... L’algèbre d’Ariane, L’ART MÊME (B), janvier
Entrevue télévisée, L’algèbre d’Ariane , RTBF-informations (B), 4 février
Osborne Catherine, Bull’s Eye, LOLA 5, Winter, 1999-2000
1999
Dault Gary Michael, Stephane Gilot at 17 Morrow Avenue, THE GLOBE AND MAIL, 28 aout
Lamarche Bernard, Espèce d’espace, Enlèvement de Stéphane Gilot, LE DEVOIR, 4 et 5 sept.
Charron Marie-Ève, Stéphane Gilot ou l’art de dépayser, LA PRESSE, 4 septembre
Mavrikakis Nicolas, Lieux de passage, VOIR, du 9 au 15 septembre
Miller Earl, Wall with View, Stephane Gilot at Paul Petro, dART INTERNATIONAL, printemps-été
Jacob Luis, S. Gilot, View Finders: a site-inspired architectural intervention at P. Petro Contemporary, LOLA 4, été
Voyce Julie, View Finders at Paul Petro Contemporary Art, LOLA 4, été
Dault, Gary Michael, Stephane Gilot at Paul Petro Contemporary Art, THE GLOBE AND MAIL, 20 mars
Provencher Louise, Stéphane Gilot, Lieu(x) en dérive, ESPACE 47, printemps
Goggin Kathleen, Stéphane Gilot, PARACHUTE 93, janvier-mars
Mavrikakis Nicolas, Stéphane Gilot – personnalités de l’année, VOIR, 23 décembre au 6 janvier
1998
Moreau Yvan, Plis et replis, Stéphane Gilot, Le déambulatoire, Le défilé, ETC Montréal, déc. 98, jan., fév. 99
Désilets Martin, Peinture-peinture ou l’élargissement d’un territoire, ETC Montréal 44, déc. 98, jan., fév. 99
Leydier Richard, Peinture-Peinture, Painting Know, ART PRESS 239, octobre
St-Gelais Thérèse, Peinture-Peinture, PARACHUTE 92, octobre
Tousley Nancy, The Indescribable Rightness of Being Abstract, BORDER CROSSINGS, october
Daigneault Gilles, Le déambulatoire, le défilé de Stéphane Gilot, midi culture, RADIO CANADA, le 18 sept.
Gopnik Blake, Stéphane Gilot, The Bold Elegance of Simplicity, THE GLOBE AND MAIL, 3 sept.
Aquin Stéphane, Stéphane Gilot. Le théâtre de l’espace, VOIR, 10-16 sept.
1997
Lamarche Bernard, « Parcours : quand il reste une multitude de choses à voir », Le Devoir, Montréal, 10 mai 1997
Lamontagne Valérie, Baie-Saint-Paul : symposium international de la nouvelle peinture au Canada, ETC, Montréal, no 37
1995
Polegato Lino, Stéphane Gilot, entrevue, FLUX NEWS (B), jan., fév., mars