A Radio Silence

Videos

 
 
 
 
 
 
 

A Radio Silence
2008
video: edition of 3
stop-motion animation, performance-video for flat screen
digital photographs assembled with a digital video-editing program
video loop: 7 min 47 s
produced during a residency at the Quebec Studio in New York with financial support from the Conseil des arts et des
lettres du Québec
documentation: – photo & video©Diane Landry
collection: Musée national des beaux-arts du Québec, Quebec City (1/3) 

2017

  • Times Flies, curator: Maude Lévesque, MNBAQ, Quebec City (Quebec, Canada).

2015

  • L'art en soi, curator: Dany Quine and Simon Grondin, Villa Bagatelle, Quebec City (Quebec, Canada).

2013

  • Ombres et lumières, curator: Nisk Imbeault, Galerie d’art Louise et Reuben-Cohen, Moncton (New Brunswick, Canada).
  • Diane Landry: by every wind that blows, Curator: Raphaela Platow & Steven Matijcio, Contemporary Arts Center, Lois & Richard Rosenthal Center for Contemporary Art, Cincinnati (Ohio, USA).
  • The Cadence of All Things, Cameron Art Museum, Wilmington (North Carolina, USA).

2011

  • The Defibrillators, curator: Eve-Lyne Beaudry, Art Gallery of Hamilton, Hamilton (Ontario, Canada).

2010

  • Réservoir électrique, Séquence, Saguenay (Quebec, Canada).
  • The Defibrillators, curator: Eve-Lyne Beaudry, Mount Saint Vincent University Art Gallery, Halifax (Nova Scotia, Canada).

2009

  • The Defibrillators, curator: Eve-Lyne Beaudry, Agnes Etherington Art Centre, Kingston (Ontario, Canada); Esplanade Art Gallery, Medicine Hat (Alberta, Canada); and Robert McLaughlin Gallery, Oshawa (Ontario, Canada).
  • Diane Landry: Pictures Happenings, Durham Art Gallery, Durham (Ontario, Canada).
  • The Magic Shield, Koffler Gallery at the Beaver Hall Gallery, Toronto (Ontario, Canada).

2008

  • Les défibrillateurs, curator: Eve-Lyne Beaudry, Musée d’art de Joliette, Joliette (Quebec, Canada).

 “This idea of spatiotemporal compression achieves an unbelievable intensity in Radio Silence, executed in 2008. Landry pushed the limits of what she could inflict on her body in the course of the performative act that led to the making of this work. While staying in New York, she photographed herself once a minute during two 24-hour periods, trying to adopt the same position each time. She then made two video montages of the photos which, put in chronological order, condensed two whole days into about six minutes. The spatiotemporal compression thus achieved is apparent in the speeded-up changes in the brightness of the daylight until the sun goes down, and in the ‘jerky immobility’ of the artist, which reveals that she has moved from place to place during the performance. This work is about the limits imposed on the body—an issue often confronted in performance art—and the appropriation of space, about movement and immobility, but also about reality and the documentation of it. Landry drastically changes the documentary function customarily performed by films of performances. The document here not only bears witness to acts carried out in private but it also and literally becomes the actual material of the work. Historically the ephemeral nature of performance art meant that once the performance was over, the work could only be seen thereafter by proxy.”

Eve-Lyne Beaudry, The Defibrillators (excerpt), Musée d'art de Joliette, 2009