Louise Noguchi | 11.16 – 12.18.2009

Rope Tricks

Gun Play

Language of the Rope, 1998-2005

When I went to graduate school I started a series of videos called the Language of the Rope, which stemmed from my lessons in trick-roping that I received from a wild-west rodeo performer. The videos depicted wild-west acts such as trick roping, bullwhipping, knife throwing and trick-riding.


Rope Tricks … 11.16 – 12.2.2009
Gun Play … 12.3 – 12.18.2009

Atrium Gallery – Western Michigan University


Louise Noguchi challenges her audience with themes that pose psychological questions. Using photography, sculpture, video and other media, Noguchi’s concepts confront the spectator’s notions of identity, perception and reality. Her work includes exhibitions at the Power Plant, Toronto, Neuer Berliner Kuntsverein, Berlin and the Deutsches Museum, Munich, as well as exhibitions across Canada, the United States, Europe, and Japan.

Born in Toronto, Canada, she received her MFA from the University of Windsor, Canada and AOCA from the Ontario College of Art in Toronto. She is a professor in the Art and Art History program, a collaborative joint program between Sheridan Institute and the University of Toronto Mississauga where she teaches photography and performance-based art.

Louise Noguchi is represented by Birch Libralato Gallery in Toronto, Canada.

Louise Noguchi – Toronto Ontario Canada


Christopher Borkowski | 11.1 – 11.14.2009

Codex, 2007
HD & SD video/ Jitter/ mac mini

Codex is a clearing house of video clips, audio sound bytes and textual pieces created but never finished since I moved to NYC in 2003. Through the use of a semi-random algorithm the narrative body flows through sorted sets and grouping of ideas and movie clips that deal with fictional and non-fictional mini-narratives. The mini-narratives range from subjects concerning geography, technology, capitalism, socialism, political history, spiritualism, the occult, multiplicity, and direct observations of urban life on both broad and micro levels.

It’s a movie that is never complete, never ending and never the same twice. It’s about me, you and everything around us past present and future. Call it artful dodging by computational power, call it laziness, call it a hopeless but beautiful mess because who has time to sort out interrelated ideas, who has time for anything longer that 30 seconds ? I don’t but the codex, or rather algorithm does and can neatly sort it all out for us.


Codex … 11.1 – 11.14.2009

Atrium Gallery – Western Michigan University


Chris Borkowski is a media maker from Buffalo, NY that is now living and working in New York City. He has worked professionally as video editor, network administrator, media arts center Technical Director, and University instructor in digital arts. He is a co-founder of the video art portal Perpetual Art Machine [PAM]. He has shown work internationally at various galleries and media festivals and has also performed a number of real-time audio and video pieces.

Chris Borkowski – New York New York

Christopher Borkowski

Leah Rico | 10.20 – 10.31.2009

Destinesia explores repetition in relation to ritual practices of both communities and individuals, using the institutional space of a school as a platform. This sound installation utilizes audio informed by an examination of sonic ritual practices that bind a community, and their relationship to the flow and disruption of free associations as used in an individual’s practice of mining the unconscious. Destinesia is part of a larger examination of the quantification and perception of time; and the breaking down the structures to look at the significance of their sonic elements for the listener.

Atrium Gallery – Western Michigan University


Leah Rico’s art practice explores the function of language in relation to what defines individual and group identity. Most recently, she uses the phenomenological characteristics of audio to take the work into the lived space of the audience. Casting language as quintessence, Rico breaks down the sonic structure of speech, revealing its hidden histories and mapping its unspoken politics.

Leah Rico – Los Angeles California


Nicole Jolicoeur | 9.1 – 9.15.2009

see video excerpt

Les Langues, running time 3:10 mins.

This whole business of images started when the doctor recommended that I look, and look and look again until I understood something. On his kindly advice, I looked intently at images in order to understand them, amazing images of extraordinary bodies. Images in which one understands nothing. Images of succubi and those possessed by the devil, images of anger and irony, of impersonation and crucifixion, of wonder and possession, images of ecstasy and convulsion.

I looked at the images of bodies that produced the images. Bodies that were simply vulnerable surfaces, presented for photographic recording and dermographical inscription. Public bodies on which floating words had been fixed by hands become cynical through indifference. Words that were no longer read as words but rather as symptoms. A symbolic violence exerted by the intersection of reifying hands and gaze. A risk that is part of the desire to become an image.

Can you believe that I could be held by these images to the point of being almost maternal towards them? I protected them, loved them, took care of them, revived them, cleaned them up and made them speak. I even reintroduced them into the incessant circulation of images. I hear said that images are appropriated, that they are used as citations but never is it said that one takes care of images, that one would like to make up for the abuse and humiliation that they have been subjected to.


Les Langues … 9.1 – 9.15.2009

Atrium Gallery – Western Michigan University


Nicole Jolicoeur was born in the province of Quebec and now lives and works in Montreal. She studied at École des Beaux-arts in Quebec City and at Rutgers University in New Jersey (USA) where she received a Master of Fine Arts degree. From 1972 to 1990, she taught at École des arts visuels of Université Laval and from 1990 to 2007 at École des arts visuels et médiatiques of Université du Québec à Montréal (UQAM).

In 1980, she began developing her installation practice using photography and text and now video, which puts into perspective various discourse and contexts concerning the representation of a female subject. She creates spatial settings with reference to fields as diverse as the beginnings of psychiatry, the exploration of the polar regions, anthropology, strolling in the city, Roman Catholic religious iconography and now the operatic duo. Her practice has been built up around the implications relative to how women are represented as well as her interest in the found image, the theatricality of photographic records (more precisely the body of images J. M. Charcot and his followers produced at La Salpêtrière, Paris, at the end of the 19th century), the narrative created by image/text relationships, the performative aspects of self-representation and the use of one’s own voice.

Since 1973, her work has been exhibited in solo, duo and group shows in Quebec, Canada, England, France and the United States, and has been the subject of numerous critical comments published in books, catalogues and periodicals concerned with art. In addition to her photographic installation practice, she has a strong interest in the production and publication of artist’s books, and artist’s projects and writings in art books and magazines. She has made many public presentations of her artwork at symposiums and as lectures.

She has received financial support for her work from the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, UQAM and PRIM (Productions Réalisations Indépendantes Montréal).

Her works are in numerous public collections, among them, that of the Musée National des Beaux-Arts du Québec, the National Gallery of Canada, the Musée-Château d’Annecy in France, the Canada Council Art Bank, the Université du Québec à Montréal and in private collections as well.

Nicole Jolicoeur – Montréal Québec