BGL: Playing it commercial (display of aesthetics)
Text by Marie-Ève Beaupré
Translated by Marie-Ève Deleris
From their falsely conspicuous observatory points, BGL, (Jasmin Bilodeau, Sébastien Giguère et Nicolas Laverdière) scrutinize on both unnoticeable and conspicuous failures of society in the aim of outplaying the symbolic foundations of contemporary happiness which is rooted in north-american materialism. Trained at the school of visual arts of Laval university in 1996, the collective creates allegorical objects carrying the marks of an in depth analysis of our consumer behaviour and their repercussions.
With the sculptor’s magnifying glass, a lucid yet humorous lens, landmarks of power and symbols of comfort are distorted in order to achieve a celebration of their ridicule by using a sculptured and arranged production method. When presented on exterior grounds, the sham installations can be introduced as mistakes in a landscape. (“La cueillette”, Centre Est-Nord-Est, 1999). In other instances, an itinerary will be elaborated as a way to expose the flaws that stigmatise the area. (“La source,” Grand Métis, 2004). Recently, their practise of a performance procession, aimed at destabilising the urban by-passer, has been added to their list of interventions, provoking smiles or a sense of awkwardness.
After a prolific decade of creation, individual exhibitions, artists residencies and participations to important events in contemporary art have flourished. The works of BLG have been exposed at the Montreal museum of contemporary art (“A l’abri des arbres”, 2001), at the museum of modern art of Lille, France (“Le Ludique”, 2003), at the centre of contemporary art of Krakow, Poland (“Villes Anciennes /Art Nouveau ”, 2004), as well as at the art manifestation of Quebec (2005).
For the first time in a private setting, the collective is transforming the gallery walls into sandboxes. Amongst the ambiguous trophies BGL wishes to display, are, Jouet d’adulte (Jouet d’adulte, 2003); an SUV struck by arrows during a hunting session, Venise, (2004), Rapide et dangereux (2005); a flamboyant motorcycle with its front wheel augmented by a prothesis and other stratagems whereby the predator is transformed into the victim. In a series of experiences involving the body, their metaphoric constructions denounce impostures masked under daily attitudes. As their presentation aesthetics show mercantilism to be their target, their ability to outplay the locations invested reveal an ingenious satire. One can fathom that BGL is simultaneously mocking and celebrating the commercial world.