Guillaume Clermont

, ,
Works at: Seoul Art Space_GeumCheon
Stays in: 2014

2010-2014 M.A. Visual arts Université du Québec à Montréal (UQAM), Montréal, Canada
2004-2007 B.A. Visual arts, International profile Université Laval, Québec city, Canada
2003 Studies in Comparative Literature and Philosophy Université de Montréal, Canada

Selected Solo Exhibitions
2014 (upcoming exhibition) Galerie Nivet-Carzon, Paris, France
2013 The Rabbit Box (Don Quixote’s Dilemma) The Bunker (NDSM Treehouse), Amsterdam, Netherlands
        Cache-cache (Black Box)Galerie Le 36, Québec city, Canada
2012 Cheshire Grin (Montrer les dents) Galerie Lilian Rodriguez, Montréal, Canada
2011 Warehouse (les Jardins) Glendon Gallery, York University, Toronto, Canada
2009 Baglady (ou la grosse poche pleine de fleurs) Circa centre d’exposition art contemporain, Montréal, Canada

Selected Group Exhibitions
2014 Down the Magic MountainMedia Art in Seoul Soul (Hal project), Seoul, South Korea
         Antiquités contemporaines STAND 124, Marché Dauphine, Paris, France
       Moonwalkers – curators Paul Brunet, Guillaume Clermont and Mathieu Lévesque Galerie Trois Points, Montréal, Canada
2013 Une grande passion partagée: un flirt avec la jeune peinture Galerie Lilian Rodriguez, Montréal, Canada
          Salon du printemps des artistes des Cantons-de-l'EstMusée des beaux-arts de Sherbrooke, Canada
2012 Sans feu ni lieu Maison vide, Crugny, France 
         While supplies last – curators Alexandre Jimenez, Maud Marique and Vincent Routhier  Galerie B-312, Montréal,          
  2011 On n’attache pas son chien avec de la saucisse – curator Romain Boulay MPVite, Nantes, France
L'éphémère: Fugacité et permanence en art contemporain Galerie Lilian Rodriguez, Montréal, Canada
Compossibilité(s) – curator Paul BrunetGalerie Laroche/Joncas, Montréal, Canada

2013 Residency with exhibition (one month)NDSM Treehouse, Amsterdam, Netherlands
2012 Residency with exhibition (one month)Maison Vide, Crugny, France
Curator residency (ten days) A3000 and H.C Waldschütz Stiftung, Leipzig, Germany
2011 Residency with exhibition (one month)MPVite, Nantes, France
2009 Programme de soutien à la production (one month residency) Œil de Poisson, Québec city, Canada
2008-2009 Résidences Croisées France-Québec (three months residency) Point Éphémère, Paris, France

Sans titre, 2009

Carnets d'errance (Dislocations), Bologna, Italy, 2012
Carnets d'errance (Dislocations), Paris, France, 2014

No man's land, HD video, 5:22, 2010

Sans titre (Hendaye), video still, 2010
Sans titre, Galerie Lilian Rodgriguez, 2013

Sans titre, acrylic on canvas, 30 x 30 cm, 2009-2013
Warehouse II (Totem), installation, 2013
Warehouse II (Totem), detail, 2013
Warehouse II (Totem), detail, 2013

Kim Hae Ju, Independent Curator

Guillaume Clermont’s skull is the motif which is repeated throughout his work like the signature that represents the artist. He has been painting skulls for 10 long years on canvases of the same size. The motif which was derived from a Flemish painting from the 16th century, is a reminder of death and at the same time, makes us think of a state deviated from the normal state as the jawbone is dislocated from the cranium. It may be in a worn-down condition because of age, was excavated by an archaeologist and dusted off, or it has a dislocated form due to some sort of external shock. The skulls are transformed innumerable times against various backgrounds of different colors and forms. Some display cartoon-like forms within a stark contrast of vivid colors and some are painted in familiar arrangements of shapes and colors by adopting the styles of historic arts. Amidst the endless repetition, the dislocated skull of the 16th Century gets mixed up with contemporary icons. The dislocated skulls are left in distorted places. The artist puts the paintings in his bag and leaves them at a corner of a street, in front of a billboard, at a café, at a metro station, or at the base of a tree trunk in different cities. These are not places where people normally expect to find a painting, and as such, that unfamiliarity makes us question the fixed and conventional ideas we have in terms of the painting display. The areas that raise this question become the ideal spot for the artist’s paintings. Passersby suddenly become viewers of the paintings and some people might even take the paintings home. There could also be a painting which fails to draw attention and is left in the same place for a long time. The questions the dislocated skull poses are diverse; can a painting be judged good or bad? Can a painting in an exhibition hall be judged differently from a painting on the streets in terms of value? Even if paintings are placed on the streets, they are different from abandoned objects. The classical form they have makes people easily recognize that they are a specific form of art. In fact, the way the artist randomly disperses his paintings in the real world just as if uploading images easily on web can be seen as a resistance against the disappearance of images. This portrays the belief that the analog form of a painting will make it sustain its life. The image of a skull here is paradoxically linked to the impossibility of death. Although the artist does not trace his paintings’ whereabouts, he hears rumors about them. Distorted time meets distorted place and lost time "temps perdu" meets lost teeth "dents perdues". Teeth worn-down over time and lost from the skull are another motif in the artist’s painting. The grin of a Cheshire cat created by Lewis Carroll hangs in the air even after the image of the cat disappears. The image of what’s left after its disappearance, the colors on the canvas which resemble sparse arrangement of teeth exhibit the grin of the Cheshire cat. They speak about something that continuously extends, something that has already disappeared yet does not cease to disappear. The artist born in Canada and currently living in Belgium has spent 3 months in Seoul. As much as the motif of the skull, dislocation provides much inspiration to the artist. Holding numerous canvases in his arms, the artist traveled afar to Seoul, drew paintings of skulls, left them on the streets and made installation artworks using cardboard boxes, which are also one of his motifs. The artist’s studio I visited a few days prior to his departure was still full of skull paintings. What rhythm will his continuing dislocation add on the variation of these distorted images? Will the spatial differences between the cities he had been living in or time differences find their chance to be reflected in the story or the structure of his painting?