Due to the influence of ecological thinking, our perception of nature is currently tinged with a profound sense of unease. The works brought together in this section all highlight the fragility of the environment. The artists who made them demonstrate a commitment to generating awareness and showing, among other things, how the landscape around us has become a site of unprecedented catastrophes and disasters. They therefore directly or indirectly deal with the question of climate change and present, in a thoroughly convincing manner, the potential for improvement that resides in individual action.
Due to the influence of ecological thinking, our perception of nature is currently tinged with a profound sense of unease. The works brought together in this section all highlight the fragility of the environment. The artists who made them demonstrate a commitment to generating awareness and showing, among other things, how the landscape around us has become a site of unprecedented catastrophes and disasters. They therefore directly or indirectly deal with the question of climate change and present, in a thoroughly convincing manner, the potential for improvement that resides in individual action.

© Galerie de l'UQAM 2007. All rights reserved

Parc industriel

Public intervention

Artist: ATSA, Photo: ATSA and Martin Savoie
2001
© ATSA


ATSA aspires to create spaces for discussion and generate social change through the use of art’s aesthetic and symbolic means. With Parc industriel [Industrial Park], the organization sought to get people thinking about the current state of the environment. An arch made up of compressed paper and metal bundles led to a body of polluted water and a space strewn with recycled materials. Like an archaeological site from the industrial age, the place was perceived by viewers as evidence of the ecological negligence that comes from overconsumption. This activist work has required the collaboration of mutual assistance groups and ecologist groups. It clearly demonstrated the power of social commitment and mobilization, relying on society’s capacity to generate projects that bring people together and raise consciousness.

To watch an excerpt of the video documentation of the project, please follow this link.
ATSA aspires to create spaces for discussion and generate social change through the use of art’s aesthetic and symbolic means. With Parc industriel [Industrial Park], the organization sought to get people thinking about the current state of the environment. An arch made up of compressed paper and metal bundles led to a body of polluted water and a space strewn with recycled materials. Like an archaeological site from the industrial age, the place was perceived by viewers as evidence of the ecological negligence that comes from overconsumption. This activist work has required the collaboration of mutual assistance groups and ecologist groups. It clearly demonstrated the power of social commitment and mobilization, relying on society’s capacity to generate projects that bring people together and raise consciousness.

To watch an excerpt of the video documentation of the project, please follow this link.

© Galerie de l'UQAM 2007. All rights reserved

Public intervention

Artist: ATSA, Photo: ATSA and Martin Savoie
2001
© ATSA


Public intervention

Artist: ATSA, Photo: ATSA and Martin Savoie
2001
© ATSA


Public intervention

Artist: ATSA, Photo: ATSA and Martin Savoie
2001
© ATSA


ATSA, which in French stands for "socially acceptable terrorist action," is a non-profit organization founded in 1997 by artists Pierre Allard and Annie Roy. ATSA is mainly involved in urban activism that takes the form of installations and performances. By siting its works in, and in relation to, the public sphere, the group attempts to draw the public's attention to social inequalities and the general state of the world. In this sense, its artists function as responsible citizens.

www.atsa.qc.ca

selected exhibitions
2006 Art and Activism, YYZ Artist’ Outlet, Toronto (Ontario) 2005 Débraye : Voiture à contreverse/Attentat # 10,Fonderie Darling Montréal (Québec) [Esther Bourdages, curator] 2004 Eaux vives, regards croisés, Maison de la Culture Frontenac, Montréal (Québec) Cohabitations: Common ground?, Axenéo7, Gatineau (Québec) [Stéphane Bertrand, curator] 1999 Mémoire vive, Dare-Dare and Centre d&rs Read More
ATSA, which in French stands for "socially acceptable terrorist action," is a non-profit organization founded in 1997 by artists Pierre Allard and Annie Roy. ATSA is mainly involved in urban activism that takes the form of installations and performances. By siting its works in, and in relation to, the public sphere, the group attempts to draw the public's attention to social inequalities and the general state of the world. In this sense, its artists function as responsible citizens.

www.atsa.qc.ca

selected exhibitions
  • 2006 Art and Activism, YYZ Artist’ Outlet, Toronto (Ontario)
  • 2005 Débraye : Voiture à contreverse/Attentat # 10,Fonderie Darling Montréal (Québec) [Esther Bourdages, curator]
  • 2004 Eaux vives, regards croisés, Maison de la Culture Frontenac, Montréal (Québec)
  • Cohabitations: Common ground?, Axenéo7, Gatineau (Québec)
  • [Stéphane Bertrand, curator]
  • 1999 Mémoire vive, Dare-Dare and Centre d’histoire de Montréal, Montréal (Québec) [Raphaëlle de Groot, curator]

events
  • 2004 FRAG 04 , a permanent visual journey along Saint-Laurent Boulevard, Montréal (Québec)
  • 2003 ATTACK #!, series of events incriminating the automobile industry, consumers and governments, Montréal (Québec)
  • 2002 Attention : Zone épineuse, intervention in the Mont-Royal Park inviting people to reflect upon the precariousness of our ecological heritage, Montréal (Québec)
  • 1998 État d'urgence, a refugee camp smack-dab in the city’s core with and for street people organized since 1998, Montréal (Québec)

© Galerie de l'UQAM 2007. All rights reserved

overconsumption

The habit of using more goods and services than are needed. However, due to the difficulties involved in defining objective criteria to describe insufficient, normal or excessive consumption, this concept has failed to generate consensus among practitioners of economics.
overconsumption

The habit of using more goods and services than are needed. However, due to the difficulties involved in defining objective criteria to describe insufficient, normal or excessive consumption, this concept has failed to generate consensus among practitioners of economics.

© Galerie de l'UQAM 2007. All rights reserved

Learning Objectives

The learner will:
  • demonstrate an understanding of how science and art can be linked;
  • try to explain the state of mind of the artist when they made this art piece.

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