Nicole Jolicoeur
| Nicole Jolicoeur | |
|---|---|
| Born | 1947 Beauceville, Quebec |
| 🏡 Residence | Montreal, Quebec, Canada |
| 🏳️ Nationality | French Canadian |
| 🏫 Education | 1978–1981 MA in Visual Arts (MFA) Rutgers University in New Jersey
1969–1970 Degree in Arts Education Laval University Ste. Foy, Quebec 1965–1969 Diploma of École des beaux-arts in Québec City, Qc. |
| 🎓 Alma mater | École des beaux-arts and Rutgers University |
| 💼 Occupation | |
| 🌐 Website | http://www.nicolejolicoeur.com/ |
Nicole Jolicoeur (born 1947) is a Canadian artist from Quebec. Her photographic and videographic works are held by a number of public institutions throughout Canada.
Critique of her works
Déprises I (Thérèse) (detail), 1999
Nicole Jolicoeur’s work titled “Déprises I (Thérèse)”, publicised nineteenth-century photographs from the archives at the Carmelite convent where Marie Francoise Thérèse Martin (Thérèse) was a nun. Nicole selected photographs of when Therese was a young girl and then later as she grew as an adult. To achieve the effects shown above, Jolicoeur, for the photographs of the faces, she lay on a paper cutting machine and cut horizontally, and also vertically, and at an angle as well. She then reassembled the fragments, putting the faces together.[1]
In 1888, Thérèse considered the perfect picture of bourgeois femininity, well dressed and well mannered. The first photograph of Therese was taken when she was fifteen years old, just a few days before she entered the Carmelite de Lisieux where she resided until her death in 1897. In 1925, she was sainted and became known as Thérèse of Lisieux or St. Thérèse of the Child Jesus and the Holy face. Today, you can visit the official website for Therese and view the photographic reproductions, where you can also purchase them in the form of: prayer cards, bookmarks, posters, or framed photographs.[1]
Nicole Jolicoeur’s “Deprises I (Thérèse)”, because images of different women. They no longer represent Therese, but are constructions of women’s faces, each with a particular presence. For Jolicoeur, possibly the work of making and remaking the face of Therese is meant to relieve the young woman of her hagiographical burden, to allow her to be unknown.[1]
Petite prose II, 1998
Nicole was inspired to do these photographs because of her fascination with the body anatomically. Her inspiration for producing these images came from the French neurologist, who was also a professor of anatomical pathology by the name of Jean-Martin Charcot. When we look at the photographic archive of Dr. Charot’s hysterics, the images shown are of women who were at Salpêtrière. The women incarcerated were about three thousand, which included the improvised, geriatrics, and people who were mentally unstable. Among them, the most interesting were women who had afflictions displayed on their bodies, as those of the images above, that Jolicoeur used for her exhibition.[1]
Jolicoeur’s work converts the visual memory of the photographs taken at Salpêtrière. The photographs help us to appreciate and to understand the work Jean-Martin Charcot produced.[1]
The most significant images are those of the women that are veiled in transparent silk. Unlike the women by Charot; the soft gray monochromes, marked skin, covered faces, these photographs are wrapped in sheer silk. By altering the image, Jolicoeur opens the probability that might have been different and seen differently at the time of Charot. Jolicoeur photographs reveals the surface, the hidden truth behind the photographs, by slightly showing parts of the body with the silken robes.[1] Nicole Jolicoeur self-portrait.
The image of her covered face signifies her self-portrait. We might see it as a way of representing her blind spot, her inability to have her own image. Jolicoeur represents a subject—the veil covers the face, and in doing this, she resists visible identity. Nicole teases us with the covering of her face as it becomes almost like another kind of skin. Underneath the veil, she is more or less herself.
Lastly, we may think of Jolicoeur’s photographic work as almost an obsession in the Salpêtrière and Theresian archives to recollect and dissect the women that were powerless. Her performative interventions have produced another body of work that is to be collected and preserved. Nicole’s work helps us to understand that the artist’s studio is also a documentation, where the work of recollection continues to produce new substances and meanings.
Exhibitions
2015 Toucher sur image (vibrato), Galerie des arts visuels, Université Laval, (Québec, Qc) 2014 Archives vagabondes, Occurrence Centre d’art et d’essai contemporains, Montréal, (Qc.) 2009 Video+Sound art Series, Atrium Gallery, Richmond Center for Visual Arts, Gwen Frostic School of Art Western Michigan University, Kalamazoo,( Michigan, USA). Commissaire Adriane Little. 2007 Autour de nous, en duo avec Paul Lacroix, Atelier Regart (Lévis, Qc ) Symptôme-état transitoire, Flevoland_salon double déformaté d’Aelab, (Montréal, Qc) 2003 * Ruses, en duo avec Paul Lacroix, Centre VU (Québec, Qc) 1999 * Lignes de fuite, en duo avec laura jeanne lefave, La Centrale (Montréal, Qc) 1998 * Image d'une ville–Corps de l'image, Galerie de l'UQAM (Montréal, Qc). Commissaires Louise Déry and William Saadé 1997 * Image d'une ville–Corps de l'image, Musée du Palais de l'Isle (Annecy, France). Commissaire William Saadé. 1996 * Traité de la perfection, Centre VU (Québec, Qc) 1995 * Intimité, Centre d’art contemporain de Rueil-Malmaison (France).Commissaire. P-J. Sugier La Voie parfaite, Galerie Samuel Lallouz, (Montréal, Qc), Le Chant des Ventriloques, en collaboration avec Christine Major, Centre de Diffusion de la Maîtrise en arts visuels de l’UQAM (Montréal, Qc) 1994 La Voie parfaite, Ateliers Nadar (Marseille, France) 1992 * Zones d'extase, Centre VU (Québec, Qc) 1991 * Zones d'extase, Galerie Articule (Montréal, Qc) Toronto Photographers Workshop, (Toronto, Ontario).
- Zones d'extase, Toronto Photographers Workshop (Toronto, Ontario)
1990 Portraits, Galerie des Arts visuels de l’ Université Laval, (Québec, Qc)
- La Vérité folle, Mercer Union (Toronto, Ont), Les Productions Obscure, (Québec,Qc)
- La Vérité folle, Les Productions Obscure (Québec, Qc)
1989 * La Vérité folle, Presentation House ( North Vancouver, BC)
- La Vérité folle, Dazibao (Montréal, Qc)
1986 Nicole Jolicoeur/Nancy Spero: Works on paper, Hobart and William Smith Colleges (Geneva, N-Y, É-U), Commissaire Joanna Isaak Nicole Jolicoeur, Works on Paper, Embassy Cultural House (London, Ontario). Commissaire Jamelie Hassan
- Charcot : deux concepts de nature, YYZ Artists Outlet (Toronto, Ontario)
1984 * Charcot : deux concepts de nature, La Chambre Blanche (Québec, Qc)
- Charcot : deux concepts de nature, Galerie Powerhouse (Montréal, Qc)
- Charcot : deux concepts de nature, A.I.R. Gallery (New York, É-U)
1981 Nicole Jolicoeur, travail récent, Galerie Hasart (Québec, Qc) Nicole Jolicoeur, travail récent, Walters Hall Art Gallery (New Brunswick, New Jersey, É-U) 1973 Nicole Jolicoeur, La Galerie des Arts visuels de l’Université Laval (Québec, Qc) 1971 Nicole Jolicoeur/Richard Mill, Camp des Jeunesses Musicales du Mont Orford (Qc)
Videography
2015 Le Toucher sur image, 28e Instants vidéos, Friche La Belle de mai, Marseille, France Rendez-vous du cinéma québécois, Montréal, Qc. Toucher sur image (vibrato), installation vidéographique, Galerie des arts visuels, Université Laval, Québec, Qc.
2014 – Syncope, Occurrence Centre d’art et d’essai contemporains, Montréal, Qc Le Toucher sur image, FIFA– Festival international des films sur l’art, Montréal, Qc, Canada. Commissaire Nicole Gingras Le Toucher sur image, Taking (a) Part, Mercer Union, Toronto, Ont. Canada. Commissaire Georgina Jackson.
2009 – Les Langues – (monobande 3 min.1998) Video+Sound art Series, Atrium Gallery, Richmond Center for Visual Arts, Gwen Frostic School of Art Western Michigan University, Kalamazoo, (Michigan, USA).Commissaire Adriane Little.
2007 – Symptômes, installation vidéographique, (boucle de 10 min. 30 sec. 2007) Flevoland_salon double déformaté d’Aelab, (Montréal, Qc)
2003 – De la Plaie-image, (9 min. 15 sec. 2002) Passages (Toulouse, France) Rendez-vous du cinéma québécois (Montréal, Qc) Vidéoformes (Clermont-Ferrand, France) [2] Festival international d’art vidéo de Casablanca (Maroc) Centre d’art régional de Montbéliard Le 19 (France)
1999 Les Langues (3min. 1998), Instants vidéos de Manosque #16. Les Langues, installation vidéo (boucle 3 min, 1998), Mémoire et Antimémoire, Galerie de l’UQAM (Montréal, Qc). Commissaire Françoise LeGr
References
External links
- http://www.nicolejolicoeur.com
- https://wmich.edu/art/exhibitions/archive/2009-10/nicole-jolicoeur.html[permanent dead link]
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