Diane Landry is a sculptor and performer based in Quebec City. She holds a BFA from Université Laval (1987) and an MFA from Stanford University (2006) in California. Her works have been shown widely in Canada, the United States, Latin America, multiple European countries, China, and Australia. In 2015, she received the prestigious fellowship from the John Simon Guggenheim Memorial Foundation in New York, and in 2014, she was awarded the Jean-Paul-Riopelle career grant by the Conseil des arts et des lettres du Québec. The piece Four Revoluhearts was created after the artist was selected in a competition to be among the first cohort of artists to present their work in the new exhibition space at the Grand Théâtre de Québec, inaugurated in 2019.
GRAND THÉÂTRE DE QUÉBEC
FOUR REVOLUHEARTS, 4 wall sculptures with automation
The sculptures, with their opalescent white light, harmonize with the monochrome tones of the concrete space. And yet, the elusiveness and delicacy of the pieces also contrast sharply with the immutable, robust architecture of the setting. Their constant, repetitive, and lively movements echo the words of Claude Péloquin – “Vous êtes pas écœurés de mourir, bande de caves ! C’est assez !” (Aren’t you idiots sick of dying! That’s enough!) – engraved in Jordi Bonet’s monumental mural on the southern wall the exhibition space. Synchronous coincidence sets the tempo for the arabesques of Four Revoluhearts, creating a hypnotizing and ethereal choreography that invites viewers into a moment of stillness in suspended space and time.
By offering its performance above this unique space, this work of visual art articulates an inspiring connection with the living arts, to which the Grand Théâtre de Québec is dedicated.
Production: Diane Landry and Grand Théâtre de Québec
Curator: Ariane Plante
The artist would like to thank the team from AVATAR, an artist-run centre in Quebec City dedicated to audio and electronic arts, for its contributions to technical development. She would also like to express her gratitude to the Grand Théâtre for its financial support and technical assistance, and for the trust it places in artists. Thanks also go out to the curator, Ariane Plante, for her generosity and professional understanding throughout the creative journey.