Goodes (Gudz-Moroz), Donald (Don)

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Goodes (Gudz-Moroz), Donald (Don), Canadian. Video, multimedia & performance artist, script writer, art critic, website designer. Born in Brandon/Man., 9. 28. 1960. Studied: 1980-83 University of Manitoba, Winnipeg/Man., and Banff Centre for the Arts, Banff/Alta.; 1983-84 Nova Scotia College of Art and Design, Halifax; 1987-92 Université du Québec à Montréal. During the 1990s he worked as a curator, notably at the Southern Alberta Art Gallery, in Lethbridge, and at the Dunlop Art Gallery, in Regina/Sask.; he wrote for Hour weekly in Montreal, as well as for specialized art publications, lectured and gave workshops in Canada, the United States and Spain. Resident artist: 1995 Centre de sculpture est nord-est, Saint-Jean-Port-Joli/Queb.; 1996 Banff Centre for the Arts, Banff; 1998 Plug-In Gallery, Winnipeg. Teaching: 2002-04 International Academy of Design and Technology, Montreal; 2003 Collège universitaire de Saint-Boniface, Winnipeg; 2003-06 external assessor in the Fine Arts Department of Concordia University, Montreal. Freelances as a website designer. Awarded project grants: 2005 Canada Council for the Arts; 2006 Conseil des arts et des lettres du Québec. - As a practitioner of conceptual art, his main preoccupation is with the social role of art. Makes use of irony to question contemporary art practice, in opposition to the inherent qualities of "peasant culture"; thereby seeks to deconstruct the critical discourse on contemporary art. His purpose is to facilitate art appreciation by the general public. In this vein, he has produced video documentaries, mock TV programs (e.g. a series on how to make contemporary art, entitled Each and Every One of You - a theme he has further explored in photo-essays), written theatrical scenarios, and appeared in a mock documentary film (Rechercher Victor Pellerin, by Sophie Desrape, 2006). Close collaborators include multimedia artists Jacky Lefargue, Anne-Marie Léger, and Paul Litherland, as well as actor/musician Norman Nawrocki. Collections : BANFF/Alta., Banff New Media Institute. BARCELONA, Museu d'Art Contemporani de Barcelona (Biblioteca). CALGARY, Alberta College of Art. DICKINSON/N. D., Dickinson State University. HALIFAX, NSCAD (Nova Scotia College of Art and Design) University. LETHBRIDGE/Alta., University of Lethbridge. MONTREAL, Musée d'art contemporain (Vidéothèque). QUEBEC, Musée national des beaux-arts du Québec (Bibliothèque). Publications : "Mastering nature, then bludgeoning it to death or … Celebrate the Gypsy Plants," in: Discussion, Montreal (Quebec), Vol. 18, No. 1, Spring 1989, pp. 20-24; "A Space : l'anatomie d'un centre d'artistes autogéré consacré à la diffusion d'un art politique," in: Possibles, Montreal (Quebec), Vol. 14, No. 1, Winter 1990, pp. 55-68; "Conflicting paradigms and hidden emotions," in: Renee Baert et al., Micah Lexier at Southern Alberta Art Gallery (catalogue Southern Alberta Art Gallery), Lethbridge, 1991, pp. 39-65; "Qualified democratization: The museum audioguide," in: The Journal of Canadian Art History, Montreal, Vol. XIV, No. 2, 1991, pp. 50-73; "Looking for justice: Not lying, but speaking the truth," in Jeff Funnell, Notes from the Inquest (catalogue Southern Alberta Art Gallery), Lethbridge, 1992, pp. 7-15; "Le statu quo perpétué : des attitudes et des mythes du milieu de l'art contemporain face au public non initié," M.A. thesis, Université du Québec à Montréal, 1992, 89 pages; "Nice piece: George Bures Miller's Conversation/Interrogation - Hopes for a relevant review," in: Harbour magazine of art and everyday life, Montreal, Vol. 2, No. 4, Fall 1993, pp. 65-68; "Will the gallery never go away? Then neither will the site-specific: My further initiation into The Mainstream," pp. 164-175, and with Mario Scattoloni, "Infected accommodations: The wedding of disease, normality and us," pp. 231-234, in: Résidences 1982-1993 : Chambres d'hôtel, Quebec, La Chambre blanche, 1995; "Complacent criticism," Still, Toronto (Ont.), No. 3, 1996, pp. 1-3; "D to D and back again" (interview with Doug Sigurdson), in: Cube, Montreal, No. 2, March 1997, p. 4; "In-situ: Panique au Faubourg," Canadian Art, Toronto, Vol. 14, No. 3, Fall 1997, p. 100; "The path of my errant criticism," in: Jean-Pierre Gilbert et al., So, to Speak, Montreal, Artextes Éditions, 1999, pp. 131-137; "Amazing, powerful, provocative… Pathetic, disgusting, a waste: Diana Thorneycroft's Monstrance town hall meeting," in: Diana Thorneycroft: RE/Monstrance, St. Norbert (Man.), St. Norbert Arts Centre, 2001, pp. 36-47; "Projectes d'instal-lació d'artistes de cap de setmana: núm. 48: Lucia i la seua instal-lació No Logo," in: En el lado de la television, Castelló (Spain), Espai d'art contemporani de Castelló, 2002, pp. 149-153; "Sunday installation artist profile no. 2: Hannie's Anti-Ad Public-Address installation," in: Anthony Kiendl (ed.), Obsession, Compulsion, Collection: On Objects, Display Culture, and Interpretation, Banff, The Banff International Curatorial Institute & The Banff Centre Press, 2004, pp. 359-370; "Bathroom stories: Comments," in: Mirjam Schaub, Janet Cardiff, the Walk Book, Vienna, Thyssen-Bornemisza Art Contemporary & New York, Public Art Fund, 2005, pp. 255-256. Solo Exhibitions : Winnipeg: 1983 Praxis Art Gallery; 1998 Plug-In Gallery; 1998 Video Pool / 1994 Hull (Que.), Axe Néo-7; Val-d'Or (Que.), Centre d'exposition de Val-d'Or; Victoriaville (Que.), Galerie Grave / Montreal: 1997 Studio 303; 2005 Infringement Festival, and Zustrich. - Group Exhibitions : 1984 Halifax, Nova Scotia College of Art and Design, Gallery 230: Home Art Home Video; Winnipeg, Praxis Art Gallery: The Good-Bye Show / Toronto: 1984 Video Culture Festival of New Media/Video: "Currently Canada: The Maritimes"; 1995 XYZ: Dys / Montreal: 1988: Logement d'art actuel; 2000 Galerie Clark: Ateliers portes ouvertes / 1994 Baie-Saint-Paul (Que.), Centre d'art: Symposium international de la nouvelle peinture / 1997 Barcelona (Spain), Centre de Cultura Contemporània de Barcelona: 4 Mostra de Vídeo Independent i Fenòmens Interactius; Kassel (Germany): Documenta X (Videothek) / 1998 Regina (Sask.), Dunlop Art Gallery: Do It / 2002 Castelló (Spain), Espai d'Art Contemporani de Castelló: En el lado de la television (catalogue) / 2005 Vic (Spain), Escola d'Art de Vic: Quinzena d'Art de Montesquiu: Mind the Gap / 2006 Madrid, Galería Carmen de la Calle & Las BErrea CUando PUedas: Vídeos al uso; Sackville (N. B.), Struts Gallery, and Faucet Media Arts Centre: Ok. Quoi?! Contemporary Arts Festival: "Drive-In-Video." Bibliography : Bernard Mulaire, "L'art au foyer ou les avantages du réseau social," ESSE, une revue de plus en art, Montreal, No. 12, Spring 1989, pp. 10-14; Gary Kibbins, "Bored bedmates: Art & criticism, political vs. critical," Fuse Magazine, Toronto, Vol. 22, No. 2, Spring 1999, pp. 35-42; Blair Marten, "Donald Goodes, dangerous suburban videos," Poolside, Winnipeg, Video Pool Media Arts Centre, Fall 1999, pp. 37-39. - Online: Homepage G. (, 2007.

© K.G. Saur Verlag, 2008.

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