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Bettina Forget
Managing Curator

lives in: Montreal
Bettina Forget's story is one of a globetrotter, always engaged with the arts, and always up for a new challenge. Originally hailing from Hamburg, Germany, Bettina Forget got her start in the art world at Central Saint Martins College of Art... [more]


International Association of Astronomical Artists (IAAA) Panama City, FL, United States

The IAAA was founded in 1982 by a small group of artists who journeyed through the fascinating but seldom trod territory where science and art overlap.

Since its founding, the IAAA has grown to... / read more

Visual Voice Art Gallery Montreal, Quebec, Canada

The Visual Voice Art Gallery is an artist run gallery showcasing contemporary painting, print, photography, installation and sculpture.

In this gallery we let our artists find their own voice -... / read more


Past Events

Cutting the Iron Curtain Montreal, Quebec, Canada
9 Nov - 10 Nov
Visual Voice Art Gallery / details


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“ART OLYMPIC; Equivalent to the; Sport Olympic; Will B the greatest event ever Globally; greatest philanthropic event; THE LEGACY OF THE CENTURY;”
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“CASA ( Care And Share Art ) World Touring Donated Art Mission Exhibition; Artist from ALL World 243 Counties to donate at least one art work; I am donating 2 thousand of my ART WORK; Buyer choice of Charity – Direct; please join CASA & relay 2 all”
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“- Nobel Prize 4 Children; The addition of children to Nobel It will just take a moment of your time but will impact for a lifetime We humbly request you to Send Emails to;;; supporting & declaring your solidarity to include NOBEL PRIZE 4 CHILDREN; please join CASA & relay 2 all;”
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“MISSION; LET US Enhance; World Peace - Tolerance – Cooperation; Understanding - Acceptance – Confidence; Recognition - Human Rights - Cultural Enrichment; – Positive Globalization; Love & Help the less fortunate; Protect the Environment; METHOD CASA is initiating six GLOBAL NEW concepts; CASA - ART OLYMPIC - NOBEL PRIZE 4 CHILDREN - CASA GLOBALTOURING EXH. - CASA GLOBAL GENIUS VILLAGE - CASA GLOBAL GOURMET VILLAGE; please join CASA & relay 2 all THE LEGACY OF THE CENTURY;”
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“Hey Bettina, I missed your comment on my page until just now... Anyway, I'm sure your exhibition was fantastic and I wish I could have seen it but I'm in Toronto right now. Cheers, talk to you soon.”
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“Bettina, That was an awesome opening thanks Again. Richard ”
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“Richard, thanks for your help during the vernie, and congratulations again on your sale!”
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“Hey be sure to let me know of anything exciting happening at Visual Voice for the next few months because I'm living in Montreal until november! Cheers”
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Visual Arts
20th Century & Beyond
Public Art
Installation Art



Michael De Feo
Twitter Party


Twitter Parties are easy to join and lots of fun - they are basically a group chat on Twitter which make use of the hashtag. Just add #aceditions to your tweets and you're part of the discussion!

Our first Art+Culture Editions Twitter Party took place on Monday, September 6th, 2010, where we chatted with with New York artist Michael De Feo (@MichaelDeFeo) who papers the streets of the Big Apple with his iconic flowers and portraits.

Michael de Feo loves his freedom. Combining drawing, print making, and public art, he uses the city as his art gallery. De Feo invades major capitals like New York City, Buenos Aires, and Hong Kong, and papers them with simple drawings of flowers, fluid self portraits, and sketches of every-day objects, creating a moment of joy and wonder for the passers-by. Check out his work on Art+Culture Editions here

We discussed what inspires Michael, how he creates his work, and his current and up-coming projects. It was so much fun that we've decided to share with you the highlights of our one-hour chat. If you would like to join our up-coming Twitter Parties, keep an eye on the Art+Culture Editions Magazine for the next announcement.

ArtCultureMtl: I would like to introduce our panelist: artist Michael De Feo from New York @MichaelDeFeo. Welcome!

michaeldefeo: Thanks for having me here... I'm honored to participate!

ArtCultureMtl:  Our first topic will be inspiration. Where and how do you source your ideas?

most recently I've been focusing on my personal life and relationships with family and friends... things close to the heart.

@MichaelDeFeo like your self portraits?

michaeldefeo: yes. I've always done self prtrts but after my wife and I split 4 yrs ago, they became a cntrl theme in my pntngs and street wrk

ArtCultureMtl: Do you keep sketchbooks or photo journals?

michaeldefeo: i draw and shoot lots... not sure how to organize it all yet...

ArtCultureMtl: @MichaelDeFeo Tell us a bit about your artistic practice

michaeldefeo: i spend just as much time thinking and planning outside of the studio as I do inside...

ArtCultureMtl: Tell us about your streetwork. How do you select the places you paper with your art?

michaeldefeo: My street locations are based on visibility, durability, and aesthetic concerns...

becksaboo26: What artist inspires you currently? @MichaelDeFeo

michaeldefeo: I'm going to sound like the mushy dad that I am, however, I'm always inspired by the art of my 6 yr old daughter, Marianna

ArtCultureMtl: @MichaelDeFeo - do you teach your daughter art?

michaeldefeo: my daughter and I work together all the time in the studio... sometimes we collaborate on the same works together... we love it

ArtCultureMtl: @MichaelDeFeo do you also take your daughter with you when you "install" you art?

michaeldefeo: Marianna joined me this Summer in Provence where she helped me install works all over St. Remy... was my fav time ever!

ArtCultureMtl: @MichaelDeFeo Nice! Summer in provence! What was the subject of the art you created there?

michaeldefeo: in St. Remy we just did flowers everywhere, in Tarascon I did a huge mural... my homage to Caillbotte's, Rainy Day in Paris

michaeldefeo: In Les Baux I installed some flowers at the request of their mayor in their central, ancient building...

oh... also did a "flower stand" in St. Remy... lots of activity all over!

ArtCultureMtl: @MichaelDeFeo - Wow! The mayor ASKED you? How did he know about your work?

michaeldefeo: yes... the entire series of installations happened via my participation in AP'art, an international fest of contemporary art...

michaeldefeo: Les Baux is amazing... it dates from about the 10th C. or so... check it out:

Here's the site for AP'art... it's an incredible festival!

jaschaffer: @MichaelDeFeo are you "making it", living off of your art?

michaeldefeo: @jaschaffer I teach art at a high school in CT... the rest of the time I'm with my daughter, in the studio, or in the streets.

@MichaelDeFeo cool. is your art a good source of income at this point in your career?

michaeldefeo: @jaschaffer it treats me well... I can't complain.

jaschaffer: @MichaelDeFeo that's great to hear!

ArtCultureMtl: @MichaelDeFeo are you back in NYC now?

michaeldefeo: I live just outside NYC in the burbs and yes, I'm home at the moment...

ArtCultureMtl: @MichaelDeFeo What are you working on now?

michaeldefeo: I'm in a show that opens 2morrow in NYC celebrating Jihae's new album she's performing as well...

michaeldefeo: I'm also in Aldrich Undercover a fundraiser for @TheAldrich Museum this Nov. amongst lots of other expo's

ArtCultureMtl: @MichaelDeFeo in which other cities did you install your artwork?

michaeldefeo: this Summer I installed works in Philly, Fort Lauderdale, Hong Kong, St. Remy, Tarascon, Les Baux, and I forget where else...

ArtCultureMtl: @MichaelDeFeo you travel a lot! Ever installed your work in a airport?

michaeldefeo: haven't installed my work in an airport just yet, however, I frequently create works on blueprints of airports ...

michaeldefeo: blueprint paper is my favorite paper to use for street works...

ArtCultureMtl: @MichaelDeFeo How do you install your work? In a clandestine way, at night, or openly, during the day?

michaeldefeo: I install both openly during the day and very late at night or early AM...

ArtCultureMtl: @MichaelDeFeo Have you ever gotten caught installing your work?

michaeldefeo: I've been caught numerous times and have had my share of "run-ins".

ArtCultureMtl: @MichaelDeFeo Any advice for artist who work in public spaces?

michaeldefeo: always keep it from your heart and be careful : )

ArtCultureMtl: @MichaelDeFeo Thank you so much for participating in this, our first Twitter Party!

michaeldefeo: ArtCultureMtl My pleasure... and thank YOU! Wow, the hour just flew by... I feel like we were just getting started!

ArtCultureMtl: @MichaelDeFeo Yes, I agree :) Let's do this again! Thanks again, Michael.



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posted on 07.19.10



Rock Music



Indie Montreal


I sat down with Alessandra Willsher of Indie Montreal the other day, and we chatted about the challenges faced by young bands in the music industry. Not an easy feat, trying to make a living in the world of indeptendent rock and pop in Canada. That's why I was so impressed with Indie's concept - they let their artists keep the proceeds of their merchandise sales, and they don't charge the bands any sneaky fees, no evil money-grab here. But they do form long-term relationships with their bands and promote the hell out of them. Awesome.

In the coming weeks you'll find some interviews with the musicians and bands playing at the up-coming concert series organized by Indie Montreal. Also, keep your eyes open for ticket contests on both the Art+Culture site and on our Art+Culture Montreal Facebook page.


In the meantime, mark your calendars for some rocking bands playing in Montreal this month:

Wednesday, July 21st, 2010 at les 3 Minots with Groove Attic and La Strada at 8:30pm

Thursday, July 22 2010 at Divan Orange with Five Alarm Funk and Bananafish  at 8:30pm

Friday July 23 2010 at 3 Minots with This Invention Matters and Royal Canoe at 8:30pm

Tuesday, July 27th 2010 at L’Escogriffe with Maylee Todd, Bent By Elephants and Hooded Fang

Thursday, July 29th, 2010 at Bar St Laurent with Old Crowns, Brett Caswell and The Marquee Rose and Guest at 8:30pm

Friday, July 30th, 2010 at Le Cagibi with Brittany Kwasnik at 8:00pm

For tickets, visit the Indie Montreal website at

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posted on 06.07.10



Visual Arts




I’m at the precipice of re-lapsing into an old addiction: magazines. Already stacks of magazines eat up valuable shelf space in my library: editions of the German magazine art, copies of Creative Review,Design Week (I’m in two issues!), and piles of Astronomy Magazine and Scientific American. Not to mention Vie des Arts, which, for some reason, gets intermittently delivered to my gallery without me having ordered it (thank you, whoever you are).

The magazine thing was becoming a problem when I realized that I’m incapable of throwing out art and science magazines. They are just too beautiful. The problem is, they keep piling up. So I went cold turkey and stopped everything. I decided I can just as easily read stuff online and save a few trees. Bookshelves are made for books.

And then I went to the launch party for Ciel Variable. The gorgeous, gorgeous Ciel Variable, with its insightful articles in English and French, its wonderfully printed editions that still smell of printer’s varnish, featuring the very latest in what’s hot in contemporary photography. The launch party last Wednesday was for their online Archive, a new section of Ciel Variable’s website. They had a table with back issues (for $5 each!) and the current issue, so I loaded up. And now I’m hooked again.

What’s special about Ciel Variable is that each issue is curated and deals with one theme. It goes beyond showcasing what’s new, but puts contemporary art in context. The current issue, for example, is dedicated to the theme of conflict, and covers the works by Emanuel Licha at SBC Gallery (which I wrote about in my Belgo Report), the amazing work by Sophie Riestelhueber, as well as an impressive work by Stan Douglas. The articles are demanding and well written without being pretentious. Which makes Ciel Variable more than just a mere magazine, but a timeless piece of curated art criticism. You know, more like a book. Which should go on a book shelf.

Anyway, that’s my story and I’m sticking to it.

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posted on 06.02.10


For a visual artist, the idea of losing your sight holds a special flavour of terror. Which is why I found the idea of Tu vois ce que je veux dire” so intriguing: going for a blindfolded walk in the city, with a guide assigned to you to function as your ‘eyes’. This event is part of the Festival Trans Amerique (FTA), and already at the press conference I though this is a challenge I should sign up for. So I scored myself a ticket for Saturday afternoon.

I wanted to find out what it’s like to experience an environment without being slaved to your eyes. How would I understand the place I’m walking through? Would I compensate with my ears, my sense of smell? What about trust issues – after all, my guide could easily lead me into traffic, or I could fall down a flight of stairs. I was looking forward to make a new discovery about myself.

The starting point was the Corrid’art – The Long Haul (I was just there a few days ago for a vernissage – more about that in a later post). A padded, heavy black blindfold was strapped over my eyes, and only then was I introduced to my guide. Her name was Marie-Christie, and for some reason, based on her name and her charming soprano voice, I imagined her to be a brunette with curly hair. I was instructed to wrap my hand around her elbow as though I was holding a walking stick, and Marie showed me how to step behind her in case we had to navigate a narrow area. And off we went.

At first my steps were small and hesitant. I was walking in complete darkness, and my brain kept screaming STOP, WHAT ARE YOU DOING?! Once on the street our pace quickened. It felt odd to be enveloped in complete darkness; I had the sensation as though I was floating, but at the same time I felt the hard asphalt under my feet. Soon I got the hang of Marie’s subtle instructions. When she shifted, I shifted, when she slowed down, so did I. I was surprised at how quickly I relaxed at her side. I trusted her completely. Which was just as well, because Marie isn’t a girl who dawdles. We marched at a stiff pace down busy streets, navigating across intersections, past shops and private homes.



When we came to an intersection she would slow down, then tell me “In two steps there is a small ramp down into the street”, and then warn me again as we stepped back onto the sidewalk. My experience of the city changed. I felt the city with my feet, the constant rhythm of up the sidewalk, down into the street, up the sidewalk – Montreal turned into an ocean of asphalt, and I was riding the waves. I heard snippets of conversations, in many different languages. I smelled a barbecue, heard an aircon unit kick in. I discovered the sound old trees make in the wind, and the twirly clicks of different kinds of bicycles.

We were lucky, it was a gorgeous, gorgeous day. Sunny, about 27°C, with a light breeze. In my spaghetti-strapped short summer dress I could feel the city with my skin: the heat emanating from the pavement and the buildings on the wide, busy shopping street, the cool shade of the smaller residential avenues. To walk without seeing forced me to be much more present. I needed to concentrate on Marie’s instructions, feel the ground under me, hear the city around me. I thought I could sense my surroundings with my bare arms and legs, as though my mind was expanding around me, trying to touch buildings, trees and cars.

There were a couple of stops on the way, activities which were part of the circuit, but I don’t want to talk about them yet, in case you’re reading this and you’re now thinking of signing up. I don’t want to spoil the surprise. After all, I had no warning, either. The idea of “Tu vois ce que je veux dire” is that it is journey of discovery.

Overall Marie and I walked for over two and a half hours. Only at the very end, after we had completed the entire circuit and all activities, was I allowed to slowly remove my blindfold, and I got my first look at the woman whom I had trusted with my life. Turns out Marie Christie is a tall, pretty blonde with straight hair. We ended up chatting for a bit afterwards, as I adjusted my mental picture of her. And then I headed off to the bus stop, to get back to the Long Haul where I had parked my car. It felt strange walking on my own, without my guide, and I missed her.

It’s amazing how efficient our sense of sight is. It takes a fraction of a second to completely comprehend your environment by just looking at it, so much so that you can go on auto-pilot and think of other things while you walk. Not so when you’re walking blind – you have to be very much in the moment. My blindfold walk taught me to be more present, to take it all in, and to use all of my senses, more than any other experience could have done.

If there are still tickets to be had I recommend that you abandon yourself to this event and get to know Montreal – and yourself – like you’ll never be able to otherwise.


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Visual Arts
20th Century & Beyond
Conceptual Art
Installation Art
Video Art



Emanuel Licha
Sbc Gallery


When first entering the SBC Gallery you are confronted with large, raw plywood cubicles, leading you to a viewing area. A window has been cut out of the wooden structure, and on the far end of the box a video is being screened. You settle in, place your elbows on the window sill, and start watching.

The scene you are confronted with appears – at first – to be mundane. When I first dropped in, I saw a woman in a room, looking out of a window (an echo of myself), onto an urban street scene. Nothing much was happening. Two or three men were loitering at a street corner. And then there were voices, and the tension on the street became palpable. There was going to be trouble. I realized that we were not just watching, but observing. This was surveillance of a war zone.

Emanual Licha
’s work lives right there, in the deliberately ambiguous space between film, fiction, and documentary. The scenes screened in his exhibition Why Photogenic? are from his most recent series Mirages and Baghdad, which were filmed at the military training camp Fort Irwin, California. Fort Irwin models the city Baghdad, Iraq and is used by the military to train soldiers to familiarize them with the combat zone. The environment Licha creates is, like Fort Irwin, full of contradictory elements: is this a cinema (the aspect ratio of the screening is the cinematic 16 x 9), is this a surveillance video, am I watching someone else, or am I being watched? Am I the observer or the observed? What part of this is real?

What’s being questioned here is more than our sense of reality, but also our sense of perception on a larger scale: how do we receive and process information, especially information of a political nature? Which images can we truly trust? Who holds the camera? At a time when government, media, and surveillance are becoming increasingly intertwined, Licha’s work highlights some poignant questions: who holds the monopoly on violence, is there such a thing as empirical data, and what role do the media play in informing the public?

While you’re comfortably leaning on a plywood frame in the gallery, you’ll have much to think about.

SBC Gallery
space 507
Emanuel Licha
Why Photogenic
May 1 – June 19, 2010


(repost from the Belgo Report)

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