Marie Genevieve Cyr

My current artistic practice explores new fashion languages in the post Internet era.

It has taken multiple forms such as a series of photographs, essays, hypertext poetry, digital simulations, printed drawings and physical caftans as zero-waste forms of advertisement.

It aims to define and critique subjects such as post-Internet, visual literacy, multiplicity, neo-materialism, spectatorship and performativity, circulationalism, iconomy, meme theory, withdrawal and slowness, celebrity culture, online bodies, accelerationism, extremization of the new, and micro hypertext poetry.

More on the series here: www.jeudemots.club

My current artistic practice explores new fashion languages in the post Internet era.

It has taken multiple forms such as a series of photographs, essays, hypertext poetry, digital simulations, printed drawings and physical caftans as zero-waste forms of advertisement.

This particular series , shot in Canada in January 2021, depicts the relationship between consumption, materiality and natural landscape.

Jeu de mots: Absurdist poetry

Welcome to the Digital Spa: a creative discourse on post-hyper-consumption.

“We live in a space between Art Nouveau and French Techno Futurism.” -Guest26041982

#50hypertexts

#mariegenevievecyr

SEE FULL WEBSITE HERE

Oct. 18, 2020–Apr. 17, 2021

SPECTATOR (2020), UV print on Aluminum, 24 × 18 × 13/100 in.

A collaboration between Mana Contemporary and Palazzo Monti, Transatlantico celebrates two dynamic artist communities, reinforcing the value of cultural exchange across border, region, and experience. The exhibition is curated by Edoardo Monti, founder of the exhibition’s namesake residency based in Brescia, Italy.

Transatlantico thematically traces the typical maritime journey of the transatlantic ocean liners for which it is named, through the collection and unification of disparate material culture, carried to a determined destination. A cultural bridge, the exhibition expands on the roles of each institution as loci for cultural, artistic, and intellectual connection.

PARTICIPATING ARTISTS

Alicia Adamerovich, Alessandro Alghisi, Becky Allen, Sara Anstis, Ludovica Anversa, Maximilian Arnold, Josefina Ayllón, Tine Bek, Ilaria Bianchi, Andrea Bocca, Bea Bonafini, Benni Bosetto, Liene Bosquê, Thomas Braida, Sinead Breslin, Linda Carrara, Ambra Castagnetti, Franco Cervi, Holly Chang, Paul Chapellier, Matheus Chiaratti, Hyun Cho, Heather Chontos, Marie Geneviève Cyr, Diane Dal-Pra, Stefano De Paolis, Francesco De Prezzo, Marco De Sanctis, Federica Di Carlo, Allessandro Di Pietro, Meta Drčar, Benjamin Duax, Charlotte Edey, Peter Evans, Ellen Falcucci-Lear, Nick Farhi, Emma Fineman, Serena Fineschi, Antonio Fiorentino, Hannah Fox, Maria Fragoso, Anna Freeman Bentley, Maya Fuhr, Ricardo Fumanal, Albert Riera Galceran, Oscar Giaconia, Jeffrey Gibson, Jane Hayes Greenwood, Heather Guertin, Hwi Hahm, Richard Haines, Constantin Hartenstein, Alberto Torres Hernandez, Christian Hincapie, Cathrin Hoffmann, Heidi Howard, Henry Hussey, Angelo Iodice, Samuel Jablon, Joseph Jagos, Lucas Jardin, Laurel Johannesson, Martin Kazanietz, Gabriel Kenny-Ryder, Osamu Kobayashi, Alexey Kondakov, Liza Lacroix, Jean-Francois Le Minh, Sergio Romero Linares, Brandon Lipchick, Francesca Longhini, Giuseppe Lo Schiavo, Chella Man, Sabine Marcelis, Michelle Marshall, MaryV, Luam Melake, Beatrice Modisett, Jonathan Monaghan, Ignasi Monreal, Matthew Morrocco, Müsing–Sellés, Juan Nazar, Valerio Nicolai, Guido Nosari, Erin O’Brien, Nadia Odlum, Tyler Matthew Oyer, Roberto Patella, Pedro Pedreira, Leonardo Pellicanò, Stefano Perrone, Alessandro Piangiamore, Roberto Picchi, Oren Pinhassi, Emily Platzer, Gianni Politi, Genevieve Felix Reynolds, Davide Ronco, Kara Rooney, Nick Rose, Gideon Rubin, Giulio Scalisi, Andreas Senoner, Lara Shahnavaz, Logan T. Sibrel, Alan Silvestri, Ernesto Solana, Sophie Spedding, Richie Talboy, Caroll Taveras, Frederico Tosi, Amalia Valdés, Leonardo Anker Vandal, Brit van Nerven, Filip Vest, Isabelle Young, Alexis Zambrano

“Italy style” is a series of painting investigating new visual expression of digital like abstraction of italian luxury symbols.

In the current volatile social climate, many fashion brands’ design process consists of a cultural collage or “copy-paste logo” method. Both the practice of branding and counterfeit can be traced back to the Roman period. Foreigners usually associate “Made in Italy” with values such as aesthetics, beauty, and luxury.

Exploration in drawings, portrait series.

Italy Style
Joseph Jagos (@mr_kiwis) and Marie Genevieve Cyr (@marie_genevieve_cyr) worked together on their “Italy Style” project which examines different cultures abstract applications of “Italian Style” and ideology to that of their own design processes. It features the ceiling frescos of Palazzo Monti paired with counterfeit Italian Fashion Luxury items. The works are intended for large scale prints.

Italy Style
Joseph Jagos (@mr_kiwis) and Marie Genevieve Cyr (@marie_genevieve_cyr) worked together on their “Italy Style” project which examines different cultures abstract applications of “Italian Style” and ideology to that of their own design processes. It features the ceiling frescos of Palazzo Monti paired with counterfeit Italian Fashion Luxury items. The works are intended for large scale prints.

Parks and Recreation, NYC

Sponsored by with Lamar’s recycling program, a US billboard company, Cyr has developed a series of prototypes. Lamar has helped through donating billboard materials of various sizes, textures and imagery. The billboards are not limited to being only a flat surface and are occasionally manipulated and draped into assemblage form to re-output and abstract the landscape yet once again. This initial research initiated on interest in the materiality of advertisement; exploring the physical aspect of marketing and branding.

Parks and Recreation, NYC

Sponsored by with Lamar’s recycling program, a US billboard company, Cyr has developed a series of prototypes. Lamar has helped through donating billboard materials of various sizes, textures and imagery. The billboards are not limited to being only a flat surface and are occasionally manipulated and draped into assemblage form to re-output and abstract the landscape yet once again. This initial research initiated on interest in the materiality of advertisement; exploring the physical aspect of marketing and branding.

Sponsored by with Lamar’s recycling program, a US billboard company, Cyr has developed a series of prototypes. Lamar has helped through donating billboard materials of various sizes, textures and imagery. The billboards are not limited to being only a flat surface and are occasionally manipulated and draped into assemblage form to re-output and abstract the landscape yet once again. This initial research initiated on interest in the materiality of advertisement; exploring the physical aspect of marketing and branding.

Parks and Recreation, NYC

Sponsored by with Lamar’s recycling program, a US billboard company, Cyr has developed a series of prototypes. Lamar has helped through donating billboard materials of various sizes, textures and imagery. The billboards are not limited to being only a flat surface and are occasionally manipulated and draped into assemblage form to re-output and abstract the landscape yet once again. This initial research initiated on interest in the materiality of advertisement; exploring the physical aspect of marketing and branding.

Series I

In the past three years, Cyr has compiled photographs taken in Asia (Thailand, Vietnam, and China). The relationship between advertisement, landscape, and material consumption is depicted in a series of photographs where consumption agents — i.e. a salesperson or manager engaging in an over-charged retail or ritualistic space — are portrayed with stuffed, piled, wrapped, and discarded garments. An obvious lethargic attitude and boredom can be seen in almost every image. This series became important in exemplifying the notion of desire — boredom — and the creation of falsely branded luxury objects that shape one’s perceived identity. 

Series II

In Chinese culture the most prized image is that of a beautiful landscape. Beautification banners and construction developments of mega luxury malls often dominate the constantly growing urban landscape. This series aims to capture these three visual references at work abstracting their surroundings. One image shows a city’s hyper realistic HDR (High Dynamic Range) photo banner of itself against the actual landscape on a lake, another an indoor water park simulating an Italian style mega villa, and others showing that even construction at landmarks such as Temple of Heaven can be obscured by a beautiful landscape. This documentation has become essential to understanding the concept of malls and markets dedicated to fake-luxury.

Personal archive

The residency supported a series of installation-objects made by using local materials, as well as industrial products. China - a place of such high consumerism rate- I noted a new kind of gateway; resembling of unintentional contemporary places of eastern worship related to our own in the west. Part of a study, I created a series of ornate door flaps as an emblematic metaphor for the entrance to consumerism; entering an abstract world of higher self identity.  

THREAD: Stories of Fashion at Strawbery Banke, 1740-2012

Strawbery Banke Museum’s 2012 exhibit, Thread: Stories of Fashion at Strawbery Banke, 1740-2012 depicted the people who lived in the Puddle Dock neighborhood of Portsmouth through costumes and textiles associated with their nearly 300 years of history. In addition to items from Strawbery Banke Museum’s extensive collection, Thread also showcased new fashion designs -- inspired by the Collection – created by some of the most dynamic designers, both established names and up-and-coming ingénues.

The exhibit included displays in the Rowland Gallery and juxtaposed historic costumes in their appropriate period settings in the museum’s authentic furnished houses with the contemporary fashions to offer themed "vignettes. "