Mathieu Lambert | La Théorie du Complot

La Théorie du Complot, exhibition views, Galerie Les Territoires, 2015




From March 13 to April 11, 2015


“With the constant input of information received daily, if not hourly, individuals become both sponges and filters, accepting some information as truth and others discounted as not realistic, but most information once viewed becomes integral to our memory. Nevertheless, our active memory is similar to focusing a camera lens and framing a composition, we select what is within the frame and what is excluded. That can also be said about the symbols we chose to represent a given geographical region.” – Doug Stockdale, “Mathieu Lambert – Fake Tales of America”


Mathieu Lambert’s practice is influenced by a wide range of media, including film, photography, design and architecture, engaging, among other things, with the workings of the entertainment industry and the circulation of collective imaginaries. In La Théorie du Complot, Lambert mixes strategies borrowed from the world of cinema with personal memories, news items and fragments of collective experience. Bringing together pictures, objects made by the artist, and documents of fictional events (rented from a cinema production outlet), La Théorie du Complot proposes an open investigation into the strengths and weaknesses exposed by current conspiratorial narratives.
Mathieu Lambert was born in France in 1986 and currently lives and works in Montreal, where he is pursuing a degree in Fine Arts at Concordia University. He has participated in numerous exhibitions both in Quebec and abroad, most notably at Galerie de Bailli, Epinal (2010); Margate Photo Festival (2011); Triangle Gallery, Philadelphia (2011); Naçao Gallery, Shanghai (2013); Design Terminal, Budapest (2013); and French Restaurant, Montreal (2014). His project Fake Tales of America was published in 2009 by French Fourch editions. An interdisciplinary artist, Mathieu Lambert is also the founder of Matmos press, a Montreal-based publisher specializing in artists’ books.

Douglas Stockdale, “Mathieu Lambert – Fake Tales of America,” The Photobook, July 27, 2010.
Sylvain Martet and Mathieu Lambert, “Striplands,” in What is the future of architecture, ed. Pieterjan Grandry, trans. Blandine Larue, (Berlin: Cap is Good, 2012), 128-135.
Eli Kerr, “No Time Like the Present,” introduction for No Time Like the Present exhibition at Espace Gallery, Montreal, QC. March 14, 2014 – March 21, 2014.
Eli Kerr, “Du Besoin de Transposer,” introduction for Du Besoin de Transposer exhibition at French Restaurant, Montreal, QC. June 26, 2014 – July 8, 2014.
Théorie du complot,” Wikipedia: The Free Encyclopedia.
Walter Benjamin, “VI,” in The Work of Art in the Age of Mechanical Reproduction, 1936.
Ross Wilson, “Walter Benjamin The Archive: Images, Texts, Signs,” Frieze, March 2008.
Susan Sontag, excerpt from “In Plato’s Cave,” in On Photography, (originally published New York: Dell, c1997).
W.J.T. Mitchell, “Introduction,” and “Imperial Landscape,” in Landscape and Power, (Chicago: University of Chicago Press, 1994), 1-4, and 5-10.
Let me ask you this: ‘Do detectives really pin pictures on a board when investigating a crime?,” in The Independent (United Kingdom), August 16, 2014.
Harbestblastsound, “Film Noir,” 8tracks, September 3, 2014 (music).
ParamountmoviesDigital, “American Beauty – Trailer,” Youtube (video).
Vannevar Bush, “As We May Think,” The Atlantic, July 1, 1945.
Mathieu Lambert, 3970 Spencer St., chromogenic print, 2014.
No Title. Chromogenic print, 2014.
No Title. Assorted LEE filters, 2015.
No Title. Mini DV camera « Cigarette Lighter Spy Camera », 1 pack of cigarettes « Newport non-menthol »
No Title. Lambda impression on panel, custom-made frame, 2015.
No Title. Aluminum tube folded and polished, 2014.
No Title. American Night: (Iconic Manhattan’s skyline from Brooklyn Bridge Park, NY), single channel projection, 2013.