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• Music/Ustvolskaya/Painting (2014- )
• Little paintings (2014- )
• Translation and Reprise (2013- )
• Music/Feldman/Painting (2007- )
• Studio walls (2002-  )
• Drawing (2002-  )
• Recording Surface (2002-2006)
• Video/Vertov/Painting (1997-2001)
• Video/Painting (1990-1996)
• Painting (1989-1990)

TRANSLATION AND REPRISE

Works have their own lifespan. They grow old, of course, and some will one day appear to be dated, obsolete, or even anachronistic. But for the artist who created them this “anachronism” can undeniably be revitalizing. A work can age, but at the same time, demand its author’s unflagging vigilance. The artist must not lose sight of it; he must reread it and, better still, revisit it, translate it…

Thus, for Mario Côté, “translation” carries a very personal meaning and plays a decisive role in his latest works. For him, “translation” means giving a work a second life -- candidly revealing it in a “second language”. And every translation, if it refers even fleetingly to an original, implies a renewal; a doubling that will be faithful without being identical. Such a process is a constant in Mario Côté’s work and is resolutely present in his new series of paintings. In Planches d’abstraction (Abstraction Panels) 2013, whose title is already borrowed from a 1990 series of paintings, the artist refers to a childhood memory in which he had been asked to do paint-by-number works, but where he altered the relationship of the images and numbers. Today he replays this “invention” by replacing the classic scheme (that should reveal the hidden image) with a new one that he has been using since 2008, where all the sounds of the tempered scale are associated with a colour and a number. In the Reprise series, he allows himself to paint over canvasses made ten years ago, inserting a motif from recent works. Finally, with the Saluade series, he deliberately uses “manners” of painting borrowed from painter friends and integrates these into the surfaces belonging to his own practice, thereby offering them a pictorial homage.

photo credit Guy L'Heureux