Rober Racine

Spica, 1999-2001

© Rober Racine

Rober Racine, Spica, © Rober Racine

© Rober Racine

Rober Racine, Spica, © Rober Racine

© Rober Racine • Photo: Richard-Max Tremblay

Rober Racine, Spica, © Rober Racine • Photo: Richard-Max Tremblay
Artist
Rober Racine
Title
Spica
Dimensions and medium
Paint and vinyl lettering, 1/2, Variable dimensions
Origin
Purchase, with the support of the Canada Council for the Arts Acquisition Assistance Program
Artwork description
Conceived in 1999 as a sound project, where a woman’s voice is heard over loudspeakers reading the names of the stars in the Milky Way, Rober Racine’s Spica was also reproduced in visual form in the contemporary art magazine Parachute (1999), and finally as a mural, as part of his solo exhibition at the Musée des beaux-arts du Canada, in 2001. During that period, Racine began a cycle of work based on a lunar theme to mark the 30th anniversary of Man’s first steps on the moon. Fascinated by stars and space since the Apollo II landing in 1969, Racine took his inspiration for Spica from a famous quote by astronaut Michael Collins, who exclaimed “The Stars are everywhere, even below me!” This quote is inscribed in the lower right corner of the mural, surrounded by stars on a blue background reminiscent of the nocturnal sky. In this enchanting installation, Racine invites us to experience the same dizzying sense of wonder that frees the spirit and encourages us to dream.

See Also

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Rober Racine, Le Terrain du dictionnaire A/Z, 1980 Le Terrain du dictionnaire A/Z, 1980, Styrofoam, wooden sticks, cardboard, and paper.
Hommage à Magritte, 1970-1974, Easel, mirror, and coloured vinyl strips.
Serge Tousignant, Hommage à Magritte, 1970-1974 Hommage à Magritte, 1970-1974, Easel, mirror, and coloured vinyl strips.
still of True North, 2004, 16 mm black and white and colour film transfered on 2 DVDs, 2 screens, sound, 14 min 20 s, 2/6.
Isaac Julien, True North, 2004 still of True North, 2004, 16 mm black and white and colour film transfered on 2 DVDs, 2 screens, sound, 14 min 20 s, 2/6.
Les Couleurs de Cézanne dans les mots de Rilke, 36/100 - essai, 1997-1998, Vinyl and acrylic paint on canvas mounted on agglomerated pine fiber panel, and framed book.
Francine Savard, Les Couleurs de Cézanne dans les mots de Rilke, 36/100 - essai, 1997-1998 Les Couleurs de Cézanne dans les mots de Rilke, 36/100 - essai, 1997-1998, Vinyl and acrylic paint on canvas mounted on agglomerated pine fiber panel, and framed book.
31 soleils (Dawn Chorus), 2010, Video, 23 min 55 s, sound, 12 components sound system, mixer, 4 amplifiers, computer, cables, road case, and video projector.
Jean-Pierre Aubé, 31 soleils (Dawn Chorus), 2010 31 soleils (Dawn Chorus), 2010, Video, 23 min 55 s, sound, 12 components sound system, mixer, 4 amplifiers, computer, cables, road case, and video projector.
Chameleon, 2004, 1 table and 8 chairs, wood, and metal.
Franz West, Chameleon, 2004 Chameleon, 2004, 1 table and 8 chairs, wood, and metal.
Générique, 2001, Computers and software, projector, amplifier and loudspeakers, and video surveillance camera, 1/2.
Alexandre Castonguay, Générique, 2001 Générique, 2001, Computers and software, projector, amplifier and loudspeakers, and video surveillance camera, 1/2.
Moth Girls, 2010, Various objects and materials, 246 ceramic figurines, leather wings, feathers, paper, and wash.
Wangechi Mutu, Moth Girls, 2010 Moth Girls, 2010, Various objects and materials, 246 ceramic figurines, leather wings, feathers, paper, and wash.
Dervish, 1993-1995, Wood, aluminum, mirrors, strobe light, motor, 2 video projectors, 2 loudspeakers, computer, electronic controls, software, and videodiscs, 2/2.
Gary Hill, Dervish, 1993-1995 Dervish, 1993-1995, Wood, aluminum, mirrors, strobe light, motor, 2 video projectors, 2 loudspeakers, computer, electronic controls, software, and videodiscs, 2/2.
Things Men, 1991, Plywood, fiberboard, polystyrene foam, metal, plexiglass, black-and-white transparency, light box, and inkjet print.
Robin Collyer, Things Men, 1991 Things Men, 1991, Plywood, fiberboard, polystyrene foam, metal, plexiglass, black-and-white transparency, light box, and inkjet print.
Postérité-les-Bains (Usine de sapins), 2009, Painted fir trees, wood, metal, cardboard, plastic, rope, and oil and acrylic paint.
bgl, Postérité-les-Bains (Usine de sapins), 2009 Postérité-les-Bains (Usine de sapins), 2009, Painted fir trees, wood, metal, cardboard, plastic, rope, and oil and acrylic paint.
Liquidity Inc., 2014, HD video, colour, signle-band, sound, 30 min, and architectural structure, 1/7.
Hito Steyerl, Liquidity Inc., 2014 Liquidity Inc., 2014, HD video, colour, signle-band, sound, 30 min, and architectural structure, 1/7.
Les Tables de sable III (haute, rouge, rompue), 1995, Plywood, wood, acrylic, lacquer, varnish, sand, and 4 silver prints, 1/1.
Jocelyne Alloucherie, Les Tables de sable III (haute, rouge, rompue), 1995 Les Tables de sable III (haute, rouge, rompue), 1995, Plywood, wood, acrylic, lacquer, varnish, sand, and 4 silver prints, 1/1.
L’Écoute, 1992, 2 Cibachrome prints, 5/5.
Barbara Steinman, L’Écoute, 1992 L’Écoute, 1992, 2 Cibachrome prints, 5/5.
We were in Kyoto, 1997, Boardwalk, wooden structure, plastic, motors, confettis, silk, electrical supplies, and plaster and cement rocks.
Ilya et Emilia Kabakov, We were in Kyoto, 1997 We were in Kyoto, 1997, Boardwalk, wooden structure, plastic, motors, confettis, silk, electrical supplies, and plaster and cement rocks.
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