Author: Lorenza Mezzapelle

Categories
Arts

Parallel Lines considers what it means to be alone, together

How two Concordia alumni are expanding their practice virtually

In March, museums and galleries across the world closed their doors indefinitely. Instead, many have opted to display their collections online and offer free accessibility. The PHI centre, situated in Old Montreal, generally serves as a venue for interdisciplinarity in the arts, and aims to create a connection between art and the viewer.

Their newest exhibition, Parallel Lines, is a virtual artist residency aimed towards investigating the notion of what it means to be alone. Through the residency, 10 artists of various disciplines will produce a project as a means of expression and inquiry, employing their agency to expand both their practice and the PHI’s mandate of fostering connections through the process of making and experiencing art.

“What is interesting about the PHI’s mandate through this residency is [that it offers] a portal into the mental and creative process of artists from various media,” says Naghmeh Sharifi, an MFA graduate from Concordia’s Painting and Drawing program, and one of the 10 artists-in-residence. Through a multidisciplinary approach, her practice investigates the psychology of the body through the way it interacts with, and contextualizes itself within, the spaces it inhabits.

Sharifi’s project, which has yet to be named, expands on a project she had been working on prior to the residency, titled Là où tu ne pourras jamais aller (A place where you can never go). Consisting of a series of monochromatic paintings, the works focus on distortions of memory. Sharifi uses solely the color blue as a measure of distance; her point of departure includes found imagery, the artist’s own archives which explore notions of nostalgia, and the idea of remembering and reconfiguring memories.

“In the early days of the shutdown, I started experiencing a different form of nostalgia for a very immediate past, and I was not alone,” says Sharifi. “There were thousands of images surfacing on social media platforms taking on hashtags such as #pre-confinement and doing what nostalgia does best: idealizing that past.” She adds that she was initially intrigued by how these definitions of nostalgia were changing, but as time went on, she started identifying more and more with the spaces she had been confined to and the everyday objects she interacted with.

Dayna McLeod, a professor and PhD graduate from Concordia’s Centre for Interdisciplinary Studies in Society and Culture, uses humour in her work by exploiting the body’s social and material conditions via performance-based practices. 

Similarly to Sharifi’s project, McLeod’s residency piece builds on an earlier project. Covid Sleep is a digital video installation composed of night-vision surveillance footage of the artist and her girlfriend sleeping. The footage will be taken over the course of the 60-day residency.

“I’ve always had sleep disturbances like nightmares, sleepwalking, and night terrors, but [I] didn’t realize their extent and frequency until I started these recordings,” said McLeod. “I anticipate the final version of this work will be a 30 to 60 minute digital video installation sound, as sometimes, I gasp, yell, talk, scream, and otherwise ask questions while asleep.”

Through Parallel Lines, the PHI continues to offer a glimpse into the artist’s creative process across a variety of media, and enables people to experience art in a new way. Viewers are invited to observe each artist’s process by entering their virtual studio and following along as artists upload new additions to their work every day.

“In the series I am working on, the process is as important as the finished result, so in that sense there is an overlapping of interests with what this virtual residency is offering to the general public. I think it is a very unique and privileged opportunity,” says Sharifi. “As an artist, I feel that seeing the finished piece in a gallery space can sometimes offer a partial experience of the work. [Sometimes] people go through an entire exhibition in less than a few minutes, hardly connecting with any work.”

As the current situation unfolds, and as institutions begin to assume responsibility for their lack of accessibility, the art world must continue to adjust to changing times.

“There are virtual exhibitions and even virtual gallery spaces being created. The art world is adapting to new ways of existing. It also means more agency and autonomy for artists [and] becoming less dependent upon physical spaces,” says Sharifi. “Connectivity means everything these days.”

To visit the artists’ virtual studios and for more information about Parallel Lines, visit empreintesvivantes.phi.ca/Parallel-Lines.

 

 

Categories
Arts

The role of virtual museums in a time of isolation

Museums and galleries are being forced to adapt amidst uncertainty

The past few weeks have been a whirlwind for everyone. There is a lot of uncertainty regarding jobs, school and just about everything right now. With vernissages being cancelled, and museums and other art spaces being closed indefinitely, many questions are being raised within the art world.

However, amidst all this uncertainty lies a new wave of innovation. Many art institutions have made their collections available digitally, for all. From the Louvre to the Sistine Chapel, viewers can visit these otherwise costly landmarks from the comfort of their own home, for free. Some museums, like the Louvre, are providing virtual tours, while others like the MET, are giving access to their collection databases.

But what does this mean for the museum as a physical space to view, experience and enjoy art? Does the accessibility of digital galleries affect the experience of engaging with art? In reality, this is not a new concept. Many institutions already have digital access to their collections, including the MET and the MOMA, and platforms like Artsy and Artnet already serve as online galleries, where patrons can view and purchase art.

Nonetheless, the current circumstances have provided many museums with the opportunity to expand and grow, as they adapt during these difficult times. The Biennale of Sydney recently announced their decision to close their exhibitions and move online, and Art Basel will host virtual booths for all 231 featured galleries.

In an effort to give viewers the freedom to explore their collection, the Glenbow Museum in Calgary has begun Glenbow From Home. The initiative allows access to virtual tours, online collections and educational videos, as a means of providing “inspiration, beauty, and most importantly, a sense of connection to the people and world around us,” according to the museum’s website.

Viewers can familiarize themselves with Canadian art by strolling through The Royal Ontario Museum and The Vancouver Art Gallery via the Google Arts & Culture platform or expand their knowledge of Indigenous art through the Canadian Museum of History’s Online Exhibition of Inuit Prints and virtual access to Alex Janvier’s Morning Star – Gambeh Then.’ To learn more about the history of the popular Christmas classic, The Nutcracker, The National Ballet of Canada is offering an online photographic exhibition.

Galleries and museums are not the limit. While travelling is currently off-limits, you can explore sites like Machu Picchu, the Taj Mahal and the Uffizi Gallery from the comfort of your home. Google Arts & Culture even allows individuals to search sites by location, via their interactive map.

As we self-isolate and practice social distancing for the next couple of months, viewers can take this opportunity to visit locations they otherwise wouldn’t be able to afford, or have time to visit amid their busy schedules. So sit back, get comfortable and use art as a way to de-stress.

Categories
Arts

What makes Paint Nite such a hit?

The joy of paying to paint

You’ve seen the memes, you’ve seen the Instagram posts. Paint Nite. Women clad in plaint-spattered aprons pose before their landscape paintings, a paintbrush in one hand and a glass of wine in the other. All for the low cost of… $40??? Yes, that’s right. Paint Nites can cost anywhere between $30 and $80.

Who was willing to pay this? I thought. And why?

I thought to myself, who better to ask than the source, the direct target of such enterprises: the middle-aged suburban mom. My mother, to be exact, and, of course, her scrapbook-loving, book club-going friends.

Don’t get me wrong, I enjoyed my fair share of scrapbooking as a kid— and still partake in craft-making and collaging whenever I get the chance. Reading still remains one of my favourite hobbies, despite it being hard to make the time in my schedule to physically attend a book club. However, I enjoy following along with Drawn & Quarterly’s selections (the True Reads Book Club is a favourite of mine) from the comfort of my home, the bus or wherever I get a chance to read a few pages at a time.

What is it about organized creative events that have become known as activities intended for middle-aged women, specifically of the suburban variety? I’ve wondered this since my childhood. Picture a snowy weeknight in the early 2000s, in Greenfield Park, situated on the South shore of Montreal. Nothing is happening, which was quite ordinary for a primarily Anglophone borough with a population of less than 20,000. My mom would head out the door, tote bag in tow, to go scrapbooking with friends. Being seven years old, the idea of getting together with friends to eat and chat, cut out pictures and paste them on colourful craft paper was incredibly exciting.

Turns out, it actually is this exciting for middle-aged women and young adults, alike. Paint Nite, like scrapbooking club or book clubs, is usually led by one person who provides guidance for the duration of the session.

While artists create art to make a living, others make art to take a break from it. “[As a mother,] and between work, groceries, cleaning and everyday life there’s absolutely no time to get creative,” said Giuseppina Reminiscenza. A single mother of two (my mother, to be clear), she began partaking in social art activities in the early 2000s, after the birth of her two kids. “To expand our social life, we get together with friends and use this opportunity to get creative… it’s me time,” she added.

For young adults, alike, artmaking in a social setting is a chance to unwind and connect with loved ones. “I think making art with friends is always uplifting and happy, whereas sometimes by yourself, you might express yourself more deeply, it’s more personal,” said Nyomie Pandolfini. Between working full-time and attending class, taking time out of her schedule for herself is rarely an option. “Making art brings me to a calming emotional level, it’s therapeutic.”

So maybe, you too should try it. Grab a paintbrush, some drinks and a friend or two and, in the words of Bob Ross, “You too can paint almighty pictures.”

 

 

Graphic by @sundaeghost.

Categories
Student Life

Why is everyone wearing that?

Graphic by Sasha Axenova

There you are, standing at Berri-UQAM station surrounded by a sea of The North Face puffer jackets: black, red, cobalt blue, bright yellow, purple. They’re everywhere, with people’s tiny heads poking out from a mass of down-filled, quilted, nylon jackets. Why? 

Typing “why does everyone wear…” into the Google search bar will yield a variety of laughable results: Blundstones, The North Face and jeans are among the first few. These fashion items may seem average right now, but in 10 years or so they will be a thing of the past—matching American Apparel disco pants and scrunchies… anyone?

But this isn’t anything new; it’s just how trends work. Trends have been around for hundreds of years and are studied across numerous fields including sociology, art history and psychology. The people waiting in line in their puffer jackets may appear to be a flock of sheep now, but really, they are a marker of a generation and an indication of current socio-political, cultural and economical stressors. Let’s break this down.

Many factors contribute to the growth of a trend, and it is not only celebrities and red-carpet styles. In fact, there is a lot more that goes into it than you may think. Estimated at a value of USD $1.3 trillion in 2015, the global apparel market consists of a plethora of players including suppliers, manufacturers and designers. Other than these, entire enterprises like WGSN are devoted to analyzing and forecasting trends years in advance. Meaning, the predictions for this season (Spring/Summer 2020) were probably getting finalized around this time four years ago, in 2016.

Some trends last a couple of months while others last years. This is called the “life cycle” of a trend. Trend-cycles—or product life cycles—are used in many industries to represent frequency fluctuations over time. In this case, the beginning of the cycle, or “introduction,” might be a group of attendees at Pride wearing rainbow-striped platform shoes. In the “growth” stage, this will have caught the eye of a celebrity, Janelle Monáe for example, who will wear a striped Pride gown at the 2018 BET Awards, in addition to a few other avant-garde individuals. 

By now, rainbow coloured and patterned items have reached the “maturity” stage of the life-cycle and can be seen everywhere, from Susan Alexandra accessories, which has had a big Instagram moment in the past year, to The Last Line, who have become known for their colourful, timeless and affordable jewelry designs.

When the item begins its “decline” in popularity, it is no longer seen as being trendy but is not yet rendered obsolete. Think UGGs, for example. While they are no longer a “big deal,” you still see them around every now and again. A product that has passed the “decline” stage is no longer trendy and very difficult to come by, like elbow-length gloves.

But just how do these items get trendy?

The Business of Fashion and management consulting firm McKinsey & Company’s The State of Fashion 2020 report, titled Navigating Uncertainty, analyzes themes in the current fashion economy, in addition to explaining the industry’s driving factors. Among them are cross-border challenges as international competitors grow, sustainability via the exploration of alternative materials, and social responsibility in regards to inclusivity and diversity. These shifts are likely to impact consumer trends within the fiscal year.

While that Patagonia half-zip you’ve been seeing everywhere is cute, it is not a trend solely because of its looks. In a time of ecological crisis, sustainability and social responsibility have become an increasing focus for consumers. Thus, it is no surprise that environmentally and socially-conscious brands are gaining momentum. Trends are a response to our environment and a means of expressing how we feel.

As our generation acquires more purchasing power, an increasing amount of outdoor brands will outgrow traditional brands. The rising popularity of The North Face and the resurgence of L.L. Bean are not coincidental. Brands like Carhartt that were once reserved for construction-wear, have now made it onto the runway, through collaborations with brands like A.P.C. 

Athletic and outdoor recreation brands, like Outdoor Voices, have gained popularity as experiencing and spending time in nature become increasingly covetable activities. Wellness and experience are of great value to Millennials and Gen Z. Utilitarian items like fanny packs, trench coats and sneakers from brands like Patagonia will continue to gain momentum among consumers with an increased interest in functional design and in reducing their ecological footprint.

A variety of books, articles and academic journals are devoted to studying the life-cycle of trends and their history. This piece in no way conveys the magnitude of what they can show or how they come to be. But maybe, next time you put on those sneakers or feel the urge to buy that hoodie you’re seeing everywhere, you’ll take a moment to think about why it might be so popular. Take a second to reflect on why you might be seeing outdoor and camp-inspired garments everywhere—you’d be surprised at what you might come up with.

 

Graphic by Sasha Axenova

Categories
Arts

What Montreal can learn from art and architecture abroad

Reflecting on the place urban spaces hold within a community

I did not expect art to be the main takeaway from my trip to Singapore and Malaysia this reading week. It’s not that I thought that I wouldn’t see any art, but rather I didn’t think it would be much different from the art in Montreal. I was wrong.

Upon meeting me at Changi airport after my 23-hour flight, my friend immediately dragged me, luggage in tow, to Singapore’s Chinatown for lunch. We exited the metro and a couple of minutes into our walk, stumbled upon Mid-Autumn Festival by Yip Yew Chong. Composed of vibrant reds, oranges and blues, the mural depicts a family feasting on fruits and cakes as lanterns shine above them and children play in the near distance. I was so mesmerized by the colours and overall narrative that I made sure to return after we had eaten, just to be sure I had taken it all in.

In Singapore’s Little India, Cattleland 2 by Eunice Lim comes to life via augmented reality. By scanning a nearby QR code on their phone, the viewer is invited to watch as the cattle roam through the colourful streets of Buffalo Rd. In an interview with SG Magazine, Lim explained that she had spoken to former residents who “gave her their anecdotes of seeing the old street filled with buffaloes running around.”

Glancing up at the commercial buildings and observing the whole of the city, I began to notice the presence of greenery within the architecture and urban spaces. Rooftop terraces are not uncommon throughout Singapore. In fact, the addition of green spaces is part of the country’s goal to become the world’s “greenest city.”

At Gardens by the Bay, infrastructure is purposely built in an effort to increase energy efficiency and visitors are invited to enjoy public art and sculpture all while being outdoors. At night, people can view a temporary installation titled #futuretogether by teamLab collective. Composed of floating egg-shaped lights, viewers’ interaction with the ovoids alter the speed at which they change colours, ultimately, illuminating the bay in bright purple, turquoise, yellow and red.

Along the Melaka River in Malaysia, houses and boutiques are entirely covered in urban art. Each mural pays homage to a different cultural group and their respective histories in Malaysia. The works are unattributed, however, clearly intentional and not to be mistaken for vandalism. As with much of the street art in the rest of Melaka City, a large Chinese influence is present; a cartoon depiction of a guardian lion painted in red hues makes up most of the mural on one residential building. Nearby, murals portray scenes of people dancing in traditional dress.

Reflecting on the art further into my trip, I realized I was not so much enthralled by the artworks themselves, but rather what they represented. It is no secret that Montreal’s street art is not exactly representative of the city’s complex history. To see Singapore, a country with a complicated history and political system, and Malaysia, a developing country, make the effort to get the population to engage within these urban spaces was eye-opening, to say the least.

Montreal’s year-round climate is not quite like the 37 ºC that I basked in for the last two weeks of February. It is understandable that outdoor garden sculptures are not the most feasible public attraction in a city where sub-zero weather lasts for over half of the year. Accurate representation of Montreal’s history, Indigenous population and minority groups, however, definitely does not require an ideal temperature. Montreal, you have some work to do.

 

 

Photos by Lorenza Mezzapelle

Categories
Opinions

Gilmore Girls, you feel like home

Finding comfort in a childhood tv show

One of my earliest childhood memories is of me sitting on the couch, engulfed in blankets, waiting for the first notes of Carole King’s “Where You Lead” to begin. In 2004, waiting for the next episode of Gilmore Girls season four to air on tv was, at six-years-old, the highlight of my week.

As Rory Gilmore grew, so did I, and this perhaps is what made it so special. In fact, my relationship with my mother shares many similar characteristics to that of Rory and Lorelai, and I am convinced my grandmother is Emily Gilmore’s long lost twin. The plot reflects my home life in an almost eerie way; a mother and daughter duo who have been mostly on our own for some time, we often struggle with the boundaries between friendship and parenthood.

I made my first friend in high school after discovering that we both watched Gilmore Girls. Having both seen the series in its entirety, multiple times, sleepovers would consist of us using a randomizer app to decide which season and episode we would watch.

I was disappointed, to say the least, to find out that Rory had not become Stars Hollow’s very own Christiane Amanpour in the 2016 revival. However, I found comfort in this detail and reassurance where my own career goals are concerned. Watching Gilmore Girls: A Year in the Life serves as a reminder that things will most definitely not pan out as planned.

Rewatching the series, as an adult, brings back a lot of memories and raises a lot of questions in my mind. For one, while it brings me joy to recite passages by heart, it has also made me recognize the endearingly bad acting in season one (I forgive them, look how young Rory was!) I’ve contemplated the impact of the characters on my own life and choices. Leading me to wonder if subconsciously I decided to pursue journalism because of Rory Gilmore, if I dreamed of going to a private school because of Chilton, or if my first solo trip included a three-day stop in Fes because of Rory and Richard’s ongoing banter about the appeal of the Moroccan city.

Gilmore Girls remains my feel-good show. Perhaps a little obsessively, I have seen it in full 11 times, making it very difficult to keep a straight face whenever I serve Yanic Truesdale (the beloved Michel) at work. I have grown-up so closely to the characters that I find myself getting upset at times when I am not even watching the show. The synopsis is even a topic frequently discussed with my mom, over coffee. “Remember that time Rory…” and “It’s like when Luke and Lorelai…” are conversation starters in my household.

I have found comfort in the familiarity of Gilmore Girls, and have grown well-acquainted with the characters. The show has served as a starting point for some of my most important friendships, a means of navigating my relationships with my parents and grandparents and a source of reassurance throughout the ups-and-downs of my education and career.

Through the bad bouts that accompany mental illness, heartbreak and good times alike, the series has been there for me, and has no doubt served as an important pillar in my own character development. Like comfort food, a safety blanket or a childhood pet, I know that wherever I am, watching an episode of Gilmore Girls will always feel like home.

Categories
Arts

Timelines bridges the gap between artists

An intergenerational approach brings students and alumni together

A specific idea or theme is usually what draws artworks together in an exhibition. Timelines, on the other hand, is themeless. Held at Atelier Galerie 2112, in the Plateau, the show, organized by the Painting and Drawing Student Association (PDSA), features the works of 10 Concordia artists.

“The exhibition is about celebrating and showcasing the great works that are created by both students and alumni,” said Jose Guillermo Garcia Sierra, President of the PDSA.

Timelines functions like a mentorship program. “We paired each alumni with an undergraduate for them to meet and have a small mentorship relationship,” said Garcia Sierra.

The PDSA’s primary goal is to give students enriching opportunities at Concordia. Garcia Sierra added that while their focus lies on painting and drawing, they are not limited to the mediums. Student artists practicing a number of disciplines can participate in their workshops, events, and vernissages.

While the show itself does not feature a specific theme, the exhibited artists demonstrate a mutual interest in the notion of the environment. “We were mainly looking for individuals that were really committed to their craft,” said Garcia Sierra. “We focused on how excited and serious the people were going to take this project that we made.”

Vibrant blues and greens fill the canvas in Laura Douglas’ The Empty Place. The oil painting depicts an empty parking lot which contrasts with a lush green forest and makes a statement about nature’s reclamation of human-occupied spaces.

Alumnus Sylvia Trotter Ewens’ Untitled portrays a modern glass-paned building, a burning urban space and a forest fire. Inspired by artificiality and the natural landscape, Trotter Ewens work engages primarily with environmental ethics.

However, paintings are not the only works exhibited, Malachy Schwartz’s 3D printed sculpture, Textures #1, #2, #3, explores the permanence of the image and visual transformation. Each sculpture originates from a photograph. This notion of the manmade and the artificial is present in Schwartz’s project which further delves into the idea of landscapes and the relationship between natural and unnatural materials.

Aside from works centred around the natural environment, artists like alumni Rihab Essayh and Colas Eko investigate the interpersonal as a result of familial and societal environments. There is no doubt that regardless of the artists’ age or background, their works complement one another and allow for an enticing and visually stimulating experience.

Fine Arts students looking to have their work featured in a future exhibition can follow the PDSA’s social media pages for updates on submission dates.

Timelines is on display until February 19 at Atelier Galerie 2112, at 2112 Atateken. The gallery is open Tuesday to Sunday, from 12 to 6 p.m. Further information about the PDSA’s upcoming workshops and events can be found at /www.facebook.com/PaintingDrawingSA/.

 

Feature photo by Britanny Clarke

Categories
Arts

Reflecting on Montreal’s art scene

Panelists at the Concordi’ART conference discuss creative innovation

There is no doubt that the Montreal art scene has a unique charm. From street art to an overwhelming amount of art festivals, such as Papier, a contemporary art festival, and International Festival of Films on Art (FIFA), a film and digital art festival, the city’s bustling creativity is key to its personality. But what do the major players in the Montreal art scene have to say about the city’s success and where it’s headed?

The Concordi’ART club’s second annual conference took place on Feb. 3. With a focus on technology and interactivity, the main topic of discussion was Digital Creativity in the Arts Industry.

Concordi’ART is a student club that aims to bridge the gap between art and business by offering students opportunities to understand the art industry. They offer conferences, workshops and guidance for students interested in artistic entrepreneurship.

“Am I going to be able to live with my art?” said Yan Cordeau. This question inspired him and his team at MURAL to create a platform for artist collaboration.

“The challenge is always, am I going to be able to live with my art?” said Yan Cordeau, co-founder and curator of Lndmrk, a creative marketing agency, and MURAL, an urban art festival. Having started off his career as an artist, this age-old struggle shaped his and his team’s mission. This inspired them to create a place where they could offer work and pay to the artists they had collaborated with in the past.

However, it is not that simple. While the idea of starting a business may seem enticing, where does one start?

“[I] try stuff until I’m sick of it, and this is the truth,” said Pauline Loctin, an artist and founder of Miss Cloudy. She creates large-scale origami installations. “I have an idea in my head and I don’t know how I’m going to do it most of the time. So I try. And I fail. I try and I fail. Until I get something I really like.”

Doing what you like becomes a challenge, particularly in creative fields where finding a source of income is a primary concern. Collaborations and advertising are not always in the budget for small-scale businesses and artists. In a rapidly growing industry, what can companies do to ensure they don’t stray from their mission?

“Make sure [the company] is growing without losing its soul and values,” said Catherine Turp, creative director at Moment Factory, a multimedia entertainment studio known for their immersive multimedia shows. “The naïveté that existed in the beginning, when we started off, is still living; we’re still passionate, curious, multidisciplinary artists, and creative technologists from around the world.”

Be it through Moment Factory’s light shows or Montreal’s Art Souterrain, an annual festival aiming to promote accessibility to art, Montreal’s art scene brings people together to live and experience emotions, through multimedia experiences. “I think Montreal has an interesting recipe for events,” said Cordeau. “I think we can benefit from that and create something really unique.”

While determination, innovation and artistic integrity are among the key ingredients that contribute to the city’s charm and recognition, the root and driving-factor of Montreal’s artistic success lies, ultimately, in its sense of community.

Further information about Concordi’ART and upcoming events can be found at www.facebook.com/ConcordiARTclub/.

 

 

 

Photos courtesy of Concordi’ART

Categories
Arts

Marriage Story: all good things must come to an end

Director Noah Baumbach captures the complexities of life and love

When I first saw the trailer for Marriage Story on my Netflix feed, I was certain that it was going to be a cheesy, sappy, love story. I was wrong. In fact, it is quite the opposite. Directed by Noah Baumbach, Marriage Story recounts a couple’s struggles as they go through a divorce.

Watching the film feels all too familiar. It begins with two monologues, performed by a married couple, Charlie (Adam Driver) and Nicole (Scarlett Johansson) respectively. Each monologue depicts the heartwarming personalities of either individual, as they read aloud what they love about each other. Snippets of their romanticized, wholesome marriage set the scene; a house full of books, creatives living in New York City, family board game nights. They live an ideal life. What could possibly go wrong?

Like all good things, the viewer observes Charlie and Nicole’s relationship inevitably come to an end. The couple begin the separation process amicably, but it ultimately does not end this way. As lawyers get involved, the divorce becomes unpleasant, aggressive and heart-wrenching.

The film touches upon the realities of relationships and divorce while raising numerous issues that impact families and individuals in relationships alike.

The characters are charming, the plot is interesting and relatable and yet, I remain troubled. As the plot develops, the viewer learns of Charlie’s affair. Although Charlie cheated, the viewer is not mad at him for it. Instead, we are left feeling infuriated at Nicole and her decision to go through the divorce with lawyers, and therein lies a bigger problem.

Marriage Story demonstrates the realities faced by many mothers and parents. As mentioned by Nicole’s lawyer, Nora, mothers have a higher bar to meet. Charlie is a good father, a seemingly nice person with a charming personality, and thus, we neglect the fact that he cheated. Instead, we empathize with him, with the distance between him and his son, and at the thought that he may lose the money he uses to pay his staff at the theatre company.

The compliments and personalities of the characters from the opening scene linger in the back of the viewer’s mind, making it all the more difficult to grasp their divorce. It is safe to say that at this point, much like in our own lives, we are invested in their relationship and hoping they will rekindle their love.

In one heart-wrenching scene, Charlie and Nicole are moved to tears after a vile argument. Adam breaks down, sobbing, after wishing death and illness on his soon-to-be ex-wife. Guilt, regret, and sorrow are among the unpleasant emotions the viewer is left feeling after being privy to such an intimate and pivotal point in the couple’s relationship.

Anyone who has experienced the ramifications of divorce, be it firsthand or secondhand, will experience a melancholic familiarity in Marriage Story. Baumbach captures the complexities of life through the depiction of a compelling family dynamic, all while raising pertinent issues surrounding notions of parenthood.

Marriage Story is real and raw. The characters fight and sob, but do not makeup. There is no fairytale ending. The closing credits begin and, not unlike the characters, we are not left feeling closure, but rather the type of lingering sadness you get when you know something is over, and are left remembering how good it once was.

 

Film still from Marriage Story

Categories
Arts

Reuse, (Re)Art, Recycle

How fine arts students can contribute to a circular waste system

With sustainability and climate action becoming an increasingly omnipresent factor in everyday life, the ways in which we must change our habits in an effort to become more environmentally conscious are becoming more apparent.

We’re taking the steps to reduce plastic waste and taking to the streets to protest for climate change, so why do we stop where our individual practices are concerned? For those invested in climate action, making art can feel restrictive. There is no doubt that creating is wasteful: paper, paints, brushes and canvases are discarded freely when they no longer serve a purpose.

While certain student groups, such as Concordia University’s Centre for Creative Reuse (CUCCR), are making an effort to implement sustainable practices, not everyone in the Greater Montreal community can access these resources. We asked the Fine Arts Student Alliance (FASA) if they had any comments or upcoming plans regarding sustainability and they refused to comment on the matter.

Currently, CUCCR diverts waste from within Concordia, and offers it to students free of cost. These materials include everything from wood to office supplies, and have helped avert approximately 14 tonnes of materials from waste. 

CUCCR coordinator, Arrien Weeks, is researching how Concordia’s Fine Arts departments is teaching sustainability for his Masters in Art Education, and a team of CUCCR’s artists-in-residence are working on developing a sustainable-painting workshop, as well as several other sustainable-oriented skillshares, in the near future. Paint poses a particularly interesting conversation because of it’s very materiality. Oil paint can be toxic and acrylic paint becomes plastic when it dries, making proper at-home disposal impossible.

Recently, art supply store DeSerres introduced a new recycling program in partnership with TerraCycle that could solve this problem. TerraCycle is a volunteer-based recycling program, with a focus on collecting hard-to-recycle items, such as razors. Instead of discarding waste, they reuse and upcycle it to create a circular waste system rather than a linear one.

The program, titled “(Re)Art,” was created in an effort to instill sustainable practices into the art-making process and allow artists to create freely. Described as a “social responsibility program,” the DeSerres (Re)Art motto is “give back. recycle. recreate.”

Student artists looking to recycle their materials can do so by visiting a participating DeSerres store, to place their items in the “(re)art recycling box.” Accepted items include paint containers, paint brushes, markers and pencils. Locations in the downtown Montreal area include Alexis Nihon and Ste. Catherine E.

The CUCCR Used Material Depot is located at the GN building, at 1200 Guy St., and The Shed is located at the Hall building, at 1455 de Maisonneuve. For information regarding their hours, events and workshops visit www.cuccr.ca.

Further information about the (Re)Art program and participating DeSerres locations can be found at www.deserres.ca/en/reart-program.

More information about TerraCycle can be found at www.terracycle.com.

And finally, for more information about Montreal’s sustainable resources, consult this map, created by past CUCCR intern, Caroline Alince.

 

Photo by Britanny Clarke.

Categories
Arts

The home, the settlers, and the uninvited

Ozone Gleaners explores notions of the “alien” through saturated hues and contrasting textures

Gallery spaces can often feel empty. Stark white walls and neon lights do not make for an inviting space, leaving the artists’ work to liven the space and instate a narrative. On display at Projet Pangée in downtown Montreal, Ozone Gleaners instantly captures the viewer’s attention, compelling them to engage with the work.

The exhibition unifies the works of artists Tiziana La Melia and geetha thurairajah, as a way of exploring representations of history, settling, and the notion of the unwelcome. The space fully embodies its namesake. Ozone is a colourless gas formed from ultraviolet light, while gleaners refers to someone who gathers or harvests. These ideas are further depicted in the narratives of the works and the ways in which they are portrayed.

Saturated in deep purples, blues, and pinks, the eye is instantly drawn to La Melia’s work. The Vancouver-based artist plays with texture and materiality to demonstrate the  polar differences between depictions of simple, or rural life, and notions of abstraction. She alters reality by removing spatial qualities from the work; characters can be found in settings that do not correspond to their garments and certain attributes, such as the size of homes and trees, are not rendered rationally.

In her 2020 work, Visitors, an illustration of a harvest scene is depicted in rich yellows and greens, contrasting with the pale silk canvas on which it is dyed. The artist makes a statement about notions of the unwelcome, through a fantastical approach, by depicting a fable-like narrative. She merges contrasting fantasy-like aspects, seen here as harvesters are standing against the delicate background. The figures wear lingerie-style garments, and seemingly do not belong. The idea of the “alien” lingers in the viewers mind, as they are left thinking about notions of settling and belonging, and can be left to consider the place of the figures in their underwear against a farm-like setting.

Brooklyn-based artist geetha thurairajah uses color and wide brushstrokes to play with the perception of surface and space in her expressive paintings. Her work considers language and histories, exploring these themes in an effort to examine who is left or removed from certain places and settings.

Her 2019 painting, Convergence, features a sketched figural silhouette against an ultraviolet background. Here, she plays with the idea of alienation and demonstrates this via wide brushstrokes to create an indiscernible plane. This makes the setting abstract and unrecognizable to the viewer, leaving them questioning their relationship to the work.

Together, La Melia and thurairajah’s works consider origin stories, and create a space where one is left to contemplate perceptions of space, who gets to belong in certain settings, and ultimately, who gets to write these histories.

Ozone Gleaners is on display at Projet Pangée, at 372 Ste-Catherine St. W, suite 412, until February 15, 2020. The gallery is open Wednesday to Saturday from 12 to 5 p.m.

 

Photos by Laurence B.D.

Categories
Student Life

The best thrift stores in Montreal

Just over a year ago, I decided to stop buying fast fashion.

This decision stemmed from an unnerving experience opening a parcel from Urban Outfitters, wherein I found a hair — a human hair to be precise — on my (made in Bangladesh) denim skirt. The idea that this hair belonged to a factory worker, most probably underage, most definitely underpaid, was enough to make me pack up the skirt and send it back.

Since then, I have shopped exclusively from ethical and sustainable local, independent designers and transparent brands, as well as vintage and thrift shops. As a fashion school graduate and someone who works in the fashion industry, this proved to be a challenge in the beginning.

Where was I supposed to find something new, in good condition, hip, not-too-trendy, and that conveyed my personal style?

After a year’s worth of scouting my options in and around the city, I’ve compiled a repertoire of my go-to thrift shops in Montreal. Whether your budget is high or low, or if you are looking for something trendy, there is definitely something for everyone.

For a classic thrift experience, Fripe-Prix Renaissance Plateau (Mont-Royal Ave.) offers a great selection of items at a super reasonable price. There are racks on racks of clothing and accessories, as well as an extensive offering of books and vinyls, all in great condition.

L’Armée du Salut (Notre-Dame St. in Griffintown) has — in my opinion — the best selection of pants and denim. With over seven racks of bottoms alone, you can find anything from a pair of vintage Levi’s to a pair of corduroys, at prices typically ranging from $3 to $12.

If you have a slightly higher budget but still want the authentic “thrift” experience, there are tons of shops for you. The infamous Eva B on St-Laurent Blvd. remains more expensive than your average thrift store, with prices averaging $20. However, their exciting mish-mash of retro fabrics, prints, and patterns is sure to brighten your wardrobe.

For staple pieces, such as flannels and denim shirts, Hadio (Mont-Royal Ave.) is the place to go. Their prices are more expensive than your average thrift store, but with shirts lining every inch of the wall, you are sure to find a quality vintage item in brand new condition.

For some funky finds, The Little Shop in Parc-Ex is a great spot to hit up. With a much more eclectic feel, you can find a variety of vintage hats, fur coats, and party dresses. If you’re into more of a street style look, L N F Shop on Parc Ave. offers a mix of old and new, from vintage Nike to some more recent pieces from brands like Atelier New Regime.

Many thrift shops offer more of a boutique-style experience in Montreal. The only downside is that with a more curated selection comes a more elevated pricetag, and thus, not necessarily a classic thrift experience.

However, for those trying to stop supporting fast-fashion, shops such as Annex Vintage on St-Viateur St. offers curated pieces that often hit the racks in collections, and provide a variety of trendy clothing in brand new condition, with a price that remains lower than that of fast-fashion giants such as Zara and H&M. From week to week, you can find the store filled with anything from denim or velvet items, to retro winter puffer jackets.

Similarly, Ex-Voto on St-Laurent Blvd. in Little Italy offers a smaller, well-curated variety of clothing. They also have a wide selection of locally made goods, jewelry, and accessories, making it the perfect place to shop for gifts.

If you’re looking for unique pieces, Citizen Vintage is the place for you. Their two locations, in the Plateau and in Mile End, offer vintage items which have been altered and repaired, having them looking brand new. In addition, they have an in-house collection, Studio Citizen, consisting of clothing that has been made by hand in Montreal, from fabric scraps and deadstock fabric, ensuring that nothing goes to waste.

With three locations spread out across Mile End and Little Italy, Empire Exchange offers a great selection. I’ve found my fair share of designer items at the various Empire Exchange locations — a Burberry polo and Saint Laurent denim shorts, among others — making it a great place to keep an eye on and peruse the racks every now and then. Who knows what you’ll find?

Whether you’re contributing to a circular cycle in an effort to be more sustainable, making a conscious effort to not support companies who exploit their workers, or trying to stick within a budget, thrifting is a feel-good pastime that is sure to bring out your personality and satisfy your need for shopping.

Photos by Brittany Romeo-Clarke

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