Category: Arts

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How 25 artists from Nunatsiavut perceive their beautiful land

New exhibition at La Guilde offers a cultural and political glimpse at the region’s landscape

Curated by Dr. Heather Igloliorte, curator and professor at Concordia University, Nunatsiavut Our Beautiful Land, is presented in partnership with Concordia University, as part of the 21st Inuit Studies Conference.

The exhibition, on view at La Guilde, a gallery-slash-museum in downtown Montreal, features over 40 works, and 25 artists from Nunatsiavut, the Inuit region of Labrador. Specializing in Inuit and First Nations art, La Guilde is a nonprofit organization that houses a large collection of contemporary Indigenous art.

Nunatsiavut Our Beautiful Land explores themes of land and territory. The broad theme allows artists to interpret it in whichever way they felt necessary, be it through materiality, medium, or the subject. Whether it be through sculpture, photography or paintings, a light is shone on the lesser-known region. While some artists explore the theme through the materials used, others approach the topic through themes of environmentality, colonization, and tradition.

Nunatsiavut Our Beautiful Land features over 40 works from 25 artists, ranging from sculpture to photography.
Photo by Cecilia Piga.

Jason Sikoak, a multimedia artist and current Studio Arts undergraduate student at Concordia University, creates works that are simultaneously cultural and political. Seal Hunter demonstrates a figure standing above a sheet of ice, as they hunt for a seal below them. The illustration, drawn in white, is meticulously detailed and stands out against the black paper on which it is drawn. While more traditional in content, the contemporaneity of the piece reminds the viewer of an ongoing way of life, hidden to those living in unceded urban areas.

Through a more material approach, sculptor and carver John Terriak works primarily with a variety of materials like soapstone, serpentine, and whalebone. Mother Owl with Nest and Eggs is a carving of an owl with three miniature eggs laid out before it. Carved from soapstone, limestone, and serpentine, the work contains contrasting qualities; the dark sleek body of the owl, the tiny speckled eggs. Realistic and spiritual, the sculpture demonstrates the beauty of the Nunatsiavut region’s natural resources, as well as its culture.

Eldred Allen’s photographs immerse the viewer in the beauty of Nunatsiavut’s landscapes.
Photo by Cecilia Piga.

Eldred Allen, a photographer who works with drones, creates works that immerse the viewer within the captured landscape. Allen’s Caribou Lost in Shadow depicts a lone caribou in a field, highlighting the reality of climate change in Northern and Arctic regions. The isolation is emphasized by the intent focus on the stray caribou－ all that is excluded from the frame is everything the caribou is isolated from; that is the impression left on the viewer.

On the other hand, Allen’s Skull of Harp Seals captures dozens of harp seals－a type of seal native to the Arctic－swimming in a group, their silver-tone fur contrasting sharply against the deep blue water.

While each artist explores the beauty of their land－and heritage－through an entirely different lens, they approach the subject with great sentimentality. Whether it be through photography or craft, the artists remind the viewer of longstanding history and cultural significance.

Nunatsiavut Our Beautiful Land is on display at La Guilde, at 1356 Sherbrooke St. W., until Nov. 24. The gallery is open Tuesday to Friday, from 10 a.m. to 6 p.m., weekends from 10 a.m. to 5 p.m., and Wednesdays from 10 a.m. to 9 p.m.

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The 2019 edition of the Festival de Nouveau Cinema brings viewers beyond the screen

Starting Oct. 9, the film festival will be more political, feminist and diversified than ever

The year’s most anticipated rendezvous for cinephiles and filmmakers alike is set to be memorable, with a lineup encompassing unique screenings, as well as events and parties every night.

While the Montreal movie festival circuit has a wide array of events for everyone all year round, the Festival du Nouveau Cinéma (FNC) once again proves it is the most versatile and attractive of all. All of their screenings are also open to the public, many of which are even free.

FNC Programming Director, Zoé Protat. Photo by Maryse Boyce.

This year’s edition of the FNC will be the first of Zoé Protat as Programming Director. While she has been working with the organization as a programmer and critic for many years, this is the first time she is responsible for the entire festival. The programming seems more politically engaged and audacious than in previous years.

Two main themes certainly stand out in the programming, which the FNC released on Oct. 1: feminist cinema, and climate change.

“It was inevitable,” said Protat when talking about why she and her team decided to focus their work on those two subjects. While she believes the FNC had to act on climate change and keep the conversation going, as it starts only two weeks after the historic climate march, she said the idea of presenting more feminist cinema happened “more organically.”

“We were stunned by the relevance of their discourse,” said Protat, referring to feminist films she picked up for the FNC. “Whether it be old classics or more obscure pictures, from the 1950s to contemporary cinema, we were able to find films that profoundly resonate with the conversations we have about feminism today. These films can change our perception of feminism, and all have a unique angle on it, an interesting way to express it.”

Agnès Varda, the famous French director who passed away this year, will be honoured at the festival. Protat considers her to be “one of those by pioneers who fought and paved the way for the creators of today.” Her film L’une chante, l’autre pas (1977) will be shown in a newly restored version, as well as her last autobiographical documentary Varda par Agnès (2019), pictured right.

Many contemporary filmmakers are also being put forward by the FNC to show us how feminism has evolved through representation. Among those artists, Mania Abkari and Douglas White, for A moon for my father (2019), and Maryam Touzani, for Adam (2019), have received considerable critical acclaim.

The FNC’s political engagement doesn’t stop at their screening’s programming, however. They have organized many events and conferences in order to widen the conversation some films are opening.

As part of their focus on environmental issues, which they have called Films for the planet, the festival has organized talks with Luc Ferrandez, Laure Waridel, and Bernard Lavallée; all important figures when it comes to climate change debates in Quebec.

“We realized how some catastrophe or apocalyptical science-fiction movies had resonance today,” said Protat. Indeed, the FNC’s Films pour la planète will feature many of those because, according to her, “they don’t feel like fiction anymore.”

“We’re realizing that eco-anxiety is a real issue and that some catastrophe movies, even older ones, definitely have a stronger meaning today,” she added.  Take Shelter (2011), by Jeff Nicols, and Silent Running (1972), pictured left, by Douglas Trumbull, are two examples of special screenings that the FNC is organizing as part of that conversation.

Local arts and films also in the spotlight

Looking at Canadian cinema differently than other festivals in Quebec, Protat said she wants the FNC to “show a Pan-Canadian approach to film, mostly focusing on first feature films, by creators from all over the country.”

She wishes for the FNC to feature various languages, ideas and aesthetics, and their 2019 lineup certainly reflects that.

Among the most anticipated Canadian films, this year is Antigone (2019), by Quebec director Sophie Deraspe (right.) Based on the Greek tragedy by Sophocles, the film follows the tribulations of a young Lebanese immigrant trying to get her brother out of prison. The film was awarded the best feature film prize at the Toronto International Film Festival (TIFF) this year and was nominated as Canada’s entry to the Academy Awards. Its soundtrack was also co-written by Jad Orphée Chami, a Montreal musician who has just finished his BFA in music at Concordia.

Current Concordia students will also be featured at the festival. As part of their series of free events happening at L’Agora Hydro-Québec, the FNC and Concordia student-curators are co-organising an exhibition showcasing the university’s talents in various disciplines, such as painting and drawing, print media, video, and performance art.

“We are starting an interesting tradition this year where we want to have a Quebec university showcasing their work through a one-night event at the festival each year,” said Protat. “And we thought Concordia was a good place to start. It has a very active arts community, and many filmmakers that present their work at the festival are from Concordia,” she added.

Spotlight on Concordia Fine Arts will showcase student work on Oct. 17, at 9 p.m., at L’Agora, in the Quartier des Spectacles.

From local indie documentaries to major international feature films, the FNC is always a good opportunity for everyone to get a glimpse of what the best of contemporary (or old, through a contemporary lens) cinema is like.

The FNC will be held across many movie theatres, all in the Quartier des Spectacles, most notably at Cinéma Impérial and the Cinémathèque Québécoise, from Oct. 9 to 20. For the full programming, visit nouveaucinema.ca. 

 

 

 

Feature photo from Take Shelter (2011). This article contains files from the Festival de Nouveau Cinema.

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Chaos, discomfort, and absurdism

If you could visually represent feelings of discomfort and worry, what would they look like?

Montreal and Mexico City-based artist Beth Frey illustrates this in her most recent exhibition. The multidisciplinary artist, a Concordia MFA graduate, explores themes of girlhood, the body, social media, and mental health through her sculptures, drawings, and videos.

BOOM BOOM BLOOM DOOM was on view throughout the month of September at Galerie POPOP, in downtown Montreal. The space felt, all at once, organized yet chaotic; offering a visual representation of the conversation that is constantly going on in your head.

Frey approaches the topics through an absurdist perspective. Absurdism, a philosophy that emerged in the 19th century, refers to the human tendency to seek meaning in life, and ultimately, the inability to find any. The use of colorful watercolours－in conjunction with the underlying heavy subject matter－demonstrates the artist’s ironic approach to sociopolitical topics and playful sense of humor.

Frey’s works make references to pop culture by integrating cartoon and comic characters, which offers the viewer a sense of familiarity. The vibrant colours of the works, in contrast with the sketchy outlines and linework, allude to hyperreality.

Lucy Encounters Ego Death (and hopefully finds some sort of inner peace), features a cartoonish rendition of Peanuts character Lucy, quite noticeably in a state of disturbance. The dripping quality of the watercolours indirectly hints to the sense of lack of control that accompanies anxiety, offering the viewer an image of an unpleasant sensation.

The paintings, given titles such as Two Strangers Console One Another While the Artist Checks Her Instagram and I’m Not Bashful, You’re Bashful feel like an internal commentary. They are, all at once, satirical and critical, direct and honest, and similar to the works at the gallery.

The painting Anxiety Library illustrates a table surrounded by figures reading books with names like “Problems Vol. 26” and “Your Impending Death.” People sit among monster-like creatures, some burying their heads within their novels, others screaming. The whirlwind of colours and textures makes the work feel very noisy, as though the viewer can hear all that is going on within the piece.

While each of the pieces has a meaning on their own, collectively they contribute to the artist’s approach of creating works from an absurdist standpoint. They demonstrate a desire to find peace and quiet while simultaneously struggling with an internal search for meaning, and ultimately, battling an impending sense of doom.

Further information about Beth Frey’s work can be found at www.bethfrey.com.

 

 

With files from Beth Frey and Sophie Latouche.

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IT Chapter Two: This sequel ain’t clownin’ around!

This sequel ain’t clownin’ around!

… Other than the fact that it is

Walking into IT Chapter Two,  I was expecting some jump scares, some laughs, and to walk away from it without thinking much about it. However, this movie ended up giving me quite a bit to think about.

IT Chapter Two, directed by Andrés Muschietti, takes place 27 years after the events of IT and the charismatic cast of child actors have been switched out for adult counterparts. Together, they go back to their hometown to defeat Pennywise once and for all. It’s a fairly simple premise, but its long runtime of 2 hours and 50 minutes really hones in the fact that there’s much more to it. I found myself becoming invested in some characters, but several themes were under-addressed.

The look of this movie effectively establishes a dark and creepy tone, and it had a nice, crisp image that I liked. There were interesting angles and camera movements used to make some scenes even creepier. However, what it gained in visuals it lost in its script. It felt formulaic. I only felt invested in particular characters because of the work of the actor as well as my personal connection to the character’s situation. That being said, certain characters were not explored as much as they should have been, which led to a disappointing representation of themes in the film, such as homophobia and sexual violence. There could have been an interesting discussion on these themes, as well as trauma and growth. I just wish there was more effort put into the underlying emotional elements to the movie and that these major themes had been explored with more complexity and depth.

Another shining element of IT Chapter Two was its top-notch cast. James McAvoy, Jessica Chastain, Bill Hader, James Ransone, and Jay Ryan replace the kids from the first film, and Bill Skarsgård returns as Pennywise. Although I’ve already known of the talent of McAvoy and Chastain, this film allowed me to finally appreciate the distinctiveness of two other actors: Bill Skarsgård and Bill Hader.

Compared to the last film, Skarsgård has a lot more to say. He has more screen time and dialogue, and his presence was much more raw and genuine. In particular scenes, his facial expressions and voice push through the heavy makeup and effectively creeps you out. Unlike the last film, I felt a real human presence there. I admire how his performance is so deeply rooted in the character, especially since that character is a non-human, deranged clown. Hader, on the other hand, comes in full force with a seemingly comedic role that becomes heart-wrenching by the end. It is evident that he can truly draw an audience into his character and make them feel for him, and he is one of the many comedy actors who successfully proved himself to be a commendable serious one as well.

All in all, IT Chapter Two was flawed but it was fun, and Bill Hader stole my heart. 3.5/5 stars. 

 

Graphic by Victoria Blair

Feature photo source: New Line Cinema

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Transforming a dark chapter of history

15th Montreal International Black Film Festival kicks off with an exclusive screening of Harriet

Harriet, a poignant biopic of the life of Harriet Tubman, a runaway slave who helped hundreds of slaves to freedom, opened the 15th edition of the Montreal International Black Film Festival (MIBFF) at the Imperial Cinema on Sept. 24.

This festival presents groundbreaking cinema that moves us, raises awareness and takes us all by surprise. The MIBFF strives to present films that take on important issues in the world, that raises questions that are provocative, that make us smile, that leave us perplexed and, at times, that even shock us,” stated Fabienne Colas, its creator, at a recent press conference.

Hundreds of guests were welcomed on the red carpet by Colas at the glitzy opening night cocktail party. Guests included Montreal Mayor Valérie Plante, filmmakers Euzhan Palcy and Jean-Claude Lord, and Telefilm Canada’s newly-minted executive director, Christa Dickenson.

In her brief address, Plante emphasized the importance of the MIBFF, particularly for emerging filmmakers based in Montreal, whose talents would be overlooked because of limited access to mainstream venues to showcase their work.

Before the screening of Harriet, Colas awarded MIBFF Pioneer Awards to Palcy and Lord for their decades of work devoted to making trailblazing and impactful films that illuminated political and humanitarian issues, with inclusiveness at their core.

Palcy is a Caribbean-born filmmaker who has won both a César Award and a Silver Lion Award, and Lord is a Montreal-based legendary filmmaker. In their acceptance speeches, each provided insight into the trials they had encountered as they strove to create films that would enlighten and raise awareness.

In Harriet, Cynthia Erivo plays the leading role. The British actress is a Tony, a Grammy, and an Emmy Awards-winner, and now there’s buzz about an Oscar for her performance in Harriet.

As Tubman, Erivo delivered a demure, youthful, energetic and very spiritual slave who courageously fled Maryland to freedom while still in her 20s. It is evident that Tubman knows that her innate lack of fear shocks the men in her orbit, but she succeeds in using it as a tool to frustrate the authorities and slave-owners as she leads hundreds of slaves to freedom through the Underground Railroad network. 

Kasi Lemmons, the director, successfully transformed what is an otherwise painful and dark chapter in the history of human suffering into a tale that is inspiring, illuminating and, at times, quite jarring. Scenes depicting the brutality that slaves were subjected to by their owners are included, but Lemmons’ approach is more positive in that the focus is on Tubman’s call to action and her seemingly natural ability to inspire others. A year after gaining her freedom, Tubman returns to Maryland for her husband and discovers that he has remarried, but she quickly convinces some of her relatives and friends to follow her north to freedom instead.

John Toll, a two-time Academy Award cinematographer, provided the stunning backdrop in which Harriet shines. Artfully, he captures the scenery and the foreboding landscape and uses it to portray its threat to survival and the sheer destitution it rendered. Terence Blanchard’s enraptured score enters the scenes, almost as another character and harmoniously and seamlessly moves the narrative along. When despair appears on the horizon, the gospel tracts serve to energize the action. This team delivers an impactful, memorable, yet entertaining tale that is neither preachy nor unnecessarily overworked.

Harriet is a perfect fit for the MIBFF’s mission in that this story is told through a black lens. Notably, at its establishment in 2005, the MIBFF was named the Haitian Film Festival that featured just three films. Along the way it was renamed and this year’s program featured over 90 films from 25 countries. As an additional bonus, Q&A sessions with the members of production crews followed many of the screenings.

“Our focus now is to go beyond awareness with concrete actions that will foster inclusion and diversity, both on and off the screen,” said Colas. As part of its quest to empower the next generation of black filmmakers, several workshops were held that were moderated by a array of directors, filmmakers, and actors. In addition, Colas announced the creation of Quebecor’s Diversity on Screen scholarship to foster diversity in front and behind the camera.

Harriet, this must-see film, had its world premiere at TIFF earlier this month and will open in theatres all across Canada on Nov. 1.  For more information please consult montrealblackfilm.com 

 

Feature photo source: MIBFF

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Happening in and around the White Cube this week: Paper art and sustainable making solutions

Paper has always been something fascinating to me. Delicate and natural, this material is often overlooked as mundane and common.

A problem I have with art-making lies in its material. I love to make, I love painting, drawing… I hate making waste. When I began to teach, I stopped painting. I hate having to throw away dried up paint tubes almost as much as I hate watching people squeeze too much paint on their disposable palettes.

Last year, while I was interning at Concordia University’s Centre for Creative Reuse (CUCCR), I was taught to make paper, and led several workshops throughout the year. I was hooked. I am hooked. I ripped up old anthropology readings to make a test sheet. The acting of ripping, blending, and pulling the wet pulp was so liberating that I didn’t stop until I had collaged a rather large pulp sheet on multiple smaller sheets of felt. The uneven patched felt foundation allowed for ridges and bumps in the paper. Once it dried, it was as stiff as a board.

Since then, I’ve made several sheets of paper with all kinds of old drawings. I plan to make a series with old issues of The Concordian at some point.

So it goes without saying, when I got word of Mylene Boisvert’s “Spinning Paper Thread” workshop at the Visual Arts Centre, I was ecstatic. The workshop was part of her exhibition at the McClure Gallery, a collection of delicately woven and crocheted paperworks. Lace-like, they clung to the gallery’s walls, blowing ever so slightly anytime a door opened.

Some looked like netting and shedded reptilian skin. Others swirled so tightly and intricately, it was hard to believe Boisvert used paper to make them.

In the workshop, we learned the artist’s spinning tricks and affinity for Japanese paper, which is thin and tough, made with plant fibers, both by hand and industrially. I was brought into a world of new possibilities. A place where I could continue to make without worrying about the material I would be leaving behind.

I believe that at the time we are living in, facing the climate crisis, art-making practices cannot be excused. No one is above it; no politician, no economist, no student, no teacher, and especially no artist.

If you are interested in papermaking and spinning paper threads, I recommend attending a workshop at Atelier Retailles. Mylene Boisvert will be leading a spinning workshop on Oct. 10, following the beginner papermaking skillshare on Oct 5.  

 

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Trueisms, actions without climax and dog training

“It’s a series of actions, really simple actions, focusing on the body,” said Emma-Kate Guimond about her performance at VIVA! Art Action,  a bi-annual ‘vibrant’ action-based performance art, social practice, and public intervention festival.

Before she begins, she warms up the topography of her body with a series of simple movements and stretches, like jumping jacks or simply standing on two feet, to become aware of her skin, her muscles… 

With a BFA in contemporary dance from Concordia, Guimond chose to pursue visual and performing arts in her postgraduate studies, focusing on presence (or the lack of it) in body-based exercises. She refers to the acts she performs as “trueisms,” actions that aren’t mundane, nor are they exciting. They simply have no punchline, no trick. Allowing decentralization to happen and refusing to be present during her performance, defining limits based on absolute “no’s.”

Guimond completed her MFA at UQAM with a project called Possible Performance. A script of actions at heart, Guimond wrote in the second person, addressing different types of impossibility – “you try to jump, but you also try not to jump”, “you hold the slab,” a giant silicone sculpture, “as long as you can.” She wrote about 30 of these and invited others to come to her studio to perform them.

“It was based on the economy of friendship,” she said. “A collective negotiation of how they could be in the space. I think the most intimate way of showing somebody a performance is by having them do it themselves.” 

With open individual sessions lasting for approximately 45 minutes, her final footage of the performance was six hours long. Her participants wore specific textured clothing, colour-blocked and vintage costumes selected by Guimond to resonate with her installation. She became fixed on the idea that, no matter how close you can get to someone, you can never become them, never know the inner workings of their minds. Her participants became scripted versions of herself – avatars.

“There’s a threshold there, of togetherness and aloneness,” Guimond explained. “One of the tags of my thesis was ‘Rehearsing being alone together,’ this idea of things being side by side but not necessarily integrated. It’s how I structure my performances.”

Guimond’s newer work, not entirely separate from her thesis project, breaks down these ideas into categories, rules to continue structuring her work.

“I adopted a dog in December and in dog training, they introduce this approach called the 3-Ds, distraction, distance and duration. I thought it was a really interesting structure for thinking about performance. Distraction is something I have worked on in my thesis, talking about decentralising attention within a performative space and at the same time, not having a protagonist, not having a hero and not having one thing happening at once, no focal point or narrative,” said the artist. 

Distance, on the other hand, refers to putting space between yourself and your dog, giving them a treat, leaving the room, and expecting them not to have eaten it yet. In dog training, distance is characteristic of obedience, which she decided to replace with deceleration.

“The best way to get over what we are going through as a society is to accelerate its process, a dangerous idea,” she continued. “Deceleration is this idea of anti-productivity. I kept thinking to myself, what is the performance I could do and keep going my whole life?”

Action-based performance can be quite chaotic; a series of things occur, a transformation happens that surprises the audience, but this isn’t what Guimond is putting forward. Her climaxless, ultimately pointless movements, are based on endurance, working with those ideas of duration, deceleration, distraction, and difficulty.

Difficulty is a thing that I work with a lot. Difficulty and possibility… the body having a hard time doing things…”

Whether clutching her ankles in a one-woman human triangle on top of a refrigerator or rolling stiffly and painfully slow across an uneven asphalt floor in a sculptor’s rented-out studio, Guimond’s performance art is surely strenuous, yet not impossible.

On Sept. 28, Guimond opened VIVA!’s final performance night of the Biennale with a projected video of her dog. “My dog for the duration of a cigarette,” said the artist into a microphone. She lit a cigarette, dropped it on the floor and removed her heeled oxford shoe, revealing a nude fishnet sock. Her foot blocked the smoke for a moment before stepping it out. “Tricks for the duration of a bone,” she continued, her actions intriguingly bizarre. “The pace required for the urine inside the plastic bottle to remain still as the bottle rolls.” Guimond wore a neon yellow dress and translucent, dirt-coloured raincoat. She removed a massive clump of neon yellow putty, slapped it to the floor and planked, pushing her face deep inside it. It’s form kept as she rose to her feet.–

To see documentation of Guimond’s past work, visit www.emmakateguimond.com . 

 

 

 

With files from Emma-Kate Guimond and VIVA! Art Action. Feature photo by Paul Litherland.

 

 

 

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Spotlight on Liza Isakov

Liza Isakov, 4th year Studio Arts

Liza Isakov is an emerging artist based in Montreal, creating works on paper. Her expressive practice draws inspiration from everyday objects and observations – the process of gathering items, imagery, textiles, and loose sketches forms the delicate manner of her work.

Originally from Russia, Isakov was raised in Israel, later moved to Winnipeg, Manitoba and now lives in Montreal. Moving from one place to another helps her practice grow and evolve by creating new connections and finding new ways to challenge herself. Her work has been exhibited around Winnipeg and Montreal, both in solo and group shows with fellow students and artists. She is currently in her fourth year at Concordia University, majoring in Studio Arts.

Her work often notes everyday life moments, a sense of belonging, and the natural world. Coloured pencils and paper are her medium of choice. The coloured pencils help capture the delicate mark making and everyday life in the simplest way possible.

In addition to drawing and painting, Izakov works in collage and embroidery. Her most recent collection of embroidered t-shirts can be purchased on her website, lizaisakov.com, and at Ex-Voto, a sustainable fashion boutique in the Mile End.

You can spot Izakov curating for the Festival de Nouveau Cinema: Spotlight on Concordia Fine Arts, and various pop-up exhibitions in restaurants and bistros around the city. 

With files from Liza Isakov.

 

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Questioning materiality and artistic significance

In a time of ecological and economic crises, what significance does material culture hold? Can art play a role beyond aestheticism?

Material culture － the study of objects and the physical space they occupy, including works of art as objects － raises many questions in the art world, including the place artworks hold in defining a cultural history and identity. These questions are a constant topic of conversation among artists, viewers, and curators alike.

Having visited numerous UNESCO sites, historic landmarks, and almost every major city on my solo trip to Morocco in May, I was eager to see what the contemporary art scene was like and how it would compare to that of Montreal.

I had not read anything about the space prior to my visit to the Museum of African Contemporary Art Al Maaden (MACAAL), in Marrakech, Morocco. Nor had I done any research; I had no context as to what I would see or any expectations, for that matter.

The exhibition at the time of my visit, Material Insanity, featured the work of over 30 African artists, both from the continent and its diaspora, including Berlin-based conceptual artist Adrian Piper, and music collective KOKOKO!.

As the title suggests, Material Insanity explores the significance of material culture and commodification and creates a discourse surrounding collective cultural experiences revolving around materiality and visual imagery.

I’ve been thinking about this exhibition a lot since returning from my trip and as I visit many new art shows in and around Montreal. The exhibition and museum, as a whole, creates a space for engaging in a dialogue about the collective and individual experiences of artists throughout the continent, through references to culture, politics, and economics.

The MACAAL creates an environment where artists and viewers can converse about and reflect on issues that pertain to their cultural identity and experiences. I truly felt as though, for the first time, I was visiting a museum that held cultural significance and begged for answers to pertinent questions.

Takadiwa’s work, Washen Again, speaks to the importance of imagery and visual culture while simultaneously playing a pertinent role in an ongoing ecological crisis. Photo by Lorenza Mezzapelle.

Having previously read and written about Moffat Takadiwa, a multi-disciplinary Zimbabwean artist, I was overwhelmed, to say the least, when I saw one of his works featured in the museum.

Takadiwa’s work explores personal and collective histories through the use of recycled and found objects. His visual interpretation of current issues makes a commentary on material culture in conjunction with the economic crisis of his country and community.

Takadiwa’s piece, Washen Again, is composed of toothbrushes and dishwashing soap bottle tops. The large scale sculpture shares similar qualities to an intricate rug; the found objects placed methodically to give the appearance of woven details, alternating in tones of red, green, and beige.

The featured works’ significance speaks to the importance of imagery and visual culture, while simultaneously playing a pertinent role in an ongoing ecological crisis. The act of repurposing found objects that no longer serve a purpose, and breathing new life into them, demonstrates the artistic capabilities of the exhibited artists.

The MACAAL’s creation and development of a dialogue － which at once explores relevant cultural issues and contributes to a continent’s cultural history and international representation － is a component that lacks from most large art institutions.

I cannot think of anything else that fully encompasses being an artist or curator, other than creating artwork with all that one has instead of buying new.

Further information about the Museum of African Contemporary Art Al Maaden can be found at www.macaal.org. A 3D tour of Material Insanity can be found at macaal.org/en/exhibitions/material-insanity/.

 

Photos by Lorenza Mezzapelle

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Reclaiming cultural identity through decoloniality

Tropical patterns, the sound of waves, and palm trees are most often what is demonstrated when the Caribbean islands are depicted in the Western world. While picturesque, this romanticized portrayal curated by the Western gaze fails to acknowledge the islands’ colonial history and the effects of mass tourism.

On view at Fonderie Darling in Old Montreal, Archipelago of the Invisibles presents the work of two former international residents, Marina Reyes Franco and Javier González Pesce. The exhibit celebrates Latin American art, artists, and curators for the 10-year anniversary of the Residency of the Americas. The residency aims to establish relationships between communities through the Americas, as a means of fostering open-mindedness and inclusivity.

The two exhibitions, Two Ways to Disappear Without Losing the Physical Form and Resisting Paradise explore the ways in which we view one another – through the exploration of themes of identity, representation, and erasure. They examine the cultural and socio-political effects of the regions’ complex histories.

Two Ways to Disappear Without Losing the Physical Form, on display in the main hall, is curated by Ji-Yoon Han. Resisting Paradise, on display in the Small Gallery, is curated by Marina Reyes Franco, whose curatorial research focuses on post-colonial theory in popular culture.

In the Small Gallery, Joiri Minaya, a Dominican-American multidisciplinary artist, explores themes of identity from a decolonial space. Decoloniality, a term associated with a new Latin American movement, aims to recognize the socio-political implications of Western modes of thinking, how colonialism continually affects people, and challenges Eurocentric standards and structures of power.

Photo by Britanny Guiseppe-Clarke

Minaya’s video, Siboney, documents Minaya, clad in white, painting a mural inspired by a ‘tropical’ patterned shirt. Once finished, Minaya proceeds by pouring water over herself and rubbing herself against the mural until it is ultimately ruined. All the while, a slow rendition of Connie Francis’ song “Siboney” plays in the background.

The use of ‘tropical’ fabric references Western representations of the ‘foreign’, while the act of Minaya rubbing herself against, and undoing the painting – alongside the sensual version of Francis’ “Siboney” – is a symbol of the idealization of Caribbean bodies, seen as subjects in ‘paradise’ by colonizers.

Similarly, Minaya’s piece, #dominicanwomengooglesearch, explores various representations of the body. The installation consists of digital prints of images found by searching “Dominican women” on Google. Some images are pixelated and others stylized with tropical patterned fabrics, representing romanticized portrayals and interpretations of ‘tropical’ bodies.

In the Grande Salle, Javier González Pesce, a Chilean artist, explores themes of disappearance in his work The Island of the Un-adapted. The installation consists of roofing sheets and objects found and collected from rooftops in Santiago. The objects, assembled into “archipelagos”–or groups of islands– on the rooftop, represent the removal and scattering of items in the visual world.

While the items no longer serve a purpose and were discarded, they now form a group of small islands and therefore, are a symbol of hope. Their ability to float implies an ability to survive, regardless of imposed conditions.

González Pesce’s second project, Untitled (Human Face), consists of a sculpture and video. The sculptures, three canoes sculpted to resemble facial features, are placed across a video demonstrating the three canoes – or facial elements – moving and rearranging themselves in the sea. The installation symbolizes the evolution and disappearance of the face on a constantly changing surface.

Together, Two Ways to Disappear Without Losing the Physical Form and Resisting Paradise create a dialogue surrounding themes of representation and colonialism, and aim to recontextualize and reclaim the artists’ cultural identity in the visual world.

Archipelago of the Invisibles is on display at Darling Foundry, at 745 Ottawa St., until Dec. 8. The gallery is open Wednesday to Sunday, from 12 to 7 p.m., and Thursday, from 12-10 p.m.

 

Feature photo by Lorenza Mezzapelle

Categories
Arts

September arts & culture festival masterlist

Don’t get too cozy yet! The weather was strangely warm this week and it appears it’ll stay that way for another… so get off the couch! Take a study break and go check out these festivals happening all over Montreal this fall! Oh, and if you haven’t seen any part of the Momenta Biennale, do that too!

 

THIS WEEK

LadyFest
Returning for its fifth year, LadyFest is a comedy festival celebrating femme and non-binary talents. I had the opportunity to go last year and had such a great time! Did I mention that I went back to watch a show alone… and sat in the front row? I didn’t even anxiety-hurl! LadyFest is truly soul food. Anyway, this magnificent happening ends Saturday, Sept. 21, so get your tickets here or at Théatre St-Catherine. For more information visit http://ladyfest.ca

 

Feminist Film Festival
No one will be turned away for lack of funds at this intersectional film festival! With local and international film shorts, FFF promises to challenge gender norms and feature strong female leads.

The schedule is as follows:

Sept. 21 at Association des réalisateurs et réalisatrices du Québec (ARRQ), 5154 St-Hubert St.
4:30 p.m. – The Different Faces of Maternity

Sept. 22 at Association des réalisateurs et réalisatrices du Québec (ARRQ), 5154 St-Hubert
St. 6:30 p.m. – Racialized Points of View

 

Stop Motion Festival
A fabulous contributor covered the Stop Motion Festival last year and completely overwhelmed me with the number of cool workshops that took place. Largely based on Concordia’s campus, this festival screens at the J.A. de Sève Cinema in the Hall building, in the EV building’s main auditorium, the LB atrium, and at Mckibbin’s Pub on Bishop St. Grab a beer and freak out about some sick animation until Sept. 22. View the full schedule here.

 

NEXT WEEK

Sept. 24-29: Montreal International Black Film Festival
I’ve attended the MIBFF since I started writing for The Concordian. Each year, my eyes are opened wider than the last. I was particularly fascinated by last year’s documentary on the reclamation of Dutch wax fabric, one of the most popular textiles in Africa.

With programs for youth, discussions, markets, and screenings, of course, this festival – opening with a tribute to Harriet Tubman – isn’t one to miss. For more information and tickets, visit http://montrealblackfilm.com/

Sept. 25-28: VIVA! Art Action
Taking place in the industrial heart of St-Henri, the VIVA! Biennial will feature over 20 artists from all over the world, including a handful from Montreal and a couple from Concordia! Performances, workshops, conferences, and other participatory experiences take the forefront at this festival, where lines between the artist and the viewer are blurred. Keep your eyes peeled for this one.

 

Sept. 25-29: POP Montreal
Hello fall festival queen, are you a person who likes to spend all day at art shows and all night at concerts and movies at the same time? Yes? Me too. Last year’s POP Montreal drained my soul in the best possible way. I have fond memories of walking to and from venues with POP’s specialty drink in my hand.

Committing to the festival means discovering new spaces and experiences you wouldn’t typically find yourself in. Queer visibility and sexuality, the underlying theme of Art POP, connects various satellite exhibitions across Montreal. Partnerships include UQAM, artist-run center Articule, and Elephant gallery – where Concordia-based creator Skawennati has developed a virtual portrait project with youth from Montreal North and Kahnawake.

It doesn’t stop there. In addition to art and music, POP Montreal includes a segment of symposium talks (which cross disciplines between art, music, queer theory, etc.) and film screenings at the glorious Cinema Moderne in the Mile End.

 

There is ALWAYS something happening in Montreal. No matter the weather. The end of September just so happens to be the sleepiest and busiest time ever. Yeah, yeah Green Day, I’ll wake you up when September ends, (that’s a lie I will wake you up now so you can festival hop.) Happy fall! Stay hydrated! Wash your hands!

Categories
Arts

Feeling, touching, and hearing performance art

Art is and, for the most part, always has been a feast for the eyes. It is delightful to look at a painting and recognize the emotion in the subject’s facial expression, to experience a multicoloured light show at a concert, and to watch costumes glittering as dancers sway and leap during a performance. But what if you could not see? How does one experience art if they cannot see?

Blindfolds are required throughout the performance and audience members are directed through the performance, through touch, music, and narration.

This is a question that Audrey-Anne Bouchard wants to answer. Bouchard is a multidisciplinary artist, performer, and professor at Concordia and the National Theatre School of Canada. Her latest show camille: un rendez-vous au délà du visuel is currently being presented at Montréal, Arts Interculturels (MAI) in the Plateau.

“I asked myself, what do people who cannot see at all retain from a dance performance or theatre?” said Bouchard. “They were telling me that they are always aware that [they are] missing a part of the show, so I came up with the hope of creating a piece where they wouldn’t be missing anything.”

camille: au délà du visuel, a performance piece which tells the story of a loss of friendship, aims to create an immersive, multi-sensory experience.

“I knew from the very beginning that [the show] was going to be immersive,” said Bouchard. “For me, it meant that the spectator would be immersed in the set of the piece; they would be able to understand through space, touch, sound, and texture, the environment in which it takes place.”

Inspired by her own disability, Bouchard created au délà du visuel, or beyond sight, a project aiming to enable a new audience－one who normally wouldn’t be able to access theatre and dance shows－to experience performance art.

“[The loss of my eyesight] came very progressively,” explained Bouchard, who suffers from Stargardt’s disease. “I started losing sight when I was around 17 but it took several months before they could find out what the origin of the problem was.”

Bouchard, who has always worked within the performing arts, noted that it only occurred to her about 10 years after the fact that her practice is very visual.

“It’s interesting because I created a job for myself where I can work with my eyes closed; I created a context where my disability is not a disability at all,” she said. ‘“I did a lot of research on the visual aspect of theatre and dance and I realized that this is kind of a paradox, that I’m losing sight and working with such a visual discipline.”

This inspired Bouchard to further her research and discover what it is that artists share through their art that does not necessarily have to be shared through sight.

“It was obvious then that the piece had to be immersive,” explained Bouchard. “To share with people, I need to be close with my performers.”

camille: au délà du visuel allows for the spectator to be fully immersed in the set, alongside the performers. Blindfolds are required for those without any visual impairments and audience members are directed through the performance, through touch, music, and narration.

“We also welcome people who have different kinds of disabilities,” said Bouchard. “We can guide you through a show if you’re in a wheelchair.”

Bouchard noted that the distance between the stage and the audience is what makes performance art very visual, by default.

“If we eliminate that distance then we have access to all of [the spectators’] tools,” she explained. “[We had to find out] how can you share the performance of an actor when you don’t see him.”

The development of the project took over three years and was very theoretical. “We created a new creative process methodology with this project,” Bouchard said. Through working with people who are visually-impaired and through research, Bouchard created a new way to work.

“To share with people, I need to be close with my performers,” explained Bouchard.

This new process methodology inspired Bouchard and the team of performers and artists she works with to develop a series of workshops.

“We designed a workshop to teach students or other artists how to work that way,” Bouchard said. “I think that now we have to keep working and creating work altogether for an audience living with visual disabilities and other disabilities that we would like to address as well.” Bouchard’s workshops, which will be both interactive and theoretical, are in the works and will be further developed over the course of the upcoming year.

“I see a desire from the arts consult to encourage more accessibility […] to all kinds of audiences who don’t normally have access to the arts,” said Bouchard. “It is becoming more and more present, and it’s changing. I’m benefiting from it, but I’m also hoping to help make it happen in the future; I hope that my work is also a great example of how the creative process that we use everyday works, but that there are so many other ways to create art that can be explored.”

camille: un rendez-vous au délà du visuel is being presented until Sept. 22, at Montréal, arts interculturels, at 3680 Jeanne-Mance St., suite 103. Further details regarding showtimes can be found at www.m-a-i.qc.ca

 

Photos courtesy of Laurence Gagnon Lefebvre

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