Maryse LarivièreUnder the Cave of winds
June 30 – September 23, 2017
June 29, 7 pm
By the time we talk face to face again in the city of fog and spasm, feminine sovereignty will be on the table, next to my pen and ashtray. So I better rush over, just in case the tunnel that connects us curtains off before my eyes. This passage looks like a futuristic set for a Beckett play, except he would completely disagree with this vision. But failing in the eye of such a Master can only be a good thing you might say.
In a matter of hours, I awaken, still slightly sedated, trapped in a cinder block cell surrounded by my work. "I am here to write, and fall into his arms," I say to myself cautiously. Minutes later, I am on the inner phone with you. "I’m gonna lick French all over you and make your freckly skin iridescent." you purr. "Wamp Wamp Wamp," trembles the receiver.
There is a knock at the door...
Initiated through a residency at CCA Glasgow, Under the cave of winds functions like a portal, wherein art, ecology and politics collide. The overarching script of the project narrates the tribulations of a fictional female protagonist, an artist, scholar and whistleblower detained on Staffa island. She is held captive on the Scottish island for initiating a new trend in research, where knowledge production goes beyond linguistics and graphicism to become pure sound—singing and humming, like birds. A kidnapping, love letters, an Antonionesque reverie.
Including a new 16 mm film and suite of sculptural works, Under the cave of winds will be accompanied by Larivière’s forthcoming epistolary novel, and an original sound work by Cosima Friesen.
Maryse Larivière is an artist, writer and scholar whose work re-imagines how we engage with the textual, visual and social through bodily and emotional encounters. Her practice crosses art, literature and theory, taking the form of text, performance, sculpture, and collage. Recent projects include: Echoes from the Bosom (DNA art space, 2017), In Some Far Place (The Rooms, St.Jonh’s, 2017), A Pool Is Water (Galerie Division Montreal, 2016), Down to Write You this Poem Sat (Oakville Galleries, 2016), Talking Back, Otherwise (Art Museum University of Toronto, 2016), Where Wild Flowers Grow (Kunstverein Toronto, 2015), and L.S.D. Your Delusion, My Reality (8Eleven, Toronto, 2015). Her books of poetry include Hummzinger (2016) and Where Wild Flowers Grow (2015). Lariviere is the 2016-2017 writer-in-residence at Gallery 44, and has contributed experimental writings to a variety of platforms including C Magazine, Esse Art+Opinions and Organism for Poetic Research.
Anna Eyler and Nicolas Lapointe
June 5 - July 31, 2017
July 20, 2017, 6 pm. Drinks at the Palomino Smokehouse to follow from 7pm
Referencing kinetic department store window displays, no-fluke/no-feed/no-swim/no-play/no-fun employs the materials and techniques of advertising to reflect on the role of technology in contemporary culture. The artists take an ambivalent position on reality, behaving a bit like amateur archaeologists from an imagined future.
In both form and symbolism, no-fluke/no-feed/no-swim/no-play/no-fun draws on Mannerist painter Jacopo Pontormo’s famous altarpiece, The Deposition from the Cross (1528). Renowned for its bright colours and flat composition, Pontormo’s painting veered away from naturalistic representation, employing instead aesthetic strategies to heighten the emotional and religious content of the scene. Likewise, no-fluke/no-feed/no-swim/no-play/no-fun uses the form, palette, and two-dimensionality of the altarpiece to evoke ideas of the mystical. Rather than adhering to a Christian narrative, however, this work questions the relationship between spirituality and technology in a contemporary context.
As the positions of the rocks change from moment to moment—while also varying in speed—they provide a tangible sense of the passage of time. Their movement also recalls the shifting of tectonic plates, thereby conflating day-to-day change with a geological sense of time. In so doing, no-fluke/no-feed/no-swim/no-play/no-fun reflects upon our impact on the Earth’s geology and ecosystems, offering a poignant yet critical reflection on obsolescence and our material legacy.
Anna Eyler is a multidisciplinary artist based in Montréal, Québec. Working in performance, new media, and installation, Eyler investigates new forms of subjecthood emerging in our increasingly technologized world. Eyler holds a BA in Religious Studies and Art History from Carleton University (2010) and a BFA from the University of Ottawa (2015). Recent awards include the Sparkbox Residency Award (2016) and the Joseph-Armand Bombardier Canada Graduate Scholarship. Her work will be included in the upcoming FILE: Electronic Language International Festival in Sao Paolo, Brazil (2017).
Working in sculpture, new media, and performance, Nicolas Lapointe prefigures hybrid structures situated between the physical and the virtual. Material objects recall digital processes, while virtual structures replicate tangible forms. Objects linger in virtual nonspace, transmitting messages from the void. Lapointe’s structures push the boundaries of sentience, functioning both as inquiries into the absurd and explorations of the poetics of motion.
Eyler and Lapointe maintain a collaborative art practice that touches on concerns of Minimalism, materiality, and technology. Their work was recently featured in the exhibition beyond différance, and now, at Ace Art Inc. in Winnipeg, Manitoba (2016)