Impression de familiarité @ Dare-Dare

Toute impression subjectivement inappropriée de familiarité d’une expérience présente avec un passé indéfini was presented at Dare-Dare (Montreal) from July 10th through July 15th 2017.

This intervention was realized in collaboration with a group of performers that did many distinct actions around the Atwater Market for 6 days. Each of these actions were repeated eight times a day in the same spot during the week. Interventions were drawn from everyday events, but it is only because of their repetitive nature that these gestures were noticed by the public. They sometimes triggered an impression of “déjà-vu,” generating a feeling of familiarity between the present moment and an undefined past. Through this elaborate and repetitive process, I wanted to challenge the authenticity of public space while proposing a more lasting and somewhat sculptural approach in performance art.

Performers:

Manoushka Larouche
Adriana Disman
Helena Martin Franco
Anastasia Ferguson
Victoria Stanton
Steven Girard
Francisco González Rosas
Fanny Latreille


Impression de familiarité (Vidéos)

Above: Impression de familiarité (Victoria Stanton)

More videos:

Impression de familiarité (Helena Martin Franco)
Impression de familiarité (Fanny Latreille)
Impression de familiarité (Manoushka Larouche)
Impression de familiarité (Francisco González Rosas)
Impression de familiarité (Steven Girard)
Impression de familiarité (Anastasia Ferguson)
Impression de familiarité (Adriana Disman)


Nombre de jours sans accident (2017)

View the website


Reconstitution (2015)

This 90-minutes long video is a remake of the movie Baraka (1992), using clips found on corporate sites that sell stock images and footage. The original version and the new version are simultaneously shown in the video. It intends to criticize the massive appropriation of bare life by these web corporations, while addressing general concerns on collective memory, authorship and image distribution.


Terms of Service

This work is musical adaptation of Google’s Terms of Service (effective during summer 2013). Divided into 61 melodies, this act emerges from a desire to increase the visibility of an important text by using music and popular media.

A book was published in 2014 and an acapella performance took place at Théâtre La Licorne for the 2015 OFFTA festival (see the video above).

Download the book in PDF format


Erased Arcangel Website

In 2013, I erased the website of the famous artist Cory Arcangel.

View the website


La fonction inconnue (2012)


Nu Bleu

Nu Bleu (Colgate Max Fresh Cool Mint, Crest Citrus Splash Whitening+ and CloseUp Ultra Cinnamon), toothpaste on canvas, 2012.

From Wikipedia:

“When Blue Nude was publicly exhibited soon after it was painted [by Matisse], it became the source of controversy that involved issues of race, race relations, and colonialism. Complaints by critics and viewers that the race of the figure in Blue Nude could not be identified, complicated the issue of “the Other.” The ability to identify “the Other” was crucial to the mindset of colonizers, and a major aspect of the colonization program.”

In 2012, I made a pastiche of “Nu Bleu” using various brands of toothpaste in order to revisit the original controversy of the painting. This time however, the “blue” is replaced by heavy brand names, outlining the new complexities of identity politics that are now tied with tremendous image consumption, all within an ever-increasing, late-stage capitalism overdose.


Lawless Space

This artwork was made during the 2012 protests in Quebec. Using white vinyl, it delimits a one-square meter where Canadian legislation is no longer active. It is about enunciating a common paradox of freedom called ‘’sandboxing’’ : even if the individual that takes place in this zone is no longer tied to any legislation, he-she-they is also completely restraint inside it. Like an infinity of choice in a finite and repressive system.

Mathieu le chat


Junkopia


Pouchkine

« Savez-vous, dit Elena Andréievna en se penchant sur le samovar, qu’il existe en Amérique du Sud une flûte dont le son n’est perceptible qu’à celui qui en joue? »


J’ai faim


House Documentary


My Computer


Wim Wenders


Ouuuuuu Ahahhhh yeahhh


Info Deluge

“DELUGE PEOPLE WITH
INFORMATION. DOUSE THEM WITH
INFO LIKE YOU’D THROW A
BUCKET FULL OF WATER. (THIS CAN
ONLY WORK, HOWEVER, WHEN
EACH PERSON & EACH SITUATION
IS CAREFULLY ASSESSED FIRST.)

INFORMATION IS SO GUARDED &
SELECTIVELY WITHHELD IN THIS
SOCIETY & IN THIS ‘SCENE’ THAT
THERE MUST BE SOMETHING ABOUT
GIVING A GREAT DEAL OF INFO
THAT BEARS FURTHER
INVESTIGATION.

EVEN IF INFO DELUGE IS DANGEROUS, TRY IT & SEE WHAT HAPPENS.”

Lee Lozano, 1969.


Sans Soleil (1983)

“Who said that time heals all wounds? It would be better to say that time heals everything – except wounds. With time, the hurt of separation loses its real limits. With time, the desired body will soon disappear, and if the desiring body has already ceased to exist for the other, then what remains is a wound, disembodied.”


David Graeber

“Common sense dictates that if you want to maximize creativity, you find some bright people, give them the resources they need to pursue whatever idea comes into their heads, and then leave them alone for a while. Most will probably turn up nothing, but one or two may well discover something completely unexpected. If you want to minimize the possibility of unexpected breakthroughts, tell those same people they will receive no resources at all unless they spend the bulk of their time competing against each other to convince you they already know what they are going to discover.

That’s pretty much the system we have now.”

David Graeber, The Utopia of Rules.


Death


Lizzy


More Women


Lee Lozano (1968)

OR LET THE MOON ALWAYS LOOK
THE WAY IT DID IN THE CENTER OF AN ECLIPSE,
LIKE A BALL HANGING IN SPACE,
NOT A FLAT DISK.

I HATE FLATNESS.

IT’S NOT JUST SURFACE ROUNDNESS THAT TURNS ME ON,
IT’S THE FEELING OF DENSITY,
MASS, WEIGHT.