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.
Helena Martin Franco
Francisco González Rosas
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.
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
In 2013, I erased the website of the famous artist Cory Arcangel.
View the website
Nu Bleu (Colgate Max Fresh Cool Mint, Crest Citrus Splash Whitening+ and CloseUp Ultra Cinnamon), toothpaste on canvas, 2012.
“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.
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.