Toute impression subjectivement inappropriée de familiarité d’une expérience présente avec un passé indéfini

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


Nombre de jours sans accident (2017)

I channeled a popular art blog on another website, adding two small dots of color.

nombredejourssansaccident.com


Reconstitution (2015)

This 90-minutes long video is a remake of the movie B@raka (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.


Gestures


Guilt


Ghostartmaking

I wrote a contract in 2016 that can be used to transfer one’s artwork to another person or legal entity. It means that the original maker or thinker of the artwork can assign full copyright, physical ownership, intellectual property and moral rights of the artwork to the signatory permanently. Both entities agree to keep the agreement secret. Moreover, they act publicly as if the artwork was, is and will be the exlusive creation of the signatory.

You can download, use and modify the contract here:

Agreement on the Assignment of a Work of Art
Entente sur la cession d’une oeuvre d’art (French Version)


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


Instagram 3.4.2

Instagram 3.4.2 Series, Framed Prints (109 x 109 cm), 2015.

In this work, I isolated every Instagram filter that was available at the time, applying them on a empty image file. The 14 results were then printed and framed in a edition of three.


A website of its own making

awebsiteofitsownmaking.com


Erased Arcangel Website

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

View the website


Untitled (Cube)


Ad (2012)


Be the change you want to see in the world (2012)


La fonction inconnue (2012)


Nu Bleu

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

“Madness protects like fever does.”

– Sans Soleil (1983)


A museum filled with ageless animals


Ad from Hell 2


Salon de musique 09/2017


Ad from Hell


Zapping Zone


Birdcalls


This piece was made by Louise Lawler in 1972.


Model Interconti

Table made with Gerhard Richter painting by Martin Kippenberger, 1987.


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


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)