By Megan Gnanasihamany
You know this surface intimately. Walking past a window, you catch your reflection walking with you—an intangible body double, flat and eerily transparent, skimming the line between interior and exterior until you reach the building’s edge, and the reflected “you” disappears. In Gabriel Peña Tijerina’s more., the architectural glass surface is at once screen and mirror; an invocation of the ghosts of its own mass production. Glass and plastic invite looking at and through their surfaces at the same time, and a window is never just a window when your reflection is also blinking back. Both architect and artist himself, Peña Tijerina’s research into the modality of glass examines Ludwig Mies van der Rohe’s adopted aphorism “less is more” (1) in Tap Art Space’s final exhibition, siphoning out the sticky substance of capitalism from our ever seductive mirrored selves in glass. Read More
By Rosemary Flutur
I walk along St Charles street toward Charlevoix Metro, an April afternoon with a chill, and do so with speed, hoping that action, like rubbing sticks, gets me warm. The sun helps a bit—its eye lit wide in an otherwise undisturbed sky—but it is my moving body, my temporary companion, that really thaws me.
I pass through the Metro doors and pay my fare with blemished coins. Today I opt for the escalator over the stairs, not for a quicker descent but for stasis; my body deserves it after all the rapid movement. Forced into action again when the stairs fall flat into the floor, I make my way toward the subway tracks. With each step I move further into the sour air of the Metro’s basement, into an air that never changes, but waits, like breath, to be exhaled. It never does; instead it sits unreplenished in tiled corridors, the city’s wet subterranean lungs. Read More
By Maryse Arseneault
Last winter the Montréal Museum of Fine Arts held a retrospective on Alexander Calder, which offered a rare chance to share space with his famous mobiles, arguably the precursors of kinetic art. Breaking the threshold between abstraction and figuration, Calder’s suspended creature-like objects were born from subtle mechanisms with slow reactions and a geometric formulation that lures and lulls, favouring a contemplative spectator. The American artist marked modern art with his conception of these performative sculptures, and continues to be an important influence on new generations of sculptors who have succeeded him. As part of this succession, the artist-run OBORO centre invited Toronto and Brooklyn-based sculptor Sherri Hay to produce new sculptural activations in their space during the fall of 2018. Calder and Hay—who seem to be working with, at times parallel and at others, divergent motivations—position their practices as a kind of metaphysical response. Equally preoccupied by contemporary concerns, Calder is interested in the phenomenon of movement and the relativistic notion of “space-time”, while Hay inclines towards a neo-materialism that helps unsettle some of the more entrenched conceptual limits of the Anthropocene. In both cases, the idea of a mechanical object’s agency compels a kind of radical empathy towards the material and confronts us with our imperious relation to the object. Read More