Lynda Gaudreau’s “Romances” at Centre Vox There are half a dozen basic elements to Gaudreau' s show. At the entrance is a wall of staggered images in a dark, makeshift alley. Once you walk through that, there is a little table with coloured lights and some magazines covered in plastic you can flip through. In the anteroom is a prop version of the type of press kiosk that once existed in Montréal, filled with stacks of tabloids, or the “yellow press.” There are two trailers projected for a giallo film (one at a time): one from the perspective of the investigation and one from the victims'. And there is a sound installation, consisting of fragments of music, dialogue, gasps, etc. According to the accompanying text : The storyline, inspired by the aesthetics of Italian giallo cinema, proceeds through a series of crimes in which the victims’ eyes are mutilated. This motif references the drive and desire to see that is integral to cinema and visual culture. In both the giallo...
Common Absurd is an exhibition of work by Adam Basanta at Oboro in the Salle Daniel-Dion et Su Schnee. The supplemental text by Neal Thomas frames it as a re-examination of the optimistic spin on the possibilities once posed by new technologies and networks. For the techno-optimists of the late 1960s, this burgeoning situation seemed to be paving a way to escaping from old dichotomies between users and use. As Neal relays it, “The user emerged as a catch-all referent for this new subjectivity, mixing consumer, creator, technician, actor, and audience member into a composite heroic position that anyone might plausibly occupy.” Yet, after more than half a century of this heroic posturing, the “‘creative user’ feels so much more like a mandated norm than an emancipatory possibility.” There are (at least) two different thematic directions from which you could approach the exhibition. One: as dealing with general concepts about the function of the user in the post-industrial era, how...