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Review: Ann Karine Bourdeau Leduc at Arprim | Andrée-Anne Carrier and Chloë Charce at Circa

Just by happenstance (presumably), there were three shows more or less side-by-side dealing with the same basic thematic. At Arprim, Ann Karine Bourdeau Leduc’s Les ruines enfouies sont repérables par quelques détours archéologiques , and over at Circa, the paired exhibitions De l’écran à la pierre by Andrée-Anne Carrier and Une trace ineffaçable n’est pas une trace from Chloë Charce. All deal broadly with notions of archaeology, fossilization, and visual illusion. To start with Leduc, there are obvious (deliberate or not) nods to cubist collage and to the reliefs of Arp, but, as it says in the accompanying text, the show is more concerned with cataloguing recent design fads.

Review: Caroline Mauxion's Le murmure d'une empreinte at Arprim | Maclean's Parallaxe at Galeries Roger Bellemare et Christian Lambert

There is a curious affinity between two shows on at the Belgo. Both exhibitions involve games of distances, projections of bodies, whether they are human, celestial, or the guts of houses. Le murmure d'une empreinte by Caroline Mauxion (with Céline Huyghebaert and Elise Anne LaPlante) at Arprim attempts to capture the subtle and ephemeral traces of the body in space, heightening its suggestiveness to a poetic density through abstracting it into fragmented and de-familarized aspects of flesh and simplified sculpture renderings.