Art in Montreal

* For a change, I have given the poor souls who write exhibition statements a break and not engaged with them. Inés Fernández-Shaw , Objects in the Mirror May Are Closer Than They Appear at Duran Contemporain The gallery walls are dotted with a baker’s dozen of paintings. The imagery mostly involves faceless nude female bodies, the different elements of the anatomy recombined in biologically impossible ways, or arranged in cropped clumps. When not heaped in a barely defined landscape, the bodies are placed in architectural or mirror-like frames. The flesh is rendered with a cosmetic finish and contrasted with the flat rendering of moon faces and birds. There is a playful eroticism to the work, but there is also a forced aspect that either highlights or subtracts from it, depending on the painting. That is her treatment of various other figurative elements, whether birds or the moon. Cast in a different style than the flesh, the contrast, I assume, should be jarring and give it a...

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...

  Thankfully, summer is ending, and the undeserved holiday season that galleries take is coming to a close. I review two current exhibitions below, but they come with a preamble. Prefacing that, I should say that I have little doubt that the tendencies discussed below would have emerged without AI; so, the suggestion is not that they share deep cultural continuity, but that they share incidental formal traits. I am on the fence about the likely implications of AI for art (it seems much clearer for other fields), but it annoys enough people that it is at least potentially interesting. Despite the “newness” that people associate with it, AI’s artistic potential seems to be entirely in step with the ambitions of significant aspects of the avant-garde from a hundred years ago. However, the dreams of an automatic, depersonalized art made by machines that would eliminate elitism — and which were central to many Modernist ambitions — seem entirely out of step with the reac...

Occupying the gallery facing the street on the second floor of Art Mûr is Mohadese Movahed ’s Voices of Feathers, Voices of Daggers. The show consists of a series of paintings that focus primarily on walls of various kinds. Some are brick, some stone, some are barrier walls, some shops walls, house walls, and so on. These walls are typically framed by or juxtaposed with windows, doorways, and other architectural implements and elements. Occasionally, a fragmented or obscured body part will be seen, but most of the time the presence of the human figure comes in the form of shadows cast on the walls. Within the grids of the walls appear bits of graffiti, posters, and the occasional flower. According to the accompanying text by Sara Trapara , this work is rooted in the artist’s identity as an Iranian and relates the “psychological complexities of life under oppression.” This series explores how the built environment is altered by memories and experiences of trauma, oppression and vio...

  This week we deal with three shows that play with different types of fetish imagery. Unlike the more commonplace fetish imagery about “culture,” these are more overt in tackling eroticism. This is not to suggest that the culture fetish is not present, in fact, in two of the shows it is explicitly foregrounded. At Art Mûr is Diana Thorneycroft ’s exhibition of coloured drawings, Sing Into my Mouth . Thorneycroft has consistently changed strategies across her career. Her work divides easily into distinct directions and models that she has pursued for several years at a time. There have been thematic and stylistic consistencies within this. Her current drawings share something with her earlier ones depicting murdering one’s lovers and continue her interest in the perverse, whether that is taken as content or strategy. Throughout her career, there has also been a concern with either esoteric mythologies or more global ones subjected to various sorts of subversion. The more obviou...