Art in Montreal

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...

  In the space at the back of Galerie Nicolas Robert is a series of works by Chris Kline . Untitled and unnumbered, they fall under the general exhibition title, La Manche. Central to the works is their history as a medium that indexes the shifts in his working space. According to the framing statement : Nearly ten years ago Chris Kline began a process of reconfiguring his paintings. By deposing finished canvases from their stretchers, interposing them between the walls and floor in his studio, interleaving them between sheets of glass, plywood, raw canvas, and layers of gesso, an image appeared in a matrix of indirect ‘brush-strokes’: traces of the geometries of the absented stretcher-frame; the factures of cut, stretched, primed, painted cloth; and the surfaces of concrete and gypsum-board. Reframed and repositioned inside the expanded perimeters of new supports, this image was submerged under applications of paint; the palimpsest of second-hand brush-work dissolved. Indica...

Arriving during the summer slump (festival season) for galleries is the 20th edition of Art Mûr’s annual survey of the work of (primarily) grad students from MFA programmes across the country. And it is interesting again because the survey form and its absence of supplementation largely removes any clear intentionality and whatever “meaning” there seems to be comes largely from coincidences of display. Aside from checking if they had websites, I have made no effort to discern the significance of the works involved beyond how they appear in this context. The exhibition Fresh Paint and New Construction, a not-to-be-missed annual event, celebrates its 20th edition this year. As every July at Art Mûr gallery, the works of students from twelve Canadian universities are brought together in a collective exhibition, offering a captivating immersion into new artistic approaches. This edition is no exception, with a selection of works highlighting the innovation and creativity of the next gen...

This week we will look at two current exhibitions that overlap in framing and style, one stressing the elliptical and the other softness. At Blouin|Division is Ellipses by Angela Grauerholz , featuring work that spans from the 1980s until a couple of years ago. The retrospective quality reinforces the retrospective content of the images, both of which tend to suggest an indifferent (or at least foggy) temporality. While there have been some distinct tangents in her career, there is not much indication of them here. What is on display is the kind of thing she has been best known for (and which has been central to her other more or less retrospective shows), namely photos of display spaces (galleries, museums, gardens) and the various windows to the world that they echo (door and window frames as stand-ins for the frames around art or their devices of capture and vice versa). The gallery frames it this way : Grauerholz’s images have the preternatural ability to be experienced as fra...

  The group show Radar at Galerie Hughes Charbonneau does not have much unity. It is figurative and not; it contains painting, drawing, sculpture, etc. There is some extremely loose representational concern, but resonance between the works is hardly laboured, even though some can be detected. It is also uneven, so I will focus on the better work. Marie Danielle Duval is back with more of the same of what she has shown there and elsewhere. She continues her obsessive attention to pattern and the melding of the figure to décor. The fusion of figure and detail comes through more here than before and the heads of her figures continue to have a floating quality, as though she can’t commit to a full-on mimetism between figure and ground. These themes are coincidentally suggested in titles for Kimberly Orjuela ’s sculptures, which are a mixture of figures and objects, with the former far superior to the latter. The two stand-outs in the show are the pieces by Karam Arteen and Mallora...