Art in Montreal

  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...

One of the more consistently interesting artists to pass through the city over the past fifteen years or so, Nicolas Grenier crosses into some new territory in his current exhibition at Bradley Ertaskiran , Esquisses d’un inventaire . His work has frequently tied ideas of urbanism, disaster, paranoia, and social decay together through the appropriating of high-end corporate design, itself heavily indebted to the work of non-objective painting. (Coincidentally, Grenier is also currently showing work in a group exhibition at Fondation Guido Molinari .) This was approached in a range of cascading warm and cool colours and juxtaposed with various texts and occasional interpolated imagery to suggest the sorts of scenarios that typically get termed dystopian or utopian . I have always found them more ambiguous than these terms suggest and something far closer to the ambivalence one can see at play in the work of novelist J.G. Ballard. The English author was always explicit about his deb...

La multitude déchue is a show of drawings, photos, and little sculptures by Peter Gnass at Art Mûr . The majority of them are dated 2009-2011 and were previously shown at Maison de la Culture Côte-des-Neiges in 2016. Suggestive enough to be topical, they aren’t topical enough to suggest much. If it isn’t quite as visually crude as Félipe Goulet Letarte , conceptually, it seems even weaker. While the former was so (unintentionally?) ambiguous that it became paradoxical and farcical, Gnass is much more puritanical and dull.