Article appearing on January 31, 2020

Info de la lièvre, Mont -Laurier, Kathleen Godmer, journalist








July 18th Vue Weekly, Edmonton – Home and Garden, exhibition, SNAP gallery, 2018



Canadian Art Agenda – June 15th -July 21st, 2018


Screen Shot 2018-09-03 at 1.37.24 PM



A tour and review of the Works festival shooting out from its new legislature hub

Fish Griwkowsky / Postmedia

Moving between the Works Art & Design Festival’s two dozen venues, you’re likely to notice something new about the city.

This year in its typical curious-octopus way, the festival includes five permanent landmarks on its checklist map of stop-and-look stations — namely the Capital Boulevard Legacy Public Art Project, part of the Works’ Places series which runs all year under the open sky.

Running along 108 Street between the fest’s new, wide-open core on the legislature grounds and MacEwan University to the north, the most alluring of the five works is Sandra Bromley’s stone sandwich Sentinel, which layers a thick slice of rock from each of the 13 provinces and territories into a beautiful, tough-looking stack. Like her giant cube of welded weapons, Conflict, Sentinel has a simple message and focus: namely the power of numbers and sticking together despite our differences. It’s a great addition to our evolving urban reality.

Themed Paradigm for 2018, a number of shifts have certainly hit the 33rd annual Works like a storm. The most noticeable is its central hub dislocation to just north of the legislature. While this pulled headquarters is out into the open and away from some of the core’s iconic architecture, there’s a charming country-fair openness to the nucleus now, while at the same time the fountains are great fun, full of kids screaming and laughing. Overall, things feel less compressed and more inviting than in front of city hall, and the music plays into every evening through July 3.

You might want to grab your broadsheet map and follow along here (hopefully out of the wind), as we go through a few of this year’s highlights. I hit all but three of the venues, so here’s what stuck out the most.

First up, Emmanuel Osahir’s giant box with a thoughtful centre looks at how someone new to Canada went through various phases of awareness, realizing our country has its issues, too. His meditative space, In Search of Eden, is at a terrific James Turrell scale and includes a hanging wall garden amid photos of nature and homeless encampments. Quite powerful.

Yong Fei Guan’s recycled-material lions live nearby, and are fragile compared to the stone creatures from which they’re modelled — continuing this theme of displacement as the Harbin Gate currently sits in storage during the same LRT construction that pushed the Works to this new location.

Set for Unrealized Production (Poolhall), by Sandi Hartling, is also worth a stop in the core, tucked away between the vendors and the food trucks. Pink neon on the wall reads the ambiguous “just cause” and accompanying audio tells stories over a functioning pool table. Playing a game is encouraged.

Festival regular Kasie Campbell’s sculptural textiles made with her mother Ginette Lund before she passed away are also not to be missed, these nostalgic and strangely proportioned bags of flesh reminding us all of what we are, seen from a distance.

All of the venues are worth a visit, though some stick out more than others. Over at Rigoletto’s Café (10305 100 Ave.), you can almost feel the morning mist in Doris Charest’s pleasant landscape paintings. At Hotel Mac, meanwhile, Brian McArthur’s porcelain sculptures nicely compliment Leo Arcand’s traditional stone work up at Matrix Hotel (10640 100 Ave.).

Over at Visual Arts Alberta CARFAC Project Space (10215 112 St.), the AFA Travelling Exhibition has its first stop here before moving around the province. It’s a show mixing art and history surrounding our local LGBTQ+ culture, including well-wishing from then-mayor Jan Reimer at our first Pride Festival. Across the hall, Harcourt House’s In Search of the Human Essence has a number of great works, including by Allen Ball, Ritchie Velthuis and Julian Forrest.

At another of our artist-run-centres, SNAP Gallery (10123 121 St.), Micheline Durocher’s Home and Garden has some of the most striking photographs of this year’s art buffet as she replaces her head with various objects including flower bushes and a halved watermelon — worth the walk over.

The best of the hugged-into-The-Works exhibits, however, is once again at Alberta Craft Gallery (10186 101 St.), where a show of staggering talent and imagination lives downstairs, including giant ceramic heads by Koi Neng Liew and a jaw-dropping cellphone holder/worship station by Aaron Nelson. Gorgeous.

To the northeast on 118 Avenue, Nina Haggery Centre’s collaborative show is wonderful, pairing art by the Nina Collective with staff work in fantastic coincidences of theme and method. Note the wall of fleshiness and the firefighting corner, especially — and of course art star Paul Freeman’s latest beautiful monstrosity. The show Encore was renamed from Cross Contamination as everyone noticed there was an accidental disease theme running though show titles — but the work’s infected my head for sure.

My absolute favourite piece of the festival this year is within a survey of Rommel Tingzon’s paintings, Portraits of the Philippines, at Manulife Place. Found east of the main floor escalator, this group of personal scenes are beautifully composed and painted, and though classically presented are slyly modern and political. The most haunting of them is Carabao on the Beach, a young man leading an ox along, staring with his face turned out to the ocean and other possibilities.

Never mind art, if looking to the unknown isn’t what life’s about, I’m not sure what is.

And one last show that confronts our changing zeitgeist directly is at the Enterprise Square Atrium, 10230 Jasper Ave., simply titled Climate Change — though it’s not just about the weather. Between a wonderful woven tapesty of a hurricane by Vladimira Fillion-Wacknere to a crisp textile piece reading Time’s Up and titled #metoo by Monika Kinner-Whalen, the work here is some of the most on-the-nose and precisely now in a festival that specializes in being just that — a lot of hard work, but definitely worth it.




The Works Art & Design Festival

When: through July 3

Where: centred on the legislature grounds

Admission: free







Curatorial proposal follow LINK


A partir de la revisión del archivo de EJECT, Festival Internacional de Videoperformance de la Ciudad de México, se realizó una investigación en torno al reconocimiento del cuerpo como la vía de comunicación más esencial del hombre.

El performance ofrece un binomio de realidad y experimentación del inconsciente, a través de la galería de conocimiento personal suma acción, símbolo y cuerpo. Mientras que el videoperformance obtiene un encuentro visual y de información, permitiéndole interpretar al mundo a través del uso de diversas tecnologías.

Esta curaduría es un diálogo entre artistas de diferentes periferias y nacionalidades que asumen el cuerpo como una cartografía de símbolos culturales, emociones, identidad, metáforas y espacio político. Las acciones que se observan a través de la selección de videos, nos ofrecen la posibilidad de repensar lo cotidiano, partiendo de la simplicidad como un panorama con un trasfondo de memoria y significación.

Cartografías corporales, presenta la oportunidad del reencuentro entre seres humanos, aceptando las diferencias físicas entre el hombre y la mujer a través del reconocimiento del cuerpo como una herramienta comunicativa.

Cada video seleccionado genera un diálogo sobre las sensaciones empíricas y platónicas que nos conforman, así como de los recuerdos y conocimientos adquiridos. En cada escena presentada, fluyen conexiones que transcurren a través de una conexión empática, sensorial y emocional a través de los cuerpos. Al considerar la anatomía como una cartografía, no sólo se ubica en cuestión espacial, sino que se abren panoramas para la comparación y la introspección de lo visible y lo oculto, formando una comunión de identidades que coexisten.

Los cuerpos se convierten en lugares expuestos que comparten espacio-tiempo a través de lenguajes únicos y abstractos, uniéndose mediante la lógica del intercambio danzan como emisores y receptores, confabulándose en actos de complicidad, donde transcurren versiones esenciales de espíritu cuya envoltura y presentación tiene a la piel como principal característica.

Las emociones se convierten en el alfabeto adecuado para construir la esencia de un discurso que como humanidad hemos olvidado. A través del cuerpo se vislumbran pequeños fragmentos de lo que callamos, negamos y permitimos hacer visible, siendo los actos y las mociones, los motivos primarios de la expresión donde el escape próximo es el de un discurso universal que se puede ejemplificar con un acto sencillo y contundente.

Trabajar con el cuerpo implica un autoconocimiento, tener conciencia de los múltiples mensajes que se crean a partir de él, así como de una semiótica que comprende arquetipos. Cada propuesta de la selección elimina etiquetas, reconociendo las particularidades del cuerpo en esencia, entendiendo que la constitución anatómica es el cúmulo de mensajes que entre emisor y receptor se han compartido y apropiado. Cada propuesta elimina de algún modo los estereotipos negativos con los que carga el cuerpo, liberándolo de ataduras creadas socialmente.

Ya lo diría Jean-Luc Nancy, “El cuerpo es una idea”, que se comunica, que se comparte, que muta, que se deforma, que permanece, que converge y se vuelve única, transitoria con la promesa de mantenerse eterna.

Tuesday March 22 at 7pm to 10pm

Paseo de La Reforma, Bosque de Chapultepec I, Miguel Hidalgo,, 11100 Mexico City, Mexico

Curaduría: Monserrat Maruri y Tayra Araujo




* Lapse – 1 min 32 seg
Micheline Durocher (Canadá)

Un océano imaginario que se hace visible a través de los movimientos que realiza la artista semidesnuda, dentro de un mundo de estética retro inspirada en el Hollywood de los 40´s y el arte pop. A través de la fuerza que emplea en esta coreografía establece su cuerpo como objeto de exploración a través del humor y el erotismo.  Con un ritmo constante y movimientos que anuncian un avance que permanece estático, la artista nos traslada a un horizonte alcanzable, que se hace evidente sólo por su mirada fija y constante.
* Self- Cinema – 3 min 12 seg
Kenji Ouellet (Canadá)

En esta pieza se emplean los recursos típicos de la actuación para hacer reflexión acerca de los elementos que la gente utiliza día a día a través de distintas facetas. La mujer que aparece en escena, bien podría ser el estereotipo de la femme fatale, sin embargo su imagen se convierte en una dicotomía de fuerza- debilidad, alegría-tristeza y la seguridad- inseguridad.
* Pan y cebollas – 5 min
Mariella Greil & Montserrat Payró (España)

La pieza está inspirada en la frase “Contigo, pan y cebolla”, lo que involucra quitar las capas a la cebolla al punto de las lágrimas para abandonar memoria de la piel, buscar la semiótica del amor incondicional. Consumir para expresar amor es una acción que envuelve a la muerte, comida, sacrificio, amor, destrucción y transformación de los otros. Tocar otro cuerpo, otro género, implica también un autodescubrimiento, un alimento y reencuentro del Ser; el cuerpo en este video conjuga el binomio de placer-dolor en las relaciones humanas.
* La cosecha / La siembra – 8 min
Inmaculada Abarca (México)

Esta pieza se divide en dos partes, en la primera, “La Cosecha”, se ven las manos de la artista recogiendo incansablemente espinas de un sembradío de rosas. En la siguiente toma, “La Siembra”, las manos de la artista colocan las espinas sobre el cuerpo de una modelo. Un bello comentario sobre la fragilidad, una acción muy sutil que revela un peligro, un miedo y sobre todo una metáfora de defensa.
* Volver volver… – 5 min 50 seg
Federico Martínez Montoya (México)

Esta obra habla sobre la reconstrucción como un proceso de curación y de identificación a través del espejo. Esta imagen se convierte en una autoreferencia que se asemeja al “unario”, el lugar al que anhelamos regresar, sin embargo, este aparente retorno es en realidad un nuevo punto. La reconstrucción implica aceptar que nunca nos podemos mirar en el mismo espejo porque nunca volvemos a ser los mismos.
* Vórtex – 3min
Michele Beck y Jorge Calvo

La pieza aborda las dificultades de la comunicación cuando no se permite expresar lo que se piensa y por lo contrario, se envuelve, se calla, pretendiendo fluir con lo que el otro propone sin siquiera ser capaz de escucharlo. Un video experimental con dos performers, cuyas cabezas están envueltas en plástico de cocina. En un formato no narrativo, el video presenta la relación entre imagen y sonido para explorar la lucha entre los vínculos y la separación.
* Balloons – 3 min 48 seg
Heidy Baggenstos / Andreas Rudolf (Suiza)

Este video presenta a dos personas, cada una sumergida en una tina con agua. Hay una inaudible conversación entre ambos mientras van dejando salir burbujas de sus bocas. A pesar de que hablan un mismo lenguaje, el trabajo se enfoca a lo que se escucha ¿qué es lo que realmente nos quieren decir? Las condiciones en las que se propicia el lenguaje afectan directamente al sentido de los mensajes, debajo del agua y al deformarse el sonido podrían ser expresadas múltiples ideas que tal vez no quieren ser dichas o escuchadas, por lo que no serán entendidas.
* Limpiar – 2 min 44 seg
Rrose@present  (España)

La acción consiste en escribir en una superficie la representación textual de la acción “limpiar”, donde ésta es borrada por la puesta en práctica de la propia acción enunciada. Cuando se escribe la palabra “limpiar” se mancha la superficie, cuando se ejecuta la acción se borra la representación que la describe, sin embargo deja una huella.






– Monserrat R. Maruri (1992)
Escritora y gestora cultural, egresada de la licenciatura de Comunicación y Gestión de la Cultura y las Artes por la Universidad de la Comunicación. Ha colaborado con distintas instituciones como el Museo Nacional de Arte, Antiguo Colegio de San Ildefonso y Recinto de Homenaje a Don Benito Juárez. Actualmente se encuentra laborando en distintos proyectos en los Museos Haghenbeck y el Museo de las Constituciones.


– Tayra Araujo (1992)
Egresada de la licenciatura en Comunicación y Gestión de la Cultura y las Artes por la Universidad de la Comunicación. Se ha desempeñado en ámbitos relacionados con artes visuales y artes escénicas. Ha colaborado y trabajado en compañías como Seña y Verbo: teatro de sordos, Sensorama Teatro Sensorial, Ocho Metros Cúbicos, Amateur Films, entre otros. Fue cofundadora de la Agencia y Revista Cultural Brücke. Actualmente trabaja en Original Múltiple Gestión Cultural.



28 octobre 2011

Prix du très court-métrage GEORGES-LAOUN-OPTICIEN-OBORO



Pour la 3e année consécutive, OBORO et Sherif Laoun de Georges Laoun Opticien s’unissent pour faire vivre la création en nouveaux médias dans la communauté du Plateau Mont-Royal. Le Prix du très court-métrage GEORGES-LAOUN-OPTICIEN-OBORO récompense cinq finalistes et un lauréat pour un film de moins de 3 minutes.Pour la 3e année consécutive, OBORO et Sherif Laoun de Georges Laoun Opticien s’unissent pour faire vivre la création en nouveaux médias dans la communauté du Plateau Mont-Royal. Le Prix du très court-métrage GEORGES-LAOUN-OPTICIEN-OBORO récompense cinq finalistes et un lauréat pour un film de moins de 3 minutes.

Faisant bon usage de leur voisinage et de leur engagement commun envers les arts, Georges Laoun Opticien et OBORO se sont associés pour créer ce prix où chaque finaliste reçoit 100 $, et le lauréat ou la lauréate se voit remettre un prix en argent de 500 $, ainsi que 1 500 $ d’accès en équipement et aux studios du Laboratoire nouveaux médias d’OBORO.

Les œuvres des six finalistes sont diffusées dans la vitrine de Georges Laoun Opticien au 4012, rue Saint-Denis, à Montréal, du 28 octobre au 11 novembre 2011. Le nom du lauréat ou de la lauréate sera dévoilé(e) sur place lors du cocktail de lancement le 28 octobre à 17 h 30.

Micheline Durocher
Mario Gauthier
Myriam Jacob-Allard
Jonathan Lemieux
Roberto Santaguida
Roger D. Wilson

Cocktail de dévoilement
le 28 octobre 2011 à 17 h 30
au 4012, rue Saint-Denis, Montréal (coin Duluth)
Activité gratuite et ouverte à tous

Diffusion en vitrine
du 28 octobre au 11 novembre 2011



4 October 2007


4 April 2008

Gallery Lambton
presents a
contemporary Video Art Screening Series




January 2008




Raymonde April, Kinga Araya, Sylvette Babin, Annie Baillargeon, Mathieu Beauséjour, Sophie Bélair-Clément, Gwenaël Bélanger, Ivan Binet, Guy Blackburn, Marcel Blouin, Catherine Bodmer, Diane Borsato, Carl Bouchard, Sylvain Bouthillette, Matthieu Brouillard, Nathalie Bujold, Sophie Castonguay, Sébastien Cliche, Thomas Corriveau, Sylvie Cotton, Michel De Broin, Gennaro De Pasquale, Manon De Pauw, Marie-Suzanne Désilets, Patrice Duchesne, Mario Duchesneau, Micheline Durocher, Louis Fortier, Pascal Grandmaison, Nathalie Grimard, Adad Hannah, Isabelle Hayeur, Bettina Hoffmann, Frédéric Laforge, Sylvie Laliberté, Maryse Larivière, Frédéric Lavoie, Chloé Lefebvre, Ariane Lord, David Moore, François Morelli, Alain Paiement, Roberto Pellegrinuzzi, Josée Pellerin, Jocelyn Phillibert, Ana Rewakowicz, Cezar Saëz, Catherine Sylvain, Carl Trahan, Kim Waldron, André Willot.





matrix magazine

The Narrative “I”: Autobiography in Film and Fiction
edited by Taien Ng-Chan

How does film and fiction fit into your life? From lurid confessionals, diary entries, screenplays and first-person accounts of historical moments (real and unreal), from the poetic to the absurd, from page to screen. Matrix 78  includes a DVD anthology of short films, videos and animations  featured with the theme section.



June 5 to July 5th, 2003



September 2005

















10 October – 9 November 2003

Centre Vu, Québec

Text, Christine Martel.




























Expression Centre d’exposition de Saint-Hyacinthe

ISBN 2-922326-37-3






31 May – 20 July 2003




September 14 – October 12, 2002


Unexpected Encounters: Micheline Durocher, Christine Horeau, Marie-Christine Simard, Cydra MacDowall, Gail Bourgeois
September 14 – October 12, 2002 

a response to the exhibition by Susan Turner

Gail Bourgeois began her ongoing curatorial research in 1999 while living and teaching in Montreal. The following year she produced found image with my history, a charcoal drawn diptych of an isolated house with no windows or doors, and paired it with a bulb and its root tendrils meandering below the surface. For her this drawing was profoundly disturbing and seemed emblematic both of an understanding she’d reached about her family relationships as well as about the gap between the binaries we ascribe to our understanding of our relation to the world. It was the catalyst to question what other artists might do with the same themes that interested her: “ruptures and the ordered flow of existence caused by a breakdown in expectations;” “the difficulty of human communication;” and the “urge to make a home or to nest.” After several studio visits, she selected the work of Montreal artists Micheline Durocher, Christina Horeau, and Marie-Christine Simard, and Cyndra MacDowell from Toronto. The exhibition was first seen at Women’s Art Resource Centre in Toronto. For the Winnipeg showing, the work of Helene Dyck was added. The exhibition will also travel to AKA in Saskatoon and will there add Monika Napier, from Saskatoon, and then to the Richmond Art Gallery, and will pick up a Vancouver artist as yet to be selected.

Bourgeois has archived her activity and emotional states as well as social/community interactions over the past few years with particular attention paid to the development of Unexpected Encounter, and has noted them in quick sketches on file-sized paper presented in a small wooden box that sits at the far end of the gallery.

The main gallery at aceartinc. is a large rectangular space painted white, and it’s there that most of the work is presented. But in an alcove at the top of the stairway entering aceartinc. and off to the side of the main gallery, Helene Dyck’s video Lacuna is projected at an angle onto the floor. It’s a fifteen minute loop of a throbbing, pulsating, abstract image which appears to be stretching out, coming back together, re-stretching, tearing, and finally breaking apart and working its way out to its own edges. At first I thought these were images from inside the body, or sinews and muscle, or the rendered flesh of an animal, but it’s bread dough, coloured red, being kneaded in a bread-machine. For Dyck the leavening of the dough is representative of elemental beginnings and the energy of life. But this exhibition is about ruptures, and Lacuna (a gap or cavity) can be read as a statement of loss, visceral grief, and then, perhaps, reconciliation. Unfortunately the video doesn’t read as intensely as it could because light filters in from the rest of the gallery and the hardwood strip flooring dilutes the projection.

Christina Horeau’s work, all entitled le dur désir de dire, (the difficult desire of speaking) is riveting in its tenderness. La gorge is nest-like, lanced by a hook and impaled onto the wall at the entrance to the gallery at the viewer’s stomach level. When things get caught in the throat, do we feel fear or anxiety in the pit of the stomach? Has communication been stopped by this brutal piercing? It and la bouche are made of wire stripped down to the copper and, in the case of la bouche, intertwined with pearls pouring out of the wirey “o” of its mouth. These two sculptures are particularly poignant and subtle. With much more directness she speaks of obstructions and detours in l’oreille, a metal and electronic tic-tac-toe construction with its current of interrupted light pricking out the pattern of the inner ear. Stoppers prevent the light from following its uninterrupted path. The grouping of twenty-two small oil stick, oil, and crayon drawings are scratched onto mylar: they’re an abstract semaphore where arms extend out from torsos to signal their yearning for communication and connection. The red drawings are flags commanding us to attention. Horeau’s work seems so resigned, so abject yet full of understanding. It’s beautiful.

Marie-Christine Simard presents eleven photographs under the title of la traversee (the crossing), and each has its own specific title. I’m most caught by the four black-and-white images of items found in the landscape, steps, tools, logs, and a clothes-line. They’re an unpretentious mini-documentary of the humbleness of the everyday. They’re gritty. A second grouping consisting of valley, Christine, and hummingbird is much different, and for me it’s puzzlingly elusive. (I think of the writing of Marguerite Duras, oblique, smoky, often elliptical and very sensate). And finally there are four colour prints which are abstractions of the natural world, turtle, path, ashes, and Chinese New Year. I’m unsure of Simard’s focus; I sense her respect and love for the world around her but can’t quite put my finger on her point of view.

Micheline Durocher’s mes petites lecons de lecture (the little reading lessons) are large scale digital ink-jet prints. They’re very readable. They say what they mean, and Durocher’s own statement cannot be improved, and I quote: “to visually engage with the gesture of the body as a site where past experiences, desires, failings, and errors can be translated.” The self-portrait is digitally integrated with a floral, baroque-like tapestry, and is overlaid with an image from her grade-school reader, birds on their branches meshing into the throat as if it were the limb of a tree. She’s clutching at her throat as if something’s caught inside, life or words, trying to force their way down or out. (Imagine being unable to swallow, ever, to swallow nothing, neither liquid nor food, not even your own saliva)… By now, digitization is so much part of our vocabulary that it’s very rarely illuminating to comment on it, but in this instance the formal concerns and the conceptual impetus work so well together. Durocher’s second print is a series of hand gestures, the tense wringing of hands as if in despair or pain. Within these hand gestures are found many nests, many little sites within which refuge can be found.

Cyndra MacDowell presents Shadow City comprised of eight black and white photographs of a romanticized city landscape which serves as a backdrop for “lesbian sexual practices and the use of public space.” In only two of the prints, Doorway and Overlapping Kiss, is there any clear reference to women, and in her statement MacDowell says that she has “kept the work open to multi-desiring viewers.” At first glance, this body of work seems less to fit the curatorial themes than does the work of the other artists in the exhibition. It has a stated political purpose not present in the others’ work. Nonetheless there are ties to the overall themes of the exhibition. There are ruptures here, the rupture of leaving a familiar place. It is an adieu to Montreal that Macdowell bade when she left it. There is also the sense of nesting made apparent in the formal presentation of the work through the device of the “keyhole” format of the image, half as wide as it is high. Oblique references to nests are found in the doorways, staircases, spaces between buildings, narrowing city streets, and alleys of the photographs. This work is accomplished, very certain, and very seductive.

Unexpected Encounter is an intriguing exhibition presenting many opportunities for thoughtful contemplation. There is a great deal of work here, most of it modest in size, even small. Nothing shouts, nothing is blatant; it’s quiet, restrained, and elegantly installed. While there is much to look at, each artist’s grouping is spaced discretely apart from the next, and the exhibition in its entirety has a cohesiveness to it. At the opening I overheard someone remark, “it’s a smart exhibition, intelligent.” I agree and would add “beautiful” as well.

Susan Turner is an artist and writer living in Winnipeg. Her work deals with the difficulties of communication and with the fragility of the moment. Her video “Alien Hand” (2002) explores memory loss and the confused and suffering terrain of dementia. It premiered at the Winnipeg Art Gallery in the spring of this year, and is now showing internationally. It received a Jury Award at the Yorkton Short Film and Video Festival.

Curator’s Footnote:
My curatorial strategy of selecting a local artist in each city where Unexpected Encounter was presented resulted in an exhibition of eight Canadian artists engaged in a variety of contemporary art practices. Local artists joining the core group after Helene Dyck at aceartinc. in Winnipeg were Saskatoon sculptor Monika Napier and Vancouver photographer Grace Tsurumaru. Including an artist from each region made for an interestingly contextualized viewing experience. My curatorial intention was to foreground the creative process. Intuition and imagination are embedded in the lived experience of these artists, making possible a creative response to the ruptures caused by a breakdown in expectations. Thematically, the works presented convey the difficulty of human communication and they articulate an urge to make a home or to nest, however briefly. The diversity of voices presented a shape of wholeness and gave value to a nesting instinct that displaces melancholia and nostalgia.
-Gail Bourgeois


September 23, 2001




By the Skin of her Teeth at 

Open Studio gallery

Toronto, Canada

written by Marc James Léger

By the Skin of her Teeth examines the procedures through which bodies and their representations intersect. The body is never simply there to be seen but is made visible and engendered by various discourses.

Images produce bodies that are adequate to given representations and social formations. By holding open the gaps and aporias that constitute medical and aesthetic discourses, the works in the exhibition enact a double operation: first, a destabilization of the will to knowledge implicit in these discourses, and secondly, a questioning of the power of the institutional practices that construct subjects through specific notions of visibility. Evident in them is the desire to steal back from this power, to put it into motion, for the coming into view is also an eclipsing that causes the representability of bodies to pass. It is precisely at the confluence of the visible and the articulable that we are figured by a discursive apparatus. Here, both the resistance to and the complicity with the medical gaze brings clinical representation under scrutiny.

By the skin of her teeth reads the politics of representation as a staging of relations and forces. Its images are staged, but for whom? Who has the proper authority to look? Who is authorized to speak for these images?

By the skin of her teeth may take its inspiration from the biting onto the x-ray film used for dental prints. In this action, we are caught in a grimace that lets slip into view a series of relations, practices and social technologies. As viewers, we become part of the performance of the works, engendering practices of representation that are written on the body.

January 1997






Poetic text “Les ruines circulaires” by Marguerite Andersen, 

Micheline Durocher, artwork: Des yeux derrière sa tête, puis, Silencieuse.