14.09.2018 - 19.10.2018
A Witch is Born out of the True Hungers of her Time
Exposition en duo avec Shanie Tomassini
TAP, Montréal
Commissaire : Marx Ruiz-Wilson
Crédits photos : Morgane Clément-Gagnon (@morganefoto)

Oeuvres exposées

Guillaume Adjutor Provost

Year 2018!, 2018
Encre pulvérisée, teinture et thermo-vinyle sur coton
122 cm x 91 cm

The Golden Book of Springfield, 2018
Encre pulvérisée, teinture et thermo-vinyle sur lin
152 cm x 101 cm

Psyche wandering on a construction site, 2018
Sculpture multimédia
Générateur d'ozone, acrylique, acier, aluminium, Raspberry Pi, mécanismes de montres, laine teinte, perles noires
Boucle vidéo, 9 min 7 s
44 x 71 x 44 cm

Shanie Tomassini

Happy, 2018
Plâtre
34 cm x 37 cm

Vent Trap, 2018
Mousse et ciment pulvérisé
43 cm x 43.5 cm x 4 cm

Leaking Hurricane, 2018
Ciment, acier, eau, rouille, chaudière, tubes de plastique, pompe USB, batteries, élastique
76 cm x 43 cm x 43 cm


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14.09.2018 - 19.10.2018
A Witch is Born out of the True Hungers of her Time
Duo exhibition with Shanie Tomassini
TAP, Montreal
Curator : Marx Ruiz-Wilson
Photo credits : Morgane Clément-Gagnon (@morganefoto)

The title of this exhibition A Witch is Born Out of the True Hungers of Her Time is a quote taken from Ray Bradbury’s short story Drink Entire: Against the Madness of Crowds included in the book Long After Midnight (1976). The story takes place in New York City in the middle of a nocturnal heat wave that forces the main protagonist to ride the night subways in search of a precious cool breeze. Written in the mid-seventies, it is an entangled tale about capitalism under extreme climate, and the pressure for productivity.

The short-story becomes loosely a reference in Guillaume Adjutor’s and Shanie’s collaborative exploration on the impact of climate change on eco-anxiety, a type of anxiety that is more generalized than ever. This exhibition proposes that apart from individual actions that feel inconsequential to the mitigation of the problem, there is an urgency to rethink our societal structures; not by putting humanity at the core of the issue but by challenging the systems that enable environmental destruction.

If a witch can represent simultaneously an antidote and a poison, the title calls to consider what are the true hungers of our time?

Guillaume Adjutor’s practice can be seen as conceptual materialism in which the artist refers to counter-history: Quebec vernacular imagery, queer experiences, poetry, and science-fiction. He works and lives in Montreal. Shanie Tomassini’s sculptures are guided by physical and conceptual attempts to challenge the integrity of objects. Using a wide array of techniques, Shanie is in a constant pursue of newness by attempting to isolate the substance of a form. She lives in Austin, Texas where she is currently pursuing an MFA.

Artworks

Guillaume Adjutor Provost

Year 2018!, 2018
Ink, dye and thermo vinyl on cotton
122 cm x 91 cm

The Golden Book of Springfield, 2018
Ink, dye and thermo vinyl on linen
152 cm x 101 cm

Psyche wandering on a construction site, 2018
Mixed-media sculpture
Ozone generator, plexiglas, steel, aluminum, Raspberry Pi, unrepairable watches, dyed wool ornaments, black pearls
Video Loop, 9 min 7 s
44 x 71 x 44 cm

Shanie Tomassini

Happy, 2018
Plaster
34 cm x 37 cm

Vent Trap, 2018
Styrofoam, sprayed cement
43 cm x 43.5 cm x 4 cm

Leaking Hurricane, 2018
Cement, metal, water, rust, bucket, clamps, plastic tubing, USB pump, power bank, resistance band
76 cm x 43 cm x 43 cm