forced air : les ventilateurs

From October 1 to October 24 2015
Opening: October 2 at 6 pm


Mentor: jake moore
Participating artists: Zoe Koke, Carolyne Scenna, Lisandre St-Cyr Lamothe & jake moore

The artists of forced air gather together objects and images that slide between the roles of document or evidence and their potential as narrative triggers. There is a latency to the projects – something concealed, not yet manifest, a budding, a delay between signals sent and their ultimate desired reception – that toys with ideas of linear time. The present, what we are seeing together now, is entangled with social referents both immediate and distant like popular music, quotidian gestures, and touchstone heroines.
Patti Smith’s dictum “Fuck the clock” leaks through the milky images of Carolyne Scenna and the tension of Babelogue asserts itself, “I don’t fuck much with the past but I fuck plenty with the future”. The urgency of the statements cannot be diluted by repetition or the excess that surrounds them, they pulse through. The reassertion of post punk and no wave of Carolyne Scenna is softened in the cinematic gauze of Zoe Koke but each hold a conscious aversion and hyper awareness of capitalist trappings. Things, stuff, consumables, choices to be made to (re)present ourselves that always prove inadequate though when sequenced effectively project a semblance of a whole. Lisandre St-Cyr Lamothe works most overtly with this kind of construction, placing still image after still image, intermixed with text and colour in the antiquated narrative of a slide show. Here it is not the digital metaphor of PowerPoint, but actual images shot on slide film following one after the other. This type of actualization is key to each of the artists works in forced air : les ventilateurs, there is a materiality that slows and thickens the perception of the images and sutures the present to the past both in modes of production and kinds of engagement. The images are held with the sonic and the spatial to present a social materiality, one that is understood as the real effects of class, race, gender, and social organization. This asserts aesthetics as being of the body, sensorial, and moving beyond the eye.
Thus, the verdant suburban sites and urban forests in Koke’s moving pictures are in concert with the carefully composed stills of Nova Scotia landscape from St-Cyr Lamothe. The canned bird song emerging from jake moore’s intervention both supports and denies the utopic sites while playing call and response with the distant soundtracks both actual, (Koke) and suggested, (Scenna). It is this gesturing outward while laying bare sincere introspection that causes the works to oscillate between then and now. It is an air of engaged detachment, or perhaps detaching, caught in the act of. This air is shared and when one imagines the pushing of air to cool one’s environment, to scatter collected pieces of paper, or languidly shift curtains to reveal the day, one can also feel the air pushed up through the glottis that urges forth speech and can be determined as voice.