Centre international d’art contemporain de Montréal

Centre international d’art contemporain de Montréal, Retrospective of net.art features North-South-East-West, 2008.

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The Centre international d’art contemporain de Montréal’s Electronic Magazine,  issue No 32 a Retrospective of net.art, features North-South-East-West Web Site in December 2008.

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The North-South-East-West web site was reviewed as follows:

COSMOGONY ALGONKINE CACHÉE/MONTRÉE?

About the well-known work of Graham Thomson, North-South-East-West, we will recall his operating mode first of all, like its organization.     With the opening of the URL an interface of reception informs us of the format of the work, carried out under Flash.

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If the hyperlector chooses not to have any action, it will discover a sequence of four distinct sequences:

  • a very fast succession of images lets to us guess a plan of country, or city. It is necessary to make use of several captures of screens, then to increase them, to realize that the plan in question is that of the Contracting State of Minnesota (or of the state), the USA. Area bordering, should it be pointed out, of the Canadian provinces of Manitoba and Ontario, ancestral grounds of Algonkins;
  • an anthropomorphic figure, that one will be able to associate a totemic representation, becomes animated on a bottom of horizontal screens. A cube drawn in three D also rolls on the space representation which this screen constitutes;
  • in tone bluish, dark, a heavenly object occupies the bottom of a scene which seems left an space-opera. A hinged jib (Canadian technology?) approaches a unit which could be a space base;
  • finally, of the parabolas, fixed on pylons, roofs, seem to receive waves coming from the sky.   Once the hyperlector will have shelled dissolve-connected these four sequences, it will have to click on one or the other of the bonds hypertexts to discover a new interface – which will give him access to the contents of work itself.

In a very simple way, and as many works born on the Web could show it to us, the interface of work is appeared as a space metaphor. In top north, bellow the south, on the left the west and is on the right.

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Under each of the four cardinal points, a list from five to eight names proposes to us, thanks to the hypertext link, to discover an animated sequence. Before returning on their contents, we stop a few moments on another element of the interface, which will be always present at the screen, méta-bars it navigation. The choices suggested by this méta-bar are as follows, rather similar to those which one can find on considerable sites: exit, home, contact, information.

ontario13

The subparagraph “information” will teach us that work is inspired by the symbolic system of the cardinal points traditional of the people algonkin. One will not be thus surprised to have discovered only the plan which ravelled at any speed in introduction was that of a state in the past (and also in a contemporary way) populated algonkins.

All work then, can be included/understood starting from this aspect of the introduction. The history of the American settlement being supposed known of all, one could only be sensitive to the fact that the people algonkin, like all the indigenous people of two Americas, have a report/ratio with the eminently problematic territory, conflict, even painful.

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This territory, that the Amerindian people had by force to divide with Europeans, it is represented here in extreme cases of the visible one. So much so that one is forced to fix the image by capture of screen, to discover that it was about a plan of Minnesota.

The territory, literally, is hidden, virtual. It is in addition the territory of the other, since the place names are for the majority resulting from the Anglo-Saxon space representation: Cambridge, Turkey Not, Normandale, etc… It is a case emblematic of the use of information technologies and communication – where the appearance and disappearance as well as the tape speed of the images make direction.

This territory hidden, evoked perhaps by this totemic dance of the introduction, then moved in the space, and finally reinvested on ground through the waves received by parabolas, the body of work then proposes to us to discover it.

It while clicking on different the items is contained under the headings North South – East – West that we will be able to open the sequences having for name:    winter, snow, elder, courage, ice, endurance (North), summer, spirit, quest, secrecies, bloom, vision, adolesence, youth (South), birth, dawn, spring, flower, sun (East), automn, adult, thunder, sunset, renewal, (West).

With the choice, one will stop on the sequence “Vision”, in the North heading, to hear the message whereby “Vision C not reveal”; or one will hear, in “Dawn” this thought animist “All that belongs to the earth belongs to me”. But there is not the essence of our reading: the quality of animations, of the spoken or sung sequences, all that is left with the appreciation of each visitor, according to his sensitivity. It will be noticed only that none the many rewards received by this work is usurped.

What must hold our attention, it is connect it simplicity of the device, behind which semiotics questions differently more complex hide.

The list of the items reproduced above informs us indeed that certain sequences are called in reference to the season (winter…) and in connection with such or such cardinal point; other sequences indicate natural phenomena (snow, ice, flower, sun, thunder); others milked in the human condition (elder, adolesence, youth, birth, adult); others still refer to human or animal qualities (courage, endurance…); and others finally with phenomena of calendarity (dawn, sunset, renewal).

What it is necessary to point of the finger, it is the extreme diversity of the items and the extremely different registers which they indicate: natural seasons (long calendarity), phenomena, age group, human and/or animal quality, short calendarity.

Consequently, the action to click on one or the other of these items, and the surprise to each time discover a different sequence by its setting in image, the absence or the presence of a said text, etc… puts the hyperlector in a situation of imbalance with the project openly announced by the work – which is, let us recall it, inspired of the symbolic system of the cardinal points of the nation algonkine. How indeed to build a knowledge of this cosmogony if no methodology is proposed by the author – and whereas we are in a new mode of expression?

Moreover, one will notice the readily enigmatic character of certain sequences – which seem to function according to a logic well more oneiric rational.

In short, none known in the past cognitive maps seems respected here: we find the linearity of the written text and its paratextuelle organization, neither the syntax of the cinematographic writing (fictional or documentary), nor the methodology of the museographic modes of exposure, etc…

It however remains that the work of Graham Thomson transmits a message well to us, and more still that a message the feeling to have shared a significant experiment.

The logic which seems to prevail is well more that of the dream – a dream directly connected to psyché of Amerindian people – a logic which one will be able to say transverse, for want of anything better for the moment.

It is perhaps the greatest quality of this work, which all at the same time enchants us in the most naive way, and reserves questions differently more difficult to us, having milked with semiotics, and the development of a specific critical language.

Xavier Malbreil

The Centre international d’art contemporain de Montréal Overview

The Centre international d’art contemporain de Montréal (CIAC) is a non-profit organisation administered by a board of directors and managed by personnel with an expertise in artistic production, communications and arts administration. The mandate of the CIAC is to disseminate contemporary art from Québec, Canada and abroad. Initially identified with the visual arts, the CIAC also showcases the creative practices of artists working in design, graphic art, art film and video, architecture and urbanism, and landscape architecture.

The CIAC’s aim is to make its activities accessible to the greatest possible number of visitors. It employs various strategies to achieve this, including exhibitions, conferences, discussions between artists and the public and educational activities for a variety of target groups. The CIAC has no permanent space for its activities. It temporarily occupies various locations suited to each event, whether a museum, an unused warehouse, a park or other public space, a gallery or exhibition venue, etc. First identified with the visual arts, the CIAC also disseminates the work of professionals in object design and graphic design, video and art film, architecture and town planning, architecture landscape.

From 1985 to 1996, the CWC was mainly noted for organizing the hundred days of Contemporary Art of Montreal.  In 1998, he set up the Montreal Biennale (BNL MTL), an international biennial included in the biennial network of major cities in the world. In addition to the organization of artistic events, the CIAC also carries out cultural work, aimed at an in-depth understanding of the stakes of contemporary art, which took the form of various programs of activities, in particular the annual competition Of Young Critics in Visual Arts (1997 to 2007).

Finally, the CIAC online edits the CIAC’s Electronic Magazine. This bilingual magazine (English and French) offers critical works and general information on active artists in the middle of the web art (or line art ) and the institutions that disseminate it.

Finger Lakes Enviro Film Festival

North-South-East-West exhibited at 2007 Finger Lakes Environmental Film Festival  Ithaca New York.

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The North-South-East-West DVD, an interactive Video presentation, was exhibited at the 2007 Finger Lakes Environmental Film Festival (FLEFF) in Ithaca New York.

Codirectors Thomas Shevory and Patricia Zimmermann Describe the FLEFF

One question erupts repeatedly around the Finger Lakes Environmental Film Festival: How is FLEFF an environmental film festival? Our answer is simple: join us in reimagining the environment.

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The Finger Lakes Environmental Film Festival moves from the idea of a fixed, stable, and unified environment to an endlessly fluid, open, and plural notion of environments. FLEFF is programmed to open up ideas about the environment rather than to close them down. We do not presume to define the meaning of the term environment. In this period of global crisis, it is not productive to be too inert, closed, or blinded.

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Selected Works – Maps and Memes

North-South-East-West by Graham Thompson

North-South-East-West 1.0 utilizes Macromedia Flash animations, new media installations, streaming media, digital videos, webcasts and video conferences to guide audiences through the four directions or four seasons of our lives. Inspired by the meaning of the four sacred directions as taught by the Anishinaabe peoples of North America, the work tells a story about our lives in terms of four challenges-the challenge to survive, to find a vision, to find a path, and to learn the wisdom of the path of the vision. Graham Thompson (Metis Nation/Canada) has exhibited his work with computer graphics and digital video globally.

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North-South-East-West 1.0 utilizes Macromedia Flash animations, new media installations, streaming media, cell-phone downloads, digital videos, webcasts and videoconferences to guide audiences through the four directions or four seasons of our lives. Inspired by the meaning of the four sacred directions as taught by the Anishinaabe peoples of North America, the work tells a story about our lives in terms of four challenges-the challenge to survive, to find a vision, to find a path, and to learn the wisdom of the path of the vision. Graham Thompson (Metis Nation/Canada) has exhibited his work with computer graphics and digital video globally

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Other Work Shown at FLEFF

Entre Deux creates a space for experimentation between two artists where, far from “civilization,” human bodies confront nature with endurance, contemplation, defeat, and cooperation. Clad in white tennis clothes and armed with no more than a piece of rope, the artists perform these meditations on the body’s relationship with another body, as well as with the terrain in which they find themselves, to hilarious or poignant ends. For example, the characters are defeated by their surroundings when they fight each other (Entre Deux – Untitled (Jumeaux)) and are at one with the spaces they inhabit when they cooperate with each other (Entre Deux – Untitled [Epaule contre Epaule]). Donald Abad and Cyriac Allard both of France are artists who live and work in Paris.

Flag Metamorphoses interrogates international relations between nation-states as they clash with ideas of permanent transits, hybridity, and border crossings. Using Macromedia Flash animation, the official flag of one nation-state transforms and reforms itself into the flag of another nation-state, mapping a history of interrelations between the two states. Some of these interstate relations developed via colonialism, others via more recent moments of globalization. This ongoing collaborative project is compiled by Myriam Thyes (Germany).

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Recycled Image Studio (Sweden) is by Robert Willim and Anders Weberg.

Surreal Scania is a web-based art project that combined digital video with global positioning system (GPS) technology to explore overlooked similarities between ostensibly disparate landscapes, such as industrial harbors and nature reserves, as well as ostensibly disparate objects within these landscapes, such as artificial dinosaur heads and wrecked automobiles. GPS tracks the global positioning in as many as three dimensions (longitude, latitude, and altitude) to determine information such as speed, distance, movement, and times of sunrise and sunset. These visual contemplations of Scania, a region in southern Sweden, enter into dialogues with different representations of these precise locations on Google Earth and GPS units.

Metropoli

Anima takes a journey in extreme close-up over the surface of Grafsgaard’s painting Geo Grande. The digital video takes a panoramic view of the systems and energies of planetary ecology, particularly an imaginary biological community of microbial and fractal forms. The piece offers space for a meditation on experiences of time and space, relationships of scale, and energies of color, motion, and breath to consider ways that “organic metropoli” regenerate and mutate in response to their destruction by humans. Jim Grafsgaard (United States) collaborated with P.J. Tracy (United States), who composed the original score for this work.

Ectropy is a witty and topical hypertext work about surveillance, profiling, identity theft, biometrics, and violations of civil liberties within the paranoiac irrational space of ongoing global war. The work’s title, Ectropy, designates an increase in information or its organization, typically contrasted with the term entropy, which suggests a decrease in information or its organization. Ectropy also refers to a disease that manifests itself in eyelids that deteriorate, so that eyes cannot close and often cannot see.

The Kabul Project is an ongoing collaborative, community-based, interactive, and accumulative enterprise that is designed as a series of open-ended databases and systems that grow through the input of the artist, collaborators, community members, and audiences. As part of the Kabul Project, Permanent Transit is a database road movie about the anxieties of continual migration, the shifting identities of the hybrid generation, and the state of statelessness. Filmed through the windows of planes, buildings, and vehicles in various countries, the 12 screens of Permanent Transit alongside the fragmented soundtracks result in an experimental documentary reconstituted as a documented experiment. All this is designed to relocate viewers from their ordinary lives to the crossroads experienced by the hybrid generation, that difficult, absurd, productive zone where borders blur and cultures intersect, overlap, and exchange. Mariam Ghani (United States) works in video, installation, new media, photography, text, and public dialogue performance to investigate ways that history and memory are constructed and reconstructed as narrative in the present, particularly in the border zones and political spaces of transition where past, present, and future emerge as stories told in translation, contest, and counterpoint.

The Network of No_des adopts the nodal structure of a rhizome that splits into fractal systems and is composed of memes. Exploring the media practices of young South Asians in urban Delhi, whose ecological and economical utilization of knowledge resources might be called “piracy” by some people, the work reutilizes “driftwood from web searches, messages in data bottles, re-mixed fragments of Hindi and Bengali film scenes, and research notes from Sarai’s ongoing exploration of new media street culture in Delhi to present an array of associational possibilities.” Sarai Media Lab (India) is Jeebesh Bagchi, Mrityunjay Chatterjee, Iram Ghufran, Monica Narula, and Shuddhabrata Sengupta.

The Trustfiles questions the ambiguities of perception and the impartiality of the written word to dismantle through artistic intervention the symbols and codes that facilitate power. Drawing upon mystical traditions of combining the letters and numbers of sacred texts to move beyond their literal meanings, the project combines visual and auditory images, often of urban spaces, to prompt the user to investigate ways that transmitted information, which is invariably incomplete information, conceals as much as it reveals. Nadine Hilbert and Gast Bouschet (Belgium) are Brussels-based artists whose works explore the potential of transmitted information to reflect, comment, and posit interventions on the functions of political and social-economic sign systems.

Soundscapes

aux2mondes is an Internet audio work that links commentaries by Arab woman living in France and the United States to create a non-narrative story based upon the user’s interest and intuition. The project concerns representation and “human linkage,” drawing from audio recordings of interviews linked by keywords with the interface tracing their progress. This approach-like sound itself-resists the voyeurism inherent in representation and returns the user to her or his own self-interest. The project is a collaborative work between Nicolas Malevé, Pascal Mélédandri, Chantal Dumas, and Isabelle Massu (United States/France) and was supported by grants from Le Centre National de la Cinématographie (Paris) and La Compagnie (Marseille).

thefLuteintheworLdthefLuteistheworLd is part of Henry Gwiazda’s repertoire of sonic works that remixes field recordings and sound effects to produce the intrinsic musical qualities of everyday noises. A virtual-audio piece meant to be listened on headphones (as opposed to some of his other works that are designed as installations to be experienced from speakers with particular specifications), thefLuteintheworLdthefLuteistheworLd surrounds its listener and creates an experience of the composer’s combinations of sampled sounds as poetry. Henry Gwiazda (United States) is a pioneering artist of sampled sounds and has been described as a poet of sonic art.

SameSameButDifferent generates new sound combinations at each hearing and transmits a proliferation of Icelandic aural imaginaries over the Internet. Thor and Runar Magnusson (Iceland) are sound artists.

SameSameButDifferent v.02 is a project that generates a new musical work every five to eight minutes from field recordings of Icelandic nature. Such sonic productions via algorithm, composed in real time by computer interface, challenge the format of traditional radio and sound production. Miming the natural archives of Icelandic nature sounds, SameSameButDifferent generates new sound combinations at each hearing and transmits a proliferation of Icelandic aural imaginaries over the Internet. Thor and Runar Magnusson (Iceland) are sound artists.

Untitled (FLEFF) is part of an ongoing investigation into aural patterning. Working with “incidental” sounds that typically fade into the recesses of consciousness and are “misheard,” this work heightens the listener’s aural sense by isolating found sounds (or field recordings) that evoke a sense of place through their frequency and repetition. The work consciously evokes what Paul Carter has termed “the sonorous identification with foreign surroundings” by isolating sounds that are supposedly part of the everyday and elevating them to the status of cultural place markers. Born in London, Catherine Clover, (United Kingdom/Australia) is a sound and digital artist currently living and working in Melbourne.

Panic Attacks

Goobalisation is an ongoing series of short animations that remix images retrieved through the Google search engine and downloaded from the web. The images are found through the project’s four search terms-surveillance, difference, resistance, and globalization-chosen to expose the complexities of power struggles and notions of progress at play in the online world. Images begin in an assigned frame space (upper left corner for surveillance, for example), then fade in and out at different intervals so that the user experiences an often uncomfortable proximity between the concepts and familiar media objects. Eduardo Navas (United States) is a critical theorist and artist currently based in Los Angeles/San Diego.

La Conchita Mon Amour studies the struggles of life in the beach community of La Conchita in California that was inundated by debris flow after a devastating mudslide. Caused by increased winter rains, an effect of global warming, this digital video project documents vernacular shrines to the dead built by surviving residents, when governmental assistance for victims of cyclical recursion of disaster is not forthcoming. Christina McPhee (United States) is a multimedia artist who interprets landscapes by integrating data mediation with empirical observation at sites where the psychic terrain of trauma meets environmental instability and generative chaos.

Pandemic Rooms explores the social paranoia over killer flues, plagues, diseases, and other disasters, particularly in light of current obsessions with viral transmissions and the increased interdependencies of globalizations. A cough in one part of the world travels across the world; sickness echoes on empty rooms; pandemics emerge so that irrational fears and necessary precautions become confused in this interactive net/web work. Jason Nelson (United States/Australia) is an artist/writer/coder who works in the medium of digital poetics.

The Samaras Project is an antiadvertising collaborative project that gives reason for everyday panic in a moment of ongoing global war. The blog includes extremely useful information about alternative and sustainable economies as alternatives to capitalist enterprise. For instance, the blog entry dated February 20, 2006, discusses the setting up of worker-owned cooperatives. Apart from worker owned cooperatives, the project actively promotes gleaning, gift economies, open culture, and community economies both online and locally in the San Francisco area. Dara Greenwald (United States) and Josh MacPhee (United States) are activists/artists who have worked in a variety of media, including print, video, and digital.

{transcription} and [FALLUJAH. IRAQ. 31/03/2004] examine questionable media coverage of events that works to confuse real and imagined situations. In {transcription}, constant scratching sounds and the imposition of a “digital skin” over the images emphasize the mediation of the news, the constant deluge of round-the-clock news coverage, and the perpetual sense of panic and paranoia that the news engenders. [FALLUJAH. IRAQ. 31/03/2004] ponders on the relationship between ethical filtering and manipulative remixing of the news, the significance of which increases with technological advances that enable the generation of history in “real time.” Michael Takeo Magruder (United States/United Kingdom) uses new media technologies within fine art contexts to explore the simultaneous utilization and dissection of new technology as a means to explore the formal structures and conceptual paradigms of the digital realm.

Le Centre int’l d’art contemporain de Montréal

North-South-East-West reviewed by Xavier Marbeil of the Magazine électronique du CIAC – The Centre international d’art contemporain de Montréal

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Graham Thompson’s North-South-East-West Net.art guide to the Annishinabe Medicine was reviewed by Xavier Marbeil in issue #25, Summer 2006 Theme : Paysages (Landscapes) of the Magazine électronique du CIAC – The Centre international d’art contemporain de Montréal

North-South-East-West Net.art

It is not surprising that the creative process at the origin of many contemporary artworks takes place, in whole or in part, on the Net : interaction, collaboration, collage, remix… The Net constitutes for these modes of creation a natural habitat, in which the limits of space, time and matter are abolished. The works of netart, designed for, on and with the web, have gone one step further in taking the network itself as an object of their art. These works refer to the initial ideals of the Net, cooperation, free-trade, emphasis on the collective rather than the individual, but also underline the fact that navigation creates a visual trace which becomes an information, itself immediately transformed into a spectacle. Check out North-South-East-West Online.

North-South-East-West by Xavier Mabreil (Screen Captures)

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North-South-East-West by Xavier Mabreil (Google Translation)

North-South-East-West, of Graham Thomson (Canada), 2003 COSMOGONY ALGONKINE CACHÉE/MONTRÉE? About the well-known work of Graham Thompson, North-South-East-West, we will recall his operating mode first of all, like its organization. With the opening of the URL an interface of reception informs us of the format of the work, carried out under Flash.

nsew-intrface-01-w600

If the hyperlector chooses not to have any action, it will discover a sequence of four distinct sequences:

  1. a very fast succession of images lets to us guess a plan of country, or city. It is necessary to make use of several captures of screens, then to increase them, to realize that the plan in question is that of the Contracting State of Minnesota (or of the state), the USA. Area bordering, should it be pointed out, of the Canadian provinces of Manitoba and Ontario, ancestral grounds of Algonkins;

  2. an anthropomorphic figure, that one will be able to associate a totemic representation, becomes animated on a bottom of horizontal screens. A cube drawn in three D also rolls on the space representation which this screen constitutes;

  3. in tone bluish, dark, a heavenly object occupies the bottom of a scene which seems left an space-opera. A hinged jib (Canadian technology?) approaches a unit which could be a space base;

  4. finally, of the parabolas, fixed on pylons, roofs, seem to receive waves coming from the sky. Once the hyperlector will have shelled dissolve-connected these four sequences, it will have to click on one or the other of the bonds hypertexts to discover a new interface – which will give him access to the contents of work itself.

13-no-text2-2

In a very simple way, and as many works born on the Web could show it to us, the interface of work is appeared as a space metaphor. In top north, bellow the south, on the left the west and is on the right.

Under each of the four cardinal points, a list from five to eight names proposes to us, thanks to the hypertext link, to discover an animated sequence. Before returning on their contents, we stop a few moments on another element of the interface, which will be always present at the screen, méta-bars it navigation. The choices suggested by this méta-bar are as follows, rather similar to those which one can find on considerable sites: exit, home, contact, information.

The subparagraph “information” will teach us that work is inspired by the symbolic system of the cardinal points traditional of the people algonkin. One will not be thus surprised to have discovered only the plan which ravelled at any speed in introduction was that of a state in the past (and also in a contemporary way) populated algonkins.

All work then, can be included/understood starting from this aspect of the introduction. The history of the American settlement being supposed known of all, one could only be sensitive to the fact that the people algonkin, like all the indigenous people of two Americas, have a report/ratio with the eminently problematic territory, conflict, even painful.

This territory, that the Amerindian people had by force to divide with Europeans, it is represented here in extreme cases of the visible one. So much so that one is forced to fix the image by capture of screen, to discover that it was about a plan of Minnesota.

The territory, literally, is hidden, virtual. It is in addition the territory of the other, since the place names are for the majority resulting from the Anglo-Saxon space representation: Cambridge, Turkey Not, Normandale, etc… It is a case emblematic of the use of information technologies and communication – where the appearance and disappearance as well as the tape speed of the images make direction.

This territory hidden, evoked perhaps by this totemic dance of the introduction, then moved in the space, and finally reinvested on ground through the waves received by parabolas, the body of work then proposes to us to discover it.

It while clicking on different the items is contained under the headings North South – East – West that we will be able to open the sequences having for name: winter, snow, elder, courage, ice, endurance (North), summer, spirit, quest, secrets, bloom, vision, adolescence, youth (South), birth, dawn, spring, flower, sun (East), autumn, adult, thunder, sunset, renewal, (West).

With the choice, one will stop on the sequence “Vision”, in the North heading, to hear the message whereby “Vision C not reveal”; or one will hear, in “Dawn” this thought animist “All that belongs to the earth belongs to me”. But there is not the essence of our reading: the quality of animations, of the spoken or sung sequences, all that is left with the appreciation of each visitor, according to his sensitivity. It will be noticed only that none the many rewards received by this work is usurped.

What must hold our attention, it is connect it simplicity of the device, behind which semiotics questions differently more complex hide.

The list of the items reproduced above informs us indeed that certain sequences are called in reference to the season (winter…) and in connection with such or such cardinal point; other sequences indicate natural phenomena (snow, ice, flower, sun, thunder); others milked in the human condition (elder, adolescence, youth, birth, adult); others still refer to human or animal qualities (courage, endurance…); and others finally with phenomena of calendarity (dawn, sunset, renewal).

What it is necessary to point of the finger, it is the extreme diversity of the items and the extremely different registers which they indicate: natural seasons (long calendarity), phenomena, age group, human and/or animal quality, short calendarity.

Consequently, the action to click on one or the other of these items, and the surprise to each time discover a different sequence by its setting in image, the absence or the presence of a said text, etc… puts the hyperlector in a situation of imbalance with the project openly announced by the work – which is, let us recall it, inspired of the symbolic system of the cardinal points of the nation algonkine. How indeed to build a knowledge of this cosmogony if no methodology is proposed by the author – and whereas we are in a new mode of expression?

Moreover, one will notice the readily enigmatic character of certain sequences – which seem to function according to a logic well more oneiric rational.

In short, none known in the past cognitive maps seems respected here: we find the linearity of the written text and its paratextuelle organization, neither the syntax of the cinematographic writing (fictional or documentary), nor the methodology of the museographic modes of exposure, etc…

It however remains that the work of Graham Thomson transmits a message well to us, and more still that a message the feeling to have shared a significant experiment.

The logic which seems to prevail is well more that of the dream – a dream directly connected to psyché of Amerindian people – a logic which one will be able to say transverse, for want of anything better for the moment.

It is perhaps the greatest quality of this work, which all at the same time enchants us in the most naive way, and reserves questions differently more difficult to us, having milked with semiotics, and the development of a specific critical language.

Xavier Malbreil

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The Centre international d’art contemporain de Montréal Backgrounder

1983 The CIAC is founded. 1984 Claude Gosselin, founder of the CIAC, curates the visual arts, photography, video and cinema section for Québec ‘84, an event marking the 400th anniversary of the founding of Québec City. 1985 The exhibition Aurora Borealis opens the first edition of Les Cent jours d’art contemporain de Montréal, curated by René Blouin, Claude Gosselin and Normand Thériault. 1986 Traces, an exhibition of drawings by Canadian artists, is curated for the Department of External Affairs of Canada to be toured internationally. 1996 The final edition of Les Cent jours d’art contemporain de Montréal is held. 1997 The first bilingual on-line electronic arts magazine in Canada, the Magazine électronique, is launched. It is devoted to promoting electronic art and to the discussion of new technologies in visual art. 1998 The first edition of La Biennale de Montréal (BNL MTL), an international biennal. Subsequent editions have been held in 2000, 2002, 2004, 2007,2009. 2009 The CIAC celebrates 25 years of active involvement on the cultural scene. The CIAC has thrice won the Grand Prix of the Conseil des arts de Montréal. The prize in the visual arts category was awarded to it in 1985, 1992 and 2000.