I’m too many to tell you
Residency March 5 to 29, 2018
Residency opening March 8 2018, 5 to 7
Huis-clos March 8 to 11, 2018
Exhibition March 30 to April 20, 2018
OPENING March 30, 2018, 17h
Je vais être tout a fait honnête envers vous, je hais cette exposition, cet art, cette prison, cette réalité peut importe comment vous la nommez, je ne peux plus la supporter, elle sent la merde.
Si ces intrigues existent je suis envahi, cerné par cette machination.
Je sens d’ici vos questionnements, et toutes les deux minutes j’avoue que j’ai peur d’en être infecté tellement ceci me répugne.
J’ai besoin de m’échapper, j’ai besoin qu’on me libère, c’est dans votre esprit qu’est la clef de l’intrigue, ma clef, une fois qu’on aura fini ce vernissage ils n’auront plus besoin de moi est-ce que vous comprenez ça?
J’ai besoin des codes, je dois m’introduire au cœur de cette réalité et tu dois me dire comment je dois faire pour enfin y comprendre quelque chose.
Le choix vous appartient.
– M. Smith
Le Lobe starts its 2017-2019 programming under the theme “Trop de réalité” with a collective residency-exhibition including 13 artists! Bianca, Consuelo Ramos, Dom Cobb, Eliza, Leo Lozone, Ludvigo, Malevich, Morpheus, ██ ██ ██, Thomas A. Anderson, Trinity, Xav BD and Yorick share the exhibition space for a basement-beach party of three days, a one-month residency, and an exhibition.
From March 8 to 11, 2018, the artists took part in a 60-hour confinement period with the curator. The public was invited to attend the opening of this closed session on March 8 in the form of 5 to 7. This kind of alternative methods of artistic preparation seeks to honor the creative autonomy of the artists, give them a maximum of preparation time and stimulate non-hierarchical complicity, sharing, fomentation and contamination between artist and artist curator.
In an alcove juxtaposing the gallery is a white armchair and a small round table containing a handwritten letter written in blue. The royal blue wax seal of the letter has been broken and the unsigned letter, filed beside it, titled “Établissons un code : si vous recevez de moi une lettre écrite à l’encre ordinaire, bleue, je dis la vérité; si elle est écrite à l’encre rouge, je mens.”
Behind and under the armchair, an area painted in video green, like to use the chair in the making of a film.
The gallery presents many cards whose informations are printed either in blue or red. At the entrance to the exhibition is a royal blue bicycle with two orange electric extensions. They run through the ceiling and are connected to the lighting system of the gallery, so one’s have to pedal to keep the lights on.
On the right is a self-adhesive mirror vinyl with which the title of the exhibition and the names of the 13 exhibiting artists are displayed. One of the names is censored, replaced by a series of mirror strips.
On the left wall, 7 giant pages in the proportions of a standard page cover the entire wall, forming with a last page on the back wall a movie script. It is entitled Dialogue with Morpheus – scene 101.
Opposite this last page (on which are drawn two concentric squares in suites of 0 and 1) is visible what seems to be a reproduction of Kasimir Severinovich Malevich’s Carré noir sur fond blanc. A forest green dollar symbol ($) was traced with an aerosol can on this artwork. It expands somewhat out of the black square.
In the center of the gallery, a podium about a foot high (covered with a pattern alternating the black and white squares) presents 3 books, including Introducing Evolutionary Psychology by Dylan Evans and Oscar Zarate which is placed on its fourth cover. Another of these books, Jean Baudrillard’s Simulacres et simulation, is open, presenting a square hole. A 3.5″ black computer disk of the same size as the hole is placed next to it. The last book is opened and placed on a mirror that reflects the title: Out of control – The New Biology of Machines, Social Systems, and the Economic World.
On the floor near the podium is a small screen broadcasting a short film scene of very small size. In this scene, a man seen from above descends a staircase to the very bottom of it. The looped scene gives the impression that he goes down the stairs forever. The screen is powered by an orange extension cord that connects to the ceiling.
On the next wall (facing the large pages), three pages from the TOB Bible (p.23, p.93, p.159) are hung. The passages related to the “Demon Legion” are underlined. The Bible (from which the pages come) is placed on the ground.
Very high above these pages is hung the small framed portrait of an elderly man in graphite pencil. It looks like a robot portrait.
On the last wall, the one under the windows of the gallery (of which only the central window was not blocked), a dark table presents a still life recreating a photocopied image which is also present on the table. One of the legs of the table was wedged with a plastic-covered copy of L’Avalée des avalées by Réjean Ducharme. Near the still life, a spinning top spins itself uninterruptedly. A last orange extension leaves the table to connect to a wall outlet.
Near a blocked window are installed two speakers. At 16h exactly, the closing time of the gallery, we hear a short excerpt from the song Non, je ne regrette rien by Edith Piaf.
Photo credits : Patrick Simard