États fluides : entre la dureté du faire et la délicatesse des fards à joues

Maude Arès and Massimo Guerrera

États fluides : entre la dureté du faire et la délicatesse des fards à joues

Conjuguer l'espace au temps | Provoquer


  • Exhibition
©Archive d'une sculpture-suspendue, 2022—Maude Arès et Massimo Guerrera—Crédit photo : Vincent Lafrance

Maude Arès investigates the sensitive relation between materials, often found and sometimes broken. Through their arrangement, she stages vulnerable environments that lead to listening, appreciating and understanding the subtleties of tangible worlds. His personal and collaborative projects have been presented at Galerie de l’UQAM, Tangente and Espace Cercle Carré, as well as at OFFTA and Nuit Blanche in Montreal.
Web site of the artist

Massimo Guerrera’s artistic practice is rooted in everyday life, connected and nourished by a meditative practice and embodied in a series of long-term projects. Since 1989, he has exhibited his evolving projects in their different phases. His works have been widely disseminated nationally and internationally. The artist is the recipient of the 2001 Ozias-Leduc prize as well as the 2008 Louis-Comtois prize.

Guillaume Boudrias-Plouffe
Michel Boulanger
Marthe Carrier
Guillaume La Brie
Geneviève Rocher

20 January 2022 to 12 March 2022

Galerie B-312 is pleased to present Conjuguer l’espace au temps | Provoquer, the first in a series of exhibitions designed to highlight the 30th anniversary of our center: three special exhibitions, created by artists invited to commit themselves around questions relating to space and time. From January 20, we invite you to come and discover the proposal of Maude Arès and Massimo Guerrera, invited to explore the practice as matter. A provoked meeting between two artists, one of them is thirty years old and the other has thirty years of practice. 

With États fluides : entre la dureté du faire et la délicatesse des fards à joues, Maude Arès and Massimo Guerrera have immersed themselves in this invitation by adopting a posture of openness and mobility giving all the place to encounters, chance and potentialities which may arise from it. A fluidity that is both material and relational unites them. Their collaboration began by collecting the objects near their respective studio. While examining the territory adjoining their places of creation—wastelands of industrial districts, railway, abandoned land, on the margin—a humility in material research was established. Gathering what was presented to them, what was there.—Through the development of a collection of found objects, different levels of communication were established: between gestures, materials, words, poetic images and empirical observations. By these fluid circulations, the attention to the different material and immaterial states will be visible in the space-time of the installation.—In the studio, clay, fabrics, wood, oil and found objects act as basic materials for work sessions that extend as maneuvers nourishing their meeting. For example, the fluid-sculptures are shaped with wet soil where the pressure of the hands only and the tension between the bodies of the artists give shape to the clay. It is the impregnation of forces, tensions and attentions. The hanging-sculptures are the arrangement of small elements that find their form in a performative space-time where gestures become conversations that can do and undo. Impermanently, you have to be present with the artists in these moments of suspension, of fragile balance to see them. The tool-sculptures are used to create, during the exhibition, large landscape drawings that will be presented in the small room of the gallery. Their investigations led them to question the nature of the found objects, their emotional and historical loads, on their lifecycle, on their way of use and more widely on the cycle of the material itself. It is a posture that face time, consumption. When does an object become a waste? What ends its use? Waste is political. It exists in and through a structure that considers it useless, replaceable, inapt for use. By reevaluating garbage, artists seek to challenge consumerism, to put forward the creative gesture in a relation of immediacy and the material to the detriment of the final object. Therefore, their process can approach arte povera, while their research on the vitality of objects can recall those of the theorist Jane Bennett for whom the oppositions between life and material, person and objects must be deconstructed in the same way as association between material, inertia and passivity. The artists create relational networks, among themselves, but also with the material which is no longer subject to their will, but which takes part, participates and collaborates with them in the elaboration of the sculptural works.—Invited to work in a reduced space, representing on a 1:2 scale the very first space of the Galerie B-312, the artists have chosen to partly recreate the furniture of the office as it was 30 years ago, using, as base, of part of the Gallery’s archives in order to support the idea of commemoration and to expose the history and the artists who preceded them. A proposal of rare generosity, which we invite you to come and discover until March 12.


Conjuguer l'espace au temps
How to mark an anniversary without falling into the self-promotion of achievements which, as beautiful and significant as they are, are now things in the past? However, how can we recognize their significance? How to deal with time when the pandemic and the environmental crisis force us to slow down, to stop, to reconsider everything? Above all, how can we think projects for the future?—At all times, art, this human manifestation, has imposed itself as a figure of necessity. The last few months have reminded us of this with acuity! That is what we wanted to celebrate: living art, in its happening, in and from space and time. It is at this state of creation that we invite you from January 20.—To do so, we have invited the artists to work from the "archive" of the first place of Galerie B-312, room 312 of the Belgo, a 1:2 scale model that sits in the middle of the current space of the center, 403 of the same building.

This series of exhibitions and the activities surrounding them, have been made possible thanks to the support of the Conseil des arts et des lettres du Québec, the Canada Council for the Arts and the contribution of the Caisse du Plateau-Mont-Royal, our financial partner for over thirty years.

           Caisse du Plateau-Mont-Royal