Préface 33

In 2008-2009, themes seem to resound from one residency to the other although in very different spheres such as: music, displacement, traces and colours. Erick d’Orion first takes us in the confusing course of his Forêt d’Ifs, a sound and visual “hyperfluxienne” experience. The deafening location, visually frightening, falls more under the scope of a nightmare than reverie.

It is instead Mamoru Okuno’s sensitivity and refinement of gesture of that bends our ear to the simple music of our daily lives. Through relational rituals, the artist manipulates banal objects of everyday life on which he draws our attention to let us hear their language.

Both meditative and open to the location, both physical and metaphysical, James Geurts’ artwork is crisscrossed by the fluidity and the transience of its devices and forms, as so many narratives about travelling, water and human encounters generated by the art space.

The Unfinished Tour Québec City again addresses the question of displacement, but of a different nature. Here, it is Gabriela Vainsencher’s displacement in relation with the art of the Other and the residency environment, but also the displacement of points of view brought on by her drawings that can be considered as ‘’illusionist projections’’ or as the traces of her experience left on the outside world. Other traces are offered by Antonello Curcio’s À hauteur du regard. His installation celebrates the materiality modulations of white . An algorithm unfolds on the walls, comprising the entire space of the gallery : sometimes three-dimensional, sometimes two-dimensional, his monochromatic squares follow one another as the result of meticulous interventions of scraping, incisions, pigment and graphite applications.

Through the energetic impulse of red, it is still the question of the colour vibration that is addressed in Robbin Deyo’s Flow. Red lines on a white backdrop follow one another, inhaling and exhaling on the walls, to the point of hallucination.