After the very dissapointing Triennale Québécoise, I didn't have much faith in the Montreal Museum of Contemporary Art. I actually refrained from reviewing that last exhibit because I really wasn't impressed (but maybe there was something that I just didn't get, whatever). So today, I walked into the museum with zero expectations, and sure enough, I was pleasantly surprised!
Like always, there are two entrances, but I always head for the right side first, probably out of force of habit or out of western convention. I was then confronted by the brilliant installation/sculptures of Wangechi Mutu, namely the floor-to-ceiling glittery covering that encased a 'hidden' video room.
What I enjoyed about this first impression is that it sets a mood: the light is dim, the walls aren't completely white, there is faint music coming from the projection... Somehow, I didn't care too much about subject matter because I was more attracted to the visuals and their experiencial quality.
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| Wangechi Mutu, Untitled. |
Next up, Ghada Amer. The bright light from the usual white walls feels a little stark and traditional, and from afar, her work looks like the usual ol' abstract paintings that we're all so accustomed to see in contemporary art museums, but she brings out a few surprises that set her apart from the norm.
For one, in each of her 'abstractions', there are detailed female figures under the many strings of colour that trap their bodies and hide them from our first impression. In fact, the viewer has to walk up close to the 'painting' in order to see them properly. I really admire this quality because I feel that it's telling us to 'look closer' and see beyond the lines, which is something that our fast-paced technology-driven society needs to remember again.
It's indeed pretty sexual and feminist and whatever. Once again, it's not the actual subject matter that interested me, but rather, the use of materials and how the viewer can interact with it. Amer works with fibers, and her 'paintings' are all embroidered! So those lines you see are not drawn, but sewn-in with thread. I guess that's the second surprise if anyone thought that it was just a regular ol' painting.
Finally, there were the sculptures of Valérie Blass. At first, I was a bit taken aback of the bland display and the awkward layout of the space... but the work itself was dynamic.
However, it really was the last room (or first if you start from the left side) that grabbed my attention. The sculptures, plainly, freaked the shit outta me...and I kind of didn't want to 'look closer' because they were oddly disturbing. It could be that they were human-scaled, so it felt that they had a lively presence. But after getting used to them, I was able to observe more carefully. She really wants her viewer to 'experience' the sculptures, so this was indeed very successful!
Conclusion
A very well curated show. Whether someone starts from the left or from the right, it doesn't make much a difference because they will both encounter an impressive first experience!
Ghada Amer, Valérie Blass and Wangechi Mutu are exhibited at the Musée d'Art Contemporain de Montréal from February 2nd to April 22nd 2012.
