Notice: Function _load_textdomain_just_in_time was called incorrectly. Translation loading for the woocommerce-shipping-per-product domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /var/www/staging.esse.ca/htdocs/wp-includes/functions.php on line 6131

Notice: Function _load_textdomain_just_in_time was called incorrectly. Translation loading for the complianz-gdpr domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /var/www/staging.esse.ca/htdocs/wp-includes/functions.php on line 6131
{"id":242853,"date":"2024-02-01T10:15:44","date_gmt":"2024-02-01T15:15:44","guid":{"rendered":"https:\/\/esse.ca\/compte-rendu\/caroline-monnetpizandawatc-the-one-who-listens-celui-qui-ecoute\/"},"modified":"2024-02-01T14:22:22","modified_gmt":"2024-02-01T19:22:22","slug":"caroline-monnetpizandawatc-the-one-who-listens-celui-qui-ecoute","status":"publish","type":"compte-rendu","link":"https:\/\/staging.esse.ca\/en\/reviews\/caroline-monnetpizandawatc-the-one-who-listens-celui-qui-ecoute\/","title":{"rendered":"Caroline Monnet
Pizandawatc \/ The One Who Listens \/ Celui qui \u00e9coute<\/em>"},"content":{"rendered":"\n
The trilingual title of Caroline Monnet\u2019s current exhibition pays tribute to a traditional name in her maternal family, which means \u201cthe one who listens\u201d in Anishinaabemowin. It\u2019s also a fitting nod to the dialogical genesis of the exhibition, which evolved out of longstanding conversations between Monnet and curator Mona Filip. Originally conceived as a single-room presentation of Monnet\u2019s braided and embroidered geometric abstractions, the exhibition spilled\u2014like the uncontainable environmental forces channelled by her artworks\u2014into adjoining galleries, until it ended up occupying the entire University of Toronto Art Centre. The result is an impressive overview of her protean practice.<\/pre>\n\n\n\n
Monnet\u2019s artworks show us a world that, under the spell of unfulfilled modernization, seems permanently under construction. Assisting her parents to renovate and flip houses in her youth gave her early exposure to the industrial materials and building techniques that remain central to her practice today. Repurposing contractor-grade supplies\u2014including cement, insulation, and plywood\u2014she generates patterns evocative of the complex symmetries of Anishinaabe birch-bark-biting designs and of the rolling landforms in her ancestral territory.<\/p>\n\n\n\n
\n
\n
$\"Caroline-Monnet_MemoriesUnravelled_2021\"$
Caroline Monnet<\/strong>
Memories Unravelled<\/em>, 2021, installation view, Art Museum at the University of Toronto, 2024.
Photo: Toni Hafkenscheid, courtesy of the Art Museum at the University of Toronto<\/figcaption><\/figure>\n<\/div>\n\n\n\n
<\/div>\n<\/div>\n\n\n\n
\n
<\/div>\n\n\n\n
\n
$\"Caroline-Monnet_Ojigabwe_2020\"$
Caroline Monnet<\/strong>
Ojigabwe<\/em>, 2020, installation view, Art Museum at the University of Toronto, 2024.
Photo: Toni Hafkenscheid, courtesy of Florence-Agathe Dub\u00e9-Moreau and Laurent Duvernay-Tardif Collection, and the Art Museum at the University of Toronto<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
At the exhibition opening, Monnet called Pizandawatc<\/em> \u201ca love letter\u201d to the Outaouais region, which encompasses both her hometown of Aylmer, Qu\u00e9bec, and Kitigan Zibi, the First Nation from which her maternal ancestors hail. Entering the exhibition, viewers are greeted by a suite of powerful wooden sculptures whose rippling outlines echo the topography of the Laurentian landscape of Kitigan Zibi. The undulating surfaces of these works simultaneously materialize sonic waveforms generated by the act of speaking Anishinaabemowin. This series is striking testimony to Monnet\u2019s deepening exploration of the co-shaping of languages and territories. Nanitag\u00e0bamin\u00e0gwad (Eclipse) <\/em>(2024), realized in collaboration with Les Macronautes and Simon Guibord, reverse-engineers the translation of auditory data into visual form, treating the swelling contours of her wooden sculptures as a score for an otherworldly cinematic soundscape.<\/p>\n\n\n\n
\n
\n
$\"Caroline-Monnet_WhenItsFallIRest\"$
Caroline Monnet<\/strong>
When It\u2019s Fall, I Rest (Nindanweb apii dagwaaging) <\/em>(detail), 2021.
Photo: Toni Hafkenscheid, courtesy of Collection of Nathalie Simard and Pierre Raymond, and the Art Museum at the University of Toronto<\/figcaption><\/figure>\n<\/div>\n\n\n\n
<\/div>\n<\/div>\n\n\n\n
\n
\n
$\"Caroline-Monnet_Nanitagabaminagwad\"$
Caroline Monnet, Les Macronautes & Simon Guibord<\/strong>
Nanitag\u00e0bamin\u00e0gwad (Eclipse),<\/em> 2023 installation views, Art Museum at the University of Toronto, 2024.
Photos: Toni Hafkenscheid, courtesy of the artist, Blouin-Division Gallery, and the Art Museum at the University of Toronto<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
$\"Caroline-Monnet_Nanitagabaminagwad\"$ <\/figure>\n<\/div>\n\n\n\n
\n
$\"Caroline-Monnet_Nanitagabaminagwad\"$ <\/figure>\n<\/div>\n<\/div>\n\n\n\n
Concealed voices are likewise conjured by sculptural works in cement\u2014the world\u2019s most pervasive construction material, and also one of the most environmentally impactful. The mute angularity of the concrete-and-foam monolith Silent As a Stone Can Be <\/em>(2019) is a study in contrast with Anishinaabe conceptions of stones as animate carriers of stories. Relatedly, the Platonic hermeticism of Flow <\/em>(2019) manifests an extractive view of natural resources. Allusions to Monnet\u2019s dual Anishinaabeg and European ancestry are skilfully interwoven in the dense patterning of textile works whose exposed corporate logos are overlaid with multicoloured lattices of Indigenous abstraction. The satiny black surface of an underlayment speckles the jewel-like K\u00e0-bimose magak Sibi (The River That Walks) <\/em>(2023), which celebrates the St. Lawrence River as an ancestral traffic corridor. <\/p>\n\n\n\n
\n
<\/div>\n\n\n\n
\n
$\"Caroline-Monnet_Kabimosemagak\"$
Caroline Monnet<\/strong>
K\u00e0-bimose magak Sibi (The River That Walks)<\/em>,<\/em> 2023 installation view, Art Museum at the University of Toronto, 2024.
Photo: Toni Hafkenscheid, courtesy of the artist, Blouin-Division Gallery, and the Art Museum at the University of Toronto<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
Amik(waa) <\/em>(2014) is another sophisticated study in bicultural expression. Realized in collaboration with Christian Richer, it reimagines the barrel-shaped lodge employed in the Shaking Tent ceremony as a haunting sound and video installation that gestures toward the gothic films of F. W. Murnau. More recent series assembled in Pizandawatc<\/em> fulfil the promise of this early work, revealing an artist at the height of her creative powers.<\/p>\n\n\n\n
With a PhD from the University of Toronto earned in 2016, Adam Lauder has taught courses on Canadian art at OCAD University and the University of Toronto. In 2018, he organized an exhibition of Rita Letendre\u2019s public art at YYZ Artists\u2019 Outlet.<\/p>\n\n\n
Adam Lauder, Caroline Monnet<\/div>
Adam Lauder, Caroline Monnet<\/div>","protected":false},"excerpt":{"rendered":"Art Museum at the University of Toronto<\/strong>
<\/br>January 17, 2024 \u2013 March 23, 2024<\/br><\/br>","protected":false},"author":15,"featured_media":242843,"template":"","categories":[884,892],"numeros":[],"disciplines":[],"statuts":[],"checklist":[],"auteurs":[832],"artistes":[1182],"thematiques":[],"type_compte-rendu":[],"class_list":["post-242853","compte-rendu","type-compte-rendu","status-publish","has-post-thumbnail","hentry","category-reviews","category-webzine","auteurs-adam-lauder","artistes-caroline-monnet"],"acf":[],"_links":{"self":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/compte-rendu\/242853","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/compte-rendu"}],"about":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/types\/compte-rendu"}],"author":[{"embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/users\/15"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/media\/242843"}],"wp:attachment":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/media?parent=242853"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/categories?post=242853"},{"taxonomy":"numeros","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/numeros?post=242853"},{"taxonomy":"disciplines","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/disciplines?post=242853"},{"taxonomy":"statuts","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/statuts?post=242853"},{"taxonomy":"checklist","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/checklist?post=242853"},{"taxonomy":"auteurs","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/auteurs?post=242853"},{"taxonomy":"artistes","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/artistes?post=242853"},{"taxonomy":"thematiques","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/thematiques?post=242853"},{"taxonomy":"type_compte-rendu","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/type_compte-rendu?post=242853"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}