Works and Events

Between June 15 and June 25, 2017, the Wanderer placed a hundred beeswax sculptures along the Lachine Canal. These bright-yellow moulded shapes, perfect replicas of the cast-iron bollards that border the historic site at regular intervals, are interspersed among the historical artefacts that inspired them. The fragile sculptures are ephemeral markers for some phenomenon, real or fictional, evoked by the imagination in the project Wanderer: (re)Marking. Spread over several kilometres, they designate significant locations in the contributors’ artworks: a bridge whose resonances were recorded and reworked by sound artist Christian Carrière, or the site of a forgotten incident that re-emerges in Felicity Tayler’s project. They also draw attention to certain industrial vestiges and to the transformation of the city that the Wanderer finds during his walks and performative actions from the season to season, and they have become the leitmotivs of the video capsules and the film co-directed by Les Best Boys and Douglas Scholes.

The artist conducted maintenance activities throughout the duration of the event, and four exhibitions were organized in transport containers from one end of the canal to the other. These exhibitions, hosted by mediators, presented the project as a whole. Each included a photograph taken by Paul Litherland during the Wanderer’s seasonal walks, a copy of a bollard identical to those dispersed in the public space, and a cabinet containing the contributors’ artworks, which, after the exhibition, will be placed in a time capsule to be opened in 2167.

The collection of objects includes the recording of and score for Pieces for Five Locks, composed by Atobop to be played on a boat at specific sites the length of the canal; Daniel Canty’s book Mademoiselle Manivelle, accompanied by offprints of A Treatise on Gloop (excerpt of the original story translated into English and distributed free of charge to visitors) and a sample of “the real Gloop,” a mysterious figure who moves through the depths of the water; the disc History’s Resonant Frequency including two of the four sound pieces created by Christian Carrière from recordings of the vibrations of architectural structures erected along the canal; Felicity Tayler’s tourist map, titled Submerged, surfacing, retrieved. Aléas du repêchage et mémoires des perceptions, on which sinister, transparent watercolours made using canal water tell the stories of illicit activities stretching back to the nineteenth century, through which the bodies of individuals who met a macabre fate have disappeared and resurfaced; and, finally, a miniature replica of the beeswax bollard, which serves as the symbol for the project as a whole. Each exhibition also had a video or sound installation that made it possible to experience Christian Carrière’s piece in quadriphonic sound, view the films portraying the performative aspect of the artwork, and listen to the music composed by Atobop and Christian Carrière as it plays on a turntable.

The deployment of the project in the public space is also accompanied by the presentation of satellite exhibitions open throughout the summer in four cultural sites situated beside the canal: the Centre culturel et communautaire Henri-Lemieux, DARE-DARE, La Maison de la culture Marie-Uguay, and Le Musée de Lachine.

Various activities have been organized during the event to bring the public into closer contact with the artworks. Among them are outdoor screenings, an official launch featuring introduction of the artists and the curator, a boat concert, and two walks – one during the day and one at night – for small groups wishing to experience the fifteen kilometres between the Old Port of Montreal and Parc René-Lévesque in Lachine by following the Wanderer’s path. All of these activities offer opportunities to be attentive to the canal and establish a temporal relationship with it.

Acknowledgments

Exhibition partners

Ateliers créatifs Montréal, DARE-DARE, Montreal Folk Festival on the Canal, Manœuvres, Ville de Montréal – Arrondissement de Lachine, Arrondissement de LaSalle, Arrondissement du Sud-Ouest.

Our thanks to everyone who so generously participated in the production of this project:

Baptiste Alchourroun, Michel Beauvais, Alexis Bellavance, Mary-Pierre Belzile, Hugo Blouin, Simon Brown, Pauline Butiaux, Daniel Canty, Christian Carrière, Andres Castillo, Dominic Caterina, Lucio Caterina, Dominique Chalifoux, Isadora Chicoine-Marinier, Martin-Philippe Côté, Mélanie Courtois, Andréann Cossette Viau, Flo Dacy-Cole, Bernard Daigle, Nathalie de Blois, Zac DeCamp, Stéphane Diamantakiou, Mathieu Dubois, Martin Dufrasne, Julie Espinasse, Rihab Essay, Damiano Ferraro, Éric Ferron, Marie Ferron-Desautels, Pierre-Luc Fillion, Julie Fournier-Lévesque, Joey Fox, Samantha Gai, Dominique Gazo, Alain Gelly, David Gosselin, Maxence Gras, Léa Grondeau, Andrew Harder, Guy Hébert, Raphaël Huppé-Alvarez, Mélanie Jannard, Jonathan Kaspy, Philip Kitt, Élise Lafontaine, Charlotte Lalou Rousseau, Laurie Lamoureux Scholes, Audrey Laurin, Audrey Lavallée, Sylvie Leclerc, Sylvestre Lefrançois, Marjorie Lemay, Isabelle Lessard, Suzelle Levasseur, Paul Litherland, Olivier Longpré, Zach Manni-Mirolla, Louise Marois, Vicky Mettler, Claire Moeder, Harris Newman, Charline P. Williams, Martin Paquin, Majorie Paré, Virginie Pelletier, Fanny Poupart, Corinne René, Alex Robert, Ariel Rondeau, Käthe Roth, Jaden Scholes, Zachary Scholes, Jason Sharp, Gilles Tanguay, Felicity Tayler, Yves Turgeon, Isabelle Tremblay, Josh Usheroff, Laurent Vernet, Aimée Verret, Marc-André Yonkers, Jane Zdansky.

We are also grateful to the Bureau du cinéma de la Ville de Montréal, the Montreal public markets – Marché Atwater, Vieux-Port de Montréal, and the Ville de Montréal – Arrondissement de Lachine, which made it possible to shoot the film Wanderer: (re)Marking.