Sarah Wendt and Pascal Dufaux share an art practice that takes form in sculpture, media art, installation and dance. Their collaborative methodology seeks to imbue their projects with strange forms of temporality and heightened articulations of labour to draw forward an environment that melds science fiction to reality.
They live and work as uninvited guests on the traditional land of the Haudenosaunee, Mohawk and St. Lawrence Iroquoian inTiohtiá:ke/Mooniyang/Montreal.
Mixing Ghosts
2017
Performance, projection, video delay, flowers, glass, goldenrod stems, plexiglass, wood, paint, glue, steel, fabric, looper, microphone, metronome
35 minutes
In another format as a short film in collaboration with Stéphane Elmadjian (2018, 9:27 minutes)
In a visual echo chamber, many objects move against layers, to the powdery 12 beat bar of the flamenco compás.
“Mixing Ghosts'' is a choreographed performance that takes place in a sort of “temporal tunnel”. Following our interest in time as a subject and in the materials we work with, we have chosen to juxtapose the present moment - filled with a certain kind of action, to an immediate past, loaded within its digital replication. If we imagine being immersed in an echo chamber, somewhere beyond far-reaching perceptions, how would we see ourselves differently?
Performances:
Past to Present, 35th Symposium de Baie-Saint-Paul, Baie-Saint-Paul, Quebec, (Canada), 2017. Curated by Marie Perrault.
Sérendipité. Galerie Verticale, Laval, Quebec, (Canada), 2017. Curated by Caroline Loncol.
Kinetic Studio: Open Studio Series, Halifax, N.S. (Canada), 2017. Curated by Jacinte Armstrong
*Mixing Ghosts also exists as a short film in collaboration with cinematographer Stéphane Elmadjian, Agiti-film Production, Montreuil, France. (2018, 9:27 minutes)
Presented at Un festival c’est trop court, Nice (France) 2019.
Supported by: Canada Council for the Arts; Conseil des arts et des lettres du Québec
Short-film “Mixing ghosts" , collaboration with Stephane Elmadjian
Performance : Baie St-Paul Symposium, 2017
