The Digital Cliff.

Opening: Saturday, November 12, from 3h00 pm to 6h00 pm
372 Sainte-Catherine Ouest, #412
Montréal, QC H3B 1A2

The following is a theoretical proposition:

Two persons are conversing in the middle of an unrealistically large room, narrow too, let’s say 1 km by 1 m. Crazy narrow. Now, imagine that as they are speaking, they begin to back away from each other. They are making their dissimilar beliefs/values physically manifest through the space they are perpetuating between each other – person A encumbered by the incalculable, invisible weight of emotional labour, and B not only unencumbered by this, but disbelieving of its existence, as it is, as mentioned, not tangible, and if person B cannot see it, person B refuses to believe it (‘Show me the money!’ person B yells, gesticulating their arms wildly with a slap-happy smile plastered on their face). They continue talking, the volume of their voices fading proportionately to the distance between them, until –

Person A is cut off, completely, person A has dipped off the cliff, and to person B they’re mute and silly-looking, eyes full of feeling and mouth moving madly, emitting no sound, just useless, just aggravating the jawbone, just plain sad. Person A must still succumb to the insidiously violent words of B, so person A begins inching the walls, in an attempt to get away from the noise. A magnet holds A and B equally apart, and neither can gain more distance from the other. The backing away is slow, like the torturous drip of the
bathroom tap.

And, suddenly, A and B are yoyo’ed back together. The process begins again.

Therefore, there is no follow-up question for the proposition, nor, of course, any answer. Merely dissatisfaction.

And so they dance, forever.
Nuances develop, but the situation remains the same. Tuned in, tuned out.


Nadia Belerique (b. 1982, Toronto) lives and works in Toronto, ON. She received her MFA from the University of Guelph in 2012. Belerique recently had solo exhibitions at Daniel Faria Gallery, Toronto, ON and Gallery TPW, Toronto, ON. She was featured in group exhibitions at the 2016 Montreal Biennale; Gwangju Biennale, Gwangju, KR; and Showroom, UTAC, Toronto, ON.

Marie-Michelle Deschamps (b. 1980, Montreal) lives and works in Montreal, QC. She graduated from a MFA at the Glasgow School of Art in 2012. Deschamps has presented her work notably at Fonderie Darling, Montreal, QC; Battat Contemporary, Montreal, QC; Triangle France, Paris, FR; and Collective, Edinburgh, UK. Upcoming exhibitions include YYZ, Toronto, ON; Austellungraum Klingenthal, Basel, CH; and Occidental Temporary, Paris, FR.

Stephanie Hier (b. 1992, Toronto) lives and works in Queens, NY. She graduated with a BFA from OCADU in 2014. Hier has shown internationally with solo and two person exhibitions at NEOCHROME, Turin, IT; Threefourthreefour, Brooklyn, NY; NADA with Ed. Varie, New York, NY, and Johannes Vogt, New York, NY. Hier’s recent and forthcoming group exhibitions include The Power Plant, Toronto, ON; AC Repairs Co, Toronto, ON; Et. Al., San Francisco, CA; Pony Club, Antwerp, BE; Bb, Baltimore, MA; Sensei Gallery, New York, NY; CK2, Montreal, QC; Art Gallery of Ontario, Toronto, ON; CARRIER Arts, Toronto, ON. Hier has been a national finalist in the RBC Painting Competition in 2016 and was awarded the OCADU Evans award as well as the B.I.G. Grant in 2014.

Erin Baillie-Rutter (b. 1991, Montreal) lives and works in Montreal, QC. She has presented her work in group exhibitions at Pool House in Toronto, ON; La Centrale, Montreal, QC; and Glass Door Gallery, Montreal, QC; and with The Coven collective in San Francisco, CA and Oakland, CA. Her writing has been published online in Madame Wang and Automaton V.