https://amelielaurencefortin.com Amelie Laurence Fortin Tue, 07 Jul 2026 11:58:10 +0000 https://amelielaurencefortin.com en https://amelielaurencefortin.com/News-2026-1 Tue, 08 Jul 2025 16:00:34 +0000 Amelie Laurence Fortin https://amelielaurencefortin.com/News-2026-1 Exhibitions- residencies - scenographies - commissioned works 2026Avatar, Sound and Electronic Art Center /&nbsp;Residency - commissioned piece - February, 2026Manif d’Art, Quebec City Biennale /&nbsp;Exhibition - February - April 2026 Festival Trans America (FTA), Mystic-Métallic, Stage scenography - 02-08 June, 2026 Bliss Gallery, Magnetic Field /&nbsp;Exhibition - 11 June - 25 July, 2026Sporobole Art Center - Residency and exhibition / commissioned piece&nbsp; Géomatique - Public Sculpture / October, 2026 Press 2026Ligne Magazine, Friction d’Amélie Laurence Fortin chez Chiguer Contemporain : écouter la machine, March 2026 Vie des Arts, to be published (April 2026) Waldorf Artist Page, to be published (April 2026)Monographies and artists books&nbsp;KB50. 50 Jahre Künstlerhaus Bethanien,&nbsp;Kunstlerhaus Bethanien, Germany, 2024SUNBURST, Rimini Berlin and Kunstlerhaus Bethanien, Germany, 2023 LICHT SPEL, Werktank, Factory for Old and New Media, Belgium, 2020&nbsp; Roche Plante Mer Bois, VU PHOTO, Canada, 2019 Geographies périphériques, Centre Sagamie, Canada, 2019Programmation, commissariat Festival Mois Multi - Volet pro 2024 https://amelielaurencefortin.com/ABOUT-CONTACT Thu, 06 Apr 2017 08:44:55 +0000 Amelie Laurence Fortin https://amelielaurencefortin.com/ABOUT-CONTACT TÉLÉCHARGER PORTFOLIO DOWNLOAD&nbsp; Email&nbsp; · &nbsp;︎&nbsp; · &nbsp;︎&nbsp;&nbsp; ·&nbsp;︎&nbsp; · &nbsp;Linktree DÉMARCHE ET BIOGRAPHIE Artiste interdisciplinaire, commissaire et auteure, Amélie Laurence Fortin vit et travaille entre le Canada et la Pologne. À travers ses installations, ses sculptures et ses œuvres sonores, elle crée des récits futuristes dans lesquels les objets témoignent d'actions passées ou futures. Ses derniers projets sont l'occasion de questionner les bouleversements technologiques actuels à travers une approche formelle radicale, monumentale et performative. Où les récits fictionnels féministes opaques et l'ambiguïté entre le technique et le magique créent l'émergence de l'aléatoire. Une sélection de ses récentes expositions et résidences de recherche comprend : Radio28 CS (Mexique), Sporobole (Canada), Express Newark (É-U), Tallin Art Hall (Estonie), Fonderie Darling (Canada), KIKK Festival (Belgique), BWA galeria studio (Pologne), Künstlerhaus Bethanien (Berlin), Axenéo7 (Canada), Manif d'Art Biennale (Canada), The Arctic Circle (Norvège), Avatar (Canada), Enia Gallery (Grèce), ainsi que plusieurs foires locales, internationales et des sculptures publiques. Amélie Laurence Fortin s'installe à Berlin à l'occasion d'un concours national, lui accordant une résidence d'un an au Künstlerhaus Bethanien (2020), puis se délocalise à Varsovie (2021). Elle a été présélectionnée pour le prix Videre (2020) et est lauréate du prix René-Richard et du prix ADFU (2011), du prix Louis-Garneau et du Prix Tomber dans l’Oeil (2003). Son travail a été publié dans Szum Magazine, BLOK Magazine, BerlinArtLink, BE Magazine, EFSYN Magazine, Esse Art+Opinion, Espace Magazine, Ciel Variable, entre autres. Fortin a obtenu un baccalauréat en arts visuels (Université Laval 2004). Elle a ensuite suivi une formation d'aventurière autodidacte au Canada et aux États-Unis, participant à de nombreuses expéditions en kayak de mer dans les océans Atlantique et Pacifique, tout en participant activement à des résidences artistiques et à des expositions au Canada et en Europe. Fortin détient une maîtrise en sculpture (Université Laval, 2011). ARTISTIC STATEMENT AND BIOGRAPHY Interdisciplinary artist, programmer and author Amélie Laurence Fortin lives and works between Canada and Poland. Through her installations, sculptures and sound works, she creates futuristic narratives in which objects bear witness to past or future actions. Her latest projects are an opportunity to question current technological upheavals through a radical, monumental and performative formal approach. Where opaque feminist fictional narratives and the ambiguity between the technical and the magical create the emergence of the random. A selection of her recent exhibitions and research residencies includes: Radio28 CS (Mexico), Sporobole (Canada), Express Newark (USA), Tallin Art Hall (Estonia), Darling Foundry (Canada); KIKK Festival (Belgium), BWA galeria studio (Poland), Künstlerhaus Bethanien (Berlin); Manif d’Art Biennale (Canada), The Artic Circle (Norway), Avatar Center (Canada), Enia Gallery (Greece), as well as several local and international fairs. Amélie Laurence Fortin moved to Berlin for the occasion of a national competition, granting her a one-year residency at the Künstlerhaus Bethanien (2020) and then relocated to Warsaw (2021). She was shortlisted for the Prix Videre in 2020; and is the winner of the Prix René-Richard and Prix ADFU (2011); Prix Louis-Garneau and Prix Tomber dans l’Oeil (2003). Her work has been reviewed in Szum Magazine, BLOK Magazine, BerlinArtLink, BE Magazine, EFSYN Magazine, Esse Art+Opinion, Espace Magazine, Ciel Variable among others. Fortin earned a BFA in visual art (Université Laval 2004). She then trained as a self-taught adventurer in Canada and USA, taking part in numerous expeditions in ocean kayaking in both Atlantic and Pacific Ocean, while becoming actively taking parts in art residencies and exhibition in Canada and in Europe. Fortin holds a master’s degree in sculpture (Université Laval, 2011). https://amelielaurencefortin.com/Magnetic-Fields Tue, 23 Jun 2026 10:42:13 +0000 Amelie Laurence Fortin https://amelielaurencefortin.com/Magnetic-Fields Magnetic Fields.Mixed media. 2026.A duo exhibition with Amélie McKeeCurator: Katarzyna Piskorz.Bliss Gallery&nbsp; <img width="1075" height="1613" width_o="1075" height_o="1613" data-src="https://freight.cargo.site/t/original/i/32d6f074154c0ab7c3f0c6e1b2c6799e7d867e247153ed9f76728e2ee98e0357/S-57.jpg" data-mid="249723564" border="0" src="https://freight.cargo.site/w/1000/i/32d6f074154c0ab7c3f0c6e1b2c6799e7d867e247153ed9f76728e2ee98e0357/S-57.jpg" /> <img width="1054" height="1581" width_o="1054" height_o="1581" data-src="https://freight.cargo.site/t/original/i/835a6c3e869707ea4df02588910ee17a754367689ede4bba3edeed8f1a1ef01e/S-58.jpg" data-mid="249723572" border="0" src="https://freight.cargo.site/w/1000/i/835a6c3e869707ea4df02588910ee17a754367689ede4bba3edeed8f1a1ef01e/S-58.jpg" /> <img width="1075" height="1613" width_o="1075" height_o="1613" data-src="https://freight.cargo.site/t/original/i/df3abb0fa023ad0c7273d9b54600c0e13729e80783d37068b5c16f8796632b20/S-59.jpg" data-mid="249723561" border="0" src="https://freight.cargo.site/w/1000/i/df3abb0fa023ad0c7273d9b54600c0e13729e80783d37068b5c16f8796632b20/S-59.jpg" /> <img width="1572" height="1079" width_o="1572" height_o="1079" data-src="https://freight.cargo.site/t/original/i/e582a930b88813c58cc1815333bc694a4bc49c2a9a96ed308d31c6163206652d/S-55.jpg" data-mid="249723568" border="0" src="https://freight.cargo.site/w/1000/i/e582a930b88813c58cc1815333bc694a4bc49c2a9a96ed308d31c6163206652d/S-55.jpg" /> <img width="1613" height="1075" width_o="1613" height_o="1075" data-src="https://freight.cargo.site/t/original/i/fb1cfb7ea6d96dad10caf8752902c5f4d07fb074384d0fa9d2f1f925f67be16c/S-03.jpg" data-mid="249723570" border="0" src="https://freight.cargo.site/w/1000/i/fb1cfb7ea6d96dad10caf8752902c5f4d07fb074384d0fa9d2f1f925f67be16c/S-03.jpg" /> <img width="6555" height="4370" width_o="6555" height_o="4370" data-src="https://freight.cargo.site/t/original/i/9de786a2a1aacb1747d467af0154121fdf905282a9b69202ad3a4b49faa4e9e9/S-04.jpg" data-mid="249723596" border="0" src="https://freight.cargo.site/w/1000/i/9de786a2a1aacb1747d467af0154121fdf905282a9b69202ad3a4b49faa4e9e9/S-04.jpg" /> <img width="1621" height="1333" width_o="1621" height_o="1333" data-src="https://freight.cargo.site/t/original/i/acf087725c4e34ab7e3705529fd1608c4b708fe5df2a1b4b5c4e1abcf453d238/web_Amelie_L_bliss_gallery_011-corrALF.jpg" data-mid="250183351" border="0" src="https://freight.cargo.site/w/1000/i/acf087725c4e34ab7e3705529fd1608c4b708fe5df2a1b4b5c4e1abcf453d238/web_Amelie_L_bliss_gallery_011-corrALF.jpg" /> <img width="1758" height="1333" width_o="1758" height_o="1333" data-src="https://freight.cargo.site/t/original/i/6da70aca084c6aa06116f0580bd3bb601554c77f66da37b57a1d4b160fbed0c0/web_Amelie_L_bliss_gallery_010-corrALF.jpg" data-mid="250183352" border="0" src="https://freight.cargo.site/w/1000/i/6da70aca084c6aa06116f0580bd3bb601554c77f66da37b57a1d4b160fbed0c0/web_Amelie_L_bliss_gallery_010-corrALF.jpg" /> <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/212c0b5c559394e4cd6358b34db4281aaf8a1dea052078e8404d2e6e436447c7/web_Amelie_L_bliss_gallery_009-corrALF.jpg" data-mid="250183353" border="0" src="https://freight.cargo.site/w/1000/i/212c0b5c559394e4cd6358b34db4281aaf8a1dea052078e8404d2e6e436447c7/web_Amelie_L_bliss_gallery_009-corrALF.jpg" /> <img width="1979" height="1319" width_o="1979" height_o="1319" data-src="https://freight.cargo.site/t/original/i/10f4f1c96599bb379bc76084d8e676ffeafbc8cfb22a73b9ad895728f03cca11/web_Amelie_L_bliss_gallery_005-corrALF.jpg" data-mid="250183447" border="0" src="https://freight.cargo.site/w/1000/i/10f4f1c96599bb379bc76084d8e676ffeafbc8cfb22a73b9ad895728f03cca11/web_Amelie_L_bliss_gallery_005-corrALF.jpg" /> <img width="1236" height="1906" width_o="1236" height_o="1906" data-src="https://freight.cargo.site/t/original/i/0ac76c6330368ebeb090c5bd3119b8bd7dea3f93d31a26ea4799bf77f8a50301/web_Amelie_L_bliss_gallery_013-corrALF.jpg" data-mid="250183355" border="0" src="https://freight.cargo.site/w/1000/i/0ac76c6330368ebeb090c5bd3119b8bd7dea3f93d31a26ea4799bf77f8a50301/web_Amelie_L_bliss_gallery_013-corrALF.jpg" /> <img width="1315" height="1973" width_o="1315" height_o="1973" data-src="https://freight.cargo.site/t/original/i/8b6d010b52051deb2d2007e786683015563a3dc9e40dcaaa29f7c4ce6e723801/web_Amelie_L_bliss_gallery_003-corrALF.jpg" data-mid="250183356" border="0" src="https://freight.cargo.site/w/1000/i/8b6d010b52051deb2d2007e786683015563a3dc9e40dcaaa29f7c4ce6e723801/web_Amelie_L_bliss_gallery_003-corrALF.jpg" /> <img width="1071" height="1729" width_o="1071" height_o="1729" data-src="https://freight.cargo.site/t/original/i/3cc89db32ce81b900b26ad2a1763e1b293f84def26982b4cb4750ea5341ac6ff/web_Amelie_L_bliss_gallery_001-corrALF.jpg" data-mid="250183357" border="0" src="https://freight.cargo.site/w/1000/i/3cc89db32ce81b900b26ad2a1763e1b293f84def26982b4cb4750ea5341ac6ff/web_Amelie_L_bliss_gallery_001-corrALF.jpg" /> photos: courtesy of Bliss Gallery In Stanisław Lem’s Solaris, scientists spend decades studying the ocean that covers the planet’s surface. They build countless instruments, develop classifications, and produce vast amounts of knowledge, yet remain unable to answer a fundamental question: what are they actually dealing with? Every attempt to render the nonhuman in all its complexity fails.&nbsp;Its structures and functions resist meaning. The more tools they create, the more obvious the limitations of established human conceptual frameworks become. Knowledge offers no proximity to an answer; it instead exposes the vastness of their ignorance. Magnetic Fields emerges from a similar experience. The exhibition does not speak about space or technology in a literal sense. Both artists are interested in phenomena that remain beyond direct perception, yet they do not approach them as scientific subjects. Instead, they focus on the moments when the invisible begins to shape our lives, our behaviour, and our understanding of the world. They are equally interested in the ways we attempt to rationalise and domesticate what ultimately escapes comprehension. The exhibition opens with Amélie Laurence Fortin’s Gravity, a work that evokes the symbolic gesture of claiming space and asserting control over territory. One of the most recognisable examples of such a gesture remains the placement of a flag on the Moon’s surface. This image has come to symbolise not only exploration, but also the projection of earthly ambitions beyond the limits of our planet. Yet these objects do not function as symbols of victory. They appear instead as relics of a particular idea, traces of a persistent need to mark, measure and control space. The flag is stripped of its original function. The neutrality of aluminium stands in contrast to national colours and identifying symbols, transforming it into an anonymous remnant of a failed expedition. Rather than celebrating conquest, the work points to the fragility of the very idea of domination within a space that resists human notions of ownership and borders. The search for new territories of exploitation returns in Fortin’s animation Lunaricity. The work begins with a vision of the Moon encircled by a vast structure of solar panels harvesting energy from the sun. Framed as a speculative utopia, the project imagines alternative futures for energy production while challenging the imperial logic that has long shaped humanity’s relationship to territory, expansion and resource extraction. Yet it is difficult not to recognise a distinctly contemporary desire that underlies this vision: the promise of unlimited access to energy. Contemporary societies operate within a rhythm of continuous activity. Production, communication and the flow of information do not stop at sunset. In Fortin’s video, the Moon ceases to be a celestial body and becomes part of a global energy infrastructure. In the monumental composition Wallpaper Fortin brings together two seemingly separate orders: the organic and the cosmic, the industrial and the technological. Fiery eruptions and flashes of lightning coexist alongside ventilation ducts, cables, fragments of industrial architecture and structures resembling technical installations. Through symmetry, everything is transformed into a kind of contemporary mandala in which infrastructure begins to resemble cosmology. In Solar Sail, Fortin incorporates a video showing the Sun rotating on its axis. The projection is viewed through an open metal structure that recalls both a scientific instrument and a speculative model. The title refers to solar sails-spacecraft propulsion systems that harness the pressure of sunlight to travel through space without conventional fuel. Echoing this principle, the work draws attention to forms of movement and energy that depend not on extraction but on existing cosmic forces. The structure evokes centuries of attempts to describe and navigate the cosmos through mathematics and geometry, from early astronomical models to contemporary scientific visualisations. At the same time, the artist introduces a subtle sense of reversal. The star appears to rotate backwards, although this effect is merely an illusion produced by the perspective of an Earth-bound observer. The work gently unsettles the assumption that observation offers direct access to reality, reminding us that even the most familiar celestial phenomena remain dependent on the frameworks through which we perceive them. Fortin’s cosmic imagination intersects with Jonathan Crary’s diagnosis of contemporary life. In 24/7, Crary describes a world that is permanently active, accessible and illuminated. A world in which night no longer marks the boundary between work, rest and recovery. Continuous activity becomes a product of capitalism, a system that seeks to exploit every moment while eliminating spaces of privacy, rest and sleep. Within this framework, night, sleep, and idleness become forms of resistance. Crary refers to Andrei Tarkovsky’s Solaris as a metaphor for this condition. Constant exposure to light and prolonged isolation lead the scientists aboard the station to lose contact with both reality and themselves. “Visitors” appear, embodiments of memory and unresolved experience. For Crary, this is a figure of a culture without interruption, a world that has lost its capacity for regeneration. In a 24/7 reality, the ghosts of the past find no release because night, the time of forgetting and dreaming, no longer exists. In Fortin’s work, fascination with the possibilities of technology is continually confronted with questions about the cost of expansion. Space does not appear as a territory free from earthly conflicts. It becomes another frontier onto which familiar mechanisms of extraction, exploitation and control are projected. Amélie McKee examines a different aspect of the same reality. Her works evoke antennas, sensors and measuring devices, at times repurposing existing technologies and fabricating them entirely. They look as though they have been designed to capture signals arriving from elsewhere. Yet we never learn who is transmitting, what is being transmitted, or whether any transmission exists at all. The ambiguous nature of the processes truly at play sits at the centre of her practice. Pillow Talk prods at an experiment left running unattended, as if something were being measured or monitored. At first glance, it resembles a technical observation station. A tripod-like device, a cable mysteriously buried inside a backpack, evokes a generator, a field computer or equipment used to record data. Every element&nbsp;suggests precision, with the lures and bobbins meticulously organised across the backpack’s repeating pockets, suggesting control and the possibility of measurement.&nbsp;In this sense, the work addresses the limits of perception. Not what we see, but how many processes unfold beyond our immediate experience. Technology becomes a kind of sensory prosthesis, a tool that&nbsp;alludes to&nbsp;contact with something distant or invisible. At the same time, the work raises questions about the act of observation itself. Contemporary technologies do not simply help us register reality. Increasingly, they function as instruments of surveillance. We are constantly observed, tracked and analysed, often without knowing when it happens or through which devices. The most effective systems of control remain almost invisible. They hide within everyday objects, phones, computers, applications and communication networks. The apparatuses present in McKee’s work seem to oscillate between these two functions. They may serve understanding, but they may just as easily serve monitoring. A similar tension appears in the PCB series: Microwave, Radiatorand Television. McKee transforms antenna schematics into sculptural forms, etching actual circuit boards into blow-up flat antenna designs.&nbsp;Printed circuit boards usually remain invisible, hidden inside devices beneath protective casings. McKee brings them to the surface and presents them as aesthetic objects in their own right. Her works are small and require close attention, creating a sense of intimacy that contrasts with the spectacle typically associated with high-tech technologies. Copper surfaces, cables and metal brackets coexist with false eyelashes, subtle pastel colours and organic forms, among which tooth-like elements appear. This juxtaposition challenges conventional distinctions between the technological and the human, between what has been engineered to detect and measure and what organically senses and responds. As a result, technology ceases to function as an anonymous tool and begins to appear as something much closer to the body. Televisionin particular resembles a hybrid of sensor and eye. Eyelashes are among the most recognisable signs of human presence, closely associated with vision, perception and corporeality. McKee’s works can be read as attempts to imagine new forms of perception and sensitivity. She asks what might happen if electronics were no longer limited to communication and control, but instead became an extension of perception, something akin to an additional sensory organ. In this scenario, a cable begins to resemble a nerve, a circuit board becomes skin, and a sensor becomes an eye. The boundary between organism and machine becomes increasingly difficult to define. Teledildonics makes explicit something that remains more subtle elsewhere in McKee’s practice: technology no longer serves only communication and information exchange. Increasingly, it mediates desire, intimacy and relationships. The term teledildonics refers to technologies that enable remote sexual experiences through electronic devices. It sounds futuristic, yet we already inhabit a world shaped by similar principles. Dating apps, messaging platforms, recommendation algorithms and internet-connected devices all contribute to a reality in which intimacy increasingly operates as part of a technological infrastructure. McKee is interested in the moment when the logic of optimisation enters the most private areas of life. If contemporary capitalism seeks to optimise work, communication, transport and production, why would it stop at sexuality? In her work, desire becomes another signal subject to transmission, regulation and processing. These themes return in On Alignment. Combining archival footage, advertisements and amateur recordings with images of contemporary technologies, McKee traces a path from postwar technological optimism to a reality shaped by algorithms and artificial intelligence. The film, made in collaboration with Melle Nieling, presents a world of constant information flow in which it becomes increasingly difficult to determine what constitutes an autonomous decision and what results from systems designed to predict and shape human behaviour. What happens to perception when more and more of reality reaches us through programmed systems? How do algorithms influence our choices, emotions and actions? And in a world saturated with information, are we still capable of distinguishing our own desires from those suggested to us? Magnetic Fields is a story about different ways of visualising the invisible and about attempts to navigate a reality filled with signals that we cannot directly perceive and, at times, cannot fully decipher. For Fortin, these are forces that shape our cosmic and technological imagination; for McKee, they take the form of flows of information, relationships and communication systems that increasingly mediate our experience of the world. As we attempt to understand, record and interpret them, another question emerges: what is it that we are actually hoping to find on the other side? In Solaris, the answer is unexpected. We do not seek new worlds. We seek reflections of ourselves. For Fortin, outer space becomes a surface onto which we project earthly ambitions, desires and imaginaries. For McKee, a similar role is played by communication networks, algorithms and technologies designed to receive and transmit signals. Rather than revealing the world as it is, they often expose our own needs, anxieties and expectations. Both artists are interested in the moment when we realise that the world is far greater than the cognitive frameworks we have devised to understand it. Curator: Katarzyna Piskorz List of artworks&nbsp; Gravity, kinetic sculpture, aluminium, motor, copper, blue light (2019-2026) Wallpaper, The Arcadia Circle, print on vinyle (2020) Solar Sail, mono channel video, steel (2026) Storytelling, aluminium (2023-2026) https://amelielaurencefortin.com/Mystic-Metallic Tue, 23 Jun 2026 10:14:45 +0000 Amelie Laurence Fortin https://amelielaurencefortin.com/Mystic-Metallic Mystic-Métallic.Scénography. Objet, logo. 2026.L’Annexe A / &nbsp;Festival Trans Amérique / La Chapelle, Scènes contemporaines <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/10e304fe78b5a66fa5655c1dcb2d1b9d26b8bd5133be90a03460447d252d02a1/FTA_Mystic-Metallic_VivienGaumand_12.jpg" data-mid="249795758" border="0" src="https://freight.cargo.site/w/1000/i/10e304fe78b5a66fa5655c1dcb2d1b9d26b8bd5133be90a03460447d252d02a1/FTA_Mystic-Metallic_VivienGaumand_12.jpg" /> <img width="2048" height="1366" width_o="2048" height_o="1366" data-src="https://freight.cargo.site/t/original/i/674cac41bc32936b1eea75b6699fb094ab6ebfdba116f78973b7953ed00b95da/718792981_10175230798025085_3313446909979505958_n.jpg" data-mid="249722920" border="0" src="https://freight.cargo.site/w/1000/i/674cac41bc32936b1eea75b6699fb094ab6ebfdba116f78973b7953ed00b95da/718792981_10175230798025085_3313446909979505958_n.jpg" /> <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/48faa4c4f3446e52905122ceaf6b6b8aab3d81fcc754be3ac84ab1f029ba7ba7/att.mY6X41VYSOsgyAB1ufoZq2arUZ5uQaKYpVSWq1jlNWQ.JPG" data-mid="249723388" border="0" src="https://freight.cargo.site/w/1000/i/48faa4c4f3446e52905122ceaf6b6b8aab3d81fcc754be3ac84ab1f029ba7ba7/att.mY6X41VYSOsgyAB1ufoZq2arUZ5uQaKYpVSWq1jlNWQ.JPG" /> <img width="2048" height="1366" width_o="2048" height_o="1366" data-src="https://freight.cargo.site/t/original/i/fee6a7e62882e215848ff4168022451b40809f1a1a7cbf74efe7258536a9639e/718190681_10175230903970085_2759203086050202779_n.jpg" data-mid="249722921" border="0" src="https://freight.cargo.site/w/1000/i/fee6a7e62882e215848ff4168022451b40809f1a1a7cbf74efe7258536a9639e/718190681_10175230903970085_2759203086050202779_n.jpg" /> <img width="1366" height="1366" width_o="1366" height_o="1366" data-src="https://freight.cargo.site/t/original/i/5807f69d29b7ba0fd2bf3dae62d284a15326b6e93d577ddf9de02591a0b57594/718014691_1412343477606254_7337738854784933233_n.jpg" data-mid="249722922" border="0" src="https://freight.cargo.site/w/1000/i/5807f69d29b7ba0fd2bf3dae62d284a15326b6e93d577ddf9de02591a0b57594/718014691_1412343477606254_7337738854784933233_n.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/2114030375d30e0b2ad0871e62ccdcac2afe68c0ba28a309393356a7d44af2ab/FTA_Mystic-Metallic_VivienGaumand_64.jpg" data-mid="249795755" border="0" src="https://freight.cargo.site/w/1000/i/2114030375d30e0b2ad0871e62ccdcac2afe68c0ba28a309393356a7d44af2ab/FTA_Mystic-Metallic_VivienGaumand_64.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/31de3436314170ca16c9edaf35394c0ae52df4f059e06d22dedc166fc4273d9c/FTA_Mystic-Metallic_VivienGaumand_17.jpg" data-mid="249795757" border="0" src="https://freight.cargo.site/w/1000/i/31de3436314170ca16c9edaf35394c0ae52df4f059e06d22dedc166fc4273d9c/FTA_Mystic-Metallic_VivienGaumand_17.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/96cad27c1a2a73118431ca8e27c25fa0bd26cd923032faad7208939a3ffaf224/FTA_Mystic-Metallic_VivienGaumand_48.jpg" data-mid="249795753" border="0" src="https://freight.cargo.site/w/1000/i/96cad27c1a2a73118431ca8e27c25fa0bd26cd923032faad7208939a3ffaf224/FTA_Mystic-Metallic_VivienGaumand_48.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/c3ca1bffe107827d2913d46b863004a5fcbaaa898edf07a0a366d1921fbce25c/Capture-decran--le-2026-06-07-a-08.47.49.jpg" data-mid="249795751" border="0" src="https://freight.cargo.site/w/1000/i/c3ca1bffe107827d2913d46b863004a5fcbaaa898edf07a0a366d1921fbce25c/Capture-decran--le-2026-06-07-a-08.47.49.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/c92f01a67deec230ac0fd60cfe2e2d787600319baf71bf33210b6e8bed3f822f/FTA_Mystic-Metallic_VivienGaumand_2.jpg" data-mid="249795750" border="0" src="https://freight.cargo.site/w/1000/i/c92f01a67deec230ac0fd60cfe2e2d787600319baf71bf33210b6e8bed3f822f/FTA_Mystic-Metallic_VivienGaumand_2.jpg" /> credit photos :&nbsp;Vivien Gaumand Mystic-MétallicN. Zoey Gauld + Audrée Juteau +&nbsp;Catherine Lavoie-MarcusCrédits Une production de L’Annexe-ACréation et performance N. Zoey Gauld + Audrée Juteau + Catherine Lavoie-MarcusDirection de projet Audrée JuteauScénographie Amélie Laurence FortinLumières Karine GauthierVidéo Guillaume ValléeConception sonore Simon LabbéExtraits musicaux de Guhn Twei (Glencorruption), revisités par Simon LabbéConseil artistique Ellen Furey + Maria Kefirova + Katie WardMentorat en chant métal Emmanuel Audet + Maude ThébergeDirection technique Karine GauthierAide à la diffusion Art Circulation Coproduction Festival TransAmériques +&nbsp;Le RadeauAvec le soutien de Programme de partenariat territorial de l’Abitibi-Témiscamingue Résidences de création La Chapelle Scènes Contemporaines&nbsp;+&nbsp;Agora des arts (Rouyn-Noranda)&nbsp;+&nbsp;Service culturel de la Ville de Val-d’Or&nbsp;+&nbsp;Compagnie Marie Chouinard&nbsp;+&nbsp;Département de danse de l’UQAM + Danse-Cité +&nbsp;Musée d'art de Rouyn-Noranda Remerciements Félix B. Desfossés + Simon Turcotte + Rodrigue Turgeon Coprésenté par La Chapelle Scènes Contemporaines Création au Festival TransAmériques, le 4 juin 2026 Rédaction Catherine Lavoie-Marcus + Fabienne CabadoTraduction David Dalgleish Échos des médias « Le visuel est punk, apocalyptique et profondément féministe. La pièce adopte pourtant un ton lumineux et ludique, rendant tout son pouvoir au mouvement du corps et au plaisir organique de la danse.&nbsp;[...] Mystic-Informatic invite le public à plonger dans un monde d’émerveillement et de réflexion, où la croissance dans l’adversité est célébrée avec éclat, offrant une leçon d’espoir dans un monde en mutation.&nbsp;» - À propos de Mystic-Informatic Claudia Caron, L’indice bohémien https://amelielaurencefortin.com/Friction-1 Wed, 03 Dec 2025 08:17:38 +0000 Amelie Laurence Fortin https://amelielaurencefortin.com/Friction-1 Friction.Mixed media. 2026.Kinetic-sound sculpture. Bieniale Manif d’Art 12 <img width="4252" height="2835" width_o="4252" height_o="2835" data-src="https://freight.cargo.site/t/original/i/97e82f2fb886ec08e76de520573f1b55875cf76ab2439c9be1a7340ae9862272/cargo-M12_Photos_AmelieLaurenceFortin_ChiguerArtContemporain_Credit_IvanBinet_11.jpg" data-mid="246216852" border="0" src="https://freight.cargo.site/w/1000/i/97e82f2fb886ec08e76de520573f1b55875cf76ab2439c9be1a7340ae9862272/cargo-M12_Photos_AmelieLaurenceFortin_ChiguerArtContemporain_Credit_IvanBinet_11.jpg" /> <img width="4252" height="2835" width_o="4252" height_o="2835" data-src="https://freight.cargo.site/t/original/i/6740f2b29a392af6a89f20ab2a0ce9540bf87860ecdfbe5c4beb8c44787f1029/cargo-M12_Photos_AmelieLaurenceFortin_ChiguerArtContemporain_Credit_IvanBinet_19.jpg" data-mid="246216849" border="0" src="https://freight.cargo.site/w/1000/i/6740f2b29a392af6a89f20ab2a0ce9540bf87860ecdfbe5c4beb8c44787f1029/cargo-M12_Photos_AmelieLaurenceFortin_ChiguerArtContemporain_Credit_IvanBinet_19.jpg" /> <img width="4252" height="2835" width_o="4252" height_o="2835" data-src="https://freight.cargo.site/t/original/i/6e82fa154ed6e678ae6e9dfaf94fcf51b858c2f1cde42289c6c53def464997cf/cargo-M12_Photos_AmelieLaurenceFortin_ChiguerArtContemporain_Credit_IvanBinet_2.jpg" data-mid="246216850" border="0" src="https://freight.cargo.site/w/1000/i/6e82fa154ed6e678ae6e9dfaf94fcf51b858c2f1cde42289c6c53def464997cf/cargo-M12_Photos_AmelieLaurenceFortin_ChiguerArtContemporain_Credit_IvanBinet_2.jpg" /> <img width="4252" height="2835" width_o="4252" height_o="2835" data-src="https://freight.cargo.site/t/original/i/f86f80e6082059df748eff997d4385874a2cae4ba608c82cbc5a197bc628508b/cargo-M12_Photos_AmelieLaurenceFortin_ChiguerArtContemporain_Credit_IvanBinet_9.jpg" data-mid="246216851" border="0" src="https://freight.cargo.site/w/1000/i/f86f80e6082059df748eff997d4385874a2cae4ba608c82cbc5a197bc628508b/cargo-M12_Photos_AmelieLaurenceFortin_ChiguerArtContemporain_Credit_IvanBinet_9.jpg" /> &nbsp;&nbsp; Texte d’exposition de la Biennale En hiver, le territoire québécois se transforme sous l’effet d’un froid aride qui comprime l’air, raidit les surfaces et impose à nos corps une endurance constante. Le sol craque, les structures répondent au froid et la pression du climat façonne autant le paysage que nos gestes. L’œuvre d’Amélie Laurence Fortin s’inscrit dans cette expérience de tension et de résistance : un ensemble de chaînes glissent et frottent inlassablement la surface d’un monolithe de métal, nous engageant dans une confrontation sensible avec un mouvement perpétuel qui persiste. Opposant le mouvement mécanique de chaînes brillantes à la masse immobile d’un bloc d’acier, l’installation déploie une composition sonore polyphonique jouée en direct qui, par ses mouvements, génère des sonorités qui se transforment et se modifient au fil de l’exposition. Si le bloc de métal peut rappeler un monument, c’est le mécanisme qui l’active et la friction entre les métaux qui permettent l’évocation des notions de contrainte, de tension et de durée. Cette pression, elle s’applique non seulement sur les matériaux de l’installation, mais aussi sur nos corps. Les fréquences et les bruits émis par les mouvements des chaînes interpellent nos sens de manières multiples, transformant notre relation à l’objet et l’espace. Ainsi, Friction sollicite une certaine endurance psychologique et physique: la même que l’artiste observe autant au Canada qu’en Pologne, où elle partage sa vie artistique. « Mon travail est souvent influencé par le territoire, et actuellement par la tension politique des frontières ». Ainsi, l’œuvre sculpturale, cinétique et sonore de Fortin fonctionne comme un objet performatif radical qui permet une réflexion sur la matière, territoire&nbsp; et le temps : ceux vécus et ceux évoqués. – Commande oeuvre d’Avatar, centre d’artistes en art audio et électronique Production en collaboration avec le Conseil des arts et des lettres du Québec, Manif d’Art – Liens Partenaires Producteur : Avatar, centre en arts sonore et électronique Diffuseur et logistique : Manif d’Art Biennale de Québec ArticlesMagazine LigneVie des Arts Waldorf - Community_ Remerciements Conseil des arts et des lettres du Québec, Jean-François Lahos, Louis-Robert Bouchard, Delphine Hébert-Marcoux, Miriane Rouillard, Vincent Hinse, Klaudiusz Ślusarczyk et Wojciech Sikora. Biennale Exhibition Text In winter, Quebec’s landscape is transformed by the effects of bitter cold, which compresses the air, stiffens surfaces, and demands constant endurance from our bodies. The ground cracks, structures respond to the cold, and the pressure of the climate shapes both the landscape and our movements. Amélie Laurence Fortin’s work is part of this experience of tension and resistance: a set of chains slide and rub tirelessly against the surface of a metal monolith, engaging us in a sensitive confrontation with a perpetual movement that persists. Contrasting the mechanical movement of shiny chains with the immobile mass of a steel block, the installation deploys a live polyphonic sound composition that, through its movements, generates sounds that transform and change throughout the exhibition. While the metal block may resemble a monument, it is the mechanism that activates it and the friction between the metals that evokes notions of constraint, tension, and duration. This pressure is applied not only to the materials of the installation, but also to our bodies. The frequencies and noises emitted by the movements of the chains engage our senses in multiple ways, transforming our relationship with the object and the space. Thus, Friction calls for a form of psychological and physical endurance—the same that the artist observes both in Canada and in Poland, where she shares her artistic life. “My work is often influenced by territory, and currently by the political tension of borders.” In this way, Fortin’s sculptural, kinetic, and sonic work functions as a radical performative object, allowing for a reflection on matter, territory, and time: those experienced and those evoked. – Comissionned by Avatar, artist-run center for audio and electronic arts Produced in collaboration with the Conseil des arts et des lettres du Québec and Manif d’Art _ Links Partners Producer : Avatar center for sound and electronic Presenter and logistic : Manif d’art Quebec’s Biennale Media Ligne Magazine (in French) Vie des Arts Waldorf - Community _ Thanks to Conseil des arts et des lettres du Québec, Jean-François Lahos, Louis-Robert Bouchard, Delphine Hébert-Marcoux, Miriane Rouillard, Vincent Hinse, Klaudiusz Ślusarczyk et Wojciech Sikora (initial research - creation). <img width="1350" height="600" width_o="1350" height_o="600" data-src="https://freight.cargo.site/t/original/i/befdd302999919e88f87902b9d8768e602e544da71b0a55c1401fe1cd6d462a2/Calq_noir.png" data-mid="246276961" border="0" data-scale="17" src="https://freight.cargo.site/w/1000/i/befdd302999919e88f87902b9d8768e602e544da71b0a55c1401fe1cd6d462a2/Calq_noir.png" /> https://amelielaurencefortin.com/Volcano Tue, 07 Jul 2026 11:58:10 +0000 Amelie Laurence Fortin https://amelielaurencefortin.com/Volcano Volcano study Print on Museo rag Popocatépelt at 5 am and collage, 2025 <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/f6420121dc1794f4e73b9956f7814546f5e0e6d64da95da4a4030743b50de743/levitation-1-2025.jpg" data-mid="250177851" border="0" src="https://freight.cargo.site/w/1000/i/f6420121dc1794f4e73b9956f7814546f5e0e6d64da95da4a4030743b50de743/levitation-1-2025.jpg" /> <img width="1678" height="1110" width_o="1678" height_o="1110" data-src="https://freight.cargo.site/t/original/i/72808213545ce8b533ef36d46f06c626ddafaa09afefdee459a9e41aaee55011/Capture-decran--le-2025-12-25-a-14.40.35.png" data-mid="250177772" border="0" src="https://freight.cargo.site/w/1000/i/72808213545ce8b533ef36d46f06c626ddafaa09afefdee459a9e41aaee55011/Capture-decran--le-2025-12-25-a-14.40.35.png" /> Thanks to Conseil des arts et des lettres du Québec, Tal Frank - Radio 28CS, Conseil des Arts du Canada https://amelielaurencefortin.com/Ny-Alesund Mon, 13 May 2024 08:47:03 +0000 Amelie Laurence Fortin https://amelielaurencefortin.com/Ny-Alesund Ny-Ålesund. Mixed media. 2024-2025.Sculpture, image, kinetic objects, performance, sound composition. <img width="2001" height="3000" width_o="2001" height_o="3000" data-src="https://freight.cargo.site/t/original/i/a7659034599257ffcb2fdce0570446b17e185603eb230cd0879335f1e0582933/056-materialities-amv-dasesszimmer-11.jpg" data-mid="216173577" border="0" src="https://freight.cargo.site/w/1000/i/a7659034599257ffcb2fdce0570446b17e185603eb230cd0879335f1e0582933/056-materialities-amv-dasesszimmer-11.jpg" /> <img width="3319" height="3008" width_o="3319" height_o="3008" data-src="https://freight.cargo.site/t/original/i/1196636d32e66af5bdcc87fcaeefc3629510ac1f40c0dfabc43e20e8ed777d0f/oboro2.jpg" data-mid="242168454" border="0" src="https://freight.cargo.site/w/1000/i/1196636d32e66af5bdcc87fcaeefc3629510ac1f40c0dfabc43e20e8ed777d0f/oboro2.jpg" /> <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/5548ea8a27ce0564a12c87a714f06b16924049e7b38d3dc742c3108a81c6a922/2025-01-22-ClarkPosteAudio001.jpg" data-mid="239680624" border="0" src="https://freight.cargo.site/w/1000/i/5548ea8a27ce0564a12c87a714f06b16924049e7b38d3dc742c3108a81c6a922/2025-01-22-ClarkPosteAudio001.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/71b4531e76b288e5ce83f4359b2d0ac121e432e657413068405e699423b368c9/Materialities-ALF-6.jpg" data-mid="210782998" border="0" src="https://freight.cargo.site/w/1000/i/71b4531e76b288e5ce83f4359b2d0ac121e432e657413068405e699423b368c9/Materialities-ALF-6.jpg" /> <img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/2d5299e7522881cd46c175a7a2cac7b8abb738976ad3a7a96f78a2b0f341e82e/IMG_3119-1-scaled.jpg" data-mid="239680983" border="0" src="https://freight.cargo.site/w/1000/i/2d5299e7522881cd46c175a7a2cac7b8abb738976ad3a7a96f78a2b0f341e82e/IMG_3119-1-scaled.jpg" /> <img width="3000" height="2143" width_o="3000" height_o="2143" data-src="https://freight.cargo.site/t/original/i/0bf8e8541b87fc532cfe17ade7a84e8209014537afd65133bb2fa077971b123d/056-materialities-amv-dasesszimmer-12.jpg" data-mid="216173714" border="0" src="https://freight.cargo.site/w/1000/i/0bf8e8541b87fc532cfe17ade7a84e8209014537afd65133bb2fa077971b123d/056-materialities-amv-dasesszimmer-12.jpg" /> Ny-Ålesund is the title of the first sound composition made by Amélie Laurence Fortin, and was produced with the recorded sounds of her five kinetic sculptures: Envoy, Decade, 2RPM, Two Revolutions Per Minute and Cloud Nine as well as field recordings she made in Svalbard and Jan Mayen. The epic sound journey is a 21-minute journey into an unknown landscape open to the imagination of every listener.&nbsp; In 2024, for a second residency at Avatar (CAN), Fortin immersed herself in composing, mixing and spatializing her recordings, to produce a first sound composition with the with the recorded sounds of her five kinetic sculptures and she drafts a spatialized installation that was publicly presented, in collaboration with centre Oboro (CAN).To illustrate the sound experience, for the group exhibition Materialities at&nbsp;Das Esszimmer - Raum Für Kunst (DE), Fortin added a printed collage and a long colorful hair tail entitled Siren. The 3 art pieces presented at Das Esszimmer gallery are remixes, an experimental way for the artist to activate the full potential of every materiality explored in her practice and to push the meaning of these to another level. It forces her to explore the boundaries of the materials and of her imagination. The collage was then decomposed for the presentation at centre Clark (CAN) in 2025 and only the sound composition was exhibited in the performance of Younes Baba-Ali at Express Newark (USA) in 2025. Watch spatialized Ny-Alesund Listen Ny-Alesund. EXHIBITED ///&nbsp;Centre Oboro, Sortie de résidence Avatar, Montréal, Canada, 2024 Das Esszimmer - Raum Für Kunst, Bonn, Germany, 2024. Biennale d’art performatif de Rouyn-Noranda - event design - Canada, 2024.Centre Clark - Poste audio - Montreal, Canada, 2025. Express Newark, Caroussa Sonore, New Jersey, USA, 2025.https://expressnewark.org/event/carroussa-sonore/ PRESS / CATALOGUE ///Publication/catalogue of&nbsp;Materialities exhibition Article in&nbsp;Kulturserwer NRW (in german)Radio interviews : CKIA - CKRL, 2024 ACKNOWLEDGEMENTS /// Conseil des arts et des lettres du Québec, Conseil des Arts du Canada, Avatar, centre en art sonore et électronique, centre Oboro, AMV, all the team at Das Esszimmer Raum Für Kunst, Younes Baba-Ali, Express Newark, Jean-Michel Quirion, centre Clark. Photo credits: Avatar, Clark, Youne Baba-Ali, Cindy Dumais, Das Esszimmer Raum Für Kunst. https://amelielaurencefortin.com/Storytelling Sun, 12 May 2024 17:41:23 +0000 Amelie Laurence Fortin https://amelielaurencefortin.com/Storytelling Storytelling.3-channels video installation, 2023. 3D animation. <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/cf7bba4e9865c3c1606cc74052a7d1692697455cb6e8810448110e7b88d7d849/_MGL6129.jpg" data-mid="216216104" border="0" src="https://freight.cargo.site/w/800/i/cf7bba4e9865c3c1606cc74052a7d1692697455cb6e8810448110e7b88d7d849/_MGL6129.jpg" /> <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/02e41b7bc2c6181f090e6bdb442996d69aff7806d0bab04715e248d41831c2bb/_MGL6128.jpg" data-mid="216216100" border="0" src="https://freight.cargo.site/w/800/i/02e41b7bc2c6181f090e6bdb442996d69aff7806d0bab04715e248d41831c2bb/_MGL6128.jpg" /> <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/5259512a796f4ba662c5ce76583303f4aa76c860bea95740cad5001869274db4/_MGL6127.jpg" data-mid="216216099" border="0" src="https://freight.cargo.site/w/800/i/5259512a796f4ba662c5ce76583303f4aa76c860bea95740cad5001869274db4/_MGL6127.jpg" /> This three-channel video installation draws on the form of the book and the key to producing encrypted forms, exploring the idea of a new language. The production was inspired by the retranscription of the tool paths of several Martyr d'une CNC panels used by artists over three years. Watch the installation EXHIBITED /// Fonderie Darling, Montreal, Canada, 2023Super Bien! Berlin, Germany, 2023Plateform Project, Athens, Greece, 2024 PRESS / CATALOGUE ///&nbsp;Le Devoir, 2023 ACKNOWLEDGEMENTS /// Marie-Ève Levasseur, Katie Zazenski, AMV. Photo credits : Fonderie Darling. https://amelielaurencefortin.com/Martyr Mon, 30 Oct 2023 08:11:34 +0000 Amelie Laurence Fortin https://amelielaurencefortin.com/Martyr Martyr.Sculpture. 2023.Neoprene. 50 cm x 70 cm x 4 cm. <img width="1626" height="1733" width_o="1626" height_o="1733" data-src="https://freight.cargo.site/t/original/i/2521fc15493d8ff1edb07d2ff5c759763f7d3b3f1b6c9a250b083cc2b3e869e1/Martyr-Athens-ALF-carre120.jpg" data-mid="195279450" border="0" src="https://freight.cargo.site/w/1000/i/2521fc15493d8ff1edb07d2ff5c759763f7d3b3f1b6c9a250b083cc2b3e869e1/Martyr-Athens-ALF-carre120.jpg" /> A Martyr (or spoiler board) is a wooden panel installed to protect the milling table of a CNC. This sculpture is a retranscription of the tool paths of a CNC Martyr panel used by artists over three years. The works testify to the accumulation of ideas and fragments of artists' works, and constitute the trace of a multitude of micro-narratives, testifying to a fascination for chance. <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f93b16f0651b5e851181260e5f4933ae7374b85571c317bae1dcf784eac8d8db/_MGL6152.jpg" data-mid="216212004" border="0" src="https://freight.cargo.site/w/800/i/f93b16f0651b5e851181260e5f4933ae7374b85571c317bae1dcf784eac8d8db/_MGL6152.jpg" /> EXHIBITED ///&nbsp; Fonderie darling, Montreal, Canada, 2023.Plateform Project, Athens, Greece, 2024. PRESS / CATALOGUE ///&nbsp;Le Devoir, 2023 ACKNOWLEDGEMENTS /// AMV. Photo credits : Amelie Laurence Fortin https://amelielaurencefortin.com/Recits-d-une-courte-nuit Fri, 10 Mar 2023 18:10:27 +0000 Amelie Laurence Fortin https://amelielaurencefortin.com/Recits-d-une-courte-nuit Récits d’une courte nuit / Yarn of A Short Night.Installation, 2023. Copper, terracotta, polyester, motors, automation, marble, steel, brass, painted aluminum, 3 channels video installation, neoprene, styrofoam. Twelve years ago, Amélie Laurence Fortin went on a sea kayaking expedition, crossing 3000 kilometres of icy water from Alaska to Vancouver. Her observations and the traces left by this extreme adventure have become a source of reflection and a driving force for her creative work ever since: How might we translate the connection that humans have with the fabulous forces of the world? How do we react to the vastness and face things greater than ourselves? Yarn of a Short Night marks the end of a cycle of work that examines the way in which we position ourselves in relation to orders of magnitude. By focusing on three major axes that are central to human development, namely the notions of exploration, territory, and time, Amélie Laurence Fortin presents a triad of site-specific works in Fonderie Darling’s Main Hall, interweaving her narratives with the imposing architecture of the site. Developed by the artist in a sequence in which the space first dictated the choice of materials and then the materials led to the construction of stories, the exhibition constantly moves between different temporalities and diverging directions. In French, the word “récits” is intentionally plural; it reflects a non-linear concept of multiple realities and the idea that History is experienced simultaneously. The choice of the term “yarn” in English is a play on words: it refers both to the idea of a tale and to the notion of a common thread linking all the stories together. Windsower/Girouette, a giant kinetic sculpture activated by an electronic and robotic system, is the first iteration of Amélie Laurence Fortin’s research into the speculative potential of objects. A polyester sheet, used particularly in the manufacturing of hot air balloons, hangs from the ceiling and makes a series of slow movements, creating a flow of energy. Expansion and retraction of forms, rise and decent, transition between the horizontal and the vertical: this work-creature reflects the perceptible power inhabiting this century-old building with its industrial past. To deal with the challenges of the monumental empty volume, the artist came up with a solution: she divided the space into three areas following the sides of a triangle. The second phase of her experiments resulted in Axis Mundi, a work whose meaningful title refers to the mythological and religious belief that there is a “centre of the world,” a connecting point between earth and sky. The massive object created by Amélie Laurence Fortin directs our gaze to the floor, however, inverting the vertical axis of the world into a horizontality that can be extended to a philosophical principle. The motifs etched into the copper evoke either the familiar ones of a computer circuit or the undecipherable ones of an unknown language, in a conversation in which human and machine intersect. In an imaginary based on a comparative study of foundational stories, 19th-century romantic poetry, and the feminist writing and science fiction of the 1990s1 Yarn of a Short Night offers a point of transition to the infinite possibilities of imagining a future beyond the unique story. Amélie Laurence Fortin creates a sensitive and immersive experience of the immeasurable, of history and transition by relying on broad literary references that espouse a more complex concept of the heroic tale, one no longer exclusively stereotyped as masculine or feminine. Located at the back of the Main Hall, the installation monomyth combines found and manufactured objects. Using various schematized and encoded forms, she creates a quasi-encyclopaedic amalgam that evokes the recurrence of signs and their metamorphoses throughout history. Objects that look like artifacts are displayed in an open, modular structure; the objects seem to belong to something between what has already happened and what may yet occur. In contrast to the idea of a linear history governed by a universal structure, the assemblage as a whole gives itself the freedom to visit humanity through all the objects and stories associated with it. Conceptualizing an exhibition entails a months-long process of reflection and is a major exercise of cohesion and synthesis. Partly imagined in the early hours of the morning, at a time that can also be described as a waking dream, Yarn of a Short Night offers an immense play of perspective between a distant past and future. The three works were produced through an interdisciplinary creative process moving between visual arts and technology and requiring the support of experts. By relying on specialists in fields such as naval architecture, hot air balloon manufacturing, engineering, and design, Amélie Laurence Fortin was able to maximally explore various techniques and materials. Chosen specifically for their historical use or their potential for technological innovation, faience, copper, polyester, neoprene, steel, aluminum, brass, marble, and styrofoam are central to an exercise in translation and communication. Ambitious and full of ramifications, the exhibition is an ultimate attempt to understand the space and transpose certain lofty ideas into objects. - Milly-Alexandra Dery Translated by Oana Avasilichioaei [1] The artist is referring specifically to the concept of the monomyth developed in Joseph Campbell’s The Hero with a Thousand Faces (1949), as well as to Maureen Murdock’s The Heroine’s Journey (1990), Valerie Estelle Frankel’s From Girl to Goddess: The Heroine’s Journey Through Myth and Legend (2010), Kim Hudson’s The Virgin’s Promise: Writing Stories of Feminine Creative, Spiritual and Sexual Awakening (2009), and T. S. Elliot’s poem The Wasteland (1922). <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/c3af6350675f19df82bb3958f6872dbce13dfcaa696835fd8cef1111a878af0b/_MGL6272.jpg" data-mid="209667459" border="0" src="https://freight.cargo.site/w/1000/i/c3af6350675f19df82bb3958f6872dbce13dfcaa696835fd8cef1111a878af0b/_MGL6272.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/25eb9e75f7a844a7c026aadd2bbf9327f12216cf56f40d583f4bc9184fd83b39/_MGL6248.jpg" data-mid="209667451" border="0" src="https://freight.cargo.site/w/1000/i/25eb9e75f7a844a7c026aadd2bbf9327f12216cf56f40d583f4bc9184fd83b39/_MGL6248.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/cfac6a85966aa93bca2edb154a27a5f1211fec2cecce72a910bd865463dcbe88/_MGL6186.jpg" data-mid="209667427" border="0" src="https://freight.cargo.site/w/1000/i/cfac6a85966aa93bca2edb154a27a5f1211fec2cecce72a910bd865463dcbe88/_MGL6186.jpg" /> <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/79146acdb807939c22c6f401e12f8a686f51d0506a2876b4e6f67a1f4b6c5115/_MGL6174.jpg" data-mid="171237253" border="0" src="https://freight.cargo.site/w/1000/i/79146acdb807939c22c6f401e12f8a686f51d0506a2876b4e6f67a1f4b6c5115/_MGL6174.jpg" /> EXHIBITED ///&nbsp;Fonderie Darling, Montreal, Canada, 2023. PRESS / CATALOGUE ///&nbsp;Le Devoir, 2023. ACKNOWLEDGEMENTS Paweł Kamiński, Jean-François Lahos, Andréanne Yevrah Jones, Ludovic Boney, Max Loiselle, Marie-Ève Levasseur, Karolina Szymura, Petra Hájková, Jacques Fortin, Justine Rainville, Gaël Simon, Alexandre Vézina, Carl-Dave Lagotte, Martyna Wyrzykowska, Félix Tremblay, Stefan St-Laurent, Bernard Gervais, Vicky Sabourin, Katia Gosselin, Sarah-Jeanne Riberdy, Yanik Potvin, Pierre-Louis Fortin, Katie Zazenski, Piotr Wasylczyk, Johann Baron Lanteigne, Vincent Hinse. <img width="1201" height="220" width_o="1201" height_o="220" data-src="https://freight.cargo.site/t/original/i/021c585961cf0e7aadaa08eaec923769f95c308cef8dac2d38b16691a8e514c6/CCA_RGB_black_f.png" data-mid="171363607" border="0" src="https://freight.cargo.site/w/1000/i/021c585961cf0e7aadaa08eaec923769f95c308cef8dac2d38b16691a8e514c6/CCA_RGB_black_f.png" />