Karen Tam

Micahael Fernandes' engagement with dicourse also serves to confuse it. He shuffles the cards, clouds the mirrow, produces sounds where we wanted images, and composes, with our very own voices and habits, curious scenarios that bring us face to face with the rigidity of our language and behaviour. With "One potato, two potato...it's your life...," nothing is clear at first glance. Inscribed on the MAI's gallery space and windows, and on the network of adjacent streets, the trajectory of signs is unpredictable. The artist has proposed a circuit in which the gallery is but one station among other equally operative stations, each allowing for a surpising interpenetration of art and life. Moreover, there is not a single element of the exhibition that is not designed to accommodate such exchanges.'

(Abstract from essay by Caroline Loncol Daigneault)… (mais)