Henricks Satellite: giving us the scoop. photo: Satellite, by Nelson Henricks

Exhibited as of last week in the Musée des beaux-arts de Montréal's contemporary art projects room, in the basement of the Pavillon Jean-Noël Desmarais, Satellite is a two-track video piece whose halves are projected simultaneously side by side. The doubled images play in similar sequence, but not exact: While the left-hand side flashes insightful messages in English script every now and then, the right-hand side speaks only French, and just when you think at least the images reflect one another, suddenly an incoherence slips in for a few frames. The one element that does demonstrate absolute constancy is the soundtrack - an elevating 4/4 breakbeat punctuated with quirky ironic vocal samples from an old-school documentary on hearing. All in all, this piece is pretty funky.

The gist of the theme, says curator Stéphane Aquin, is human sensorial interpretation, starting with hearing and vision. Among the images projected there is anatomical footage of the human ear, in all its pink, cartilaginous glory, as well as diagrams of hearing - voyages down the aural pipes and tubes, prettily animated in 1950s colours. Henricks is known for the attractive humour of his video work; his means to the public is appeal and poppiness. His samples of both images and sound are astute and familiar. The work could pose as a music video but for its slightly lengthy format.

Recurring images lead to other themes explored, such as duos; the references to the senses and their anatomical conducts - two ears, two eyes, two hemispheres of the brain - reflect the two-ness of the piece itself with its split screen. Henricks has a penchant for circular patterns and objects in the images of this work, which gives the impression old movies do when they use the binocular effect. Quickly the two halves merge, even through the difference of the languages, to make the disparate elements act as components of a natural whole.

The written elements further the attractiveness of the piece, its humour and charm. The phrases are funny and witty, often associatively. Sentences like "It's as hard to be dumb as it is to be smart" or "The sound of the smiley-faced apocalypse" take flesh and meaning in the hip ironic context established by the music and retrograde academic footage. Juxtapositions, too - like the sequence of "Main line, main squeeze, main man, main street" - are cute as well as oddly, almost confoundingly, evocative. It is a language we speak easily, we of the Generation Z, sensorially overblasted beings that we are. Out of confusion and multiplicity rise the most personal, singular interpretations.

Simultaneity is the concept that inhabits every inch of Satellite, this multi-channelled work that in the most seductive and multiple of ways communicates truisms we all misunderstand, but enjoy.

There are a couple of openings this week not to be missed. First off, there's Alexandre Castonguay's exhibition Digitale, which is opening at Pierre-François Ouelette on the Belgo's second floor today, June 17. A couple of his works were purchased by the Musée des beaux-arts and are featured in the new exhibition Repères in the old wing, which is a nice selection of Canadian art you should see too. And lastly, there's Raw Space One, the first of a series of migrating exhibitions planned for empty spaces in the city, opening tomorrow, June 18, at 4066 St-Laurent (right by Barfly). The first edition includes performances Friday and Saturday and other art by all sorts of interesting people. Check it out.

Nelson Henricks: Satellite

MBAM, to October 17

 
 

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Crazy Exploration of the Human Body     When I went to see the art exhibit, Satellite, Nelson Henrick's latest masterpiece, I was expecting a masterpiece. When viewing Nelson Henrick's works I am usually blown away. But, this time when I went, in much anticipation, to see the latest amazing piece of art at the Musée des Beaux Arts, I was severly disapointed. The only thing in the whole exhibit satellite that was worth taking note of, was its foot-tapping, head-bopping incredibly retro music. And if that was what I wanted to see, I could have simply gone to my local music store and nostalgically bought some old eighties tunes. Most of the art exhibit's split screen video showed pictures of the human body, pictures that I was a little disturbed to see. An abnormally large close-up of the human ear did not put me into a very artistic mood, nor did the huge close-up of the mouth. While some may argue that the human body is the greatest form of art ever, such grostesquely enlarged photos would surely change their minds. While some of the phrases put up onto the screen were witty and amusing, others left the audience scratching their heads. All in all, Satellite does not compare to Nelson Henrick's other work and viewers will be disappointed.
Em Hutchison		June 24th, 2004
Interesting...     After going to the Musée des Beaux Arts I was actually relatively impressed by Nelson Henrick's "Satellite." Another commenter mentioned how it was quite disappointing to them, but as a newcomer to this scene one might say I am impressed and put into awe rather easily. I did not have a hard time understand the messages displayed on the screen, and I believe that I comprehended them quite well. My only wish is to view them again for further contemplation that never got to take place due to the fact I only got to view one running of the film.
Kate DuBrav		August 26th, 2004

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