From Artifacts in My Mouth, by Diane Borsato

"That's what performance artists are for! To walk around with slightly different rules around them and just act out these fantasies, make little subversive gestures and cross these regular boundaries. They usually are sensible boundaries - everyone can't go through the glass of museum vitrines, or we wouldn't have artifacts. But at least if one person can act out those possibilities, it makes them available for everyone later to contemplate."

Borsato, now living in Toronto, is opening a solo show at Galerie Occurrence on Sept. 10 called How to Eat Light as part of the citywide photography festival Le Mois de la Photo à Montréal. The artist has left her mark on this town in more ways than one, whether in the frequency with which her work continues to be shown here or in the way she affected people when she called Montreal home. "I lived there for four years while I did my MFA at Concordia and I'm always coming back - I feel unable to become an Ontario artist," she laughs.

Borsato has shown in both Canada and internationally, including at Skol, La Centrale, the Museum of Contemporary Canadian Art in Toronto, Artspeak in Vancouver and the Villa Arson national centre of contemporary art in Nice, France. A couple summers ago she was part of the wonderful Orange art project, and, most recently, she worked with a group of west-end high school students for her contribution to the Liane and Danny Taran Gallery's massive Décarie Project.

The majority of the works exhibited in How to Eat Light form what she calls a "loose, ongoing series" of photographs of various performance acts she makes. All constitute large colour prints displaying either a single or selection of telling moments recording a happening of some sort, and an accompanying text explaining the idea. They're always funny on some level - either quizzical, or odd, or outright laughable. "It's absurd and imaginative," says the artist. "They're eccentric experiments that I carry out to see if this hypothesis or this question or this wondering is true."

Some of the things she's wondered about is whether her dad would ever get tired of holding the world up, or whether dead people miss the reassuring warmth of a hot meal, or whether comfort food like cake is actually comfortable to sleep with. She's also experimented with public touch by giving herself the assignment of touching at least 1,000 strangers in a month, and she's sought to dismantle the social institution of museums by gaining access to some of their precious objects and getting up close and personal, like with the peacock on the cover this week.

"Do you know the word 'synesthesia'? " she asks. "This way of crossing the senses whereby some people see sound, hear colours, things like that. In some of my pieces, there's food that's available for touch, or light that you taste. Things that are visual I put in my mouth, like in Artifacts [In My Mouth]. Things that you see behind museum glass usually, I want to have this altogether different relationship with, that's intimate, in my mouth, and that I smell."

"I like playing with objects as if they were subjects. Addressing them, teaching them, having them teach me things, leaving food for them. It's about the liveness of inanimate things and the relationships - really, relationships - we have with them. Sometimes it's easier to talk about relationships with people by substituting them for an animal or an object or plant or something like that. It becomes a metaphor for other kinds of relationships and it's a way of modelling all sorts of other possibilities."

The process isn't always as pleasant as it looks, though. For me, the Artifacts piece carries a visceral potency that's particular, probably because of my lifelong experience of the stuffiness of museums. I can imagine the stickiness of sleeping with cakes or the discomfort of waiting by the curb crouched in a garbage bag in an attempt to become one with trash, but I can't even imagine the pleasure of wrapping my lips around things deemed by humanity as artistically precious. Was it as thrilling as I imagine?

"It was horrible!" Borsato answers, to my dismay. "Everything tasted like dust and mould, and I don't know what kind of hazard I subjected myself to. But the photo with the model of the solar system, where I actually have the moon in my mouth - I get to be for a moment the queen of the solar system or something, and suddenly my scale changes. It's a whole different way of knowing." (Isa Tousignant)

Diane Borsato: How to Eat Light
At Galerie Occurrence as part of Le Mois de la Photo à Montréal
Sept. 10 to Oct. 15
Meet the artist at the vernissage Sept. 10, starting at 1:30 p.m.

Imagine that

A guide to the Mois's cornucopia

The Mois de la Photo à Montréal is back, and I am so excited. The amount of promising shows this year is almost overwhelming.

United by the theme Image & Imagination, the 29 exhibitions that make up the 9th edition of the festival all explore, in one way or another, photography's relation to the imagination. The images you encounter might depict impossible imaginary realities, or they might reveal a yet unimagined aspect of the reality you know. But the crux of the theme, it seems, lies less in the artists' imaginative powers than in ourselves, the viewers.

To Martha Langford, the artistic director of this year's Mois, photography is and has always been in the eye of the beholder. It is we who make a photograph come alive, and in whom the workings of memory are triggered. Many of the showcased images thus give viewers ample room to discover for themselves the meaning of the represented world.

While the theme helps to direct interpretations or bring out unforeseen dimensions of the works, I suggest approaching the Mois de la Photo more simply as an opportunity to experience outstanding artistic practices that don't come here too often. Here are a few shows that should not be missed:

Tracey Moffatt, on view at the Montreal Museum of Fine Arts until Dec. 4, offers a glimpse into the Australian artist/filmmaker's body of staged and fantastical imagery. Dazibao presents Against Amnesia, a series of digitally collaged photographs by native American artist Hulleah J. Tsinhnahjinnie, until Oct. 8. U.K. photographer Karen Brett's series The Myth of Sexual Loss, which challenges the idea that sex is reserved for the young, is shown at La Centrale from Sept. 9 to Oct. 9.

Among the group exhibitions worthy of your attention are Trading Places, which is curated by Martha Langford and includes works by Michael Ensminger, Rafael Goldchain, Noritoshi Hirakawa and Annu Palakunnathu Matthew (at the Liane and Danny Taran Gallery until Nov. 13); Neverlands, with images by Monique Genton, Toni Hafkenscheid, Martin Parr and Mike Yuhasz (at the Maison de la culture Frontenac until Oct. 9); and Digs in the Zone, which displays photographic series by Phil Bergerson, Michel Campeau and Glenn Sloggett (at the Maison de la culture Notre-Dame-de-Grâce until Oct. 9).

And for the artist groupies out there:

Carolee Schneemann, made famous for her 1975 performance Interior Scroll - and who is one hot mama - will be present at the opening of her exhibition at Articule on Sept. 9 at 7:30 p.m. Iain Baxter, founder of the N.E. Thing Co., will be giving a talk at the opening of his exhibition at VOX on Sept. 10 at 5 p.m. And Michael Snow will be present on Sept. 8 from 5 p.m. at the Galerie de l'UQÀM for the opening of his first solo show in Montreal in 10 years.

For more information, check out www.moisdelaphoto.com or pick up a program at any of the locations mentioned above (Zoë Tousignant)
 
 

		Write your comment on this article!

Give Diane Some Credit!     I have a sneaking suspicion that all of you Diane nay sayers have judged her work without giving it much contemplation or even reading the attactched article. Not only is Diane a talented artist and teacher, but she is also insightful and daring. If Diane wants to put non-living objects into her mouth, who are you to judge her? I can say with certainty that every one of you who mocked Diane, learned to recognize objects by placing them in your mouth as a child. Diane's idea is not as far-fetched as everyone seems to think, and for me, echoes the way that we first learn about the objects around us. Diane says, "Things that you see behind museum glass usually, I want to have this altogether different relationship with, that's intimate, in my mouth, and that I smell." I think that Diane has successfully accomplished what she has set out to do, which is a more personal feat than many of you have credited her with. Diane does not need to seek attention as she was unjustly accused of, instead it comes to her because she is able to teach us about the world around us in a way that we may not have never dreamed to consider with her personal experimentation. I think it is important to address the recognition that Diane has had, "Borsato has shown in both Canada and internationally, including at Skol, La Centrale, the Museum of Contemporary Canadian Art in Toronto, Artspeak in Vancouver and the Villa Arson national centre of contemporary art in Nice, France. " Clearly Diane is doing something right. I'm not suggesting that everyone run out and try Diane's experiment, but I am suggesting that you appreciate her work for what it is, in the words of Diane, "It's a whole different way of knowing." Dare I ask, what is so wrong with this?
Lisa Borin	{1 vote}	March 21st, 2006
Take A Licking And Keeps On Ticking..........     Hey, if sticking stuffed peacock heads into your mouth is what makes your world go around, who are we to judge? Although, I wouldn't be surprised to read in a future sex-columnist article a letter written by someone who says: "My way of connecting to my senses has caused conflict with my boyfriend. He doesn't understand me and my need for aural pleasure. I was licking the frying pan the other night after tonguing the remote control and he got really grossed out. I offered him a small garden dwarf as a compromise and he walked out. What gives? Why are men so insensitive?". Diane Borsato can call herself an artist in her own circles but I'm not convinced that the average person would applaud loudly walking down the street watching human garbage being thrown into the sanitation truck and then at last minute, watch the "artist" ripping herself out of her plastic packaging. How is this art again? Not wanting to judge how others make a living, but simply offering a little third party observation, for what it's worth. I mean there are the Fear Factor contestants in any crowd that would do anything disgusting for money or fame, or both. But are they artists too? If Borsato wanted to share her talents and interests to taste strange substances, she should go work with the Air Quality Inspectors travelling throughout Ottawa making sure that fresh air is coming into the intake ducts. There's plenty to taste in these work settings what with pigeon droppings, feathers, dust and all other forms of festering mould just waiting for a little tastetest.
Steve Landry	{77 votes}	September 13th, 2005
(Pea) Cock In Mouth Is Art?     Usually, I'm all for originality, and I respect people who try and think outside the box and do something completely different that no one has ever done before. I especially love this train of thought in the daily art I'm exposed to and surrounded by. But Diane's "project" is borderline creepy. Sure I wonder different things about our world, but no, I have never wondered what it's like to sleep with cake. I have never got excited imagining what it would be like feeling the creamy icing between my legs. And even if I did, very little would persuade me to go out and try it. And even less would persuade me to go out, try it, and share it with people, and then calling it art. I understand that what Diane is doing is creating performance art, but I don't know if I feel comfortable with the world 'art' being attached to what she does. Art is supposed to be one or more of the following 3 things for it to be considered art: it has to convey emotion or an idea, it has to be expressive, and it has to be original. I'm not sure what idea Borsato is trying to convey besides the fact that she enjoys trying things some of us would never even imaging trying, like her strange desire to taste things in a museum that ended up tasting like mould and dust. Umm, is that not a tad unhealthy in any way? I'm not sure how her work is expressive either; see my previous point. And while I don't deny that her "work" is original, I don't know if it's completely normal either. I don't want to jump to conclusions, but it seems to me like Diane is doing this to get her name out there and simply to do something that is going to shock and perhaps disgust people. And while I think it's great to get a rise out of people, maybe this exhibition should be put in some form of a human circus and not really classified as an art piece. I think the type of people that attend that kind of thing, would enjoy seeing someone shoving a peacock head in their mouth. I'd enjoy it too - for fun; not art.
Vanessa Hasid	{35 votes}	September 13th, 2005
The Camera Loves Everyone     Diane Borsato seems an intriguing sort.Whether an exhibition of her ponderings would be as interesting ,remains to be seen. - I do admire the uninhibited and try and stay in touch with that trait myself,as much as I can.It goes directly with Einstein's essential thought that "Imagination is more important than knowledge." You don't have to be imaginative to research and study what has been done before.You do need imagination to pursue new,untried,experimental and innovative directions.Which are foundation for discovery and invention.We are a curious race.For as much as our curiousity may lead us to peril, it could also lead to our salvation.As individuals,remaining curious and uninhibited is an important ingredient in achieving a youthful,fun and happy life. - Photography on the other hand, is a blessing.I had always enjoyed it as a hobby, with it's elusiveness and technical challenges.Now that I've been shooting weddings and live theatre for a living, I have a whole new appreciation and respect.Before I was mostly capturing moments in my own life.Now I'm am involved in preserving important moments in other people's lives.It's a privilage.It's intimate.It's a pleasure to see how happy clients are when your photos do justice to their hard work and committment. - Last year I saw an amazing exhibit that included a collection of brilliant and astonishing journalism photos from the previous year.To put yourself in the line of fire,amongst famine,misery and war.Makes most people's jobs seem pretty lame.I also remember that excellent series of giant aerial geographic images that were on display on McGill last year also.(better than this year's boring portraits) - Get naked,run down the street,take pictures or get your picture taken.You'll feel invigorated afterwards and you'll smile every time you look at the pictures in the future.Just like I do every time I look at the Spencer Tunick (nude Montreal) photo's that I was in three years ago.No regrets!
Oliver Domenchini	{20 votes}	September 8th, 2005
See it for yourself and you might get it     I enjoyed Diane Borsato's work. If you don't go see it for yourself, you'll have many ideas, mainly that this artist isn't really an artist, she just doesn't know what to do with herself. How to Eat Light is a collection of photos and a video describing/demonstrating what it would be like if we were to actually taste light, eat light, much like plants do. It is a unique idea and her work offers a refreshingly new way of experiencing the world around us.
Claudia Melchiorre	{1 vote}	September 23rd, 2005
Performance fart!     I cannot believe people in the "art" community fall for this kind of extroverted tripe, OK, I can understand them falling for nouveau art installations that trick them into thinking there is something to uncover, making them think they are too stupid NOT to get the message, revering it for what they *think* it is, some form of cryptic message that they are too stupid to understand. "That's what performance artists are for... everyone can't go through the glass of museum vitrines, or we wouldn't have artifacts. But at least if one person can act out those possibilities, it makes them available for everyone later to contemplate." Yeah, like tasting the head of a stuffed bird or licking a stone sculpture in the shape of my hairy balls, there is nothing to contemplate except the idiocy of the so-called artist and the painful truth that people who consume art or critique it often have no taste, no sense and no backbone when it comes to deciding what ought to be discarded as intellectual and aesthetic refuse. Look at the underbelly of a leaf or the Omega Centaur globular cluster and forget the rag-tag death trends of the current art scenesters, the real art is off-screen. Go
Musifar Yulakjar	{6 votes}	September 12th, 2005
Put it in your Mouth!     That's the title of a song you know. A very nasty and inappropriate song, and not at all related to what I wanted to say about this article. I think that Diane Borsato seems like quite a unique artist, which I suppose everyone absolutely Must be nowadays, otherwise, who in the world is gonna notice you, right? I mean, its quite obvious how different and ''Out There'' artists must be sometimes, when you just look at any given cover of the Hour! Yes, some woman about to chomp down on a peacock's head, I mean, that Screams Art Nouveau, wouldn't you say? N-E-ways, what do I know huh? I'm just a lay non-art person. So I'll just leave it to the true artists to prove who they are, in whichever funky, weirded out method of expression they choose.
Dawn Manhertz	{7 votes}	September 11th, 2005
Borsato..Pleaaaase     What the hell did I just read? Pleaaaaase I can't read that again if I missed something. I really don't have to write anything as Mr. Landry summed it up perfectly in his comment. I will add....I cannot see this as a form of art....Borsato should absolutely look into another career. Sometimes things just baffle my mind! Peacocks, cake, garbage...come on!
Jennifer Berardini	{4 votes}	September 16th, 2005
Define Artistic in better terms     Well I am not sure I can except this artist work as being artistic . I think she must have some very prefound problems and is searching for some attention. What are we going to do next to get some kind of recognition for some thing or even an idea we have created. Diane Borsato seems like a nice person but she is trying to hard to develop another look at artistic interpretation and all i see in this kind of work that is discribed are just plain gags , jokes acts of nonsence and how can you call tha artististic . Then we will have to turn the Douglas hospital into a theatre full of artists. They will touch one hundred people in a month. the will live in a garbage can , they will like statues and walls and what not. I believe her work is just a mockery of what is suppose to be artistic.
Maria Cecillia Silva	{1 vote}	September 14th, 2005

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