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Rajni Perera and Marigold Santos: Efflorescence/The Way We Wake until September 8, 2024
In the duo exhibition by Rajni Perera and Marigold Santos, viewers are immediately struck by an overwhelming surge of energy that permeates the gallery space. This collaboration delves deep into themes of diasporic identity, motherhood, and the culture of care, presenting a rich tapestry of visual narratives that challenge and inspire.
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| Rajni Perara Cloaked Figure, 2024 |
Rajni Perera, hailing from Sri Lanka and now based in Toronto, employs a subversive aesthetic that transforms oppressive discourses into vibrant celebrations of resilience. Her globally exhibited works stand as testaments to the strength and endurance of diasporic identities. Perera's art not only confronts but also reclaims spaces, embedding within them a powerful sense of identity and belonging that transcends geographical and cultural boundaries.
Marigold Santos, originally from the Philippines and currently residing in Canada, brings a multifaceted approach to her exploration of self-hood and identity. Her work spans painting, drawing, sculpture, and tattoo art, each medium reflecting the complexity and multiplicity of her experiences. Santos's art delves into heritage and folklore, weaving a narrative that embraces fragmentation and decolonization, offering profound insights into the construction of identity.
As I stepped into the exhibition space at the Fondation Phi, Rajni Perera and Marigold Santos: Efflorescence/The Way We Wake, it felt as though I was enveloped by a palpable burst of energy. The images crafted by Perera and Santos, their cultural contexts, and the harmonious interplay of their styles were mind-blowing. What struck me most was their fearless engagement with a concept that contemporary art often shies away from: the manifestation of Spirit.
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| Rajni Perera Lover not a fighter, 2024 |
In an age where intellectualism seems to distance us from the spiritual, Perera and Santos boldly reclaim this space. Both artists, who are also mothers, express through their art the profound experiences of the female psyche during the creation of life. Their works convey the deep connection women feel to something greater than themselves during pregnancy, a connection that is often dismissed or overlooked in contemporary discourse.
Perera's vibrant, defiant pieces and Santos's intricate, introspective works create a dialogue that speaks to the heart of diasporic experience. They challenge us to reconsider the narratives around identity, heritage, and spirituality. Through their art, these two formidable artists invite us to witness and celebrate the multifaceted nature of identity, the power of maternal connections, and the enduring spirit that resides within us all. This exhibition is not just a visual feast; it is a call to reconnect with the deeper aspects of our being and to recognize the beauty and strength inherent in our diverse cultural heritages.
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| Marigold Santos in front of 2 details of her work |
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Marigold Santos
shroud envisioning |
As I stepped into the exhibition space at the
Fondation Phi, it felt as though I was enveloped by a palpable burst of energy. The images crafted by
Perera and
Santos, their cultural contexts, and the harmonious interplay of their styles were mind-blowing. What struck me most was their fearless engagement with a concept that contemporary art often shies away from: the manifestation of Spirit.
In an age where intellectualism seems to distance us from the spiritual, Perera and Santos boldly reclaim this space. Both artists, who are also mothers, express through their art the profound experiences of the female psyche during the creation of life. Their works convey the deep connection women feel to something greater than themselves during pregnancy, a connection that is often dismissed or overlooked in contemporary discourse.
Perera's vibrant, defiant pieces and Santos's intricate, introspective works create a dialogue that speaks to the heart of diasporic experience. They challenge us to reconsider the narratives around identity, heritage, and spirituality. Through their art, these two formidable artists invite us to witness and celebrate the multifaceted nature of identity, the power of maternal connections, and the enduring spirit that resides within us all. This exhibition is not just a visual feast; it is a call to reconnect with the deeper aspects of our being and to recognize the beauty and strength inherent in our diverse cultural heritages.
To have a guided tour of the exhibition with curator Cheryl Sim HERE
INFORMATION
Sonia Boyce's "FEELING HER WAY" until September 8, 2024
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| Sonia Boyce, Sofia wallpaper, 2022 with multimedia installation |
Sonia Boyce, an acclaimed interdisciplinary artist, brings her celebrated work "
FEELING HER WAY" to North America, marking a significant moment in the exploration of black female narratives in music. Making its debut at the
Fondation PHI in Montreal, this exhibition is a testament to Boyce's ability to merge visual and auditory experiences into a cohesive, immersive journey.
Awarded the prestigious Golden Lion at the 59th Venice Biennale in 2022, "FEELING HER WAY" is a monumental installation that blends bespoke wallpaper, posters, photography, sculpture, video, and sound. This rich tapestry of media creates an environment where the voice becomes a central tool for expression, connection, and liberation. Boyce’s work centers on the vocal performances and improvisations of four acclaimed Black female singers: Poppy Ajudha, Jacqui Dankworth MBE, Sofia Jernberg, and Tanita Tikaram. These artists, who usually perform as soloists, were brought together for an unprecedented session of improvised vocalizations under the guidance of vocal composer Errollyn Wallen CBE.
The result is a dynamic, resonant exploration of the voice as both a personal and communal instrument. Boyce's installation transforms the gallery space into a sumptuous visual and sonic polyphony, fostering a sense of solidarity and freedom. Each element of the installation—whether it's the visual vibrancy of the wallpaper or the compelling auditory experience of the singers' voices—works in harmony to evoke the deep emotional and cultural significance of music.
Boyce's "FEELING HER WAY" not only celebrates the overlooked narratives of Black female musicians but also invites viewers to reflect on the broader themes of identity, community, and the power of the human voice. This exhibition is a joyous celebration of music and its profound impact on humanity, illustrating how music serves as a universal language that expresses our deepest emotions, connects us to one another, and underscores important relationships.
As "FEELING HER WAY" travels to the Art Gallery of Ontario and the Art Gallery of Nova Scotia, it embarks on a cultural journey across Canada, enriching and enlightening audiences with its powerful message. Sonia Boyce's work is a vibrant, uplifting tribute to the resilience and creativity of Black women in music, highlighting their contributions and celebrating their voices.
In essence, "FEELING HER WAY" is more than an exhibition; it is an expression of great joy and a celebration of all that music represents. It captures the essence of music as a fundamental human experience—one that brings us together, resonates within our hearts, and highlights the beauty of shared human connection.
INFORMATION
Richard Mosse: Broken Spectre until July 3, 2024
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| Richard Mosse Senador José Porfirio Rio Xingu, Pará 2021 Tryptique |
The Phi Centre is showcasing a poignant documentary by Irish photographer Richard Mosse, who spent nearly three years capturing the devastation of the Amazon rainforest in Brazil and Ecuador. This urgent film highlights the catastrophic impact of deforestation, driven by gold mining and soybean cultivation for cattle, which has already destroyed a fifth of the Amazon. This rampant deforestation accelerates climate change and causes significant biodiversity loss.
Mosse’s 75-minute film opens with a harrowing scene of men wielding chainsaws to fell colossal trees. The danger of filming such scenes underscores the gravity of the situation. Mosse and his team managed to film these crimes by establishing trust with the perpetrators through conversation and shared drinks of cachaça.
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| Richard Mosse |
Most deforested land is owned by large multinationals, with crops primarily destined for export. Brazil remains one of the world's largest beef exporters. The film’s visual impact is amplified by its unique presentation on four channels, portraying vibrant Amazon forests in red, contrasting with grey, devastated areas. "These images were taken from a helicopter using a multispectral camera," explains Mosse.
Mosse’s documentary straddles the line between art and activism, creating tension between aesthetics and ethics. "I wanted to create a tension between aesthetics and ethics," Mosse states. The film’s compelling visuals serve as powerful evidence of ecological crimes.
In a moving segment, a young indigenous Yanomami woman pleads with Mosse’s crew: "Do something with this, talk to your fathers and mothers, don't just film us for the sake of filming, but to raise awareness about what is happening to us." Mosse hopes the film's images will inspire change.
John Kerry saw the film and urged President Lula to deploy the army to protect the community's territory. However, Mosse emphasizes that lasting change requires aggressive policies and a shift in consumption habits. Ten large-format photographs accompany the film, adding depth to this urgent installation.
Richard Mosse’s exhibition is shocking and profoundly moving. I had met this artist in 2014, and even then, it was clear he doesn't shy away from danger. At that time, he was investigating war zones using an older style camera, transforming the color of the environment in a whimsical way—trees and rivers turned pink, challenging our senses and perceptions of conflict.
This time, Mosse takes us inside the Amazon, employing what can only be described as augmented photojournalism. The exhibition not only concerns the animals in the jungle but also examines the bizarre fate of cattle transplanted to this environment to feed richer countries. We even witness the grim reality inside a butchery, where every part of the animal is taken for profit, highlighting the cruelty and exploitation inherent in our consumption habits.
Hearing the sounds of the jungle and knowing the impending destruction of this vibrant ecosystem is heart-wrenching. The beautiful rivers, flowers, and magnificent trees, along with the human lives dependent on them, are sacrificed for money. Mosse’s work is a clarion call to action, urging us to confront the ecological crimes and the ethical dilemmas they pose, compelling us to rethink our impact on the world and our role in preserving its natural beauty and diversity.
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| An intriguing documentary on Richard Mosse's work can be seen on the first floor. Here, a trailer with intro of Broken Spectre. |
CONCLUSION
The PHI Foundation and Phi Centre, both under the patronage of Phoebe Greenberg and the relentless work of Myriam Achard, feature exhibitions that contrast the forces of destruction and affirmation of life. Richard Mosse's augmented documentary Broken Spectre at the Phi Centre exposes the devastation of the Amazon rainforest. His harrowing visuals of deforestation underscore the urgent need for environmental activism, blending art and ethics to inspire change.
Meanwhile, the Foundation PHI highlights female power, artistic collaboration, and the diasporic experience. Rajni Perera and Marigold Santos's "Efflorescence/The Way We Wake" explores diasporic identity, motherhood, and the culture of care. Perera’s subversive aesthetic and Santos’s interdisciplinary approach offer a rich narrative of resilience and heritage.
Sonia Boyce’s "FEELING HER WAY" celebrates black female singers and musicians, using film, sound, and installation to explore voice as a tool for liberation and connection. Boyce’s work fosters solidarity and freedom.
These exhibitions delve into life's polarities, where diasporic dreams dance with motherhood's embrace, black female voices sing in visual harmony, and the Amazon's silent cries echo urgent truths. Diverse yet unified, these artworks weave a poignant tapestry of our world's intricate beauty and struggle, offering a profound reflection on the complexities of existence.
INFORMATION
