Geneviève Cadieux, Landon Mackenzie and Lyne Lapointe

Galerie France Morin

In this exhibition, the evidence that Geneviève Cadieux, Landon Mackenzie, and Lyne Lapointe gave of the community in which they work and show was strong and comprehensive. The cultural specificity of Montreal—a city in relative isolation from the comparatively uniform sheen of what lies west of it in Canada—makes for heady fare.

Of the series of “Illusions” that made up Cadieux’s show, Illusion No. 5 is the most successful. Each “Illusion” consists of a number of large Plexiglas sheets bearing life-size photographic images of a woman in a leotard. Their surfaces abraded and then treated with dark blues and blacks, the panes are placed in a row and adorned with neon rods—some behind them, some in front, and some, as in Illusion No. 5, fastened to their surfaces. Although in all the pieces the slender line between “body as gesture” and “body as carrier of gesture” is inadequately defined,

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