In this sculpture, the gallery walls, ceiling, and floors interrupt the physical space of a three-dimensional cube of United States Geologic Service survey data. The walls cut the sculpture into smaller and smaller parts, in the gallery as well as protruding like an infection, hidden throughout the building, like two 3D cubes passing through each other in digital space. The fractured sculpture is made of one whole section of data of Wind Cave National Park, the place where the Lakȟóta people emerged from the earth, becoming buffalo and human. The sculptures are 3D renderings with resin-cured carbon fibre cloth draped over their forms.
During the opening of the show, improvising musicians read the textures and forms of the sculptures as a score, performing, tactilizing, and sonifying the visualized geologic data. Performance during opening is recorded and played back through small white speakers on either side of the sculptures in the gallery.
One sculpture emerges from the corner of the ceiling, one from directly below on the floor, and five small sculptures emerge from crevices throughout the atrium.
Le Musée d’art contemporain de Montréal Intersects Makȟá Oníya, installation. Kite in collaboration with Devin Ronneberg, 2020. Installation, seven sculptures, carbon fibre, USGS data.
Le Musée d’art contemporain de Montréal Intersects Makȟá Oníya, composition, performed by Eyvind Kang. Kite, 2020. composition. MP3
Le Musée d’art contemporain de Montréal Intersects Makȟá Oníya, Score for Improvising Musician, red, for risograph printing, 11 in x 13 in, Kite, 2020
“La Machine qui Enseignait des Airs aux Oiseaux ”, Le Musée d’Art Contemporain de Montréal
January 2021 – April 4, 2021
Photos by Guy LHeureux
Montréal, QC, Canada