Moving Trailer 2017 – 2019 by Quite Ourselves

Moving Trailer 2017-2019 is a retrospective of three years of the Moving Trailer project. Each year, Moving Trailer took place for a short period of time in a rented truck, which shifted between a state of moving and parked. The pause caused by the global pandemic cut short our already-fleeting public interventions. In this space, we felt an urgency to gather and share our archive. Opening the publication invites you
into scenarios unfolding in different locations in Montreal and Quebec. Always, the interior space of a rented moving truck keeps transforming into something else.

Moving Trailer 2023, CHEUNG LEE GLOBAL (Ahreum Lee & Joni Cheung (Snack Witch)). Photo by Sara Faridamin.

Quite Ourselves is an act of being “quite ourselves,” fostering playful idea sharing and exercises, experimental works and venues, and keeping an open roster for artists who identify with the mandate of the collective. QO was formed under the context of felt issues of minority status, identity, language barriers and experimental art practice which left members feeling marginalized and out of place in their original Montreal art scene. Since QO’s founding in 2017, the group has worked towards highlighting kinship and collaboration through artmaking and exhibition.


mean body \ i absolutely know i exist / by nichola feldman-kiss

one 3D whole body laser scan — 360 inkjet prints cold mounted to Sintra PVC foam board 14.5 x 8” each, installation variable 95’sq 2001-2005

mean body (as in Standard) is a performance document and database of surface anthropometric data sets (3D body shape scans) that I created while a guest artist with the National Research Council of Canada (2001-2003 and 2004-2006).

Inspired by study of established human body databases such as the Visible Human Project¹ and CAESAR², I embarked on a performative process to establish my own body shape as a baseline for scientific research. This gesture was motivated to critically engage with certain oppressive cultural norms, standard and averages that have prevailed in the colonial west, especially since the birth of anthropology, ethnography and photographic technologies… read more

feldman-kiss works as an artist. They are interested in categorical systems, liminality and the dissonance of inbetweens where meaning is leaky, slippery, defiant, fugitive, violent and erotic too.

normals standards means bodies skins borders boundaries. rules limits margins. edges thresholds and horizons. language Classifications definitions discipline expectation roles. Species tribe caste creed status containers boxes and compartments. viewfinders lenses screens. Nation States island prisons security fences (Human) zoos. Anthropology Ethnography Photography. index and evidence and Museology too.

The things feldman-kiss makes result from focussed looking, chasing references, finding out. Burrowing through the network into curiously real and visceral worlds. Alice fell through the trembling liquid crystal, landed somewhere factual, palpable, sensate. feeling Movie-ish. Big Screen. VR for its strangeness but for that people are flesh, embodied narrative –olfactory on fire. Witness…

feldman-kiss submits to art as life and process to live by, aiming to work intuitively, sensually and from their animality as a conscious migratory creature of our earthly bed. They are conspicuously bodied. Their artworks deploy body as instrument. Fact, agent, material. The body embodiment continuum. They do not create with the topic of bodies as purpose or intention. feldman-kiss’ work is not conceptual in that way. Their artworks are stills for persistent, unsettling and thorney awakenings of life enslaved to their times. Native of nowhere on Colonized land, mammalian. Historic / contemporary. digital. informational, touchless, late-binary. urban, Capitalist, millenarian (end times). They create with whatever surfaces then sticks around to assert itself.

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calling tidal by Jasmine Liaw

‘calling tidal’ is an installation where participants/viewers may interact with a tank of water. With an animated floor projection, the piece emulates a colourful, cybernetic space where movement becomes communicative through audio-visual responses. The interactive projection changes based on presence and movement, including water movement, sound frequency, or walking. This use of transparent materials represents nature’s vulnerabilities to economic/industrial decisions by humanity. The piece emulates a portal as if the participant emerges into an urgent calling state with the natural world. Its vibrant colours represent the overwhelmingness and blinding intensity of the space that mirrors climate anxiety. Exploring the paralinguistic response, the immersion of the hand in the water triggers a waterproof JSN-SR04T ultrasonic distance sensor with Arduino. When the sensor is triggered due to the close proximity of the participants’ hand, a Cytron mp3 player shield plays the sound of a voicemail filtered glacier crashing into the ocean.

Jasmine Liaw is a queer emerging Chinese-Canadian interdisciplinary artist. Bicoastal, she works in so-called Toronto and Vancouver. Her connective practice focuses on conceptual realms of dance and digital/new media landscapes. Jasmine is compelled to explore her contemporary views of identity and the agency of climate anxiety.

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Celestial Throne by Rah Eleh

Celestial Throne is a two -channel video that consists of two screen or projections that seamlessly interect. The video parodies the tropes endemic to a classic game show, specifically Jeopardy!, where clues are provided and contestants guess the answers. The clues in the game show expose coded internet dialect, iconography, memes, and aesthetics used by far right hate groups to disseminate the movement’s political ideologies, spread messages of animosity and to lure recruits. The characters are all performed by the artist and they deconstruct racial stereotypes, while the videos are a pointed critique of far-right internet extremism. A glossary of terms can be found on the artist’s website

Rah Eleh is a PhD candidate at Die Universität für Angewandte Kunst in Vienna. Rah’s work has been exhibited extensively internationally at spaces including Venice Biennale (Palazzo Mora), Vogele Kultur Zentrum (Pfaiffikon, Switzerland), Nuit Blanche (Toronto), Museum London, Williams College Museum of Art (Williamstown, Massachusetts), Miami Art Basel, Nieuwe Vide (Haarlem, Netherlands), and the Onassis Cultural Center (Athens, Greece). She has been the recipient of numerous awards including long-listed 2023 Sobey Art Awards, Chalmers Arts Fellowship, SSHRC Canada Graduate and Doctoral scholarships, and several Canada Council for the Arts, Toronto Arts Council and Ontario Arts Council grants. She has been awarded many residencies including the ONX Studio (NYC, 2024 ), Koumaria Residency (Greece, 2016), Studio Das Weisse Haus (Vienna, 2014) and the ArtSlant Georgia Fee Residency (Paris, 2014). 

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