At the end of their tangled wires, 180 bulbs welcome us into the gallery with their soft glow. Beneath them, a vast mirror reflects the light they emit, multiplying the energy that powers them. As we observe them, we notice that over time their intensity increases, then decreases. This variation follows a recording. It's that of a speech made in 1992 by Grand Chief Matthew Coon Come of the Grand Council of the Crees (Eeyou Istchee), opposing the Great Whale hydroelectric project in Northern Quebec. Intended to supply certain U.S. cities with electricity, the project was destined to divert eight major rivers, irreversibly damaging the land over a vast area.


The speech, repeated in canon, is then followed by words extracted from it, translated into Morse code. Once again, the light bulbs dock with the frame, switching on and off to deploy a visual Morse code. Perhaps by using sight as well as sound, the message will take deeper root in our minds... What are the consequences of “green” electricity on the land, in the communities that inhabit it, and on their cultures?


Through the speech, and then between the Morse code messages, we can hear a sizzling, electrical transformer noise not unlike the sounds we hear when walking under high-voltage power lines. Symbols of connection and modernity, of Québécois nationalism, these cables override an entirely different narrative: that of the destruction of thousands of kilometers of forest, the loss of landmarks and habitat for a multitude of animals...


Suddenly, the set up is not so much welcoming as disquieting. Its stroboscopic effect, combined with the almost frenetic “beep”, suddenly gives the impression of urgency. Then, the sizzling, accompanied by a luminous movement evocative of the flow of electricity, reminds us that it's coming from somewhere. And that if we enjoy it so much, it's because others have paid the price.

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Caroline Monnet (Anishinaabe/French) is a multidisciplinary artist from the Outaouais region. She has had solo exhibitions at the Montreal Museum of Fine Arts, the Schirn Museum (Frankfurt), Arsenal art contemporain (New York), the Centre International d'Art et du Paysage de l'île de Vassivière (France) and the Art Museum of the University of Toronto. She has been awarded the Merata Mita bursary from the Sundance Festival and named Compagne des arts et des lettres du Québec.


Ludovic Boney hails from Wendake, Quebec. After graduating from Sculpting School in 2002, he and four other artists founded Bloc 5 - an artistic production studio. Since 2006, he has been working on large-scale public art projects, presenting his work regularly in galleries and artist-run centers. He recently presented his work at the McCord Museum in Montreal and at Nuit Blanche Toronto. His work can be found in many public and private collections.