Guillaume Adjutor Provost

Misinformed Informants: SLOW READERS, argument n°1

My art explores social, historical, and familial links through pictorial structures, tools and performance acts, converging place, action, material and time, which catalyzes an exchange from inhabitant to participant and utilizes precise gestures and rhizomatic metaphors. My work elaborates on new connections between ‘fiction’ and ‘non-fiction’ and is compulsively led by my need to reconfigure borders and identities.

Every performance that I have presented is based on the idea of what is lost in reconstitution. I am interested in how a subjective interpretation of a historical or familial event can be transformed into an abstracted, conceptualized piece of work. My performances are intimate scenes and are influenced by the context of their creation, whether it is through the relationship that I share with a public or through an intimate, individual interaction. 

The performance SLOW READERS, argument n°1 relates to the hidden messages that we can find within spiritual lyrics from the mid 19th century. I take as an example the song “Steal Away to Jesus” composed by Wallace Willis around 1862. That song represents how the spiritual aspect was abstractly coded for the purpose of clandestine communication. I wish to investigate these residual fragments of communication through nervous gesture and minimal voice interplay. 


Guillaume Adjutor Provost is an interdisciplinary artist, researcher and educator who experiments with forms of exhibition, collections, text, and curation. His artistic practice is motivated by a desire to update what has long existed on the periphery of dominant historical discourses: class consciousness, counter-culture, vernacular imagery – notably folklore and Quebec applied arts – and experiences of queerness. Guillaume Adjutor sees creation as a tool for ideation and projection; creating works – material or immaterial – reminds us of the humanist ideal of a life marked by experimentation, freedom, and critical thinking.

Recipient of grants from the Conseil des Arts et des Lettres du Québec, the Canada Council for the Arts, and the Claudine and Stephen Bronfman scholarship, as well as a finalist for the Pierre-Ayot prize of the city of Montreal in 2016 and in 2019, the projects of Guillaume Adjutor Provost have been presented in individual and group exhibitions, notably at the Musée d’art contemporain de Montréal (2020/2021), at Caravansérail, Rimouski (2019), at the Fonderie Darling, Montreal (2019), at the Galerie Hugues Charbonneau, Montreal (2019/2018), at Bikini, Lyon (2018), at Diagonale, Montreal (2017), at Bolit Center Art Contemporani, Girona, Catalunya (2017), at Center Clark, Montreal (2016), at Galerie de la rue des Étables, Bordeaux (2015), at the Christoph Merian Foundation, Basel, Switzerland (2015). at Ve.Sch, Vienna, Austria (2014), at the Couvent des Récollets, Paris (2012).

Misinformed Informants curated by Lisa Visser

Guillaume Adjutor Provost
Corina Kennedy
Sophie Castonguay
Julia Mensink
Stacey Ho
Joshua Schwebel (cancelled)
Michelle Lacombe
Henry Adam Svec

Misinformed Informants: Preface to the Performance
By Lisa Visser

Fragments, fleeting words, fights. You’re not listening to me

Misinformed Informants invites emerging artists to answer to the idea of miscommunication, misunderstanding, misplaced lines of agreement. Responses range from antiquated expressions of communication to suggestions, covert signals, mis-remembrance and the unapologetically false. Diverse interpretation converges into an overhead problem of mistrust. In trusting the informant (who may be misinformed) misinformation is communicated as true information. Truth and reality negate the very premise of this performance event. I begin to doubt the truth I communicated. And yet: I would never lie to you. But: this is about lies.

This curatorial premise acknowledges the complicated boundaries of curator-performer-audience relationships and pushes past them. These tensions are apparent in the work of Misinformed Informants, and can be as subtle as a gesture, as apparent as a role-reversal, or as confrontational as a slap in the face.    

Julia Mensink’s maybe it was nothing brings a tension to the audience/performer role by inviting her ex-boyfriend to be a participant. Both Julia and her ex tell a lecture-style story, based on their own experiences of the same event. Through the development of the story, what becomes clear is the absence of synchronicity in memories, the highlighting of the fuzzy parts and the uncomfortable inclusion of audience members into a breakup. The audience can choose between listening to Julia or her-ex’s side of the story: a literal choosing of sides. How terrible to be brought in to this. I would like us not to fight.

Joshua Schwebel’s piece deliberately misses the mark, or so it was meant to. Relying on the accuracy of Canada Post, Joshua mis-addressed his application to the call for submissions. However, a glitch delivered the package to the correct address in a sensible amount of time.  In following Joshua’s instructions, I rejected the dossier. Joshua’s cheeky approach to the premise has yet to play itself out, but his deliberate determination to accepting and then rejecting causes me to question my role as curator. What have I done in creating these intentionally missed formations of informants?

In a similar farce, Henry Adam Svec plays with the role of the lecturer and delivers a performance rooted in fiction. Stompin’ Tom Connors never wrote “The Lost Stompin’ Tom Song.” Did he? Henry engages the audience in an experiment that questions and abuses the influence of authority and the audiences’ desire to be patient, active and honest listeners.

Sophie Castonguay toes the line between performer and director, creating a confusion that arises from the conditioned reverence of the audience for the performer and the space of performance art. You took the words right out of my mouth puts audience members under the direction of the performer. The audience wants to know what is happening. The performer is in control. Is this the performance? Sophie withholds the one thing the audience wants: clear communication about what will happen next. Going beyond the unexpected is also the under-expected, the under-performed and the under-communicated. 

Stacey Ho invites additional participants in her GROOP MEDITEHSHUNS, a three-part piece that draws attention to breathing, blinks and beats. Each performance will have the participants respond to one another’s bodies with a gesture, a sound, or a slap in the face. By drawing attention to the subtleties of the bodies’ motions, Stacey is over-communicating in a way that is delicate and absurd, respectful and brutal.  

The obsessive nature of this over-observant performance is present in Corina Kennedy’s cheer sir or madam, a durational performance in which letters are typed out on a typewriter, only to be immediately rendered unreadable. Letters of love, protest, and rejection are destroyed upon their completion. What remains are mounds of lonely letters of the alphabet, without a structure or form. Both antiquated forms of communication and obsession elevates these letters until they are objectified and displayed, nearly fetishized.  

Guillaume Adjutor Provost’s fetishization comes into play in a different form, a covert and suggestive gestural work. Guillaume claims a subjective reinterpretation of historical moments, changing meanings and communicating a new history. SLOW READERS, argument no.1 is based on a song meant to inspire spirituality. Through the performance, the song and it’s intent is broken down in subtle movements, hidden meanings and secrets only the performer knows. The secret is there.  But we stopped understanding each other long before that. 

The performances in Misinformed Informants break down communication – reducing it to an elemental approach. What results is a step-by-step guide on how to mis-communicate and a deliberate delivery of misinformation. Each artist claims a unique response, playing with issues of trust, structure, defined roles, tensions and obsessions. These are common-place issues. Every moment we are faced with the authority of being an informant and of being the informed. Sweet lies for protection, small in nature, keep us from personal disaster. The authority of the speaker is consistently abused in a way that is difficult to place and even more difficult to accuse.

Your word against mine. But I know you’re lying. I would never lie to you.

Special thanks to Clive Robertson for the hook-ups, Johanna Householder for the coffee and advice, and Shannon Cochrane for a being a model of enthusiasm, dedicated support, and superior decision-making skills, to which I aspire. Also thanks to Sarah E.K. Smith for listening to all my lies. Big thanks to Matthew Williamson and all the staff at XPACE for their help and support.

Exhibition: December 17–19 / 12:00pm–8:00pm Friday & 12:00pm–6:00pm Saturday

Performance Yellow

This fragrance opens us to the question, has the show started? It's winter, the theatre is colder than the street and the room is filled with people and all their winter smells: wet faux leather, down, too much shampoo, and beer breath. The atmosphere is a trickster. Am I late, am I early?

Top Notes

yellow mandarin, mimosa

Middle Notes

honey, chamomile, salt

Base Notes

narcissus, guaiac wood, piss, beer