landscapes and narrative


A mysterious story unfolds in the latest film by Patrick Bernatchez. Lost in Time (2014) traces the relationship between two protagonists – a rider and his horse. Both helmeted, we first see their black figures make their way through a blizzard in a glacial, desolate landscape. Woven within this narrative are other images showing the rider alone, sinking in the snow – his mount having collapsed from exhaustion, while a monumental block of ice thaws to reveal the horse. As the rider is irrevocably engulfed by his surroundings, his mount is unexpectedly coming back to life, showing their mutual dependence and highlighting the time loop Lost in Time constitutes. This wandering narrative refers to a perpetual renewal, and ultimately speaks of the ceaseless cycle of life and death.

The soundtrack, a collaboration between Bernatchez and Murcof (Fernando Corona), refers to elements of Murcof’s own composition Cosmos (2007) as well as Bach’s Goldberg Variations, a recurrent motif in the work of Bernatchez.

Self-taught, artist Patrick Bernatchez builds his work like a fractal objet – where each artwork refers to a whole. Over the past decade, the subject of time has been fundamental to Bernatchez’s practice. In Lost in Time (2009 – ) explores various dimensions of time: cosmic, performative, imaginary, distorted. The artist brings an omnivorous approach to media, making use of drawing, printmaking, painting, photography, film, installation, music and sound. His work has been widely exhibited in Europe and North America, in spaces such as Galerie West, (The Hague, Holland), Fresnoy Studio National des Arts Contemporains (Tourcoing, France), Mass MOCA (North Adams, Massachussetts) and Musée national des beaux-arts du Québec (Québec, Canada). In 2014 and 2015, his work was the subject of a major exhibition at Casino Luxembourg (Luxembourg) and Centre Argos (Brussels, Belgium). Produced in collaboration with Musée d’art contemporain de Montréal, who featured the exhibition in the fall of 2015, it traveled to The Power Plant (Toronto, Canada) in 2016. Bernatchez lives and works in Montreal.

Patrick Bernatchez is represented by Battat Contemporary (Montréal, Canada).

Screenings: April 10, May 10, June 8 2017 at 20:30
the Office, 32 Kleathi Christophides, 1011 Nicosia within the walls

Sufjan is one of the greatest musicians of our generation, and the music he lets out into the world is but a tiny fraction of the huge body of work he is constantly making. He is also a beautiful storyteller, who has long been interested in the American landscape, and the narrative that is told in different places through history and folklore.
—  Bryce Dessner on Sufjan Stevens
Ranching, a Nature Lover’s Labor of Love

By Rachel T. Carnahan, BLM Arizona Public Affairs and Tumblr Blogger

Diamond Butte on the BLM Arizona Strip. Photo by Lorraine Christian, BLM Arizona Strip Field Manager

Driving east into the sun, I gaze south across the Arizona Strip. The sage-studded desert floor seems to stretch on forever.  

In my head, I rewrite the story of the modern day cowboy, of the rancher who scratches a living from this harsh country.  My stories draw from memories of classic westerns and an imagination fed by rugged Arizona landscapes.  Who is that modern day cowboy?  What drives the cowboy to work the land today?  

As I take the truck off highway, onto a wide dirt road, I come closer to the White Pockets Corral and possibly answers to my questions.

Quail Hill Draw, Arizona. Photo by Jon Jasper, BLM Arizona Strip Outdoor Recreation Planner

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The 14 year drawing is a development towards making a landscape on which the narrative exists upon. The dystopian story of Zanzibar starts with the construction of the landscape. The landscape is found, mapped, documented, destroyed, re-found, re-mapped and then re-documented. The next step of the project is to build a construct of the landscape by means of a physical narrative.


Dreams of Moving 2015, ink on paper, 150 x 310cm

This piece was created after travelling Peru and Bolivia. It is an attempt to look back on my own personal journeys within places, and depict them as they are in my mind. As an artist i am interested in memory and use drawing as a tool to get memories out onto paper, I am fascinated by particular scenes and moments which stick with you, and the way memories alter over time. This piece is a sprawling and dramatic landscape or mindscape, with narrative composed along paths, roads and lines. telliing personal stories and showing things which stood out to me the most in that period of time. My detailed but smudged and hazy drawing style, and the way the people and objects exist in the landscape serves to show how memories exist in my mind.


Hope everyone attending the WonderCon panel keeps their cool.

Hold ‘em accountable, but do it with class. 

Ask, don’t attack. 

Wanting to crush certain folks like bugs may be personally satisfying… BUT, if we don’t allow for amends to be attempted (even by the worst offender, even when it’s forced), then it just makes us seem as intractable as those we’re challenging. 

Remember… Mockery is not the product of a strong mind, ClexaKru.

As a movement that is genuinely seeking long-lasting change, positive rallying cries are what wins the day & the battles.

I know that I want the irresponsible storytellers to not go away embittered & forever our enemy… but to be chastened & affected to the point of going back to work and actually, seriously changing the narrative landscape.

Hearts & Minds.  Godspeed!