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Myriam yates
Gander - Islands - Diptyque
Video installation | hdv | color | 8'45'' | Canada | 2017
Isolated in Central Newfoundland (Canada), Gander Airport had played a vital role from 1940s as a refueling stop for transatlantic flights. During the Cold War, Gander was one of the few refueling points where airplanes could stop en route from Eastern Europe or the Soviet Union to Cuba. Intended to present a progressive image of Canada, the historical international lounge was built in the late fifties with furniture by influential designers of the time. With the advent of jets with longer range in the 1960s most flights no longer needed to refuel. Gander has decreased in importance. The imposing lounge of the international zone today stands still, only occupied by US air force and private jets. Gander Islands (diptych) focuses on the smokers` room adjacent to the lounge. During the filming, deposited on the floor, a barely started drink with an Arabic writing on the bottle label - recalling the use of the place by American soldiers in transit from a mission. Punctuated by stickers of various tactical forces placed here and there in the terminal, this discrete presence hovers the lounge. The two images that run in synchronicity are close to a drift, a reverie of a hypothetical occupant.
Myriam Yates has developed a practice based essentially on the image (videographic, cinematic and photographic). Her work takes the form of large projections, installations and photographic series. She explores the connection between sites and their representation, often basing her projects on modern sites or sites in transition whose singular status interrogates the connections between the individual, modernity and architecture. Her work has been shown at events such as Kassel Dokfest, Images Festival (Toronto), Rencontres Internationales Paris/Berlin, le Mois de la Photo à Montréal and Nuit Blanche Toronto. It has been the subject of solo and group shows, including at Dazibao, a centre for images (Montreal); the Foreman Art Gallery at Bishop’s University (Sherbrooke); the Hessel Museum of Art—CCS Bard (New York); the Musée d’art contemporain de Montréal; OPTICA, a centre for contemporary art (Montréal); and Galerie de l’UQAM (Montréal). An essay in the journal Prefix Photo on improbable architecture devoted to her video work accompanied an exhibition at Prefix ICA (Toronto). In 2015, she was awarded the Canada Council for the Arts’ Victor-Martyn-Lynch-Staunton award in media art.