Massimo Guerrera

Porus, et quelques espaces temps partageables

 Massimo Guerrera, a Montreal based visual artist, crosses boundaries between performative actions, drawing, sculpture, photography and writing. His work deals with shared experiences within the social as well as the intimate realm. For the Joyce Yahouda Gallery, Massimo Guerrera presents Porus (et quelques espacestemps partageables) , an installation that incorporates drawings, photographs, texts, food and objects. Porus  started in 1998 as an ongoing project in which Guerrera visits homes of both friends and strangers to interact with the host and the various participants that are present in these gatherings. It is around a meal, cooked on the premise, that the collaborative work takes place. Guerrera develops a relationship with the participants with whom he meets at various times. During these gatherings, Guerrera utilizes some drawings as well as “domestic kiosks” a term Massimo uses to describe portable objects that are often molded as prosthesis. The “domestic kiosks” as well as drawings circulate between the artist and the other participants in order to encourage a creative process and performative actions. Massimo captures some of these moments in photographs to

 Massimo Guerrera, a Montreal based visual artist, crosses boundaries between performative actions, drawing, sculpture, photography and writing. His work deals with shared experiences within the social as well as the intimate realm.

For the Joyce Yahouda Gallery, Massimo Guerrera presents Porus (et quelques espacestemps partageables) , an installation that incorporates drawings, photographs, texts, food and objects.

Porus  started in 1998 as an ongoing project in which Guerrera visits homes of both friends and strangers to interact with the host and the various participants that are present in these gatherings. It is around a meal, cooked on the premise, that the collaborative work takes place.

Guerrera develops a relationship with the participants with whom he meets at various times.

During these gatherings, Guerrera utilizes some drawings as well as “domestic kiosks” a term Massimo uses to describe portable objects that are often molded as prosthesis. The “domestic kiosks” as well as drawings circulate between the artist and the other participants in order to encourage a creative process and performative actions. Massimo captures some of these moments in photographs to

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