Renversement cognitif is part of a project entitled La réunion des pratiques, begun in 2007. It materializes in an adaptable installation and transforms itself through a series of encounters and time-spaces shared with other active participants, as well as meetings between Guerrera and his inhabited solitude. It is an alternative experience—somewhere between encounter and solitude—supported and accompanied by a daily meditative practice. The project is an open platform that is attentive to the rhythms of the mind, and that attempts to capture through the senses the effects of encounters and their ensuing affective interrelations.
Massimo Guerrera was born in Rome, Italy, in 1967. He lives and works in Montreal. He holds a BFA from UQAM and, since 1988, has shown his work in Canada, the United States, Belgium, Italy and France. Among his exhibitions one should note: Darboral (un trait d’union entre le visible et l’invisible) shown at the National Gallery of Canada as part of the exhibition Caught in the Act: The Viewer as Performer in 2008–09 as well as at the Darling Foundry in 2008, and Darboral (ici, maintenant, avec l’impermanence de nos restes), shown at the 2000 Biennale de Montréal and in 2002 at the Musée national des beaux-arts du Québec, as well as at Vancouver’s Contemporary Art Gallery in 2004. Also of note are Porus (les recombinaisons gourmandes d’un rendez-vous) at the Centre des arts actuels Skol in 2001 as part of the year of special programming Les commensaux, and PORUS ou 99 études empiriques sur l’étanchéité domestique instable at the Leonard & Bina Ellen Gallery of Concordia University in 1999. The project La cantine (redistribution et transformation de nourritures terrestres) undertaken in Montreal’s urban space and begun in 1995, was subsequently presented at the Dare-Dare centre in 1997, and again in the Artifices event in 1998 and the Événement orange in 2003. Massimo Guerrera received the Ozias-Leduc prize, awarded by the Fondation Émile-Nelligan, in 2001. His works are included in the collections of the National Gallery of Canada, the Montreal Museum of Fine Arts, the Canada Council’s Art Bank and the Musée national des beaux-arts du Québec.