Eolith
Site du moulin Sault-au-Récollet






The Archive’s Time After

“not even the dead are safe”

(murmurs)

our ruins are moving
our contemporaries are estuaries
of the past

trash heap

(holy, holy)

our haunts in Rosemont
our zombie-bars on Beaubien
undead-ing it, deadnaming with privilege
last reprieve or afterimage of Dollar Cinema on Décarie

“not even the dead are safe”
from pillage or ventriloquism

the victor’s pen is blood red
language swirls and caesueras in Bill 96
acephalic or anglo-centric
Republicans unnecessary, “antique Romans”:

I can make a hundred of history’s leftists into
pet Lazurses, linen dress or death mask
a hundred more (dead) on the petition of support
for farmer’s markets and art projects








Gogol’s dead souls—dead peasants for perestroika
Pizza Hut in conflict region
ruins’ owners’ wear sanctions
like red ribbons

front matter and black materia
in memorium or rememoria

these ffteen ruins, theses on the sophistry of history
or
these ffteen ruins, theses of the lost loss of history
in our hauntings we sell
in ghost stories we sold
only commodities

disinterred gemstones and minerals
fracking the fractured turtle shell
the caesuras spring pretenders and oracles
ruins shilled for shitcoins and NFTs

the past was never pricier; the dead never more proftable
Faulkner says, the past is never over; it’s not even possible
Bergson says the past was never memory; full and irretrievable
Benjamin says in ffteen syllogisms, fnal swan song of the victorious
the ruins belong to the victors, and the victors set the prerogatives.

Devin Wangert








On parle ici de parcours inaccessibles desquelles émergent des scènes.
Un moulin bâti sur la terre et l’eau ne broie, ne pile, ne pulvérise plus.
Il ne transforme plus de matières diverses.
Jadis métaux, fbres, minéraux ?
“Roulez pour savoir”.
C’est là, dans cette absence, que le fantasme découpe chaque chose en son temps.
Des manifestations, des items tentent tant bien que mal de se loger et de prendre place dans la
narration des choses disparues.
Elles n’ont jamais lu de livres, mais elles en écrivent.
Des amies imaginaires s’affairent à indiquer l’ignorance de tout ce qui arpente le lieu.
C’est table rase pour une génération d’objets magiques.
C’est une visite d’opportunité : sonner aux vies calquées sur des acétates qui n’indiquent plus
rien. La carte ne vous mène qu’à des cul-de-sacs, et vous vous sentez confortable d’être sans
repères. Au détour d’un muret, un personnage vous laisse croire à vos visions, le tour est joué.

note anonyme





































Eolith was an exhibition situated in the long abandoned Sault-au-Récollet Mill in Montréal Canada that took place on July 9th, 2022. For this exhibition, we asked the artists to draw inspiration from ruins, to use their fragmentary, unfinished nature as an invitation to fulfill the unexplored temporality that they may contain; not to be a site of mourning the past, but instead, the animus to forge a new revolutionary future.

with works by Andrew Rutherdale, Anjali Kasturi, Antoine Larocque, Bridget Hamel, Daniel Fernandes, Graham Wiebe, Hugo Laporte, Isaac Chao Healy, Lara Joy Evans, Mégane Voghell, Nick Castonguay, Youri Johnson

Organized by Nick, Daniel, and Maxime

@e.olith



Eolith at Sault au Récollet Mill Site