”We interact with an infinity of objects from birth to the grave.
Over time our ‘belongings’ become more steeped and resonant with memory and nostalgia.
In many ways, personal objects express aspects of who we are — our identity: our values: our statements and choices.
The passages of time through which we exist become defined by the objects with which we interact.
The artefacts contained within the earthen mound — partially buried — partially excavated — have all played a part in my life.
I have had a special connection to each item presented — a connection that has been hard to relinquish.
In time, we will all disappear from this earth.
This is our destiny.
What will we leave behind? Who will remember us — and for how long?
The mound is a glorious metaphor for the ultimate conclusion of all material manifestations.
We cling — consciously or unconsciously to ‘things’ that are endowed with emotional significance — keeping memories alive, while the uncomfortable awareness of the inevitable moment of departure is held at bay.‘
Annie Lennox, May 2019
The exhibition was accompanied by a printed “field guide” in which Lennox annotated many of the objects on display, identifying the objects and adding recollections, personal stories, and provenance. [source & guide]
MASS MoCA, North Adams, MA
September 2nd, 2019
The apartment block where the play’s main – and only – character actually grew up becomes alive, with the help of an incredible off-stage crew, in the form of a giant dollhouse.
Robert Lepage, who also wrote and directed this deeply personal, autobiographical play, invites us to join him on a journey into the realm of memory. On the way, he revisits his childhood home; shares anecdotes about his friends and family; commemorates names of parks, streets and monuments – places often forgotten or no longer noticed; recalls Charles De Gaulle’s call for a Free Quebec, the time he famously ended his 
The trip starts with a struggle: Lepage is invited to recite ”Speak White”, a poem b
The ”palace room” method worked; in the end, Lepage did recite the poem and it was powerful, emotional – flawless. Ironically, the most compelling performance we’d seen thus far in New York was by a francophone Canadian, translated into English.
The Humble Fabulist 