In Seripop's first major solo exhibition the duo of Yannick Desranleau and Chloe Lum shape posters into immersive ephemeral spaces; transform the galleries into ur-urban landscapes—Kurt Schwitters' Ursonate rendered into form, nod also to his Merzbau; layer proto-messages of agrammatical gibberish—the word reproducted doesn't exist, but is close enough to recognizable to cause confusion, this opens the door to the other instances of written glossolalia throughout the work; manifest a distaste for Le Corbusier's sterile modernism—Le Corbusier is both the villain and the reference; play with possibilities until monomania sets in—once the idea has been tested and tweaked, stick the repro machine on repeat and see what the abundance produces; cover the white cube and the black box with repetitive patterns of noise print—minimalism in the shape of maximalism; trace the viewers' erosive steps—put art on the floor and force the viewer to trample the commodity and thereby ruin it; sculpt with soft materials—the fragility of paper suggests a playful craft-based skill rather than one predicated on a mastery indexed by perennial Classicism; ink flows and fluxes—committing ink to paper is not as stable as the Law would profess, Seripop refuses to sign; structure an erratic conversation—dialogue, yes; conclusion, no; reconstruct constructivism with a punk ethos; reference the streets of a dystopian Montreal—post-Drapeau, post-Expo '67, post-Referenda, post-post; devise DIY architecture as a place where the local is everywhere—be simultaneously specific and general; compose palimpsestic texts to read time into space; poster in three dimensions; map askew—a cartographer's nightmare; savor pleonastic tendencies—verbose run rampant; mine the sinuous—ouroboros curves; pupullate forms; screen the cinematic into stilled installations; occupy every inch of space like space gluttons; concrete amorphous abstraction; relish in operose excess; whelm over and over—overoverwhelm; differentiate between background and foreground no longer—flat depth; fester the synaptic firings until they splatter the walls floors and ceilings—out of brain storm; disturb and derange 2d into 3d; synchronize symmetries while causing head tilts—using visual dissonance in order to break expectations; and inject structure with improvisatory tears and rips—plan to unplan. In short, the Blackwood Gallery is proud to present Landscapes events reproducted.