EmbassyofLiminalSpaces

H.MasudTaj

ProducedbytheDepartmentofForeignAffairs,TradeandDevelopmentCanada
inconjunctionwithpoetH.MasudTaj
TheoriginalpoemwascreatedfordisplayattheCanadianConsulateinBangalore.
ReproducedwiththepermissionofHerMajestytheQueeninRightofCanadaasrepresentedbytheMinisterofForeignAffairs.
PubliparleMinistredesAffairestrangres,duCommerceetduDveloppement
conjointementaveclepoteH.MasudTaj
LepomeoriginalfutcrpourtreexposauConsulatcanadienBangalore.
ReproduitaveclapermissiondeSaMajestlaReineduchefduCanadareprsenteparleMinistredesAffairestrangres.

Embassy of Liminal Spaces

i Postscripts|Postscriptum

TheArchitectofLiminalSpaces|Larchitectedesespacesliminaux
BruceMeyer

TheWayfarersLines:SomeThoughtsontheCalligraphyofEmbassyofLiminalSpaces.
Letracduvoyageur: RflexionssurlacalligraphiedupomeLAmbassadedesespacesliminaux
PetraHalkes

ii Translations|Traductions

TypefacetranslationbyDFATD

Lambassadedesespacesliminaux
DFATDandRoseannOReillyRunte

|
RajivTrivedi

iii Acknowledgments|Remerciements

iv Installation

The Architect of Liminal Spaces

Architects and poets have in common one keyelement of their crafts: they both
make something out of nothing. Making something out of nothing is one of the
foundations of history; it is the way we grow as creatures that cannot stop
imagining what can be and making ideas into realities. The architect dreams of
creatingandmakingspacesthatexpandthereachesofhumanconsciousnessand
experience. The poet dreams of filling our minds with ideas, images and words
thatreachbeyondthefamiliarityofhumanconsciousnessandexperienceandof
sharingwhathedoesintheformoforganizedlinguisticmemories.Andwhilethe
architect is looking to break down walls, to make space into a world unto itself,
the poet is attempting to instigate the existence of new worlds if only so his
readerorlistenerwillgoforthtorecognizethewonderofnewexperienceswhen
they present themselves. One deals with the space around us while the other
dealswiththespacewithinus.
Ifinditfascinatingthattheapparentdualityofarchitectsandpoetsisfusedinthe
workofH.MasudTaj.Heisoneofthoseraremindsthatreconcilesimpossibilities
toeachotherandmakeoppositionscompatibleandwonderful.WhenIwasasked
to write this introduction to the poem that appears on the wall of the Canadian
ConsulateinBangalore,forapoemthatTajbuiltasmuchasheimaginedit,Ifelt
sometrepidation.IknowpoetryalmostbetterthanIknowmyself,butthespaces
inwhichIfindmyselfonadaytodaybasisseldominspiremetoperceivephysical
spaceassomethingwithoutlimits.Iamperchedonathreshold.

Tajs writing on the wall is his poem Embassy of Liminal Spaces. As a

wordsmith, I know that the idea of what is liminal refers to that threshold of
experience that situates an individual between the world of the definable
concrete experience and a larger though abstract reality of the senses. A space
that is liminal is a place of transition, a portal between what we know and what
weareyettoexperience.Thatparadox,thatstatementofoppositionsiswhatan
embassyisallabout.Anembassyisadoorbetweenonenationandanother.And
here, on the walls of a diplomatic space dedicated to helping people pass from
oneplacetoanother,isTajspoem.Itiswrittenonthewallsinordertoserveasa
statement of guidance, a testament in calligraphy that reminds me, at least
imaginatively, of the writing on the walls of ancient temples or important civic
landmarks.
Ilovethefactthatthewallsaretalkingtovisitors.Thepoemisamap,aseriesof
verbal instructions to the imagination of the traveler that eases the process of
transition inherent in every rite of passage. These rites, whether personal, legal,
or international mark those moments when we become something other than
what we have been. Call it growth. Call it learning. Call it diplomatic red tape.
Whatever termwe put to thatexperience, one thing is certain: we are different,
perhapsbetterandwiser,forhavingundertakenajourney.
TheancientChaldeankingcelebratedinoneoftheearliestsurvivingepicpoems,
TheEpicofGilgamesh,undertakesaheroicjourneyinordertoredeemofthelife
of his dear, lost friend, Enkidu. Gilgamesh fails in his quest to obtain the sacred
flowerofimmortalityandrestorelifetothedead,butwhathereturnswithfrom
hisextensivetravelsisaprofoundsenseofhavingbeenchanged,ofhavingbeen

madewiserfortrying.Journeysimprintthemselvesinseveralplacesonahuman
being.Theyshowonpeoplesfacesbecausetopassfromoneplacetoanotheris
topermitoneselftobephysicallytransformedandalteredinsomeway.Journeys
writethemselvesonpeoplesminds,expandingtheirhorizonsandtheknowledge
andexperienceapersoncarrieswithhim.Butaboveall,journeysalterthepaths
that travelers take. Going from one place to another is what changes the world.
Aside from leaving footprints in the dust to mark our paths, the accumulation of
knowledgeandexperiencebringsusclosertogether.Theworldbecomessmaller,
andwe,inturn,becomelarger.
Insomeways,Tajstitleforhispoemcontainsaredundancy.Aliminalspaceisa
space that exists as a portal to mark our transition from one place or
consciousness as we travel to another. In short, an embassy is a liminal space. I
was reminded of this not long ago when I found myself in a kind of mythic,
metaphoricalportal.
I had climbed Dreamers Rock, a sacred place on the White Fish Nations land
between Manitoulin Island and the mainland of the shore of Ontarios Algoma
region. Dreamers Rock is a large, white, marble mountain, atop which is a skull
like domed rock a Canadian equivalent of Golgotha (another portal from the
Western New Testament tradition, the name of which means hill of the skull)
where life and death, here and now, and the experience of looking from one
world into another is possible. The rock was important to the Ojibway people
becauseitwasaplacewheretheycouldgotodreamandfindthemselves.Onthe
crest of the skull there is a natural indentation in the shape of a prone human
figure,andinthatsmallhollow thedreamerwouldlieonhisbackandstareinto
the endlessness of blue sky or night stars. What one dreamed there was ones
name and ones spirit guide, the alter ego identity in the form of an animal who
already lurked inside a persons soul but who needed to be discovered by the
dreamersohecouldbecomewhole.WhileIlaythere,alarge,blackbirdhovered
inthecloudlessskyaboveme,motionlessontheupdraftofawarmsummerday.I
discovered that I was a raven a mythic figure in the Annishnaabe/Ojibway
tradition, a poet soul who was able to pass between worlds and bear messages
fromonetotheother.
To be liminal is to be conversant in the experiences of two places, to bear the
knowledge from one place to the other, and to carry with one the accumulated
consciousnessofmanyworlds.IlovethefactthatTaj,thepoet,hasinformedTaj
thearchitectastotheessentialnatureofanembassy.Theconceptofdiplomacy
means that a diplomat is one who is conversant in various experiences
sometimes very disparate experiences and is able to exercise tact and
understanding in a humane and compassionate way not merely to bridge one
placeandtheotherbutinorderfortwoworldstobecomeone.
Taj has realized that beyond the imposed definitions of nationality and the
artificial constructs of borders, we are all, ultimately, of one nation the human
race and that our duty in life as we move from one place to another, is to
convey the message of our humanity to each other. And on a smaller, more
personal scale, our lives are benchmarked with liminal experiences as we pass
throughthestagesthatdefinewhoandwhat weareatanypointin time.Inthe
process of living our lives a bit of helpful advice, wisdom, guidance, and good
thoughts,arewhatweusetocreatethemapsthathelpusonourjourneys.

Lookatthemapthatisbeforeyou.Rememberthatthisspacewasnothereonce,
but now that it is, now that is has been imagined, crafted, and made real, it is
yours to use in your journey. Poets and architects make the possible from
nothing, and they both build worlds where we can live and grow together as
humanbeings.Theymakethejourneysofourlivespossibleandmoreaccessible
sothatwecancarryourknowledgewithustoothers.Passthroughtheportaland
remember Taj, a poet, an architect, and above all a traveler in both body and
spirit: tell the new world what you have seen, what you have known, and what
youhavelearnedsothatotherscangrowtoo.

BruceMeyer

Larchitecte des espaces liminaux

Le mtier de larchitecte et celui du pote ont un lment cl en commun: ils
crent tous les deux du nant. Crer du nant, cest lun des fondements de
lHistoire; cest notre manire dvoluer en tant qutres qui ne peuvent cesser
dimaginerlepossibleetdetraduireenralitlesides.Larchitectervedecrer
et de raliser des espaces qui largissent les horizons de la conscience et de
lexprience humaines. Le pote rve de nourrir nos esprits dides, dimages et
de paroles qui dpassent ce qui est familier la conscience et lexprience
humaines,etdepartagersesralisationsenguisedesouvenirsorganisssousla
formedulangage.Etlolarchitectecherchedcloisonnerlespaceetenfaire
unmondeensoi,lepoteessaiedepromouvoirlexistencedenouveauxmondes,
ne ftce que pour permettre au lecteur ou lauditeur doser reconnatre les
merveillesdesexpriencesnouvellesdsquellesseprsentent.Lunsoccupede
lespace qui nous environne, alors que lautre soccupe de lespace qui nous
habite.
CequimimpressionnedansluvredeH.MasudTaj,cestquilexerceenmme
temps le mtier de larchitecte et celui du pote, qui semblent pourtant aux
antipodes. Le sien est lun des rares esprits qui rconcilie entre elles les
impossibilits et qui rend merveilleusement compatibles les opposs. Lorsquon
ma demand de rdiger cette introduction au pome affich sur le mur du
consulat canadien Bangalore, un pome que M.Taj a tant construit
quimagin,jaihsitquelquepeu.Jeconnaislaposiepresquemieuxquejene

me connais moimme, mais les lieux dans lesquels je me trouve chaque jour
minspirent rarement voir lespace physique comme tant sans limites. Et voici
quonminvitefranchirunseuil.
Le pome LAmbassade des espaces liminaux reprsente linscription sur le
mur de M.Taj. En tant qucrivain, je sais que la notion du liminal renvoie au
seuil de lexprience o une personne se trouve entre le monde de lexprience
dfinissable et concrte, et une ralit sensoriel plus vaste quoiquabstraite. Un
espace liminal, cest une zone de transition, un portail entre les connaissances
acquises et lexprience venir. Une ambassade est en plein lexpression de ce
paradoxe,decetteopposition.Uneambassadeouvrelaporteentredeuxpays.Et
cest ici, sur les murs dun espace diplomatique dont la fonction est daider les
genspasserdunlieulautre,quesetrouvelepomedeM.Taj.Soninscription
sur les murs nonce des principes qui doivent nous guider, cest un testament
calligraphi qui me fait songer aux inscriptions sur les murs des temples de
lAntiquitousurlesgrandsmonumentsciviques.
a me plat, lide que les murs parlent aux visiteurs. Le pome offre
limaginaireduvoyageurunecarte,unesriedinstructionsverbales,quifacilitele
processus de transition inhrent tous les rites de passage. Quils soient
personnels, juridiques ou internationaux, ces rites soulignent des moments o
notre situation change jamais. Que ce processus sappelle la croissance,
lapprentissage ou les formalits diplomatiques, quel que soit le nom que nous

donnons cette exprience, chose certaine, le fait dentreprendre un voyage

noustransforme,nousrendpeuttremeilleursetplussages.
Dans lun des plus anciens pomes piques arrivs jusqu nous, Lpope de
Gilgamesh,unroichaldenentreprendunvoyagehroqueafinderendrelavie
son cher ami disparu Enkidu. Gilgamesh natteint pas son objectif dobtenir la
fleur sacre de limmortalit et de ressusciter le mort, mais il sent au retour de
sonlongpriplequilaprofondmentchang,quilestplussagepouravoirtent
lexprience.Lesvoyagessimprimentsurplusieursaspectsdestreshumains.Ils
transparaissent sur les visages des gens car, en passant dun lieu lautre, nous
nous permettons en quelque sorte dtre transforms et modifis. Les voyages
laissent une trace sur lesprit des gens, largissent leurs horizons, enrichissent le
fonds de connaissances et dexpriences quune personne porte en ellemme.
Mais,avanttout,lesvoyagesontunimpactsurlecheminementduvoyageur.Le
faitdevoyagerdunlieulautretransformenotremonde.Nousnelaissonspas
uniquement des empreintes qui tmoignent de notre passage sur le sol
poussireux que nous avons foul. Nous accumulons des connaissances et des
expriences, nous nous rapprochons les uns des autres. Le monde devient plus
petitet,paradoxalement,nousgrandissons.
Le titre du pome de M.Taj est redondant dune certaine manire. Un espace
liminal sert de portail qui marque notre transition dun lieu ou dune prise de
conscience lautre en voyageant. Bref, une ambassade constitue un espace
liminal par dfinition. Il ny a pas longtemps, je me suis rappel cette vrit
lorsquejemetrouvaisdevantuneespcedeportailmythiqueetmtaphorique.
JavaisgravileDreamersRock,unlieusacrsurleterritoiredelaPremirenation
WhitefishRiverentrelleManitoulinetlactedelargionontariennedAlgoma.
Le Dreamers Rock est une grande montagne en marbre blanc, dont le dme
ressembleuncrnetailldansleroclquivalentcanadienduGolgothaoudu
Calvaire(unautreportaildansleNouveauTestamentdelatraditionoccidentale,
une colline dont le nom signifie crne), do lon peut contempler la vie et la
mort, lici et maintenant, et connatre lexprience de voir dun monde lautre.
Le rocher avait de limportance pour la Premire nation Ojibway, parce que lon
pouvait aller y rver et se dcouvrir. Au sommet du crne, la Nature a creus la
formedunhommecouchsurledos.Lerveurgisaitdoncdanscepetitcreuxet
braquaitlesyeuxsurlinfiniducielbleuoudelanuittoile.Ilyrvaitsonnomet
songuidespirituel,cetalteregoquilogedanslmedunepersonnesouslaforme
dun animal, mais que le rveur devait dcouvrir afin dtre un homme part
entire. Pendant que jemy tendais, un grandoiseau noir a plan audessus de
moi, emport par un courant dair sans battre des ailes, dans le ciel sans nuages
dune chaude journe dt. Jai appris alors que jtais un corbeau une figure
mythiquedanslatraditiondelaPremirenationAnishnaabeetOjibway,uneme
potiquequipouvaitfranchirlafrontireentredeuxmondesettransmettreentre
euxdesmessages.
tre liminal, cest connatre lexprience de deux lieux, vhiculer ces
connaissancesdunlieulautreetporterensoimmelaconscienceaccumule
deplusieursmondes.JaimelefaitqueM.Taj,pote,ainformM.Taj,architecte,
de la nature essentielle de lambassade. Lide de la diplomatie signifie quun
diplomate connat une varit dexpriences qui sont parfois trs diffrentes les
unesdesautres.Lediplomatefaitpreuvedetact,decomprhension,dhumanit

et de compassion, non seulement pour jeter un pont entre deux endroits, mais
pourrunirdeuxmondesenunseul.
M.Taj sest rendu compte du fait que, en dpit des dfinitions imposes de la
nationalit ainsi que des constructions artificielles des frontires, nous sommes
tous,endernierressort,membresdugenrehumain.Aufildesvoyagesquenous
faisonsdunlieulautrependantlavie,nousdevonscommuniquerentrenousle
message de notre humanit commune. Dans nos sphres personnelles plus
limites, des expriences liminaux jalonnent notre vie mesure que nous
franchissonslestapesquinousdfinissenttoutmoment.Aurythmedelavie,
nousnousservonsdespetitsconseilsutiles,delasagesse,delinspirationetdela
bienveillancedautruiquiorientent,commeunecarte,notrepriple.
Regardez cette carte qui se dploie devant vos yeux. Rappelezvous que cet
espacenexistaitpasjadis.Maispuisquilexistedsormais,puisquonlaimagin,
construit et ralis, vous pouvez vous en servir dans votre cheminement. Les
potes et architectes crent du nant le possible. Ils btissent tous les deux des
mondeshabitablesonouspouvonsgrandirensembleentantqutreshumains.
Ilsrendentpossibleetplusfaciledaccslepriple delavie.Ilsnouspermettent
devhiculerennousmmesnosconnaissancesetdelestransmettreauxautres.
En franchissant ce portail, souvenezvous de M.Taj, pote, architecte et surtout
voyageur au sens littral et figuratif. Dites au nouveau monde ce que vous avez
vu,connuetappris,afinquelesautresaussipuissentgrandir.

BruceMeyer

The Wayfarers Lines

SomeThoughtsontheCalligraphyofEmbassyofLiminalSpaces.

Wayfarer.Sobeginsthelongpoem,EmbassyofLiminalSpaces,byH.MasudTaj;a
calligraphicversionispermanentlyinstalledinthenewCanadianConsulateinBangalore.
Tarryawhile,thepoetinvitesus:youandme,thereaderofthisbookandanyvisitorto
thebuildingwhomayhavecomeintomakesomeinquiriesabouttravellingtoCanada,to
getavisa,signaform,orperformanyoftheordinary,butsometimeslifechanging
actionsthatonedoesinsuchadministrativespaces.Wayfarer,Tajwrites,and
Wayfarer,hedraws.Inabroad,widearmedgesture,hespeaksasonewayfarerto
another,embracingthelinesofourcomingandgoing,whileatthesametimestroking
themaway.
Tajisanoralpoet.Inperformance,theflow,tonalityandrhythmofthewordsandthe
gesturesofhishandsandbodydrawinvisiblelinesintheairthatbecomeanintegralpart
ofhispoems.Whilethatmovementoflinesislostwhenandifthepoemsareprinted,itis
recapturedandtransformedinthelinesofhispersonalizedcalligraphy.Thoughmentored
intheItalicHandbyMasterCalligrapherDavidHosbrough,Tajhasmovedon.Liftinghis
penaftereachletter,hisisaquick,informalhandwithoutpretence.Thewordsare
remarkablylegible,relativelyunadornedinthemselvesbutflourishingwithascendingand
descendinglines,whicharesometimesusedtoguidelinesorgroupsofwordsaroundthe
surfaceofthepaper,incrisscrossingtrailsorsweepingarches.

Anunfamiliar,archaicwayofwritinginCanadaandtherestoftheWesternworld,
calligraphy remains a vital part of Islamic culture and art. The placement of Tajs
poem within a public building, harks back to an Islamic tradition as well: that of
inscribingtextsonarchitecturesuchasIndiasprofuselyinscribedTajMahal.Yet,
while calligrapher Tajs lively letters and sage words have their beginnings in
tradition, they have uprooted and wandered a remarkable distance away from
receivedwisdomsanddogma,fromrules,regulationsandrituals.
Wayfarer,Tajcallsout,usingawordthatisasarchaicascalligraphyitself.Inthe
book, Lines, A Brief History, renowned anthropologist Tim Ingold describes
wayfaringasthread[ing]oneswaythroughtheworldratherthanrouteingfrom
point to point across its surface.
1
Like the lines of calligraphy, or any form of
cursive writing, the lines of the wayfarer have been straightened out in
modernity.Linesofwritinghavebeenlostthroughtheinventionofprinting;lines
ofwayfaringhavedisappearedinmoderntransportthatdeliversoneinastraight
line from point A to point B. But although modern environments have become
assembliesofconnectedelements,Ingoldwritesthatpeoplecontinuetothread
theirownways throughtheseenvironments,tracingpathsastheygo.
2
Farfrom
anoutdatedwayofbeing,wayfaring,hebelieves,isthemostfundamentalmode
by which living beings, both human and nonhuman, inhabit the earth. By
habitationIdonotmeantakingonesplaceinaworldthathasbeenpreparedin
advance for the populations that arrive to reside there. The inhabitant is rather
one who participates from within in the very process of the worlds continual
coming into being and who, in laying a trail of life, contributes to its weave and

1
TimIngold,Lines,ABriefHistory(LondonandNewYork:Routledge2007)p.79
2
Ibidp75
texture. These lines are typically winding and irregular, yet comprehensively
entangledintoacloseknittissue.
3

Tajs lines are a wayfarers lines. They bring awareness of wayfaring as a

fundamental mode of habitation. They do so within, of all places, a Consulate, a
modernbureaucraticplaceintentondetermininglimitsandborders,destinations
and identities. Tajs words throw a curve at straight questions of name, address,
occupation: What if this place, too, is elsewhere and you are ...Here and there?
Imaginationbegins,body...Andminddisplaced,youask,WhoamI?
It is impossible to disentangle the calligraphy from the words of this profound
poem; the dynamic handdrawn lines that flow, cross each other, intermingle,
push, pull, escape, walk away, get lost, return, entwine, embody the wayfarer.
Tajs drawn lines show how we are enmeshed in the world while remaining in
constant movement.
4
Within the Consulates solid forms of a civil building, Tajs
lines create a terrain vague of indeterminacy and uncertainty, an Embassy of
LiminalSpacesthatismorelikelytoreflectthedisorientedstateofthewayfarer,
holding on to memories of one place while dreaming of another, than the
administrative officialdom of the building.
5
Taj creates a sense of radical

3
Ibidp81
4
Theconceptofbeingenmeshedintheworldinatangleofconstantlychanginghumanand
nonhumanrelationshipsisputforwardbyIngold(2007,ibidp.3)
5
Ontheconceptofterrainvaguesee:IgnasideSolMoralesRubi,TerrainVague,in
CynthiaC.Davidson:Anyplace(118125)Seealso:
http://landscapeandurbanism.blogspot.ca/2011/07/sourceterrainvaguedesola
morales.html

openness to possibilities for the wayfarer, a portal to an infinite land...that lies

beneathyourfeet.

That infinite land is indicated by every single extended sweep of the pen that
beginsinatangleoflettersandendspointedlyinanemptyspace,fullofpromise.
Those trails of life are our fate; We are all in transit, as inescapably as night
follows day, the poet writes, while he draws trails that trace leaves falling,
mountains rising, lungs breathing, trees branchingthe intractable ways of the
world. Yet, throughout the poem we find an insistence on agency and
responsibility, articulated as much in the words themselves as it is expressed in
thepowerfulstrokesofthepen.Willyougo,orwillyoustay?...Willyoustopto
read,orwillyoumoveon?

Allofyou,whochosetostopandread,willberemindedthatitisyouwhogathers
together spaces, times, histories and memories from infinite possibilities. Tajs
calligraphyshowstheenmeshedtrailsofyourlinesthatcontributetothefabricof
life. They are the wayfarers lines that wind their way in and out the known and
theunknown,andhelptobringtheworldintobeing.

PetraHalkes

Le trac du voyageur
RflexionssurlacalligraphiedupomeLAmbassadedesespacesliminaux

Voyageur...TelestlepremiermotdulongpomeLAmbassadedesespacesliminauxde
H.MasudTaj,dontuneversioncalligraphiesafficheenpermanenceaunouveauconsulat
canadienBangalore.Demeurezunmomententrevotrevaetvient,nousinvitelepote:
toietmoi,aulecteurdecelivreettoutvisiteurquipuisseentrerdanslimmeublepourse
renseignerdanslintentiondefaireunvoyageauCanada,pourobtenirunvisa,poursignerun
formulaire,pourposerlundesgestesquelonfaitdansuntelbureauadministratif,des
gestesordinairesquipeuventtoutefoischangernotrevie.Voyageur,critM.Taj.
Voyageur,noussollicitetil.Lesbrasgrandouverts,ilnousadressedesparolesqui
dmontrentquilestvoyageurluiaussi.Ilaccepteletracdenotrevaetvient,touten
leffaantdunedoucecaresse.
M.Tajestunpoteoral.Lorsquildclamehautevoixsespomes,lafluidit,latonalitet
lerythmedesmots,ainsiquelagestuelledesesmainsetdesoncorps,tracentenlairdes
lignesinvisiblesquifontpartieintgrantedesaposie.Letracdecesmouvementsseperd
alorsquesespomessontimprims,maisletracdesacalligraphiepersonnellelesreprend
etlestransforme.DavidHosbrough,matredecalligraphie,luiaapprislcritureitaliquemais,
depuislors,M.Tajadveloppsonproprestyle.Lasienneestunecalligraphierapideet
informelle,sansprtention,danslaquelleilsoulveaprschaquelettresaplume.Lesparoles
sontremarquablementlisibles,relativementpeuornementescommetelles,mais
agrmentesdefioritures,detraitsverslehautetverslebas,quiserventparfoisorienter,
traverslasurfacedupapier,deslignesoudesgroupesdemotsquitranent,qui
sentrecroisentouquidcriventdegrandsarcs.

Au Canada et ailleurs dans lOccident, la calligraphie est une forme dcriture

dsuteetpeuconnue,maiselledemeureunaspectfondamentaldelacultureet
de lart islamiques. Laffichage du pome de M.Taj dans un btiment public
renoue galement avec une tradition islamique, celle dorner larchitecture de
textes calligraphis, dont le Taj Mahal en Inde, sur lequel on trouve des
inscriptionsprofusion.Pourtant,mmesileslettresvivacesetlessagesparoles
de M.Taj, calligraphe, puisent leurs racines dans la tradition, elles se sont
dracines et transplantes une distance remarquable de la sagesse et de la
doctrinereues,desrgles,desrglementsetdesrituels.
Wayfarer, nous interpelle M.Taj en langue anglaise, en adoptant pour
voyageurunmotaussiarchaquequelacalligraphieellemme.Danssonlivre
intitulUnebrvehistoiredeslignes,lanthropologuerenommTimIngolddonne
ladfinitionsuivanteduvoyage:[traduction]traverserlemondecommedufil
dansuneaiguilleaulieudeparcourirdunpointlautresasurface.
6
loppos
de la calligraphie ou de toute forme dcriture cursive, le trac du voyageur
moderneestenlignedroite.Letracdelcrituresestperdugrcelinvention
de limprimerie; le trac du voyage est disparu grce aux transports modernes,
quinousmnentenlignedroitedunpointlautre.MaisdaprsIngold,loles
espacesmodernessontdevenus[traduction]desassemblagesdlmentsrelis
entre eux, les gens continuent de se frayer un chemin travers ces espaces,
en traant au fur et mesure des voies.
7
Ingold estime que, loin dtre une
manire de vivre archaque, le voyage [traduction] est le mode le plus
fondamental par lequel les tres vivants habitent la Terre, quils soient humains

6
TimIngold,Unebrvehistoiredeslignes(LondresetNewYork:Routledge2007)p.79
7
Ibid.,p.75
ou non humains. Pour moi, habiter ne veut pas dire prendre sa place dans un
monde prpar davance pour les populations qui viennent y rsider. Au
contraire,lhabitantestceluiquiparticipedemanireintimeauprocessusmme
dudevenircontinueldumondeetqui,parlefildesaproprevie,contribueson
armure et sa texture. Ces fils tracent typiquement des lignes sinueuses et
irrgulires,etpourtantilssentrecroisentetformentensembleuntissuserr.
8

Le trac de M.Taj est celui du voyageur. Il nous sensibilise au voyage comme

mode fondamental dhabiter le monde. Il le fait, tonnamment, dans lenceinte
dunconsulat,lieumodernedeformalitsadministratives,vouladfinitiondes
limites, frontires, destinations et identits. Les paroles de M.Taj donnent un
sens nouveau aux questions habituelles concernant le nom, ladresse et la
profession:Etsicelieuaussitaitailleursetvoustiez/Icietl?Limagination
prend son essor, le corps / Et lesprit disloqus, vous vous demandez: Qui suis
je?

Il est impossible de sparer la calligraphie et les paroles de ce pome lourd de

sens; les lignes dynamiques et fluides, traces la main, sentrecroisent,
senlacent, tiraillent, repoussent, svadent, sloignent, se perdent, reviennent,
relient et incorporent le voyageur. Les lignes traces par M.Taj dmontrent que
noussommesenracinsdanslemondetoutennousdplaantconstamment.
9

lintrieur des formes solides du btiment public quest le consulat, le trac de

8
Ibid.p.81
9
Ingoldproposeleconceptdtreenracinsdanslemondeparunrseauderapportsqui
existententrelestreshumainsetnonhumainsetquisetransformentsanscesse(2007,
ibid.,p.3).

M.Tajcreunterrainvaguedeflouetdincertitude,uneAmbassadedesespaces
liminaux qui reflte ltat dsorient du voyageur, saccrochant au souvenir dun
lieu tout en rvant dun autre, sans doute mieux que la nature officielle et
administrative de limmeuble.
10
M.Taj voque le sentiment dune ouverture
radicale du voyageur aux possibilits, dun Portail vers un pays infini / Qui
stendsouslespieds.

Cepaysinfinisevoitdanschaquetraittendudelaplumequipartdunnudde
lettres et qui se termine dlibrment dans un espace vide et prometteur. Ce
trac de la vie, cest notre destin: Nous sommes en route, aussi
inluctablementquelanuitsuitlejour,critlepote,alorsquesacalligraphie
rappelle les feuilles qui tombent, les montagnes qui slvent, les poumons qui
respirent, les arbres qui tendent leurs branches lvolution persistante du
monde.Etpourtant,toutaulongdupome,M.Tajmetlaccentsurlactionetla
responsabilit,articulesaussibienparlesparolesellesmmesqueparlestraits
dynamiques de la plume. Estce que vous allez partir ou demeurer / Vous
arrterezvouspourlireoureprendrezvouslechemin?

10
Pourleconceptduterrainvague,voirIgnasideSolMoralesRubi,TerrainVague,chez
CynthiaC.Davidson:Anyplace[Nimporteo](118125)Voirgalement
http://landscapeandurbanism.blogspot.ca/2011/07/sourceterrainvaguedesola
morales.html
Vous qui avez choisi de vous arrter et de lire, vous vous rappellerez que cest
vousquirassemblezlesespaces,lestemps,leshistoiresetlessouvenirsdeparmi
un nombre infini de possibilits. La calligraphie de M.Taj illustre
lentrecroisementdevosfilsquiaidenttisserlatramedelavie.Voillesinueux
tracduvoyageurquipassepardesvoiesconnuesetinconnues,etquicontribue
audevenirdumonde.

PetraHalkes

ii

EmbassyofLiminalSpaces

Wayfarer,tarryawhilebetweenyourcomingandgoing.
Weareallintransit;evenwewhohereappeartobe
Forever,wearingsmilesortrulysmiling;however
Wearealsoonourwayjustasnightfollowsday
Anddaynight;wetoowillbeoutofsightandaway.

Thisplaceisfinite,itsboundariesareclear
Portaltoaninfiniteland
Thatliesbeneathyourfeet

Whenyouentertheembassyofliminalspaces
Youpassthroughthethresholdofpossibilities:thefinite
Andinfinite;thedoorthatspeaksinequalmeasureof
Painofseparationandjoysofcomingtogether;
Andcoincidenceofarrivalanddeparture

Inaconstancyofcomingandgoing
Breathingofentrancesandexits
Unceasingliminalityflux.

Whereareyounow?Whereareyouasyoureadthis?
Yourbodyishere,yourthoughtselsewhere.
Whatifthisplace,too,iselsewhereandyouare
Hereandthere?Imaginationbegins,body
Andminddisplaced,youask,"WhoamI?"

Who,indeed?Youaretheambassador
Oftwoindividualsthatcametogether
Toremainasguardiansofliminalspaces.

Whereyoustandmanyhavestoodbefore
Ontheothersideofthedecimal.
Theymovedoninnestedtenths;
Valueincreasestenfoldasyoushifttotheleft
Relocatingtofindyourselfinsuchsystems.

Whatislostintheprocessoftranslation?
Youaretheambassadorofyourmemories
Recreatingthematnewsitesofreception.

Seekingtotravelortradeyoustepintoatranslationzone.
Reciprocalseeksoutitstheoremthatmakesittrue
a=bmeans"Alla'sareb'sandallb'sarea's";
Antecedentandconsequentaresubjectandpredicate
Ofauniversalaffirmativeproposition.

Hencetheflagthatfluttersredandwhiteononeside
Flutterssaffronwhiteandgreenontheother
Whiletheedgebetweenthetwotakesnosides.

Onenationculminatesinsnowcappedmountains;
Itssingularpeak,wherelastrayslinger,
Proclaimsthefirsthintoftherisingsun.
Anothernation,beginningwithsnow,reachestop
Oftheworldwithoutleavingtheground.

Northpolepresidesatzeroaltitude
Sweepingcircumferenceswithsnow
Radiatingboundaries;stakingprovinces.

Encirclingthetopoftheworldwhereglaciersmelt
Andpolarbearslookaskanceattherecedingshoreline.
Whilefarawayatopitsworldfromwhereriversdescend
Tigersturntheirheadsforalastglanceatforestcover
Fastdisappearing.Wheredopolarbearsandtigersbelong?

Wholongsforintactglaciersandunkemptforests?
Whoyearnsforaltitudeofmountainsandlatitudeofpoles?
Whopinesfordistantcircumferencesandthespinningcentre?

Mappinggeodesyacrosstheoceans
Thecalligraphyofconquests
Theportionsofearthsbountythatnationsproclaim
Thisspacebelongstothesoiloftwocontinents
Withextinctracesthatlefttheirtraces.

Thisforeignislandisonnativesoil
Whenyoustandhereyouareinaspacewarp
Youareabroadhavingneverleftyourland.

Allmomentsinlifeareliminalmoments
Mappingnostalgiawithyearningsasthemirror
Bounceslighttocatchupwithyourface
Onlytotraceaprofilefromthepast
Thatlastsaslongasreflectionlasts.

Whenyouappearattheembassythatinterfaces
Twosystemsofbranching:branchingtreesoutside
Lungswithin;chlorophyllgoblinsandhaemoglobins.

Youbreathein,breatheoutandthetreebreathesin.
Inthereciprocalbreathingoflungsandleaves
Inthewitheringoftheskinandthefallingofleaves
InyourblushinginSpringandreddeningleavesinFall
Inrainsrustingofironandpulsationofoxidation

Ifcolorsbeeverchanging,
Ifseasonsareeverinrotation,thenyouarrivehere
Onlytodepartsothatyoumayreturnsomeday.

Pray,whatisdestinybutnatureandnurture
Intandemquestioningfreewill?
Willyougo,orwillyoustay?
Willyoustoptoread,orwillyoumoveon?
Whenyousay,Ido!

Doyouheartheshufflingofgenes
AwithTandGwithCorCwithGandTwithA?
Therewerecountlesswaystobenotyou,butitwasyou.

Everythingisinthepastanyway;
LifeisatimelagandIseeyouasyouwere
Onceuponatimesometimeago.WhereIseeyounow
Ishistory;youhavemovedonwhileI
Remainbehindthecurveofyourrelocations.

Thestarsinthenightskyburntoutlongago
Afterlightyearsoftimelagtheyariseinoureyes
Weseethempreciselywhentheynolongerlinger.

Curtainfallsbetweeninsideandoutside,
Ascreendropstorevealtwoplays
Shadowsatnight,ofyoumovinginside
Shadowsbyday,oftreesoutside
Lightisstill,youmove;treeisstill,lightmoves.

Playcontinues:lookthroughglassatthedistanthorizon
Arcingbothearthandsky,whereallthatyouknowmeets
Thecurvingunknown;evenasEarthspinsSunoutofsight.

Reconciling1:2with2:3;onewheel,oneleaf
Thetricolourswhitewithitswheeloflaw
Negotiatestwocoloursinitsquestfortruth,while
Bicolourswhitesquarewithitsstencilframing
Backgroundintoaleafthatisbothfigureandground

Flutteringinbreezewhenallleaveshavefallen.
Whilethewheelcontinuestoturnandinitsturning
Reflectsseasonspromiseofreturn.

Inkrisesinreed,adropoflimitlesspossibilities
Alllettersinalllanguages,itcanexhaustdictionaries,
Exhausthieroglyphicsandpictorialcharacters
Squeezethelastdropofarchaiclinguafranca
Betweenascendingthereedanddescendingonpage.

Inkistheliminalofgravityandgrace
Leavesatraceasitsinksintopaper
Tomapitsmeanderingsinspace.

Justasyourepresentthecrossover
Inthevalleybetweentwinhemispheres
Acrossthesynapsesnoman'sland
Withyournetworkofsimultaneoussparks
That,takentogether,say,"AsIwassaying..."

Beforeyouentertheembassyofliminalspaces
Wayfarer,youentertheinterfacethattakesnosides
Withinsideoroutsideoranyside.

Interfacesaretwosidesofthesamecoin.
Thecoinitselfisofnovalue,valuesbothfaces.
Themirrorisonlyasgoodasitmirrors,
Withoutblemish,withoutselftodetractyoufrom
Itstaskofdisappearancesothatyoumayappear.

H.MasudTaj
7March2013

Lambassadedesespacesliminaux

Voyageur,demeurezunmomententrevotrevaetvient.
Noussommestousdepassage;mmenousquisemblons
ternels,auxsouriresfeintsouvrais;cependant,
Noussommesenroute,commelanuitsuitlejour
Etlejour,lanuit;nousaussi,nousdisparatronsdansunlointaininconnu.

Celieuestfini,sesfrontiressontclaires
Portailversunpaysinfini
Quistendsouslespieds.

Quandvousentrezdanslambassadedesespacesliminaux
Vousfranchissezleseuildespossibilits:lefini
Etlinfini;laportequiannonceaussibien
Ladouleurdesadieuxquelajoiedesretrouvailles;
Laconcidencedesarrivesetdesdparts,

Danscevaetvientconstant,
Quirespirelesentresetlessorties,
Unfluxliminalincessant.
Otesvousmaintenant?Otesvousenlisantcesvers?
Votrecorpsestici,vospensessontailleurs.
Etsicelieuaussitaitailleursetvoustiez
Icietl?Limaginationprendsonessor,lecorps
Etlespritdisloqus,vousvousdemandez:Quisuisje?

Qui,eneffet?Vousteslambassadeur
Dedeuxtresquisesontunis
Pourdemeurerlesgardiensdespacesliminaux.

Lovousvoustenez,dautressysonttenusauparavant
Delautrectdelavirgule.
Ilsontavanc,endiximesnichs;
Ondcuplesavaleurensedplaantverslagauche
Sedplaantpourseretrouverdansdetelssystmes.

Questcequiseperdencoursdetraduction?
Vousteslambassadeurdevossouvenirs,
Quevousrecrezdenouveauxsitesderception.
Pourvoyageroufaireducommerce,vousentrezdansunezonedetraduction.
Larciproquerecherchesonthormequilprouve
AgaleBveutdireToutAestB,toutBestA;
Lantcdentetleconsquentsontlesujetetleprdicat
Dunepropositionaffirmativeuniverselle.

Ainsiledrapeauflotterougeetblancdunct
Etflottesafran,blancetvertdelautre
Tandisquelebordentrelesdeuxneserangedaucunct.

Unpayssetermineenmontagnesenneiges;
Sacrtesingulireosattardelecrpuscule,
Dclarelestoutespremireslueursdusoleilquiselve.
Unautrepaysstenddepuislaneigepouratteindre
Lesommetdumondesanssleverdusol.

Leplenordrgnelaltitudedezro
Embrassantlescirconfrencesdeneige
Etrayonnantdesfrontirespourdfinirlesprovinces.
Encerclantlesommetdumonde,osefondentlesglaciers
Etlesourspolairesscrutentlarivequisloigne.
Trsloin,ausommetdunmondepart,enamontdesfleuves,
Lestigresseretournentpourvoirunedernirefoislesforts
Envoiededisparition.Olesourspolairesetlestigresontilsleurplace?

Quialanostalgiedesglaciersviergesetdesfortssauvages?
Quirvedelaltitudedesmontagnesetdelalatitudedesples?
Quiregrettelescirconfrenceslointainesainsiquelaxequitourne?

Dressantunecartedelagodsietraverslesocans
Lacalligraphiedesconqutes
Lesgnreuxbiensdelaterrequeproclamentlesnations,
Cetespacetientdusoldedeuxcontinents
Odanciennesracesontlaissleurstraces.

Cetteletrangresesituedansunpaysconnu
Celieucomblelevideentredeuxespaces
Voustesltrangersansavoirquittvotrepays.

Chaqueinstantdelavieestunmomentliminal
Captantlanostalgieetledsir,commeunmiroir
Faitjaillirunelumirequirejointvotrevisage
Pourdessinerunprofilquinexistedjplus
Nayantdurqueletempsdureflet.

Quandvousvousprsentezlambassade,linterfacestablit
Entredeuxrseauxdebranches:cellesdesarbresdehors
Cellesdespoumonsdedans;destrollsdechlorophylleetdesdrles
dhmoglobines.

Vousinspirez,vousexpirezetlarbrerespire.
Danslarespirationrciproquedespoumonsetdesfeuilles
Danslefltrissementdelapeauetlachutedesfeuilles
Danstonrougissementauprintempsetceluidesfeuilleslautomne
Danslarouilledufersouslapluieetlapulsationdeloxydation

Silescouleurschangentcontinuellement,
Silessaisonsalternentsanscesse,vousnarrivezici
Quepourrepartirafinderevenirunjour.

Dtes,quelestledestinsinonlanatureetlaculture
Mettantenquestionlelibrearbitre?
Estcequevousallezpartiroudemeurer
Vousarrterezvouspourlireoureprendrezvouslechemin?
QuandvousvousmariezendisantOui,jeleveux

Entendezvouslesgnesquisebrassent
AavecTetGavecCouCavecGetTavecA?
Dinnombrablesfaons,dtresanstrevousmmemais,ctaitvous.
Dailleurs,toutestchosedupass;
Lavieestundcalageetjevousvoiscommevoustiez
Ilyavaitunefois,ilyabellelurette.Ojevousvoismaintenant
Cestlhistoire:vousavezfaitduchemin,tandisqueje
Demeurederrirelacourbedetesdplacements.

Lestoilesdanslanuitsesontdepuislongtempsteintes
Avecundcalagedanneslumire,ellessurgissentdansnosyeux
Nouslesvoyonsprcismentloellesnesattardentplus.

Lerideautombeentrelintrieuretlextrieur,
Derrirecettecloison,deuxdramessejouent
Lanuit,lombredevosmouvementslintrieur
Lejour,lombredesarbreslextrieur
Lalumireresteimmobile,vousvousdplacez;larbredemeureimmobile,
lalumiresedplace.

Ledramesepoursuit:regardezlhorizonlointaindansuneloupe
Quitracelarcducieletdelaterre,unecourbeauxlimites
Duconnuetdelinconnu,commelarvolutiondelaTerrenouscachelesoleil.
Deuxrapportsrconcilier,de1:2etde2:3uneroue,unefeuille
Leblancdutricoloreavecsarouedudroit
quilibredeuxcouleursenqutedevrit,tandisque
Lecarrblancdubicoloreencadrecommeunpatron
Etformelarrireplandunefeuille,figureetfond,

Quiflottedansleventquandtouteslesfeuillessontmortes,
Tandisquelarouecontinuedetourneretsarvolution
Refltelapromesseduretourdessaisons.

Lencremontedansleroseau,unegouttedepossibilitssanslimites
Detoutesleslettresdetoutesleslangues,ellepeutpuiserlesdictionnaires,
puiserleshiroglyphesetlespictogrammes
Extraireladerniregouttedunelinguafrancaarchaque
Entrelamonteduroseauetsadescentesurlapage.
Lencreestleseuilquihsiteentrelagravitetlagrce
Pntrantlepapieretylaissantunetrace
Pourcirconscriresonvaetvienttraverslespace.

Toutcommevousreprsentezlatraverse
Delavalleentredeuxhmisphresjumeaux
Atraverslaterredisputedessynapses
Avecvotrerseaudtincellessimultanes
QuisejoignentpourdireCommejedisais
Avantdentrerdanslambassadedesespacesliminaux
Voyageur,vousentrezdanslinterfacequineserangedaucunct
Delintrieurdelextrieurnidequelquectquecesoit.

Lesinterfacessontlesdeuxreversdelammemdaille.
Lamdailleellemmesansvaleur,donneunevaleurauxdeuxcts.
Lemiroirnevautquelaqualitdesonreflet,
Sanstache,sansgosmepourvousdistraire
Desatchededisparatrepourvousfaireparatre.

H.MasudTaj
7mars2013

TraductionfranaiseparMAECIetDr.RoseannOReillyRunte

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TranslatedintoHindibyRajivTrivedi.

iii

Acknowledgment

ThankstoDFATD:NicoleColombeEmondforinitiatingthisprojectandforseeingitthroughalongwithSamCox,andLucasMichelforthebooklayout;tomyextended
family;toBruceandGuySimserfortheirfeedback;BruceMeyerandPetraHalkesfortheiressays;DFAITandRoseannOReillyRunteandRajivTrivedifortheirdedicated
translationsoftheEmbassyofLiminalSpaces.
Youareallambassadorsofpoetry.
HMasudTaj

Dr.PetraHalkes,isanartist,independentcuratorandartcritic.Shehaswrittenmanycatalogueessaysandreviews.SheistheauthorofAspiringtotheLandscape,On
PaintingandtheSubjectofNature(UniversityofTorontoPress,2006).In2006sheinitiatedRIA(ResearchinArt)withherhusbandRenPriceinOttawa.
Dr.BruceMeyerisprofessorofEnglishatGeorgianCollegewhereheteachesintheLaurentianUniversityBAProgram,atVictoriaCollegeintheUniversityofToronto,andSt.
Michael'sCollegeintheUniversityofToronto.Heisauthorofthirtyninebooksincludingthenationalbestseller,TheGoldenThread.HelivesinBarrie,Ontarioasits
inauguralPoetLaureate.
Dr.RoseannOReillyRunteisPresidentofCarletonUniversity,ascholarandpoetwhoseworkreceivedanawardfromtheFrenchAcademyinParis.RoseannOReillyRunte,
prsidentedelUniversitCarletonestgalementprofesseureetpotedontloeuvreareuleprixdeposiedelAcadmieFranaise.

Dr.RajivTrivedihasbeenengagedwithliterature,musicandtheaterwithadozenofhisHindiplaysbroadcastonAllIndiaRadio.Afterretirementfromactiveteaching,he
devoteshimselftoactivitiesofappreciation,documentationandconservationofartisticpractices.

Remerciements

MerciauMAECDNicoleColombeEmondpouravoiriniticeprojetetlavoirmenbienavecSamCox,etLucasMichelpourlamiseenpageduvolume;mafamille
largie;BruceetGuySimserpourleurscommentaires;BruceMeyeretPetraHalkespourleursessais;auMAECDetRoseannOReillyRunteetRajivTrivedipourleurs
traductionsinspiresdeLAmbassadedesespacesliminaux.
Voustestousdesambassadeursdelaposie.
HMasudTaj

MmePetraHalkesestuneartiste,unecommissaireindpendanteetunecritiquedart.Elleardigdenombreuxcomptesrendusetessaisdecatalogue.Elleestlauteurede
AspiringtotheLandscape:OnPaintingandtheSubjectofNature(UniversityofTorontoPress,2006).En2006,ellealancRIA(ResearchinArt)avecsonmariRenPrice
Ottawa.
M.BruceMeyerestprofesseurdanglaisauGeorgianCollegeoilenseignedansleprogrammedebaccalauratdelUniversitLaurentienne,auVictoriaCollegeetauSt.
Michael'sCollegedelUniversitdeToronto.Ilestlauteurdetrenteneufouvrages,dontlebestsellernationalTheGoldenThread.IlvitBarrie,enOntario,dontilestle
premierpoteofficiel.
MmeRoseannOReillyRunte,prsidentedelUniversitCarleton,estgalementprofesseureetpote.SonuvreareuleprixdeposiedelAcadmieFranaise.

M.RajivTrivedipratiquelalittrature,lamusiqueetlethtre,plusdunedizainedesespicesenlanguehindiayanttdiffusessurAllIndiaRadio.Ayantprissaretraite
delenseignement,ilconsacresontempsdesactivitsdecomprhension,dedocumentationetdeconservationdepratiquesartistiques.

iv

Installation
WhenIwasshownthelayoutofthenewCanadianConsulateinBangalore,I
noticedthattwopartsoftheConsulatewereconnectedbyanarrowcurvedspace
definedbysunfacingglassfacadeononesideandthewallofaconferenceroom
ontheother.IhadfoundjusttheliminalspacetoinstallTheEmbassyofLiminal
Spaces,inscribedonglasspanelssuspendedinfrontoftheglassfacade:segments
ofasweepingarcwhosecentrecouldimaginativelyhavebeenthesun.
Thesuspendedpanelswiththeirselectionofversesfromthepoemarelikean
architecturalsectionthatcutsthroughabuilding:interrelatedfragments
encapsulatingthewhole.
Sections,betheyarchitecturalortextual,aremicrocosms.Theearthturnsonits
axis;thesunarcsinthesky;calligraphicshadowsshiftintheliminalgallery,falling
onitswall,fleetinglyinscribingyou:asyoumovealongthecurve,inadvertently

circumambulatinganelusivecentre.Ifyoustoptotakeinthevieworlookatthe
poemyoufindyourselflookingoutataworldsuperimposedwithcalligraphic
silhouettes.Whenyoureadthepoem,youreadtheworld.
Thefifteensuspendedpanelsbeginwiththetitleofthepoem,youthenmoveina
counterclockwisedirectionalongthearcofthefacade,readingthesuspended
versestillyoureachthelastpanelthatendswiththecalligraphicsignatureofthe
architectpoetcalligrapherinaclockwiseswirl.
Ithasbeenanhonourtodwellinandinbetweentwogreatnations,composethe
poem,renderitincalligraphicstrokesandconceivetheinstallationofthe
EmbassyofLiminalSpaces.

H.MasudTaj
Ottawa2014

Installation
LorsquonmaprsentleplandunouveauconsulatduCanadaBangalore,jai
remarququedeuxpartiesdubtimenttaientreliesparuntroitespace
incurvdlimitparunefaadedeverreorienteverslesoleildunctetlemur
dunesalledeconfrencedelautre.Jevenaisdetrouverlespaceliminalpour
installerLAmbassadedesespacesliminaux,inscritesurdespanneauxdeverre
suspendusdevantlafaadedeverre,commelessegmentsdunarcmonumental
dontlecentrefigureraitlesoleil.
Lespanneauxsuspendus,avecleurschoixdeverstirsdupome,sontcomme
unesectionarchitecturaletraversantlebtiment:desfragmentsinterrelis
enveloppantlensemble.
Lessections,quellessoientarchitecturalesoutextuelles,sontdesmicrocosmes.
LaTerretourneautourdesonaxe;lesoleildcritunarcdansleciel;desombres
calligraphiquesvoluentdanslagalerieliminale,glissantsurlesmurs,laissanten
nousuneimpressionfugacemesurequenousnousmouvonslelongdela
courbe,contournantparinadvertanceuncentreinsaisissable.Sinousnous

arrtonspouradmirerlavueouexaminerlepome,nousavonslimpressionde
contemplerunmondesurlequelsesuperposentdessilhouettescalligraphiques.
Quandnouslisonslepome,nouslisonslemonde.
Surlepremierdesquinzepanneauxsuspendusestgravletitredupome,puis,
dansuntourbillonantihoraire,flottentlesautresversjusquaudernierpanneau
quiportelasignaturecalligraphiquedelarchitectepotecalligraphe.
Cefutunhonneurdhabiterdansdeuxgrandspaysetentrelesdeux,de
composerlepome,deletraduireentouchescalligraphiquesetdeconcevoir
linstallationdeLAmbassadedesespacesliminaux.

H.MasudTaj
Ottawa2014