Strange Attractors, 2004
“This work is comprised simply of two Pendulums purely Nietzschean: one decorous Apollonian and one unruly Dionysian-which are poles apart but always interconnected. " (James Campbell). It is fascinating how rationality in science and in mathematics for that matter, always seems to reaches its limits. There comes a point that only an empathetic relationship with the reverberation of the natural world can lead us forward. Art takes over where science leaves off. Read on »

The Trap, 2004
“The work uses a laser and the language of confinement to suggest forced incarceration and duress, unsettling the viewer and making complacency impossible. " ( James Campbell). The international political reality unfortunately is dominated by those that trample on human rights. It are the incarcerated minds of megalomaniacs that torture and imprison anyone deemed in disagreement with there self-serving interests. Read on »

Cartographic Grids, 2003
“These are transparent lines engraved in a translucent surface. The method was used in the process of printing maps. The material is called Scribe Coat and is a thin coat of white translucent paint on clear Mylar. " Read on »

The Cosmic Eye, 2001
“The sensing apparatus is housed in the small culvert in the back ground. On a laser beam the information of the ever moving variations in the earth's magnetic field are transmitted to the large culvert, in the middle of which a screen is fastened, where these magnetic variations are continuously displayed in real time. " Read on »

WiS, 1999
“WiS (an acronym for “water in suspense”) appears, as do many of Geuer’s works, to be some sort of purpose-built, scientific instrument. A spare metal frame supports a pump, a laser light, some plastic tubing- not much is revealed in its utilitarian form. The only additional element is a lamp with blue light placed at the back of the room. The pump is calibrated to deliver a minute amount of water through the tubing. On the end of the tubing is a pipette, where a single droplet of water forms. The droplet is positioned in the warm orange beam of laser. In a darkened room, the light from the laser projects through the water and onto the wall, and we see magnified to wall-sized, the interior of the swelling droplet. " Read on »
The Hellot Glasses, 1996
“These human-scale two sided glass plinths have small mirrors with cut-outs for the eyes which allow observers to live vicariously in one another’s gaze. Beneath the small mirrors, they extend into semi-transparent coated areas which reflect the body of the observer from feet to midriff, Geuer essays an experiment in the being self and being Other, a brilliant formulation of the empathic proposition: put yourself in my shoes. Geuer wanted to test the Sartean proposition: “Hell is Other People” in this work.” Read on »

Eye-I-Eye-I-Eye-I, 1994-1995
Eye-I-Eye-I-Eye-I “introduces an astounding interpersonal intimacy through a machine, albeit a very simple one. Face-shaped two-sided mirrors are suspended between the ceiling and floor on wires. When two people stand on either side of a mirror, each person sees her or his face reflected but with the eyes of the other person. This bizarre merging experience begs questions of individual and collective identities. The 36 mirrors in the gallery enable participants to imagine a communal experience, as if they shared experience of only two is too narrow and confrontational." Read on »

The Loom Drum, 1986-1992
The Loom Drum depicts the 5,500 earthquakes measuring 4.0 or more on the Richter scale, which were recorded in North America from January 1960 to January 1989. The time scale is contracted so that one day lasts only one-twelfth of a second, and the thirty-year span is condensed to a fifteen-minute cycle. Flashing lights, each representing one earthquake, appear on the blank surface of a concave, circular screen. Viewed from this side, the lights form an abstract, rhythmic pattern in space and time. On the other side of the screen, however, the same light flashes are superimposed on a map of North America; her, the light flashes (earthquakes) are referenced to their precise location in space and time. Read on »

Karonhia, 1990 (Collection National Gallery of Canada)
“In Karonhia, with its precisely angled mirrors that direct and focus our attention like a scientific instrument, Geuer invites us to observe the sky. Geuer has cut the mirrors of this observatory in the shape of the reflections of the windows through which the sky is viewed, reminding us that there is always distortion in our perceptions, and that- in science as in art- there is an effort to understand how we perceive as well as to give order to what our senses tell us. The Mohawk title recalls a way of life based on respect for nature, a respect that begins with awareness.” Read on »
L’Etre et le Neant
“L’Etre et le neant consists of two mirrors installed at right angles to one another in a corner of the Gallery, so that the observer could witness his/her reflection from almost any vantage-point in the room was it not for a black plastic silhouette of half a human figure placed between the two mirrors. The silhouette subsumes our own reflection and we disappear into this strange apparition; swallowed up by this humanoid void.” Read on »

Dutch Grey, 1985 (Collection Museum Boymans van Beuningen)
“ Its central element was a small plexiglas dome, ovoid in shape, placed on a reflecting glass plate slightly tilted to slope away from the window. In front of the dome was a polarizing sheet. The light from the window passed through the sheet, was de-polarized as it struck the plexiglas, and polarized again by the glass plate. In the process, however, the uniform white light was decomposed; as a consequence, the reflection of the dome appeared filled with multicolored shimmers. Read on »

Al Asnaam, 1979
This work was motivated by a lifetime of curiosity about the inner workings of the earth and its peculiar significance to us human beings. In 1956 I was fortunate to start working as a draftsman with an astronomical and geophysical institute called The Dominion Observatory. As an artist surrounded by dedicated men of science I felt like an undercover agent called upon to reveal deeper meanings of what was accomplished in this institute, which resulted in a number of, what I called, Heuristic Experiments. One of these were started in 1979 with the generous assistance of the Canada Council for the Arts. I managed to reinvent and to build one of their basic sensing devices for the sole purpose of imprinting the minute pulsing and the tremors of our planet as art onto the living and interacting beholder. Read on »
Pakenham Bridge, 1977
I taught art in various places from 1968 until 1974, always in an effort to create a greater appreciation in my pupils for the many styles, visions, forms and convictions in which the visual artist can find her or his authentic expression. The content of these lectures were mainly based on my own life's experiences, which required some profound soul searching to get it right. Of course I also had to go to the books and do research. Before this chastening episode my work had been mainly spontaneous and expressive, based on experiments I had done in Bolivia with molten glass, but teaching had widened my horizon. Read on »

Juan Geuer’s work has been shown in Bolivia, Canada, The United States of America, The Netherlands, France, Germany, Finland, New Zealand, Austria and Switzerland. Early public exhibitions of his work included “Inquisitive”, and ‘Stop Sign Icons” at the Wells Gallery in Ottawa, Canada in 1968 and 1969.

The first products of the Truth Seeker Company, a “Terrascope” and “A Tool For P-wave Nodal Solutions” exhibited in Montreal, Toronto, Calgary, Vancouver, Ottawa, Helsinki and Moscow from 1972 to 1976 as part of an International Convention in Geophysics and Remote Sensing. Other exhibitions under the titles “Inquisition into Space”, “Fascination Feast” and “X-Ray” were shown at Algonquin College, Ottawa, at Gallery 76 in Toronto and The Macintosh Gallery in London, Ontario in 1976 and 1977. In 1978 “Al Asnaam, A People Participating Seismometer” was completed. Named after an earthquake in Al Asnaam, Morocco which it detected while being tested, this scientific instrument/work of art detects large scale, global seismic events, local small scale seismic activity, the patterns of our earth being constantly reborn, and harmonizes them with the patterns of human traffic in the vicinity of the art work, magnifies the effects and displays it as light in motion. Al Asnaam was first shown at the SAW Gallery, Ottawa and travelled extensively before locating in the Collection of the Art Gallery of Ottawa as a permanent display. The following passage, written about Al Asnaam, says a lot about Geuer’s work in general. “ Al Asnaam was designed and constructed by Geuer specifically to bring...imperceptible motions to the realm of human awareness and to remove them from the narrow, analytical atmosphere of the laboratory. Removed even further and placed in a public space with people moving about it, Al Asnaam reacts to the shifting of weight with broad sweeps of the light beam across the wall. In this situation Geuer’s seismometer is no longer measuring, rationalizing and quantifying, but enlarging experiences through the canny quality of the light’s movement, and it’s revelation of imperceptible forces.... In this state of wonder, the question, ‘is it art or is it science’ does not occur. Perhaps it is what both once were before the tide of rationalism brought about what Max Weber called the “disenchantment” of the world. Al Asnaam “re-enchants” the world, not as mystification but as enlightenment.”(Written by Willard Holms who currated the showing of this work at the National Gallery of Canada.) At the Art Gallery of Hamilton The Light In The Sculpture Court was first shown.

In 1985 “Al Asnaam”, “Dutch Grey” and “Licht Fuiken” (Light Traps) and other pieces were shown at The Museum Boymans van Beunigen, Rotterdam to critical acclaim. An invitation to show at the Venice Bienale followed. The same year the artist was invited by Michael Snow to show with him at the List Visual Arts Centre M. I. T., in Cambridge, Mass. Visionary Apparatus was the title of the show that included “Al Asnaam”, “The Loom Drum” and “Geta”. At the Centre International d’Art Contemporain de Montreal “Fue Rouge” and “Passage Heuristique” were exhibited in a show called Lumieres in 1986 and “Prelude Qua” in 1990 at Savior-vivre, Savior-fair, Savior-etre. Other shows during the same time period were exhibited in The Ottawa Fire Station, in Morristown, N.J., at A Space, Toronto, in Oshawa, Ontario, Guelph, Ontario, Oakville, Ontario, Cambridge, Ontario, Owen Sound, Ontario as well as Maastricht, The Netherlands, Saskatoon, Saskatchewan, Adelphi University, Garden City, N.Y. and a second show at M.I.T. at Cambridge.

1n 1990 Geuer made an in situ installation, “Karonhia” in the Rotunda of the National Gallery of Canada which was subsequently purchased by the Gallery as a permanent installation. In 1993 a show entitled Investigating Chaos was organized by the Art Gallery of Ottawa. Works on display included “The Loom Drum”, “Al Asnaam”, “Siglo Veinte”, “Curve in S & T”, “Surface B&T”, “The Lord is Cunning”, “Cartesian Clarity”, “Ens ab Alio” and “Notae”. At the same time at Ax Neo 7 in Hull, Quebec, new works “Eye to Eye” and “H2O” were first exhibited. The same year saw the completion of two commissioned works. “Vox Populi” was installed at the entrance to the new city hall for the City of Ottawa and “Carnavalesque” was installed at a transit station in Orleans, Ontario.

From 1994, to 1997 his work was exhibited in Granby, Quebec, Auckland, Wellington and Dunedin NewZealand, at the Technorama der Schweitz , at Het Apollopuis, Eindoven, The Netherlands, at Obscure, Quebec City, Que., at the Saidje Bronfman Centre in Montreal, Que. and in Amos, Quebec at Symposium L’esker.