New Entries

This section enables you to view documents recently put online: articles and essays written specifically for the Web or reposted from recent issues, reactions to articles that have appeared on the website or in the magazine, complete content of previous issues, new reviews, and more. A great way to keep up! All of these articles may also be consulted elsewhere on the website according to section and category.
 

  • Lynne Cohen, Untitled (Magritte’s Easel), 2006, épreuve chromogénique / c-print, 100 x 120 cm. © Lynne Cohen

    Lynne Cohen, Photographies – Stephen Horne, Rooms of Screens/Screens of Rooms

    March 27, 2017 [originally published in CV89 in Fall 2011] — Lynne Cohen has been photographing generic architectural interior spaces for several decades. Photo­g­raphing rooms is, and has always been, her subject. Some of these rooms are health spas, classrooms, and hotel lobbies, while others are more sinister – laboratories, control rooms, and military sites. In a Cohen photograph, however, even an innocent health and relaxation facility can appear in an unusually “posed” mode.

  • Ewa Monika Zebrowski, tempo perso, 2009, impression jet d’encre / digital inkjet print, 82 x 63 cm. © Ewa Monika Zebrowski

    Ewa Monika Zebrowski, Of time, lost – Paule Mackrous, One Imagination, a Thousand Stories

    March 23, 2017 [originally published in CV89 in Fall 2011] — “The issue is clear: truth or life; history or art,” writes Nietzsche in the opening pages of his Seconde considération intempestive1. The living, fragile and fleeting, are lost from the objective spectacle of history. This will remain so as long as we make history a succession of factual data rather than a return to an “internal time consciousness.”2 Words engender linearity, whereas the experience of ...

  • Sylvie Readman, Sans titre (Rue Boudreau) , de la série / from the series À contretemps, 2011, épreuve au jet d’encre. © Sylvie Readman

    Sylvie Readman, À contretemps – René Viau, Utopia Out of Focus

    March 21, 2017 [originally published in CV89 in Fall 2011] — What do we see? Somewhere on the urban periphery, a parallelepiped of concrete topped with an azure tarp sits on a rectangle of asphalt. Elsewhere, the whitewashed wall of a shed rises behind a section of suspended electrical wires. We come upon other indeterminate pieces of land, other uninhabited buildings. The photographs’ titles correspond to the toponymy of industrial sectors that appear more or less ...

  • Jauran (Rodolphe de Repentigny), Sans titre ou Composition avec Françoise happée par la lumière, v.1955, épreuve argentique / gelatin silver print, 18,3 x 20,2 cm. © Jauran

    Making Light: The Emergence of Modernist Photography in Quebec Revealed – Alexis Desgagnés

    March 16, 2017 [originally published in CV89 in Fall 2011] — There are still many gaps in our knowledge of the history of Quebec photography. I realized this after seeing “Photographes rebelles à l’époque de la Grande Noirceur (1937-1961),” which was held at Maison Hamel-Bruneau in Quebec City. Devoted to photography during the Duplessis era, the exhibition comprised about eighty works…

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    Leaping Forward: The Montreal Museum of Fine Art’s New Photographic Collecting Practices – Zoë Tousignant

    March 14, 2017 [originally published in CV89 in Fall 2011] — The acquisitions of Quebec photography from the 1960s to the 1980s are thus part of the institution’s current recognition of – and seemingly unquenchable gusto for – photographic imagery of all kinds, and these acquisitions have added considerably to the growing photography collection, which now totals over 1,500 works.

  • Michel Lamothe, John Max, a portrait, 2010, affiche promotionnelle / promotional poster. © Michel Lamothe

    John Max: The Vertigo of the Free Gaze – Charles Guilbert

    March 9, 2017 [originally published in CV89 in Fall 2011] — In John Max, a portrait, Michel Lamothe proves that an attentive gaze trained on the other may be transmuted into a deep meditation. To create this work, which is as fluid as a fiction film, Lamothe followed the photographer John Max for three years (from 2000 to 2003), accumulating 40 hours of footage – film that he spent months pruning and then editing, in collaboration ...

  • Hervé Guibert, Autoportrait, New York, 1981, épreuve argentique / gelatin silver print, permission de / courtesy of Maison européene de la photographie, © Christine Guibert

    Hervé Guibert, The Image of Words – Franck Michel

    March 7, 2017 [originally published in CV89 in Fall 2011] — From 9 February to 10 April 2011, the Maison européenne de la photographie in Paris presented the first-ever retrospective of the works of photographer and writer Hervé Guibert, comprising some 230 images.1 I had a chance to visit the exhibition on a weekday morning when the museum opened, so I was just about alone in the galleries (something rare at this museum).

  • Patrick Ward, Monologue, 2009, video, 30 min, installation view, Skol, Montreal, photo : Guy L’Heureux. © Patrick Ward

    Patrick Ward, Monologue – Robin Simpson

    March 2, 2017 [originally published in CV89 in Fall 2011] — With Monologue, Patrick Ward has skilfully edited together a pool of handheld footage culled from video-sharing Web sites. In silence, a single and anonymous viewpoint scans, probes, and travels through a laby­rinthine interior. As the viewer follows, ambling down dark halls, peering into basements, moving from room to room, an impossible ruin begins to take form. Ward’s exhibition is the first part of Skol’s novel ...

  • Emanuel Licha, Hotel Machine, 2016, film, 67 min., courtesy Emanuel Licha et Les Contes modernes

    Emanuel Licha – Stephen Horne

    March 1, 2017 [originally published in CV104 in Fall 2016] — With his new feature film, Hotel Machine, artist Emanuel Licha, based in Paris and Montreal, continues his questioning of the place of media and the mediatization of place. His process takes him to the “front lines” of recent warfare – at least, the front lines in the sense of media communications. Taking the relationship between architecture and mass media as a topography, Hotel Machine is ...

  • Claude-Philippe Benoît, Untitled # 80, 2008, de la série Société de ville, épreuve argentique, 45 x 57 cm. © Claude-Philippe Benoît

    Claude-Philippe Benoit, Société de ville – Sylvain Campeau

    February 28, 2017 [originally published in French in CV89 in Fall 2011] — You can read it by switching over to the French version of this page.