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The artists whose works are brought together here under the theme of ruins are interested in capturing the traces of a disappearing world, a world in which the evolution of the photographic image is symptomatic of a more fundamental transformation of culture and social values as a whole.
At first glance, the works presented here might seem to be simply about work on a motif. A more attentive look, however, shows that what is indicated here, in this focus on trees, or icebergs, or clouds, is the shaping of natural elements by human action on a landscape that has become an environment.
Over the years, many photographers have explored Montreal and its neighbourhoods. Their images have captured portraits of residents, the colour and composition of the streets and commercial arteries, and the mixture of cultures that contribute to the quality and diversity of a city, as well as the commitment of residents who create the fabric of communities and sometimes generate resistance to changes that create upheavals in their living environment.
With great sensitivity and remarkable image quality, the works brought together in this section offer a renewed gaze at discredited realities and experiences. They do this by showing us people in their living environments. And yet, it is not individuals that these works offer as much as a certain order of representation, certain priorities, a certain way of seeing things that encourages us to reevaluate them.
There are places where nature’s presence is more intensely felt, where the question of the city’s interrelations with its natural environment emerges more spontaneously. Certain circumstances are also conducive to raising such reflections – among them, sense of unfamiliarity experienced during a stay abroad, obvious deterioration in the equilibrium or beauty of a place, and pressure exerted for appropriation of a public site for private purposes.
Globalization is making us more aware of the realities of the entire planet through news, visits, and business travel. In addition, urbanization and consumer markets are tending to bring cultures and lifestyles ever closer to each other. Even so, and fortunately, diversity and differences remain. What is more, the most radical forms of alterity are found not only outside of our societies but tend to merge with them, and ...
STRATA features works by Adam Broomberg and Oliver Chanarin, Moyra Davey, and Marc-Antoine K. Phaneuf. The comprehension of these bodies of work assumes a peeling away of the various strata of signs that form them.
Appropriating visual artworks, as one interprets the works in a repertoire. Judging that, among all the works that exist, these ones still resonate sufficiently in the eyes and ears of contemporary spectators to justify the reignition of their interrogatory or denunciatory spark. What do these works say?
The realm of the living includes as many habitats as ways of life. As fragments of the impossible inventory of all inhabited places, these four portfolios cross over into environments that may be real or fantasized, but are always constructed.
These abstract works involving simple forms evoke methods of analogue photography to challenge the degree of veracity of the image. Imprint, inversion, and casting are some of the components transposed into other artistic media to re-evaluate our capacity to apprehend the real.
Trois approches du portrait photographique nourries de références picturales, avec des savoir-faire se manifestant dans les clairs-obscurs, les cadrages et les poses, les textures et le drapé des tissus, les ports de tête et, surtout, les regards… Et des manières de faire qui ennoblissent leurs sujets.
These three montreal artists have in common the performative dimension of the images in their works. Bodies are staged in situ ations of intimacy, intrusion, or sacrifice to highlight how loved ones, strangers, and animals help to form our identity.
The transition to the digital image regime entails a series of permutations that noticeably modify our relations with a common public space and how art is produced. Our experience of concrete spaces and temporality, as well as the distinctions between private sphere and public exhibition, between amateur and professional productions, are totally metamorphosed.
A thematic section on public art featuring the works of Nicolas Baier, Dominique Auerbacher, and Patrick Dionne and Miki Gingras, highlighting the issues of community affirmation in the public space and the revelation, or contestation, of its customs and regulations. Somewhere between group portrait, “objective” self-portrait, and urban anti-aesthetic . . .