[Fall 2022] By Edward Pérez-González Manif d’art 10, Québec 19.02.2022 — 24.04.2022 [Excerpt] A zoom in on a dense and intensely green forest. A slow, continuous move- ment suggests an infinitely dilated time and produces a growing tension as details are highlighted. A slight wind brings the forest out of its lethargy, making leaves and […]
[Summer 2019] By Colette Tougas [Excerpt] One purpose of the exhibition devoted to the Lazare collection at the Montreal Museum of Fine Arts was to highlight thirtythree photographs that have been donated to the institution by Montreal collector Jack Lazare. To these donated photographs were added many others on loan from Lazare, adding up to […]
March 26, 2018 [originally published in CV94 in Spring 2013] — To judge by his works, Nicolas Baier has never been anything but a photographer, as these works are replete with all the potentialities, components, and mechanisms of the medium. This is so even when the works he creates are not photographic…
[Spring/summer 2013] 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 . . . NICOLAS […]
[Spring/summer 2013] In this issue, we return to the question of public art, a subject we previously addressed in issues 82 and 90. The artworks chosen for this portfolio stand out for the acuity with which their context for integration has been managed. Each of these artworks, in its way, offers an exemplary response to […]
October 15, 2015 [originally published on March 31, 2010] — Looking back over twenty years and trying to retrace the path of experiments with images, we start in the early 1990s, when a couple of newcomers, Alain Paiement and Roberto Pellegrinuzzi, were already starting to turn heads. In an essay published in 1992, Denis Lessard tried to show what these artists owed to the heritage of Pierre Boogaerts, Bill Vazan, and Serge Tousignant.1 He also mentioned the work, then new, of Raymonde April, Lucie Lefebvre, and Denis Farley. This effort at historical perspective was out of place at the time, when the lion’s share of attention in the critical environment was being paid to the rebirth of installation art and the manner in which photography and, soon, the photographic would be inserted into it.
[Summer 2009] The world identifies with the quintessence of photographs. This identification does not occur for no reason. For the world itself is composed of a photographic face. . . . the world has become the photographic present, and the photographic present is fully perpetuated. ⎯ Siegfried Kracauer, 19271 Although photographs are generally flat, they […]
[Fall 2000] This article was originally published only in French. You can read it by switching over to the French version of this page Summary (Free) arbiter, colourist, stain-ist, material-ist, collagist, designer (of interiors), assembler-operator – not to mention cameraman-editor – N.B. is a visual artist in the current sense of the term used for […]