[Hiver 2022] By Michel Hardy-Vallée [Excerpt] It’s a lovely image: my father, who had been taking photographs since the 1960s, had given me his Beseler 23C II enlarger. I went to pick it up in order to flesh out my amateur darkroom, and I was thinking about transmission of culture. The caption might have quoted […]
[Summer 2021] Bertrand Carrière Learning photography from books An Interview by Serge Allaire Over the last forty years, Bertrand Carrière has produced a personal and varied body of photographic work. His photographs have been exhibited in Quebec, Canada, Europe, and China, and he is represented by Galerie Simon Blain Montreal and the Stephen Bulger Gallery […]
[Winter 2021] This article was originally published in French only. You can read it by switching over to the French version of this page. Dans les années – Photographies 1996–2019 Galerie d’art Antoine-Sirois de l’Université de Sherbrooke Du 8 septembre au 17 octobre 2020 By Sylvain Campeau (En français seulement) See the magazine for […]
[Summer 2019] By Sylvain Campeau [Excerpt] Bertrand Carrière has had a long relationship with the ﬁlm world. Before establishing himself as an artist, he took many pictures as a soundstage photographer. But such images must not be seen solely as the result of a professional practice that imposed frameworks and constraints on the creation of […]
May 14, 2018 [originally published in CV95 in Fall 2013] — By a strange coincidence, two exhibitions – a Donald McCullin retrospective and Collision: Conflict and Its Consequences – at the National Gallery of Canada, as well as a film, Dans un océan d’images, featured at the recent International Festival of Films on Art (FIFA) in Montreal, have presented a wide range of practices related to how photographs portray war and social conflict…
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 2005] In three recent interrelated works, Bertrand Carrière explores ways of expressing the memories embedded in the landscape at the site of the Dieppe Raid of 1942. The Caux series constitutes a long meditation on the sense of purposelessness and loss embodied by that very landscape. It was preceded by Jubilee, an installation in […]