Publishing a contemporary art magazine specializing in photography in 2015 is more relevant than ever. Simply think of all the magazines, galleries, exhibition centres, and events (Mois de la photo and photographic encounters of all kinds) that exist and are being created all over the world around the photographic image. Of course, the time has […]
November 18, 2015 [originally published Winter 2015] — Vincent Lafrance’s work is permeated with the idea of the simulacrum – perception and its faults. Playing with photographic virtuosity and with randomness, he composes visual illusions with traditional photographic means. His body of videographic work uses language as a confusing effect; he produces fictions that fluidly meander between …
We are pleased to present in this issue the first thematic section put together by Alexis Desgagnés in his new position as associate editor of the magazine. The section, bearing on the notion of habitat, juxtaposes recent works by photographers Normand Rajotte and Stephen Gill, each of whom stands out for a field practice adapted […]
Each in its way, the works in this issue’s portfolio speak of photography and analogue images by inscribing them in other artistic media (digital simulation, film, video, sculpture, painting). The imprint of light is thus materialized in abstract, simplified forms that multiply the images’ referential registers while relativizing the privileged link between photography and the […]
September 5, 2018 [originally published in CV97 in Spring 2014] — Martha Langford is the research chair and director of the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art and a professor of art history at Concordia University in Montreal. Her books on photography include Suspended Conversations: The Afterlife of Memory in Photographic Albums (2001); Scissors, Paper, Stone: Expressions of Memory in Contemporary Photographic Art (2007)…
What, in fact, could the people (gypsies, miners, aristocrats, models, night owls, and others) gathered here in portraits have in common but the dignity conferred upon them by the photographers who took their picture? These artists’ approaches also share crossreferences, as well as photographic and pictorial skills displayed in chiaroscuros, framings, poses, textures and drapings […]
June 13, 2018 [originally published in CV96 in Winter 2014] — Luc Courchesne is a digital arts pioneer. From interactive portraits to immersive experience systems, he has created innovative and engaging works that have earned him prestigious awards such as the Grand Prize of the ICC Biennale in Tokyo in 1997 and the Award of Distinction at Ars Electronica in Linz, Austria, in 1999…
The thematic section of this issue presents recent works by three Montreal artists from the perspective of the performative dimension of their images. In these works, the artists stage bodies in situations of intimacy, intrusive proximity, or confrontation with their own fears, to bring to light how loved ones, strangers, and even animals help to […]
April 4, 2018 [originally published in CV95 in Fall 2013] — You have articulated the theme of Le Mois de la photo à Montreal around the title Drone: The Automated Image, and you have written, “The camera is a sophisticated instrument with its own laws and its own agency” and “The artists raise an important question: do cameras have a life of their own?” Can you elaborate on the implications of these statements? …
The thematic section CYBER / ESPACE / PUBLIC examines some of the issues related to the digital regime of images and their circulation on networks. It explores the many correspondences and reciprocities that are being woven between concrete spaces and various technological devices, whether portable (smartphones, applications of all types, geolocation instruments) or anchored in […]
January 31, 2018 [originally published in CV94 in Spring 2013] — Bonnie Rubenstein has been a director at CONTACT since 2002, and the festival’s artistic director Originally from Toronto, she holds an MFA from the School of the Art Institute in Chicago. As curatorial assistant for the Museum of Contemporary Art in Chicago, she worked on several groundbreaking exhibitions.
[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 […]
This issue of Ciel variable includes a fifty-page special section on the appropriation by visual artists of questions related to forensic evidence. Organized by guest editor Vincent Lavoie, professor of art history and photography at UQAM, this issue continues in the spirit of some of our previous issues focusing on specific aspects of photographic studies […]
September 5, 2017 [originally published in CV92 in Fall 2012] — Stephen Bulger studied at Ryerson University in Toronto. He was the founding director of the Ryerson Gallery, where he managed over thirty exhibitions. in 1994, he opened the Stephen Bulger gallery to exhibit and sell contemporary and historical photographs, with a special emphasis on the documentary tradition and Canadian historical photographs.
Today, the North is making economic headlines, as it has become a new Eldorado for societies stalked by the dream of continual growth. This territory – homeland to First Nations, an ecosystem vital to the entire continent, and a vast pool of natural resources – is nevertheless mostly unknown to the general public. National mythology […]
June 12, 2017 [originally published in CV91 in Spring 2012] — Now the artistic director of La Bande Vidéo, Sébastien Hudon has been, in turn, a bookseller, an author, a critic, and an independent curator. He was nominated for the young curator of the year award at the first agac gala following his presentation of two successive exhibitions mounted in 2010 and 2011 at Maison Hamel-Bruneau, in Quebec City: “Concerto en bleu majeur,” on the links between the visual arts and music, and …
From Alberta to Azerbaijan, from Resolute Bay to Mumbai, via Oran, Johannesburg, Chittagong, Shanghai, and Tucson, this issue presents images of an industrious, prosperous world that has its (un)fair share of dysfunctions and aberrations. In all of these images, the documentary component, embodied within very different aesthetic strategies, attests to and interprets various facets of […]
Bringing to the walls and façades of cities the oversized faces of their inhabitants, reappropriating the urban space to advertise a presence and affirm an identity – these are the concerns that lie at the heart of the projects that we present in this issue. As a collaborative tool, photography becomes the instrument of a […]
January 24, 2017 [originally published in CV89 in Fall 2011] — Marie-Josée Jean became director of VOX, centre de l’image contemporaine in 2002, after organizing the sixth and seventh presentations of Mois de la Photo à Montréal. For the last ten years, her research has focused on the theory and practice of image-based and conceptual art. For VOX, she has organized exhibitions by John Baldessari, Bill Vazan, Marcel Duchamp, Maria Eichorn, …
[Fall 2011] Being attentive to the environments that one passes through. All these passageways, these enigmatic and inhospitable spaces: entrance halls, waiting rooms, and showrooms with incongruous décors, laboratory rooms with indecipherable functions. All these buildings that one sees on urban access roads, some of them abandoned, that compose a purely functional environment, with no […]
October 27, 2016 [originally published in Spring 2011] — Anne-Marie Ninacs was the guest curator for the Mois de la Photo à Montréal 2011, with the theme Lucidity: Inward Views. From 2002 to 2006, Ninacs was the curator of contemporary art at the Musée national des beaux-arts du Québec, where she organized the exhibitions Massimo Guerrera. Darboral, L’emploi du temps, Avancer dans le brouillard, and Chimère/Shimmer.
[Spring/Summer 2011] In this issue, queers, media darlings, Aboriginals, female bodybuilders, and crack addicts form a highly heterogeneous portrait gallery that challenges our ideas about identity. These unsettling images reveal unexpected strengths or vulnerabilities, leading us to re-evaluate our perceptions. They captivate us, enticing us to stop and study a series of details that prove […]
[Winter 2011] The works presented in this issue are characterized by the accumulation of a large number of images and the creation of series that may be systematic, or may be intuitive and fragmentary. In some of these works we can discern an iterative mode that operates in the formal arrangement, the object of investigation, […]