[Fall 2018] This article was originally published only in French. You can read it by switching over to the French version of this page.
May 17, 2017 [originally published in CV90 in Winter 2012] — Bringing together twenty-six artists under the title Lucidity. Inward Views, the twelfth edition of Le Mois de la photo à Montréal made the theme that served as its title, if not a template for comprehension, the pivot of its articulations. Through the works in this dense, enriching event, a strongly subjective vision was proposed to viewers. For the artists, “interrogating the world goes hand in hand with interrogating oneself (and vice versa),” according to event curator Anne-Marie Ninacs.1
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 abandoned…
[Spring 2008] Following a first purchase, a work by Julia Margaret Cameron (United Kingdom, nineteenth century), the Lazare family has moulded the photographic content of it’s collection over the past twenty-five years to form what is a mainly contemporary ensemble of emotionally rich portraits and nostalgic landscapes. Whether it is a poetic photograph of the […]