[Fall 2017] 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. EDITORIAL PORTFOLIOS FOCUS EXHIBITIONS […]
January 25, 2021 [originally published in CV107 in Fall 2017] — Just when we thought we had all the answers to the enigma of our memory fixed in silver salts, life – without so much as a by-your-leave – changed the questions. Perhaps because life is not a problem to be solved, as Søren Kierkegaard said, but a reality to be experienced…
January 18, 2021 [originally published in CV107 in Fall 2017] — André Barrette likely never wanted his art in the spotlight. That is why, outside of the community of artist-run centres in Quebec City, relatively little is known about his discreet but important contribution to Quebec photography landscape in recent decades.
January 11, 2021 [originally published in CV107 in Fall 2017] — In his work, Joan Fontcuberta explores the effects of the real and the capacity for truth generated by the technological image, in order to denounce the authoritarian discourses regarding information and knowledge. His other subjects include nature and the functions of the image in digital culture.
December 22, 2020 [originally published in CV107 in Fall 2017] — Hotel Machine is a feature-length film in the current meaning of the term. It is Licha’s first production of this type, as he comes from the contemporary-art world and his work has usually been presented in galleries. It is related to the trend in documentary cinema that involves taking solid formal points of view – a trend that has been validated by following the traditional levers of funding.
December 15, 2020 [originally published in CV107 in Fall 2017] — Three solo exhibitions (Katia Kameli, Délio Jasse, and Vasco Araújo) organized in London late in 2016 featured episodes from African and European history, particularly during the colonial period, in which the artists used “traces,” mainly photographic corpuses dating from the nineteenth and twentieth centuries, updated via different media and devices.
December 8, 2020 [originally published in CV107 in Fall 2017] — The NFB’s Still Photography Division was created in 1941, as a Canadian government information agency under the direction of John Grierson. By 1985, when the small unit’s production, now a collection of photographs, became the core of the Canadian Museum of Contemporary Photography, the Division had produced some 250,000 images.
November 10, 2020 [originally published in CV107 in Fall 2017] — This exhibition of works by Jocelyne Alloucherie, Ivan Binet, and Mathieu Cardin was brilliantly dovetailed in terms of theme and installed with consummate finesse in mortise-and-tenon fashion from floor to floor in all the gallery spaces.
January 20, 2020 [originally published in CV107 in Fall 2017] — Everything vanishes and yet it all remains, changed somehow, interpreted differently: ashes to ashes, dust to dust. A Handful of Dust is a show that has a mysterious point of departure that is as much about the ambiguities of art in photography as it is about the way art fuses, morphs, reinvents conceptions, how it is a process long before and after realization…
September 29, 2020 [originally published in CV107 in Fall 2017] — Claude Goulet is the founder and director of Les Rencontres internationales de la photographie en Gaspésie. This major event, has become an essential destination, with its outdoor photographic installations and its different thematic and pedagogical facets…