We greatly liked the historic town of Levis and found a great deli with incredible food and ingredients that delighted us for days. We also returned to this section for our anniversary celebration. It was full of locals and it felt more like a real vibrant community than the tourist areas of Quebec.
"And Then, We Built New Forms features thirty-six artists from Quebec and Canada, the United States, France, Russia, Austria, Mexico, the Netherlands and Guatemala who employ art as a tool to Interface with interventionist and often, political positions. The exhibition Includes artworks that develop a polltic of having more collective and individual influence In the world and starts with a consideration that Quebec artists have played a role in giving voice to the 99% and in utilizing art as an effective vehicle for social change.
Within a larger series on adolescence, entitled Des helicos sur I'tlot Fleurie, Jean-Robert Droulllard formulates contemporary images of youth today through two inter-related exhibitions at the Manif d'art 7: at the Musee national des beaux-arts du Quebec and the Espace 400e Bell. Broadly looking at youth through succinct mise-en-scenes composed of life-size basswood sculptures juxtaposed with porcelain objects, the series raised questions about visual narrative, youth culture as well as what Is at stake within contemporary social values.
At the MNBAQ a cheerleader stands In a pose of emancipation and celebration, surrounded by over one hundred porcelain spray cans. Playing with archetypes of North American youth culture, the sculptural
installation could be viewed as a throwback to another epoch, therefore confusing the temporality of the contemporary moment. This contamination of time is further complexified by Drouillard's use of his sons and their partners as models for his figures. Inspired in part by the 2012 student protests, which his sons participated in, the artist extends his desire for a more hopeful and socially just society by representing the personal realm of his own life."
Vicky Chainey Gagnon, Curator
Born in 1970 in Chathan, Canada, Live and works in Quebec City, Canada
A few particles of us in an accelerator, 2013-2014
Sculpture installation basewood pallet, porcelain
Jean Dallaire, 1957
"Despite its humble state, a scupture remains as entity in which the artist's expression stems from his won struggle. ... You have to dominate the appeal of facile works, avoid yielding to mercantilism... There is a theory that says you must follow the grain of the wood; personally, that doesn't concern me. I think I "bash" the wood. Which is why I don't use olive wood:it's too beautiful to be bashed... Although I like wood, I have no respect for it."
Paul-Emile Borduas, 1948
Marked by a highly personal style, it constitutes a painted metaphor for his life an art. Today, this expansive composition is generally considered the artist's pictorial last will and testament.
Despite its title, the work should not be seen solely as a tribute to Rosa Luxemburg, the famous Polish revolutionary born in 1870 and assassinated in 1919. Reference to his heroine, a militant member of the German Communist Party, masks the painter's deeper intention, which was to pay homage to Joan Mitchell, his companion of almost twenty-five years. An American painter of international renown, Joan Mitchell—whom Riopelle playfully dubbed Rosa Malheur, alluding to Rosa Bonheur, 19th century , animal artist—died suddenly in Paris on October 30,1992. When the news of her death reached him on the He aux Oies, Riopelle somewhat compulsively turned to creating this monumental fresco.
A 40 meter long triptych, it comprises a series of 30 rectangles containing as many individual works.This constructed sequence gives rise to a narrative structure reminiscent of a cartoon.The viewer must move about to read the different scenes, of this bizarre world, peopled by phantom prints of objects that Riopelle borrowed from nature—birds, ferns—and from the handyman's workshop—nails, car fans, punches, shears.The artist obtained these ghostly images by applying the objects themselves to the canvas, and tracing them with spray pain, a technique that makes for very rapid execution. On a certain level, in authorizes comparison between the work of Jean-Paul Riopelle and that oi graffiti artists, who adorn our city walls.
'This exhibit proposes to examine the seminal dialogue which took place between the founding painters of modern Canadian art, James Wilson Morrice and John Lyman, with Henri Matisse."
Both Tom and I were not impressed with this group of paintings. I have included the best, but most left us cold. I like a bit of Matisse's artwork that I have seen before this visit, but the ones that were included in this collection were some of the worst that I have seen. They did not allow the Matisse art to be photographed and I thought perhaps (LOL) they wanted to keep these poor works hidden from the public to save his name. I wanted to like them ...
"After his studies at Ecole des beau-arts de Quebec, Alfred Pellan, then only twenty years old, set out for paris, where he assimilated in an eclectic and intuitive manner the aesthetic ideas of various avant-garde movements, including Cubism. Fauvism and Surrealism. Imbued with the stylistic influence of artists he admired, such as Pablo Picasso, Vincent van Gogh, Pierre Bonnard, Henri Matisse, Georges Braque, Paul Klee, Joan Miro and Fernand Leger, he created works with explored various kind of pictorial abstraction. "