 This article was originally published only in French. No translation is available. Centre VU, Québec 19 juin au 10 août 2008
Also see the linked essay
NO IMAGE AVAILABLE The Archive Peter Piller contains tens of thousands of press images that Piller started to collect while employed at an advertising agency. The numbing task of endlessly scanning publications day in and day out became engaging when Piller started to clip and organize images from the newspapers.  From September 25, 2008, to January 4, 2009, the Musée national des beaux-arts du Québec (MNBAQ) is presenting Quebec City and its Photographers, 1850–1908: The Yves Beauregard Collection,  By Jacques Doyon Jacques Doyon : Over the course of a photographic practice spanning more than twenty years, you have shown consistent interest in the archival aspects of images and the architecture of their storage and display. You’ve also produced artist’s books and installations reflecting on museum practices.  This article was originally published only in French. No translation is available. Voiture de métro de Montréal 24 septembre 2007 au 31 mars 2008
Also see the linked essay
The singularity of collections exists at the meeting point of the artists’ sensitivities and the collector’s philosophy. In the case of Ydessa Hendeles’s collection, this marriage of viewpoints results in a rich exploration of the pathologies, contradictions, and anxieties of contemporary Western societies.  Toronto collector Ydessa Hendeles is no ordinary gatherer of photographs. Instead of following the usual practice of connoisseurs – buying only rare images that show artists at the top of their technical game –
Also see the linked essay
Popular sites and tourism fascinate Jessica Auer. She has produced a series of photographic works that were shot in North and South America in which landscapes and architecture have been preserved, renovated, altered, or built from scratch for the benefit of tourism.  At one point or another, we’ve all played the role of the tourist. When standing on the threshold of a sight that is truly breathtaking – for either its natural beauty or its spectacular urban construction – each of us has also perhaps been guilty of just standing and looking, without ever deeply exploring the sites that we have travelled so far to see. As Lucy Lippard notes:  By Jacques Doyon This is the first part of our review of twenty years of Ciel variable. It offers an overview of the metamorphoses that the magazine has had over the years as photographic practices evolved, their field of application broadened, they were increasingly recognized by the art world, and their institutional environment changed.  This article was originally published only in French. No translation is available. –Read the Abstract
Le World Press Photo of the Year est décerné annuellement à l’auteur de l’image la plus exemplaire d’un fait d’actualité récent. Créé en 1955 à l’occasion de la célébration du 25e anniversaire du syndicat des photographes néerlandais,  By James D. Campbell VOX image contemporaine, Montreal January 28–March 18, 2006  In The World as Will and Representation, his first-ever online/Internet art project, acclaimed Vancouver artist Roy Arden returns to the archival tropes, modes, and motifs that helped give decisive shape to his landmark works from the mid-1980s, the best known of which are the Rupture, Abjection, and Mission “series” or “suites.”  By Roy Arden I have collected images since I was a child; the first were usually cut with scissors from Life magazine. I also then began collecting images in my mind. I remember the journalistic images of the civil-rights marches, of Vietnam, the Beatles, and so on, that began to accumulate in my mental archive. By Jacques Doyon The works in this issue fall under the sign of things that are beyond comprehension. The list of catastrophic events that have left bitter traces on our democratic ideals in the last half-century is long. Current events dealt with in contemporary visual arts bring to mind some of these unimaginable moments: the shock of September 11, 2001;  This article was originally published only in French. No translation is available. Voir aussi l'article reliéAu début des années soixante-dix, Melvin Charney amorce UN DICTIONNAIRE…, une œuvre réalisée à partir de photographies d’agence de presse, parues dans les quotidiens, dans lesquelles figurent des bâtiments et des villes aux prises avec les événements de l’actualité. This article was originally published only in French. No translation is available. Voir aussi le portfolio de l'artisteAu début des années soixante-dix, Melvin Charney amorce une œuvre in progress, UN DICTIONNAIRE…, une collection de photographies d’agences de presse, parues dans les quotidiens, dans lesquelles figurent des bâtiments et des villes aux prises avec les événements de l’actualité : 
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. 
The aftermath of conflict lives forever. Battles end, armies fall or prevail, lives are lost or spared, history stops, adjusts itself, and groans forward again into time. But memory remains – as palpable as the silence in which it is most often embodied. |
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