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This article was originally published only in French. No translation is available.
Le Musée des Beaux-Arts du Canada (MBAC), actuellement sous la direction de Marc Mayer, a récemment annoncé que le Musée canadien de la photographie contemporaine (MCPC) n’occupera plus son propre bâtiment situé au 1, canal Rideau.  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 The image bank is an archive structured by selection, indexing, and thematic cross-referencing procedures that determine how it is used. Artists appropriate this mechanism to explore the issues in visual culture and the contemporary future of the “virtual museum” prefigured by Malraux. By Jacques Doyon Ciel variable is twenty years old! Over the years, the magazine has undergone several metamorphoses in order to better reflect the evolution in photographic practice, the broadening of its field of application, its recognition by the art world, and changes in its institutional environment.  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,  Between art and Art deals with the peculiar aspects of the work of museum photographers, whose large-format photographs of works of art, exhibition installations, and other details of the museum’s operations and its architecture are neither purely technical documentation nor art photography.
Also see the artist's portfolio
In his current photographic projects, Vid Ingelevics draws attention to our cultural investment in the museum and the things that we assume it represents. As anomic flâneur, he has turned his ambiguous regard to things that we would ordinarily ignore on the way to an imagined main event.1  This article was originally published only in French. No translation is available. Voir aussi l'article reliéLes installations de Patrick Altman explorent le rôle de la photographie dans la mise en valeur et l’intégration des œuvres d’art dans la mémoire collective et individuelle. This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artistePatrick Altman met en scène les phénomènes de l’inventaire et de la classification propres aux collections muséales, associant ainsi sa vie professionnelle de photographe de musée et sa pratique d’artiste2.
 Zimmerman attributes to his photographs “an essentially utopian aesthetic with ambivalent understandings.” Humour, nostalgia, and critical deconstruction coexist in his work, as they often do in our responses to totalitarian aesthetics. “Fascinating fascism” shares its allure with the less radically discredited, but equally utopian, architectures of socialism and New Deal social democracy.
 For those familiar with Carl Zimmerman’s work, there was a moment of déja vu when the first photographs of England’s new Tate Modern appeared.  This article was originally published only in French. No translation is available. – Read the Summary Voir aussi le portfolio de l'artisteIl semblerait que, saturés comme nous le sommes d’informations de toutes sortes, nous en soyons arrivés à un point où nous ne sommes plus capables de faire la distinction entre la vérité et le mensonge, entre le réel et l’irréel.
 This article was originally published only in French. No translation is available. Voir aussi l'article relié
Il semblerait que, saturés comme nous le sommes d’informations de toutes sortes, nous en soyons arrivés à un point où nous ne sommes plus capables de faire la distinction entre la vérité et le mensonge, entre le réel et l’irréel.
By Franck Michel As I was writing this editorial, I learned that Claude Thibeault, curator of the photography collection at the Musée du Québec, has lost his job. Four years ago, the Musée du Québec set up a collection dedicated exclusively to photography and appointed Mr. Thibeault to run it, showing its desire to make photography an important aspect of its collections.  A Montrealer of Vietnamese origin, Xuân-Huy Nguyen earned a bachelor’s degree in fine arts (photography major) from Concordia University. With Compositions, Nguyen casts a critical eye on Quebec photography, which he feels is distant and bland.
 Aside from the demolition machines attacking a distant wing of the boarding school, the site is deserted. The photographer enters the condemned building, determined to make the silence speak.  Aside from the demolition machines attacking a distant wing of the boarding school, the site is deserted. The photographer enters the condemned building, determined to make the silence speak. This article was originally published only in French. No translation is available. Par Sylvain Campeau Le 23 septembre dernier, Vox Populi, en collaboration avec le Musée d’art contemporain, a organisé un colloque intitulé La présence de la photographie dans les collections des musées. Spécificité d’un médium… d’une culture.
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