 We live in an age of disappearances, a time of loss and change, with mass extinctions and vanishing eco-regions.  By Jacques Doyon The internationally known artist Antoni Muntadas will present a new exhibition titled The Construction of Fear at Galerie SBC art contemporain in Montreal, from 28 February to 18 April 2009.  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.
 For more than fifty years, Fred Herzog has roamed the streets of Vancouver. His camera dwells on the raw fabric of the city: second-hand stores, restaurants, storefront windows, barbershops, and vacant lots, and the people using those spaces.  “When you have seen the city to a point when you think you have done it all, the horizon will suddenly sustain a crack and a new cycle of hitherto unseen phenomena will begin to form shadows on your film.” – Fred Herzog  What began as a self portrait project eventually became an image world depicting the objects and beings that nourish Wang’s identity.  During the past three years, I accumulated images on different attempts, but all the attempts had similar results, I treated them all as my self-portrait. . . . No matter what the camera focuses on, people or still life, the consciousness of self-cognition hence is hidden in my art practice. The image presents a part of the objects themselves and a part of my mirror-self, from which I discover my existence. –Chih-Chien Wang  This article was originally published only in French. No translation is available. Voir aussi l'article reliéCette série peu connue de photographies de Pierre Granche est une exception dans sa production. Réalisée en 1997, sur une commande de la revue Espace, elle constitue un superbe exemple de la multiplicité des savoirs sur l’espace et sa représentation (en architecture, en urbanisme, en peinture et en sculpture) qui contribuait à la richesse de ses œuvres sculpturales et installatives. This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artistePour saisir les liens qu’entretiennent la photographie et le temps, dans cette série photographique de Pierre Granche, il faut y entrer par étapes, en découvrir les nombreuses strates à l’œuvre, car il semble bien que ce soit ainsi qu’elle se livre au spectateur, en empruntant les méandres de la mémoire.  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. This article was originally published only in French. No translation is available. Voir aussi l'article reliéLe travail de Liza Nguyen, Souvenirs du Vietnam, propose une esthétique qui renvoie à une éthique du souvenir. Alors que les images de Surface portent une absence qui nous regarde, dans Cartes postales du Vietnam, nous sommes invités à regarder l’histoire dans sa forme la plus banale, sa forme touristique.
 This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteQuel sens donner, le 30 avril 2005, à la commémoration du trentième anniversaire de la chute de Saigon et de la fin du conflit américain au Vietnam ? Le temps passant, les souvenirs se recomposent dans une mémoire distanciée qui, peu à peu, transforme l’identité d’un pays en une destination – touristique.
Also see the linked essay
In his Irradiations series as in his earlier works, Denis Farley partakes in an ongoing investigation of the nature of photography as a self-conscious gesture.
Also see the artist's portfolio
A recurring theme in Montreal-based photographer Denis Farley’s work is the relationship between the photographer and his choice of subject matter – in particular, the necessary connection between the body and the landscape. 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;  During the 1960s, you could look out over the ocean in Newfoundland and see houses floating by. Natural disasters weren’t the cause; governments were. Soon after Newfoundland joined Canada in 1949, the governments of Canada and the newly formed province resolved to centralize the island’s population, moving people from isolated outports to larger “growth centres.”
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