 In Montreal, as in many cities around the world, works of art have often been placed in “public” urban spaces. In some cases, the placement of works is accomplished through channels of bureaucratic control or corporate interest,  Until recently, a former resident of Shanghai from the 1930s or 1940s, returning to the city decades later, would have a good chance of being able to locate his or her old home since urban development for profit was suspended for nearly a half century.  Greg Girard ’s recent monograph Phantom Shanghai describes the urban vestiges of communist-era Shanghai as they are swept away in the city’s recent wave of economic development.  This article was originally published only in French. No translation is available. Articule, Montréal 29 février au 30 mars 2008  In today’s world, the blurring between the urban landscape and the mediascape increasingly typifies our experience of our environment. Robert Walker’s body of work illustrates this blurring in a remarkable manner.
Also see the artist's portfolio
Robert Walker Robert Walker turned to photography in 1975, after detours into abstract painting and conceptual art. Imagery was present in his conceptual production in the form of quasi-generic,  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 By Jacques Doyon Photographing the street, over time, to record the evolution of the city and how it is used is a strategy that remains current. In these pages, it reveals the survival of small businesses in the era of globalization of markets, it allows us to follow the radical transformation of a city centre, and it confronts us with the invasive illusion of advertising images that rival reality.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéLa pratique de Bill Vazan est généralement associée au land art et aux montages photographiques. Vers la fin des années 1960, il a aussi réalisé des œuvres conceptuelles sous la forme d'itinéraires à pied et en voiture, de tours en autobus ou de circuits en métro. Cette entreprise de nature performative prend la forme de séquences photographiques, de cartes retraçant le parcours accompli et de notations.  The title was as brief and streamlined as the piece itself, called simply Worldline. With this unearthly 1971 project, based on the ultimate invisibility of pure line and on its infinite conceptual reach, Montreal artist Bill Vazan truly launched his career.  This article was originally published only in French. No translation is available. -Read the summary
En août 1969, William « Bill » Vazan construit un croissant de pierres sur une plage de l’île du Prince-Édouard pendant qu’un co-conspirateur, Ian Wallace, fait de même sur une plage de la Colombie-Britannique1. By Jacques Doyon This issue is about our ways of apprehending, representing, and acting in the contemporary city. The works presented here are all characterized by the inclusion within the images of a multiplicity of points of view and a distinct process of observation. They examine different aspects of an urbanity that is being fundamentally transformed.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéLa « ville intérieure » ou « souterraine » de Montréal constitue aujourd’hui l’un des réseaux piétonniers intérieurs les plus développés du monde, avec plus de 30 km de parcours. Il reste néanmoins beaucoup à faire pour mieux connaître et apprécier les possibilités que recèle cet ensemble.  SYN–’s Prospectus (2003–04)1 points to contradictions in the relationship between contemporary artists and the city. This sequence of eighty-one photographs shows the SYN– members wandering around and engaged in play at various locations in the “hyperbuilding” otherwise known as Montreal’s underground city.  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.  Cheryl Sourkes has been surfing and capturing webcam images for several years, and her work serves to articulate for viewers some of the ponderous questions that emerge in seeing the world differently through this particular technology.  Perusing webcams online is perhaps, at least superficially, far less interesting than one might imagine. Tracking down streaming images from all over the world is a rather mechanical task, and the images and locations that are found with varying degrees of ease seem to blur together at some point, breeding a kind of armchair-tourism ennui. This article was originally published only in French. No translation is available. Voir aussi l'article reliéLa série des Villes génériques s’inscrit à la suite du travail photographique sur les sites urbains en construction que Stéphane Couturier réalise depuis plusieurs années.
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