2017_Sullivan2_gFrançoise Sullivan, Portraits de personnes qui se ressemblent, digital prints mounted on wood panels, black and white, 1971 (printed 2003), 152,4 x 101,6 cm (each). Courtesy of the artist and Galerie Simon Blais, Montréal. © Françoise Sullivan / SODRAC (2017)

Françoise Sullivan. Trajectoires resplendissantes

Curator: Louise Déry

January 11 to February 18, 2017
Opening: Tuesday, January 10, 5:30 pm

[More information]   

The Galerie de l'UQAM is proud to start off 2017 with an extraordinary Montréal artist, Françoise Sullivan. The director of the Galerie and curator of the exhibition has assembled a diverse set of works – many of which will be shown for the first time – by one of the most influential figures in the history of Québec and Canadian art.

The opening on January 10 will include a dance piece, Je parle, choreographed by Françoise Sullivan and performed by Ginette Boutin. Also at the event, the journal esse will launch its latest issue exploring the theme of the Library. A number of other activities (dance pieces, guided tours, a discussion forum, etc.) are scheduled throughout the exhibition.

The exhibition

Unfolding over many decades, the remarkable career of Françoise Sullivan occupies an important place in the history of Québec and Canadian art. In the mid-1940s, when she was surrounded by thinkers, poets and artists from all walks of life, her debuts in dance and painting were an opportunity to explore the aesthetic concerns shaking up the art world of the period, particularly as a member of Les Automatistes. The young woman who created Danse dans la neige (Dance in the snow) in 1948 – the most iconic work of Canadian contemporary dance –, and who exhibited her earliest paintings with Borduas, Riopelle and Gauvreau has since created an extensive, vibrant oeuvre of remarkable versatility and continually renewed inventiveness while remaining faithful to the principles of freedom and engagement she embraced during her early career. Inspired by the great European and Native North American mythological traditions, passionate about art and poetry, and influenced by the time she spent in New York, Italy, Ireland and Greece, Sullivan has, in her boundless curiosity, never stopped experimenting with form and colour, gesture and movement, figuration and abstraction, whether in sculpture, installation, performance, photography or, quite decisively, painting.

The works in this exhibition (some of which have been reconstructed from the artist’s archives) merge various conceptual trajectories that evolved from an investigation of the meaning and practice of art. In the words of Louise Déry, ”In these works, consciousness and the body are in a state of alert. Intuition of place and acuteness of the instant have prompted their appearance; individual destiny and collective myths have conditioned their imaginative thrust. For Sullivan, the frozen ground of a winter landscape, the apotheosis of a site housing oil refineries, the disenchanted legend of our uneasy heroes, the uncommon meeting beyond time of two young faces, and the words offered when a painting speaks or falls silent, when choreographed bodies are activated or immobilized, form a constellation of circumstances laden with meaning”.

In the performances, choreographies, writings, photographs and paintings that mark out path of the artist’s practice since the 1940s, concepts are brilliantly asserted in worked colour, fertilized abstraction, the pictorial body. Some works survive in a photographic image or a documentary record that embodies and extends them; others – tied to process and spontaneous, improvised, at times ephemeral manoeuvres – resist. Sullivan’s trajectories, so radiant and, to use Borduas’s word, so liberating, enlighten both our recent history and the present moment. She who still goes to work in her studio every day and continues to think (and think of herself) in and through art, invites us to engage in the vital relationship between the work of art, memory and the world around us.

A major publication will appear later in the year. In addition to the content of the exhibition, it will include all the texts written and published by the artist in the course of her career.


The artist

Françoise Sullivan has made her mark as dancer, choreographer and visual artist. She was one of the founding members of Les Automatistes, along with Paul-Émile Borduas, and a signatory of the Refus global manifesto in 1948. In the 1960s, her work branched out into sculpture, photography, installation and performance. Painting, however, has been her great passion over the years and she continues to work at it with impressive energy.

For many reasons, Françoise Sullivan is an outstanding figure in the history of Québec and Canadian art, as reflected by her numerous awards: the Prix Paul-Émile Borduas, the Ordre du Québec and the Order of Canada, the Governor General's Award, the Gershon Iskowitz Prize, etc. These honours recognize her exceptional career path and the creative diversity of her prodigious body of work. She has been the subject of retrospectives at the Musée d’art contemporain in Montréal (1981), the Musée national des beaux-arts in Québec City (1993), the Montréal Museum of Fine Arts (2003) and the Art Gallery of Ontario (2010) and has been featured in an impressive number of collective exhibitions in Canada, Europe and the United States, including On Line: Drawing Through the Twentieth Century at the Museum of Modern Art in New York (2010), and The Automatiste Revolution: Montréal 1941-1960 at the Varley Art Gallery, Unionville, Ontario (2010) and the Albright-Knox Art Gallery in Buffalo. She is represented by Galerie Simon Blais in Montréal.

The curator

Louise Déry (PhD Art History) is director of the Galerie de l'UQAM and associate professor in the Department of Art History at UQAM. Formerly a curator at the Musée national des beaux-arts du Québec and the Montréal Museum of Fine Arts, and director of the Musée régional de Rimouski, she has curated numerous exhibitions, including Daniel Buren, Giuseppe Penone, Rober Racine, Sarkis, Nancy Spero, David Altmejd, Dominique Blain, Françoise Sullivan, Michael Snow, Stéphane La Rue, Raphaëlle de Groot, Artur Żmijewski, Manon de Pauw, and more recently Aude Moreau, to name just a few. She has presented some thirty foreign exhibitions of Canadian artists, including a dozen in Italy, as well as in France, Belgium, Spain, Turkey, the United States and Asia. She was curator of the Canadian pavilion at the Venice Biennale with a David Altmejd exhibition (2007). At the Venice Biennales of 2013 and 2015, she presented performances by Raphaëlle de Groot and Jean-Pierre Aubé. She is a recipient of the Hnatyshyn Award (2007) and the Governor General's Award (2015), and a member of the Royal Society of Canada.

Activities produced by the Galerie de l'UQAM

In conjunction with the exhibition, two dance pieces with texts by Françoise Sullivan will be presented free of charge:

Je parle (1993)

Tuesday, January 10, 2017, 5:30 pm (during the opening)

With Ginette Boutin, a dancer who has interpreted the choreographic repertoire of Françoise Sullivan for 30 years.

Droit debout (1973)

Saturday, January 21, 2017, 3 pm, 3:30 pm and 4 pm

With the dancers Michèle Febvre, Paul-André Fortier, Dana Michel, Myriam Arsenault, Andréa Corbeil and Nicolas Patry. The text by Françoise Sullivan accompanying the choreography will be interpreted by actress Christiane Pasquier.

The presentations will be followed at 4:30 pm by a Conversation between Françoise sullivan and Louise Déry.

Other complementary activities:

Guided tours of the public art work Montagne by Françoise Sullivan with a mediator

Hall of the pavillon Président-Kennedy, UQAM
Thursday, January 12, 2017, 12:45 pm – 1:45 pm
Wednesday, January 25, 2017, 5:30 pm – 6:30 pm

Guided tours of the exhibition with the curator

Tuesday, January 17, 12:45 pm – 1:45 pm
Thursday, February 9, 2017, 17:30 pm – 18:30 pm

Guided tours of the exhibition

Available any time. Reservations required with Philippe Dumaine, 514 987-3000, ext. 3280, or dumaine_allard.philippe@uqam.ca

Support provided by


Educational booklet

An educational booklet is offered to the public as a a guide to the exhibition.


2017_Plante2_gJonathan Plante, Dance me (detail), 2016, lenticular silkscreen print. Courtesy of Galerie Hugues Charbonneau, Montréal

Jonathan Plante. Angle mort

Graduating master's student in visual and media arts (MFA), UQAM

January 11 to February 18, 2017
Opening: Tuesday, January 10, 5:30 pm

[More information]   

The Galerie de l’UQAM presents the exhibition Angle mort by Jonathan Plante, a graduating master’s student in Visual and Media Arts at UQAM. The artist will reveal a series of paintings and prints on lenticular supports, a process that creates an impression of movement. Depending on the viewpoint of the observer, images appear, disappear and transform themselves. Plante activates the gaze and involves the viewer’s body in the experience of the image’s various temporalities.

On the occasion of the opening, the journal esse will launch its latest issue exploring the theme of the Library.

The exhibition

For Jonathan Plante, the Angle mort (Blind spot) is the gap created by setting the image into motion. In revisiting abstract painting, op art and kinetic art, as well as experimental cinema, the series of painting-screens comprising the exhibition explores, amplifies and systematizes the plastic character of the movement. The paintings and silkscreen prints on lenticular supports display images that foreground the indissociable link between the viewer’s movements and his or her perception.

The artist uses the term “kinoplastic” to describe his explorations of the painting’s temporalities. The word was first used by the art historian and essayist Élie Faure in his 1922 article “De la cinéplastique”. He here envisaged “an art where time would really become a dimension of space.” In redefining Faure’s investigations in the current context, Jonathan Plante draws inspiration from his thinking to enrich his research. How can one think the image in a society where attention is constantly lured by movement? Movement becomes the law of our relationship to the world and it formats the way in which we read it. According to Plante, this perpetual movement has nowadays become the tool of an economy based on the creation and commodification of experiences.

The artist

Jonathan Plante lives and works in Montréal where he obtained a BA in Interdisciplinary Studies from Concordia University. In a practice that he characterizes as “kinoplastic,” he explores the conditions of the appearance of movement in the image. He is particularly interested in the still image that is set into motion by the viewer’s movements. Echoing op art and experimental cinema, his exhibitions are a fieldwork exploration of visual perception. Through an investigation of the image’s temporalities, he searches for new ways of seeing. In 2005, he travelled to Amsterdam for a two-year residency at De Ateliers. Throughout his stay in the Netherlands, he participated in solo and group exhibitions. In 2008, his work was included in the first Québec Triennial: Nothing is lost, nothing is created, everything is transformed, organized by the Musée d’art contemporain de Montréal. He presented the solo exhibitions Palindrome at the Musée d’art contemporain des Laurentides in 2010, Parallaxe at Galerie Division, in 2011, and Moonwalk, in 2014, at Galerie Hugues Charbonneau, which represents the artist’s work. In 2013, he proposed a solo exhibition for a young audience, Lapincyclope, at VOX — Centre de l’image contemporaine in Montréal. Lapincyclope subsequently travelled to nine venues in Québec and Canada. In 2017, he will hold a solo exhibition at L’œil de poisson in Québec City. His works are part of private and public collections, including the collections of the Musée d’art contemporain de Montréal and the Musée national des beaux-arts du Québec.

Free activities

Artist talk: Jonathan Plante
Part of the series L’art observe

Tuesday, February 7, 2017
12:45 pm – 1:45 pm
Galerie de l’UQAM

Guided tours of the exhibition

Available any time. Reservations required with Philippe Dumaine, 514 987-3000, ext. 3280, or dumaine_allard.philippe@uqam.ca

Support provided by


02_do_it_Shaw Instruction do it by Jim Shaw                Photo: L-P Côté, Galerie de l'UQAM

do it Montréal

Curator: Hans Ulrich Obrist

January 13 to February 20 février, 2016
Opening and performances: Tuesday, January 12, 5:30 pm

Exhibition produced and circulated by Independent Curators International (ICI), New York

[More information]

After touring the world for the last 23 years, the exhibition do it, conceived by the renowned curator Hans Ulrich Obrist, is coming to Quebec where it will be presented at the Galerie de l'UQAM. As its title implies, do it involves the host institution, visitors and guest artists in realizing the works, which arrive only as sets of instructions. Featuring more than 80 Quebecois and international artists, do it Montréal rethinks the traditional codes of the exhibition in order to offer new experiences to visitors and to reflect on the meaning and function of museums.

do it is a traveling exhibition conceived and curated by Hans Ulrich Obrist, and organized by Independent Curators International (ICI), New York. The exhibition and the accompanying publication were made possible, in part by grants from the Elizabeth Firestone Graham Foundation, the Robert Sterling Clark Foundation, and with the generous support from Project Perpetual and ICI’s International Forum and Board of Trustees.


do it

In 1993, curator Hans Ulrich Obrist and artists Christian Boltanski and Bertrand Lavier imagined an exhibition that could constantly generate new versions of itself. To test the idea, they invited 12 artists to propose artworks based on written instructions that can be openly interpreted every time they are presented. The instructions were then translated into 9 different languages and circulated internationally between 1994 and 1996. Since then, more than 400 artists have taken part in the project in over 30 countries, giving new meaning to the concept of an exhibition in progress. Nowadays, the project circulates in the form of a book, do it: the compendium, an anthology comprising 250 instructions, published in 2012. For each incarnation, the host institution is responsible for making a selection from this anthology and coordinating the interpretations. That flexibility provides not only variations among versions of the same work, but also the emergence of a new set, a new configuration whose uniqueness is directly related to the specific context where do it is (re)deployed.

Video presenting the do it concept: https://vimeo.com/93191691

do it Montréal

The Montreal edition of do it includes 60 instructions from the book do it: the compendium, in addition to 10 exclusive instructions developed by Quebecois artists, choreographers, authors or playwrights. 14 artists and collectives were also invited to interpret the instructions of other artists. The project is presented in three spaces: in the Galerie de l’UQAM, on campus and off campus (in a  “take-out” version). Several mediation activities are planned for the Galerie and on the campus, calling on visitors to get involved in interpreting the works. The public will be encouraged to share their contributions via social media with the hashtag #doitmtl .The evening of the opening and the events of January 27 and February 3, 2016 will be an opportunity to watch artists in action interpreting some of the instructions: Danièle Desnoyers, Adam Kinner, Christian Lapointe, Rodolphe-Yves Lapointe, Thierry Marceau, Alexis O'Hara, Pour ici ou pour s’emporter, Françoise Sullivan and Wants & Needs Dance.

For this version of do it, the Galerie de l'UQAM has given curator Florence-Agathe Dubé-Moreau the task of selecting the works  (instructions) and inviting artists to rethink the functions and codes of the exhibition in order to investigate their role in the production of knowledge in the arts. She wants to prompt reflection on curation, new approaches to museology and alternative art discourse and spaces. do it Montréal questions museum institutions by re-examining their political and social engagement as well as their embedding in the broader contemporary art system.

Browse the exhibition photo gallery
More information on the performance program


60 instructions from the book do it: the compendium

Etel Adnan, Kathryn Andrews, Cory Arcangel, Robert Barry, Jérôme Bel, Bernadette Corporation, Louise Bourgeois, Cao Fei, Boris Charmatz, Chu Yun, Claire Fontaine, Critical Art Ensemble, Minerva Cuevas, Jimmie Durham, Cerith Wyn Evans, William Forsythe, Simone Forti, Theaster Gates, Jef Geys, Gilbert & George, Édouard Glissant, Leon Golub, Dominique Gonzalez-Foerster, Felix Gonzalez-Torres, Joseph Grigely, Nicholas Hlobo, Carsten Höller, Pierre Huygue, Joan Jonas, Ilya Kabakov, Ragnar Kjartansson, Jiří Kolář, Július Koller, Suzanne Lacy, Bertrand Lavier, Sol LeWitt, Erik van Lieshout, Lucy R. Lippard, Jonas Mekas, Jean-Luc Nancy, Bruce Nauman, Albert Oehlen, Pak Sheung-Chuen, Christodoulos Panayiotou, Amalia Pica, Cesare Pietroiusti, Adrian Piper, Raqs Media Collective, Eszter Salamon, Peter Saville, Jim Shaw, Shimabuku, Michael Smith, Nancy Spero, Mario García Torres, Rosemarie Trockel, Hannah Weinberger, Lawrence Weiner, Erwin Wurm.

10 exclusive instructions

Anonyme, Christophe Barbeau, Martine Delvaux, Chloé Desjardins, Paul-André Fortier, Gallery Girls, Michelle Lacombe, Dana Michel, David Tomas, Larry Tremblay.

14 interpretations

Louis-Philippe Côté, Danièle Desnoyers, Marc-Antoine K. Phaneuf, Adam Kinner, Vincent Lafrance, Christian Lapointe, Rodolphe-Yves Lapointe, Mathieu Lévesque, Thierry Marceau, Alexis O’Hara, Pour ici ou pour s’emporter, projets hybris, Françoise Sullivan, Wants & Needs Dance.

The curator

Hans Ulrich Obrist, a curator of Swiss origin, is Co-Director, Exhibitions and Programmes, and Director of International Projects at the Serpentine Gallery in London. He previously served as Curator of Contemporary Art at the Musée d’art moderne de la ville de Paris, in addition to overseeing various international events (Berlin Biennale, 1998; Biennale d’art contemporain de Lyon, 2007, etc.). With more than two hundred exhibitions to his credit, Obrist is recognized for his innovative curatorial practice, which also comprises writing and publishing. He is considered one of the most colourful, influential and powerful figures in the contemporary art world.


Guided tours of the exhibition:

Available at any time. Reservations required with Audrey Genois, 514 987-3000, ext. 1424, or genois.audrey@uqam.ca

Critical essays (in french):

Maude Johnson was xmandated by the Galerie de l'UQAM to write critical essays that were published each week during the exhibition. Click on the following links to access them.

- « Quand l'exposition performe la ville »
- « Dialectique de l'interprération »
- « L'agentivité du spectateur »
- « L'exposition en tant que témoignage politique de l'institution »


do it is a traveling exhibition conceived and curated by Hans Ulrich Obrist, and organized by Independent Curators International (ICI), New York. The exhibition and the accompanying publication were made possible, in part by grants from the Elizabeth Firestone Graham Foundation, the Robert Sterling Clark Foundation, and with the generous support from Project Perpetual and ICI’s International Forum and Board of Trustees.

do it Montréal is produced by the Galerie de l'UQAM, with the support of the Canada Council for the Arts. It has been realised by the curator Florence-Agathe Dubé-Moreau, whose participation in the project is part of the initiative Premier commissariat of the Galerie de l’UQAM.

Florence-Agathe Dube-Moreau is a Masters in Art History candidate at UQAM. Her research, supervised by Marie Fraser and supported by the SSHRC, explores the effects of reconstituting contemporary art exhibitions. In 2013, she won the Young Critics writing competition sponsored by the journal esse arts + opinions. Her writing has been published in artichoke and esse, as well as in the monographs Trevor Gould. Watercolours 1996-2013 (2014) and BGL. Canadassimo (2015). The collective work Questionner l’avenir. Réflexions sur la réactualisation de la Biennale de Montréal (2015), which she initiated and co-organized, was published by les Éditions d'art le Sabord.



The educational booklet

An educational booklet is offered to the public free of charge as a a guide to the exhibition.

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
2015_moreau_gAude Moreau, Waiting for Landing, 2015, digital print. Courtesy of galerie antoine ertaskiran, Montréal

Aude Moreau. The Political Nightfall

Curator: Louise Déry

The Power Plant, Toronto
January 30 to May 15, 2016
Opening: Friday, January 29, 8 pm

[More information]

After its great success at the Galerie de l’UQAM in spring 2015 and in Paris in the fall, Aude Moreau. The Political Nightfall, the first major solo show of the artist, continues a tour that will bring her to Toronto and Luxembourg (September 2016). This exhibition features a body of work developed by the artist over the last 7 years, with night-time panoramas of cities such as New York, Los Angeles, Montreal and Toronto. Curated by Louise Déry, The Political Nightfall is produced by the Galerie de l'UQAM in partnership with the Canadian Cultural Centre in Paris, Casino Luxembourg in Luxembourg and The Power Plant in Toronto.

The exhibition

The photographic, film and sound works of Aude Moreau cast a hitherto unexampled light on the North American city, with its modernist grid, its towers soaring to breathtaking heights, its illuminated logos speaking the language of the multinationals, its solids that box us in, its voids that provide an exit. Because the artist embeds film in architecture, writing in glass, politics in economics, transparency in opacity, indeed the private in the public, she deflects and refashions the iconography of these often stereotypical urban images, whose future shows no way around the gathering political darkness.

The exhibition features the premiere of the film The End in the Background of Hollywood, shot by helicopter over Los Angeles, with the twin towers of the City National Plaza conveying a powerful end-of-the-world message. In tandem,  Inside (23/12/2014 - Los Angeles, Downtown) offers a street view of one of the towers and its mundane nocturnal activity, while The Last Image, shows generic endings of films about the end of the world. The starry night of the world film capital is also captured in several photographs showing the iconic Hollywood sign and the illuminated logos of big financial corporations studding the sky. Visitors will revisit Sortir, shot from a helicopter circling the Montreal Stock Exchange, Reconstruction, a moving panorama of the Manhattan skyline from the Hudson River, and discover Less is more or… on Mies van der Rohe's towers in Toronto. 

According to the curator, by investing architecture with a metaphorical power that lies between reality and fiction, between the image itself and what it recounts, Moreau makes us spectators of the present: we are subjected to the mechanisms of power and grapple with the catastrophic scenarios that flow by in an endless loop. “The artist’s thinking and observations on the city derive from Gordon Matta-Clark, Ed Ruscha and Mies Van der Rohe; created between 2008 and 2015, the four groups of works included in this exhibition give the leading role to Montreal, New York, Los Angeles and Toronto. They exhort us to immerse ourselves in the texture of their images and sounds, to enter the temporality of a relentless end, to cross through the space between the images and, in that movement, perceive a world at rest, perhaps its final rest”, specifies Louise Déry.

The exhibition is accompanied by a richly illustrated monograph with essays by the curator and invited authors, such as Kevin Muhlen (Luxembourg) and Fabrizio Gallanti (Princeton University). 

The artist

Aude Moreau has developed a practice that encompasses her dual training in scenography and the visual arts. Whether with concepts painstakingly developed over several years to produce ambitious installations, films and photographs, or material interventions in an exhibition context, like her famous sugar carpets, Aude Moreau focuses a relevant, critical gaze upon showbiz society, the privatization of the public space, and the domination of the State by economic powers in today's world. Her work has been shown in Quebec, France, the United States and Luxembourg. Aude Moreau has a Master's in Visual Arts and Media from the Université du Québec à Montréal. She is a recipient of the Claudine and Stephen Bronfman Fellowship in Contemporary Art (2011), as well as the Powerhouse Prize from La Centrale (2011). Aude Moreau is represented by galerie antoine ertaskiran in Montreal. audemoreau.net

The curator

With a PhD in art history, Louise Déry has been the Director of the Galerie de l'UQAM since 1997. She has been a curator at the Musée national des beaux-arts du Québec and the Montreal Museum of Fine Arts, and has worked with a number of artists, including Rober Racine, Dominique Blain, Nancy Spero, Michael Snow, Daniel Buren, Giuseppe Penone, Raphaëlle de Groot, Shary Boyle and Sarkis. Curator of some thirty exhibitions abroad, including a dozen in Italy, and others in France, Belgium, Spain, Turkey, the United States and Asia, she was curator of the Canada Pavilion at the Venice Biennale in 2007, with a David Altmejd exhibition, and a performance by Raphaëlle de Groot at the 2013 Biennale. At the 2015 Biennale, she presented several of Jean-Pierre Aubé's interventions on electromagnetic pollution.


Centre_culturel_canadien Casino_luxembourg Power_plant

Support provided by

Conseil_des_arts_ang Bronfman


2016_motion_gMyriam Laplante, Ricochet, 2014, video still

Motion. Montréal / Geneva

Curators: La Fabrique d'expositions, Montréal and LiveInYourHead, Genève

Galerie de l'UQAM, Montréal
March 2 to April 9, 2016
Opening: Tuesday, March 1st, 5:30 pm

LiveInYourHead - Institut curatorial
HEAD, Geneva
May 19 to July 2, 2016

[More information]

Motion. Montreal/Geneva is the first visual arts encounter between Montreal and Geneva. For the occasion, the Fabrique d’expositions and LiveInYourHead, the HEAD Curatorial Institute, Geneva created a video compilation of works by 11 Montreal artists and 12 Swiss and international artists associated with HEAD (Geneva University of Art and Design). Their works share a common theme: motion, as movement or proposition.

The exhibition

The Motion project was born of a conversation between two institutions devoted to art education and dissemination: the Galerie de l'UQAM in Montreal and HEAD – Geneva. To start off this exchange, the Montreal collective of curators at La Fabrique d'expositions selected videos by Quebec artists inspired by the concept of motion. The double meaning of the word encompasses a duality between action and proposition, between what engenders movement and what prompts the adoption of a position. The encounter of these works produces a variety of performative, aesthetic, political and sociological points of view, reflecting what currently activates and motivates the thoughts of the artist as an actor in the world.

In response to the Montreal proposal, HEAD – Geneva is presenting a selection of videos from its project Performance Proletarians. In October 2014, under the leadership of Lili Reynaud Dewar and Benjamin Valenza, a group of artists and students transformed an arts centre into a space for the production of performances that were not open to the public. The creators became their own public, connected to Internet users scattered around the world and absorbed by the contemplation of this continuous flow of performance viewed through the lens of their cinematography. For Motion, Yann Chateigné plunges us into twelve sequences from the intense productions of this active, vital community.

In conjunction with Motion, the Cinémathèque québécoise is also presenting the first projection on this side of the Atlantic of L’Exposition d’un Film / The Exhibition of a Film (2014) by Mathieu Copeland, a singular cinematic experience in which 46 major artists – choreographers, performers, musicians, writers or visual artists – were invited to participate in the creation of a work that is equally an exhibited film, the film of an exhibition and a filmed exhibition.

The artists

Jean-Pierre Aubé, Patrick Bernatchez, BGL, Caroline Boileau, Michel de Broin, Pascal Grandmaison, Nelson Henricks, Myriam Laplante, Eduardo Menz, Nadia Myre, Chih-Chien Wang / Hugo Canoilas, Matthis Collins, Verena Dengler, Christian Falsnaes, Hadley + Maxwell, Lauren Huret & Camille Dumond, Nastasia Meyrat, Lou Masduraud & Antoine Bellini, Lea Meier, Guillaume Pilet, Lili Reynaud Dewar, Benjamin Valenza

L’Exposition d’un Film

On April 7, 13 and 16, 2016, at 7 p.m., the Cinémathèque québécoise will present L’Exposition d’un Film, a project by Mathieu Copeland (2014, 100 min.) produced by HEAD – Geneva with the support of  HES-SO. Mathieu Copeland will be present at the first screening, on April 7.

With the participation of Mac Adams, Fia Backström, Robert Barry, Erica Baum, Stuart Brisley, Jonathan Burrows, Nick Cave, David Cunningham, Philippe Decrauzat, Peter Downsbrough, Maria Eichhorn, F.M. Einheit, Tim Etchells, Alexandre Estrela, John Giorno, Sam Gleaves, Kenneth Goldsmith, Myriam Gourfink, Karl Holmqvist, Marie-Caroline Hominal, Myriam Lefkowitz, Franck Leibovici, Benoît Maire, Charles De Meaux, Karen Mirza & Brad Butler, Ieva Miseviit, Meredith Monk, Charlotte Moth, Phill Niblock, Deborah Pearson, Vanessa Place, Michael Portnoy, Lee Ranaldo, Lætitia Sadier, Laurent Schmid, Leah Singer, Mieko Shiomi, Susan Stenger, Sofia Diaz + Vítor Roriz, Kasper T. Toeplitz, Daniel Turner, Cosey Fanni Tutti, Alan Vega, and Lawrence Weiner.

The curators

Created in 2009 by Jean-Pierre Greff, Director of HEAD – Geneva, LiveInYourHead is an exhibition program, a venue for curatorial experimentation, and a working and living space for artists and students. Its activities are based on an intense program of guests from various fields – artists, curators, critics, designers, filmmakers, and musicians – invited to carry out a specific project, with the sole constraint that it be conceived and produced in collaboration with a group of students. These "curatorial objects" regularly provide an opportunity for cooperation and exchange with partners, including recent collaborations with the CCA Wattis Institute in San Franscisco, the Artsonje Art Center in Seoul, and Kunstverein in Amsterdam. The LiveInYourHead program is run by Yann Chateigné.

Performance Proletarians is a proposal by Lili Reynaud Dewar and Benjamin Valenza. Produced by: HEAD – Geneva and EBABX. Lili Reynaud Dewar is a teacher in the HEAD – Geneva, Work.Master program. Contemporary artistic practices.

La Fabrique d’expositions is a collective of Montreal curators committed to realising projects in a spirit of collegiality in partnership with various exhibitors. They periodically are involved in major cultural events in Canada and abroad, while also developing new initiatives for disseminating the most current artistic forms. Their most recent project, Videozoom. L’entre-images, has been presented in 12 cities in Canada and abroad. Its members have been working together for several years, encouraging the pooling and brewing of ideas. The collective is comprised of three curators: Julie Bélisle, Louise Déry and Audrey Genois.

Educational opportunity

Guided tours of the exhibition

Offered at all times. Reservations required: Christine Lenoir, 514 987-6150 or galerie@uqam.ca

Support provided by

CCFA_BW_black_96_f    CALQinb-Converti

Motion is produced by the Galerie de l'UQAM, Montreal, in collaboration with HEAD – Geneva



Performance Proletarians is a proposal by Lili Reynaud Dewar and Benjamin Valenza, and a production of HEAD – Geneva and the École des Beaux-Arts, Bordeaux.

The educational booklet

An educational booklet is offered to the public free of charge as a a guide to the exhibition.

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
2016_mauxion_pCaroline Mauxion, peu n’est pas rien – déplacement #1, 2014, inkjet print

Caroline Mauxion. À n'y voir que du bleu

Graduating Master's student in visual and media arts (MFA), UQAM

March 2 to April 9, 2016 
Opening: Tuesday, March 1, 5:30 pm

[More information]

Should a photographic image solely be understood in its capacity to represent and its relationship to the real? If a word is put into practice by being spoken, a text by being read, how does this apply to photography? How do you put an image into practice? Faced with the image’s profusion and dematerialization, Caroline Mauxion aims to reconnect with her images through video and photography. It is by conceiving photography in its indexical logic that Caroline Mauxion seeks to explore the possible status of an image, both in its materiality and in its relationship to space. This deposit of light on the sensitive surface - this tangible and not visible link between the medium and its referent, nourishes her thoughts poetically and theoretically. The image is no longer limited only to an iconic end, it is an object to be manipulated and set in space. Her works are never fixed, but are rather in a state of movement and thus open to future transformations.

Canada Council for the Arts Canada Council for the Arts


Université du Québec à Montréal
1400, Rue Berri, Pavillon Judith-Jasmin, Local J-R 120
Montréal, Québec
Tuesday to Saturday from noon to 6 p.m.
Free admission