2017_Scenna2_gCarolyne Scenna, Papier mâché, 2017, photomontage, still from the J’aurais fait mieux slide

Carolyne Scenna. I’m Worse at What I Do Best and for This Gift I Feel Blessed

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

October 24 - December 9, 2017
Opening: Monday, October 23, 5:30 p.m.

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Galerie de l’UQAM presents I’m Worse at What I Do Best and for This Gift I Feel Blessed by Carolyne Scenna, graduating master's student in visual and media arts at UQAM. The exhibition presents an installation in which the artist obsessively recomposes and revisits her photographic archives. A space bounded by white velvet curtains, lo-fi video projections and a model of a volcano form a route where spectators are invited to discover an assemblage of hybrid images through various projection devices.

The exhibition

The phrase “I’m the worst at what I do best and for this gift I feel blessed” is taken from Nirvana’s song Smells Like Teen Spirit, an iconic hit of the early 1990s. At first glance, the song’s lyrics form a contradictory accumulation of strange and familiar images that do not offer any obvious meaning. As an almost instantaneously mythical symbol of a generation, the song is now the reflection of a confused reality where adolescence and fame converse and converge until they become indistinct. For Carolyne Scenna, this “magma” emerging from the recuperation of cultural productions by mass culture forms an image. The artist appropriates the adolescent metaphor for its subversive potential, and rejects in passing any desire to do things right.

The exhibition features a visual mixtape composed of interlinked fades, overlapping photomontages and their mise en abyme in the gallery’s space. Animations realized from numerous computer screencasts are projected on different surfaces in the gallery in order to explore the constructed nature of situations and environments that the artist documents and accumulates. This process leads to a certain detachment from reality, a dematerialization that allows the artist to put the precarious nature of image making and its pre-eminence in everyday life to the test.

The artist

Carolyne Scenna is a multidisciplinary artist from Montreal. Working with photography, lo-fi video and installation, she develops a practice of image re-composition that explores its plastic and polysemic potentials. The processes of image materialization she implements in her research are pretexts for broader critical reflections on individual commitment to image making in the era of data digitization and its increased circulation. Fearless of ambiguity, she has presented since 2011 works that blend her name with that of her collective (which she wants to keep quiet about) in a few artist-run centres and galleries in Montreal (Parisian Laundry, Les Territoires, Arprim, Clark, Art mûr) and during various events (OFFTA, Festival du Jamais lu, Nuit Blanche à Montréal, Chromatic). I’m Worse at What I Do Best and for This Gift I Feel Blessed is her very first solo exhibition.

Public activities

Guided tour of the exhibition for groups
Available anytime.
Reservations required with Philippe Dumaine, 514 987-3000, ext. 3280, or dumaine_allard.philippe@uqam.ca

Artist talk: Carolyne Scenna
November 21, 2017, 12:45 p.m.
Part of the series L’art observe
Galerie de l’UQAM
In French
Free admission

Support provided by

CCFA_BW_black_96_f          Calq_noir

2017_Authier3_gMelanie Authier, Beneath the Spin Light, 2015, acrylic on canvas, 152.4 x 182.9 cm. Courtesy of Georgia Scherman Projects.

Melanie Authier. Contrarieties & Counterpoints

Curator: Robert Enright

October 24 - December 9, 2017
Opening: Monday, October 23, 5:30 p.m.

Exhibition organized and circulated by Thames Art Gallery (Chatham, Ontario)

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Galerie de l’UQAM dives into the lively energy of painting with the solo exhibition Melanie Authier. Contrarieties & Counterpoints. Led by curator and art critic Robert Enright, the exhibition brings together recent works by the artist that Galerie de l’UQAM’s public was able to discover in the flagship exhibition The Painting Project (2013). With Contrarieties & Counterpoints, the artist shows paintings that are both dynamic and delicate, while revisiting the contradictory legacies of pictorial practice.

The exhibition

The visually rich spaces in artist Melanie Authier’s paintings remind us that we are still negotiating a myriad of questions when we consider art after Modernism. For Authier, paintings are not simply discrete aesthetic objects. They exist within an expanded set of relations.

Authier’s paintings invoke language that is associated with Modernist Abstraction. Her approach has also been likened to Baroque, for the empathetic effects elicited by her technique. The intermingling of styles in each painting engenders a liminal quality that is at once intelligible yet elusive. In this exhibition of recent work on canvas and paper, we can appreciate the contrasting approaches to contemporary painting that are being deployed by the artist. With each work, Authier sets up a problem so that she can “produce a response to it that is unexpected.”

I believe my work references and, at times, wrestles with the after-burn of painting’s past, art history with a capital “A.” It also works to carve out a space for itself in current dialogues and continues to look at painting’s potential. So my preoccupying question is, “Where do we go from here?”

- Melanie Authier, 2015

Gendered readings of painterly practices, for example, are part of the complex discourses that Authier is acutely aware she must negotiate. This artist also plays with competing histories of style—hard-edge and gestural abstraction—and subverts them as expertly as she manipulates acrylics or watercolours and inks upon her surface of choice. The challenges posed by freighted histories of painterly practice are ones that Authier addresses head on and with a flourish.

The artist

Melanie Authier was born in 1980 in Montréal. She received a BFA from Concordia University, Montréal (2002) and an MFA from the University of Guelph (2006). Authier has exhibited across the country, notably in the exhibition Builders: Canadian Biennial at the National Gallery of Canada. She presented several solo exhibitions, including Grisailles at Rodman Hall Art Centre, Brock University (St. Catharines, 2013–14), Vault/Shield/Buttress/Basin at the Anna Leonowens Gallery (Halifax, 2013) and Jostling Pictorial Oppositions at Georgia Scherman Projects (Toronto, 2013).  Her work was also part of many group shows such as The Tremendous Elusive: Emily Carr and the Canadian Imagery at Canada Gallery, Canada House (London, United Kingdom, 2016), Young Canadian Painters at Idea Exchange (Cambridge, 2014), The Painting Project. A Snapshot of Painting in Canada at Galerie de l’UQAM (Montréal, 2013), and Four Ottawa Painters at Carleton University Art Gallery (Ottawa, 2010–11). Authier is also the recipient of numerous scholarships and distinctions, such as the Honourable Mention Prize for the 2007 RBC Painting Competition. Authier's artwork is part of several national and international collections, including the National Gallery of Canada, Canada House and Global Affairs Canada. She is represented by Georgia Scherman Projects, Toronto.  She currently lives in Val-des-Monts (Québec).

The curator

Robert Enright is an award-winning writer, lecturer and curator. Since 2004 he has taught in the Graduate Program in the School of Fine Art and Music at the University of Guelph, where he is the University Research Professor in Art Theory and Criticism. He has over 35 years of experience as a cultural journalist in print, radio and television. For that entire period, he has been associated with the arts magazine Border Crossings, where he has published over 200 interviews with leading Canadian, American and European artists. In 2005 he was made a Member of the Order of Canada, and in 2012 he received the Queen Elizabeth II Diamond Jubilee Medal. In 2016 he was awarded an Honorary Doctorate from the University of Winnipeg.

Public activities

Guided tours of the exhibition for groups
Available anytime.
Reservations required with Philippe Dumaine
514 987-3000, ext 3280, or dumaine_allard.philippe@uqam.ca

Guided tour of the exhibition with artist Melanie Authier and art historian Julie Bélisle
Part of the series L’art observe
Wednesday, November 15, 2017
5:30 – 6:30 p.m.
Free admission

Join artist Melanie Authier and art historian Julie Bélisle for a tour of Contrarieties & Counterpoints. This informal guided tour will allow you to better understand the amplitude of the artist’s pictorial practice. Authier and Bélisle will be able to build on their ongoing relationship, as Julie Bélisle was the curator of The Painting Project (2013), Galerie de l’UQAM’s major group exhibition of Canadian paintings which included Melanie Authier’s work.

La peinture déplacée
Part of the series L’œil écoute
Saturday, November 25, 2017
4 p.m.
Galerie de l’UQAM
In French
Free admission

Texts: Nicole Brossard, Paul-Émile Borduas, Anne Hébert, Agnes Martin, Monique Régimbald-Zeiber
Readers: Christian Lapointe, Marie Eykel, Christiane Pasquier
Animation: Marie-Andrée Lamontagne
Text curation: Louise Déry

Autumn 2017 marks the return of Galerie de l’UQAM’s L’ œil écoute series. The event from L’ œil écoute take the form of public readings of outstanding texts, selected specifically for the dialogues they establish with the works presented at the Galerie.

Support provided by

This exhibition has been organized by the Thames Art Gallery (Chatham, Ontario) in partnership with the Ottawa Art Gallery (Ottawa, Ontario), Art Gallery of Guelph (Guelph, Ontario), Kenderdine Art Gallery (Saskatoon, Saskatchewan), Galerie de I’UQAM (Montréal, Québec), MSVU Art Gallery (Halifax, Nova Scotia), and the Musée régional de Rimouski (Rimouski, Quebec) with funding from the Ontario Arts Council’s Ontario, National and International Touring programs.



2017_Momenta_gDora Budor, Those Who Can Wreck the Infinite, 2015, digital print, 180 x 270 cm, photograph in collaboration with Robert Kulisek. Courtesy of New Galerie (Paris)

What Does the Image Stand For?

MOMENTA | Biennale de l'image
Guest curator: Ami Barak

Headquarters: Galerie de l'UQAM and VOX, centre de l'image contemporaine

Artists at Galerie de l'UQAM: Adel Abdessemed, Luis Arturo Aguirre, Seung Woo Back, Yto Barrada, Dora Budor, Sara Cwynar, Latoya Ruby Frazier, Nelson Henricks, Camille Henrot, Risa Horowitz, Terrance Houle, Boris Mitić, Nadia Myre, Joshua Petherick

September 7 - October 15, 2017
Opening: Wednesday, September 6, 5 p.m.

[More information]

MOMENTA | Biennale de l’image (formerly Le Mois de la Photo à Montréal) presents, in collaboration with Galerie de l’UQAM and VOX, centre de l’image contemporaine, the central exhibition of its 2017 edition articulated around the theme What Does the Image Stand For?, developed by guest curator Ami Barak.

The main exhibition is centred on the tension between “the said” and “the unsaid” operating in the contemporary treatment of still and animated images. This group exhibition brings together the works of 23 artists who explore and investigate the porous boundary between reality and imagination through complex issues such as identity, territory, history, and time.

The artists

Galerie de l’UQAM: Adel Abdessemed (France), Luis Arturo Aguirre (Mexico), Seung Woo Back (Korea), Yto Barrada (Morocco), Dora Budor (Croatia), Sara Cwynar (Canada), Nelson Henricks (Canada), Camille Henrot (France), Risa Horowitz (Canada), Boris Mitić (Serbia), Nadia Myre (Canada) Galerie de l’UQAM and VOX: LaToya Ruby Frazier (United States), Terrance Houle (Canada), Joshua Petherick (Australia) VOX: Mircea Cantor (Romania), Samuel Fosso (Cameroon), Pascal Grandmaison (Canada), Frédéric Lavoie (Canada), Hanna Liden (Sweden), Liu Yue (China), Moshe Ninio (Israel), J.D. ’Okhai Ojeikere (Nigeria), Kim Waldron (Canada)

The exhibition

Today, images capture the world at every instant. But what do they say at this point? Are they an objective framing of the world at a given moment? What has become of these markers of reality? MOMENTA 2017 explores multitudinous facets of the idea of evidence for the prosecution, whether images are still or in motion, raising the question of images as avatars and focusing on the fantastical and sublimated aspects of the reality that they convey. The 38 artists in this biennale invite us not to accept their testimony uncritically.

These artists intercede between the state of things and their possible interpretations. They are “whistleblowers,” and they prefer transfiguration to replication. Determined to produce differentiation, using allegories as intermediaries, they are revitalizing figuration. Their images speak of the world in different ways, but they systematically sidestep the real. The 23 artists presented at Galerie de l’UQAM and VOX, centre de l’image contemporaine – the event’s headquarters – explore and investigate the porous boundary between reality and imagination through complex issues such as identity, territory, history, and time.

- Ami Barak, guest curator


For nearly 30 years, Le Mois de la Photo à Montréal has been offering a stimulating framework within which to study current practices, evolutions, and issues associated with the still and moving image in Western culture, and to take the pulse of trends in contemporary image making. Renamed MOMENTA | Biennale de l’image in 2017, the organization plays a crucial role in the local, national, and international ecology of the visual arts community. Through its curatorial approach, renowned guest curators develop rigorous artistic programming based on relevant themes; the biennale enjoys a well-established reputation in its city and country, as well as abroad. It actively contributes to the recognition of Canadian artists – who comprise more than 50% of the artists in each edition – by presenting their work within an international context, in association with 15 exhibition partners. In 7 editions, the organization has exhibited more than 2,000 works by 400 artists, and welcomed almost 22 million visitors.


The curator

Ami Barak is an independent curator and art critic who lives and works in Paris. He has launched numerous exhibitions and projects, including Taryn Simon: Rear Views, A Star-Forming Nebula, and the Office of Foreign Propaganda,
Jeu de Paume (Paris, 2015); Julião Sarmento: la chose, même the real thing, Fondation Calouste Gulbenkian (Paris, 2016); and Peter Kogler: Next, ING Art Center (Brussels, 2016). Artistic director of the Salon de Montrouge (2016 and 2017), he is also the co-curator of Life A User’s Manual, Art Encounters, Contemporary Art Biennale (Timisoara, 2017).

The catalogue

The biennale would be incomplete without its catalogue. Co-produced with the prestigious publishing house Kerber Verlag, it brings together texts by the curator and five authors, Mara Ambrožič, Mirna Boyadjian, Françoise Docquiert, Sophie Hackett and Bénédicte Ramade, who address the question What Does the Image Stand For? Artist Micah Lexier also created a photographic project especially for the book. The publication will be launched at the opening on September 6. Subsequently, the publication will be on sale at Galerie de l'UQAM and VOX as well as through Kerber Verlag’s website.

$45, 176 pages, available in French and English.

MOMENTA Creative - Activities relating to artists exhibited at Galerie de l'UQAM

Titled MOMENTA Creative, MOMENTA 2017’s educational program offers individuals, families, and groups an opportunity to discover the artists’ works. You will find below the activities involving practices presented at the Galerie de l’UQAM. Full program: momentabiennale.com/education

Guided tours of the exhibition for groups

Available any time. Can be combined with a visit of the part of the central exhibition presented at VOX.
Reservations required with Philippe Dumaine
514-987-3000, ext. 3280, or dumaine_allard.philippe@uqam.ca

MOMENTA tours  

Tours of the central exhibition at Galerie de l’UQAM and/or VOX, centre de l’image contemporaine.
September 16 – EN, Galerie de l’UQAM,12:30 p.m., followed by VOX, 2 p.m.
September 21 – FR, Galerie de l’UQAM, 5 p.m.
September 30 – FR, Galerie de l’UQAM, 12:30 p.m., followed by VOX, 2 p.m.
October 14 – FR, Galerie de l’UQAM, 12:30 p.m., followed by VOX, 2 p.m., and by Musée d’art contemporain for the Portfolio Discoveries, 3 p.m.
Free admission

Do Images Reveal the Truth? 

Workshop animated by the Brila team, certified practitioners of the Philosophy of Children pedagogical model. This philosophical creative workshop is an original way to question our perception of the images that surround us.
September 17 – FR, Galerie de l’UQAM, 2 p.m.
October 1 – FR, Galerie de l’UQAM, 2 p.m.
October 8 – EN, Galerie de l’UQAM, 2 p.m.
Places are limited, registration in advance or on site
Workshop also available for groups upon reservation


Two artists in the central exhibition are giving lectures at UQAM, in collaboration with UQAM’s Intervenants Culturels Internationaux (ICI) Program.
Boris Mitić : September 20 – FR, Galerie de l’UQAM, 12:45 p.m.
Nadia Myre :
November 22 – Language to be confirmed, Agora of the Judith-Jasmin Pavilion at UQAM, 12:45 p.m.
Free admission

Discussion day Sujets a: desire – appeals

The public is invited to the Canadian Centre of Architecture (Shaughnessy House) to engage with guest curator Ami Barak and many artists in the biennale and reflect on some of the motivations behind their work.
September 9, 10 a.m. – 3:30 p.m.
Participating artists: Erin Shirreff, Jayce Salloum, Nelson Henricks, Jonas St. Michael, Valérie Mréjen, Terrance Houle, Kim Waldron, Matan Mittwoch, Jin-me Yoon, Artie Vierkant

Screening nights

Two screening nights at the Cinémathèque québécoise presenting works by artists from MOMENTA 2017’s central exhibition.
Terrance Houle : September 13, 9 p.m.
Boris Mitić : September 20, 7 p.m. (with the artist in attendance)
$10 (discount offered to holders of a MOMENTA Passport)

More information on the educational program and registration

Amina Janssen, Education Programs and Audience Development Coordinator, MOMENTA, amina.janssen@momentabiennale.com
Philippe Dumaine, Cultural Mediation Coordinator, Galerie de l’UQAM, dumaine_allard.philippe@uqam.ca

The educational booklet

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.


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2017_JDMM_gView of the Guerrilla Girls' Toubler le repos / Disturbing the Peace poster campaign at its creation in 2009 in Montréal

Montréal Museums Day 2017

Guerrilla Girls, Gilberto Esparza and Charles-antoine Blais Métivier

Sunday, May 28, 2017
10 am to 5 pm

Montréal Museums Day free shuttle service: Red bus route - Stop  7

[More information]  

For a second year, the Galerie de l’UQAM is proud to take part in Montreal Museums Day on Sunday, May 28. On this occasion, the Galerie de l'UQAM is calling for an awakening of consciousness through three projects: a work by the Guerrilla Girls as well as the exhibitions of Gilberto Esparza and Charles-Antoine Blais Métivier. These artists, in their own way, analyze the contemporary world and propose new alternatives to rethink its structures and practices. At the Galerie, many mediators will allow the public, in a convivial atmosphere, to appreciate the richness and the complexity of the works presented.

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12_GFagen_SchemeforPostTruth_600pxGraham Fagen, Scheme for Post Truth, 2016, detail from a series of 18 drawings, Indian ink, enamel and 23 carat gold, 38 x 57 cm. Courtesy of the artist.

Graham Fagen. The Slave's Lament

Curator : Louise Déry

February 24 to April 8, 2017
Opening : Thursday, February 23, 2017 at 5:30 pm

[More information]

The Galerie de l’UQAM and the curator Louise Déry are presenting the Scottish artist Graham Fagen’s first solo exhibition in Canada by proposing a video and music-based installation that is emblematic of his research: The Slave’s Lament. The Glasgow artist, who very successfully represented Scotland at the 2015 Venice Biennale, is interested in the slave trade, the inhuman treatment of the deported populations and the Scottish involvement in Jamaica. Several drawings and photographs have been added to this major work in order to allow for a more encompassing extrapolation of the motifs opposing national identity and cultural identity.

The exhibition is presented in the context of Montréal’s Black History Month.

The exhibition

The exhibition The Slave’s Lament presents works by the multidisciplinary artist Graham Fagen on the theme of slavery and Scottish involvement in the fate of African people deported to the Caribbean in the 18th century. The drawings, with the look of masks or portraits, the seascape photographs and the imposing video and music installation shown here explore the tensions and emotions brought about by colonialism and the African slave trade. Today considerable feeling has been mobilized with the aim of reconciliation and redemption for the economic servitude and cultural oppression of peoples – whether aboriginal, the product of immigration or subject to current insidious forms of servitude. Fagen’s questioning of nationality and identity, however, is based on a particularly pertinent critique of the cultural and social heritage.

It was in sweet Senegal
That my foes did me enthral,
For the lands of Virginia — ginia O!
Torn from that lovely shore,
I must never see it more,
And alas! I am weary, weary O! […]

- Robert Burns, The Slave’s Lament, 1792

The installation entitled The Slave’s Lament refers to a song dating from 1792 attributed to the Scottish national poet Robert Burns, and it expresses Burns’s attitude toward slavery. Sung by the famous reggae artist Ghetto Priest to an accompaniment by members of the Scottish Ensemble, the song haunts us with its poignant melody and troubling tale of a Senegalese who, forced into exile and slavery, mourns the loss of his country. Fagen filmed the singer and instrumentalists in close-up, then divided the temporal sequence into pieces that he recomposed into an epic-style ode to the identity that we inherit, that is stolen from us or that we assume. The camera scrutinizes the gazes and gestures, lingering over certain details as if to track down a potential for authenticity and identity to be safeguarded and shared.

A publication about the exhibition will be launched later in the year.

The artist

Graham Fagen is one of the most influential artists working in Scotland today. His work mixes media and crosses continents; combining video, performance, photography and sculpture with text, live music and plants. Fagen’s recurring artistic themes, which include flowers, journeys and popular song, are used as attempts to understand the powerful forces that shape our lives.

Graham Fagen studied at The Glasgow School of Art (1984-1988, BA) and the Kent Institute of Art and Design (1989-1990, MA). He is senior lecturer at Duncan of Jordanstone College of Art & Design in Dundee. 1999 Fagen was invited by the Imperial War Museum, London to work as the Official War Artist for Kosovo, and since then has exhibited widely both in the UK and abroad. In 2015 Graham Fagen was selected to represent Scotland at the 56th Venice Biennale.

The several exhibitions he took part in include: The Mighty Scheme, Dilston Grove and CPG London, London (2016), GENERATION: 25 Years of Contemporary Art from Scotland, Scottish National Gallery of Modern Art, Edinburgh (2015), In Camera (with Graham Eatough), La Friche la Belle de Mai, Marseille (2015), Cabbages in an Orchard, Glasgow School of Art (2014), Bloodshed, Victoria & Albert Museum, London (2004), Art of the Garden, Tate Britain, London (2004), Golden Age, Institute of Contemporary Art, London (1999) and Zenomap, Scotland + Venice, 50th Venice Biennale (2003). grahamfagen.com

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, 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.

Free activities

Artist talk by Graham Fagen
Part of the ICI : Intervenants Culturels Internationaux series

Wednesday, February 22, 2017, 12:45 – 1:45 pm
Université du Québec à Montréal
Pavillon des Sciences de la gestion, room RM-110
315 Ste-Catherine East, Montréal

AfroScots, a programme of film, video and sound work
Curators: Mother Tongue (Glasgow)

Artists: Rayanne Bushell, Irineu Destourelles, Kapwani Kiwanga, Maud Sulter, Tako Taal and Alberta Whittle

Saturday, February 25, 2017, 1 pm
Université du Québec à Montréal
Pavillon Judith-Jasmin, room J-R930
405 Ste-Catherine East, Montréal

AfroScots is a programme of films and videos by Black artists who have – in the present and historically – lived, worked and studied in Scotland. The works are selected by Mother Tongue, is a research-led, independent curatorial practice formed in 2009 and based in Glasgow. Following the screening, the audience will have the opportunity to interact in a friendly atmosphere with the curators as well as with the artist Graham Fagen, who will be present.

Guided tour of the exhibition with the curator
Thursday, March 2, 2017, 12:45 – 1:45 pm

Talks by Charmaine Nelson and Jennifer Carter

Monday, March 27, 2017, 5 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

The educational booklet

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.


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2017_BlaisMetivier2_gCharles-Antoine Blais Métivier, Pub_3.psd, 2017, digital photograph, dimensions variable

Charles-Antoine Blais Métivier. Objet de recherche

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

May 10 to June 17, 2017
Opening: Tuesday, May 9, 5:30 pm

[More information]

The ubiquity of tactile interfaces and the digitization of media contents are transforming our relationship to the consumption and production of visual objects. While the tactile commands of mobile devices adapt to images to grant them a material and usable property, the technological apparatus is for its part sublimated by the fluidity of the interface that hides its inherent materiality in favour of a relation that is increasingly attuned to its user. Objet de recherche is interested in the intimate relation between users and their mobile devices, as well as in the synesthetic perceptions acquired through an addiction to these personal interfaces. By way of a participative set-up, the exhibition seeks to reveal the cultural or even political conquests that the sensorial experiences of users are now the object of.

2017_Esparza_gGilberto Esparza, Plantas autofotosintéticas, 2013-2016, detail of the installation (core)

Gilberto Esparza. Plantas autofotosintéticas

Curators: Nuria Carton de Grammont and Véronique Leblanc

May 10 to June 17, 2017
Opening: Tuesday, May 9, 5:30 pm

[More information]

The Galerie de l’UQAM presents Mexican artist Gilberto Esparza’s first solo exhibition in Canada: Plantas autofotosintéticas. Working in collaboration with researchers such as engineers, biologists and robotics experts, Esparza produces hybrid entities—part machine, part living organism—that address a number of issues related to the environmental crisis. The artist’s practice creates a stimulating dialogue between contemporary art, science and new technologies, in an effort to examine the impact of human activity on the natural world.

Curated by Nuria Carton de Grammont and Véronique Leblanc, the exhibition Gilberto Esparza. Plantas autofotosintéticas is possible thanks to the support of the Canada Council for the Arts, the Fondo Nacional para la Cultura y las Artes from Mexico and the Conseil des arts et des lettres du Québec.

The exhibition

The exhibition at the Galerie de l’UQAM centres on Gilberto Esparza’s most recent work, Plantas autofotosintéticas (Autophotosynthetic Plants), which has been presented since 2013 in several cities around the world (Lima, Mexico, Linz, Ljubljana, Athens). Both functional and utopian, the work produces an alternative and renewable source of energy by processing the contaminants found in sewage, while offering alternative ways to envision the city’s future. As Montréal celebrates its 375th anniversary, this installation invites us to reconsider the city’s criss-crossing network of underground sewer systems, normally hidden from view and beyond public consciousness, as an energy-generating structure that can feed and maintain a living ecosystem. Also on display are research documents that detail the social issues and artistic processes behind the project.

This exhibition also features a film based on the large-scale project Plantas nómadas (Nomadic Plants, 2008–2013), which chronicles the activities of an autonomous biological robot designed to live on the shores of polluted rivers. Set along the banks of the Rio Lerma and the Rio Grande de Santiago, in Mexico, the work reveals how water pollution and privatization have affected the area’s natural resources and rural populations. A series of photographs from this project are presented concurrently at the Maison du développement durable (Centre for Sustainable Development). By combining art practice with developments in biotechnology, and creating space for education and public awareness, Gilberto Esparza’s work demonstrates the urgent need to radically transform how we manage our resources and energy production through new approaches that are less devastating to human life on Earth.

The artist

Gilberto Esparza is interested in the social, economic and political impact of new technologies on urban spaces and the environment. Over the past ten years, he has participated in more than 70 group exhibitions around the world, as well as a dozen solo exhibitions in Mexico, Spain, Slovenia and Peru. He studied Visual Arts at the Universidad de Guanajuato (2003, Guanajuato, Mexico), and Fine Arts at the Universitat Politècnica de València (2000, Valencia, Spain). He began working with alternative energy in 2008, and in 2013 he was awarded the TEDActive Prize from The Lincoln Reimagine Project in California, and the Prix Ars Electronica in Linz, Austria, in 2015. Esparza’s use of recycled electronic materials and biotechnology creates a playful and critical context for discussion and awareness within public spaces and art galleries.

The curators

Nuria Carton de Grammont is an art historian, curator and part-time faculty at Concordia University, where she specializes in Latino-American contemporary art. She holds an MA in Art History from UQAM, a PhD in Art History from Concordia University, and two post-doctorates from the Université de Montréal, including one from the Montréal Centre for International Studies, and the second from the Department of Geography. Carton de Grammont also coordinates the Research Network on Latin America (RÉAL) at the Université de Montréal. She is the co-editor of Politics, Culture and Economy in Popular Practices in the Americas (Peter Lang, 2016), and has published several articles in magazines such as Oltreoceano, Les Cahiers ALHIM, Fractal, esse arts + opinions, Inter - art actuel and Archée. As a curator, Carton de Grammont has focused on projects that foster interculturalism. In recent years, she has presented Milpa, ritual imprescindible (Botanical Gardens of the Universidad Nacional Autónoma de México, 2016), Espejismos by Catherine Bodmer (Espacio Mexico, Montréal, 2014), Narcotrafic and the art of violence (Center for Ethnographic Research and Exhibition in the Aftermath of Violence, Montréal, 2014). She lives and works in Montréal.

Véronique Leblanc is a curator, writer and part-time faculty in Art History at the Université du Québec à Montréal. The focus of her research is on contextual, process-based and relational art practices, as well as the links between art, ethics and politics. Her most recent exhibitions include Richard Ibghy & Marilou Lemmens. Putting Life to Work (Galerie Leonard & Bina Ellen, Montréal, 2016), Polyphonies (Optica, Montréal, 2015) and faire avec (AdMare, Magdalen Islands, 2013). Leblanc holds an MA in Art History from the Université du Québec à Montréal, and is the recipient of the John R. Porter Prize from the Musée national des beaux-arts du Québec. She is one of five curators for LandMarks2017/Repères2017, a cross-Canada project initiated by Toronto’s Partners in Art, which invites artists to create new works based in or around Canada’s National Parks that take a critical look at how we envision our relationship to the land, as we celebrate the 150th anniversary of Confederation. In the fall of 2013, Leblanc was awarded the M&M Curatorial Research Residency Program, organized by Oboro in Montréal and the Laboratorio Arte Alameda in Mexico City, and sponsored by the Conseil des arts de Montréal. That residency was the starting point for the presentation of Gilberto Esparza’s work in Montréal. Véronique Leblanc lives and works in Montréal.

Mediation activities

Opening of the exhibition at the Maison du développement durable
Tuesday, May 9, 2017, 12:15 pm
At the occasion of the Maison du développement durable’s Summer programming
Suggested donation: 5 $
RSVP: lamdd.org/ete2017

Guided tour of the exhibition with the artist and the curators
Tuesday, May 9, 2017, 4 pm
Galerie de l’UQAM
Free admission

Bioelectronics workshop
Wednesday, May 10 and Thursday, May 11, 2017, 10 am to 5 pm
In partnership with Hexagram UQAM and the Exposition agriculturelle
Registration fees: $ 60
Registration and details: http://hexagram.uqam.ca/content/atelier-en-bioelectronique

Lead by artist Gilberto Esparza, engineer Diego Liedo Lavaniegos and artist and professor Gisèle Trudel, this workshop is intended for any artist, scientist, engineer, student or professional interested in sustainable development. Participants will learn to treat wastewater with biological processes in order to obtain electrical energy from microorganisms. This “green” energy will be used later to experiment with analog electronics and translate biochemical processes into electrical signals to activate devices developed in the workshop. This workshop encourages interdisciplinary reflection and action about the importance of water. It combines art, engineering and science in the realization of a collective project on bioelectronics that values an ecological approach to technology.

Guided tours with the curators
Saturday, June 10, 2017, 1:30 pm
In French
Saturday, June 17, 2017, 1:30 pm
In Spanish
Galerie de l'UQAM
Free admission

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

The educational booklet

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.


Support provided by


2017_Passage_gPassage à découvert 2016, exhibition view, Galerie de l’UQAM

Passage à découvert 2017

Graduating students in visual and media arts (BFA), UQAM

April 21 to 29, 2017
Opening: Thursday, April 20, 5:30 pm

[More information]

Passage à découvert is an opportunity to discover the works of tomorrow’s contemporary artists and teachers who will take their place in museums, galleries and schools. The exhibition illustrates the students’ creative vitality, curiosity and freedom and bears witness to recent graduates’ professionalism and the excitement that their projects stir up. Presented each year, this exhibition also reveals the wealth and diversity of the programs offered by the École des arts visuels et médiatiques, which favours a multidisciplinary education.

Participating artists

Claudia Almansa, Marie-Michèle Beaudoin, Céline Bellehumeur, Stéfanie Béland-Robert, Joan Berthiaume, Maude Bertrand, Béatrice Boily, Maxime Boisvert, Charles Bourbeau, Laure Bourgault, Julie Cantin, Jorge Oswaldo Carranza Sanchez, Nancy Charbonneau, Jonathan D’Amours, Luc Dansereau, Charlotte Desserteaux, Laurie Desloges Masson, Marly Fontaine, Richelli Fransozo, Marie-France Gagnier, Sophie Gauthier, Martine Gingras, André Girard, Andréanne Gouin, Marine Gourit, Baptiste Guilhempéré, Sarah Hadjou, Julien Houle, Florence Jacob, Alain Lalonde, Josèphe Landreville, Chloé Larivière, Claudel Lauzière Vanasse, Marilyn Leblanc, Marie-Ève Lemieux, Stéphanie L’Italien, Josée Marchand, Marc-Michel Martel, Gabrielle Morrisseau, Cyrille Pelletier-Lemay, Vivianne Proulx, Kathrine Rose, Sarabeth Trivino, Anouk Verviers


01_PBoudryRLorenz_Silent_600pxPauline Boudry & Renate Lorenz, Silent, 2016, installation view at the Biennale of Moving Images 2016. Photo : Annick Wetter, courtesy of the artists and the Centre d’art contemporain de Genève.

Pauline Boudry & Renate Lorenz. Silent

In partnership with the Biennale of Moving Images (Geneva)
Artistic direction: Andrea Bellini
Curators: Caroline Bourgeois, Cecilia Alemani and Elvira Dyangani Ose

February 24 to April 8, 2017 
Opening: Thursday, February 23, 2017 at 5:30 pm

[More information]

The Galerie de l’UQAM and the Centre d’Art Contemporain de Genève are joining forces to present in Montréal a component of the Biennale of Moving Images 2016. This first collaboration is part of an international dissemination approach for this important event that distinguishes itself from most of the existing biennales by the fact that it is exclusively made up of new works, all of which are produced by the Centre and its partners.

Among the 27 new works produced by the Biennale of Moving Images, the Galerie de l’UQAM chose the film installation Silent by Pauline Boudry & Renate Lorenz, two artists based in Berlin. Presented in an impeccably white room, Silent is interested in the aggressive experience of being constrained to silence, and in silence as an act of powerful and performative resistance.

The exhibition

Silent starts with an interpretation of John Cage‘s score 4´33´´ (1952). The score is conceived for any instrument and instructs its performer not to play their instrument during the entire duration of the three parts of 30s, 2m 23s and 1m 40s.  In the Boudry and Lorenz installation, the musician Aérea Negrot performs the score on a rotating stage placed on Oranienplatz, a public square in Berlin where a refugee protest camp took place between 2012 and 2014. In a second part of the film, she performs a song, which has been composed for the occasion.

Dear President,
Your profile is vague,
You have no arms, no hair, no legs, and no sex
Your enemy is your lover
I need make-up, underwear and hormones!

- Aérea Negrot in Silent by Pauline Boudry & Renate Lorenz

Silence has been described either as a violent experience, as in being silenced, or as a powerful performative act of resistance, as it has been carried out by various disobedience movements around the world. Silent asks how both moments are intertwined. It focuses on the performance of a silent act, which might allow for agency, strength and even pleasure without erasing the traces of violence and vulnerability. The film suggests a dialogue between being silent and sounding rather than seeing them as mutually excluding.

The artists

Working as a duo since 2007, Pauline Boudry & Renate Lorenz propose films and performances that revisit filmic and audio material from the past, excavating unrepresented or illegible moments of queer history. These works present a corpus capable not only of traveling across epochs, but also of imagining links between those epochs, so foreshadowing the possibility of a queer future. Their recent solo exhibitions include: Portrait of an Eye, Kunsthalle Zürich (2015), Loving, Repeating, Kunsthalle Wien, Vienna (2015), Patriarchal Poetry, Badischer Kunstverein, Karlsruhe (2013), Aftershow, CAPC, Bordeaux (2013), Toxic Play in Two Acts, South London Gallery, London (2012), Contagieux! Rapports contre la normalité, Centre d´art contemporain de Genève, Geneva (2011). Several catalogues have been published about their work: Temporal Drag, Hatje Cantz (2011), Aftershow, Sternberg Press (2014) and I Want, Sternberg Press (2016). The Montréal public has recently been able to appreciate their work in the solo exhibition To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation at La Centrale Galerie Powerhouse in the Spring of 2016. boudry-lorenz.de

The Biennale of Moving Images

Since its inception in 1985, the Biennale of Moving Images has provided a platform for art and ideas by surveying the ever-shifting territories of moving images while aiming to make sense of this extraordinary profusion of images that has progressively invaded all aspects of contemporary art. Organized by the Centre d’art contemporain de Genève, the 2016 Biennale of Moving Images featured, from November 9, 2016 to January 29, 2017, 27 new productions commissioned, produced and/or supported by the Centre d’art contemporain for the occasion. They were presented as installations, performances or films. Under the artistic direction of Andrea Bellini, director of the Centre d’art contemporain de Genève, the 2016 Biennale of Moving Images was curated by Cecilia Alemani, director and curator of the High Line Art (New York), Caroline Bourgeois, chief curator and conservator of the Pinault Collection (Paris) and Elvira Dyangani Ose, curator and lecturer in visual cultures at Goldsmiths, University of London, and member of the Thought Council at the Fondazione Prada.

Free activities

Guided tours of the exhibition

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


The educational booklet

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.


Support provided by


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


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 Arseneault, 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

Educational booklet

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.


Support provided by


2017_motion_pNadia Myre, Portrait in Motion, 2001-2002, video. Exhibition view of Motion, 2015, Galerie de l’UQAM


Curators: La Fabrique d'expositions, Montreal

MacKenzie Art Gallery, Regina
January 20 to May 22, 2017

Centre culturel canadien, Paris
April 19, 2017
Athe the occasion of the National Canadian Film Day

Accademia di Belle Arti di Roma, Rome
May 17, 2017, 4:30 pm

[More information]

Motion brings together the work of eleven artists from Quebec in an anthology of video pieces on the theme of "motion," understood in two senses: as movement and as a proposal. The concept of motion takes into consideration the energy that activates as well as the principle that motivates. This double raison d'être initiates often absurd or even preposterous processes and actions in the works exhibited, a sort of infernal circle that directs our attention to the planetary issues of food and energy production. Their reserve supply, which is not always renewable, becomes a test zone crying out for inventive alternatives. Destruction and death, nourishment and survival: the motion that has now become urgent at the intersection of these inescapable realities is borne by artists and their observation of today's world.


Jean-Pierre Aubé, Patrick Bernatchez, BGL, Caroline Boileau, Michel de Broin, Pascal Grandmaison, Nelson Henricks, Myriam Laplante, Eduardo Menz, Nadia Myre, Chih-Chien Wang


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.


CCFA_BW_black_96_f    CALQinb-Converti

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