2019_Salledesmaquettes-Lavoie-gRaymond Lavoie, Salle des maquettes (version 2), 1995, acrylic on canvas, 274 x 660 cm (18 elements of variable dimensions). Collection d’oeuvres d’art de l’UQAM (2007.7.1-18)

Salle des maquettes

Curator: Anne Philippon

Artists: Edmund Alleyn, John Baldessari, Taysir Batniji, Charles-Antoine Blais Métivier, Shary Boyle, Julie C. Fortier, Sophie Calle, Maurizio Cattelan, Thomas Corriveau, Patrick Coutu, Cranfield and Slade, Michel de Broin, Raphaëlle de Groot, Manon De Pauw, Max Dean, Wim Delvoye, Pierre Dorion, Suzanne Duquet, Olafur Eliasson, Graham Fagen, Yves Gaucher, General Idea, Gilbert & George, Jenny Holzer, Roni Horn, Marc-Antoine K. Phaneuf et Jean-François Proulx, Stéphane La Rue, Jouets Lafrance, Raymond Lavoie, Micah Lexier, Miranda Maher, Piero Manzoni, Paul McCarthy, Jason McLean, Annette Messager, Otobong Nkanga, Yoko Ono, Didem Özbek, Giuseppe Penone, Yann Pocreau, Denis Rousseau, Sarkis, Cindy Sherman, Michael Snow, Nancy Spero, Lawrence Weiner, Martha Wilson, Dana Wyse

March 8 - April 13, 2019 

Opening: Thursday, March 7, 5:30 p.m.

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Galerie de l’UQAM opens Salle des maquettes, an exhibition curated by Anne Philippon, assistant curator, that gathers more than 40 artists from Québec, Canada and overseas. Chosen from the Collection d’œuvres d’art de l’UQAM and from the Petite collection, the exhibited works aim to show  the different modellings of artistic practice. They reveal the work of research and reflection that underlie the development of a work, a series, or even an entire career.

The exhibition

The exhibition Salle des maquettes brings together pieces from the Collection d’œuvres d’art de l’UQAM that render artists’ creative processes. Different clues and documents shed light on these methods by revealing the steps taken to produce work.

The exhibition title evokes the experimental dimension of the maquette, used often in the art world as a tool to prepare a project’s visual representation. On one hand, models are made of preliminary sketches, drafts, serial elements and little, singular objects. On a small scale, they stand for a concept destined to be set up on a larger scale, or, conversely, they account for a larger, already completed project. On the other hand, certain proposals contain recurring motifs with subtle variations from one version to the next. They become exploration sites where formal and thematic repetition foreground the constant evolution of work. The maquette translates different dynamics that enrich an artist’s process, and sometimes gives shape to a synthesis of their work. 

Finally, this multifaceted exhibition facilitates meaningful connections within the institutional collection, strengthening its fundamental role in research and knowledge development. In the wake of Raymond Lavoie’s thinking—and the exhibition title is borrowed from him—the pieces in Salle des maquettes display various stakes crossing through a range of artistic practices. The works render the many ways artists reinvest questions around the status of the art object, the figure of the artist, identity and history.

About the Collection d'oeuvres d'art de l'UQAM

When it was founded in 1969, Université du Québec à Montréal inherited the École des beaux-arts de Montréal’s collection, made of art objects from different periods and sources, featuring, amongst other pieces, an Egyptian mummy and nearly 3,000 students prints from Albert Dumouchel’s workshop. In 1975, Galerie de l’UQAM first opened its doors and housed the collection in a space on Saint-Urbain Street until in 1979, when the gallery moved into the newly built Judith-Jasmin pavilion. Operating from there since, the gallery’s mandate includes fostering research, presenting exhibitions and educational programs, as well as consolidating the institutional collection.

Over the years, a series of steps have been undertaken to better document the collection’s characteristics and to orient its development. Thus, a rigorous policy guides the acquisitions committee’s work, the inventory is updated every year and various dissemination projects are supported by an ongoing questioning process. These initiatives aim to build a greater appreciation for this public good, as well as a broader recognition of the inherent value of visual arts for the university community, whether it be through research, education, UQAM’s cultural life or its national and international reach. To date, the Collection d’œuvres d’art de l’UQAM holds more than 4,000 artworks.

About the Petite collection

Since 2009, Galerie de l’UQAM has been building a cabinet of curiosities called the Petite collection, unique in Canada. It contains an assemblage of multiple objects produced by nationally and internationally acclaimed artists, most often numbered, signed and in limited editions. The assortment invites us to consider objects of different statuses, to conduct research on a variety of artists from around the world and to imagine new exhibition modes.

About the curator

Anne Philippon holds a Master's degree in Arts studies from Université du Québec à Montréal (UQAM). Since 2016, she is the assistant curator at Galerie de l’UQAM where she manages the Collection d’œuvres d’art de l’UQAM and coordinates the presentation and touring of exhibitions as well as the production of publications. She has curated numerous exhibitions, including at EXPRESSION, Centre d’exposition de Saint-Hyacinthe (Karine Payette. L’ombre d’un doute, 2017), at the Salle Alfred-Pellan of the Maison des arts de Laval (Sonia Haberstich. Se perdre est agréable and Nicolas Fleming. Et ce n'était qu'un commencement, 2015) and at Galerie de l’UQAM (La Petite collection. Grandeur et splendeur, 2013, co-curated with Pascale Tremblay). She regularly contributes to various contemporary art publications and has also been a member of several juries.

Public activities

Guided tour and screening: Salle des maquettes and Trajal Harell
In collaboration with the Centre de documentation de l’École supérieure de théâtre de l’UQAM (CEDEST)
As part of World Theatre Day celebrations 

Tuesday, March 26, 2019, 5:30 - 8 p.m.
Guided tour at Galerie de l’UQAM, room J-R120, 5:30 p.m.
Screening at Café des arts, room J-6170, 6:30 p.m.

In French
Free admission 

Galerie de l’UQAM and the Centre de documentation de l’École supérieure de théâtre de l’UQAM (CEDEST) will launch the celebrations of World Theatre Day with an activity intended to introduce these two research organisms of UQAM to their respective audiences. Articulated in two parts, the evening will begin with a guided tour of the exhibition Salle des maquettes at Galerie de l’UQAM. Then, at UQAM's Café des arts, there will be a screening of excerpts from the shows (M)imosa (2011), Antigone Sr. (2012) and Judson Church is Ringing in Harlem (Made-to-Measure) (2012) by American choreographer Trajal Harrell. All parts of a series of seven works exploring the connections between the choreographic languages ​​of voguing and postmodern dance, these shows continue the reflections on artistic practice proposed by the exhibition Salle des maquettes. The event will also allow the visual arts public to discover the CEDEST, an important resource for research on Québec and international performing arts. In a similar fashion, theater connoisseurs will be able to get acquainted with Galerie de l’UQAM, a major contemporary art venue in Montréal.

More activites will be confirmed in the coming weeks.

Educational program

Our mediators look forward to taking you and your group on guided tours of our exhibitions. The tours are flexible and open to all school and community groups. Their content can be adapted to meet your particular needs and to complement material covered in the classroom. These activities are available anytime, in French or English, free of charge.

Reservations required:
Philippe Dumaine
Cultural mediation manager, Galerie de l’UQAM
514 987-3000 ext. 1424

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Support provided by

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UQAM       logo_cedest_low


2019_Bortuzzo-gNans Bortuzzo, 5Ws (detail), 2018, installation, digital print, variable dimensions

Nans Bortuzzo. 5Ws

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

March 8 - April 13, 2019 

Opening: Thursday, March 7, 5:30 p.m.

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Galerie de l’UQAM delves into the underpinnings of the digital in the exhibition Nans Bortuzzo. 5Ws, which explores personal data collection. The artist, a graduate completing his master’s in Visual and media arts at UQAM, deploys an installational experience that sets before us the most private inquiries of half a million Americans.

The exhibition

Our personal information today is disseminated through databases and in social networks. Our relationship with new technologies is eroding our private sphere. Yet the traces we leave on the Web offer direct access to our most intimate thoughts. 5Ws strives to reveal these traces using a digital archive that contains the searches and navigation history of more than half a million Americans. These registers, built unbeknownst to users in 2006, were anonymized before being published for research purposes. The installation brings together a selection of these queries concerning personal realities. At once serious and light-hearted, they testify to social problems and reflect concerns that are still relevant in the United States. 

The installation reveals the mechanisms of collecting and using personal data. Is it possible, from 20 million individual searches, to define a set of preoccupations that are characteristic of American society? To address the issue, Nans Bortuzzo organizes his investigation by using a method borrowed from journalism: the 5Ws, that is, the Who, What, Where, When, and Why. The method enables the disclosure of the information concealed in the archive. In a first work, all the queries are printed and exhibited on paper. The information, arranged by mathematical algorithms, is then organized visually as a semantic web on the wall. A selection of queries are projected and drift randomly, according to the recurring themes identified. In a context in which the media and information ecosystems are undergoing major changes, the questions that Nans Bortuzzo raises interface with our contemporary society and re-engage the digital archive as a present concern

The artist

Nans Bortuzzo is completing his master’s in Visual and media arts at UQAM. His career intersects media arts, music, and scenography. He creates installations that deal with the power relationships established in the design and use of information technology. Recipient of the grant Mécènes investis pour les arts (2013), he has been artist-in-residence at the Cité internationale des arts, in Paris (2013). His work has been presented at VOX – Centre de l’image contemporaine (2018), Occurrence (2017), the Montréal Museum of Fine Arts (2015), and the Art Souterrain Festival (2018), among others. Since 2009, he has participated in the creation of shows disseminated internationally and he staged Obsolescence programmée at La Chapelle Scènes contemporaines, in Montréal (2014). nansbortuzzo.com

Public activities

Artist Talk: Nans Bortuzzo
Part of the L’art observe event series
Tuesday, April 2, 2019, 12:45 – 1:45 p.m.
Galerie de l’UQAM
In French
Free admission

Guided tours of the exhibition for groups
Available at all times, in French and English, free of charge.
Reservations required with
Philippe Dumaine
Cultural mediation manager
514 987-3000, ext. 1424

Support provided by

CCFA_BW_black_96_e     Calq_noir

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