2018_Soulevements_gAnonymous, Untitled [Computer Center Riot, Sir George Williams University, Montréal], 1969. Courtesy of Montreal Gazette, a division de Postmedia Network Inc.


Curator: Georges Didi-Huberman

Exhibition presented at Galerie de l’UQAM and Cinémathèque québécoise

Galerie de l’UQAM: September 7  – November 24, 2018
Cinémathèque québécoise: September 7  – November 4, 2018

Opening: Thursday, September 6, 2018, 5:30 p.m.

Conference: Friday, September 7, 9 a.m. - 6 p.m. Inaugural lecture by Georges Didi-Huberman

Exhibition organized and circulated by Jeu de Paume, Paris


Please see the UPRISINGS tab in the menu above for full details on the exhibition and related activites.

2018_Hupfield_gExhibition view, Maria Hupfield. The One Who Keeps On Giving, The Power Plant, Toronto, 2017. Courtesy of the artists and Galerie Hugues Charbonneau, Montréal. Photo: Toni Hafkenscheid

Maria Hupfield. The One Who Keeps On Giving

Curator: Carolin Köchling

January 11 - March 3, 2018
Opening and performance: Wednesday, January 10, 5:30 p.m.

Exhibition organized and circulated by The Power Plant Contemporary Art Gallery (Toronto)

[More information]

Galerie de l’UQAM opens 2018 with the highly anticipated exhibition Maria Hupfield. The One Who Keeps On Giving, on a Canadian tour since its presentation at The Power Plant (Toronto) in the winter of 2017. Curated by Carolin Köchling, the exhibition includes a selection of objects and videos derived from the performative practice of the artist from the Wasauksing First Nation, Ontario, now established in Brooklyn. Maria Hupfield's work deploys delicate questions about objects and the memories, gestures or relationships they evoke.

Maria Hupfield will present a performance with Electric Djinn and ODAYA during the opening. This evening will also be the occasion to launch the catalog of the exhibition, hot off the press. In addition, the Espace magazine staff will be present to launch its new issue articulated around the theme of Wounds.

The exhibition

Objects contain meanings beyond their materiality, meanings that we bring to them or receive from them. Objects are the result of an action, entail traces of human gestures and evoke reactions or memories. They have the potential to be read collectively or personally. Maria Hupfield’s artistic practice reveals the way objects can trigger relationships between humans or environments.

For her exhibition The One Who Keeps On Giving, Hupfield developed a video installation centred on an object: an oil painting of a seascape by her late mother Peggy Miller. The artist invited her siblings to participate in a performance rooted in memories evoked by the painting that initially took place in Parry Sound, Ontario – the setting depicted on the canvas. To ground the filmed performance and to accompany the painting in the exhibition context, Hupfield and her siblings re-enacted the performance in the gallery space at The Power Plant in Toronto, the setting for the second film.

Alongside this newly commissioned work, the exhibition includes a selection of objects that have been regularly activated during Hupfield’s performances in recent years: a canoe, a snowsuit, a snowmobile helmet, mitts and boots, a cassette recorder with headphones, a light bulb and seven items solicited from other artists. All of these objects are replicated in felt, a material which equalizes the objects beyond their specific functions.

The One Who Keeps On Giving is an English translation of Maria Hupfield’s mother’s Anishinaabe name.

The artist

Maria Hupfield (born 1975 in Parry Sound, Georgian Bay, Ontario) is a member of Wasauksing First Nation, Ontario, and is currently based in Brooklyn, New York. Solo exhibitions include MacKenzie Art Gallery (Regina, 2015), Galerie Hugues Charbonneau (Montréal, 2015) and Art Gallery of Southwestern Manitoba (Brandon, 2011). She has participated in group exhibitions and performances at Trestle Projects Brooklyn (2016), SITE Santa Fe Biennial (2016), A Space Gallery (Toronto, 2015), Campo dei Gesuiti (Venice, 2015), Aboriginal Art Centre (Ottawa, 2015), The Bronx Museum (New York, 2015), Vox Populi (Philadelphia, 2015), Musée d’art contemporain des Laurentides (Saint Jérôme, 2015), North Native Museum (Zurich, 2014), SBC Gallery of Contemporary Art (Montréal, 2013), and Vancouver Art Gallery (2012). Hupfield is the founder of 7th Generation Image Makers, a project from Native Child and Family Services of Toronto; co-owner of Native Art Department International; and was Assistant Professor in Visual Art and Material Practice appointed to the Faculty of Culture and Community, Emily Carr University of Arts and Design (2007-11).

The curator

Carolin Köchling studied History of Art and Literature in Rome and Berlin. Since 2016 she has been Curator of Exhibitions at The Power Plant in Toronto. As a curator she conceived Claudia Andujar’s first comprehensive solo exhibition in Europe for the MMK Museum für Moderne Kunst Frankfurt (2017). During her time at the Schirn Kunsthalle Frankfurt (2012–14), Köchling curated an exhibition on Brazilian street art, a solo presentation of Helene Schjerfbeck, and co-organized the cinema program with artists such as James Richards, Keren Cytter and Mohamed Bourouissa. Prior to that, she was involved in the expansion of the Städel Museum Frankfurt’s contemporary art collection, and its initial presentation in the new museum wing (2010–12). From 2012 to 2015, Köchling regularly lectured at Goethe-University Frankfurt.

The catalogue

Launched during the opening at Galerie de l’UQAM, the book Maria Hupfield. The One Who Keeps On Giving includes extensive exhibition views, essays by Crystal Migwans and Richard William Hill as well as a conversation between Maria Hupfield and the artist Andrea Geyer.

Maria Hupfield. The One Who Keeps On Giving
Editor: The Power Plant Contemporary Art Gallery
2017, 128 p., bilingual (English and French)

Espace #118 (Winter 2018) – Wounds

Can we heal our wounds? And to do so, must we relegate them to oblivion or consign them to a form of liberating reconciliation? In the field of aesthetic representation, how can an artistic gesture bring relief to the spirit? The texts of this issue, launched during the opening of Maria Hupfield. The One Who Keeps On Giving, elaborate various perspectives on these questions.

Public activities

Wednesday, January 10, 2018
6 p.m.
With Maria Hupfield, Electric Djinn and ODAYA

During opening night, Maria Hupfield will be performing a continuous piece, activating the objects showcased in the exhibition, in collaboration with artists Electric Djinn and ODAYA.

Electric Djinn is a band and performance art project created by multidisciplinary artist Jennifer Berklich, also known as Neptune Sweet. The artist focuses on electronic compositions using sampled sounds, soft synths, drum machines and processed vocals. Collaborating with dancers, visual artists and filmmakers, Electric Djinn has performed in galleries and art spaces primarily in New York and the Philippines.

ODAYA is an Indigenous women's collective formed in 2007. Mostly known as a traditional Indigenous women's drum and song group, its members are also recognized for their solidarity work focusing on Indigenous feminist community-building initiatives. Active on the arts scene and at street marches in Montréal, ODAYA consists of four women of mixed Indigenous heritage: Émilie Monnet (Anishinabe, French), Dayna Danger (Métis, Ojibway, Polish), Nahka Bertrand (Dene, Québecoise), and Anik Sioui (Wendat, Anishinabe, and Franco-Canadienne).
ODAYA – Facebook Page

Nuit blanche à Montréal
Saturday, March 3, 2018
8 p.m. – 1 a.m.

At Galerie de l’UQAM: extended opening hours to see the exhibitions Maria Hupfield. The One Who Keeps On Giving and Michelle Bui. Pool of Plenty

At the Agora of the Judith-Jasmin Pavilion: performances by the Buffalo Hat Singers and other guests

Enjoy the Nuit blanche by visiting the exhibitions of Maria Hupfield and Michelle Bui at the Galerie de l’UQAM. For this special occasion, the drums of the Buffalo Hat Singers will resound in the Agora of the Judith-Jasmin Pavilion. You are invited to join and discover several artists who draw from the traditions of indigenous culture.

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

The educational booklet

An educational booklet is offered to the public free of charge as a guide to the exhibition.
Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.


Support provided by

The exhibition is a production of The Power Plant Contemporary Art Gallery (Toronto) in partnership with Southern Alberta Art Gallery (Lethbridge), Galerie de l’UQAM (Montréal), Mount Saint Vincent University Art Gallery (Halifax) and Canadian Cultural Centre (Paris). It was sponsored by TD Bank Group and supported by Julia & Robert Foster.

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2018_Motion_gBGL, Rapides et dangereux, 2005, video. Exhibition view, Motion, Galerie de l’UQAM, 2016.


Curators: La fabrique d'expositions

Confederation Centre Art Gallery
Confederation Centre of the Arts
Charlottetown, Prince Edward Island
January 27 – April 28, 2018

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

[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.

2017_PocreauLasalle_gYann Pocreau, Portrait d'Auriette Breton, 2016, HD Film, colour, sound, 14 min 50 sec. In collaboration with Anna Lupien. Exhibition view, Yann Pocreau. Patrimoines, Galerie de l'UQAM, 2016. Photo: Paul Litherland

Yann Pocreau. Patrimoines

Centre culturel et communautaire Henri-Lemieux, Galerie Les 3C
October 26 - November 25, 2017
7644 Édouard, LaSalle, QC

Maison de la culture Mercier, Studio A
January 13 - February 18, 2018
8105 Hochelaga, Montréal, QC

Maison de la culture Pointe-aux-Trembles, Maurice-Domingue exhibition room
February 24 - April 1st, 2018
14 001 Notre-Dame East, Pointe-aux-Trembles, QC

[More information]

After its successful presentation at Galerie de l’UQAM in the fall of 2016, Yann Pocreau’s exhibition Patrimoines is back in Montréal thanks to a partnership with the Conseil des arts de Montréal en tournée. Starting at Galerie Les 3C in LaSalle on October 26, 2017, this circulation will eventually lead the exhibition to Maison de la culture de Mercier and Maison de la culture de Pointe-aux-Trembles. This tour is an opportunity to pursue with the Montreal public the reflections on art, health, memory, light and well-being raised by Yann Pocreau.

The exhibition

Over the past years, Yann Pocreau has had the unique opportunity to witness the construction of the new Centre hospitalier de l’Université de Montréal (CHUM). Under the Art and Architecture Integration Policy, he has been developing a process-driven work there that will culminate in 2021 in the form of a book. For over three years, he has also been accompanying his mother on her visits to the CHUM, where she is being treated for dementia. In the dual situation that has become his day-to-day reality, one thing has emerged clearly: the imperative to reflect, as an artist, on the hospital environment and the notions of heritage it conjures. The starting point of this exhibition is the disappearance of the existing Hôpital Saint-Luc, a component of the CHUM that will soon be dismantled and replaced by a new building. Hospital architecture is part of the project’s theme, but its main focus is our sometimes paradoxical attachment to these places that shape our lives and our relationships to birth, health and death – and, above all, to the friends and relations who at some point we are obliged by love to chaperone, often repeatedly.

The exhibition Patrimoines presents new installations composed of recycled elements taken from the Hôpital Saint-Luc, including part of a hospital room, light bulbs, furniture, a few other artifacts and photographs. The exhibition is the product of a residency at Galerie de l’UQAM, lengthy discussions, fascinating encounters and a number of collaborations. For example, artist and filmmaker Anna Lupien has joined Pocreau as co-director of a video portrait of the hugely inspiring Auriette Breton, head nurse and doyenne of the Saint-Luc staff. This exhibition, which follows the hospital’s replacement and the inauguration of the new CHUM, will nourish a collective reflection on the symbolic significance of the hospital milieu and the human relations it invokes.

Support provided by

Yann Pocreau. Patrimoines is a touring exhibition presented by the Conseil des arts de Montréal en tournée, created and produced by Galerie de l’UQAM.


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2018_Fagen_gExhibition view, Graham Fagen. The Slave’s Lament, Galerie de l’UQAM, 2017.

Graham Fagen. The Slave's Lament

Curator: Louise Déry

Doris McCarthy Gallery
University of Toronto Scarborough
Toronto, Ontario
February 7 – April 7, 2018

[More information]

Following its presentation at Galerie de l’UQAM in Winter 2017, the exhibition Graham Fagen. The Slave’s Lament begins a tour at Doris McCarthy Gallery at University of Toronto. 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.

2018_Terriens2_gShary Boyle & John Kurok, Sugluk, 2016, porcelain, 20 x 46 x 30 cm. Private collection, photo: Rafael Goldchain


Curator: Shary Boyle, in collaboration with Shauna Thompson

Artists: Roger Aksadjuak, Shuvinai Ashoona, Pierre Aupilardjuk, Shary Boyle, Jessie Kenalogak, John Kurok, Leo Napayok

March 10 – April 14, 2018
Opening: Saturday, March 10, 3 p.m.

Exhibition organized and circulated by Esker Foundation, Calgary

[More information]

Starting March 10, Galerie de l’UQAM will be host to Earthlings, a major exhibition touring Canada since its presentation at Esker Foundation in Calgary at the beginning of 2017. The ceramics and works on paper of Earthlings, produced both individually and collaboratively by seven contemporary artists, including six Inuit artists, are at once visionary, transformative and otherworldly – and profoundly human.

Though making work from distinct cultural and geographical positions – from Kangiqliniq (Rankin Inlet), Kinngait (Cape Dorset), Qamani’tuaq (Baker Lake), and Toronto – the artists in Earthlings share an intuitive and labor-intensive approach to materials and narrative imagery. In these works, detailed figures are subject to transformations and transmogrifications, hybrid blendings of animal and human, reality and myth, and actual and imagined spaces. These pieces seem to emerge from phantasmagorical worlds, simultaneously fleshly and physical, sensual and spiritual, alien and familiar.

The exhibition is produced and circulated by Esker Foundation (Calgary).

The exhibition

Space, and how we occupy it, is a political as well as a practical concern. I wish to make small sculptures, slowly, with great care. An invitation to exhibit them at the Esker Foundation was a grand opportunity, on a generous scale. Who could I invite to join me at the table?

There are artists who work from their intuition, who channel their personal experience and cultural memory for narrative. These artists choose their subjects because they know them intimately, personally, physically. It is a way of working that is innate, and encourages a human conversation larger than art.

I think of this work, my own included, as “bridge art”; it spans between things, between people, animals, space, and the earth. It spans languages. It spans the real and the unreal. The living and the dead. The past and the future. It is art to communicate, through symbols, myths, dreams, and hybrids. It connects.

- Shary Boyle

The artists

Roger Aksadjuak’s work is complex, inventive, and embraces multiple forms and playful imagery while respecting traditional narratives. It can be found in many public and private collections across North America, including the Winnipeg Art Gallery and the National Gallery of Canada, Ottawa. His work Square Dance had the honor of being selected as the first artwork purchased by the Nunavut Legislative Assembly in Iqaluit. Roger Aksadjuak lived in Kangiqtiniq (Rankin Inlet); he passed away in 2014.

Shuvinai Ashoona is a contemporary artist based in Kinngait (Cape Dorset) whose work often combines reality and the imaginative. Her work has been shown in numerous exhibitions including SITElines Santa Fe: New Perspectives on Art of the Americas (2014-2015), SITE Santa Fe; Woven Thoughts (2014), Feheley Fine Arts, Toronto; and Oh, Canada (2012), Massachusetts Museum of Contemporary Art, North Adams. Ashoona’s work is the collections of numerous major art institutions, including the Art Gallery of Ontario, Toronto; Canadian Museum of History, Gatineau; National Gallery of Canada, Ottawa; and the Winnipeg Art Gallery, among others.

Pierre Aupilardjuk’s artistic practice represents his strong roots in a traditional aesthetic. His work is included in the ceramics collection of the Prince of Wales Northern Heritage Centre, Yellowknife; the permanent collection of the National Gallery of Canada, Ottawa; as well as in private collections throughout North America. He lives and works in Kangiqtiniq (Rankin Inlet). His work has been included in several exhibitions, including Modern Echoes: Contemporary Inuit Ceramics and Sculpture (2000), Native American Trading Company Gallery, Denver.

Shary Boyle lives in Toronto and works across diverse media, including sculpture, drawing, installation, and performance. Collected and exhibited internationally, Boyle represented Canada with her project Music for Silence at the 55th Venice Biennale in 2013. Shary Boyle's work was included in Ceramix: Art and Ceramics from Rodin to Schutte (2016), organized by the Bonnefantenmuseum, Maastricht, and la maison rouge, Paris. In 2017 her sculptures were featured in the Gyeonggi International Ceramic Biennale, and in the publication Vitamin C: Clay and Ceramic in Contemporary Art (Phaidon, London). Boyle’s first public art commission will be installed in spring 2018 on the front grounds of the Gardiner Ceramic Museum in Toronto.

Jessie Kenalogak was born in Back River in the early 1950s and currently lives and works in Qamani'tuaq (Baker Lake). Working primarily in drawing, her most meaningful artistic influences came from her grandfather Angushadluk, one of the most important and respected artists ever to work in Baker Lake, and her aunt, Mary Singaqti, another highly respected Baker Lake artist. The titles of her drawings, her very personal interpretations of her work, serve as an expressive element of the overall work.

John Kurok began working full-time as a ceramist in 1996. His work emphasizes the relationships of forms and the visual movements created by those forms over the surface of the sculpture. His work has been shown at the Winnipeg Art Gallery; Canadian Clay and Glass Gallery, Waterloo; and the Cerny Inuit Collection, Bern. Kurok's work is included in the permanent collections of the National Gallery of Canada, Ottawa, and the Museum of Inuit Art, Toronto. He is currently based in Kangiqtiniq (Rankin Inlet).

Born in the early sixties, Leo Napayok spent most of his time growing up in the towns of Salliq (Coral Harbour) and Kangiqtiniq (Rankin Inlet). Working in collaboration with other ceramicists who prepare a vessel or sculptural shape, Napayok then incises extraordinary designs that completely cover the sculpture’s surface. His collaborative work is included in the permanent collection of the National Gallery of Canada, Ottawa.

The curators

Shary Boyle – see above

Prior to joining Esker Foundation as a curator, Shauna Thompson was the curatorial assistant at the Walter Phillips Gallery, The Banff Centre. Thompson has also worked with the Justina M. Barnicke Gallery and YYZ Artists’ Outlet, both in Toronto, as well as the Art Gallery of Mississauga. Her writing has been published in Canadian Art as well as in numerous exhibition catalogs and texts. She currently sits on the Board of Directors at TRUCK Contemporary Art in Calgary. Thompson holds master's degrees in Curatorial Studies from the University of Toronto and in English from the University of Guelph.

The catalog

Earthlings is accompanied by a richly illustrated, trilingual catalog (French, English and Inuktitut). It is on sale at Galerie de l’UQAM.

Authors: Naomi Potter, Shary Boyle, Shauna Thompson and Heather Igloliorte
Editor: Esker Foundation
2017, 142 p., trilingual (French, English and Inuktitut)

Public activities

Lecture by Dr. Heather Igloliorte: Inventions and Interventions in Inuit Art 
Part of the L’art observe series
Monday, March 26, 5:30 p.m.
Galerie de l’UQAM
In English
Free admission

In this lecture, Dr. Heather Igloliorte examines the history of modern and contemporary Inuit art by investigating how artistic innovation and interventions have changed and expanded the field of production. Examining works that break from convention from the mid-twentieth century to the present, Igloliorte discusses the history of Inuit art as one of constant renewal, reexamination, and creativity.

Special presentation of Inuit sculptures from the Collection d’œuvres d’art de l’UQAM
Part of the L’art observe series
April 3, 2018, 10 a.m. – 4 p.m.
Agora of the Judith-Jasmin Pavilion, UQAM
1400 Berri, Montréal
Free admission

The Collection d’œuvres d’art de l’UQAM, which contains more than 4,000 objects and works of art, includes a set of twenty sculptures by Inuit artists. On the occasion of a special presentation of these pieces at the Agora of the Judith-Jasmin Pavilion, the Montreal community will have the opportunity to appreciate the technical and artistic richness of these little-known works. Mediators will be on hand to provide more information about the works and the Collection d’œuvres d’art de l’UQAM.

The presentation will include a Conversation between Louis Gagnon and Anne-Marie Belley

Conversation between Louis Gagnon and Anne-Marie Belley
Part of the L’art observe series
April 3, 2018, 12:45 – 1:45 p.m.
Agora of the Judith-Jasmin
Pavilion1400 Berri, Montréal
In French
Free admission

Learn more about Inuit art from the Collection d’œuvres d’art de l’UQAM through a friendly public conversation. Louis Gagnon, Curator and Director of the Museology Department at the Avataq Cultural Institute, will meet with Anne-Marie Belley, Ph.D. student in Art History at UQAM, whose master's research was specifically interested in Inuit works from the UQAM Collection

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

The educational booklet

An educational booklet is offered to guide the public through the exhibition, free of charge.
Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.


Support provided by

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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