2017_Momenta_Budor_gDora Budor, When the Sick Rule the World, 2015, digital print, 180 x 270 cm. Photograph in collaboration with Robert Kulisek. Pomeranz Collection, courtesy of New Galerie, Paris © Dora Budor

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 the 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.

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For the 2017 edition, MOMENTA | Biennale de l’image will probe the concept of photographic evidence in all its guises. The event will feature works that question the status of the photograph as a recording of the real, and will examine the fantastical and sublimated character of reality. Viewers will be encouraged to take a critical stance toward the testimonial value of lens-based images, be they still or moving. Galerie de l’UQAM and VOX, centre de l’image contemporaine form the headquarters of this 15th edition, presenting a group exhibition comprised of woks by 23 artists.

2017_Authier_gMelanie Authier, Altar (detail from the triptych), 2014, acrylic on canvas, 109 x 91 cm

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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The visually rich spaces in Ottawa 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. The intermingling of styles in each painting engenders a liminal quality that is at once intelligible yet elusive, playing with competing histories hard-edge and gestural abstraction. Contrarieties & Counterpoints brings together recent works on canvas and paper by Authier, where she addresses the challenges posed by freighted histories of painterly practices head on.

2017_Scenna_gCarolyne Scenna, Illu$ions (detail), 2017, cyanotype on coton sheet, 215.0 x 279.4 cm

Carolyne Scenna. Je suis la pire à ce que je fais le mieux et pour ce don je me sens bénie

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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The graffiti artist – gifted or not, recognized or anonymous – transgresses order with an economy of gesture and time. Seated at her computer, Carolyne Scenna also acts on what is presented before her. She reworks the representation and codification of her own photographic images to constrain them within multiple associations of place, form and writing. By paying particular attention to the visible effects of their transformations, she recomposes the traces of her experience, creating visual mix tapes with various lo-fi media and devices. From this process emerges a committed detachment from the real, which she uses to test her own indecision, as well as her precarious and spontaneous relationship to the photographic act. By reflecting on this relationship, typical of current issues of manipulation and proliferation of dematerialized personal archives, she explores the polysemic potential of the image.

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