Présences du littéraire dans l’espace public canadien - Public services

Ce toit tranquille où marchent des petits oiseaux

Marie-Claude Langevin — Wed, 26 May 2010 19:23:23 +0000

Artwork identification

Artwork creator(s):

Purdy, Richard

Artwork creator(s):

Purdy, Richard

Text author(s):

Savard, Félix-Antoine

Text author(s):

Savard, Félix-Antoine

Collaborator(s):

Atelier Silex

Installation year:

2004

Artwork description

Source: Richard Purdy (2010). Richard Purdy oeuvres. (http://www.richardpurdy.ca/index2.php?lang=en)

Description:

A sculpture in the shape of roofs with little bronze birds. Text is written on the glass of the dormer windows, as if someone had scribbled something with their finger on the frosty glass.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Inscription 1:

Ville des soirs anciens

Ville des soirs anciens, paisible ville,
Décente, recueillie, causant à demi voix,
À l'heure où dans la nef et l'or des soirs tranquilles
Semblaient se replier sur eux-mêmes les toits!

Ayant tinté le glas d'un autre jour enfui,
Quelques cloches, au deuil entremêlant l'espoir,
Parlaient alors à l'âme apeurée par la nuit
De choses par delà l'or brunissant du soir

Inscription 2:

Et bientôt tout entrait dans un calme pareil
À quelque consolante et lointaine harmonie
Tandis que, sans troubler le rythme du sommeil,
De beaux songes passaient sur ma ville endormie,
Ville de mon enfance, aux si douces musiques,
Vers ce même or des soirs paisibles d'autrefois,
On entend de partout monter des chants lubriques.

Inscription 3:

Si calme, ce lac!

si pures, ces eaux!

si neufs, ces bords!

où, durant mon sommeil,

Dieu

a purifié, restauré

toute chose.

Inscription 4:

Ce
toit
tranquille
où marchent des
petits oiseaux

Text theme:

Birds, roofs, stillness and tranquillity

Artwork theme:

The project is invested with a memory of the original houses. The installation forms a dialogue with the inhabited houses surrounding the retirement home, allowing the residents to truly feel at home. Making optimal use of the numerous viewpoints onto the neighbourhood, the sculpture creates a link between the environment of the retirement home (interior) and that of its neighbourhood (exterior), in ways that are at once metaphorical, symbolic, spiritual and emotional.

Dimensions

Height:

2.74m

Width:

2.75m

Depth:

1.27 m

Other information

Note(s):

The artist found a handwritten copy of the poem and it was reproduced as is in the artwork, a perfect imitation of Félix-Antoine Savard's handwriting.

Text from Le choix de Félix-Antoine Savard, Aux marges du silence

Artist's biography:

Richard Purdy

Author's biography:

Félix-Antoine Savard

Owner(s):

Foyer du Clermont

Document(s):

Richard Purdy- art public 2000-2009

Berlin Project

Marie-Claude Langevin — Mon, 10 Aug 2009 20:08:18 +0000

Artwork identification

Artwork creator(s):

Knowles, Rachelle Viader

Artwork creator(s):

Knowles, Rachelle Viader

Text author(s):

Knowles, Rachelle Viader

Text author(s):

Knowles, Rachelle Viader

Collaborator(s):

• Kitchener, ON, Canada : Andrew Wright, Ian Newton, Mary Catherine Newcomb • Berlin, Germany : Laura Bruce, Irma-Kinga Stelmach, Lena Zeise • Produced with the assistance of: Contemporary Art Forum, Kitchener, ON, Canada; Ed Video, Guelph, ON,Canada; Nathan Saliwonchyk (editor), Kathrin Becker, Vanessa Ohlraun (Cultural Officer, Canadian Embassy in Berlin).

Installation year:

2001

Remarks on location:

Site-specific video project for the council chambers, projected simultaneously on a large screen and on thirty monitors embedded into the architecture of the space.

Artwork description

Source: Photo provided by Rachelle Viader-Knowles

Description:

The project acts as a mediated dialogue between three artists from Kitchener, Ontario, Canada, and three artists from Berlin, Germany. Prior to 1916, the city of Kitchener was known as Berlin. In both Kitchener and Berlin, local artists act as 'guides', choosing a site of particular significance to them and recounting a story in their mother tongue. The artists also act as 'interpreters' by responding to the videos in the other language with a simultaneous written translation based either on their knowledge of the other language or by creative guessing. The written 'translations' appear as subtitles.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Image 1: details. Text in German. Image 2: detail. Text in English. Image 3: installation view.

Artwork theme:

The project attempts to position relationships between people and places, like communication, as a fluid, ongoing process of translation, interpretation and mediation.

History

History:

Event: Contemporary Art Forum Kitchener and Area, Kitchener, ON.

Date : Sept. 15-23, 2001

Event date(s):

2001

Dimensions

Other information

Artist's biography:

Knowles, Rachelle Viader

Source:

Rachelle Viader Knowles Home (306) 522-4749 Work (306) 585-5554 Fax (306) 585-5526 Cell: (306) 501 8040 Email: rachelle.viader.knowles@uregina.ca Web: http://uregina.ca/rvk Department of Visual Arts,University of Regina 3737 Wascana Parkway Regina, SK S2S 0A2 Tel: 306 585 5554 Fax: 306 585 5526

Au fil de ta promenade

Marie-Claude Langevin — Tue, 28 Jul 2009 15:16:41 +0000

Artwork identification

Artwork creator(s):

Riverin, Agnès

Artwork creator(s):

Riverin, Agnès

Text author(s):

Riverin, Agnès

Text author(s):

Riverin, Agnès

Installation year:

2003

Remarks on location:

The city of Port-Cartier, in the MRC des Sept-Rivières, is located along the North Shore of the St. Lawrence River and is characterized mainly by the immensity of the land and shores and by its abundance of natural resources. The Centre de santé des Sept Rivières includes a CLSC and a small medical centre that houses a long-term care facility.

The Work:

The coastal horizon stretches along the entire North Shore. Agnès Riverin chose to illustrate it in four ways, which can be found in the Centre de santé’s Place Publique (lobby) and its dining room.

Artwork description

Source : Photo transmited by Agnès Riverin

Description:

The Wreck:

Fascinated by the mysterious wreck of the Lady Era, which washed up on the shores of Port-Cartier over 20 years ago, the artist made it the focal point of this work. Thus, a steel silhouette of the wreck floats on the wall of the Place publique (lobby). Jutting out slightly, it hugs the curve of the wall. Corten steel, used in this project, has been oxidized without affecting its resistance. Its rich colours will intensify with time, just like those of the Lady Era.

The Boxes:

Facing the wall featuring the wreck, the small wall of the Place publique provided another opportunity to explore dreams and memories. A horizontal line made up of six cherry wood boxes with glass panels (40 x 40 x 15cm) separates the Place publique from the nurses’ station. Each box, featuring a glass panel on both sides, features a porthole printed in transparency on the interior panels, revealing its contents.

Three of these boxes contain historic elements referring to forestry (pulp and paper, lumber), the mining industry (iron minerals) and fisheries. The three others integrate old photos of three of the centre’s first residents, commemorating their passage in the institution. These men and women, seen in transparency, symbolize the process of Alzheimer’s disease: long-term memory, first seen as a ghostly presence, slowly overtakes short-term memory. A poetic text written by the artist can be read on both sides, linking the boxes together. The poem takes viewer-readers on a morning stroll by the sea to watch the sunrise.

Dining Room:

In the dining room, two series of portholes are hung across from each other; diners are seated aboard a virtual ship.

Six Pictorial Works:

On the first wall, measuring 9.75m, there are six paintings, each measuring 60cm in width. They represent six different views of the sea-river: from the beach, the harbour, the sea and the road. Painted in oil with large strokes, the chiaroscuro contrast highlights the play of light upon the water or the close-up of a wave.

Six Sculptural Works:

On the 7.75m wall near the windows, six sculpted wood pieces measuring 60cm each cast their shadows. The maritime theme is maintained. Close-ups of waves and the movement of the water are sculpted in linden wood and call to mind the forestry industry in Port-Cartier. They are the same size as the oil paintings and are hung at the same height on the wall; they evoke both the horizon and a series of portholes on the hull of a ship.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

L’horizon pour seul voyage

tu distends de mille coudées

les rumeurs lointaines

Baigné dans cette lumière

à dissoudre toute forme

le silence t’habite

chargé d’azur et de vent

Au fil de ta promenade

un journal délavé

fouillis d’eau et de mots

suspend brièvement l’errance matinale

ton regard s’interrompt

quelque chose d’autre appelle le présent

Conquis tu t’inclines

devant le plus beau des coquillages

et tes mains déposent un sourire sur le sable

où tu cueilles encore des ailleurs coutumiers

Derrière les bruits familiers

qui s’installent lentement

le mystère répété au jour le jour

une fois de plus te surprend

De retour chez toi

tu t’assieds près de la fenêtre

Il te reste un peu de café

la douceur du vent sur ta peau

et la sagesse des vagues

pour régler le sort de l’humanité

Souriant aux lueurs maritimes

témoins de tes rêveries

tu connais ce que peu de gens connaissent

dans les mille gestes quotidiens

la durée se loge au coeur de l’instant

Text theme:

The pronoun "Tu" is used to include the viewer in this stroll. It speaks of a stroll along the river to see the sunrise and more.

Artwork theme:

The artist’s mandate was to create a calming work of art aimed at older people suffering from Alzheimer’s disease while including elements of the region’s three main economic areas, i.e. the former pulp and paper mill, the iron mine and fishing.

Dimensions

Other information

Note(s):

La communication, la rencontre sont au coeur de ma recherche visuelle et tous les projets d’art public que j’ai réalisé furent de merveilleux cadeaux pour établir des ponts entre ma création et les spectateurs. Ils m'ont aussi donné l'opportunité de créer des oeuvres ouvertes à l'autre et ce, dans un langage visuel poétique à plusieurs niveaux de lecture. Chaque projet a été créé afin d'interpellet le spectateur et par l'effet multiplié des approches artistiques (peinture, sculpture, poésie), de lui offir la possibilité de s'identifier à une partie ou à l'ensemble de l'oeuvre de manière toute personnelle. - Agnès Riverin, conservation avec l'artiste juillet 2009

Artist's biography:

Agnès Riverin

Owner(s):

CLSC- Centre de santé des Sept-Rivières

De Marc-Aurèle à Vaillancourt en passant par Miron

Marie-Claude Langevin — Tue, 28 Jul 2009 02:00:04 +0000

Artwork identification

Artwork creator(s):

Leblanc, Pierre

Artwork creator(s):

Leblanc, Pierre

Text author(s):

Miron, Gaston

Text author(s):

Miron, Gaston

Installation year:

2008

Remarks on location:

On the doors of the Ministry

Artwork description

Source : Photo transmited by Marie-Claude Langevin

Source: Jocelyne Connoly (2010). L'oeuvre intégrée à l'architecture, itération et dérivation. Espace. no. 91 (spring)

Description:

On the doors of the Department, installation in the form of a tree (elm).

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Une idée ça vrille et pousse

l'idée du champ dans l'épi de blé

Au coeur des feuilles l'idée de l'arbre

qui va faire une forêt

et même, même

forcenée, l'idée du chiendent

Text theme:

Inspired by Gaston Miron's poem "Tête de caboche"

Artwork theme:

Tribute, Poetry

History

History:

Installed on August 30, 2008

Dimensions

Other information

Note(s):

For me, Miron's poetry evokes forms. So I thought of the elm, this tree which had almost disappeared at the beginning of last century but which has regained artistic significance thanks to Marc-Aurèle Fortin and Armand Vaillancourt. My work also pays tribute to them.

Philippe Beauchemin. 2008. "Pierre Leblanc. Tête de caboche". Nouvelles Hochela-Maisonneuve, December 12.

Artist's biography:

Pierre Leblanc

Owner(s):

Ministère de la Culture du Québec

Document(s):

Pierre Leblanc ''Tête de caboche''

Pierre Leblanc. L'oeuvre intégrée à l'architecture, itération et dérivation

Ayarak

Marie-Claude Langevin — Tue, 21 Jul 2009 15:42:37 +0000

Artwork identification

Artwork creator(s):

Bourgault, Pierre

Artwork creator(s):

Bourgault, Pierre

Text author(s):

Bourgault, Pierre

Text author(s):

Bourgault, Pierre

Collaborator(s):

Bourgault, Maxime; Bourgault, Che; Riopelle, Jean-Paul

Installation year:

1999

Remarks on location:

The first sculpture is located in the lobby of the building, the second is located near the elevators.

Artwork description

Source: Saint-Jérôme (2009).Circuit d'art public de Saint-Jérôme. (http://www.d4m.com/soluss/musee/web/document/Circuit_web.pdf)

Source: Pierre Bourgault (2008). Pierre Bourgault artiste. (http://pierrebourgault.org/index.php)

Description:

Sculpture consisting of two elements reproducing on a large scale the specific motifs of an Inuit string game and of a brass inlay work installed in the floor's surface. In the Inuit language, the word "Ayarak" means string. Its two ends are tied together and used to make different figures.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Le Renard l'emporte, le suit à la trace

Ce qui ressemble à un nuage

Artwork theme:

The artwork expresses socialization, opposition, complementarity, diversity and all that binds us together.

Dimensions

Other information

Note(s):

The didactic panels in the waiting room aim to familiarize people passing through this location with the tradition of these string games.

Artist's biography:

Pierre Bourgault

Owner(s):

Palais de justice de Saint-Jérôme

Architect(s):

Birtz, Côté, St-Gelais, Maillé (Architects)

Le fleuve se creuse un passage vers le ciel

Marie-Claude Langevin — Mon, 29 Jun 2009 18:22:35 +0000

Artwork identification

Alternate title:

Un passage vers le ciel

Artwork creator(s):

Riverin, Agnès

Artwork creator(s):

Riverin, Agnès

Text author(s):

Riverin, Agnès

Text author(s):

Riverin, Agnès

Installation year:

2006

Artwork description

Source: Photo provided by Agnès Riverin

Description:

The artwork is divided into four distinct parts: two pictorial sections, a sculpted section and an engraved and oxidized steel section. In the first two sections, a bright and colorful sky greets the visitor. The third section is set below the paintings in the waiting room. The last section is housed under the sculptural section, completing the set.

Mention(s) légale(s) des illustrations:

Photo credits:

@ Agnès Riverin

Text of the artwork:

Le fleuve se creuse un passage vers le ciel

Artwork theme:

The history and geography of the MRC de Lotbinière. Natural cycles that punctuate agriculture, the forest and recreational activities.

Dimensions

Other information

Note(s):

In developing her proposal, which combines poetic, pictorial, sculptural and graphic modes, the artist endorsed the LEED (Leadership in Energy and Environmental Design) recommendations first adopted by the architect - the purchase of local materials, a regional production and manufacturing techniques that meet environmental standards.

Artist's biography:

Agnès Riverin

Author's biography:

Agnès Riverin

Owner(s):

Poste de la Sûreté du Québec, Laurier-Station

Architect(s):

Dufour, Éric, architect

Mother Tongue/First Language Learned

Marie-Claude Langevin — Sat, 11 Apr 2009 16:13:05 +0000

Artwork identification

Artwork creator(s):

Roy, Elizabeth

Artwork creator(s):

Roy, Elizabeth

Text author(s):

Roy, Elizabeth

Text author(s):

Roy, Elizabeth

Installation year:

2004

Remarks on location:

Along the roofline

Artwork description

Source: City of Surrey (2008). Elizabeth Roy. (http://www.surrey.ca/Living+in+Surrey/Arts/Public+and+Community+Art/default.htm)

Description:

Words on the roof of a building

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

In French, Chinese, Korean, Punjabi, Tagalog, Hindi, German, English

respect = respect
communauté = community
compassion = compassion
responsabilité = responsibility
intégrité = integrity
mise en valeur = empowerment
honnêteté = honesty
professionalisme = professionalism

Respekt
community

Text theme:

Shared values in a community

Artwork theme:

Languages spoken in the community of Guildford; cultural identity; diversity; heritage

Dimensions

Other information

Artist's biography:

Roy, Elizabeth

Owner(s):

City of Surrey Public and Community Art Collection

Source:

2. Public & Community Art Coordinator Surrey Arts Centre 13750 - 88 Avenue Surrey, BC V3W 3L1 604-501-5561 arts@surrey.ca 3. Gendarmerie royale canadienne de Surrey (Royal Canadian Mounted Police) District 2 : Guildford/Fleetwood 10395, 148e rue Surrey (C.-B.) V3R 6S4 Téléphone : 604-502-6500 Télécopieur : 604-502-6524 Heures d’ouverture : Du lundi au vendredi : de 9 h à 17 h

Document(s):

Public Art Program. Public & Community Art Projects & Locations. Elizabeth Roy. Mother Tongue/ First Language Learned

Moving

Marie-Claude Langevin — Wed, 01 Apr 2009 15:21:59 +0000

Artwork identification

Artwork creator(s):

Leigh Butler, Margot

Artwork creator(s):

Leigh Butler, Margot

Text author(s):

Leigh Butler, Margot

Text author(s):

Leigh Butler, Margot

Installation year:

1992

Remarks on location:

Installed in brochure racks on the British Columbia Ferries, at the Vancouver Tourist Information Centre and at various other locations (post offices, community and daycare centres).

Artwork description

Source: Larson, Jacqueline; Monika Kin Gagnon (1993), Out of Place, Vancouver: Association for Noncommercial Culture

Description:

Flyers placed in various displays

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Detail. Inside the brochure.

Text of the artwork:

Eliza approached the gangplank,
the last in the queue of women, some with child
some without. Parcels and bundles were carried
from a blue ship by new immigrants from England
to Canada just after World War I. Right from the
beginning Eliza sent parcels back home. But as the
Depression reduced her prairie town, the large
parcels became smaller. She developed the skill of
concise packaging: Compressing volume, increasing the
‘necessities’, and fabricating space by innovative,
even artful doublings-up. Only after sending dozens
of these small parcels did she make the connexion:
While cinching the string, tying the same handles
that circle their shoulders, she realized that the
cardboard box was the same size and shape as the
boxes which held gas masks carried daily by her
mother, her sisters, aunts, uncles, cousins, friends,
the same folks who were receiving her parcels.

She sent clothing and
linens and saucepans to
replace Saucepans for Victory
and she sent food to offset the
ration which lasted from 1940
to 1953. Some of these items were
easy, such as nuts and candied fruit
for Christmas cake. Others, the more
fragile, the more volatile, required some
tricky packing. She filled empty baking
powder tins with melted lard. Holding
fresh eggs gently between thumb and
fingertips, she released them into the
warm fat where they nestled against
the side of the tin, making a single
point of contact with the lonesome
shells of their neighbours. Later,
the congealed fat would conceal
and protect the passengers.
Only the most discerning
eye could detect the
slightest bulge
in the sides
of the card-
board tin.

She knew the sequence.
How long it took to prepare
and wrap. To write the linen
address label India ink and sew on
the burlap with the long and crooked
needle given her by her mother. The after-
noon journey to the post office, winding the
ring which circles her finger with rosy gold.
She wonders – will the parcel ever arrive?
The question hung inside her. The men
behind the wickets, anticipating her
monthly visits, didn’t seem to care
what was in the parcel. Instead,
they looked to see what she
had painted onto
the burlap.

Eliza’s trunk
had been wrapped in
loose sackcloth during her
long sea voyage. For the first
years she had wrapped the parcels
home with pieces of this coarse sacking
which had little blue Liner insignia stamped
across the surface. Forced to acknowledge the
inevitable end of her resources, she imagined
painting little blue ships onto the burlap
parcels, then painted bigger blue ships,
then turbulent imaginary coastlines.
She painted after the final wrapping,
using the crossing string as lines of
latitude and longitude, so that
readers turned the parcel
round several times
in order to try
and situate
themselves.

Text theme:

Caring for relatives

Artwork theme:

Realities and stereotypes of domestic and maternal labour; trivialized women’s labour; emotional realities of child rearing; questionning myths on motherhood

History

History:

Exhibition Out of Place, organized by the Association for Noncommercial Culture

July 1, 1992-June 30, 1993

Event date(s):

1993

Dimensions

Height:

0.21m

Width:

0.27m

Other information

Artist's biography:

Butler, Margot

Source:

Vancouver Association for Non Commercial Culture, centre d’artistes (1984-1998) (Fonds Vancouver Association for Non Commercial Culture fonds) en la possession de la Morris and Helen Belkin Art Gallery University of British Columbia Contact: Krisztina Laszlo , Archivist Address: University of British Columbia, 1825 Main Mall, Vancouver, B.C. V6T 1Z2 Phone: (604) 822-0001 Fax: (604) 822-6689 EMail: klaszlok@interchange.ubc.ca

Document(s):

Out of Place

Letters From Home

Marie-Claude Langevin — Wed, 01 Apr 2009 14:34:47 +0000

Artwork identification

Artwork creator(s):

Jones, Amy; Naylor, Margaret; Weaving, Jill P.

Artwork creator(s):

Jones, Amy

Naylor, Margaret

Weaving, Jill P.

Text author(s):

Jones, Amy; Naylor, Margaret; Weaving, Jill P.; Leach,Penelope

Text author(s):

Jones, Amy

Naylor, Margaret

Weaving, Jill P.

Leach,Penelope

Installation year:

1992

Remarks on location:

Flyers placed in the leaflet display on British Columbia Ferries, at the tourist information center in the City of Vancouver, postal outlets, community centers and various other locations.

Artwork description

Source: Leigh Butler, Margot (1992), Letters from Home, Vancouver : The Vancouver Association for Non Commercial Culture

Description:

Flyers placed in various displays

Mention(s) légale(s) des illustrations:

Text of the artwork:

[card for the letter "A"]

A a

AWORK

āhĭsto ̸ rĭc (al) adjs. Not historic(al);
Unrelated to history.

Apple

āmŏ ̸ ral a. Unconcerned with or outside
of morals; non-moral.

snAke

āsĕ ̸ xŭal a. Having no distinct sex; also,
produced without sexual agency.

Fig leAf

ā ̸ work (werk) n. Unconcerned with
gender of worker and unrelated to
designation of locale as workplace;
also produced without necessity of
monetary agency.

[ [card for the letter «B»]

B b

Birth

Bread

Not I, not I, not I
and she did.
Not I, not I, not I
and she did.
Not I, not I, not I
and she did.

Young adult men
are the most
resistant to periods
of famine…

[card for the letter «C»]

C c
Claire
A Tale of Right And Wrong.

Claire was a steam engine. She worked hard
every day pulling coaches up and down the
mountain. Her friends were all steam en-
gines too. They met every Friday for din-
ner at the station. Claire loved this time
with her friends.
When Claire was younger she taught
Andy, her little steam engine, to pull
coaches. When he was old enough he went
to work on the prairie, on the other side of
the mountain. After Andy left Claire, she
missed him very much.
One day when Andy was working, he
tooted his horn loud enough that even Claire
could hear it, so far away. Claire sent him a
smoke signal, warning him to save his en-
ergy for pulling the heavy coaches. It seemed
to her, at the time, that she was right to
warn him. After she talked about it with
her friends, however, she wasn’t so sure.
Claire decided to ask Andy if he thought
she was right or if he thought she was
wrong. He said he used to think he knew
the answer, but was sure he didn’t know
the answer now.

[ card for the letter «D»]

Dd

A puppy’s mother
Is called a dog bitch

[card for the letter «E»]

Ee

Experience
(Work Related)

Eight little children having fun,
Their parents have experience with each one.

Experience cooking for Elsa
who will not eat most things.
Experience nursing Egan
who fell down off the swings.
Experience teaching Emma
who’s just learning to walk.
Experience entertaining Elijah
who’s the only kid on his block.
Experience negotiating with Edgar
who will not wear his glasses.
Experience scheduling Elizabeth’s
French and English classes.
Experience counselling Ellen
who wets her bed at five.
Experience researching car seats
to keep Etienne safe and alive.

Eight little children having fun,
their parents have experience with each one.

[card for the letter «F»]

Ff

Foot
of the household

[card for the letter «G»]

Gg

Glove

Goods
Draw a line from each word to the picture
With the same beginning sound.
exchange
trade
barter
sell
value
worth
owner
debtor
borrow
claim

[card for the letter «H»]

Hh

ours

Cut along dotted lines
Punch holes
Attach to circle at dot

[card for the letter «I»]

Ii

you are here

[ card for the letter «J»]

Jj

Job

Dear Roberta,
My friend has
no time for me.
She’s not working
yet she is always
busy. She h
no time off
she’s on […]as
hours […]as
I’ve […]call 24
sp […]a day
[…]uld like to
[…]nd more time
with her but i
don’t understand
this situation.
Can you help?

[card for the letter «K»]

Kk

Kitchen

konstant klutter
kareworn klown
kneads kouch

[ card for the letter «L»]

Ll

Life

[ card for the letter «M»]

Mm

MOTHERHOOD
The township of Hamelin was besieged by rats
who chewed everything from the food in the vats
to the babies in their cradles and men’s Sunday hats.
Mothers pulled off their hoods and raised fists at the vermin
while Mayor and Corporation dressed in ermine
though they scratched their heads no solution could determine.

Then came the Pied Piper who bargained with Mayor and Corporation
to the massive job of Hamelin’s rat extermination.
When he started to play there gathered behind him in formation
all the rats who soon would perish of their watery destination.
But when he returned his rewards to reap
those sneaky official realized with a leap
dead rats can’t back…said his price was too steep!

So the piper raised his pipe and again began to play
but this time it was the children who followed him away.
The townsfolk raged at politicians whose faces had turned grey
The mothers raised their fists then turned and left to fray.

The mothers donned their hoods and so by mortal man unspied
followed children and piper to the mountain-side
where appeared a wondrous portal opened wide.
In marched piper, children and mothers
then a mighty crash shut out all the others.
And ne’er again did Hamelin’s folk see their children or their lovers.

The missing children never did return to that we can attest.
But as for the mothers no-one knows the rest
for as many stories, jokes and stereotypes do suggest
motherhoods long on are almost impossible to divest.

GLOSSARY
Motherhood-Mantle assumed by women most usually after birthing a child. Worn
draped loosely over the head, it seems to render the wearer invisible and inaudible
to other adults. Traditionally available in blue only.

[card for the letter «N»]

Nn

nope, slang. equivalent
to a negative sentence.
1. The answer to your
question is negative, your
request or command will
not be complied with.

Nobel Prize, one
of the annual prizes
(for physics, chemis-
try, physiology or
medicine, literature,
economic sciences,
and the promotion of
peace) awarded from
the bequest of Alfred
Nobel (d.1896),
Swedish inventor of
dynamite.

[card for the letter «O»]

Oo

One

Connect the dots.

[card for the letter «P»]

Pp

Picnic

Table

[card for the letter «Q»]

Qq

Quiet

[card for the letter «R»]

Rr

Rashes

“Children quite frequently
Produce dramatic skin rashes, with no
Other symptoms. They go away as sud-
Denly as they came. Some of these are
Probably allergic reactions; some
May be caused by viruses.”

Penelope Leach
Your Baby And Child
From Birth To Age Five

[ card for the letter «S»]

Ss

Stress

Taking care of children is demanding
work! Taking care of children is de-
manding work! Taking care of children
is demanding work! Taking care of
children is demanding work! Taking care
of children is demanding work! Tak-
ing care of children is demanding
work! Taking care of children is de-
manding work! taking care of chil-
dren is demanding work! Taking care
of children is demanding work! Taking
care of children is demanding work!
Taking care of children is demand-
ing work! Taking care of children is
demanding work! Taking care of
children is demanding work! Tak-
ing care of children is demanding
work! taking care of children is de
manding work! taking care of children
is demanding work! Taking care
of children is demanding work!
Taking care of children is demand
ing work! Taking care of children is
demanding work! Taking care of children
is demanding work! Taking care of children is
demanding work! taking care of children is
[unintelligible]
[unintelligible]
[unintelligible]
[unintelligible]

[ card for the letter «T»]

Tt

TWENTY
There are twenty teeth in
the first set, ten in the
upper jaw and ten in the
lower, comprising eight
incisors, four canines
and eight molars. They
usually come through in
a particular order and
the lower teeth tend to
break through before the
corresponding upper
teeth. The first tooth to
appear is usually a lower
central incisor, at be-
tween five and seven
months, though in some
children it erupts at three
months and in others
not until a year. Next
come the upper central
incisors (6-8 months),
the lower lateral incisors
(7-10 months), the upper lateral incisors
(8-11 months), the
canines (16-20 months),
the first molars (18-24
months) and the second
molars (20-30 months).
At the end of her first
year, the average child
has six to eight teeth.

There are thirty-two teeth
in the second set and these
lie in the jaws beneath the
gums waiting to erupt. The
first through the gums are
the six-year-old or first
molars, and these appear
between six and seven
years. They grow next to
the second molars of the
first set so no first teeth
are distributed. These are
closely followed by the
lower central incisors
which push the central
incisors of the first set out
of the jaw as they ap-
proach the gum. A child
usually loses first teeth in
the order they will be
replaced by the permanent
set. The upper central
incisors and lower lateral
incisors (7-8 years) are
followed by the upper
lateral incisors (8-9 years),
the first premolars (10-12
years), the second
premolars (10-13 years),
the upper canines (11-12
years), the second molars
(11-13 years), the lower
canines (12-13 years) and
the third molars, or
wisdom teeth, in the late
teens or twenties.

[card for the letter «U»]

Uu

UNSNA

The United Nations System of National
Accounts is a system
of economic records
advocated by the
UN for its member
countries.

Traditionally referred
to as “dancemasters”
because of their
distinctive shape,
these inside/outside
calipers-much like
the UNSNA-permit
direct transfer of an
interior measure-
ment to an exter-
ior space.

If people contributing to
the well-being of their
countries by doing
household and child-
rearing work were all
recorded in the UNSNA,
then they would also
be visible in the
distribution of benefit.

[ card for the letter «V»]

Vv

Vote

Ballot

Universal Health Care

Pensions for Homemakers

National Day-care Strategy

Foreign Domestics Program consistent with
Canada’s cultural multicultural policies

Enforcement of Employment
Standards Act for all workers

[card for the letter «W»]

Ww

WORK

Three of these Words belong together.
Which of these Words is not the same?

WORK WORK WAGE WORK
WORK WORK WORK WORE
WORE WARE WORE WORE
WAGE WARE WARE WARE
WAGE WAGE WAGE WORK

[card for the letters «X» and «Y»]

XxYy

XX₁ + XY₁ + xy₁ +xx₁ = family [1]
XX₂ + XY₂ + xy₂ + xx₂= family [2]

Problem:
XX, does the household work and
child-rearing of little xx₁, and xx₂ and
xy₁ and xy₂ from 9 a.m. to 9 p.m.

from Monday to Friday

For this work XX₁ is
paid $15,000 + expenses by XX₂
and $15,000 + expenses by XY₁
for a total income of $30,000 + expenses.

Why

can XY₂ deduct
$8000 from
XY₂’s taxable
income?

can’t XY₁ or XX₂
deduct $8,000
from their taxable
incomes?

is XX₁’s taxable
income before
deductions only
$15,000?

→ and why if XY₁ ceases to reside
with XX₁ and xx₁ and xy₁ does XY₁ no longer pay XX₁ $15,000
even though XX₁
continues to do the same work.

Why does XY₁ only
contribute towards
expenses for xx₁ and
xy₁? And why can XY₁
now deduct the total
paid for expenses from
XY₁’s taxable income.
And why must XX₁ add
an amount = (equal)

to XY₁’s deduction to
XX₁’s taxable income?

[ card for the letter «Z»]

Zz
Zeitgeist

Zeit/geist (tsīt), n. [G., from zeit, time and gesit, spirit.]
The spirit of the time; the moral and intellectual
trend of any age or period.

Of course it’s fun for you, being
Lion hunted. Of course you want to
Stay in the middle of it.

But it could be fun for you too
darling. Making new friends, meeting
Interesting people…

Darling, interesting people
don’t want to make friends
with housewives.

I wish you wouldn’t call yourself
a housewife, you’re so much
more than that!
So is every other
housewife.

Excerpt from the feature film “Please Don’t Eat The Daisies”
Screened at movie theatres when first released, now shown
on network television and available on home video.

©1960 Loew’s Inc. and Euterpe Inc.
©1987 Turner Entertainment Co. and Euterpe Inc.
© 1990 MGM/UA Home Video, Inc.

Text theme:

Realities and stereotypes of domestic and maternal labour; trivialized women’s labour; emotional realities of child rearing; questionning myths on motherhood

Artwork theme:

Realities and stereotypes of domestic and maternal labour; trivialized women’s labour; emotional realities of child rearing; questionning myths on motherhood

History

History:

Event: Exhibition Out of Place, organized by the Association for Noncommercial Culture July 1, 1992-June 30, 1993

Event date(s):

1993

Dimensions

Height:

0.21m

Width:

0.88m

Other information

Source:

8. Vancouver Association for Non Commercial Culture, centre d’artistes (1984-1998) (Fonds Vancouver Association for Non Commercial Culture fonds) en la possession de la Morris and Helen Belkin Art Gallery University of British Columbia Contact: Krisztina Laszlo , Archivist Address: University of British Columbia, 1825 Main Mall, Vancouver, B.C. V6T 1Z2 Phone: (604) 822-0001 Fax: (604) 822-6689 EMail: klaszlok@interchange.ubc.ca

Document(s):

Out of Place

Letters from Home

Canboulay

Marie-Claude Langevin — Wed, 01 Apr 2009 04:06:10 +0000

Artwork identification

Artwork creator(s):

Mollineaux, Melinda

Artwork creator(s):

Mollineaux, Melinda

Text author(s):

Mollineaux, Melinda

Text author(s):

Mollineaux, Melinda

Installation year:

1992

Remarks on location:

Installed in brochure racks on the British Columbia Ferries, at the Vancouver Tourist Information Centre and at various other locations

Artwork description

Source: Larson, Jacqueline; Monika Kin Gagnon (1993). Out of Place, Vancouver: Association for Noncommercial Culture

Description:

Flyers placed in various displays

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[recto]

can·bou·lay

(kan-boo’lă) n. [Patois<Fr.cannes brulées.]

1. Orig. a celebration of freedom from slavery.

2. A traditional nighttime procession with

Costumes, drumming&music to announce the

Beginning of Carribbean Carnival Masquerade.

Var. Mardi Gras, Caribana, Caripeg, Carifest,

Cariwest.

---

At the time carnival flourished the

elite of society was masked or

disguised. The favorite costume of

the ladies was the graceful and costly

'mulatress' of the period, while

gentlemen adopted that of the garden

Negro, in Creole, negue jardin, or

black field slave. At carnival time

our mothers and grandmothers have

even danced the belair to the African

drum whose sound did not offend

their dainty ears, and our fathers and

grandfathers danced the bamboula,

the ghouba and the calinda…Sometimes

also the negue jardin united in bands would

proceed on evenings to the cannes brulees.

Their splendid march with torches through

the town streets imitated what actually took

place on the estates when a plantation was

on fire. In such cases labourers on the

neighbouring estates were conducted there

alternately, day and night, to assist in

grinding the burned canes before they went

sour, thus the cannes brulees.

---

Paris · Orleans · Santo Domingo · Port-Au-Prince

· Pointe-à-Pitre · Soufrière · Roseau · Fort-de-France

Castries · Kingstown · Bridgetown · Scarborough

Port-of-Spain · Kingston · Havana · Rio de Janiero

New Orleans · London · New York · Toronto

Winnipeg · Calgary · Edmonton · Vancouver

[verso]

Canboulay : We dance to the drum whose sound does not offend our dainty ears. Melinda Mollineaux, 1992.

OUT OF

PLACE

A project with the Vancouver Association for Non Commercial Culture.

Thanks to Harry and to Bill Boutin at Key Colour Photo Lab Ltd.

Text theme:

Etymological definition of Canboulay; encyclopaedic or anthropological account of Canboulay; tourist destinations here and abroad

Artwork theme:

Blurring of categories between exotic and domestic and between home and other; ethnocentricism, passivity and commodification of tourism, recreation and leisure.

History

History:

Exhibition Out of Place, organized by the Association for Noncommercial Culture

Event date(s):

1992

Dimensions

Height:

0.22m

Width:

0.1m

Other information

Note(s):

In the text, special characters, which are present in the work in postcard form, are omitted, namely phonetic information on the first letter "a" and on the two "o"s in "(kan-boo 'la)" (second story of the text).

Artist's biography:

Mollineaux, Melinda

Source:

1. Melinda Mollineaux est représentée par la Galerie la petite mort Gallery 306 Cumberland, Ottawa, ON, K1N 7H9 (613)860-1555 Email : guy@lapetitemortgallery.com

Document(s):

Out of Place

Bystander

Marie-Claude Langevin — Thu, 19 Feb 2009 03:39:13 +0000

Artwork identification

Artwork creator(s):

Peacock, Jan

Artwork creator(s):

Peacock, Jan

Text author(s):

Peacock, Jan

Text author(s):

Peacock, Jan

Installation year:

2009

Artwork description

Source: The Prairie Art Gallery (2009). Here Now or Nowhere - Exhibition. (http://www.herenowornowhere.com/exhibition.html)

Description:

A love poem is scattered across paper clippings and, from them, a gift is made by hand. Bystander involves a "performance for scanner", presented in three chapters on video monitors – with a charming epilogue.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

We Glimpse Your Perfect Words

Text theme:

Love poem

History

History:

Here Now or Nowhere is an exhibition of temporary public artworks presented throughout downtown Grande Prairie during the month of January 2009. The exhibition is designed to animate and engage the city through the presentation of a number of free events, objects and experiences. Based on the structure of last year’s exhibition – entitled Artery – which focused on video projections in various storefronts, this year’s iteration has been expanded to include an interactive audio work, a series of newspaper projects in the Herald Tribune every Friday, a free comic book and, for 3 nights only, a special installation in which a residential house glows with the light of 50 televisions.

Event date(s):

2009

Dimensions

Other information

Source:

The Prairie Art Gallery (780) 532-8111 www.prairiegallery.com Robert Steven, Executive Director/Curator rsteven@prairiegallery.com

Document(s):

Here Now or Nowhere: Northern Lights

Here Now or Nowhere - Exhibition

Prairie Artsters: Where’s the Here?

Courage & Hope

Marie-Claude Langevin — Thu, 18 Dec 2008 03:12:56 +0000

Artwork identification

Artwork creator(s):

LeBlanc, Valérie

Artwork creator(s):

LeBlanc, Valérie

Text author(s):

LeBlanc, Valérie

Text author(s):

LeBlanc, Valérie

Installation year:

1998

Artwork description

Source: LeBlanc, Valerie (2008). Courage & Hope / Courage et Espoir. (http://valerie.basicbruegel.com/courage-hope-1998/)

Source: LeBlanc, Valerie (2008). Courage & Hope / Courage et Espoir. (http://www.purplefireworks.com/courage.htm)

Description:

The sculpture consists of a golden ladder set against a glass wall. At the base of the ladder are the names of the fourteen women who died in the École Polytechnique tragedy. Carved on the glass are dreams and aspirations of girls and women.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

On the base:

Genevieve Bergeron, 21. - Helene Colgan, 23. - Nathalie Croteau, 23. - Barbara Daigneault, 22. - Anne-Marie Edward, 21. - Maud Haviernick, 29. - Barbara Maria Klueznick, 31. - Maryse LeClair, 23. - Annie St-Arneault, 23. - Annie Turcotte, 21. - Anne-Marie Lemay, 27. - Michelle Richard, 21. - Maryse Laganière, 25. - Sonia Pelletier, 28.

On the glass:

Phrases gathered from women expressing their dream and aspirations for the future.

"To be appreciated as a woman and respected as an engineer" "I want to be an RCMP officer and a loving mother".

Text theme:

Hope

Artwork theme:

The sculpture was designed to commemorate the loss of the fourteen young women killed in an act of violence against women at the École Polytechnique in Montreal

History

History:

Commemorative artwork on the massacre at the École Polytechnique in Montreal, where a killer executed 14 women.

Dimensions

Other information

Artist's biography:

Valérie LeBlanc cv

Owner(s):

City of Moncton

Document(s):

Courage & Hope / Courage et Espoir

Hope springs from tragedy

Untitled

Marie-Claude Langevin — Sat, 29 Nov 2008 17:28:28 +0000

Artwork identification

Artwork creator(s):

Whiten, Colette

Artwork creator(s):

Whiten, Colette

Text author(s):

Whiten, Colette

Text author(s):

Whiten, Colette

Installation year:

1976

Remarks on location:

Ground floor

Artwork description

Source: Photo provided by Marc André Brouillette

Source: Photo provided by Marc André Brouillettee

Source: Photo provided by Marc André Brouillette

Source: Photo provided by Marc André Brouillettee

Source: Photo provided by Marc André Brouillette

Source: Photo provided by Marc André Brouillettee

Source: Boyle, William J. S., Jeanne Parkin (1982). Art in Architecture. Toronto: Visual Arts Ontario

Description:

Silhouettes of human figures in wood or concrete. Engraved thoughts appear on the silhouettes and photographs, on the walls.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Al speirs

Freedom. I live my life,
to let
others live
theirs
as we wish

I live at
Sheppard and
Addington.
I have lived
there since
my daughter
nancy was 2
years old

I am a
very important
person

I be
getting
married
in two
weeks so
still be
the
last
Alice
I'll be
down
as Jile
Grant

Dr. I. Reid
Divine is the
work to
relieve
pain...

Atlas is shrugging

Text theme:

Personal thought

Dimensions

Other information

Artist's biography:

Whiten, Colette

Architect(s):

Shore Tilbe Henschel Irwin Peters;Dubois and Associates

Source:

Boyle, William J.S. et Jeanne Parkin, Art in Architecture. Art for the Built Environment in the Province of Ontario, Toronto: Visual Arts Ontario, 1982, 276 p.

Document(s):

Art in Architecture. Art for the Built Environment in the Province of Ontario

Persona: the sculpture of Colette Whiten

The Great Canadian Equalizer

Marie-Claude Langevin — Sat, 29 Nov 2008 16:54:57 +0000

Artwork identification

Artwork creator(s):

Grey, Jerry

Artwork creator(s):

Grey, Jerry

Text author(s):

Grey, Jerry; Dictionary

Text author(s):

Grey, Jerry

Dictionnaire / Dictionary

Installation year:

1978

Remarks on location:

Corresponds to Transitway stop "Tunney's Pasture" of OC Transport.

Artwork description

Source: Jerry Grey (2007). The Great Canadian Equalizer. (http://www.jerrygrey.ca/commissions-gce.php)

Description:

The concept of this demographic/historical mural grew out of the failure of the 1971 Victoria conference over constitutional reform and the ensuing discord between the provinces and federal government over the division of powers. It is an artist's vision or solution to power sharing in Canada. In the mural, every region gets equal time and space. Canada is divided into 15 geographical regions. Each region comprises four parts: dictionary definition; land area, represented by red in proportion to the largest area, Quebec; population, represented in black (largest -- Ontario); and a lineal map of region (Newfoundland and Labrador are separated for aesthetic, not political reasons). The mural is flanked by an explanatory text, biographical information, and numbered identification panels.

Source : Jerry Grey (2008). Commissions: Public Art. The Great Canadian Equalizer

http://www.jerrygrey.ca/commissions-gce.php

Mention(s) légale(s) des illustrations:

Photo credits:

Text theme:

Demography and provincial history

Artwork theme:

Discord between the provinces and federal government over the division of powers.

History

History:

1.Commissioned by Department Public Works Canada, Capital Region. 2.Jean Talon Building, Statistics Canada, Tunney's Pasture, Ottawa, since 1978.

Dimensions

Other information

Note(s):

Commissioned by Department Public Works Canada, Capital Region; Jim Strutt, Architect, 1975-1979

Artist's biography:

Jerry Grey

Owner(s):

Collection of Public Works and Government Services Canada

Architect(s):

Jim Strutt

Source:

1. Jerry GreyArtistejerry.grey@sympatico.ca

Document(s):

Art in Architecture. Art for the Built Environment in the Province of Ontario

The Great Canadian Equalizer - Commissions. Public Art.

Fable VII

Marie-Claude Langevin — Fri, 28 Nov 2008 01:17:53 +0000

Artwork identification

Artwork creator(s):

Gould, Trevor

Artwork creator(s):

Gould, Trevor

Text author(s):

Author Unknown

Text author(s):

Auteur Inconnu / Unknown Author

Installation year:

1989

Remarks on location:

The four parts of the artwork are installed in the courtyard and the rotunda.

Artwork description

Source: Ottawa (2008). Trevor Gould. (http://www.ottawa.ca/residents/arts/public_art/city_hall_tour/trevor_gould_fr.html)

Description:

Fable VII consists of three parts: the indoor writing, a bronze component in the outdoor pool and the lion in its frame.

The work establishes a reciprocal action between interior and exterior space, creating a dialogue between the architecture of the surrounding buildings. While the bronze frame evokes a sundial, the component located in the pool constantly animates the surroundings, offering notions of constant renewal through sunlight and directional alignment.

To complete Fable VII, local artist Philip Fry created a landscaped garden with hybrid lowbrush blueberries, local pink spirea and granite stones, arranged so as to evoke the shape of animals at rest.

Mention(s) légale(s) des illustrations:

Text of the artwork:

EX ORIENTE LUX

"FABRIQUÉ AUX AMÉRIQUES" 1989

Text theme:

Artwork theme:

The lion, monarchist power, African and American origins and identity of the artist

History

History:

Installation in 1989.

Dimensions

Height:

4.26m

Other information

Note(s):

The artist was inspired by the 7th La Fontaine Fable (Penguin publication), in which the lion king is the main character. Philip Fry said that the number attributed to this fable varies: the Jean-Pierre Collinet French publication, La Cour du lion, is numbered Fable VI, Book VII. (Fry, Philip, 1993. Trevor Gould. Inventing a Homeland, Ottawa: The Gallery at Arts Court / La Galerie à la Cour des Arts, p. 55).

Translation of the writing ("Ex Oriente Lux"): La lumière vient de l'Est / Out of the East comes light.

The writing "Ex Oriente Lux" is written on a window. The phrase "MADE IN THE AMERICAS 1989" is written on the side of the bronze lion.

The left side of the lion is made of bronze, the right side, of aluminum. The two sculptural elements (frame near the lion and the one in the pool) are made of bronze.

The artist expected visitors to discover the indoor pool, in the main hall, and to find the phrase "Ex Oriente Lux" (Out of the East comes Light) on the stained glass. From that point, the outdoor pool enters the field of vision, followed by the lion and the frame.

Artist's biography:

Trevor Peter

Owner(s):

City of Ottawa

Source:

1. Trevor Peter Gould artiste trevorg@can.rogers.com

Document(s):

Trevor Gould. Inventing a Homeland

Ottawa Public Art

Selections From The Synopsis Of Categories

Marie-Claude Langevin — Tue, 30 Sep 2008 14:05:41 +0000

Artwork identification

Artwork creator(s):

Lexier, Micah

Artwork creator(s):

Lexier, Micah

Text author(s):

Lexier, Micah

Text author(s):

Lexier, Micah

Remarks on location:

West lobby located on the ground floor, West side

Artwork description

Source: Photo provided by Marc André Brouillette

Description:

Consists of 25 custom-made aluminum ladders of various heights. The rungs of each ladder consist of different words that have been waterjet-cut out of a bar of aluminum. Each of the 350 separate rungs is a word selected from the "Synopsis of Categories" section of Roget's Thesaurus. The work merges an image of physical construction (ladders) with the elements of intellectual construction (words).

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Examples:

CONVENTION

DISCLOSURE

COMFORT

JUDGEMENT

ELECTRONICS

FACILITY

ENCLOSURE

NECESSITY

ANXIETY

TRANSPARENCY

ASCENT

REMAINDER

IMPORTANCE

BOND

INTRUSION

LEARNING

CRY

LUBRICANTS

SUPPORT

AGITATION

FRAGRANCE

COVERING

MUSIC

INTENTION

PERIOD

CHARGE

DENSITY

EVOLUTION

PERSEVERANCE

RIDICULE

TASTE

SPIRITS

DEFIANCE

Text theme:

"Synopsis of Categories" in Roget, Peter Mark, (1779-1869), Thesaurus of English words and phrases, New York: St. Martin's Press, 1964, 1309 p.

Artwork theme:

Concerns and policy, manual and intellectual work involved in public service, Metropolitan Toronto

History

History:

Public Order, Metropolitan Toronto Metro Hall, Toronto, Ontario 1992

Dimensions

Other information

Note(s):

350 words

Artwork is in good condition and can be easily viewed.

Commissioned by Metropolitan Toronto for Metro Hall

Budget: $240,000

Artist's biography:

Micah Lexier

Owner(s):

City of Toronto

Source:

1.Micah Lexier 464 W23rd St. Apt.#5F New York, NY USA 10011 Phone (212) 243-4028, Fax (212) 243-4032 mail@micahlexier.com 2.Sandra Lougheed Conservator Outdoor Public Art City of Toronto Culture Division 55 John Street 24th floor, Metro Hall Toronto, Ontario M5V 3C6 t -416-392-4218 f- 416- 392-3355

Document(s):

The Art of Bricks and Mortar

A Project for Surrey and Other Site-Specific Works

Sculptural Gems Amid a Visual Calamity

Micah Lexier, A Growing Presence in Toronto

Sculptor wants to use your name

Sculpture/Toronto: An Illustrated Guide to Toronto's Historic and Contemporary Sculpture with Area Maps

Lexier scores with monumental Hall of Names

Passages

Marie-Claude Langevin — Tue, 30 Sep 2008 03:06:08 +0000

Artwork identification

Artwork creator(s):

Jurakic, Ivan

Artwork creator(s):

Jurakic, Ivan

Text author(s):

Jurakic, Ivan

Text author(s):

Jurakic, Ivan

Collaborator(s):

Signatures provided by Angelucci Sara; Bendtsen, Tom; Bos, Dianne; Chen, Millie; Daetwyler, Ernest; de Sousa, Marie; Detwiler, Susan; Esfahani, Soheila; Genenescu, Adina; Ha, Insoon; Jurakic, Zlata; Kanbara, Bryce; Lubienski, Katherine; Lukasik-Foss, Tor; Perunovich Vessna; Rae, Laura; Bernard Singer, Christian; Wlasenko, Olexander

Installation year:

2005

Artwork description

Source: Photo provided by Ivan Jurakic

Description:

Passages translates "Never work", a slogan attributed to the Situationist International, into 18 different languages. Original handwritten translations were solicited from fellow artists and colleagues who were either first generation Canadian or from immigrant backgrounds. The translations often required participants to ask assistance from a parent or close relative. The signatures were digitally processed and lasercut in white signage vinyl and mounted outdoors onto the many windows and glass barriers of the second and third levels of the Kitchener City Hall. These signatures marked the site with a form of aesthetic graffiti that suggested freeform cultural discourse and social drift.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Chinese -

Croatian

Nikad raditi

Dutch

Nooit werken

Danish

Arbejd aldrig

English

Never Work

Farsi -

Finnish

Alla tee tyota

French

Ne travaillez jamais

German

Arbeite nei

Italian

Non lavorari mai

Japanese –

Korean –

Norwegian

Virker aldri

Polish

Nigdy nie pracuje

Portugese

Nunca se trabalka

Romanian

Niciodata lucrat

Serbian

Nikad ne radi

Spanish

Nunca trabajar

Ukranian –

Text theme:

Local blue collar history

Dimensions

Other information

Note(s):

English expression: Never work

Vinyl text, in 18 translations, handwritten by colleagues and peers of the artist.

Artist's biography:

TH&B collective

Source:

Ivan Jurakic 23 Murray Street West Hamilton, ON L8L 1B1 905.523.8865 ivanjurakic@sympatico.ca

Document(s):

CAFKA.05

Volatiles

Marie-Claude Langevin — Tue, 17 Jun 2008 03:33:22 +0000

Artwork identification

Artwork creator(s):

Goulet, Rose-Marie E.

Artwork creator(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Installation year:

1997

Remarks on location:

Above the water basin

Artwork description

Source: Goulet, Rose-Marie E. (2005). Projets, archives et documents. Montréal: Centre de diffusion 3D

Description:

The artwork consists of word structures hanging above the water basin. These colourful structures feature cut-outs. The words appear to form birds.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

The words are borrowed from the taxonomy of waterfowl.

Artwork theme:

Wildlife

Dimensions

Other information

Artist's biography:

Rose-Marie E. Goulet

Document(s):

Projets, archives et documents

Monument pour A

Marie-Claude Langevin — Tue, 17 Jun 2008 02:50:05 +0000

Artwork identification

Artwork creator(s):

Goulet, Rose-Marie E.

Artwork creator(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Installation year:

1997

Remarks on location:

In the lobby

Artwork description

Source: Goulet, Rose-Marie E. (2005). Projets, archives et documents. Montréal: Centre de diffusion 3D

Description:

The ceiling and the upper part of the walls are painted in shades of blue. Perforated spheres that look like communication satellites stand out on this blue background. They are formed of acronyms of organizations and interest groups that have been cut out in an intertwined ribbon. On the ground, a series of inscriptions have been etched into the strips.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Text incomplete)

Droits

Énergies

Loisir

Ozone

Sida

Financement

Formation

Santé

Privatisation

Mondialisation

Text theme:

Current issues in our society

Dimensions

Other information

Artist's biography:

Rose-Marie E. Goulet

Architect(s):

Hudon et Julien / Gauthier, Guité, roy / Belzile, Gallienne, martin et moisan, architectes en consortium

Document(s):

Projets, archives et documents

50 ans d'intégration à l'architecture

Les espaces symboliques de Rose-Marie E. Goulet

L’art du congrès. Les œuvres de Lucienne Cornet et Rose-Marie E. Goulet ont été inaugurées en grande pompe au Centre des Congrès de Québec

Les beaux rêves

Marie-Claude Langevin — Tue, 17 Jun 2008 02:39:12 +0000

Artwork identification

Artwork creator(s):

Goulet, Rose-Marie E.; Guy, Suzanne; Asselin, Francine

Artwork creator(s):

Goulet, Rose-Marie E.

Guy, Suzanne

Asselin, Francine

Text author(s):

Goulet, Rose-Marie E.; Guy, Suzanne; Asselin, Francine

Text author(s):

Goulet, Rose-Marie E.

Guy, Suzanne

Asselin, Francine

Installation year:

1978

Artwork description

Description:

A text for children, translated into Braille, is integrated into a mural.

Text of the artwork:

Je pensais connaître une autre journée ordinaire.

Ne me trouvant ni dans un grenier, ni dans une cave, je m’étonnerai d’être envahi par mille trésors. Je voulais tout toucher lentement et doucement de peur que ne s’envole la magie.
Décidant d’ouvrir la porte, je cherchai une clé.
Je descendis, descendis au cœur de la terre.
Tout près de ma tête, j’avançai ma main vers une douce pression de chaleur.
Puis, je me dirigeai vers les cinq portes de sons célestes.
… et plus bas… je surpris des gens qui s’aimaient.
Le sommeil m’envahissait peu à peu et je me berçai au son d’une berceuse
dehors, un pic-bois me réveilla.
Je me relevai, pris entre la captivité et la douleur.
Oh ! On dirait mon oreiller et toutes les billes que j’avais perdues.
À qui appartient ce jardin si étrange ?

Le temps me presse et me décompose.
Et si le théâtre et mon voyage ne tenaient qu’un fil ?
Au-dessus de ma tête se ballottent un nuage de pluis et,
du haut, un nuage de glace.
Après la pluie, quel plaisir de respirer des odeurs fraîches !
Un petit peu plus ou un petit peu moins.
Je me sens attiré.
C’est si calme et si frais ici.
Je joue d’un do à l’autre.
Nous sommes en liberté… qui sommes-nous ?

Des mains, j’effleure nos corps.
Je fais glisser l’archet sur les cordes et j’entends les sons d’une fête qui commence.

Si c’est un rêve… laissez-moi rêver encore…

Dimensions

Other information

Artist's biography:

Rose-Marie E. Goulet