Présences du littéraire dans l’espace public canadien - Teaching and research

Naissance, envol et vie... un cycle

Marie-Claude Langevin — Thu, 29 Jul 2010 13:17:13 +0000

Artwork identification

Alternate title:

Pour la suite du monde

Artwork creator(s):

Leblanc, Pierre

Artwork creator(s):

Leblanc, Pierre

Text author(s):

Einstein, Albert

Text author(s):

Einstein, Albert

Installation year:

2009

Artwork description

Source: Page Facebook of Pierre Leblanc

Description:

The artwork is divided into two locations. The outdoor site consists of rectangular shapes displaying various signs (tree, samara, quote). The indoor site consists of representations of trees and roots on the walls. The phrase Pour la suite du monde appears on these representations.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

La connaissance est limitée, tandis que l'imagination englobe le monde entier, stimule le progrès, suscite l'évolution.

Pour la suite du monde

Text theme:

Imagination is more important than knowledge

Artwork theme:

Life, Birth

The outdoor site is based on the Carnac stone alignments (Brittany) and on megaliths.

Dimensions

Height:

5.6m

Width:

15.2m

Depth:

12.1 m

Other information

Note(s):

"Comment parler de médecine et de santé, sans aborder au préalable la notion de naissance, car cet état premier est ici intimement lié au lieu. C'est donc en abordant cette facette propre à la vie que mon projet prend place." – Pierre Leblanc

Artist's biography:

Pierre Leblanc

Author's biography:

Albert Einstein

Owner(s):

Université Laval

Sous l'aile, le vent...

Marie-Claude Langevin — Mon, 14 Jun 2010 14:00:27 +0000

Artwork identification

Alternate title:

Doux (12) essai sur le vent

Artwork creator(s):

Forget, Normand

Artwork creator(s):

Forget, Normand

Text author(s):

Forget, Normand

Text author(s):

Forget, Normand

Installation year:

1997

Remarks on location:

The installation is located on the second floor of the establishment, in the corridors of the administrative section.

Artwork description

Source: Centre d'Exposition Lanaudière (1998). L’autobus du 1%. Charlemagne: Centre d'Exposition Lanaudière

Description:

Pictorial and sculptural installation consisting in three elements: a sculpture in the form of a stylized angel wing, a "wing" made up of ten panels of painted aluminium and a painting on a sheet of aluminium.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Chinook, mistral, sirocco, alizé, simoun, bourrasque, cyclone
Miroir
N E
Souffle
Liberté

Text theme:

The wind, an imaginary world

Artwork theme:

A journey; offers a cognitive space

Dimensions

Other information

Owner(s):

Elementary school aux Quatre-Vents

Document(s):

Les œuvres du 1%. Les écoles (2e partie)

L’autobus du 1%

Poème illustré en boîte

Marie-Claude Langevin — Mon, 07 Jun 2010 14:05:18 +0000

Artwork identification

Artwork creator(s):

Leblanc, Pierre

Artwork creator(s):

Leblanc, Pierre

Text author(s):

Carême, Maurice

Text author(s):

Carême, Maurice

Installation year:

1986

Artwork description

Source: Centre d'Exposition Lanaudière (1998). L’autobus du 1%. Charlemagne: Centre d'Exposition Lanaudière

Description:

The installation consists of two gates that separate the main corridor from the one leading to the school yard. The gates are mounted on casters to allow them to close.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Si j'avais un [symbole d'avion] / Je n'aurais plus besoin [symbole d'ailes] / Je jouerais à saut' [symbole de mouton] / Au milieu des [photographie d'oiseaux]

Si j'avais un [symbole d'avion] / Je m'en irais jusqu'en [symbole de la calligraphie chinoise] / Et les [photographie du mot "les"] filles du Japon / Seraient alors mes voisines [photographie du mot "voisines"]

Si j'avais un [symbole d'avion] / Je partirais voir de [photographie du mot "de"] près / Les hauts volcans, les [symbole de lions] / Les [symbole d'une pagode] du Tibet

Si j'avais un [symbole d'avion] / Je ferai le tour du [symbole d'un globe terrestre] / En tirant les [photographie d'une chevelure] blonds / Des [image d'un astre] vagabondes

Text theme:

Nursery rhyme

Artwork theme:

Elements that populate the everyday life of children

Dimensions

Height:

2.68m

Width:

4.95m

Depth:

0.16 m

Other information

Note(s):

Poem by Maurice Carême, a French teacher in Grade 4, L'Avion.

Artist's biography:

Pierre Leblanc

Owner(s):

École primaire des Hautbois

Des pas sur terre

Marie-Claude Langevin — Sun, 06 Jun 2010 01:13:01 +0000

Artwork identification

Artwork creator(s):

Forget, Normand

Artwork creator(s):

Forget, Normand

Text author(s):

Forget, Normand

Text author(s):

Forget, Normand

Installation year:

2000

Remarks on location:

On the ground and on the center of the wall

Artwork description

Source: Centre d'Exposition Lanaudière (1998). L’autobus du 1%. Charlemagne: Centre d'Exposition Lanaudière

Description:

A planisphere is cast on the ground at the entrance of the school. This map of Earth is coupled with excerpts from the Charter of Rights and Freedoms. A block of letters is embedded in the wall. At first, it looks like an abstract mosaic but then words reveal themselves in the manner of a crisscross word puzzle.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

On the ground:

LE DROIT.../ AU RESPECT / AU CHAGRIN / À L'ÉGALITÉ / À L'AMOUR / D'ÊTRE DÉFENDU / LE DROIT / À L'ÉDUCATION / DE JOUER / D'ÊTRE NOURRI / D'AVOIR UN NOM / À L'ERREUR

On the wall:

CHIFFONNIER
ARUENIMNTRU
NCIREUREIEE
TRTNERUISIL
OUAEBUECSTL
NENIOEYILUI
NDNURANROA
INEREVLAAJR
EEUAIACNIR
RVRGRLBEDBE
EUOITSEMODF

Text theme:

Rights and freedoms, trades that children still practice in some parts of the world

Artwork theme:

Respect for the child, the evolution of humanity

History

History:

Celebrates the 10th anniversary of the Children's Charter of Rights and Freedoms

Dimensions

Height:

2.13m

Other information

Note(s):

The Earth map was inspired by a map drawn by Buckminster Fuller in 1927. It presents an uninterrupted view of Earth.

The mural is made of stones from different regions of the globe. The ensemble as a whole evokes a crisscross word puzzle. It contains fifteen decipherable words, written in every direction. The words are trades that children still practice today somewhere in the world.

Owner(s):

École primaire Des Grands Chemins

Angles d'incidence

Marie-Claude Langevin — Sat, 05 Jun 2010 21:30:53 +0000

Artwork identification

Artwork creator(s):

Cotton, Claudine

Artwork creator(s):

Cotton, Claudine

Text author(s):

Hopkins, Gerard Manley

Text author(s):

Hopkins, Gerard Manley

Installation year:

1998

Remarks on location:

Ground floor and lobby

Artwork description

Source: MCCCQ (1999). Intégration des arts à l’architecture et à l’environnement. Bilan 1998-1999. Québec: MCCCQ

Source : Photo transmited by Nathalie Villeneuve

Source: MCCCQ (1999). Intégration des arts à l’architecture et à l’environnement. Bilan 1998-1999. Québec: MCCCQ

Source : Photo transmited by Nathalie Villeneuve

Description:

The artwork consists of a sculptural installation with one part located inside the building and another part, outside.

Inside, a large white panel is installed on a black painted wall. It creates a triangle on the wall, as if the wall was being toppled over by the metallic lever installed on the floor.

The outdoor unit, which consists of a triangular metallic sculpture, is installed in continuity with the white panel.

On the ground, the lever consists of a metallic bar; its fulcrum is a bronze arm. On the black face, there are 20 small embossed trumpets and 5 embossed folded arms. On the edge of the white panel, there is a strip of cloth on which an inscription is written. In the window, two metal-framed, quartered glass circles are installed. In the upper one, there are metallic filaments; in the lower one, honey that has crystallized over time. There are also 57 embossed glass mouth shapes scattered all over the window. Lastly, on the ground, there is another glass quartered circle, this one the colour of honey, which extends all the way to the elevator

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

LE CERVEAU A SES MONTAGNES, SES FALAISES VERTIGINEUSES QUE NUL N'A JAMAIS TOTALEMENT SONDÉES

Text theme:

Committed thinking as a driving force

Artwork theme:

Enabling knowledge and the energy of committed thinking

The importance of knowing how to enable knowledge and thought processes, as tangible sources of energy

Dimensions

Height:

Width:

Other information

Note(s):

Activated by the lever, in which drops of sweat are enclosed, an imposing section of wall is toppled over and propelled outside.

On the plate:

Angles d'incidence propose la pensée engagée comme essence primordiale au
fonctionnement du lieu et lui accorde des positions stratégiques. Ainsi
cette force agissante, poétisée par la présence de "coudées franches" et de sueur de
penseurs, devient, à l'image d'un levier, capable de soulever les structures et de
les maintenir dans une position d'ouverture.
Cet exercice perpétuel qui invite à la construction et à l'audace, nous engage.

Author's biography:

Gerard Manley Hopkins

Architect(s):

Brassard, André

Document(s):

Intégration des arts à l’architecture et à l’environnement. Bilan 1998-1999

Convergence

Marie-Claude Langevin — Sat, 05 Jun 2010 17:58:49 +0000

Artwork identification

Artwork creator(s):

Leblanc, Pierre

Artwork creator(s):

Leblanc, Pierre

Text author(s):

Einstein, Albert

Text author(s):

Einstein, Albert

Installation year:

2007

Remarks on location:

Near the entrance and the student parking lot

Artwork description

Source: MCCCQ (2010). Fiches d'inventaire. Québec: MCCCQ

Description:

The artwork consists of two bas-reliefs and a sculpture mounted directly onto a concrete wall. On the narrow side of the wall, the literal bas-relief appears vertically, offering an Einstein quote. The other bas-relief consists of a spiral, displayed on the wide side of the wall. The sculpture, which represents a sun, a moon and a metal structure, is installed above that bas-relief, on top of the wall.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

La connaissance est limitée, tandis que l'imagination englobe le monde entier, stimule le progrès, suscite l'évolution. Albert Einstein.

Text theme:

Imagination is more important than knowledge

Artwork theme:

The convergence of signs and, consequently, of the three components of the CFP des Moulins, i.e. the place, its teachings and its students.

Dimensions

Other information

Note(s):

The oven represents both the place (i.e. the center) as the crucible and its teachings, as illustrated by the fire and flames.

An ancient sign borrowed from prehistory, the spiral extends into an arrow. The ascending movement of this arrow highlights the impact of the encounter with the other elements, thus examplifying the convergence.

Artist's biography:

Pierre Leblanc

Author's biography:

Albert Einstein

Owner(s):

Centre de formation professionnelle des Moulins

Source:

MCCCQ

I am still learning

Marie-Claude Langevin — Wed, 26 May 2010 20:49:02 +0000

Artwork identification

Artwork creator(s):

Valentine, Frederick

Artwork creator(s):

Valentine, Frederick

Text author(s):

de Goya, Francisco

Text author(s):

Goya, Francisco

Installation year:

2003

Artwork description

Source: University of Lethbrige (2009). University of Lethbrige. (http://www.uleth.ca/)

Description:

Plate placed at the entrance of the library. The text appears in Latin, Spanish, Blackfoot (First Nation), French and English.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Disco adhuc

Aun aprendo

Ni taa Ka Kis To Toosi

J'apprends encore

I am still learning

Text theme:

Knowledge

Artwork theme:

Knowledge, education, learning

History

History:

Cindy Yagos, an administrative assistant in the Library, won the cornerstone quotation contest in September 2001.

Dimensions

Other information

Artist's biography:

Frederick Valentine

Author's biography:

Francisco de Goya

Owner(s):

University of Lethbridge

Architect(s):

Frederick Valentine

Espace René-Richard

Marie-Claude Langevin — Wed, 20 Jan 2010 14:43:26 +0000

Artwork identification

Artwork creator(s):

Forand, Annie

Artwork creator(s):

Forand, Annie

Text author(s):

Richard, René

Text author(s):

Richard, René

Installation year:

1998

Remarks on location:

In the centre of the Royal Bank of Canada Lobby, in the J.-A-DeSève pavillion.

Artwork description

Source: U. Laval (2008) L'art public sur le campus de l'Université Laval. Québec: Université Laval. (http://www.art.ulaval.ca/)

Description:

The structure is a reinterpretation of painter René Richard's boat. Quotes from the artist are engraved on the rear of the structure, in the upper part. Five paintings by the artist are also on display in glass panels hung on the bottom front of the structure.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Inscription 1:

Il arrivait que je ne pouvais plus tenir en place; alors je saisissais mon canot et je suivais les bords des eaux pour ne revenir que quelques jours plus tard.

Inscription 2:

Dans ce décor d'une féérie indescriptible se dressaient des grands troncs d'arbres jaunes comme de l'or, parmi des violets et des rouges.

R. Richard, Ma vie passée.

Text theme:

Tribute to René Richard

Artwork theme:

This artwork represents what was at the heart of the artist's life and work: the forest, water, freedom, travel and the Great Northern Quebec landscape.

Dimensions

Other information

Note(s):

Competition (launched 1996) for students attending the École d'architecture (Faculté d'architecture et d'aménagement, Université Laval) who were registered with the studio of architectural composition.

Artist's biography:

René Richard

Owner(s):

University Laval

Document(s):

L'art public sur le campus de l'Université Laval.

Les sept étapes de la médecine

Marie-Claude Langevin — Mon, 18 Jan 2010 16:51:48 +0000

Artwork identification

Alternate title:

Les différentes phases de la médecine

Artwork creator(s):

Garant, André

Artwork creator(s):

Garant, André

Text author(s):

Garant, André

Text author(s):

Garant, André

Installation year:

1957

Remarks on location:

Text: On the splayings of the North and South abutments of the #1 portal to Pavillon Ferdinand-Vandry (façade).

Mosaic: On the tympanum of the #1 portal to Pavillon Ferdinand-Vandry (façade).

Artwork description

Source: U. Laval (2008) L'art public sur le campus de l'Université Laval. Québec: Université Laval. (http://www.art.ulaval.ca/)

Description:

The mosaic represents the evolution of medicine, from the origins to modern times, as an extension of its pursuit and application in hospitals, with reference to the theoretical and practical activities of the medical complex at Université Laval.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Inscription 1:

Par Apollon le médecin
et par Esculape, par Hygie
et Panacée, par tous les
dieux et déesses que je
fais mes juges, je jure
que je tiendrai mon
serment tant que jugement
et discernement seront
mon apanage: j'estimerai
à l'égal de mes parents
celui qui m'a enseigné
son art; il sera mon
associé dans la vie, et
s'il tombe dans le besoin,
je partagerai avec lui
mes moyens d'existence.
Je regarderai ses fils
comme mes frères et s'ils
désirent l'apprendre, je
leur enseignerai cet art
sans charges ou conditions.
J'instruirai par des
règles, par des entretiens
et tous les moyens
possibles, mes fils, les
fils de celui qui m'a
formé, et les disciples
qui se sont engagés
par serment et par
contrat à respecter les
lois de la médecine à
l'exclusion de toute autre
personne.
Je prescrirai, le régime
qui, d'après ma science
et ma raison, sert au
bénéfice des malades,
les garde du mal et
des choses nuisibles...

Inscription 2:

...À aucun ne donnerai-je une
drogue mortelle, même s'il
la demande, ou n'offrirai-je
un conseil dans ce sens.
À aucune femme, non plus, ne
donnerai-je un médicament
destructeur, mais, innocentes
et saintes, garderai-je ma
vie et ma profession.
Je n'opérerai personne de
la pierre m'effaçant devant
ceux qui ont l'habitude de
soigner cette maladie.
Dans quelque maison que
j'entre, ce sera pour le
bénéfice des malades.
Je m'abstiendrai de tout
mal volontaire, de toute
corruption, de toutes
relations interdites avec
les femmes, les affranchis
ou les esclaves.
Je garderai le silence sur
le secret des familles, et
sur toutes les choses que
je pourrai apprendre dans
l'exercice de ma profession,
les considérant indignes
d'être révélées.
Et maintenant, si
j'accomplis ce serment,
puissent les fruits de la
vie et de l'art m'être
dispensés, puisse-je être
honoré de tous les hommes,
de tous les temps, et
que le contraire arrive,
si je viole mon serment
et que je suis parjure.

Text theme:

The inscription shows the Hippocratic Oath. This is a text offering a moral or ethical framework for the practice of medicine.

Artwork theme:

Medicine

Dimensions

Height:

1.83m

Width:

17.68m

Other information

Artist's biography:

André Garant

Owner(s):

University Laval

Document(s):

L'art public sur le campus de l'Université Laval.

A mari usque ad mare

Marie-Claude Langevin — Mon, 18 Jan 2010 15:56:11 +0000

Artwork identification

Artwork creator(s):

Parent, Omer

Artwork creator(s):

Parent, Omer

Text author(s):

Canada's motto

Text author(s):

Devise du Canada / Canada's motto

Installation year:

1952

Remarks on location:

On the upper South wall of the #1 entrance hall to the Palasis-Prince pavillion

Artwork description

Source: U. Laval (2008) L'art public sur le campus de l'Université Laval. Québec: Université Laval. (http://www.art.ulaval.ca/)

Description:

The painting represents various commercial activities in Canada, from coast to coast: the fisheries of the Pacific, fruit crops, forestry, Native American art, hunting and the fur trade, the oil industry, livestock, agriculture, aviation, chemistry, mining, hydroelectricity, engineering and architecture, textiles and crafts, the maple syrup industry, vegetable crops, and the fisheries of the Atlantic. A maple leaf, the emblem of Canada, appears in the middle. It is overlayed with a scroll featuring the motto of Canada, and the winged helmet of Hermes, the Greek god of commerce and a symbol of invisibility, invulnerability and power.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

A mari usque ad mare

Text theme:

Motto of Canada

Artwork theme:

Canada

Dimensions

Height:

1.5m

Width:

Other information

Owner(s):

University Laval

Document(s):

L'art public sur le campus de l'Université Laval.

Double Blind

Marie-Claude Langevin — Mon, 09 Nov 2009 19:44:13 +0000

Artwork identification

Artwork creator(s):

Hirsch, Antonia (Katharina)

Artwork creator(s):

Hirsch, Antonia (Katharina)

Text author(s):

Hirsch, Antonia (Katharina)

Text author(s):

Hirsch, Antonia (Katharina)

Installation year:

2008

Remarks on location:

In the atrium of the North building on the Broadway Campus

Artwork description

Source : Antonia Hirsch (2009). Selected Projects. Double Blind. (http://antoniahirsch.com/projects/double-blind/)

Description:

Convex, mirrored acrylic domes lay on a concrete wall spanning four stories and spelling out a "Snellen eye chart"—that familiar series of letters that many of us recognize from routine eye exams—as enormous braille letters. It is an "eye chart for the blind". A plaque next to the sculpture explains in braille the concept behind the work.

Mention(s) légale(s) des illustrations:

Photo credits:

Text theme:

Snellen eye chart

Artwork theme:

Cultural exclusion of the blind; power associated with sight and surveillance

Dimensions

Height:

13.7m

Width:

4.5m

Depth:

5 m

Other information

Note(s):

Double Blind is a large-scale sculptural installation commissioned for the atrium of the new Vancouver Community College’s Broadway Campus building. Double Blind is accompanied by a T-shirt that is available at the VCC Broadway Campus Bookstore. The T-shirt echoes the installation’s oxymoronic premise: those who can see the work likely don’t read braille, and those who read braille probably cannot see the work. Double Blind was created as part of the City of Vancouver’s Public Art Program.

Artist's biography:

Antonia Hirsch

Document(s):

Antonia Hirsch : Anthropometrics/Double Blind

Untitled

Marie-Claude Langevin — Tue, 21 Jul 2009 16:14:13 +0000

Artwork identification

Artwork creator(s):

Aquino, Eduardo; Sloan, Johanne; Walter, Kathryn

Artwork creator(s):

Aquino, Eduardo

Sloan, Johanne

Walter, Kathryn

Text author(s):

Aquino, Eduardo; Sloan, Johanne; Walter, Kathryn

Text author(s):

Aquino, Eduardo

Sloan, Johanne

Walter, Kathryn

Collaborator(s):

The family of defun

Installation year:

1996

Remarks on location:

In the lobby of Henry F. Hall Building

Artwork description

Source: Concordia University (2009). Public Art. (http://web2.concordia.ca/publicart/works/aquino.php)

Source: Université Concordia (2009). Public Art. (http://web2.concordia.ca/publicart/works/aquino.php)

Description:

4 structures used as tables. Engraved text appears on top.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Image 1: Detail Images 2: Overview

Text of the artwork:

(Incomplete)

Qui tacet consentit - Aaron Saber

Matthew Douglass

Michael Hogben

Phoivos Ziogas

Text theme:

Working together with the families of the victims, it was agreed to engrave the victims’ names along with quotations that their loved ones felt captured the essence of their lives.

Artwork theme:

This site-specific installation was dedicated to the memories of Professors Matthew Douglass, Michael Hogben, Aaron Saber and Phoivos Ziogas who were killed in the Fabrikant Shooting in the building, on August 24, 1992.

The use of stone, metal, light and greenery in various juxtapositions sharply penetrates the public space yet invites interaction and assembly. Students who congregate and study in this area become part of a living memorial.

Dimensions

Other information

Note(s):

All three artists are affiliated with Concordia, Aquino is an artist-architect, Sloan is an art historian and critic, and Walter is a visual artist.

Artist's biography:

Eduardo Aquino, Johanne Sloan, Kathryn Walter

Owner(s):

Concordia University

Myodesopsies

Marie-Claude Langevin — Fri, 03 Jul 2009 02:40:01 +0000

Artwork identification

Alternate title:

Myodesopsies 04 (Probable Song)

Artwork creator(s):

Dekyndt, Edith

Artwork creator(s):

Dekyndt, Edith

Text author(s):

Dekyndt, Edith

Text author(s):

Dekyndt, Edith

Collaborator(s):

Commission from Niel Minuk, Commissioner of Architecture II gallery.

Installation year:

2006

Remarks on location:

Around Russell Building courtyard; the text is placed inside the upper window

Artwork description

Source: Edith Dekyndt (2008). Selected Works. Myodesopsies. (http://www.edithdekyndt.be/)

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

IT IS THERE - IT IS NOWHERE - YOU SEE IT - OFTEN - ALMOST - EVERYTIME - IN FRONT OF YOU - BUT YOU ARE - ALONE - WITH THAT VISION - THERE IS SOMETHING - THERE IS NOTHING - IT COMES FROM - YOUR MOST - PROFOUND PAST - IT REMAINS - IN YOUR EYES - FROM - THE LIQUID STATE - OF YOUR - EMBRYONIC - EVOLUTION - WHEN YOUR BODY - WAS - 100% LIQUID - SOME CALL IT - MYODESOPSIES - BUT THERE ARE - OTHER WORDS - OTHER EXPRESSIONS - LIKE - FLYING DUST - IF YOU TRY - TO FIX IT - IT DISAPPEARS - YOU LOSE IT - INSIDE YOU - IT IS YOUR HISTORY - IT IS - THE ULTIMATE - THING - IN THE FIRST PLACE - OF ANYTHING - AROUND YOU

Artwork theme:

Myodesopsies

History

History:

The work has been exhibited since 2001 (various exhibitions). The original installation took the form of a white on white projection from which the text emerged gradually
Date: 2001 --
Event: Boondael Chapel, Elsene, Belgium. Commissioner: Philippe Perraux.
Date: 2003
Event: Exhibition Any Resemblance, 22 BPS Center for Contemporary Creation, Charleroi, Belgium. Curator: Pierre-Olivier Rollin.
Date: 2004
The work takes a new form in 2005, a sound installation.
Event: Hospice de Havré, Maison-folie de Tourcoing, Tourcoing, France. Curator: Véronique Barbezat.
Date: 2005
The work takes a new form in 2005, a sound installation.
Event: Tour & Taxis, Brussels, Belgium.
Date: 2005
Still in the form of a sound installation (created in 2005).
Event: Exhibition Two Pieces White, Arch 2 Gallery, University of Manitoba Faculty of Architecture, Winnipeg, Manitoba. Curator: Richard Perron & Neil Minuk.
Date: September 12, 2006-February 14, 2007

Dimensions

Other information

Artist's biography:

Edith Dekyndt

Nous

Marie-Claude Langevin — Thu, 16 Apr 2009 03:34:59 +0000

Artwork identification

Artwork creator(s):

Mathieu, Marie-Christiane

Artwork creator(s):

Mathieu, Marie-Christiane

Text author(s):

Tremblay, Michel; Greenblath, Natasha

Text author(s):

Tremblay, Michel

Greenblath, Natasha

Installation year:

2007

Remarks on location:

In the cafeteria

Artwork description

Source: Mathieu, Marie-Christiane (2007). Nous. (http://www.ontogenetic.org/nous/index.html)

Description:

Nous links the Dawson College cafeteria, where the tragic event of September 13, 2006 took place, and the new auditorium of the College. The project transcends the human tragedy by using the works of Michel Tremblay and Natasha Greenblath, two Montreal playwrights. The background of the photograph features the names of students and employees who were affected by the tragedy. On the Southern wall of the cafeteria, an excerpt from the play We lived in a Palace by young Montreal playwright Natasha Greenblath is printed in a half-circle. Made to look like a scar on the wall, the white embossed text on white background forms a bond with the experience of the event.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

she's one of you. Elle est née à une époque précise de notre pays, elle évolue dans une ville qui nous ressemble, c'est vrai, mais, j'en suis convaincu, elle est multiple. Et universelle.

She has existed throughout the ages and in every culture. She has alway been present and always will be. J'avais envie de la revoir, de l'entendre à nouveau. Pour le plaisir. Pour rire et pleurer.

Encore une fois, si vous permettez, Michel Tremblay

I'm not a child anymore. I want to know all there is to know about life. I want to taste it. He told me where it was and what it tasted like. Sweet like mango, but bitter like a pomegranate seed.

Je ne suis plus un enfant. Je veux tout connaître de la vie. Y goûter. Il m'a dit où la trouver et comment reconnaître sa saveur. Doux comme la mangue, mais amer comme les grains d'une grenade.

We lived in a Palace, Natasha Greenblath

Text theme:

Human drama

Artwork theme:

The project is a symbol: the pink circle represents the trace left behind by the event and the text inscribed inside it makes the tragedy a universal event. The character who holds his hand out at the center of the circle represents the Other, the silent witness, but also a male character standing in for the father, the brother, the friend.

Dimensions

Other information

Artist's biography:

Marie-Christiane Mathieu

Document(s):

Nous

Surfacing

Marie-Claude Langevin — Sun, 05 Apr 2009 20:43:53 +0000

Artwork identification

Artwork creator(s):

Chang, Ana; Tsang, Henry; Bontogon, Eric

Artwork creator(s):

Chang, Ana

Tsang, Henry

Bontogon, Eric

Text author(s):

Chang, Ana; Tsang, Henry; Bontogon, Eric

Text author(s):

Chang, Ana

Tsang, Henry

Bontogon, Eric

Installation year:

1992

Remarks on location:

LED screens located at the following locations:

• The Flying Wedge Pizza Co. (outside), 1175, Robson Street
• Emily Carr College of Art and Design (reception), 1399 Johneston, Granville Island
• Espressohead Cafe (inside), 1945 Cornwall Street
• Proprioception Books (inside), 432 Homer Street
• The Block Shop (inside), 350 West Cordova Street
• Bulldog Café (inside), 510 Nelson Street

Artwork description

Source: VANCOUVER ASSOCIATION FOR NONCOMMERCIAL CULTURE, THE VANCOUVER, BC [file]. Montréal: Centre de documentation Artexte

Description:

A series of texts was presented on LED electronic message boards or using slide projections, community access television and local print media.

Mention(s) légale(s) des illustrations:

Remarks on image:

Image 1: details. Inside brochure. Image 2: detail. Outside brochure.

Text of the artwork:

She said, she called me Lily, again. And he
insisted that I’m precious Jade. I told them
they can call me Lily, Jade, China, what-
ever; makes no difference. They’re all the
same thing. They tell me I am so beautiful
and special, that I should feel proud to be
different. Am I supposed to be flattered? As
if he’s some kind of expert and she’s my
sister. Why do they believe that they know
me better than I know myself? What do
they want from me? My love? My loyalty?
My forgiveness?

She said, I began to say no, you have
mistaken, I am not your Asia. It’s not like
you, I’m told. When I assert myself, my
thoughts, my feelings, my story, am I
behaving unnaturally? No, I must insist
that you listen: I refuse the labels, the
masks, I refuse to identify with your image
of me. Why should your dream live on at
the expense of my self, my life? Give it up.
I will not give in. Because when I begin to
Forget who I am, where I’m from, I will also
Begin to forget that I have begun to forget.
As if change* does not occur. As if I am as I
have always been, unchanging.

West Side Story

Brand new house with large lot, facing
exclusive golf course/country club. Very
quiet, close to the river.
I was nine, in a new school in a new neigh-
borhood. We had made it, we had moved
to the West side. Here, we are poised on
the edge of the university lands, destined
to study in higher places.

Wall-to-wall carpeting, three bathroom, a
rec room, my own bed room. And a large
back yard with a fish pond my father built
in the far corner, so far away that I could
hardly see it from the house.

I didn’t know why I was called that. I didn’t
know what it meant. All I knew was that it
hurt to hear it, made me draw back, it
made me turn inward and become silent. I
suppose it was the way it was said.

The pond was stocked with gold fish, and
one summer a frog came to live there. It
was large and dark green and very loud. I
didn’t know how it got there, since our
yard was surrounded by a tall wooden
fence, but there it was. Then one day, it
was gone.

I became quiet and withdrawn. My world
shrank backwards and inside out. I felt
powerless and constantly under scrutiny.
I was vulnerable and did not know yet how to
fight back. Each day I feared being singled
out, to be made fun of, to be taunted, to
have my Chineseness become the object
of derision, for me to experience deep,
deep shame for being so special, so differ-
ent.

Black Night

Black night. A wavering sea of red and blue
light coloured my skin.

Surrounded. To serve and protect. I guess
they were just doing their job.

Bad Boys, Bad Boys, watcha gonna do?
I didn’t do anything wrong, really.

My warm flesh pressed against cold metal.
Do you have a record? No, officer, I only
have CD’s.

If Refugee, press 1, Landed Immigrant,
press 2, Asian Gang Member, press 3. You
speak English? My whole life flashed.

Want to see my records? Do I look like the
criminal type? Going to measure the size
of my skull? Stained. Weeks to get the ink
off your fingers, they say. I pay my taxes.

THE UNITED COLORS OF… what? It is my
brown skin, black hair, almond-shaped
eyes? You just happened to be at the
wrong place at the wrong time.

Text theme:

Racism experienced on a daily basis

Artwork theme:

Racism

History

History:

Three texts were presented on LED messaging screens and in slideshows throughout eight locations in the city of Vancouve; video versions were presented on Roger's cable (cable 4, Chinatown Today, September and October 1992) and printed versions were published in the double center-spread of Front magazine (November-December 1992 issue).

Event: Out of Place exhibition, organized by the Association for Noncommercial Culture, Summer 1992

Event date(s):

1992

Dimensions

Other information

Source:

1. 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

Je te prête ma plume

Marie-Claude Langevin — Sat, 07 Mar 2009 22:43:13 +0000

Artwork identification

Artwork creator(s):

Lapointe, Michèle

Artwork creator(s):

Lapointe, Michèle

Text author(s):

Borduas, Paul-Émile; Derouin, René; Lepage, Robert; Goodwin, Betty; Dansereau, Pierre; Reeves, Hubert; Hallé, Francis; Ifrah, Georges; Frère Marie-Victorin

Text author(s):

Borduas, Paul-Émile

Derouin, René

Lepage, Robert

Goodwin, Betty

Dansereau, Pierre

Reeves, Hubert

Hallé, Francis

Ifrah, Georges

Frère Marie-Victorin

Collaborator(s):

Rioux, René

Installation year:

2007

Artwork description

Source: Léger, Jean-Pierre (2009). Je te prête ma plume. Espace, no. 86, (Winter), p. 31-32

Description:

Four colourful feathers are embedded into large glass panels which are hung by stainless steel rods that represent the feathers' stalk. Motifs are then superimposed, evoking the college's different course orientations: arts, sciences, sports and communications.

Mention(s) légale(s) des illustrations:

Photo credits:

Artwork theme:

Knowledge

Dimensions

Height:

Width:

Other information

Note(s):

Looking at the feathers, one can see fragmented motifs that refer to the various fields of knowledge. To represent these, Lapointe chose engraved or printed text and illustrations.

Artist's biography:

Lapointe Rioux Sculpteurs

Document(s):

Je te prête ma plume

À l'étude, tome II

Marie-Claude Langevin — Fri, 06 Mar 2009 23:17:05 +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:

2000

Artwork description

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

Description:

Located on either side of the main entrance to the college, the installation is unified by a background painted in intense shades of blue. Toward the cafeteria, two large wood veneer panels fan out, all undulating lightness. Words are placed onto these surfaces while others hang in the air. Towards the college's media library, three more wood panels are rolled up into cones that evoke fir trees. Placed in a circle at their feet, other words appear, excerpts from fairy tales and newspaper articles about forestry. The ground is painted in the same deep blue.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Réfléchir, Regarder, Chercher, Lire, Conserver

Text theme:

The development of learning processes in general; Forestry

Dimensions

Other information

Artist's biography:

Rose-Marie E. Goulet

Document(s):

Projets, archives et documents

Frost Memorial Sculpture

Marie-Claude Langevin — Wed, 18 Feb 2009 19:51:50 +0000

Artwork identification

Artwork creator(s):

Huska, Karen

Artwork creator(s):

Huska, Karen

Text author(s):

Huska, Karen

Text author(s):

Huska, Karen

Installation year:

2004

Remarks on location:

North of the Biosciences Building

Artwork description

Source: Alberta, Museums (2009). University of Alberta Art Collection. (http://www.museums.ualberta.ca/art/publicart.aspx)

Description:

Table and chairs. Text is engraved in the table and, in the middle, a representation of the Earth is inserted.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Incomplete text)

Falling off the face of the earth I wonder do I fall of ..

Artwork theme:

Tribute to Frances Frost.

Dimensions

Other information

Author's biography:

Frances Frost

Owner(s):

University of Alberta

Document(s):

University of Alberta Art Collection

Défilé

Marie-Claude Langevin — Sat, 24 Jan 2009 16:06:23 +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:

1993

Artwork description

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

Description:

Located in the alley that children take to enter the schoolyard, this installation draws its formal elements from basic components of knowledge - letters and numbers. Children cross disordered rows of posts bearing the numbers and symbols of a fragmentary multiplication table.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

a b c d e f g h i j K L M N O P Q R S T U V W X Y Z

1 2 3 4 5 6 7 8 9

Artwork theme:

A direct indication to reconstruct what is shown as fragmentary or incomplete is behind the architectural work, conditioning the viewer's experience of it. Thus, schoolchildren walk through a series of poles placed in a disorderly manner and bearing the fragmentary figures of a multiplication table.

Dimensions

Other information

Artist's biography:

Rose-Marie E. Goulet

Document(s):

Projets, archives et documents

Emotional Labour

Marie-Claude Langevin — Sat, 17 Jan 2009 17:56:39 +0000

Artwork identification

Artwork creator(s):

Collyer, Robin

Artwork creator(s):

Collyer, Robin

Text author(s):

Collyer, Robin

Text author(s):

Collyer, Robin

Installation year:

2000

Remarks on location:

On the campus of Erindale College

Artwork description

Source: CCCA (2009). Robin Collyer. (http://ccca.ca/artists/work_detail.html?languagePref=fr&mkey=51168&link_id=187)

Description:

Exterior sign with plastic letters

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

ESTABLISH EYE
CONTACT DON’T
FORGET TO SMILE
ENJOY YOUR MEAL
THANKS FOR COMING
TO HARVEY’S

INBUREAUCRATICCO
NTROLWORKERSOW
ENOTONLYAHARDDA
YSWORKTOTHECORP
ALSOTHEIRDEMEAN
ORANDAFFECTIONS

Text theme:

Relationship between employer and employee, conditions in the workplace

Artwork theme:

Communication strategies, commercial relationship between broadcaster, receiver and a message.

History

History:

Artists in the exhibition: Ron Benner, Peter Bowyer, Corinne Carlson, Robin Collyer, Fastwurms, Robert Fones, Greg Hefford, Koh, David Kramer, Arnaud Maggs, Mark Kelly, Bernie Miller and Max Streicher.

Event: Logocity, Blackwood Gallery, Erindale College, University of Toronto, Toronto, ON.

Event date(s):

2000

Dimensions

Other information

Artist's biography:

Collyer, Robin

Source:

1. Robin CollyerContacter à travers la galerie Susan Hobbsshobbs@susanhobbs.com 2. Blackwood GalleryUniversity of Toronto Mississauga3359 Mississauga Road North, Mississauga, OntarioL5L 1C6 CanadaTel: 905-828-3789 Fax: 905-569-4262Christof Migone - Director/Curator christof.migone@utoronto.caJuliana Zalucky - Curatorial Assistantj.zalucky@utoronto.caMina Kang - Curatorial Assistant (Part-time)mina.kang@utoronto.caPermanent CollectionKaren Kraven - Outreach Coordinatoroutreach.blackwood@utoronto.ca

Document(s):

Logocity

Logo City. Blackwood Gallery and University of Toronto Erindale campus. Toronto

Robin Collyer