Présences du littéraire dans l’espace public canadien - Thoroughfare

One potato, two potato...it's your life...

Marie-Claude Langevin — Wed, 20 May 2009 00:20:10 +0000

Artwork identification

Artwork creator(s):

Fernandes, Michael

Artwork creator(s):

Fernandes, Michael

Text author(s):

Fernandes, Michael

Text author(s):

Fernandes, Michael

Installation year:

2007

Remarks on location:

Occupied the space of Galerie du MAI, its windows and its neighbouring streets.

Artwork description

Source: MAI (2007). Michael Fernandes. One potato, two potato...it's you life.... Montréal: MAI

Description:

The artist offered an itinerary in the gallery and outside.

The MAI's eight windows were blocked up to present text fragments in fluorescent lettering.

Posters announcing lost cats were distributed on walls and lampposts throughout the surrounding streets. The poster was touched up by the artist, though he took care of preserving all the information.

On the other side of the large windows, the MAI's exhibition hall was plunged in darkness. Four stations were indicated on the ground. A soundtrack and projection were associated with each one.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Photos 1 and 2: Installation in the windows (text). Photos 3 and 4: Installation of a series of posters

Text of the artwork:

While working for different people in the past

Je ne travaillais pas pour le gouvernement

I'm working for my country

Peu importe qui vient

I have not been working for government

Peu importe qui s'en va

whoever comes

whoever goes

ce n'est pas mon problème

if the people are being busy somewhere

Ils ne vont nulle part ailleurs partciper à quelque activité guerrière

si les gens sont occupés quelque part

they are not going anywhere else to some war-like activities

Text theme:

Relationship to work and country

Artwork theme:

Interpenetration of art and life, trade, exchanges, multiple voices, fragmented message

History

History:

Galerie du MAI gave carte blanche to Michael Fernandes, a Canadian artist known for his artwork and his ecclectic body of work. During an artist residency in Montreal, he shot short video, almost too simple little stories. One potato, two potato... is a game, a random game, but it is also a change of roles, a turn of events. This artwork traces a quest for identity in tongue-in-cheek style.

One potato, two potato ... it's your life ...
February 8 to March 31

Event date(s):

2007

Dimensions

Other information

Artist's biography:

Michael Fernandes

Document(s):

Michael Fernandes. One potato, two potato...it's you life...

Michael Fernandes

There is no place like home

Marie-Claude Langevin — Wed, 29 Sep 2010 16:01:37 +0000

Artwork identification

Artwork creator(s):

Lum, Ken

Artwork creator(s):

Lum, Ken

Text author(s):

Lum, Ken

Text author(s):

Lum, Ken

Installation year:

2001

Artwork description

Source: Mois de la photo (2001). THERE IS NO PLACE LIKE HOME. (http://www.moisdelaphoto.com/2001/lieux/fr_bleury.html)

Source: Craddock, Sacha (2001). Ken Lum, There is no place like home. (http://www.mip.at/en/werke/464.html)

Description:

Giant banner featuring portraits of people from various backgrounds along with their personal thoughts.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Je pourrai jamais me
sentir chez moi ici
J'me sens pas chez moi ici

Wow, j'aime vraiment ça ici
J'vais jamais retourner chez moi!

J'suis écoeuré de vos idées
sur les immigrants
C'est aussi chez nous ici

Text theme:

Country of origin, nationality, "internationality", immigration

Artwork theme:

Country of origin, emotions related to immigration and differences between nationalities. Awareness that home (the place that welcomes you) can be anywhere, regardless of nationality or religion.

History

History:

This project was originally produced by the Museum in Progress for the facade of the Kunsthalle in Vienna, in association with the Canadian Embassy and the League for Human Rights. The text was in English.

Event date(s):

2001

Dimensions

Other information

Note(s):

This Canadian artist presents There is no place like home, designed for the facade of the Kunsthalle in Vienna. This work involves various protagonists, colours and opinions. The aim of the project is to give the public the means to consider the image differently depending on whether it is displayed in a public or private space. More specifically, he is interested in examining the way immigrants reconstruct their identity in their host country.

Artist's biography:

Ken Lum

Document(s):

THERE IS NO PLACE LIKE HOME

Ken Lum, There is no place like home

Monument for East Vancouver

Marie-Claude Langevin — Wed, 22 Sep 2010 18:56:00 +0000

Artwork identification

Artwork creator(s):

Lum, Ken

Artwork creator(s):

Lum, Ken

Text author(s):

Lum, Ken

Text author(s):

Lum, Ken

Installation year:

2009

Artwork description

Source: Vancouver (2009). Monument for East Vancouver. (http://vancouver.ca/commsvcs/cultural/publicart/)

Description:

Neon cross. It contains the words "East" and "Van" intersecting at the letter "A", in the manner of a crossword puzzle.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

East Van

Text theme:

The words serve both as territorial markers and as a revival of an underground symbol of pride and rebellion in East Vancouver.

Artwork theme:

Creates multiple references and associations, including ones with religious and irreverent undertones, which can be interpreted as an affirmation of the identity of the East neighborhoods of Vancouver.

Dimensions

Height:

18.2m

Other information

Note(s):

“[The crossword] signifies the identity of those living in the Eastern part of the city and is often accompanied with the word “rules”. [This] is ironic, as traditionally those in the West of the city have held the economic and political power, though the real estate boom more recently has rendered the boundary between East and West more fluid. The piece monumentalizes a rearguard gesture of defiance, protest, and assertion of identity.”
- Ken Lum

City of Vancouver (2009). Monument for East Vancouver.
(http://vancouver.ca/commsvcs/cultural/publicart/2010/mm_vaneastmonument.htm)

Artist's biography:

Ken Lum

Owner(s):

City of Vancouver

Document(s):

Ken Lum constructs icon to rule over East Vancouver

Monument to 'East Van' rises near VCC terminal

Monument for East Vancouver

"Mapping and Marking" public art program

Les Mots (volet 2)

Marie-Claude Langevin — Fri, 30 Jul 2010 14:07:13 +0000

Artwork identification

Artwork creator(s):

Faubert, Julie

Artwork creator(s):

Faubert, Julie

Text author(s):

Faubert, Julie

Text author(s):

Faubert, Julie

Dictionnaire / Dictionary

Installation year:

2010

Remarks on location:

Location of the inscriptions, see: Figure 7

Artwork description

Source: Dare-Dare, Julie Faubert (2009). Les Mots. (http://lesmots.dare-dare.org)

Description:

An urban intervention project which comprises some 125 words* written in an ephemeral manner on the sidewalk, along with dates - lost words (1900-2000), new words (1900-2000) and invented words (2010). New words are in black; lost words, in white; and invented words, in pink.

* The dates represent the year in which each word appeared in a dictionary or disappeared from it (the dictionary being, as it changed name throughout the century, the Petit Larousse illustré, the Nouveau Petit Larousse illustré, the Petit Larousse and the Larousse illustré).

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

LOST WORDS

aérivore 1951

aéromancie 1959

bancocratie 1924

barbariser 1959

biophilie 1924

brouillement 1981

civilisable 1998

corporalité 1951

défeuiller 1998

demi-monde 1998

dentellerie 1968

désaveugler 1951

échappade 1959

emmiellure 1952

épuise-volante 1935

essuie-plume 1981

galantiser 1951

hausse-pieds 1968

ignorantisme 1959

illimitable 1959

immesurable 1958

impresse 1959

incalculablement 1952

inconquis 1951

indisciplinable 1981

indomptabilité 1959

inobéissance 1959

intégrisme 1959

journoyer 1951

juste-milieu 1984

libertiner 1959

magisme 1959

malséance 1981

météoromancie 1988

monarchiser 1959

monopode 1951

mugueter 1968

néophobe 1959

nonchaloir 1968

oisivement 1998

oublieur 1953

pantouflerie 1959

recontinuer 1959

redormir 1959

reniflerie 1959

rhabilleur 1998

robeuse 1977

s’entre-baiser 1952

servilisme 1959

sous-jupe 1981

tantet 1959

tortuosité 1981

traînasse 1959

trifouiller 2006

tue-vent 1959

vaguesse 1924

vacillation 1981

végéto-animal 1959

INVENTED WORDS

amouriste 2010

anamour 2010

aquoiboniste 2010

choubouler 2010

criminogène 2010

euphorienne 2010

madamour 2010

outremonde 2010

NEW WORDS

applaudimètre 1985

archiver 1959

assoiffer 1981

budgéter 1989

calculatrice 1952

cash 1952

catégoriser 1981

civilisé 1959

classable 1981

compartimenter 1935

compétitif 1959

comportement 1951

comptabiliser 1941

concurrentiel 1959

conformisme 1952

contrôlabilité 1981

cosmos 1952

créativité 1968

effeuilleuse 1981

errance 1951

espace-temps 1968

esthétisme 1951

états-unien 1989

éveilleur 1989

exproprié 1989

extraterrestre 1980

extrémisme 1935

fantasme 1959

fric 1951

giga 1959

gratte-ciel 1924

gratte-pieds 1951

hermétisme 1951

homogénéiser 1906

incompréhension 1935

intégrisme 1959

inuktitut 1993

invivable 1959

linéarité 1981

made in 1981

méthodologie 1952

miniaturiser 1952

minijupe 1968

minoritaire 1935

misandre 199?

multimillionnaire 1941

nano 1959

normaliser 1935

normalité 1959

onirique 1959

optimal 1959

orgasme 1959

orthogonalité 1981

performant 1977

post-it 1998

privatiser 1981

pur-sang 1951

quantifiable 1981

racisme 1948

rentabiliser 1971

semi-liberté 1981

s’entre-baiser 1952

sous-humanité 1981

standard 1924

sud-américain 1959

suralimenté 1991

surréel 1959

surexploiter 1981

surproduire 1951

unijambiste 1951

Text theme:

The artist divided the words into series: hunger, feet, capital, power, order and control, America, art, morals, lost floating, measurement.

Artwork theme:

The project uses city space as a space for collective thought about the words we use. The lines of the Quartier des Faubourgs's sidewalks become reading surfaces that flow to the rhythm of passers-by. The act of walking becomes a play on words, a constellation of ideas and of whimsical, critical, perhaps even cynical word associations.

History

History:

The intervention is carried out in two stages:
Action 1: December 3, 2009
Action 2: June-July 2010
As part of Dare-Dare's regular programming

Event date(s):

2010

Dimensions

Other information

Note(s):

"Je porte un regard critique sur les mots qui nous permettent (ou non) de penser, les mots que l’on ne malmène pas assez, les mots qui, pour être vraiment exacts, devraient eux aussi être inventés constamment. Quelles sont ces vagues – apparition et disparition de mots – qui, à travers les siècles, nous forgent une pensée particulière? Ces mots qui entrent et sortent de nos bouches, apparaissent un jour, on ne sait trop pourquoi et se collent à nous pour quelque temps : qu’est-ce qu’ils trimbalent avec eux? [Ce] projet utilise l’espace de la ville comme espace collectif de réflexion sur les mots que nous employons." – Julie Faubert

Source: Julie Faubert (2010). Les Mots – Projet. <http://lesmots.dare-dare.org/projet>

Artist's biography:

Julie Faubert

Source:

lautrechatnoir@live.fr

Document(s):

Entre les murs des galeries

Les Mots

Bancs de pierre.. .et de paroles/ Bancos de pedra... e de palabras

Marie-Claude Langevin — Fri, 14 Aug 2009 14:42:35 +0000

Artwork identification

Artwork creator(s):

Lima, Joe; Branco, Joseph; Rebelo, Miguel; Calado, Carlos

Artwork creator(s):

Lima, Joe

Branco, Joseph

Rebelo, Miguel

Calado, Carlos

Text author(s):

Dinis, Dom; Vincente, Gil; Camoes, Luis; Vieira, Padre Antonio; Barbosa du Bocage, Manuel Maria; Quieros, Eça de; Quental, Antero de; Pessoa, Fernando; Torga, Miguel; Correia, Natalia; Saramago, José; Antunes, Antonio Lobo

Text author(s):

Dinis, Dom

Vincente, Gil

Camoes, Luis

Vieira, Padre Antonio

Barbosa du Bocage, Manuel Maria

Quieros, Eça de

Quental, Antero de

Pessoa, Fernando

Torga, Miguel

Correia, Natalia

Saramago, José

Antunes, Antonio Lobo

Installation year:

2009

Artwork description

Source : Photo transmited by Marie-Claude Langevin

Description:

Twelve granite benches installed along Saint-Laurent Blvd. Portuguese and French literary quotes are engraved onto them. Each bench is decorated with ceramics created by four Montreal artists of Portuguese origins.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Al flores, ai flores do verde pino,
Se sabedes novas do meu amigo!
Ai Deus, e u é?
Las Fleurs, las! Fleurs du pin verdoyant
Donnez-moi des ouvelles de mon ami!
Las! Dieu, mais où est-il? - Dom Dinis (1261-1325)

CLÉRIGO
Ora juro a dios que bien
Yo no soy senor de ti
MOÇO
Quem nam é senhor de si
Por que o sera de ninguém?
Sede vos senhor de vos.
Em fazer o que deveis
Entam é bem que mandeis
LE CLERC
Ora juro a dios que bien
Yo no soy senor de ti
LE JEUNE HOMME
Celui qui n'est pas maître de lui-même
Pourquoi le serait-il d'un autre?
Soyez d'abord maître de vous-même
Et faites ce que vous devez.
Ensuite, il sera bon que vous commandiez. - Gil Vincente (v. 1465-v. 1536)

E, se mais muno houvera, la chegara
Et si, un autre monde avait existé, ils l'auraient découvert. - Luis de Camoes (vers 1524-1580)

Neste mundo ha muitas que nao sao ignorâncias,
e nao ha ignorância, que nao seja miséria.
Beaucoup de misères en ce monde ne sont pas dues à l'ignorance
mais toute ignorance est source de misère - Padre Antonio Vieira (1608-1697)

Fado amigo nao ha
Nem fado escuro:
fados sao as paixoes,
Sao as vontades
Il n'y a pas de destin ami
Pas plus qu'il n'y a de destin funeste
Les destins sont dans les passions,
Ils sont dans les volontés - Manuel Maria Barbosa du Bocage (1763-1805)

Montral é uma pequena cidade que se desejaria
por numa "étagère"
Pode-se dizer que em Montreal nao ha ruas-
mas alinhamentos de jardins.
É um encanto
Montréal est une petite ville qu'on voudrait ranger
sur une étagère...
On dirait qu'il n'y a pas de rues-
mais une suite de jardins.
Et cela m'enchante! - Eça de Queiros (1845-1900)

Junto do mar, que reguia gravemente
A tragica voz rouca, enquanto o vento
Passava como voo dum pensamento
Que busca e hesita, inquieto e intermitente...
Près de la mer qui gravement faisant monter
Sa voix rauque et tragique, pendant que le vent
Passait, comme le souffle d'une pensée
Qui cherche et qui hésite, inquiète et erratique - Antero de Quental (1842-1891)

Primeiro sé livre; depois a liberdade.
Commence par être libre; ensuite réclame la liberté - Fernando Pessoa (1888-1935)

Ter um destino é nao caber no berço
Onde o corpo nasceu.
É transpor as fronteiras uma a uma
E morrer sem nenhuma
Avoir une destinée c'est ne plus tenir dans le berceau
Où le corps est né.
C'est traverser les frontières une à une
Et mourir sans plus aucune... - Miguel Torga (1907-1995)

Abre as portas da Historia,
Deixa passar a Vida!
Ouvre les portes de l'Histoire
Et fais place à la Vie - Natalia Correia (1923-1993)

Hoje, uma lingua que nao se defende morre.
Aujourd'hui, une langue qu'on ne défend pas
est condamnée à mourir - José Saramago (1922-)

Um povo que lê ninca sera um povo de escravos.
Un peuple qui lit ne sera jamais une peuple d'esclaves - Antonio Lobo Antunes (1942-)

Artwork theme:

Portugal in Montreal.

History

History:

Emphasizes the 50th anniversary of the Montreal Portuguese community.

Inaugurated on April 25, 2009

Event date(s):

2009

Dimensions

Other information

Artist's biography:

Citation

Owner(s):

City of Montréal

Halifax Begs Your Pardon!

Marie-Claude Langevin — Tue, 11 Aug 2009 13:15:25 +0000

Artwork identification

Artwork creator(s):

Tactical Art Coalition

Artwork creator(s):

Tactical Art Coalition

Text author(s):

Tactical Art Coalition

Text author(s):

Tactical Art Coalition

Collaborator(s):

NSCAD; Khyber Center for the Arts

Installation year:

2002

Remarks on location:

Various locations in the city

Artwork description

Source : Tactical Art Coalition (2002). Nova. (http://critical-art.net/Original/halifax/index.html)

Description:

A series of friendly interventions designed to interact with the urban ladscape of Halifax in a manner that would elicit reflections, considerations, and ideas that would challenge or expand the usual geo-psychological set of notions guiding the habitual activities of people in the public sphere. Gizmos, pamphlets, "Sorry" bricks and "Sorry" flags were used to highlight contested cultural and historic sites around Halifax.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Sorry

History

History:

The event took place from July 7-17, 2002

Dimensions

Other information

Note(s):

Our goal was to bring out occurences/histories, opinions and meanings that have been dispossessed, silenced or ignored.

Artist's biography:

Tactical Media

Document(s):

Halifax Begs Your Pardons!

Untitled

Marie-Claude Langevin — Tue, 04 Aug 2009 17:01:04 +0000

Artwork identification

Alternate title:

Community; Untitled Community

Artwork creator(s):

Garlicki, Liz

Artwork creator(s):

Garlicki, Liz

Text author(s):

Garlicki, Liz

Text author(s):

Garlicki, Liz

Collaborator(s):

M.C.Delandes

Installation year:

2008

Remarks on location:

In the North of the city; East Side of Main St., at Jarvis St.

Artwork description

Source: Photo provided by Marc André Brouillette

Source : Liz Garlicki (2008). Untitled Community. (http://www.lizgarlicki.com/main.html#community)

Source: Photo provided by Marc André Brouillette

Description:

Inscription on the sidewalk

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

IT’S AUTOMATIC

WHEN YOU WALK

ON THESE WORDS

YOU ARE

WALKING IN THE

COMMUNITY.

YOU ARE PART

OF THIS

COMMUNITY.

Text theme:

Community

Dimensions

Other information

Artist's biography:

Liz Garlicki

Source:

Liz Garlicki fancylizzy@hotmail.com

Document(s):

Untitled Community

Belonging

Marie-Claude Langevin — Thu, 16 Jul 2009 18:07:04 +0000

Artwork identification

Artwork creator(s):

Dextras, Nicole

Artwork creator(s):

Dextras, Nicole

Text author(s):

Dextras, Nicole

Text author(s):

Dextras, Nicole

Installation year:

2007

Remarks on location:

Under the bridge

Artwork description

Source: Nicole Dextras (2007). Belonging.(http://www.flickr.com/photos/ndextras/sets/72157600099932419/?page=2)

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Image 1: Literary Component # 1 ( "CLAIM"). Image 2: Literary Component # 2 ( "abandoned"). Day 1, the work intact. Image 3: Book Component # 2 ( "abandoned"). Day 4, the work destroyed. Image 4: Literary Component # 3 ( "Belong"). Installation view with the homeless. Image 5: Literary Component # 4 ( "Photo").

Text of the artwork:

[literary component #1 («Belong»)]

Belong

[literary component #2 («abandon»)]

abandon

[literary component #3 («CLAIM»)]

CLAIM

[literary component #4 («Photomontage») ]

Indian Reserve (Snauq)]

Photograph shows Mary (Yam-schloot),

Jericho Charlie (Chin-nal-set), William Green,

Peelass George, Jimmy Jimmy and Jack (Tow-hu-quam-kee)

Vancouver Archives. Old photo #: In P28N11
TITLE: [Group near Jericho Charlie's home on Kitsilano Indian Reserve (Snauq)]

DATE: Aug. 15, 1891 FONDS: Major Matthews' collection

Text theme:

Possession; local Native history

Artwork theme:

Squamish First Nation land claim; history of the site

History

History:

This project took place in the late spring of 2007. The site is located under a bridge in Vancouver which has a complex history. This land was once a Native fishing village and was later appropriated by the railroad. The area is often a shelter for homeless people who camp in the vicinity in the undergrowth. It is also used by commuters as a shortcut to transit and it is popular with cyclists and dog walkers. The area is still a contentious issue with the Squamish First Nation who controls some of the land and is planning to erect billboards along the bridge. This project began with the idea of creating structures made out of Blackberry branches that grow profusely on the West Coast and now includes many other ephemeral works that speak to the history of the place.

Dimensions

Other information

Note(s):

Other components (non-ephemeral literary installations) of the project: Shelter (blackberry branches, willow, sedge grass, unknown tropical plant stock and cuttings, seeds, mountain ash berries, Douglas fir branches and cones, yarrow plants); Shade Garden (flower garden [coleus, impatiens, fern], red velvet sofa, photomontage [family portrait negative, photocopy, text, colour pencil], blackberry crown of thorns); Small Shelter (blackberry branches, willow branches); Spiral (seed pods); Amphitheatre (willow branches, hydrangea flowers, harvested cattails and cattail leaves [from the pond in False Creek], yellow tansy, fir branches); Weather Vane (gunnera leaves, willow branches, ivy); Four Moons Path (gunnera leaves, magnolia leaves, cottonwood tree fruit/ seeds, thorns); Fluff on theTrax (magnolia leaves, cottonwood tree seeds, thorns); Crown of Thorns (blackberry branches); Camellia Shelter (camellias, willow branches); Ladder to Nowhere (blackberry stems)

Artist's biography:

Nicole Dextras

Document(s):

Belonging, sous le pont

Witness

Marie-Claude Langevin — Tue, 14 Jul 2009 16:54:33 +0000

Artwork identification

Alternate title:

Witness ( 5 covers)

Artwork creator(s):

Kerr, Katherine

Artwork creator(s):

Kerr, Katherine

Text author(s):

Kerr, Katherine

Text author(s):

Kerr, Katherine

Installation year:

2000

Remarks on location:

Neighbourhood: Central Lonsdale

Artwork description

Source: Urban Art Management (2008). Portfolio. (http://www.urbanartmanagement.com/portfolio.html)

Description:

Five water-cut stainless steel manhole covers with electrocut centers and sandblasted outer rings, The images and text on these covers represent the following themes: salmon, forests, railway and shipping industries, and consciousness.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[plaque 1/5]

Crossing • Streetcar • Trestle • Spurline

[plaque 2/5]

Wardog • Shift • Frenzy • Rivet

[plaque 3/5]

Ghost runs • Celesial cues • Sinking tips • Mad dashes

Text theme:

Salmon, forests, railway and shipping industries, consciousness (raising of)

Artwork theme:

History and future of the city of North Vancouver

Dimensions

Other information

Note(s):

North Shore Arts Commission for the City of North Vancouver.

Program: Civic Public Art

Sponsor: City of North Vancouver

Artist's biography:

Katherine Kerr

Owner(s):

City of North Vancouver

Document(s):

Portfolio. Public Art

Portfolio. Public Art Projects

Happy is the country that has no history

Marie-Claude Langevin — Tue, 14 Jul 2009 15:23:49 +0000

Artwork identification

Artwork creator(s):

Gill, Don

Artwork creator(s):

Gill, Don

Text author(s):

Gill, Don

Text author(s):

Gill, Don

Installation year:

1990

Artwork description

Source: Balkind, A. (1990), Transpositions : A Public Exhibition […],Vancouver : Active ARTIFACTS Cultural Association. p. 51

Description:

Photograph placed in a billboard

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Happy is the country that has no history

Text theme:

Obscured history

Artwork theme:

One of the three themes of the exhibition, portraiture, injustice towards aboriginal peoples

History

History:

The Transpositions exhibition was created over a 3-year period. Works are divided into 3 categories: portraiture, landscape and flora (nature); and advertising. This arwork was created for the advertising platform posters of the SkyTrain stations. The work of 20 Canadian artists extends 24 km along the SkyTrain route from Vancouver to Surrey. Four to seven works are installed randomly amongst the advertising at the following seven stations: Waterfront, Burrard, Grandville, Broadway, Metrotown, New Westminster and Scott Road.

Event date(s):

1990

Dimensions

Height:

1.82m

Width:

1.21m

Other information

Note(s):

Exhibition posters provided by Colorific Photo Labs

Exhibition Space donated by Trans Ad

All images were worked either from original negatives or transparencies, enlarged and mounted on styrene board.

There exists more than one version of this piece

Artist's biography:

Gill, Don

Owner(s):

Collection of the artist

Document(s):

Transpositions : A Public Exhibition of Contemporary Canadian Photography

Depressed

Marie-Claude Langevin — Tue, 30 Jun 2009 17:19:07 +0000

Artwork identification

Artwork creator(s):

Davis, Shane (Mini)

Artwork creator(s):

Davis, Shane (Mini)

Text author(s):

Davis, Shane (Mini)

Text author(s):

Davis, Shane (Mini)

Installation year:

2002

Artwork description

Source: Plug-In ICA (2008). Archives. 2002. (http://www.plugin.org/2002/davis/index.html)

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Depressed.

Text theme:

Depression

Artwork theme:

Depression

History

History:

History: Opening October 12 on the Billboard Plug In: Image by Althea Thauberger, from the exhibition Username, Floating Gallery October 11-November 8, 2002.

Event: Depressed, Plug-In Gallery, Winnipeg, Manitoba

Date: August 30-October 12, 2002

Dimensions

Other information

Artist's biography:

Davis, Shane

Document(s):

Archives. 2002

Dean Beaver

Marie-Claude Langevin — Tue, 30 Jun 2009 17:00:05 +0000

Artwork identification

Artwork creator(s):

Butler, Paul

Artwork creator(s):

Butler, Paul

Text author(s):

Butler, Paul

Text author(s):

Butler, Paul

Installation year:

1997

Remarks on location:

On a Plug-In's billboard

Artwork description

Source: Plug-In ICA (2008). Archives. 1997. (http://www.plugin.org/1997/butler/index.htm)

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

NEW YORK NY 10012

MAY 4-JUNE 15

GALLERY

Text theme:

Art exhibition

Dimensions

Other information

Note(s):

"The original collage version of the billboard project is one of a series of works I completed in my final year at ACAD. With each piece, I take an original art ad from a magazine and use tape to edit out the gallery and artists names, leaving only the dates and locations of the exhibitions. On the botton right corner you'll find a dot sticker suggesting that the work has been sold, and thus a success. The names of the artists are of little importance to me, it's their status in a world I was studying for a position in. By removing the names, I give myself instant credibility and status in that world."
Paul Butler

Source: Plug-In ICA (2008). Archives. 1997.
http://www.plugin.org/1997/butler/index.htm

Artist's biography:

Paul Butler

Document(s):

Archives. 1997

Municipal Mind

Marie-Claude Langevin — Mon, 29 Jun 2009 19:47:41 +0000

Artwork identification

Artwork creator(s):

Dextras, Nicole

Artwork creator(s):

Dextras, Nicole

Text author(s):

Dextras, Nicole

Text author(s):

Dextras, Nicole

Installation year:

2008

Remarks on location:

NEGOTIATED SPACE: Trinity Bellwood Park

STEWARDSHIP: Trinity Bellwood neighbourhood, service shack for park maintenance, against a mural indicating the various parks in the area

GLOBAL PILGRIM: In front of the gates to Trinity Bellwood park.

RANDOMLY EVOLVING: Queen Street Funkorama; Igor's Bike Shop

GLOBALIZATION: In the alley on Shaw Street

ETHIC OF SUFFICIENCY: Brick oven in Dufferin Park

DISAPPEARING COASTLINE OF HUMAN INTIMACY: Behind 48 Abell Street

Artwork description

Source: Nicole Dextras (2008). Mamzellenix's collections. (http://www.flickr.com/photos/ndextras/collections/)

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Installation views. Details.

Text of the artwork:

NEGOTIATED SPACE

STEWARDSHIP

GLOBAL PILGRIM

RANDOMLY EVOLVING

GLOBALIZATION

ETHIC OF SUFFICIENCY

DISAPPEARING COASTLINE OF HUMAN INTIMACY

Text theme:

Developing the concept of sufficiency to counterbalance the predominant ethic of excess

Artwork theme:

Urban creative spirit; negotiation of urban space; community

Dimensions

Other information

Note(s):

This winter I was in Toronto working on a project based on the book The Municipal Mind, by the city's poet laureate, Pier Giorgio Di Cicco. His eloquent writing, about how the vibrancy of a city depends on the creative spirit of the individuals who occupy it, has inspired me to create random, ephemeral installations on its streets and in its parks. I am interested in how we negotiate space in an urban environment, how we create community out of the chaos.

My words are made out of ice - a medium that exemplifies the transient nature of all things. In the city, the poetic melting of the ice word is often interrupted by the aggressive acts of the inhabitants, so it is more crucial for me to document the work once it is up.

Nicole Dextras (2008), Municipal Mind

http://www.flickr.com/photos/ndextras/sets/72157603788724382/

Artist's biography:

Nicole Dextras

Source:

1. Nicole Dextras Phone (604) 669-1551 Email nicole@nicoledextras.com Studio Address 1551 Duranleau Street, Vancouver, BC. Canada V6H 3S3

C’est fini/The Break-Up Project

Marie-Claude Langevin — Mon, 04 May 2009 17:46:55 +0000

Artwork identification

Artwork creator(s):

Collectif Taupe ( Boudreau, Jean-Denis; Bélanger, Jennifer; Cormier, Angele; Doucette, Mario)

Artwork creator(s):

Collectif Taupe

Bélanger, Jennifer

Cormier, Angele

Doucette, Mario

Text author(s):

Collectif Taupe

Text author(s):

Collectif Taupe

Installation year:

2005

Artwork description

Collectif Taupe (2008). Collectif Taupe. (http://collectiftaupe.blogspot.com/)

Description:

Explores the end of a local couple's relationship. Intimate letters left here and there in restaurants, statements in newspapers, banners placed downtown and special requests on the radio made of Marc and Julie's personal situation a public affair.

One of 100 intimate letters (in French and English), left in public places. The public intervention was part of the 2005 Francofête, in November. Julie broke up with Marc on banners placed downtown, as well as with a special request on the radio and with an ad in English and French provincial newspapers that was published three times, on October 31 and November 1 and 2, 2005.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Marc,

Je ne t'aime plus

Je suis désolée.

C'est fini

Julie

Just Separated

Text theme:

Ending a relationship

Artwork theme:

Ending a love relationship

History

History:

Banner placed in Robinson alley, downtown Moncton, on November 2, 2005.
C’est fini/The Break-Up Project.

Just Separated, downtown performance, C’est fini/The Break-Up Project

Advertising purchased in local newspaper Times and Transcript on October 31, 2005, for the C’est fini/The Break-Up Project.

Event date(s):

2005

Dimensions

Other information

Artist's biography:

Collectif Taupe

Footnotes

Marie-Claude Langevin — Wed, 15 Apr 2009 14:39:06 +0000

Artwork identification

Artwork creator(s):

Boyle, Gwen

Artwork creator(s):

Boyle, Gwen

Text author(s):

Boyle, Gwen

Text author(s):

Boyle, Gwen

Collaborator(s):

Green, Anita; Boyle, Melanie; Lynes, Patti

Installation year:

1994

Remarks on location:

Along Northern side of Pacific Boulevard, on sidewalk between Homer and Drake Streets.

Artwork description

Source: Photo provided by Marc André Brouillette

Source: Photo provided by Marc André Brouillettee

Description:

Ninety-nine unpolished black granite tiles are recessed randomly into the sidewalk. Handcarved into each granite block are words or texts chosen for their specific reference to the site. The shore is the line between the sea and the land, and the shore is the mid-line in the life of the city... beneath these paving stones.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Incomplete)

SEAGULLS SLEEP

SLINTER SHENCE

SHORELINE

TIDES WEPT

MUSSELS

OOLICHAN OIL

BLACKBIRD

374

STONE SHADOWS

ANOTHER MOON

LOOK

SKY LINE

TIDEPOOL
IN A CLAMSHELL

XIWA? ESQS

BENEATH THESE PAVING STONES

THE SHORE IS THE LINE BETWEEN THE SEA AND THE LAND
AND THE SHORE IS THE MID LINE
IN THE LIFE OF THIS CITY

NOVEMBER WALK NEAR FALSE CREEK MOUTH
BORN FROM THE GLARE COME THE FREAKISH FORM
OF TUGS... ALL BOWS AND SWOLLEN FUNNELS
STRAINING TO HARBOUR IN FALSE CREEK
AND BLINDLY FOLLOWED BY MUTE SCOWS

WITH ISLETS OF GRAVEL TO THICKEN THE CITY
AND SQUARE BOWLS OF SAFFRON SAWDUST
THE GROUND MEAL OF THE MANSTRUCK FOREST
OR TOWING SHINING GRIDS OF THE TREES STRICKEN
- EARLE BIRNEY, 1961

Text theme:

City of Vancouver Archives, C.P. Railway Archives, quotes from anthropologists and poets

Artwork theme:

History of the North Shore, False Creek, from pre-settlement time onwards

Dimensions

Other information

Note(s):

Sponsoring Organization : Concord Pacific Group Inc. Private development

Artist statement: This public artwork is located on part of what was once a shoreline.... The work is site specific in that it is based on research and archival material, as well as writings about this North Shore of False Creek, from pre-settlement time onwards.... I have quoted from the City Archives, C.P. Railway Archives, anthropologists and poets to find words to sandcarve into 57 blocks of unpolished black granite. Set into pavers, they are like markers on a path (of time), an echo. Although I feel the words selected are specific to this place, they are also general, sometimes evocative, the ardent hope they will bring out a smile on a rainy day. A private moment in a public space. Assistance from Anita Green, Melanie Boyle and Patti Lynes are gratefully acknowledged.

City of Vancouver (2008). City of Vancouver Public Art Registry

http://app.vancouver.ca/PublicArt_Net/ArtworkDetails.aspx?ArtworkID=206&Neighbourhood=&Ownership=&Program=

Artist's biography:

Gwen Boyle

Owner(s):

City of Vancouver

Document(s):

City of Vancouver Public Art Walk : Downtown Shoreline

Artwork : Footnotes

Password

Marie-Claude Langevin — Mon, 13 Apr 2009 23:54:08 +0000

Artwork identification

Artwork creator(s):

Storey, Alan

Artwork creator(s):

Storey, Alan

Text author(s):

Storey, Alan

Text author(s):

Storey, Alan

Installation year:

1994

Remarks on location:

Between Homer and Drake Streets; installed on 3 exhaust vents from the underground parkade, adjacent to sidewalk

Artwork description

Source: Photo provided by Marc André Brouillettete

Source: Photo provided by Marc André Brouillette

Description:

Four sets of four letters rotate to form random words. The stainless letters are installed on the three exhaust vents from the underground parkade and spin with the air flow coming out of the exhaust fans of an underground residential parkade. The letters randomly spell out words, and with the title, imply the possibility of a password that will break the separation between public and private space.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[activity: group of words # 1]

work
rest
play

[architecture: combining words # 2]

post
beam
door
wall

[public space: group of words # 3]

city
park
yard

[time: group of words # 4]

wind
rain

Text theme:

Activity, architecture, public space; weather

Artwork theme:

Boundary between public space and private space

History

History:

Model prepared in 1992. Artwork completed in 1994.

Dimensions

Height:

0.5m

Width:

2.33m

Other information

Note(s):

Sponsoring Organization: Concord Pacific Group Inc. Private development.

http://www.youtube.com/watch?v=pnbw8lTzzjg&feature=player_embedded

Artist's biography:

Alan Storey

Owner(s):

City of Vancouver

Source:

Forty Functions Ltd , Vancouver, C-B Tél : 604-685-2557 Email : fortyfunctions@shaw.ca 2. Office of Cultural Affairs Community Services Group City of Vancouver 453 West 12th Avenue Vancouver, BC, Canada V5Y 1V4 Tel: 604-871-6434 Fax: 604-871-6005 E-mail: oca@vancouver.ca Web: www.vancouver.ca/culture

Document(s):

City of Vancouver Public Art Walk : Downtown Shoreline

Insurgent Messages

Marie-Claude Langevin — Mon, 13 Apr 2009 19:13:47 +0000

Artwork identification

Alternate title:

Insurgent Messages for Canada

Artwork creator(s):

Heap of Birds, Edgar

Artwork creator(s):

Heap of Birds, Edgar

Text author(s):

Heap of Birds, Edgar

Text author(s):

Heap of Birds, Edgar

Installation year:

2007

Remarks on location:

Ten bus shelters downtown

Artwork description

Source: Warren, Daina (2008), Edgar Heap of Birds. Public Art for the Americas, Brunt : Grunt Gallery in Print, n° 4, (sept)

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[Text 1/6]

IMPERIAL
CANADA
WHERE
IS YOUR
STATUS
CARD?

INSURGENT MESSAGES FOR CANADA
HOCK E AYE VI EDGAR HEAP OF BIRDS 2006

[Text 2/6]

IMPERIAL
CANADA
STOP
BLACK
ROBES
ABUSE

Text theme:

(Contesting) the legal status of Canadian Indians

Artwork theme:

Historical and contemporary injustice inflicted upon indigenous people at the hand of the Canadian government, calling attention to laws and practices that oppress indigenous communities

History

History:

The posters that constitute the artwork entitled Insurgent Messages (for Canada) were created for the Grunt Gallery. The artwork is part of a project incorporating four works, exhibited over the period of a year at the Grunt Gallery in Vancouver and elsewhere. Although the art project that encompassed Insurgent Messages (for Canada) and Native Hosts, Words, Trees, Chiapas / In Honor of EZLN and Wheels: Overlays is entitled Public Art for the Americas, each work is an individual event with a separate title.

Event: Public Art for the Americas
1-29 October 2007

Dimensions

Other information

Artist's biography:

HOCK E AYE VI EDGAR HEAP OF BIRDS

Document(s):

Edgar Heap of Birds. Public Art for the Americas

Street Light

Marie-Claude Langevin — Sun, 12 Apr 2009 17:00:07 +0000

Artwork identification

Artwork creator(s):

Miller, Bernie; Tregebov, Alan

Artwork creator(s):

Miller, Bernie

Tregebov, Alan

Text author(s):

Miller, Bernie; Tregebov, Alan

Text author(s):

Miller, Bernie

Tregebov, Alan

Installation year:

1997

Remarks on location:

Southwestern end of the traffic circle

Artwork description

Source: Photo provided by Marc André Brouillette

Source: Photo provided by Marc André Brouillettee

Description:

Each of six twelve-meter high, bronze I-beam towers hold an image cut into a metal plate that illustrate the history of the area. The plates cast the shadow of the image onto the street. Texts etched in the limestone bases refer to the events relevant to the site. The positioning of the panels has been carefully calculated so that their optimum contrast and focus on the street is the month, date, and time that the event occurred. For example, if the sun is shining just before noon on June 17, the projected image of Vancouver's "Great Fire" will be visible on the promenade below

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

GRANDVILLE BRIGE, NOVEMBER 17, 1953

"First beam to complete span". This is the third Granville Street brigde. The first, built in 1889, made Granville Street the heart of the newly built city of Vancouver.

City of Vancouver archives

False Creek Shacks, 1934

"Fire wood cost nothing save the labour of sawing; fish for the catching, fresh water from a neaby water tap. Gradually they crowded out. By 1936 they had completely disappeared..." J.S.M. City archives

Burrad bridge, opened Dominion Day, July 1, 1932

In 1913. the Squamish people acquiesced their long established village of Snauq at the foot of the bridge on the Kitsilano side. When the Squamish surrendered remaining parcels to the federal government in 1946, 45 years of controversial property dealings were over.

City archives

Artwork theme:

Anecdotal and unofficial local history of Vancouver

Dimensions

Height:

12m

Other information

Note(s):

Sponsorising organisation: Concord Pacific Group Inc.

Private development.

Street Light is the third of a four-part public art series called Illuminating Roundhouse, designed to celebrate the False Creek redevelopment that surrounds it.

Artist statement: "An aspect of the work is meant to produce a light and shadow play… The bronze panels cast shadows of the captured (historical) images… References in the work are hybrids [influenced by] historic railway trestles, the Roundhouse turntable, a railway hand-car, billboard-like sign supports which were on the South shore of False Creek until the 1950s, drive-in movie theatre screens..." (From press release) Some of the residents in the condominiums next to the artwork started a campaign against the piece when it was installed, calling it a "malignant monstrosity." The piece had its supporters and detractors, and in the end, City Council supported the public art selection process and the work has survived the tests of time. At the South foot of Davie Street, bronze I-beams support images taken from Vancouver’s archives. The sculpture is carefully aligned to cast shadow images onto the sidewalk on the anniversary of the selected historical event. At night, from the tilted traffic circle opposite the sculpture, a light illuminates the panels. The form of the sculpture quotes a mixture of objects: railway trestles, hand-cars, turntables, billboards, drive-in movie screens, movie cameras, and suggests Vancouver’s transformation from an industrial centre to an information age economy.

John Steil, Aileen Stalker (2009). Public Art in Vancouver. Angels Among Lions. Vancouver: TouchWood Editions.

Artist's biography:

Bernie Miller

Owner(s):

City of Vancouver

Document(s):

City of Vancouver Public Art Walk : Downtown Shoreline

A Walk with Barbara Cole. Art public

Towards a Public Narrative

Jon Bird talks to Katherine Gretzinger about three public art projects in Vancouver

Vancouver International Sculpture Project 2000

Sculpture lights up Vancouver’s forgotten history

Artwork : Street Light

New Currents, An Ancient Stream

Marie-Claude Langevin — Sun, 12 Apr 2009 02:28:22 +0000

Artwork identification

Artwork creator(s):

Boyle, Gwen

Artwork creator(s):

Boyle, Gwen

Text author(s):

Da Vinci, Leonardo

Text author(s):

Da Vinci, Leonardo

Collaborator(s):

Green, Anita

Installation year:

1994

Remarks on location:

At the southwest corner of Bute and Alberni Streets; runs alongside the ground floor of the Palisades Apartments.

Artwork description

Source: Photo provided by Marc André Brouillette

Description:

A series of connecting high and low pools, with a waterfall made of overlapping black slate. A large glacial boulder sits in the upper pool and an identical cast bronze replica sits in the lower pool. Inscription cast in concrete beside the waterfall.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

In rivers, the water you touch is the last of what has passed, and the first of that which comes; so with time present.

Text theme:

Flow of time

Artwork theme:

Symbolic reclamation of the past and recognition of change

History

History:

The artwork took almost two years to complete.

Dimensions

Other information

Note(s):

This work marks the site of one of 49 salmon rich streams that once flowed through Vancouver to the sea. Time is symbolized by an "erratic" - a boulder formed by magma and sea water - and its doppleganger cast in bronze.

Private development

Sponsoring organization: Westbank Projects (real estate developer)

Donor: Monterey Properties Ltd. / Pacific Palisades Hotel Ltd.

Artist's biography:

Gwen Boyle

Author's biography:

Leonardo da Vinci

Owner(s):

City of Vancouver

Document(s):

New current, an ancient stream: a water project at 1200 Alberni Street, Vancouver, BC

Community Services. Cultural Services. Public Art Registry. Artwork: New Currents, An Ancient Stream

Sliding Edge

Marie-Claude Langevin — Fri, 10 Apr 2009 00:54:59 +0000

Artwork identification

Artwork creator(s):

Metz, Jacqueline; Chew, Nancy

Artwork creator(s):

Chew, Nancy

Metz, Jacqueline

Text author(s):

Birney, Earle

Text author(s):

Birney, Earle

Installation year:

2003

Remarks on location:

Two locations: one along the seawall and one along West Hastings Street

Artwork description

Source: Photo provided by Marc André Brouillette
Source: Photo provided by Marc André Brouillette
Source: Photo provided by Marc André Brouillette
Source: Photo provided by Jacqueline Metz & Nancy Chew
Source: Price, Gordon (2005),  A Walk with Barbara Cole. Art public, Price Tags Magazine, no. 77, (9 october), p. 28
Source: Photo provided by Jacqueline Metz & Nancy Chew
Source: Photo provided by Jacqueline Metz & Nancy Chew
Source: Urban Art Management (2008). Portfolio.Sliding Edge. (http://www.urbanartmanagement.com/portfolio.html)
Source: Photo provided by Marc André Brouillette

Description:

Along the seawall, a rough yet elegant waterfall made of black rundle stone is installed; the stacked, linear, irregular stone edges are abstractions of geological layers. Standing on top of the waterfall is an iconic, enigmatic human figure - Man in the landscape, poised between Earth and Sky. The text is an excerpt from a poem by Earle Birney, November Walk Near False Creek Mouth. There is another waterfall along Hastings Street, along with black stone benches that are scattered along the pool edge. Cast iron tree grates are shaped like saw blades to remind viewers of the historic use of the area.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

on the sliding edge of the beating sea

Text theme:

Poem: Earle Birney, November Walk Near False Creek Mouth. Dusk, the tide

Artwork theme:

This work involves two streetscapes and refers to the site’s natural and industrial context: a waterfall of stacked stone, an abstraction of the coal cliffs of Coal Harbour, both organic and ordered; sawblade treegrates; long narrow custom concrete pavers and inset wild grasses echo the slip and slide of a waterfront edge. At the waterfall along the seawall is a figure looking North to the wilderness. Text is carved into the stone face, revealed through a moving film of water. At the urban street, an empty stone plinth projects into the pool, while steel text hovers in front of falling water. The text and the figure, both present and absent, revealed and concealed, reflect on a past landscape, or one that can still be found farther along the coast, and at the intersection of nature and culture.

Dimensions

Other information

Note(s):

Budget: Art Design, Fabrication and Installation $200,000

Artist's biography:

Muse Atelier

Author's biography:

Earle Birney

Owner(s):

City of Vancouver

Source:

Jacqueline Metz & Nancy Chew, 106-1956 Haro St, Vancouver V6G 1H6 T604.685.6184 museatelier@shaw.ca

Document(s):

A Walk with Barbara Cole. Art public

Community Services. Cultural Services. Public Art Registry. Artwork : Sliding Edge

Portfolio. Public Art

Présences du littéraire dans l’espace public canadien - Thoroughfare

One potato, two potato...it's your life...

There is no place like home

Monument for East Vancouver

Les Mots (volet 2)

LOST WORDS

INVENTED WORDS

NEW WORDS

Bancs de pierre.. .et de paroles/ Bancos de pedra... e de palabras

Halifax Begs Your Pardon!

Untitled

Belonging

[literary component #1 («Belong»)]

[literary component #2 («abandon»)]

[literary component #3 («CLAIM»)]

[literary component #4 («Photomontage») ]

Witness

[plaque 1/5]

[plaque 2/5]

[plaque 3/5]

Happy is the country that has no history

Depressed

Dean Beaver

Municipal Mind

C’est fini/The Break-Up Project

Footnotes

(Incomplete)

Password

[activity: group of words # 1]

[architecture: combining words # 2]

[public space: group of words # 3]

[time: group of words # 4]

Insurgent Messages

Street Light

New Currents, An Ancient Stream

Sliding Edge

(Site 1: Under the waterfall)