Présences du littéraire dans l’espace public canadien - Copper

Rencontre au confluent

Marie-Claude Langevin — Wed, 15 Sep 2010 20:06:30 +0000

Artwork identification

Artwork creator(s):

Bergeron, Suzanne

Artwork creator(s):

Bergeron, Suzanne

Text author(s):

Laferrière, Dany

Text author(s):

Laferrière, Dany

Installation year:

2010

Artwork description

Source : Photo transmited by Marie-Claude Langevin

Description:

Group of glass panels with a concrete block. On the vertical panel, we can see the text and a path created with 1 ¢ coins. On the horizontal panel, the artist has inlaid wooden wafers and a recycled cardboard lattice.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

J’ai toujours pensé que c’était le livre qui franchissait les siècles pour parvenir jusqu’à nous.
Jusqu’à ce que je comprenne en voyant cet homme que c’est le lecteur qui fait le déplacement.

Text theme:

Litérature

Artwork theme:

Rencontre au confluent is a glass book that opens onto the world and artistic creation – both architectural and literary. Here, the designer is not inspired by the poet, but rather pays tribute to him. The viewer is invited to make a connection with Dany Laferrière’s novel L’énigme du retour (2009 Médicis prize), published by Éditions du Boréal.

Text reference:

L'énigme du retour

History

History:

From May 18 to October 31, 2010, in the entrance hall of the Grande Bibliothèque, Bibliothèque et Archives nationales du Québec (BAnQ) will be hosting the exhibition Architectures en vers, which consists of five architectural installations inspired by poetry. These installations were created by collectives of well-known and up-and-coming architects working with glass artists. The exhibition is presented as part of the “Montréal, 2010 City of Glass” program, under the direction of the Board of Montreal Museum Directors.

Event date(s):

2010

Dimensions

Other information

Note(s):

Suzanne Bergeron of Amiot Bergeron architectes reveals her deepest thoughts in a work of shadow and glass that is highly moving in its simplicity.

Author's biography:

Dany Laferrière

Document(s):

Architecture en vers exhibition at Montreal's Grande Bibliothèque

Architectures en vers, présentée dans le cadre de Montréal, ville de verre 2010

Table-ronde - Exposition “Architectures en vers” à la Grande Bibliothèque

Unlimited Growth Increases The Divide

Marie-Claude Langevin — Wed, 28 Apr 2010 17:15:57 +0000

Artwork identification

Artwork creator(s):

Walter, Kathryn

Artwork creator(s):

Walter, Kathryn

Text author(s):

Walter, Kathryn

Text author(s):

Walter, Kathryn

Installation year:

1990

Artwork description

Source : Photo transmited by Marc André Brouillette

Description:

The text consists of 7" copper letters installed above the entrance to the gallery.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Unlimited Growth Increases The Divide

Text theme:

Political Statement

History

History:

For about a decade, starting in 1981, British Columbia's power company, BC Hydro, had owned most of the block where they planned to build their new office tower. The Del Mar Hotel, owned by George Riste, occupied the only piece of land missing from their property. The Del Mar is a small, unassuming building providing clean, affordable housing to the poor. Despite all the weight brought to bear by the Hydro Goliath, including what must have been enormous amounts of money, Riste refused to sell. BC Hydro eventually had to redesign its tower and build around the hotel.

Dimensions

Width:

2.13m

Other information

Note(s):

"The strategy behind "Unlimited Growth..." is direct. It is directed at those who operate our free-market economy in their own interests, while excluding those interests that would be 'responsive to the needs of the community'. The subtext to "Unlimited Growth..." relates to several aspects of public art, including the need to address the use of site-specific work as a way of intervening in local issues, and in this instance, acting as a marker of resistance by the economically marginalized, as represented by a parallel gallery and a hotel providing affordable housing. Walter raises questions related to the systems underlying the transactions and power-plays that constitute normal business in the world of real estate development. In Walter's art the museum without walls is also a museum OF walls, walls new and old, as well as those walls that perpetuate economic class distinctions. Her text on the façade of the Del-Mar Hotel will stand as a witness to the various power-plays, including the threat to move B.C. Hydro's head office to the suburb of Burnaby, that led to the development surrounding 553-555 Hamilton Street."

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

http://vancouver.ca/publicart_wac/publicart.exe/indiv_artwork?pnRegistry_No=358

Document(s):

Public Art in Vancouver. Angels Among Lions

All Our Knowledge Has its Origins in Our Perceptions

Marie-Claude Langevin — Wed, 28 Apr 2010 03:16:03 +0000

Artwork identification

Artwork creator(s):

Baxter, Brain; Olynyk, Markian

Artwork creator(s):

Baxter, Brain

Olynyk, Markian

Text author(s):

Da Vinci, Leonardo

Text author(s):

Da Vinci, Leonardo

Installation year:

1995

Artwork description

Source : Photo transmited by Marc André Brouillette

Description:

Abstract mural made of three circles and several geometric forms. A quote from Leonardo da Vinci appears at the top.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

All Our Knowledge Has Its Origins In Our Perceptions

Text theme:

Our perception is defined as the process by which the sensory stimulation gained through sight, sound, smell, taste, feel and movement is translated into an understandable experience.

Artwork theme:

Challenges the viewer's perceptions by making references to the mysteries of the mind and of the universe, and to the search for truth.

Dimensions

Other information

Note(s):

"A library is an ordered resource for accessing information to further one's knowledge and to enhance one's learning. The route taken to that information can guide the thought process and determine the end conclusions. Leonardo realized this a few centuries ago; Our concept is to challenge users of the facility to rethink their thought processes. The most opportune time to accomplish this is before entering the Library - confronting the viewer by having them walk through the piece - and perhaps encouraging them to leave their previous perceptions at the door. The format in presenting the concept is another Leonardo da Vinci exercise - a geometric discovery of form, mathematics and order. Our interpretation of the exercise challenges the viewer's perceptions: first, by engaging the individual in a visual puzzle that defines the various elements of the geometry in a manner that also juggles their perceptions; and secondly, by making visual references to the cosmos that will take the viewer beyond the physical piece to consider the mysteries of the mind, universe, and of course, the search for truth. In locating the piece at, and as the entrance, it emphasizes Public Art as a functioning component of life and architecture - the concept challenging one's thought process and the physical statement aiding in the flow and function of the ordered architecture."

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

http://vancouver.ca/publicart_wac/publicart.exe/indiv_artwork?pnRegistry_No=204

Artist's biography:

Markian Olynyk

Author's biography:

Leonardo da Vinci

Owner(s):

City of Vancouver

Architect(s):

Roger Hughes and Partners

Document(s):

Public Art in Vancouver. Angels Among Lions

Out Of Thin Air

Marie-Claude Langevin — Wed, 15 Apr 2009 16:22:07 +0000

Artwork identification

Artwork creator(s):

Storey, Alan

Artwork creator(s):

Storey, Alan

Text author(s):

Storey, Alan

Text author(s):

Storey, Alan

Remarks on location:

2 panels inside, 3 outside, all at either of the two entrances

Artwork description

Source: City of Surrey (2009). Public Art Program. (http://www.surrey.ca/Living+in+Surrey/Arts/Public+and+Community+Art/default)

Description:

Out of Thin Air is a set of five interactive copper panels that respond to changes in time and passers-by. It is a highly imaginative, almost futuristic piece that employs, in part, a refrigeration unit to spell out words in frost on its surface. The word “dream” on one panel appears in many languages including Punjabi, Hindi, Coastal Salish, English and French. Another panel features phrases associated with our five senses. Of the panels at the two entrances, one reveals images related to Bear Creek, while the other set references the building’s architectural profiles.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[In various languages: French, Punjabi, Hindu, Coastal Salish, English]

DREAM
---
SCENT

Text theme:

The five senses; dreaming

Artwork theme:

Architecture of the Surrey Art Gallery; Bear Creek; the five senses; dreaming

Dimensions

Other information

Note(s):

The installation was designed in cooperation with members of the Surrey Arts Centre’s Architectural Consulting Team during the Centre’s redevelopment. Alan Storey has become widely known for “site-sensitive” public art projects. He uses new technologies and materials in innovative ways that depend to a great extent on the interactions of people passing by. His exhibition-based work has included a drawing machine that inscribed words as it navigated the walls of Vancouver’s Or Gallery (1984); a small vehicle dragging five pens across a stretched canvas at the Southern Alberta Art Gallery (1989); an early website through which visitors could guide a drawing machine in Indiana (1995); and publicly located works of art using objects like elevator cars, a pendulum, a boardwalk and a bicycle. One of the first recipients of the Artist-in-Residence in Research fellowship (a joint program of Canada Council of the Arts and the National Research Council), Storey is currently working on a number of public art projects, including Bellevue’s City Hall, Richmond’s Francis Road Pump Station, North Vancouver’s Capilano Community Centre, and is serving as a consultant for the Vancouver General Hospital’s boiler plant project.

City of Surrey (2008). Public Art Program. Public & Community Art Projects & Locations

<http://www.surrey.ca/NR/rdonlyres/BD7AEB0F-EB2E-4CE0-A383-A78C3B815EE4/28628/PubArtInsert_Series18.pdf>

Artist's biography:

Storey, Alan

Owner(s):

City of Surrey Public and Community Art Collection

Document(s):

Public & Community Art. A Self-Guided Tour of Public & Community Art in the City of Surrey

Alan Storey et l'in situ/Site Sensitive Sculptures That Move and Make You Think

Barrels, Bicycles and Belonging

Public Art Program. Public & Community Art Projects & Locations

Lost Streams of Kitsilano

Marie-Claude Langevin — Sat, 11 Apr 2009 17:01:47 +0000

Artwork identification

Alternate title:

Lost Streams

Artwork creator(s):

Penner Bancroft, Marion

Artwork creator(s):

Penner Bancroft, Marion

Text author(s):

Penner Bancroft, Marion

Text author(s):

Penner Bancroft, Marion

Installation year:

1994

Remarks on location:

Copper map installations at Kitsilano Beach, just South of the playground; Volunteer Park at Point Grey Road; at the foot of Bayswater, and at Jericho Beach approximately 100 meters West of the concession. In-ground markers installed along the paths of four historical streams that once existed in Kitsilano

Artwork description

Source: CCCA (2008). Marion Penner Bancroft. (http://www.ccca.ca/artists)

Source: Photo provided by Marc André Brouillette

Description:

Sixteen in-ground markers and four above-ground markers are installed along the paths of four historical streams that once existed in Kitsilano. Each of the in-ground markers has the words LOST STREAM inscribed onto it, along with sets of words on two themes; first, along the edges, two-word phrases for the causes of the disappearance of the streams (e.g. “logging railway”) and second, in the centre, four kinds of animal and plant life that have disappeared (e.g. “sockeye, thimbleberry, lynx and fir”). A set of black and white photographs are installed, two for each stream path (images of trees).

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Text imcomplete)

N

LOST STREAMS
OF
KITSILANO

MARKERS
NATIVE SETTLEMENTS

ENGLISH BAY

SKWAY’OOS
(KITSILANO BAY)

MAPLE

EE’EE’ULLMOUGH

TSUMTSAHMULS

(JERICHO BEACH)

(FOOT BY BAYWATER)

(VOLUNTEER PARK
POINT GREY ROAD)

3rd & Balaclava

5th & Stephens

6th & Bayswater

7th & Alma

6th & Cypress

12th & […]

10th & Larch

11th & Cypress

Xth & […]

Xth & […]

Xth & […]

---

LOST STREAM
land auction
chinook
strawberry
wolf
alder

---

LOST STREAM
logging railway
cutthroat
blackberry
beaver
spruce

Text theme:

Causes for the disappearance of the streams; plant and animal life that have disappeared

Artwork theme:

History of the streams of Kitsilano; earlier landscape marked by the flow of the streams

History

History:

The project took the artist a year to complete. Documentary version of the work presented at the Catriona Jeffries Gallery, Vancouver. Medium: 8 selenium-toned silver prints transmounted on plexiglass, conservation board, spruce frame and copper strip - each with a corresponding graphite rubbing on Strathmore paper

Dimensions

Other information

Note(s):

This project was the result of a long process of researching and photographing the local landscape and consultating members of the community, the Park Board and the School Board. The work consists of 16 in-ground and 4 above-ground markers installed along the paths of four historical streams that once existed in Kitsilano. Each of the in-ground markers has the words LOST STREAM engraved around the outer edge. Each marker also contains engraved words on two themes; first, along the edges, two-word phrases for the causes of the disappearance of the stream (e.g. "logging railway") and second, in the centre, four kinds of plant and animal life that have disappeared (e.g. "sockeye, thimbleberry, lynx and fir"). Artist Marion Penner Bancroft writes, "...my desire became to find a way of recalling what was now invisible, of marking the routes of the streams and in doing so, to call up an earlier image of this place, to bring some history into the present... I also installed at (Kitsilano) Community Centre a set of black and white photographs, two for each (stream) path. These are close up images of where the streams once were, paired with images of trees that are fed by the underground flows, those vestiges of another landscape."

Artist's biography:

Penner Bancroft, Marion

Owner(s):

City of Vancouver

Source:

1. 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 • Barabara Cole, Public Art Consultant for the Public Art Program, Cultural Services Public Art Program 604.871.6002 barbara.cole@vancouver.ca • Karen Henry, Public Art Consultant karen.henry@vancouver.ca • Bryan Newson, Public Art Program Manager bryan.newson@vancouver.ca 1. Marian Penner Bancroft Peut être jointe à travers la Catriona Jeffries Gallery 274 East 1rst Avenue Vancouver, C-B V5T 1A6 Tél : 604-736-1554 fax : 604-736-1054 cat_jeffries_gallery@telus.net

Document(s):

Marian Penner Bancroft

The Art of Neighbourhoods: West Point Grey and Kitsilano

Community Services. Cultural Services. Public Art Registry. Artwork : Lost Streams of Kitsilano

North is Freedom

Marie-Claude Langevin — Wed, 07 Jan 2009 16:57:54 +0000

Artwork identification

Artwork creator(s):

Bamford, Stephen

Artwork creator(s):

Bamford, Stephen

Text author(s):

Clarke, George Elliott

Text author(s):

Clarke, George Elliott

Collaborator(s):

Brathwaite, Stephen

Installation year:

2007

Artwork description

Source: SWCSMH (2008). Public Art in Halifax. (http://www.chebucto.ns.ca/ccn/info/Science/SWCS/public_art/public_art.html)

Description:

A kid stands on the roof of the Halifax North Memorial Public Library, on Gottingen Street, and watches as a young woman helps a young man climb to the top of a 20-foot-high steel monolith, play out in the square below. They are local students from Saint Patrick-Alexandra School, cast in bronze. They are unfinished figures, a gesture.

The steel monolith is engraved with words that tell their community's story.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(On a side)

North is freedom-
Uptown, down-home:
Each book a drum
Each life a poem
George E. Clarke

(On one side, incomplete text)

Respect, North, SOS

Text theme:

Commemorating the history, present and future of Halifax

Dimensions

Height:

6.09m

Other information

Note(s):

"The idea behind the sculpture is that we can achieve much on the strength of our shared experience and that knowledge is power." - Doug Bamford

Source: SWCSMH (2008). Public Art in Halifax.

http://www.chebucto.ns.ca/ccn/info/Science/SWCS/public_art/public_art.html

The three human figures in the public art piece are modelled after local students from Saint Patrick's-Alexanda School.

Document(s):

Reality bites

Public Art in Halifax, Nova Scotia, Canada

Table Talk

Marie-Claude Langevin — Sun, 21 Dec 2008 18:07:15 +0000

Artwork identification

Artwork creator(s):

Sandler, Ilan

Artwork creator(s):

Sandler, Ilan

Text author(s):

Public

Text author(s):

Public

Installation year:

2005

Artwork description

Source: Ilan Sandler (2008). Works. (http://www.ilansandler.com/projects.html#self)

Description:

Table Talk is a set of three circular copper table tops with text stamped around the circumference. The text is made up of excerpts from interviews with victims of or witnesses to violent crimes. The tables have been installed in the food court, around the corner from the St Mary's University Art Gallery. The text stamped around their perimeters are from conversations with Ryan Suter, an artist living in Halifax; and Nino Richards, who was a high school student in Philadelphia at the time of our conversations in 2002. The third table has been left blank.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Halifax

I was walking down Creighton
just past Gerrish a kid with his hoodie up asked:
Do you have any money? Are you drunk?

As I said no he punched me hard on my jaw
The second time he hit me I spun around
I had my head to the ground
I could see a bunch of feet behind me

As I tried to run I felt this smash on the
back of my head it was the most amazing
sound it was a pop

I blacked out
but I was so pumped with adrenalin
when I hit the ground and slid on my knees
I popped right back up.

I fell onto the back of a car
four kids grabbed me
they pushed me towards a construction site

A kid said: hit him again,
they cracked me again with the two by four.
They pushed me around the corner and tried
to get me into the pit of a basement

I didn't realize the blood from my head
was going into my face
I couldn't understand why I had this blurred vision

I started pushing and got out of the construction site
but I got banged again, my face hit the cement,
my body flexed again and I popped right back up

I continued running and lights started to come on
people started opening their doors.
I started banging on a friend's door.
They answered but my friends did not recognize me:
you sound like Ryan but I don't recognize you.

I was the third person attacked that night,
I think there were four kids, one was white and the others were black,
I ended up with twenty five staples in my head.

Philadelphia

They attacked me from behind. But I didn't fall.
If I would have fallen they would have stomped the crap out of me.

I didn't run. When they saw the boy's back they got off me.
I cut the boy's back and when they saw the blood they all got off me.

I didn't even see what I picked up to defend myself.
The police said it was like a piece of a box cutter. It was old and rusty and I cut myself pretty bad.

When I ran across the street the police locked me up. They didn't see what happened.

They locked me up and then I went to the hospital and then to the youth study center.

I defended myself. They didn't want to fight me one on one.
I thought though everything was squashed because I went to the dean.

They played it pretty smart. They caught me when I was going home from school.

I had damage done to my eye and a little bit of damage done to my ribs and back

Text theme:

Testimony on crimes or violence

Dimensions

Other information

Artist's biography:

Ilan Sandler

Document(s):

On a roll

SOS

Marie-Claude Langevin — Fri, 28 Nov 2008 05:00:06 +0000

Artwork identification

Artwork creator(s):

Dickson, John

Artwork creator(s):

Dickson, John

Text author(s):

Dickson, John

Text author(s):

Dickson, John

Installation year:

2001

Artwork description

Source: Drobnick, Jim; Jennifer Fisher (2002). Museopathy, Kingston: Agnes Etherington Art Centre

Description:

A device installed on the bottom of the harbour water shoots air bubbles to the surface every 22 seconds. The bubbles spell the acronym SOS.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

SOS

Text theme:

Cry of help

Artwork theme:

Water, pollution, ecological crisis in situ (Lake Ontario), nautical history of shipwrecks in Kingston

History

History:

Art Exhibition to Museopathy, Kingston, June 23-September 9, 2001. (Organized by the Agnes Etherington Art Center. Commissioners: Jim Drobnick and Jennifer Fisher.)

Event date(s):

2001

Dimensions

Height:

2.7m

Width:

Other information

Note(s):

An anchored apparatus of copper tubes and solenoid valves was rigged to a compressor and timed to release air.

Museopathy explored the implications of museological affect – how museums feel and subtly influence visitors. The auratic features of museums – their particular moods, presences and ambiences – were highlighted, intensified or counteracted in order to examine meanings that may have been lost due to the exigencies of conveying persuasive, singular narratives. Our impetus was to foreground the great diversity of relational experiences within a civic exhibitionary complex rather than a pure aesthetic gaze upon discrete, autonomous objects. This emphasis on immersed beholding requires the apprehension of the overall reality of the display context, one that goes beyond reading an exhibition as if it were a linear text. Museopathy thus focused on the types of affective interactions that take place in museums, such as between audiences and objects, between objects and collections, and among the varied exhibition contexts of the city of Kingston as a whole.

Source: Drobnick, Jim; Jennifer Fisher (2002). Museopathy. Kingston: Agnes Etherington Art Centre

Artist's biography:

Dickson, John

Document(s):

Museopathy

Spotlight: John Dickson: the fluidity of art and life

Rumination on a Set of Circumstances

Marie-Claude Langevin — Thu, 06 Nov 2008 18:16:32 +0000

Artwork identification

Artwork creator(s):

McWilliams, Al

Artwork creator(s):

McWilliams, Al

Text author(s):

McWilliams, Al

Text author(s):

McWilliams, Al

Installation year:

1991

Artwork description

Source: University of Lethbridge (2006). Art Gallery. (http://www.uleth.ca/artgallery/)

Description:

An abstract sculpture composed of a steel chair sitting underneath three tilting rings that are supported by four poles. Propane burners shoot flames out from underneath the legs of the chair. Rumination on a Set of Circumstances employs the Braille alphabet.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Braille element

History

History:

Purchased by the University of Lethbridge in 1987, it was created in 1983 and permanently installed in 1991 as the featured new work at the dedication of the U of L sculpture park.

Dimensions

Height:

5.1m

Width:

Depth:

4 m

Other information

Note(s):

CCPERB Essay
University of Lethbridge 1991

"Al McWilliams Rumination on a Set of Circumstances is one of the most reproduced, internationally exhibited works of contemporary Canadian sculpture. Purchased by the University of Lethbridge in 1987, it will be permanently installed this September as the featured new work at the dedication of the U of L sculpture park. McWilliams has been a visiting artist at the U of L and the Southern Alberta Art Gallery recently hosted a solo exhibition of his work and published a catalogue on the occasion.

McWilliams was included in the exhibition West Coast Stories organized by the U of L and circulated throughout Alberta. His work forms an important component in our programme to inform our publics concerning contemporary sculpture. Rumination on a Set of Circumstances is of course an outdoor piece (now permanently sited). It is with this in mind that we are delighted to add McWilliams Untitled (...and the Woman). This work is intended for display indoors; comparatively manageable in scale, it can be incorporated in changing exhibition programmes and temporary exhibitions.

Untitled (...and the Woman) is the final work in which McWilliams utilized the chair image (also central to Rumination on a Set of Circumstances), and the first in which he employed the Braille element. It is also the work which introduced the references to Genesis, specifically to Adam and Eve and the Fall from Paradise, which has been a major preoccupation of his work since that point. The formal devices and material at use: copper, plate glass, Braille photo panels all exemplify what McWilliams’ work continues to be about. It will make for extraordinary comparison to the University’s superb collection of Canadian sculpture. McWilliams is represented in the monographs, Visions, and Vancouver Art and Artists, by our work Rumination on a Set of Circumstances. The new work, Untitled (...and the Woman) was exhibited at the Cold City Gallery in 1987 where is was reviewed by Ian Carr-Harris."

C Magazine, Winter 87/88 p72-73, and by Tom Gotlieb in Art Post, Winter 87/88. It has been reproduced in a later C Magazine new work supplement and the Capilano Review series 2:1, Fall 1989.

Artist's biography:

Al McWilliams

Owner(s):

University of Lethbridge

Document(s):

Sculpture Lit

Recent Sculpture

Pledge

Marie-Claude Langevin — Wed, 22 Oct 2008 00:46:55 +0000

Artwork identification

Artwork creator(s):

Koh, Germaine

Artwork creator(s):

Koh, Germaine

Text author(s):

Koh, Germaine

Text author(s):

Koh, Germaine

Installation year:

2002

Remarks on location:

Alvin A. Lee Building, University Avenue at Sterling St., McMaster University

Artwork description

Source: Photo provided by Germaine Koh

Description:

Pledge is an edition of copper tokens, each bearing the words "I WILL".

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

I WILL

Text theme:

Commitment and social interaction, personal gesture to another

Artwork theme:

Trade and social commitment

History

History:

Exhibition: Hidden Rhythms, Museum Het Valkhof and Paraplufabriek (Nijmegen), 2005. Commissioner: Hilde de Bruijn.

Armory, 2005

Toronto International Art Fair (TIAF), Toronto, 2004

Open Hours, McMaster Museum of Art, Hamilton, Sept. 1-Oct. 20, 2002. Distribution libre, by the McMaster Museum of Art Gallery, Ledoco, 2002

Dimensions

Diameter:

0.025m

Other information

Note(s):

The Pledge coins were exhibited at the Museum's numismatic centre.

Artist's biography:

Germaine Koh

Source:

1. Germaine Koh, artiste 101 Niagara Street, Box 28, Toronto, M5V 1C3 416-365-7056 website@germainekoh.com 2. Germaine Koh peut être jointe en communiquant avec la galerie qui la représente - Catriona Jeffries Gallery 274 East 1st Ave., Vancouver V5T1A6 Canada Tél : 604-736-1554 cat_jeffries_gallery@telus.net

Document(s):

Open Hours. An Exhibition by Germaine Koh, September 1 through October 20, 2002

Various projects: Pledge

Change

Marie-Claude Langevin — Tue, 21 Oct 2008 03:45:07 +0000

Artwork identification

Artwork creator(s):

Koh, Germaine

Artwork creator(s):

Koh, Germaine

Text author(s):

Koh, Germaine

Text author(s):

Koh, Germaine

Installation year:

1999

Remarks on location:

Visual Arts Department, John Labatt Visual Arts Centre, University of Western Ontario

Artwork description

Source: Photo provided by Germaine Koh

Description:

A quantity of coin-like metal slugs, each engraved with the single word "bon" or "bien", are sent into circulation as an alternative form of currency.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

First coin:

BON

Second coin:

BIEN

Text theme:

Personal gesture to another, charity, grace, kindness

History

History:

Trans, The Artlab, John Labatt Visual Arts Centre, The University of Western Ontario, London

Event date(s):

1999

Dimensions

Other information

Artist's biography:

Germaine Koh

Source:

Germaine Koh, artiste 101 Niagara Street, Box 28, Toronto, M5V 1C3 416-365-7056 website@germainekoh.com mail@germainekoh.com mobile +1(778)3179745 2. Germaine Koh peut être jointe en communiquant avec la galerie qui la représente - Catriona Jeffries Gallery 274 East 1st Ave., Vancouver V5T1A6 Canada Tél : 604-736-1554 cat_jeffries_gallery@telus.net 3. Susan Edelstein, Gallery Director artlab@uwo.ca 661-2111 ext. 85855 artLAB John Labatt Visual Arts Centre University of Western Ontario Perth Drive, N6A 5B7

Document(s):

Attractions de l’ordinaire sur l’œuvre de Germaine Koh

Change

Open Hours. An Exhibition by Germaine Koh, September 1 through October 20, 2002

Oeillée vers le large

Marie-Claude Langevin — Sun, 08 Jun 2008 20:26:11 +0000

Artwork identification

Artwork creator(s):

Thériault, Gérard

Artwork creator(s):

Thériault, Gérard

Text author(s):

Thériault, Gérard

Text author(s):

Thériault, Gérard

Installation year:

2002

Artwork description

Source: Bibliothèque René-Richard (2008). Bibliothèque. (http://www.baiesaintpaul.com/bibliotheque/)

Description:

Large sculpture representing an Amerindian looking in the distance. The work is made of wire that has been rolled into voluminous shapes to create the character. A poem by the artist and an explanatory note is written on a plaque.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Oeillée vers le large
Récupéré de l’Emmanuel
Et du Mont-Sainte-Marie
Du Mont-Royal et du Mont-Notre-Dame
Du cœur de ces bateaux
Qui ont mouillé, vogué, voyagé
Puis péri dans les flammes
Quand le repos fut venu Le fer
Par un geste d’artiste
S’est vu offrir une autre vie
En cet homme
Porteur d’histoire et de promesses

Gérard Thériault (1939-2001)

Artwork theme:

Nautical heritage of the St. Lawrence River.

History

History:

The artwork was inaugurated on August 10, 2002. The artwork was acquired and installed as a tribute to the artist by Jacques Dufour Enterprises Inc. et Fils., Emmanuel Simard et fils (1983 Inc.) and Rosaire Bertrand, MP for Charlevoix.

Dimensions

Other information

Owner(s):

Bibliothèque René-Richard

Lettres ès Sens

Marie-Claude Langevin — Fri, 23 May 2008 20:36:08 +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:

1993

Artwork description

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

Description:

Hanging sculpture and four low reliefs. The hanging sculpture is an empty obelisk whose sides are pierced with an arcade. The low reliefs consist of four tilted panels featuring Braille letters, Morse code signs, runes and signs such as those used by stone cutters. The panels are installed around the hanging sculpture, near the ceiling, and lean towards it.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Braille letters, Morse code signs, runes, signs used by stone-cutters.

Text theme:

The first eight are Goth or Viking runes, followed by the first eight letters of the Braille alphabet and Morse code, then stone-cutter signs of recognition

Artwork theme:

Traces and signs. Communication

Dimensions

Other information

Note(s):

The obelisk marks a reference to writing as it is a surface covered with hieroglyphics. These written languages are different from ours but they evoke history as well as the various modes of communication that human beings find to express themselves.

Owner(s):

Ville et bibliothèque de Charlemagne

Untitled

Marie-Claude Langevin — Wed, 21 May 2008 17:01:48 +0000

Artwork identification

Artwork creator(s):

Cornet, Lucienne

Artwork creator(s):

Cornet, Lucienne

Text author(s):

Cornet, Lucienne

Text author(s):

Cornet, Lucienne

Installation year:

1983

Remarks on location:

The sculpture is located in the library.

Artwork description

Source: Renée Larochelle (2007). L'art mutant de Lucienne Cornet. Contact: Université Laval, vol. 21, no. 2.

Description:

The sculpture consists of two panels mounted onto two brick walls. The first panel is a long horizontal rectangle and presents different types of representations subject to the morphology of the first three letters of the alphabet, as written in capital letters. Hieroglyphic symbols occupy the left side, in tight rows, while, to the right, two human figures strike poses that evoke a movement towards the center. Large diagonal tracks mark the greater part of the space while extending one of the legs of the "A". A fragment from a geometric square seems to pop up from behind the rectangle. The second panel shows the last three letters of the alphabet. Copper sheets are folded, engraved, acid burnt, chemically oxidized, hammered down, studded, riveted, welded, etched and varnished.

Text of the artwork:

A B C X Y Z hieroglyphics

Dimensions

Other information

Owner(s):

Commission scolaire des Premières-Seigneuries; École du Sous-Bois

Document(s):

L'art mutant de Lucienne Cornet

Scriptura

Marie-Claude Langevin — Sun, 18 May 2008 20:18:34 +0000

Artwork identification

Artwork creator(s):

Baillargeon, Carole

Artwork creator(s):

Baillargeon, Carole

Text author(s):

Baillargeon, Carole

Text author(s):

Baillargeon, Carole

Collaborator(s):

Karolzak,Vanda (modèle); McKenzie,Christopher (modèle); Parish, Michael (installation)

Installation year:

1994

Remarks on location:

Installed in the vestibule

Artwork description

Source: Carole Baillargeon (2007).Textile, Sculpture, scénographie. (http://www.carole-baillargeon.ca/projets9.php)

Description:

Two sculptures representing scenes costumes for women and men are installed inside niches that face. The costumes, first cast in concrete, then covered with a woven copper strips. Splashes of concrete are visible on metal surfaces. The interior niche is covered with aluminum sheets on which are engraved signs related to writing music, literary or choreographic.

Mention(s) légale(s) des illustrations:

Photo credits:

Text theme:

The text is connected to writing music, literary or choreographic

Artwork theme:

Music, Literature, Dance

Dimensions

Height:

0.84m

Width:

0.32m

Depth:

0.18 m

Other information

Artist's biography:

Carole Baillargeon

Owner(s):

GRT Art inc.

Document(s):

L’intégration des Arts à l’architecture et à l’environnement. Bilan 1993-1994

Et, ils vécurent heureux

Marie-Claude Langevin — Sat, 17 May 2008 22:20:25 +0000

Artwork identification

Artwork creator(s):

Baillargeon, Carole

Artwork creator(s):

Baillargeon, Carole

Text author(s):

Baillargeon, Carole

Text author(s):

Baillargeon, Carole

Collaborator(s):

Bernier, Mario

Installation year:

1995

Remarks on location:

Set on the wall above the fireplace

Artwork description

Source: Carole Baillargeon (2007).Textile, Sculpture, scénographie. (http://www.carole-baillargeon.ca/projets9.ph)

Description:

Inspired by the "paper doll", a high-relief represents a dress. The back and front are juxtaposed so reversed, one above the other. The lower part (the front) shows a pattern of "root" or "branch". An expression in Irish language, AGUS MHARIDHAR DO GO GO GLIONDRACH WD, inscribed on a metal plate below the high-relief, is none other than the translation of the title.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

AGUS DO MHARIDHAR GO GLIONDRACH GO DEO

Text theme:

History

Artwork theme:

The symbolism of the work refers to the "culture of Irish storytellers."

Dimensions

Other information

Artist's biography:

Carole Baillargeon

Owner(s):

Municipality of Shannon and Library of Shannon

Architect(s):

Villeneuve, Jacques and cie architects