Présences du littéraire dans l’espace public canadien - Neon

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

Everything is going to be alright

Marie-Claude Langevin — Thu, 29 Apr 2010 14:32:26 +0000

Artwork identification

Artwork creator(s):

Creed, Martin

Artwork creator(s):

Creed, Martin

Text author(s):

Creed, Martin

Text author(s):

Creed, Martin

Installation year:

2009

Remarks on location:

On a façade of the Wing Sang Building in Chinatown.

Artwork description

Source: Martin Creed (2009). Planètecastor. (http://canada.grandquebec.com/vancouver-2010-jeux-olympiques/patrimoine-vancouver)

Source: The Canadian Design resource (2009). Martin Creed. (http://www.canadiandesignresource.ca/officialgallery/urban/)

Description:

On a façade of the Wing Sang Building in Chinatown (the oldest building in the neighborhood), we can read the words "Everything is going to be alright." The neon letters are visible from the Georgia Street viaduct.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Everything is going to be alright

Text theme:

An ironic warning

History

History:

Martin Creed's work has been exhibited in various forms and in several locations around the world: Alberto Peola Arte Contemporanea, Turin, Italy (1999); The Portico, London, UK (1999); 42ndStreet, New York, USA (December 1999/January 2000); etc.

Dimensions

Height:

22.86m

Width:

0.91m

Other information

Note(s):

This neon artwork is installed on a façade of the Wing Sang Building in Vancouver's Chinatown. The artwork and the building are owned by art collector and real estate mogul Bob Rennie. He asked artist Martin Creed to install this artwork on his building. Rennie made "Everything is going to be alright" his philosophy for the 2010 Vancouver Olympic Games.

Artist's biography:

Martin Creed

Owner(s):

Bob Rennie

Document(s):

Everything is going to be alright

THE WORDS DON'T FIT THE PICTURE

Marie-Claude Langevin — Mon, 26 Apr 2010 15:31:59 +0000

Artwork identification

Artwork creator(s):

Terada, Ron

Artwork creator(s):

Terada, Ron

Text author(s):

Terada, Ron

Text author(s):

Terada, Ron

Installation year:

2010

Artwork description

Source: City of Vancouver (2010). Public Art. (http://vancouver.ca/commsvcs/cultural/publicart/2010/lg_thewords.htm)

Description:

The work takes the form of a large freestanding sign that sits in front of the library, just off the southern entrance of the building, by heavy pedestrian traffic.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

THE WORDS DON'T FIT THE PICTURE

Text theme:

Reference to the past

Artwork theme:

Using a typography that is at once familiar and accessible, the artwork is a reference to Vancouver’s neon past, when the famous BOW-MAC sign and legendary Woodward’s W reigned over the city’s skyline.

Dimensions

Other information

Note(s):

“The sign takes its cues from an era of signage when signs were seen as celebratory, grand and iconic – in effect, as landmarks in their own right, a kind of symbolic architecture… Taken within the context of a public library, the work touches upon – in a very poetic way – the use of words and language as boundless and imaginative, as a catalyst for a multiplicity of meanings.”

Ron Terada

Source: City of Vancouver (2010). Public Art.

http://vancouver.ca/commsvcs/cultural/publicart/2010/lg_thewords.htm

Artist's biography:

Ron Terada

Document(s):

"Mapping and Marking" public art program

Apparaître/disparaître : LES MOTS

Marie-Claude Langevin — Wed, 10 Mar 2010 01:28:56 +0000

Artwork identification

Artwork creator(s):

Faubert, Julie

Artwork creator(s):

Faubert, Julie

Text author(s):

Faubert, Julie

Text author(s):

Faubert, Julie

Installation year:

2009

Artwork description

SOURCE : Centre Dare-Dare (2009). Dare-Dare.Apparaître/disparaître : les mots. (http://www.dare-dare.org/faubert)

Description:

Art intervention with light. Words with the dates on which they appeared or disappeared from the dictionary are mounted onto people. Words in red have been lost; words in blue were new additions to the dictionary.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Biophilie (1919)

Assurance-vie (2001)

Suralimenté (1990)

Aérivore (1948)

Inuktitut (1994)

Désaveugler (1959)

Cash (1959) Fric (1952) Pognon (1952)

Bancocratie (1919)

Orgasme (1959)

Culpabiliser (1972)

Conformisme (1959)

Esthétiser (1990)

Text theme:

A critical look at words that allow us to think (or not), words that we do not mistreat quite enough as well as words that, to be truly accurate, should also be constantly invented.

Artwork theme:

The project uses city space as a space for collective thinking about words we use.

History

History:

This artistic intervention had two components:

Intervention #1: December 3, 2009

Intervention #2: May 2010

Dimensions

Other information

Artist's biography:

Julie Faubert

Document(s):

Entre les murs des galeries

Les Mots

La Réserve

Marie-Claude Langevin — Tue, 11 Aug 2009 14:58:51 +0000

Artwork identification

Artwork creator(s):

Gaulejac, Clément de

Artwork creator(s):

Gaulejac, Clément de

Text author(s):

Gaulejac, Clément de

Text author(s):

Gaulejac, Clément de

Installation year:

2007

Remarks on location:

In a wasteland

Artwork description

Source : Clément de Gaulejac (2009). Calcul Mental. (http://www.calculmental.org/)

Description:

La Réserve is an installation inspired by the specific history of a park that the city of Montreal left without any designation. At the park's entrance, a structure evokes the two squares - one red, the other, grey - usually used by the city of Montreal to announce the park's equipment.

A mobile and transparent suitcase completes the installation. A neon sign shines within the suitcase, stating that a journey has come to an end: "Nous y voilà" ("Here we are").

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Nous y voilà

Text theme:

Place without a name, determines its own context.

Artwork theme:

Absence, emptiness, projection onto oneself

History

History:

La Réserve is an installation by Clément de Gaulejac who was inspired by the specific history of a park that had been left without designation or assignment by the city of Montreal. Not knowing what to do with the space, the city decided... not to make any decision about it. And so, the park was left as it was, a white space on the map of the city. A fence prohibiting access to the park insured that the default decision would not be countermanded by use of the space. DARE-DARE moved into the park in 2006, opening the fence, and printed business cards with the intriguing mention "located in a park with no name". Clément de Gaulejac decided to leave his own mark on the story of this park by imagining an installation by which this unnamed park became The Park With No Name.

Date: July 7 to August 5, 2007

Event date(s):

2007

Dimensions

Other information

Artist's biography:

Calcul mental

Document(s):

Vérité de la démocratie: appelez Nietzsche 68-08

Dare-Dare Clément de Gaulejac

Des ailes et des racines

Marie-Claude Langevin — Mon, 29 Jun 2009 15:30:38 +0000

Artwork identification

Artwork creator(s):

Vincent, Bill (William)

Artwork creator(s):

Vincent, Bill (William)

Text author(s):

Vincent, Bill (William)

Text author(s):

Vincent, Bill (William)

Installation year:

2005

Artwork description

Bill Vincent (2009). Art public. (http://www.pagede.com/artistes/vincent_bill/artpublic_BillVincent.htm)

Description:

The mural consists of two parts. In the bottom section, roots go up to black & white family photographs, over the text. In the top section, a plant transforms into a flight of birds.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Text from archive)

Artwork theme:

Life, death, hope, freedom.

Dimensions

Height:

10m

Width:

6.8m

Other information

Artist's biography:

Bill Vincent

Owner(s):

CHSLD-CLSC La Source

Convergences

Marie-Claude Langevin — Fri, 17 Apr 2009 14:23:28 +0000

Artwork identification

Artwork creator(s):

Vincent, Bill (William)

Artwork creator(s):

Vincent, Bill (William)

Text author(s):

Vincent, Bill (William)

Text author(s):

Vincent, Bill (William)

Installation year:

2005

Artwork description

Source: Bill Vincent (2009). Art public. (http://www.pagede.com/artistes/vincent_bill/artpublic_BillVincent.htm)

Description:

The artwork is located at the apex of the library's main traffic area. It reveals a dandelion head on which was superimposed a reconstituted map of old Charlesbourg in different eras.

The number 21 (for 21 degrees) is the extension of a blue neon line and indicates the cutting angle of the original subdivision's institutional core.

Mention(s) légale(s) des illustrations:

Photo credits:

Text theme:

Links territorial and plant morphologies as a metaphor for life and knowledge as they sow, take root and grow in a given place, in a given spirit

Artwork theme:

The cumulative traces of human activity stamped on Charlesbourg's urban landscape. The plant-life theme recalls the greenery on the roof and the flight of the dandelion seeds in all directions expresses the dissemination of knowledge, an appropriate symbol for an intellectual and cultural source such as the Charlesbourg library.

Dimensions

Height:

Other information

Artist's biography:

Bill Vincent

Architect(s):

Croft Pelletier architectes

Document(s):

Intégration des arts à l'architecture et à l'environnement. Bilan 2004-2007

Le pissenlit géant de Bill Vincent

Stay Away From Lonely Places

Marie-Claude Langevin — Sun, 05 Apr 2009 20:35:00 +0000

Artwork identification

Artwork creator(s):

Terada, Ron

Artwork creator(s):

Terada, Ron

Text author(s):

Nelson, Willie

Text author(s):

Nelson, Willie

Installation year:

2005

Remarks on location:

Displayed on the gallery front

Artwork description

Source: Watson, Scott (2005), Intertidal : Vancouver Art & Artists, Vancouver : Morris and Helen Belkin Art Gallery

Description:

Installation of words on the façade of a building

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

STAY AWAY
FROM LONELY PLACES

Text theme:

Warning; solitude; song title ("Stay Away From Lonely Places") written by Willie Nelson and Don Bowman.

Artwork theme:

Anxiety linked to individual condition present in social misfits or the excluded; migration experience

History

History:

March 1-November 1, 2006. The piece mounted onto Chapel & Sunday School in Birmingham's Eastside regeneration district.

Stay Away From Lonely Places, presented in conjunction with the Ron Terada exhibition, Catriona Jeffries Gallery, Vancouver, May 20-June 25, 2005

Event date(s):

2005

Dimensions

Height:

0.83m

Width:

3.22m

Depth:

0.27 m

Other information

Artist's biography:

Terada, Ron

Source:

1. Ron Terada (à travers le Catriona Jeffries Gallery à Vancouver) Charo Neville Associate Curator Catriona Jeffries Gallery 274 East 1st Ave., Vancouver V5T1A6 Tél : 604-736-1554 cat_jeffries_gallery@telus.net

Document(s):

Intertidal : Vancouver Art &Artists

1,986,965 (2001 Census). An Intertidal Travelogue

As one

Marie-Claude Langevin — Sun, 08 Mar 2009 03:06:53 +0000

Artwork identification

Artwork creator(s):

Plensa, Jaume

Artwork creator(s):

Plensa, Jaume

Text author(s):

Plensa, Jaume

Text author(s):

Plensa, Jaume

Installation year:

2003

Remarks on location:

Inside the airport's Terminal D, international baggage claim

Artwork description

Source: Jaume Plensa (2009). As One. (http://www.jaumeplensa.com/)

Source: Hébert, Natasha (2005). Jaume Plensa: Le Sphinx catalan. Espace. no. 71, p. 36-39

Source: Jaume Plensa (2009). As One. (http://www.jaumeplensa.com/)

Description:

Neon letters welcome passengers as they wait for their luggage. From the chaos of the jumbled letters, words emerge. America, Europa, Asia, Oceania, Africa. As the harmony between the letters that compose these words is highlighted, they form a new one which opens up doors onto a new continent that has yet to exist.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

America, Europa, Asia, Oceania, Africa

Dimensions

Height:

Width:

100m

Other information

Note(s):

Plensa has captured all of the emotions, anticipation and anxiety people feel upon landing in a new country. He has strung together the words "Asia," "Africa," "Oceania," "Europa" and the "America" into one neon superword, 100 meters in length. "I feel today that all the continents are moving to become one again, as they once were," Plensa says, drawing parallels to technology's globalization of the world and the Pangaea of 200 million years ago. "So I have transformed all the 31 letters of the continents into one long word. The thing is, we don't know how to read it yet. We don't have the experience." The words will be illuminated selectively, creating both recognizable and undecipherable text. In as much as the work incorporates the familiar, there is also the unexpected, again mirroring the experience of a traveler arriving in a foreign land.

Natasha Hébert (2005). "Jaume Plensa: Le Sphinx catalan". Espace, no. 71, p.36-39

Artist's biography:

Jaume Plensa

Document(s):

Jaume Plensa: Le Sphinx catalan

Airport art

(Let Me Be Your) Teddy Bear

Marie-Claude Langevin — Wed, 03 Dec 2008 04:57:38 +0000

Artwork identification

Artwork creator(s):

Curreri, Chris

Artwork creator(s):

Curreri, Chris

Text author(s):

Presley, Elvis

Text author(s):

Presley, Elvis

Collaborator(s):

Cooperation with residents of Baldwin Street, Toronto

Installation year:

2006

Remarks on location:

South side of Baldwin Street, between Beverly (West) and McCaul (East) Streets. Installed in the windows of buildings.

Artwork description

Source: CCCA (2008). Scotiablank Nuit Blanche. (http://www.ccca.ca/nuitblanche/nuitblanche2006/artists/b2.html)

Description:

Neon writing placed in windows of houses or shops.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

FORGET ME NEVER
IF YOU LOVE ME LET ME KNOW
LET ME BE THERE
LET ME BE YOUR TEDDY BEAR
PLEASE DON’T STOP LOVING ME
THERE'S ALWAYS ME
TREAT ME NICE

Artwork theme:

Love, desire, romance

History

History:

Scotiabank Nuit Blanche, Toronto, ON, Saturday, September 30 to the morning of October 1, 2006

Event date(s):

2006

Dimensions

Other information

Note(s):

The inspiration for Curreri's (LET ME BE YOUR) TEDDY BEAR is a found scrapbook, seemingly created by a young Elvis Presley fan, full of lovingly collaged Elvis images.

The charm of Toronto's Baldwin Street life, with its mix of small businesses and private residences, has uniquely personal feel effusing a sense of people's lives rather than being overwhelmed by commerce or consuming. Through an installation of sweet messages, in collaboration with the residents of Baldwin Street, artist Chris Curreri captured a sense of the personal while recognizing the commercial aspects of the area. Viewed only from the street, as one walked along Baldwin, passersby were treated to a neon love poem glowing from above. All Elvis Presley song titles, the glowing text anonymously announced itself from the second floor windows of Baldwin Street residential homes. The signs declared a kind of romantic longing for all its viewers, but remained unreachable, inanimate, and incapable of receiving response.

Source: Scotiablank Nuit Blanche 2006 (2006).
http://www.ccca.ca/nuitblanche/nuitblanche2006/artists/b2.html

Artist's biography:

Chris Curreri

Source:

1. Chris Curreri, artiste chriscurreri@gmail.com

Document(s):

Archive. Scotiabank Nuit Blanche 2006. Zone C. Curated Exhibition. (Let Me Be Your) Teddy Bear, 2006

Scotiabank Nuit Blanche. Toronto Canada 2006. Zone B. (Let Me Be Your) Teddy Bear

Hold That Thought

Marie-Claude Langevin — Sun, 30 Nov 2008 22:01:01 +0000

Artwork identification

Artwork creator(s):

Mark, Kelly

Artwork creator(s):

Mark, Kelly

Text author(s):

Mark, Kelly

Text author(s):

Mark, Kelly

Collaborator(s):

Neon sign construction by Orest Tataryn

Installation year:

2006

Remarks on location:

Avenue Road intersection; installed on the façade of the church

Artwork description

Source: CCCA (2006). Scotiabank Nuit Blanche. (http://www.ccca.ca/nuitblanche/nuitblanche2006/)

Description:

Site specific installation. Several of the letters were programmed to fail or sputter (flicker on and off) at random intervals

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

HOLD THAT THOUGHT

Artwork theme:

Idea passenger, personal experience, time (lost time, passage of time)

History

History:

Event: Kelly Mark: Stupid Heaven (Cambridge Galleries, Cambridge, ON). January 12-February 24, 2008

Event: Kelly Mark: Stupid Heaven (Blackwood Gallery, Mississauga, ON. Curator: Barbara Fischer) September 14-October 21, 2007

Event: Kelly Mark: Stupid Heaven (Justina M. Barnicke Gallery, Hart House, Toronto, ON.Commissaire: Barbara Fischer) September 13-October 28 2007

Event: Scotiabank Nuit Blanche (first exhibition in a public space. Church of the Redeemer, Toronto, ON. Site specific installation created for the festival in 2006. Curators: Fern Bayer, Peggy Gale & Chrysanne Stathacos). Event date: sunset on Saturday, September 30 on the morning of Sunday, October 1, 2006.

Event: "Apparent Death" (WYNICK / Tuck Gallery, project room, Toronto, ON) September 29-November 17 2006

Dimensions

Height:

4.57m

Width:

8.13m

Depth:

7.62 m

Other information

Note(s):

Installed at a street intersection where people are forced to pause, this sign asks one to also pause one's mind, "to hold that thought," if for only a moment. The temporal nature of this fleeting moment becomes a unique and personal experience for each viewer.

Thought and language are intimately connected. We cannot have a thought without also having the words we would use to express that thought to another. Streets can be viewed as the physical arteries of a city… When you try to hold a thought, the mind wanders, other thoughts intrude and displace, thoughts flow through our minds in the same way blood flows through our veins.

Source: Kelly Mark (2009). Kelly Mark: Sculpture.

http://www.ireallyshould.com/HoldThatThought4.html

Artist's biography:

Kelly Mark

Document(s):

Scotia Bank Nuit Blanche. Toronto Canada 2006. Kelly Mark. Hold That Thought

Archive. Scotiabanck Nuit Blanche 2006. Zone A. Curated Exhibition. Hold That Thought, 2006. Kelly Mark

Sculpture. Hold That Thought

Kelly Mark

Adeona/Abeona

Marie-Claude Langevin — Thu, 27 Nov 2008 23:12:48 +0000

Artwork identification

Artwork creator(s):

Hastenteufel, Deeter

Artwork creator(s):

Hastenteufel, Deeter

Text author(s):

Hastenteufel, Deeter

Text author(s):

Hastenteufel, Deeter

Installation year:

2000

Artwork description

Source: The Tree Museum (2008). Artist. (http://www.thetreemuseum.ca/treemuseum/pages/artists.php)

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Refuse to die

Text theme:

Mortality

Artwork theme:

Native, generational legacy, fate, time, rite of passage

History

History:

The Tree Museum, Gravenhurst, ON.

Event date(s):

2000

Dimensions

Other information

Artist's biography:

Deeter Hastenteufel

Source:

1. Deeter Hastenteufel dhaifa@sympatico.ca 2. Anne O’Callaghan, Conservatrice, The Tree Museum 1444 Dupont Street Unite 11A Toronto, Ontario.M6P 4H3 416-551-2166 current@attglobal.net

Document(s):

The Tree Museum 2000. Site specific installations 24 October to October 30, 2000

Fixité de Phénix

Marie-Claude Langevin — Wed, 11 Jun 2008 02:34:03 +0000

Artwork identification

Alternate title:

Hommage à Claude Gauvreau

Artwork creator(s):

Fournelle, André

Artwork creator(s):

Fournelle, André

Text author(s):

Fournelle, André

Text author(s):

Fournelle, André

Collaborator(s):

Ducharme, Marion; Lupien, Roger (engineering)

Installation year:

1992

Remarks on location:

The artwork is located in the entrance of the theatre

Artwork description

Source: Banque d'oeuvres d'arts de la Montétérégie (2006). Oeuvres. (http://www.rtsq.qc.ca/cdarts/art_mont/pages/index.html)

Description:

An artificial skylight features three glass-covered bronze rings that are suspended at different heights. The artwork is illuminated with a neon light and halogen lamps fitted with a blue filter. The lights are installed in a cross-shape at the center of the second ring.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

The title, Fixité du Phénix, refers to a text by Claude Gauvreau.

Text theme:

Tribute to Claude Gauvreau

Artwork theme:

Literature, Poetry

Dimensions

Diameter:

3.5m

Kristallnacht (Nuit de cristal)

Marie-Claude Langevin — Tue, 27 May 2008 15:58:50 +0000

Artwork identification

Artwork creator(s):

Lemieux, Lisette

Artwork creator(s):

Lemieux, Lisette

Text author(s):

Lemieux, Lisette

Text author(s):

Lemieux, Lisette

Installation year:

2003

Artwork description

Source: MCCCQ (2004). L’intégration des arts à l’architecture et à l'environnement. Bilan 2002-2004. Québec: MCCCQ

Description:

The artwork is shaped as a frieze panel and installed along three of the lobby's walls. The black frieze panel is pierced with words in French, English, Hebrew and Yiddish. The cut-out first layer opens onto a second layer made of broken glass that is lit from behind, evoking Kristallnacht, the "Night of Broken Glass" when Jewish storefront windows were shattered in November 1938.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

APPRENDRE RESSENTIR SE SOUVENIR TO LEARN TO FEEL TO REMEMBER

Text theme:

History, Responsibility

Artwork theme:

History, Racism, Prejudices

Dimensions

Other information

Architect(s):

Ibghy, André (architect)

Le Témoin

Marie-Claude Langevin — Tue, 20 May 2008 02:25:28 +0000

Artwork identification

Artwork creator(s):

Cornet, Lucienne

Artwork creator(s):

Cornet, Lucienne

Text author(s):

Cornet, Lucienne

Text author(s):

Cornet, Lucienne

Collaborator(s):

Gagnon,Denis; Pontbriand, Martin; Trung, Chan

Installation year:

2003

Remarks on location:

The artwork is located in front of the main façade and to the right of the main entrance to the PALAIS DE JUSTICE, in the middle of the lot at the corner of HART and LAVIOLETTE Streets.

Artwork description

MCCCQ (2004). Bilan 2002-2004 : L’intégration des arts à l’architecture et à l'environnement. Québec: MCCCQ

Description:

The work consists of a concrete column, at the top of which two bronze shapes are attached. A little house placed inside a stainless steel boat sit on the very top of the column. An integrated lamp lights the inside of the house. The artist wrote a poetic text that evokes the word "Témoin" ("witness") and engraved it onto a plate installed on a support in the sculpture's axis.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

LUCIENNE CORNET 2003 LE TÉMOIN
« Il a vu passer les Amérindiens descendant la rivière
Saint-Maurice dans les canots chargés de fourrures

Il les a vus danser sur le sable du rivage

Il a vu les hommes du Roy accompagner
le sieur Laviolette sur le Platon

Il a vu ceux qui ont bâti les forges
du Saint-Maurice et les coureurs des bois

Il a vu s’installer des femmes remarquables
et leurs familles qui ont bâti maisons

Il a vu rouler les billes le long des glissoires,
des estacades et flotter l’arbre jusqu’au Saint-Laurent

Il a vu la chevauchée des draveurs dans
le tumulte des eaux

Il a vu le sieur de La Vérandrye partir
avec ses fils pour l’Ouest

Il allume sa lampe témoin. Il veille lorsque
vous dormez, il enregistre vos rêves
et garde en mémoire tous ceux qui vous échappent

Il voit la poésie dans la rue.

Lucienne Cornet

Text theme:

History

Artwork theme:

Witness to the PALAIS DE JUSTICE, witness to old TROIS-RIVIÈRES, witness to the history of the city. The body of the artwork is shaped like a boat, evoking the comings and goings of our ancestors on the rivers. The head of the work is a house, which represents the place where the sailor comes home when traveling is over. It lights up at night, like a light that looks over children's dreams. The column and the two "arms" are also a tree; wood is very important in the history of TROIS-RIVIÈRES. and so, at night, the child climbs the tree to reach for his dreams.

Dimensions

Height:

Width:

2.5m

Depth:

2 m

Diameter:

Other information

Note(s):

This text is incorporated into the various poetic itineraries distributed all over the city of Trois-Rivières, as part of its poetry festivals. Engraved on an anodized aluminum plate.

Owner(s):

Palais de justice de Trois-Rivières

Architect(s):

Côté, Chabot, Morel, architectes en consortium avec Émile Gilbert et associés; Beauchesne, François R., architect; Bluteau, Raymond, architect

Document(s):

Elles nous encerclent : l’art public trifluvien 2006

L’intégration des arts à l’architecture et à l'environnement. Bilan 2002-2004