Présences du littéraire dans l’espace public canadien - Paint

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

Sous l'aile, le vent...

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

Artwork identification

Alternate title:

Doux (12) essai sur le vent

Artwork creator(s):

Forget, Normand

Artwork creator(s):

Forget, Normand

Text author(s):

Forget, Normand

Text author(s):

Forget, Normand

Installation year:

1997

Remarks on location:

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

Artwork description

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

Description:

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

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

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

Text theme:

The wind, an imaginary world

Artwork theme:

A journey; offers a cognitive space

Dimensions

Other information

Owner(s):

Elementary school aux Quatre-Vents

Document(s):

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

L’autobus du 1%

Silence-sieste-sommeil-songe-renaissance

Marie-Claude Langevin — Wed, 26 May 2010 21:50:47 +0000

Artwork identification

Artwork creator(s):

Gaudreau, Jean-Pierre

Artwork creator(s):

Gaudreau, Jean-Pierre

Text author(s):

Gaudreau, Jean-Pierre

Text author(s):

Gaudreau, Jean-Pierre

Installation year:

1994

Artwork description

Source: Photo provided by Marie-Lou Pelletier

Description:

The work consists of a modular painting on glass. The central element of the composition is the bed. Three orange beds are shown against a blue sky: the first is near a crescent moon, while the other two are less sharp and separated by a sun. In the top part of the composition, a series of bed fragments are painted in white on a black background. The set is divided by a wooden construction.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Silence Sieste Sommeil Songe Renaissance

Text theme:

Passing time

Artwork theme:

Birth and death

Dimensions

Height:

2.4m

Width:

3.4m

Other information

Note(s):

On the plate:

Le lit fait partie du mobilier de base d'un hôpital.
Mais aussi et surtout il est intimement lié
à notre existance toute entière.
Il est témoin de notre naissance et de notre mort :
il communique et absorbe la vie. Il est symbole
de "regénérescence" dans le sommeil et dans l'amour.
Au rythme des jours et nuits il nous accompagne
dans nos rêves.

Owner(s):

Centre hospitalier régional de la Mauricie

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

Au fil de ta promenade

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

Artwork identification

Artwork creator(s):

Riverin, Agnès

Artwork creator(s):

Riverin, Agnès

Text author(s):

Riverin, Agnès

Text author(s):

Riverin, Agnès

Installation year:

2003

Remarks on location:

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

The Work:

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

Artwork description

Source : Photo transmited by Agnès Riverin

Description:

The Wreck:

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

The Boxes:

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

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

Dining Room:

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

Six Pictorial Works:

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

Six Sculptural Works:

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

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

L’horizon pour seul voyage

tu distends de mille coudées

les rumeurs lointaines

Baigné dans cette lumière

à dissoudre toute forme

le silence t’habite

chargé d’azur et de vent

Au fil de ta promenade

un journal délavé

fouillis d’eau et de mots

suspend brièvement l’errance matinale

ton regard s’interrompt

quelque chose d’autre appelle le présent

Conquis tu t’inclines

devant le plus beau des coquillages

et tes mains déposent un sourire sur le sable

où tu cueilles encore des ailleurs coutumiers

Derrière les bruits familiers

qui s’installent lentement

le mystère répété au jour le jour

une fois de plus te surprend

De retour chez toi

tu t’assieds près de la fenêtre

Il te reste un peu de café

la douceur du vent sur ta peau

et la sagesse des vagues

pour régler le sort de l’humanité

Souriant aux lueurs maritimes

témoins de tes rêveries

tu connais ce que peu de gens connaissent

dans les mille gestes quotidiens

la durée se loge au coeur de l’instant

Text theme:

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

Artwork theme:

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

Dimensions

Other information

Note(s):

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

Artist's biography:

Agnès Riverin

Owner(s):

CLSC- Centre de santé des Sept-Rivières

Stream of Consciousness

Marie-Claude Langevin — Tue, 14 Jul 2009 19:25:23 +0000

Artwork identification

Artwork creator(s):

Kerr, Katherine

Artwork creator(s):

Kerr, Katherine

Text author(s):

Kerr, Katherine

Text author(s):

Kerr, Katherine

Collaborator(s):

Vaughan Landscape Planning and Design

Installation year:

2001

Artwork description

Source: Katherine Kerr (2005). Stream of Consciousness. (http://www.katherinekerrpublicart.com/)

Description:

A bridge spans a small pond and stream, becoming a metaphor for connections with the past and future and reflecting on the life cycle of the salmon and the remarkable journey they endure. Inspired by and incorporating railway tracks and ties, the bridge floor has multiple bronze phrases relating to salmon, fishing and hatcheries inlaid into the wooden floor.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Image 1: details. The text, wooden deck. Image 2: View of the site .

Text of the artwork:

(text incomplete)

coho crisis

an impulse

rehabilitate renew

over fishing

restore

race way fish ladder

decay all around me how the

how they swim together

spawned

Text theme:

Salmon, fishing and hatcheries

Artwork theme:

The lifespan of the salmon

Dimensions

Other information

Note(s):

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 Projects

Public Art. North Vancouver Public Art Inventory. Stream of Consciousness

Wordlink

Marie-Claude Langevin — Tue, 14 Jul 2009 15:43:26 +0000

Artwork identification

Artwork creator(s):

Kazmer, Karen

Artwork creator(s):

Kazmer, Karen

Text author(s):

Kazmer, Karen

Text author(s):

Kazmer, Karen

Installation year:

2001

Remarks on location:

Mahon neighbourhood; redesigned fieldhouse, now the washroom building.

Artwork description

Source: North Vancouver (2006). Public Art. North Vancouver Public Art Inventory. Wordlink. (http://www.artsalivenorthshore.ca/)

Description:

Kinsmen Park New Washroom Building: The redesigned fieldhouse with washrooms incorporated sculptural chain link fence panels, stainless steel discs with sports action words bouncing around on them, polished stainless steel mirrors etched with words and a concrete floor cast with action words. The building's interior and exterior were painted deep orange and red.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Image 1: detail. Image 2: detail Image 3: View of the site

Text of the artwork:

slice

swift

fly

slider

toss

Dimensions

Other information

Note(s):

Artist Statement: My intention with this project was to create a curvilinear visual poetry with materials that would normally be found on a baseball or soccer field.

- North Vancouver Office of Cultural Affairs (2006). Public Art. North Vancouver Public Art Inventory. Wordlink. <http://www.artsalivenorthshore.ca/PA_artwork_home.cfm?PublicArtID=39>

Budget: Art Design, Fabrication and Installation $32,000

Artist's biography:

Kazmer, Karen

Owner(s):

City of Vancouver Nord (North Vancouver)

Document(s):

Portfolio. Public Art

Public Art. North Vancouver Public Art Inventory. Wordlink

Rick Hansen

Marie-Claude Langevin — Fri, 03 Jul 2009 19:39:58 +0000

Artwork identification

Alternate title:

Rick Hansen – Man in Motion Tour

Artwork creator(s):

Williams, Blake; Koochin, Bill

Artwork creator(s):

Williams, Blake

Koochin, Bill

Text author(s):

Hansen, Rick; Reid, Amanda; Tait, Cam

Text author(s):

Hansen, Rick

Reid, Amanda

Tait, Cam

Collaborator(s):

Koochin, Bill (sculpture)

Installation year:

1997

Remarks on location:

Downtown, South corner of arena on Pacific Blvd; at base of stairs

Artwork description

Source: Photo provided by Blake Williams

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Rick Hansen

If I had the chance right now to erase all of it,

to start over again hitchhiking home

from a fishing trip with Don in the back

of that pick-up truck and not have the

accident happen. If I could just pick up

my life at that point as opposed to living

the life I’ve lived since. I wouldn’t take it.

For the next months I lay in a

Stryker frame bolted tightly between

two hard narrow bed pads which rotated

in the middle of a large, metal framework

I was unable to move. For the first time

in my life I was alone and absolutely

helpless...One night I lay sweating...

my head pounding...my back on fire with

pain. I wanted everything to be over. At

that moment my life seemed worthless.

two more skids...tipping

bouncing...I’m gone...

black...awake...I’m alive

somethings wrong

no...can’t ...pain....I can’t move

my legs

At the age of 15 I was athlete of the year

at my High School. It was June 27 1973.

My friend and I were hitchhiking back

from fishing when we caught a ride with

a guy in a pick-up.

a man came alongside me in a red

convertible. “I hear you were a good

athlete. Why not get back in a little

competition?” He had his own wheelchair

in the back seat....Stan Stronge, a

pioneer in wheelchair sports, recipient of

the Order of Canada, a friend who changed

my life by being there for me, he helped

me realize the value of helping others.

Then in 1980 Terry Fox came striding along

on a prosthetic leg with his Marathon of

Hope. I watched how people responded

to him and later after his death, how they

continued to honor his spirit. They

acknowledged how much good can come

from one young man and a dream. In a world

in which people with disabilities felt

invisible Terry Fox made people see the

invisible. I decided Terry’s theme to

raise awareness would be the focus of

my wheelchair journey around the world.

When I come back and it’s all over

I want to be able to wake up ...see

a picture of me in the wheelchair,

sitting on the Great Wall of China.

Amanda is the reason I am

on the road, she has taken

the challenge.

tremendous reception everywhere

between Split and Dubrovnik, the

best in any country to date....

climbing a steep hill I was followed

until dark by about a hundred

young children.

People don’t understand what the tour

is about yet, even most of us who were

on it. Rick was off in right field with his

reality which was the pursuit and the

the preservation of his dream. We were in left

field with our own reality, the day to day grind

working in the outside world to make it as

easy as possible for him to do that and

somehow we all had to get together in the

centre.

Amanda Reid

to see the little kids in their

chairs with the fire in their

eyes ... it touched all of us

incredible things were starting to happen

the tour was opening doors

it was my job to get through

them and have the issues

heard

against advice the decision is made

to wheel through the Canadian Winter

beyond expectations...10,000 people

...100,000 ...I’m thinking of Terry...

donations build...media attention

...are we increasing awareness?

back in the US ...nothing much

had changed...fundraising dismal

...I had to find my own personal

victories in order to carry on. So I

looked for a smile from a passerby

searched for a wheeling stroke that

felt good

eastern US...devastating failure

perhaps low point of the tour

we’d crossed one of the biggest, most powerful and

wealthy countries in the world and put only $6,000 in the

Legacy Fund. BUT WE’D MADE IT THIS FAR!

the wind in my face...thick snow...near white out...12 hours ...50 miles

stories of a big reception, brass band

thousands of people...fifteen people

national anthem on a cassette.

We started the tour before we were ready, things weren’t

happening and we were paying for it. I was sniping at everyone

I also knew that I had to uncover the source of my feelings.

If I didn’t my anger was going to drive everyone

away. I came to recognize that the driving force behind my

reactions was fear, frustration and the overwhelming

sense of responsibility.

Don’t look down at the road...just

wheel one session at a time, three

hours and 23 miles every session,

three sessions every day. Don’t think

about 24,901.55 miles...think about

push...push...focus

Siskyou Summit, Oregon

push...push...focus

push...two miles...push

push...push...tow more

miles...push...heat...burn

push...push...push

focus...pain...SUMMIT

second day, completely overwhelmed

by doubt and uncertainty, had developed

tendonitis in my wrists, elbows and shoulders

the result of 70 miles of wheeling into 60

mile per hour headwinds with the temperature

resting around freezing.

when your dream and reality

actually meet...thousands cheering, leaning out of

windows...smell of the dream...horns

and sirens blasting, sensory overload...

the final turn...cut the ribbon...home

until one is committed there is uncertainty

for the crew, long, tiring days

with little relief

power words

I view this tour like trying to push a boulder

up a steep hill. Lately a lot of people have

tried to take me from behind that boulder

and set me on top of it, make something

special out of me. please put me

back behind the boulder, and let me try to

push it a little bit further.

Halfway...12,450.775 miles...no

longer going away from home...we’re

going home...one year on the road.

.....1,086 postcards...63 flat tires

47 pairs worn out gloves...300 rolls

of tape...4 robberies...1 worn out

wheelchair...59 official receptions

...7,180,800 wheelchair strokes

we reached all levels

of society...we were treated

with respect and dignity

Heroes welcome

China promised a glimpse of

the dream coming true

The wind is relentless, fine

eye burning dust

Listen, I've had parents come and

snatch their children away from in front of me

because my voice is strange and

my arms wave around a lot. I’ve had

other children laugh at me. That’s not an

easy thing to accept. Rick has changed that

in Newfoundland. I saw parents running

down the highway with their children, trying

to get a handshake or autograph.

And the kids? They love him. You think

that isn’t going to make a difference.

Cam Tait

Text theme:

Overcoming a physical disability

Artwork theme:

Hansen's wheelchair journey across Canada; struggles and hardships that one can overcome through perseverence and faith in oneself.

History

History:

This mural was commissioned by Orca Bay Sports. It commemorates the tenth anniversary of Rick Hansen’s ‘Man in Motion’ tour undertaken to raise awareness and funds for spinal cord injury and research.

Dimensions

Height:

3.65m

Width:

12.19m

Other information

Artist's biography:

Blake Williams

Document(s):

Public Art : Rick Hansen

Le fleuve se creuse un passage vers le ciel

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

Artwork identification

Alternate title:

Un passage vers le ciel

Artwork creator(s):

Riverin, Agnès

Artwork creator(s):

Riverin, Agnès

Text author(s):

Riverin, Agnès

Text author(s):

Riverin, Agnès

Installation year:

2006

Artwork description

Source: Photo provided by Agnès Riverin

Description:

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

Mention(s) légale(s) des illustrations:

Photo credits:

@ Agnès Riverin

Text of the artwork:

Le fleuve se creuse un passage vers le ciel

Artwork theme:

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

Dimensions

Other information

Note(s):

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

Artist's biography:

Agnès Riverin

Author's biography:

Agnès Riverin

Owner(s):

Poste de la Sûreté du Québec, Laurier-Station

Architect(s):

Dufour, Éric, architect

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

Derrière chez nous se dresse un champ au coeur duquel...

Marie-Claude Langevin — Wed, 29 Apr 2009 14:20:37 +0000

Artwork identification

Artwork creator(s):

Pelletier, Annie

Artwork creator(s):

Pelletier, Annie

Text author(s):

Pelletier, Annie

Text author(s):

Pelletier, Annie

Installation year:

2006

Artwork description

Source: Photo provided by Annie Pelletier

Description:

Twelve columns are arranged randomly. Text and sculptures of miniature chairs are integrated into them.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Excerpts from library books

Text theme:

Text becomes an element that transports the viewer into the world of reading

Artwork theme:

The natural environment of the Mauricie region

Dimensions

Other information

Note(s):

Simulating the action of entering into what the artist calls "a path bordered by the world of possibilities", the twelve columns are arranged randomly and gradually reveal their hidden sides as well as a variety of materials, textures and colours.
This installation suggests that this is a space where people, users of the site, are transported to the heart of a world of possibilities. At once shrine and imaginary forest, the artwork unfolds in space, inviting visitors to wander through the various worlds being expressed.

Conversation with the artist in 2009

Artist's biography:

Annie Pelletier Sculpteur

Architect(s):

Jean-Louis Déry (Architects)

Source:

Annie Pelletier, 110, rue Parc des Anglais, Québec, QC G8T 4M5 Téléphone et télécopieur : 819 370-1676 Courriel : anniepelletier69@hotmail.com

Document(s):

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

Mémoire X99-04.25

Marie-Claude Langevin — Wed, 18 Feb 2009 17:50:10 +0000

Artwork identification

Artwork creator(s):

Groot, Raphaëlle de

Artwork creator(s):

Groot, Raphaëlle de

Text author(s):

Groot, Raphaëlle de

Text author(s):

Groot, Raphaëlle de

Installation year:

1999

Artwork description

Source: Raphaëlle de Groot (2008). Mémoire X99-04.25. (http://www.raphaelledegroot.net/dett_travaux.php?id_a=2&id_p=17)

Description:

Markings on the ground to commemorate the forgotten history of the site of United Canada’s first parliament

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

The text is composed of newspaper clippings of the era and archaeological reports that recall the state of the location and events that marked the site, from the very first lay of the land to the riot and subsequent fire that destroyed the parliament in 1849.

Artwork theme:

United Canada’s first parliament

History

History:

With this action, set up at the invitation of the Centre d’histoire de Montréal, the artist used markings on the ground to commemorate the forgotten history of the site of United Canada’s first parliament, on Place d’Youville in Montreal (now a parking lot).

Event date(s):

1999

Dimensions

Other information

Note(s):

With orange and blue lines, the artist highlighted the location of some of the parliament's ruins that lay hidden under the asphalt.

Artist's biography:

Raphaëlle de Groot

Document(s):

CACC Profil de l'artiste Raphaëlle de Groot

Raphaëlle de Groot- Artiste en arts visuels

Montréal se souvient de l’incendie du parlement

Le débarquement de Noé

Marie-Claude Langevin — Tue, 27 Jan 2009 20:25:55 +0000

Artwork identification

Artwork creator(s):

Vigneau, Jean-Yves

Artwork creator(s):

Vigneau, Jean-Yves

Text author(s):

Vigneau, Jean-Yves

Text author(s):

Vigneau, Jean-Yves

Installation year:

2007

Artwork description

Vigneau, Jean-Yves (2007). LE DÉBARQUEMENT DE NOÉ. <http://www.vigjy.net/artiste/noe.html)

Description:

The work is divided into two parts:

This poetic fable is inspired by one of the greatest myths in the history of the world. The installation was set in a small green square with a tall tree, downtown Granby.

In the windows of the shop surrounding the square, videos about the local zoo's animals in their daily routines were projected.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

IL ÉTAIT UNE FOIS UN ARBRE

Text theme:

Written on the sidewalk, the sentence attracts attention towards the big tree that will disappear to make way for a commercial building, much to the chagrin of residents who love "their" tree.

Artwork theme:

The cage motif serves as a pretext to inspire a reflection on our own states of captivity, the limits of our vision of the world and our way of looking at reality.

Dimensions

Other information

Note(s):

Le débarquement de Noé was produced as part of a residency at 3^e Impérial, a contemporary art center, as well as daily visits to the Zoo de Granby.

Artist's biography:

Jean-Yves Vigneau

Document(s):

Le débarquement de Noé

Défilé

Marie-Claude Langevin — Sat, 24 Jan 2009 16:06:23 +0000

Artwork identification

Artwork creator(s):

Goulet, Rose-Marie E.

Artwork creator(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Installation year:

1993

Artwork description

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

Description:

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

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

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

1 2 3 4 5 6 7 8 9

Artwork theme:

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

Dimensions

Other information

Artist's biography:

Rose-Marie E. Goulet

Document(s):

Projets, archives et documents

Artifact

Marie-Claude Langevin — Sun, 21 Dec 2008 17:13:17 +0000

Artwork identification

Artwork creator(s):

Dykhuis, Peter G.

Artwork creator(s):

Dykhuis, Peter G.

Text author(s):

Dykhuis, Peter G.

Text author(s):

Dykhuis, Peter G.

Installation year:

1993

Artwork description

Source: McEroy, Gil (1994). On Site At the Mount. ArtsAtlanic. no. 48, p. 22-24

Description:

Eight small painted and framed panels, suspended from the branches of a cherry tree.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

A R T I F A C T

Dimensions

Height:

0.2m

Width:

0.15m

Depth:

0.02 m

Other information

Note(s):

On Site At The Mount used ten installations by twelve artists to critique the institutionalised setting of the Mount Saint Vincent University campus.

The work makes specific reference to the multiple readings given the tree located adjacent to the gallery entrance.

Artist's biography:

Peter Dykhuis

Source:

Image sur papier

Document(s):

On Site At the Mount

Memory Tables

Marie-Claude Langevin — Sat, 20 Dec 2008 18:16:49 +0000

Artwork identification

Artwork creator(s):

McElroy, Gil

Artwork creator(s):

McElroy, Gil

Text author(s):

McElroy, Gil

Text author(s):

McElroy, Gil

Installation year:

1996

Artwork description

Source: McElroy, Gil (2001). Gil McElroy at Unlikely 2.0. (http://www.unlikelystories.org/07/mcelroy0107.shtml)

Description:

Three picnic tables have been modified to be slanted. The text is written on top.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Table 1

IT IS, FIRST OF ALL, A PLACE WHICH TOUCHES, FOR EXAMPLE, THE OUTSIDE OF THE FACE. IT IS A WORLD OF THINGS, OF BIRDS, OF SCATTERINGS FROM ABROAD. IT IS ALL BRIGHTNESS AND SPIRITS AND WIND, THE CURVING PATH OF.

Table 2

TO DREAM OF THIS PLACE MIGHT LEAD TO POLITICS, TO SPEAKING WITH A PECULIAR ABANDON. THE WORDS, LIKE THE NIGHT ITSELF, AND AFTER THE MANNER OF ALL NIGHTS, KEEP NEGLECTED LOVE WITHIN THEIR CHARGE. TO THESE WORDS, AND TO THIS PLACE, COME KINDS OF MAGIC. AND A WIND ONE TRIES TO FIT.

Table 3

THE WAY THIS PLACE FILLS THE SPACE AND SOURCE OF ALL NAME. THE WAY THE RECOLLECTIONS OF SUCH A PLACE SETTLE INTO DETAILS UNCOMMONLY PAINTED WITH COLOURS. THE WAY THE LIGHT MINDS US. THE WAY THE GEOGRAPHICAL HAPPENS, THAT'S WHAT.

Artwork theme:

Exile, the expulsion of the Acadians from their lands

History

History:

• Exhibition from June 7-September 20 1996

• Urban Visions 07 (art exhibition in public place), public art located at various sites in downtown Barrie on June 14-Sept 9, 2007

Dimensions

Height:

Width:

Depth:

1 m

Other information

Artist's biography:

Gil McElroy

Source:

gmcelroy@isn.net

Document(s):

Gil McElroy : Memory Tables

Gil McElroy at Unlikely 2.0

Site 27. Gil McElroy. Hoops and Loops

Kiosk, 2004-2005

Marie-Claude Langevin — Wed, 03 Dec 2008 04:32:37 +0000

Artwork identification

Artwork creator(s):

Sullivan, Derek

Artwork creator(s):

Sullivan, Derek

Text author(s):

Sullivan, Derek

Text author(s):

Sullivan, Derek

Collaborator(s):

Artists: Clint Burnham, Maura Doyle & Annie Dunning, Andrew Reyes, Zin Taylor, and Althea Thauberger; Architecte: Eric Klaver

Installation year:

2005

Artwork description

Source: Toronto Sculpture Garden (2006). Derek Sullivan. Kiosk. (http://www.torontosculpturegarden.com/DerekSullivan.htm )

Source: Toronto, SculptureGarden (2006). Derek Sullivan. Kiosk. (http://www.torontosculpturegarden.com/DerekSullivan.htm )

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[incomplete text]

FOREST FANTASY

Artwork theme:

Eugene Atget, Paris, nineteenth century, urban landscape, urban activity, kiosk

History

History:

Exhibition: Derek Sullivan: KIOSK, Toronto Sculpture Garden, Toronto, ON

Event date(s):

2006

Dimensions

Height:

3.65m

Width:

1.64m

Depth:

1.64 m

Other information

Note(s):

"Kiosk 2005 is a site-specific project designed for the Toronto Sculpture Garden. I was struck by the divide between the Garden’s romanticized take on the European streetscape (the iron gates, the off-the-sidewalk sidewalk café) and its remove from the actual city streets of Toronto. My installation is based upon a structure found in a series of Eugene Atget’s images of turn-of-the-century Paris: a typical street-corner poster kiosk. Working with architect Eric Klaver, an extracted version of the kiosk found in Atget’s images is designed to be executed in the manner of city park structures, using typical materials. This structure is intended to complete the 'tableaux' of European street-life established by the Garden’s design, while also setting up a device that might activate street-level activity within the park. Kiosk will be sited near one of the gates for maximum visibility from the street. Five artist poster projects have been commissioned for Kiosk. These works by Clint Burnham, Maura Doyle & Annie Dunning, Andrew Reyes, Zin Taylor, and Althea Thauberger, will be pasted to Kiosk during its 6-month run. I’m interested in seeing multiple uses come together, with artists’ projects occupying the same space as local events promotion, local businesses, etc. I want to activate street-level activity within this supposed public space, an action that will alter how the garden is used. (This alteration has already begun with Luis Jacob’s recent project). This alteration will also manifest itself in the Kiosk object itself. The shape of Kiosk will alter and distort during its run, deviating from its original pristine form as layers of print material accumulate on its surface."

Source: Toronto Sculpture Garden (2006). Derek Sullivan. Kiosk

http://www.torontosculpturegarden.com/DerekSullivan.htm

Artist's biography:

Derek Sullivan

Source:

1. Derek Sullivan, artiste info@dereksullivan.ca 2. Rina Greer, directrice Toronto Sculpture Garden 115 King Street East Toronto, ON M5C 1G6 Tél : 416.515.9658 info@torontosculpturegarden.com 3. Jessica Bradley Art + Projects (galerie d’art représentant Derek Sullivan) 1450 Dundas Street West (near Gladstone), Toronto, ON M6J 1Y6, Canada Tel: (416) 537-3125 Email: info@jessicabradleyartprojects.com

Document(s):

NOW SHOWING

Derek Sullivan at the Toronto Sculpture Garden

Derek Sullivan. Kiosk

Kiosk

Derek Sullivan.

A poster child for street life: Gary Michael Dault explains why artist Derek Sullivan recreated a Parisian kiosk in Toronto

Normal

Marie-Claude Langevin — Fri, 28 Nov 2008 04:10:14 +0000

Artwork identification

Alternate title:

The New Normal

Artwork creator(s):

Yanover, Shirley

Artwork creator(s):

Yanover, Shirley

Text author(s):

Yanover, Shirley

Text author(s):

Yanover, Shirley

Remarks on location:

Installed above the entrance to the building and on the field.

Artwork description

Source: Photo provided by Shirley Yanover

Description:

This exhibition also featured two other parts. New Normal, an acrylic painting, was hung in the cafeteria. Normal Graduation 23 consisted of twelve oval plastic clocks that were suspended from metal chains on the chandelier in the entrance. The clocks contain the following elements: portraits from 1913-1973 repertories, newspaper cuttings of local Stratford, wallpaper evoking the era at which the portraits were taken, a copy of the New Normal painting and the logo of the Normal School.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

NORMAL -- THE NEW normal

Text theme:

Belonging and social identity

Artwork theme:

History of the place

History

History:

Normal Resonance. Gallery 96, Stratford, Ontario, July 5-September 28 2003 [commissioner: Cindy Hubert].

Event date(s):

2003

Dimensions

Height:

0.92m

Width:

0.6m

Depth:

0.6 m

Other information

Note(s):

This exhibition was held at Gallery 96, which used to be an École Normale (an academic institute to train masters) until 1973 (the "Normal School"). The text is a reference to the location.

Artist's biography:

Yanover, Shirley

Owner(s):

Collection of the artist

Source:

1. Shirley Yanover, artiste shirley.yanover@rogers.com 2. Cindy Hubert, directrice Gallery 96 Stratford, ON (519) 271-4660 info@gallery96.com gallery96@orc.ca

A Walk Through the Universe

Marie-Claude Langevin — Sun, 16 Nov 2008 18:45:16 +0000

Artwork identification

Artwork creator(s):

Lowe, Clayton

Artwork creator(s):

Lowe, Clayton

Text author(s):

Ryan, Matthew; Kelley, Shannon; Bruni, Shane ; Debruin, Mike; Fenske, Chris; Poole, Dustin; Peter, Trevors

Text author(s):

Ryan, Matthew

Kelley, Shannon

Bruni, Shane

Debruin, Mike

Fenske, Chris

Poole, Dustin

Peter, Trevors

Installation year:

2002

Artwork description

Source: The Places (2008). Walking tour. (http://www.theworks.ab.ca/placesfolder/tour/pages/14.html)

Description:

A giant mural painted with aerosol on the North wall of the LRT portal

Mention(s) légale(s) des illustrations:

Photo credits:

Dimensions

Height:

2.44m

Width:

9.1m

Other information

Owner(s):

City of Edmonton

Document(s):

New LRT Art Mural

Lest we Forget

Marie-Claude Langevin — Wed, 12 Nov 2008 17:58:53 +0000

Artwork identification

Artwork creator(s):

Posyniak, Teresa

Artwork creator(s):

Posyniak, Teresa

Text author(s):

Posyniak, Teresa

Text author(s):

Posyniak, Teresa

Installation year:

1994

Artwork description

Source: Teresa Posyniak (2008). Domestic Violence. (http://www.teresaposyniak.com/image.php?nodeID=137&ID=10)

Description:

The names of 135 Canadian women murdered since 1989 are written, interspersed with the phrase "lest we forget" throughout the list.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Names of 135 Canadian women

Lest we forget

Artwork theme:

Death, domestic violence

Dimensions

Height:

2.13m

Width:

Other information

Note(s):

In 1994, Lest We Forget found a permanent home on the University of Calgary campus, through the efforts of Dean of Law Sheilah Martin and some law faculty alumnae. The piece by Calgary artist Teresa Posyniak remembers and protests violence against women through language, motifs of nature and ominous images of deterioration and disappearance. The sculpture, which is close to a storey high but with a broken-off top that suggests its reach could be much higher, sits in the airy main foyer of the Law Building. The location was deliberately chosen to encourage members of the legal profession to be mindful of feminist social justice and legislative inadequacies in the protection of women.

Source: Teresa Posyniak (2008). Domestic Violence.

http://www.teresaposyniak.com/image.php?nodeID=137&ID=10

Artist's biography:

Teresa Posyniak